American singer, songwriter, and record producer
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3 episodes with vandross
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Gone Off on A Tangent - The sports podcast with extra waffle
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Ledisi är mer än mezzosopranen med ett röstomfång på fyra oktaver, som rör sig fritt mellan soul, jazz och R&B. Hon är historieberättaren som på ett dussin album serverat låtar med hopp, svärta och en social underström. Lyssna på alla avsnitt i Sveriges Radio Play. Ledisi föddes in i musiken och myterna. Hennes farfar var rhythm and bluesartisten Johnny Ace (”Pledging my love”), som dog 25 år gammal juldagen 1954 efter att ha skjutit sig själv i huvudet. Det ansågs vara en olyckshändelse. Pappan Larry Saunders, eller Prophet of Soul, är känd för rare groove-favoriten ”On the real side”. Redan åtta år gammal uppträdde Ledisi med New Orleans symfoniorkester. Hon bar på känslan att om hon inte sjöng så gillade ingen henne.I timme två blir det ett tidsdokument från det tidiga 00-talet. Mats Nileskärs möte med Luther Vandross i en skivstudio i New York dagen innan Luther drabbades av en stroke som skulle innebära slutet på en av soulmusikens mest framgångsrika karriärer.Med sin stilfulla stämma och musikaliska intuition förfinade Vandross romantisk R&B (Kendrick Lamar och SZA använder hans utgåva av Marvin Gayes ”If this world were mine” i hiten ”Luther”). Sången lät som en blandning av Arethas gospeleld, Dionne Warwicks sofistikerade tonträffar och Diana Ross ömma längtan. Men det var en mans röst som strömmade från högtalarna och förförde lyssnaren. Ett avsnitt från den 21 september 2003.
On July 1, 2005, Luther Vandross — the velvet-voiced singer who defined romance for a generation — passed away at the age of 54, just two years after suffering a devastating stroke. With his flawless vocals and heartfelt lyrics, Vandross became one of R&B's most celebrated artists, delivering timeless hits like Never Too Much, Here and Now, and Dance with My Father. His ability to blend soul, passion, and elegance made him a legend whose influence stretched far beyond music. Hosted by: Jason Beckerman & Derek Kaufman Learn more about your ad choices. Visit podcastchoices.com/adchoices
Kicking off the Brice Birthday Bash Week and celebrating Black History Month, @briceIzyah and @chappelltnt take you on a Journey to the Past as they dive into Never Too Much, the Luther Vandross documentary directed by Dawn Porter. This film Gives You the Best That It's Got, offering an in-depth look at Vandross's nearly 40-year career—from his early days singing on Sesame Street with Listen My Brother to becoming the voice behind timeless hits like Here and Now and A House Is Not a Home. So pull up a seat at the Superstar table and Stop to Love this legendary story. Tune in now, and make sure you are subscribed to the Purple Pants Podcast!
Purple Pants Podcast | Luther: Never Too Much Kicking off the Brice Birthday Bash Week and celebrating Black History Month, @briceIzyah and @chappelltnt take you on a Journey to the Past as they dive into Never Too Much, the Luther Vandross documentary directed by Dawn Porter. This film Gives You the Best That It's Got, offering an in-depth look at Vandross's nearly 40-year career—from his early days singing on Sesame Street with Listen My Brother to becoming the voice behind timeless hits like Here and Now and A House Is Not a Home. So pull up a seat at the Superstar table and Stop to Love this legendary story. Tune in now, and make sure you are subscribed to the Purple Pants Podcast! You can also watch along on Brice Izyah's YouTube channel to watch us break it all down.https://youtube.com/channel/UCFlglGPPamVHaNAb0tL_s7g LISTEN: Subscribe to the Purple Pants podcast feed WATCH: Watch and subscribe to the podcast on YouTube SUPPORT: Become a RHAP Patron for bonus content, access to Facebook and Discord groups plus more great perks! Previously on the Purple Pants Podcast Feed: Purple Pants Podcast Archives Learn more about your ad choices. Visit megaphone.fm/adchoices
Kicking off the Brice Birthday Bash Week and celebrating Black History Month, @briceIzyah and @chappelltnt take you on a Journey to the Past as they dive into Never Too Much, the Luther Vandross documentary directed by Dawn Porter. This film Gives You the Best That It's Got, offering an in-depth look at Vandross's nearly 40-year career—from his early days singing on Sesame Street with Listen My Brother to becoming the voice behind timeless hits like Here and Now and A House Is Not a Home. So pull up a seat at the Superstar table and Stop to Love this legendary story. Tune in now, and make sure you are subscribed to the Purple Pants Podcast!
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It's a random Arthouse Tuesday here at Breakfast All Day, with reviews of two extremely different films. First, we discuss the documentary "Luther: Never Too Much," about the late, legendary R&B singer Luther Vandross. Director Dawn Porter's film is an appreciative exploration of Vandross' talent, work ethic and attention to detail. Whether you're a huge fan or you don't know much about him, you'll find this entertaining. In theaters this weekend, streaming on OWN starting Feb. 7 and Max starting Feb. 8. Then, we catch up with "The Girl With the Needle," the exquisitely beautiful and harrowing Danish film that's up for the best international feature Oscar. Director and co-writer Magnus von Horn tells the story of a young pregnant woman (Van Carmen Sonne) who seeks help from a charismatic shopkeeper (Trine Dyrholm) in 1919 Copenhagen. Shot in high-contrast black and white, it's gorgeous but grim. It was also on Christy's top-10 list for 2024. In theaters now and streaming on Mubi. Thanks for being here. Come on back Friday for reviews of "Companion" and "You're Cordially Invited." Subscribe to Christy's Saturday Matinee newsletter: https://christylemire.beehiiv.com/
Want to Start or Grow a Successful Business? Schedule a FREE 13-Point Assessment with Clay Clark Today At: www.ThrivetimeShow.com Join Clay Clark's Thrivetime Show Business Workshop!!! Learn Branding, Marketing, SEO, Sales, Workflow Design, Accounting & More. **Request Tickets & See Testimonials At: www.ThrivetimeShow.com **Request Tickets Via Text At (918) 851-0102 See the Thousands of Success Stories and Millionaires That Clay Clark Has Helped to Produce HERE: https://www.thrivetimeshow.com/testimonials/ Download A Millionaire's Guide to Become Sustainably Rich: A Step-by-Step Guide to Become a Successful Money-Generating and Time-Freedom Creating Business HERE: www.ThrivetimeShow.com/Millionaire See Thousands of Case Studies Today HERE: www.thrivetimeshow.com/does-it-work/
In this episode we ask the former Time Out editor and acclaimed author of fascinating studies of fonts, maps and encyclopaedias about his long writing career; we also discuss semi-colons and listen to clips from audio interviews with Cher and Luther Vandross. Our guest reflects on Expensive Habits — his 1986 investigation of the music industry's "dark side" — and revisits two of his many great pieces: a hilarious 1987 encounter with Guns N' Roses and a 2003 interview with the newly-solo Beyoncé for the Observer Music Monthly. Cher's new autobiography leads to discussion of the singer-actor's remarkable life and work, while the new documentary Luther: Never Too Much prompts thoughts on the sadness of Vandross's double life as a closeted gay man and object of romantic female desire. Among the newly-added library articles we consider, aptly, is Lucy O'Brien's 2001 Q piece "Why Is Pop So Gay?"; we also hear quotes from the late great Eve Babitz's 1979 Rolling Stone celebration of L.A.'s Troubadour club and from Del Cowie's 2009 Exclaim! interview with hip hop elder Big Daddy Kane. Many thanks to special guest Simon Garfield. For more Simon, visit his website at simongarfield.com. Pieces discussed: Guns N' Roses, Cher audio, Beyoncé: Uh-Oh! Uh-Oh! Uh-Oh!, Pete Townshend: Who He Is, Luther Are Good For The Soul, Luther Vandross: Let's Start with Pacman, Luther Vandross: The Sadness Behind the Soul, Shel Talmy, The Good Old Days at L.A.'s Troubadour, Stock Aitken and Waterman, Pet Shop Boys, Why Is Pop So Gay?, Snoop Dogg live and Big Daddy Kane.
This conversation explores the profound legacy of Luther Vandross, highlighting his musical journey, emotional impact, and the upcoming documentary about his life. The host and guest share personal anecdotes, discuss Vandross' unique vocal style, and reflect on his contributions to music and culture. They also touch on the struggles he faced, including his relationship with his mother and the challenges of being in the public eye. Please click the link below to listen and enjoy Luther. https://t.co/WOhYIvKug0 (https://x.com/devery_mccain/status/1844542963109581280?t=yTtWley2DbchsKmmkeB6Qw&s=03)
Tune in with TampaMystic as she interviews Beezy Vandross
Part two of the fan reaction following the disappointing performance and result away at Carrow Road. For some strange reason we talk a lot about about Luther - but Vandross rather than Blissett this time! We find out about the North/South divide on the Leicestershire/Nottinghamshire border and various ways to get a reaction out of the squad after an abject performance with the top of the Premier League and Championship being our next opponents! Then we talk a bit more about Luther VandrossCOYH!!!This Podcast has been created and uploaded by Do Not Scratch Your Eyes. The views in this Podcast are not necessarily the views of talkSPORT.Huge thanks to all our Patreons:Chris Giannone,RichWFC2,Steve Holliman,Paul Fiander Turner,Sean Gourley,Lee Anselmo,John Parslow,Mark von Herkomer,Neil Silverstein,Steve Brown,Dave Lavender,Kasey Brown,Nipper Harrison,Boyd Mayover,Colin Payne,Paul Riley,Gary Wood,Karl Campion,Kevin Kremen,The Big Le – Bofski,Greg Theaker,Malcolm Williams,Bryan Edwards,Peter Ryan,Luka,John Thekanady - Ambassador of Dubai!!Jack Foster,Jason Rose,Michael Abrahams,Ian Bacon,Ken Green,Nick Nieuwland,Colin SmithAnt!!!!!Westlie WheelerRyan D!Dave Mullins,James McNamaraJim Cuthbert& PDF Hosted on Acast. See acast.com/privacy for more information.
Legendary singer-songwriter Luther Vandross pioneered a golden age of silky-smooth R&B and passionate slow jams. In addition to countless hits and platinum albums, he earned eight Grammy Awards, including ‘Song of the Year' in 2004 for “Dance With My Father” – a track that was released while he was hospitalized after suffering from a stroke. He studied from the best at a young age, spending hours watching and recreating the routines of Diana Ross and Dionne Warwick that he saw on television. He wrote, arranged and sang back up for David Bowie, Chaka Khan, Bette Midler, Barbra Streisand and Roberta Flack, before finally deciding to step into the spotlight as a solo artist.Despite his success, the powerhouse balladeer had a very public struggle with weight, especially with an unforgiving media fixated on image. He was also dogged by constant questions over his sexuality, despite pleas to respect his privacy. It's hard to believe that a man responsible for some of the most beautiful ballads ever recorded had a difficult time finding true love in his own life. Nonetheless, Vandross persevered with an unprecedented work ethic and an unrelenting spirit to succeed.Join I SEE U as host Eddie Robinson chats unguarded with award-winning filmmaker, Dawn Porter. Her latest documentary, Luther: Never Too Much, has received critical acclaim for uncovering details of Luther Vandross' life previously unknown to even the most die-hard fan. Utilizing a hefty trove of archival footage and rare rehearsal recordings, Porter allows Vandross to tell his own story with assistance from his closet friends and collaborators, including Warwick, Mariah Carey, Marcus Miller, Richard Marx and Nile Rodgers. With the recent news of CNN Films and OWN acquiring the film, the director chronicles for I SEE U the triumphs and tribulations of an extraordinary vocalist who grew up admiring the heroines of ‘60s music royalty to become one of the most influential and decorated artists of the last few decades.
#harlem #art #latestnews #ad #business #newyork #podcast #blessed #family #father #motivation #viral #hiphop #music #minecraft #rap #rapper Neek Bucks Blessed To The Max God is the Greatest East Harlem Rapper Father Philanthropist No Emotions Neek Bucks & Millyz OUT NOW !!!!! Family court in the morning for lil my girl, vulnerability they want me to bring them into my world, why she act like that baby aint my whole world. Current topics (Tweet) Nah Realistically At Wat Point Do Anthony Davis Gotta Go Can the industry be a scary place? Favorite teams Favorite players Favorite rappers What was the importance of getting in shape and doing boxing? You're an only child Describe your childhood How's your relationship with your mom? What about your pops? Vandross off Blessed to the Max Half of my feelings left when my daddy died? How was high school? What does Wagner mean to you? How important is Neek day in Wagner? How's fatherhood' Energy ft Lil Durk 2019 I don't ever question God, I need an answer I got off the road and lost my niece to cancer Neighborhood Hov Give Me Sometime Mama I'm sorry I brought all them killers to where you reside. As for the times you sent me outside, my dog died and I still wonder why Blessed to the Max GODS HANDS Two parts I cannot let this internet shit make me who I am I cannot lose who I love for them bitches on the gram Son Light ft Ceelo Green I don't ever question God, I need an answer I got off the road and lost my niece to cancer Wrecking Crew 2014 If you could have dinner with 3 people dead or alive who would they be ? Message to your younger self Message to the youth Plans for 2024
This is our first podcast collaboration episode with the prominent music executives of WeSoundCrazy podcast right here in Nashville, TN! We're talking TV, movies, news, celebrities, pop culture, and music (of course) with the lovely Toni & Tiff. Pour the bubbly, get your popcorn, and get comfy because this convo is full of strong opinions, hilarious takes, and real talk moments. Press play!Special thanks to the We Sound Crazy team!Camera Operations: Aaron Walton, Tiffany YoungEditing: Aaron WaltonProducer: Michael "Roux" JohnsonAssistant: Brittany GuydonFollow us on social for exclusive content:https://instagram.com/popcorn_champagnehttps://facebook.com/popcornchampagnepodcast
We dissect the Grammy Awards where Kenny Rogers and Phil Collins stole the show, and Whitney Houston's Grammy-winning record. Our conversation takes a serious turn as we honor the courage of those who participated in the People's Power Revolution in the Philippines. We also reminisce about the Eurovision Song Contest and the influence of Bob Geldof's honorary UK knighthood. From the Monkeys' iconic tour to the Conspiracy of Hope benefit concert, we cover a wide range of musical events that shaped this era.What's a trip to the 80s without a deep dive into punk, hardcore, and rock music? We uncover the stories behind the break-up of influential bands such as The Boomtown Rats, Black Flag, Culture Club, and ELO, and discuss the legacy they left behind. We navigate through the world of music, from the tunes of the Five, Six, Seven, Eights and Cowboy Junkies to the drama of band break-ups, such as Thin Lizzy's. So, come take a ride with us down memory lane to the rhythms of the 80s, full of laughs, reflection, and good old nostalgia.
Episode 168 of A History of Rock Music in Five Hundred Songs looks at “I Say a Little Prayer”, and the interaction of the sacred, political, and secular in Aretha Franklin's life and work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-five-minute bonus episode available, on "Abraham, Martin, and John" by Dion. 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 No Mixcloud this week, as there are too many songs by Aretha Franklin. Even splitting it into multiple parts would have required six or seven mixes. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. Information about Martin Luther King came from Martin Luther King: A Religious Life by Paul Harvey. I also referred to Burt Bacharach's autobiography Anyone Who Had a Heart, Carole King's autobiography A Natural Woman, and Soul Serenade: King Curtis and his Immortal Saxophone by Timothy R. Hoover. For information about Amazing Grace I also used Aaron Cohen's 33 1/3 book on the album. The film of the concerts is also definitely worth watching. And the Aretha Now album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick warning before I begin. This episode contains some moderate references to domestic abuse, death by cancer, racial violence, police violence, and political assassination. Anyone who might be upset by those subjects might want to check the transcript rather than listening to the episode. Also, as with the previous episode on Aretha Franklin, this episode presents something of a problem. Like many people in this narrative, Franklin's career was affected by personal troubles, which shaped many of her decisions. But where most of the subjects of the podcast have chosen to live their lives in public and share intimate details of every aspect of their personal lives, Franklin was an extremely private person, who chose to share only carefully sanitised versions of her life, and tried as far as possible to keep things to herself. This of course presents a dilemma for anyone who wants to tell her story -- because even though the information is out there in biographies, and even though she's dead, it's not right to disrespect someone's wish for a private life. I have therefore tried, wherever possible, to stay away from talk of her personal life except where it *absolutely* affects the work, or where other people involved have publicly shared their own stories, and even there I've tried to keep it to a minimum. This will occasionally lead to me saying less about some topics than other people might, even though the information is easily findable, because I don't think we have an absolute right to invade someone else's privacy for entertainment. When we left Aretha Franklin, she had just finally broken through into the mainstream after a decade of performing, with a version of Otis Redding's song "Respect" on which she had been backed by her sisters, Erma and Carolyn. "Respect", in Franklin's interpretation, had been turned from a rather chauvinist song about a man demanding respect from his woman into an anthem of feminism, of Black power, and of a new political awakening. For white people of a certain generation, the summer of 1967 was "the summer of love". For many Black people, it was rather different. There's a quote that goes around (I've seen it credited in reliable sources to both Ebony and Jet magazine, but not ever seen an issue cited, so I can't say for sure where it came from) saying that the summer of 67 was the summer of "'retha, Rap, and revolt", referring to the trifecta of Aretha Franklin, the Black power leader Jamil Abdullah al-Amin (who was at the time known as H. Rap Brown, a name he later disclaimed) and the rioting that broke out in several major cities, particularly in Detroit: [Excerpt: John Lee Hooker, "The Motor City is Burning"] The mid sixties were, in many ways, the high point not of Black rights in the US -- for the most part there has been a lot of progress in civil rights in the intervening decades, though not without inevitable setbacks and attacks from the far right, and as movements like the Black Lives Matter movement have shown there is still a long way to go -- but of *hope* for Black rights. The moral force of the arguments made by the civil rights movement were starting to cause real change to happen for Black people in the US for the first time since the Reconstruction nearly a century before. But those changes weren't happening fast enough, and as we heard in the episode on "I Was Made to Love Her", there was not only a growing unrest among Black people, but a recognition that it was actually possible for things to change. A combination of hope and frustration can be a powerful catalyst, and whether Franklin wanted it or not, she was at the centre of things, both because of her newfound prominence as a star with a hit single that couldn't be interpreted as anything other than a political statement and because of her intimate family connections to the struggle. Even the most racist of white people these days pays lip service to the memory of Dr Martin Luther King, and when they do they quote just a handful of sentences from one speech King made in 1963, as if that sums up the full theological and political philosophy of that most complex of men. And as we discussed the last time we looked at Aretha Franklin, King gave versions of that speech, the "I Have a Dream" speech, twice. The most famous version was at the March on Washington, but the first time was a few weeks earlier, at what was at the time the largest civil rights demonstration in American history, in Detroit. Aretha's family connection to that event is made clear by the very opening of King's speech: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech"] So as summer 1967 got into swing, and white rock music was going to San Francisco to wear flowers in its hair, Aretha Franklin was at the centre of a very different kind of youth revolution. Franklin's second Atlantic album, Aretha Arrives, brought in some new personnel to the team that had recorded Aretha's first album for Atlantic. Along with the core Muscle Shoals players Jimmy Johnson, Spooner Oldham, Tommy Cogbill and Roger Hawkins, and a horn section led by King Curtis, Wexler and Dowd also brought in guitarist Joe South. South was a white session player from Georgia, who had had a few minor hits himself in the fifties -- he'd got his start recording a cover version of "The Purple People Eater Meets the Witch Doctor", the Big Bopper's B-side to "Chantilly Lace": [Excerpt: Joe South, "The Purple People Eater Meets the Witch Doctor"] He'd also written a few songs that had been recorded by people like Gene Vincent, but he'd mostly become a session player. He'd become a favourite musician of Bob Johnston's, and so he'd played guitar on Simon and Garfunkel's Sounds of Silence and Parsley, Sage, Rosemary and Thyme albums: [Excerpt: Simon and Garfunkel, "I am a Rock"] and bass on Bob Dylan's Blonde on Blonde, with Al Kooper particularly praising his playing on "Visions of Johanna": [Excerpt: Bob Dylan, "Visions of Johanna"] South would be the principal guitarist on this and Franklin's next album, before his own career took off in 1968 with "Games People Play": [Excerpt: Joe South, "Games People Play"] At this point, he had already written the other song he's best known for, "Hush", which later became a hit for Deep Purple: [Excerpt: Deep Purple, "Hush"] But he wasn't very well known, and was surprised to get the call for the Aretha Franklin session, especially because, as he put it "I was white and I was about to play behind the blackest genius since Ray Charles" But Jerry Wexler had told him that Franklin didn't care about the race of the musicians she played with, and South settled in as soon as Franklin smiled at him when he played a good guitar lick on her version of the blues standard "Going Down Slow": [Excerpt: Aretha Franklin, "Going Down Slow"] That was one of the few times Franklin smiled in those sessions though. Becoming an overnight success after years of trying and failing to make a name for herself had been a disorienting experience, and on top of that things weren't going well in her personal life. Her marriage to her manager Ted White was falling apart, and she was performing erratically thanks to the stress. In particular, at a gig in Georgia she had fallen off the stage and broken her arm. She soon returned to performing, but it meant she had problems with her right arm during the recording of the album, and didn't play as much piano as she would have previously -- on some of the faster songs she played only with her left hand. But the recording sessions had to go on, whether or not Aretha was physically capable of playing piano. As we discussed in the episode on Otis Redding, the owners of Atlantic Records were busily negotiating its sale to Warner Brothers in mid-1967. As Wexler said later “Everything in me said, Keep rolling, keep recording, keep the hits coming. She was red hot and I had no reason to believe that the streak wouldn't continue. I knew that it would be foolish—and even irresponsible—not to strike when the iron was hot. I also had personal motivation. A Wall Street financier had agreed to see what we could get for Atlantic Records. While Ahmet and Neshui had not agreed on a selling price, they had gone along with my plan to let the financier test our worth on the open market. I was always eager to pump out hits, but at this moment I was on overdrive. In this instance, I had a good partner in Ted White, who felt the same. He wanted as much product out there as possible." In truth, you can tell from Aretha Arrives that it's a record that was being thought of as "product" rather than one being made out of any kind of artistic impulse. It's a fine album -- in her ten-album run from I Never Loved a Man the Way I Love You through Amazing Grace there's not a bad album and barely a bad track -- but there's a lack of focus. There are only two originals on the album, neither of them written by Franklin herself, and the rest is an incoherent set of songs that show the tension between Franklin and her producers at Atlantic. Several songs are the kind of standards that Franklin had recorded for her old label Columbia, things like "You Are My Sunshine", or her version of "That's Life", which had been a hit for Frank Sinatra the previous year: [Excerpt: Aretha Franklin, "That's Life"] But mixed in with that are songs that are clearly the choice of Wexler. As we've discussed previously in episodes on Otis Redding and Wilson Pickett, at this point Atlantic had the idea that it was possible for soul artists to cross over into the white market by doing cover versions of white rock hits -- and indeed they'd had some success with that tactic. So while Franklin was suggesting Sinatra covers, Atlantic's hand is visible in the choices of songs like "(I Can't Get No) Satisfaction" and "96 Tears": [Excerpt: Aretha Franklin, "96 Tears'] Of the two originals on the album, one, the hit single "Baby I Love You" was written by Ronnie Shannon, the Detroit songwriter who had previously written "I Never Loved a Man (the Way I Love You)": [Excerpt: Aretha Franklin, "Baby I Love You"] As with the previous album, and several other songs on this one, that had backing vocals by Aretha's sisters, Erma and Carolyn. But the other original on the album, "Ain't Nobody (Gonna Turn Me Around)", didn't, even though it was written by Carolyn: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] To explain why, let's take a little detour and look at the co-writer of the song this episode is about, though we're not going to get to that for a little while yet. We've not talked much about Burt Bacharach in this series so far, but he's one of those figures who has come up a few times in the periphery and will come up again, so here is as good a time as any to discuss him, and bring everyone up to speed about his career up to 1967. Bacharach was one of the more privileged figures in the sixties pop music field. His father, Bert Bacharach (pronounced the same as his son, but spelled with an e rather than a u) had been a famous newspaper columnist, and his parents had bought him a Steinway grand piano to practice on -- they pushed him to learn the piano even though as a kid he wasn't interested in finger exercises and Debussy. What he was interested in, though, was jazz, and as a teenager he would often go into Manhattan and use a fake ID to see people like Dizzy Gillespie, who he idolised, and in his autobiography he talks rapturously of seeing Gillespie playing his bent trumpet -- he once saw Gillespie standing on a street corner with a pet monkey on his shoulder, and went home and tried to persuade his parents to buy him a monkey too. In particular, he talks about seeing the Count Basie band with Sonny Payne on drums as a teenager: [Excerpt: Count Basie, "Kid From Red Bank"] He saw them at Birdland, the club owned by Morris Levy where they would regularly play, and said of the performance "they were just so incredibly exciting that all of a sudden, I got into music in a way I never had before. What I heard in those clubs really turned my head around— it was like a big breath of fresh air when somebody throws open a window. That was when I knew for the first time how much I loved music and wanted to be connected to it in some way." Of course, there's a rather major problem with this story, as there is so often with narratives that musicians tell about their early career. In this case, Birdland didn't open until 1949, when Bacharach was twenty-one and stationed in Germany for his military service, while Sonny Payne didn't join Basie's band until 1954, when Bacharach had been a professional musician for many years. Also Dizzy Gillespie's trumpet bell only got bent on January 6, 1953. But presumably while Bacharach was conflating several memories, he did have some experience in some New York jazz club that led him to want to become a musician. Certainly there were enough great jazz musicians playing the clubs in those days. He went to McGill University to study music for two years, then went to study with Darius Milhaud, a hugely respected modernist composer. Milhaud was also one of the most important music teachers of the time -- among others he'd taught Stockhausen and Xenakkis, and would go on to teach Philip Glass and Steve Reich. This suited Bacharach, who by this point was a big fan of Schoenberg and Webern, and was trying to write atonal, difficult music. But Milhaud had also taught Dave Brubeck, and when Bacharach rather shamefacedly presented him with a composition which had an actual tune, he told Bacharach "Never be ashamed of writing a tune you can whistle". He dropped out of university and, like most men of his generation, had to serve in the armed forces. When he got out of the army, he continued his musical studies, still trying to learn to be an avant-garde composer, this time with Bohuslav Martinů and later with Henry Cowell, the experimental composer we've heard about quite a bit in previous episodes: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] He was still listening to a lot of avant garde music, and would continue doing so throughout the fifties, going to see people like John Cage. But he spent much of that time working in music that was very different from the avant-garde. He got a job as the band leader for the crooner Vic Damone: [Excerpt: Vic Damone. "Ebb Tide"] He also played for the vocal group the Ames Brothers. He decided while he was working with the Ames Brothers that he could write better material than they were getting from their publishers, and that it would be better to have a job where he didn't have to travel, so he got himself a job as a staff songwriter in the Brill Building. He wrote a string of flops and nearly hits, starting with "Keep Me In Mind" for Patti Page: [Excerpt: Patti Page, "Keep Me In Mind"] From early in his career he worked with the lyricist Hal David, and the two of them together wrote two big hits, "Magic Moments" for Perry Como: [Excerpt: Perry Como, "Magic Moments"] and "The Story of My Life" for Marty Robbins: [Excerpt: "The Story of My Life"] But at that point Bacharach was still also writing with other writers, notably Hal David's brother Mack, with whom he wrote the theme tune to the film The Blob, as performed by The Five Blobs: [Excerpt: The Five Blobs, "The Blob"] But Bacharach's songwriting career wasn't taking off, and he got himself a job as musical director for Marlene Dietrich -- a job he kept even after it did start to take off. Part of the problem was that he intuitively wrote music that didn't quite fit into standard structures -- there would be odd bars of unusual time signatures thrown in, unusual harmonies, and structural irregularities -- but then he'd take feedback from publishers and producers who would tell him the song could only be recorded if he straightened it out. He said later "The truth is that I ruined a lot of songs by not believing in myself enough to tell these guys they were wrong." He started writing songs for Scepter Records, usually with Hal David, but also with Bob Hilliard and Mack David, and started having R&B hits. One song he wrote with Mack David, "I'll Cherish You", had the lyrics rewritten by Luther Dixon to make them more harsh-sounding for a Shirelles single -- but the single was otherwise just Bacharach's demo with the vocals replaced, and you can even hear his voice briefly at the beginning: [Excerpt: The Shirelles, "Baby, It's You"] But he'd also started becoming interested in the production side of records more generally. He'd iced that some producers, when recording his songs, would change the sound for the worse -- he thought Gene McDaniels' version of "Tower of Strength", for example, was too fast. But on the other hand, other producers got a better sound than he'd heard in his head. He and Hilliard had written a song called "Please Stay", which they'd given to Leiber and Stoller to record with the Drifters, and he thought that their arrangement of the song was much better than the one he'd originally thought up: [Excerpt: The Drifters, "Please Stay"] He asked Leiber and Stoller if he could attend all their New York sessions and learn about record production from them. He started doing so, and eventually they started asking him to assist them on records. He and Hilliard wrote a song called "Mexican Divorce" for the Drifters, which Leiber and Stoller were going to produce, and as he put it "they were so busy running Redbird Records that they asked me to rehearse the background singers for them in my office." [Excerpt: The Drifters, "Mexican Divorce"] The backing singers who had been brought in to augment the Drifters on that record were a group of vocalists who had started out as members of a gospel group called the Drinkard singers: [Excerpt: The Drinkard Singers, "Singing in My Soul"] The Drinkard Singers had originally been a family group, whose members included Cissy Drinkard, who joined the group aged five (and who on her marriage would become known as Cissy Houston -- her daughter Whitney would later join the family business), her aunt Lee Warrick, and Warrick's adopted daughter Judy Clay. That group were discovered by the great gospel singer Mahalia Jackson, and spent much of the fifties performing with gospel greats including Jackson herself, Clara Ward, and Sister Rosetta Tharpe. But Houston was also the musical director of a group at her church, the Gospelaires, which featured Lee Warrick's two daughters Dionne and Dee Dee Warwick (for those who don't know, the Warwick sisters' birth name was Warrick, spelled with two rs. A printing error led to it being misspelled the same way as the British city on a record label, and from that point on Dionne at least pronounced the w in her misspelled name). And slowly, the Gospelaires rather than the Drinkard Singers became the focus, with a lineup of Houston, the Warwick sisters, the Warwick sisters' cousin Doris Troy, and Clay's sister Sylvia Shemwell. The real change in the group's fortunes came when, as we talked about a while back in the episode on "The Loco-Motion", the original lineup of the Cookies largely stopped working as session singers to become Ray Charles' Raelettes. As we discussed in that episode, a new lineup of Cookies formed in 1961, but it took a while for them to get started, and in the meantime the producers who had been relying on them for backing vocals were looking elsewhere, and they looked to the Gospelaires. "Mexican Divorce" was the first record to feature the group as backing vocalists -- though reports vary as to how many of them are on the record, with some saying it's only Troy and the Warwicks, others saying Houston was there, and yet others saying it was all five of them. Some of these discrepancies were because these singers were so good that many of them left to become solo singers in fairly short order. Troy was the first to do so, with her hit "Just One Look", on which the other Gospelaires sang backing vocals: [Excerpt: Doris Troy, "Just One Look"] But the next one to go solo was Dionne Warwick, and that was because she'd started working with Bacharach and Hal David as their principal demo singer. She started singing lead on their demos, and hoping that she'd get to release them on her own. One early one was "Make it Easy On Yourself", which was recorded by Jerry Butler, formerly of the Impressions. That record was produced by Bacharach, one of the first records he produced without outside supervision: [Excerpt: Jerry Butler, "Make it Easy On Yourself"] Warwick was very jealous that a song she'd sung the demo of had become a massive hit for someone else, and blamed Bacharach and David. The way she tells the story -- Bacharach always claimed this never happened, but as we've already seen he was himself not always the most reliable of narrators of his own life -- she got so angry she complained to them, and said "Don't make me over, man!" And so Bacharach and David wrote her this: [Excerpt: Dionne Warwick, "Don't Make Me Over"] Incidentally, in the UK, the hit version of that was a cover by the Swinging Blue Jeans: [Excerpt: The Swinging Blue Jeans, "Don't Make Me Over"] who also had a huge hit with "You're No Good": [Excerpt: The Swinging Blue Jeans, "You're No Good"] And *that* was originally recorded by *Dee Dee* Warwick: [Excerpt: Dee Dee Warwick, "You're No Good"] Dee Dee also had a successful solo career, but Dionne's was the real success, making the names of herself, and of Bacharach and David. The team had more than twenty top forty hits together, before Bacharach and David had a falling out in 1971 and stopped working together, and Warwick sued both of them for breach of contract as a result. But prior to that they had hit after hit, with classic records like "Anyone Who Had a Heart": [Excerpt: Dionne Warwick, "Anyone Who Had a Heart"] And "Walk On By": [Excerpt: Dionne Warwick, "Walk On By"] With Doris, Dionne, and Dee Dee all going solo, the group's membership was naturally in flux -- though the departed members would occasionally join their former bandmates for sessions, and the remaining members would sing backing vocals on their ex-members' records. By 1965 the group consisted of Cissy Houston, Sylvia Shemwell, the Warwick sisters' cousin Myrna Smith, and Estelle Brown. The group became *the* go-to singers for soul and R&B records made in New York. They were regularly hired by Leiber and Stoller to sing on their records, and they were also the particular favourites of Bert Berns. They sang backing vocals on almost every record he produced. It's them doing the gospel wails on "Cry Baby" by Garnet Mimms: [Excerpt: Garnet Mimms, "Cry Baby"] And they sang backing vocals on both versions of "If You Need Me" -- Wilson Pickett's original and Solomon Burke's more successful cover version, produced by Berns: [Excerpt: Solomon Burke, "If You Need Me"] They're on such Berns records as "Show Me Your Monkey", by Kenny Hamber: [Excerpt: Kenny Hamber, "Show Me Your Monkey"] And it was a Berns production that ended up getting them to be Aretha Franklin's backing group. The group were becoming such an important part of the records that Atlantic and BANG Records, in particular, were putting out, that Jerry Wexler said "it was only a matter of common decency to put them under contract as a featured group". He signed them to Atlantic and renamed them from the Gospelaires to The Sweet Inspirations. Dan Penn and Spooner Oldham wrote a song for the group which became their only hit under their own name: [Excerpt: The Sweet Inspirations, "Sweet Inspiration"] But to start with, they released a cover of Pops Staples' civil rights song "Why (Am I treated So Bad)": [Excerpt: The Sweet Inspirations, "Why (Am I Treated So Bad?)"] That hadn't charted, and meanwhile, they'd all kept doing session work. Cissy had joined Erma and Carolyn Franklin on the backing vocals for Aretha's "I Never Loved a Man the Way I Love You": [Excerpt: Aretha Franklin, "I Never Loved a Man the Way I Love You"] Shortly after that, the whole group recorded backing vocals for Erma's single "Piece of My Heart", co-written and produced by Berns: [Excerpt: Erma Franklin, "Piece of My Heart"] That became a top ten record on the R&B charts, but that caused problems. Aretha Franklin had a few character flaws, and one of these was an extreme level of jealousy for any other female singer who had any level of success and came up in the business after her. She could be incredibly graceful towards anyone who had been successful before her -- she once gave one of her Grammies away to Esther Phillips, who had been up for the same award and had lost to her -- but she was terribly insecure, and saw any contemporary as a threat. She'd spent her time at Columbia Records fuming (with some justification) that Barbra Streisand was being given a much bigger marketing budget than her, and she saw Diana Ross, Gladys Knight, and Dionne Warwick as rivals rather than friends. And that went doubly for her sisters, who she was convinced should be supporting her because of family loyalty. She had been infuriated at John Hammond when Columbia had signed Erma, thinking he'd gone behind her back to create competition for her. And now Erma was recording with Bert Berns. Bert Berns who had for years been a colleague of Jerry Wexler and the Ertegun brothers at Atlantic. Aretha was convinced that Wexler had put Berns up to signing Erma as some kind of power play. There was only one problem with this -- it simply wasn't true. As Wexler later explained “Bert and I had suffered a bad falling-out, even though I had enormous respect for him. After all, he was the guy who brought over guitarist Jimmy Page from England to play on our sessions. Bert, Ahmet, Nesuhi, and I had started a label together—Bang!—where Bert produced Van Morrison's first album. But Bert also had a penchant for trouble. He courted the wise guys. He wanted total control over every last aspect of our business dealings. Finally it was too much, and the Erteguns and I let him go. He sued us for breach of contract and suddenly we were enemies. I felt that he signed Erma, an excellent singer, not merely for her talent but as a way to get back at me. If I could make a hit with Aretha, he'd show me up by making an even bigger hit on Erma. Because there was always an undercurrent of rivalry between the sisters, this only added to the tension.” There were two things that resulted from this paranoia on Aretha's part. The first was that she and Wexler, who had been on first-name terms up to that point, temporarily went back to being "Mr. Wexler" and "Miss Franklin" to each other. And the second was that Aretha no longer wanted Carolyn and Erma to be her main backing vocalists, though they would continue to appear on her future records on occasion. From this point on, the Sweet Inspirations would be the main backing vocalists for Aretha in the studio throughout her golden era [xxcut line (and when the Sweet Inspirations themselves weren't on the record, often it would be former members of the group taking their place)]: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] The last day of sessions for Aretha Arrives was July the twenty-third, 1967. And as we heard in the episode on "I Was Made to Love Her", that was the day that the Detroit riots started. To recap briefly, that was four days of rioting started because of a history of racist policing, made worse by those same racist police overreacting to the initial protests. By the end of those four days, the National Guard, 82nd Airborne Division, and the 101st Airborne from Clarksville were all called in to deal with the violence, which left forty-three dead (of whom thirty-three were Black and only one was a police officer), 1,189 people were injured, and over 7,200 arrested, almost all of them Black. Those days in July would be a turning point for almost every musician based in Detroit. In particular, the police had murdered three members of the soul group the Dramatics, in a massacre of which the author John Hersey, who had been asked by President Johnson to be part of the National Advisory Commission on Civil Disorders but had decided that would compromise his impartiality and did an independent journalistic investigation, said "The episode contained all the mythic themes of racial strife in the United States: the arm of the law taking the law into its own hands; interracial sex; the subtle poison of racist thinking by “decent” men who deny they are racists; the societal limbo into which, ever since slavery, so many young black men have been driven by our country; ambiguous justice in the courts; and the devastation in both black and white human lives that follows in the wake of violence as surely as ruinous and indiscriminate flood after torrents" But these were also the events that radicalised the MC5 -- the group had been playing a gig as Tim Buckley's support act when the rioting started, and guitarist Wayne Kramer decided afterwards to get stoned and watch the fires burning down the city through a telescope -- which police mistook for a rifle, leading to the National Guard knocking down Kramer's door. The MC5 would later cover "The Motor City is Burning", John Lee Hooker's song about the events: [Excerpt: The MC5, "The Motor City is Burning"] It would also be a turning point for Motown, too, in ways we'll talk about in a few future episodes. And it was a political turning point too -- Michigan Governor George Romney, a liberal Republican (at a time when such people existed) had been the favourite for the Republican Presidential candidacy when he'd entered the race in December 1966, but as racial tensions ramped up in Detroit during the early months of 1967 he'd started trailing Richard Nixon, a man who was consciously stoking racists' fears. President Johnson, the incumbent Democrat, who was at that point still considering standing for re-election, made sure to make it clear to everyone during the riots that the decision to call in the National Guard had been made at the State level, by Romney, rather than at the Federal level. That wasn't the only thing that removed the possibility of a Romney presidency, but it was a big part of the collapse of his campaign, and the, as it turned out, irrevocable turn towards right-authoritarianism that the party took with Nixon's Southern Strategy. Of course, Aretha Franklin had little way of knowing what was to come and how the riots would change the city and the country over the following decades. What she was primarily concerned about was the safety of her father, and to a lesser extent that of her sister-in-law Earline who was staying with him. Aretha, Carolyn, and Erma all tried to keep in constant touch with their father while they were out of town, and Aretha even talked about hiring private detectives to travel to Detroit, find her father, and get him out of the city to safety. But as her brother Cecil pointed out, he was probably the single most loved man among Black people in Detroit, and was unlikely to be harmed by the rioters, while he was too famous for the police to kill with impunity. Reverend Franklin had been having a stressful time anyway -- he had recently been fined for tax evasion, an action he was convinced the IRS had taken because of his friendship with Dr King and his role in the civil rights movement -- and according to Cecil "Aretha begged Daddy to move out of the city entirely. She wanted him to find another congregation in California, where he was especially popular—or at least move out to the suburbs. But he wouldn't budge. He said that, more than ever, he was needed to point out the root causes of the riots—the economic inequality, the pervasive racism in civic institutions, the woefully inadequate schools in inner-city Detroit, and the wholesale destruction of our neighborhoods by urban renewal. Some ministers fled the city, but not our father. The horror of what happened only recommitted him. He would not abandon his political agenda." To make things worse, Aretha was worried about her father in other ways -- as her marriage to Ted White was starting to disintegrate, she was looking to her father for guidance, and actually wanted him to take over her management. Eventually, Ruth Bowen, her booking agent, persuaded her brother Cecil that this was a job he could do, and that she would teach him everything he needed to know about the music business. She started training him up while Aretha was still married to White, in the expectation that that marriage couldn't last. Jerry Wexler, who only a few months earlier had been seeing Ted White as an ally in getting "product" from Franklin, had now changed his tune -- partly because the sale of Atlantic had gone through in the meantime. He later said “Sometimes she'd call me at night, and, in that barely audible little-girl voice of hers, she'd tell me that she wasn't sure she could go on. She always spoke in generalities. She never mentioned her husband, never gave me specifics of who was doing what to whom. And of course I knew better than to ask. She just said that she was tired of dealing with so much. My heart went out to her. She was a woman who suffered silently. She held so much in. I'd tell her to take as much time off as she needed. We had a lot of songs in the can that we could release without new material. ‘Oh, no, Jerry,' she'd say. ‘I can't stop recording. I've written some new songs, Carolyn's written some new songs. We gotta get in there and cut 'em.' ‘Are you sure?' I'd ask. ‘Positive,' she'd say. I'd set up the dates and typically she wouldn't show up for the first or second sessions. Carolyn or Erma would call me to say, ‘Ree's under the weather.' That was tough because we'd have asked people like Joe South and Bobby Womack to play on the sessions. Then I'd reschedule in the hopes she'd show." That third album she recorded in 1967, Lady Soul, was possibly her greatest achievement. The opening track, and second single, "Chain of Fools", released in November, was written by Don Covay -- or at least it's credited as having been written by Covay. There's a gospel record that came out around the same time on a very small label based in Houston -- "Pains of Life" by Rev. E. Fair And The Sensational Gladys Davis Trio: [Excerpt: Rev. E. Fair And The Sensational Gladys Davis Trio, "Pains of Life"] I've seen various claims online that that record came out shortly *before* "Chain of Fools", but I can't find any definitive evidence one way or the other -- it was on such a small label that release dates aren't available anywhere. Given that the B-side, which I haven't been able to track down online, is called "Wait Until the Midnight Hour", my guess is that rather than this being a case of Don Covay stealing the melody from an obscure gospel record he'd have had little chance to hear, it's the gospel record rewriting a then-current hit to be about religion, but I thought it worth mentioning. The song was actually written by Covay after Jerry Wexler asked him to come up with some songs for Otis Redding, but Wexler, after hearing it, decided it was better suited to Franklin, who gave an astonishing performance: [Excerpt: Aretha Franklin, "Chain of Fools"] Arif Mardin, the arranger of the album, said of that track “I was listed as the arranger of ‘Chain of Fools,' but I can't take credit. Aretha walked into the studio with the chart fully formed inside her head. The arrangement is based around the harmony vocals provided by Carolyn and Erma. To add heft, the Sweet Inspirations joined in. The vision of the song is entirely Aretha's.” According to Wexler, that's not *quite* true -- according to him, Joe South came up with the guitar part that makes up the intro, and he also said that when he played what he thought was the finished track to Ellie Greenwich, she came up with another vocal line for the backing vocals, which she overdubbed. But the core of the record's sound is definitely pure Aretha -- and Carolyn Franklin said that there was a reason for that. As she said later “Aretha didn't write ‘Chain,' but she might as well have. It was her story. When we were in the studio putting on the backgrounds with Ree doing lead, I knew she was singing about Ted. Listen to the lyrics talking about how for five long years she thought he was her man. Then she found out she was nothing but a link in the chain. Then she sings that her father told her to come on home. Well, he did. She sings about how her doctor said to take it easy. Well, he did too. She was drinking so much we thought she was on the verge of a breakdown. The line that slew me, though, was the one that said how one of these mornings the chain is gonna break but until then she'll take all she can take. That summed it up. Ree knew damn well that this man had been doggin' her since Jump Street. But somehow she held on and pushed it to the breaking point." [Excerpt: Aretha Franklin, "Chain of Fools"] That made number one on the R&B charts, and number two on the hot one hundred, kept from the top by "Judy In Disguise (With Glasses)" by John Fred and his Playboy Band -- a record that very few people would say has stood the test of time as well. The other most memorable track on the album was the one chosen as the first single, released in September. As Carole King told the story, she and Gerry Goffin were feeling like their career was in a slump. While they had had a huge run of hits in the early sixties through 1965, they had only had two new hits in 1966 -- "Goin' Back" for Dusty Springfield and "Don't Bring Me Down" for the Animals, and neither of those were anything like as massive as their previous hits. And up to that point in 1967, they'd only had one -- "Pleasant Valley Sunday" for the Monkees. They had managed to place several songs on Monkees albums and the TV show as well, so they weren't going to starve, but the rise of self-contained bands that were starting to dominate the charts, and Phil Spector's temporary retirement, meant there simply wasn't the opportunity for them to place material that there had been. They were also getting sick of travelling to the West Coast all the time, because as their children were growing slightly older they didn't want to disrupt their lives in New York, and were thinking of approaching some of the New York based labels and seeing if they needed songs. They were particularly considering Atlantic, because soul was more open to outside songwriters than other genres. As it happened, though, they didn't have to approach Atlantic, because Atlantic approached them. They were walking down Broadway when a limousine pulled up, and Jerry Wexler stuck his head out of the window. He'd come up with a good title that he wanted to use for a song for Aretha, would they be interested in writing a song called "Natural Woman"? They said of course they would, and Wexler drove off. They wrote the song that night, and King recorded a demo the next morning: [Excerpt: Carole King, "(You Make Me Feel Like) A Natural Woman (demo)"] They gave Wexler a co-writing credit because he had suggested the title. King later wrote in her autobiography "Hearing Aretha's performance of “Natural Woman” for the first time, I experienced a rare speechless moment. To this day I can't convey how I felt in mere words. Anyone who had written a song in 1967 hoping it would be performed by a singer who could take it to the highest level of excellence, emotional connection, and public exposure would surely have wanted that singer to be Aretha Franklin." She went on to say "But a recording that moves people is never just about the artist and the songwriters. It's about people like Jerry and Ahmet, who matched the songwriters with a great title and a gifted artist; Arif Mardin, whose magnificent orchestral arrangement deserves the place it will forever occupy in popular music history; Tom Dowd, whose engineering skills captured the magic of this memorable musical moment for posterity; and the musicians in the rhythm section, the orchestral players, and the vocal contributions of the background singers—among them the unforgettable “Ah-oo!” after the first line of the verse. And the promotion and marketing people helped this song reach more people than it might have without them." And that's correct -- unlike "Chain of Fools", this time Franklin did let Arif Mardin do most of the arrangement work -- though she came up with the piano part that Spooner Oldham plays on the record. Mardin said that because of the song's hymn-like feel they wanted to go for a more traditional written arrangement. He said "She loved the song to the point where she said she wanted to concentrate on the vocal and vocal alone. I had written a string chart and horn chart to augment the chorus and hired Ralph Burns to conduct. After just a couple of takes, we had it. That's when Ralph turned to me with wonder in his eyes. Ralph was one of the most celebrated arrangers of the modern era. He had done ‘Early Autumn' for Woody Herman and Stan Getz, and ‘Georgia on My Mind' for Ray Charles. He'd worked with everyone. ‘This woman comes from another planet' was all Ralph said. ‘She's just here visiting.'” [Excerpt: Aretha Franklin, "(You Make Me Feel Like) A Natural Woman"] By this point there was a well-functioning team making Franklin's records -- while the production credits would vary over the years, they were all essentially co-productions by the team of Franklin, Wexler, Mardin and Dowd, all collaborating and working together with a more-or-less unified purpose, and the backing was always by the same handful of session musicians and some combination of the Sweet Inspirations and Aretha's sisters. That didn't mean that occasional guests couldn't get involved -- as we discussed in the Cream episode, Eric Clapton played guitar on "Good to Me as I am to You": [Excerpt: Aretha Franklin, "Good to Me as I am to You"] Though that was one of the rare occasions on one of these records where something was overdubbed. Clapton apparently messed up the guitar part when playing behind Franklin, because he was too intimidated by playing with her, and came back the next day to redo his part without her in the studio. At this point, Aretha was at the height of her fame. Just before the final batch of album sessions began she appeared in the Macy's Thanksgiving Parade, and she was making regular TV appearances, like one on the Mike Douglas Show where she duetted with Frankie Valli on "That's Life": [Excerpt: Aretha Franklin and Frankie Valli, "That's Life"] But also, as Wexler said “Her career was kicking into high gear. Contending and resolving both the professional and personal challenges were too much. She didn't think she could do both, and I didn't blame her. Few people could. So she let the personal slide and concentrated on the professional. " Her concert promoter Ruth Bowen said of this time "Her father and Dr. King were putting pressure on her to sing everywhere, and she felt obligated. The record company was also screaming for more product. And I had a mountain of offers on my desk that kept getting higher with every passing hour. They wanted her in Europe. They wanted her in Latin America. They wanted her in every major venue in the U.S. TV was calling. She was being asked to do guest appearances on every show from Carol Burnett to Andy Williams to the Hollywood Palace. She wanted to do them all and she wanted to do none of them. She wanted to do them all because she's an entertainer who burns with ambition. She wanted to do none of them because she was emotionally drained. She needed to go away and renew her strength. I told her that at least a dozen times. She said she would, but she didn't listen to me." The pressures from her father and Dr King are a recurring motif in interviews with people about this period. Franklin was always a very political person, and would throughout her life volunteer time and money to liberal political causes and to the Democratic Party, but this was the height of her activism -- the Civil Rights movement was trying to capitalise on the gains it had made in the previous couple of years, and celebrity fundraisers and performances at rallies were an important way to do that. And at this point there were few bigger celebrities in America than Aretha Franklin. At a concert in her home town of Detroit on February the sixteenth, 1968, the Mayor declared the day Aretha Franklin Day. At the same show, Billboard, Record World *and* Cash Box magazines all presented her with plaques for being Female Vocalist of the Year. And Dr. King travelled up to be at the show and congratulate her publicly for all her work with his organisation, the Southern Christian Leadership Conference. Backstage at that show, Dr. King talked to Aretha's father, Reverend Franklin, about what he believed would be the next big battle -- a strike in Memphis: [Excerpt, Martin Luther King, "Mountaintop Speech" -- "And so, as a result of this, we are asking you tonight, to go out and tell your neighbors not to buy Coca-Cola in Memphis. Go by and tell them not to buy Sealtest milk. Tell them not to buy—what is the other bread?—Wonder Bread. And what is the other bread company, Jesse? Tell them not to buy Hart's bread. As Jesse Jackson has said, up to now, only the garbage men have been feeling pain; now we must kind of redistribute the pain. We are choosing these companies because they haven't been fair in their hiring policies; and we are choosing them because they can begin the process of saying, they are going to support the needs and the rights of these men who are on strike. And then they can move on downtown and tell Mayor Loeb to do what is right."] The strike in question was the Memphis Sanitation Workers' strike which had started a few days before. The struggle for Black labour rights was an integral part of the civil rights movement, and while it's not told that way in the sanitised version of the story that's made it into popular culture, the movement led by King was as much about economic justice as social justice -- King was a democratic socialist, and believed that economic oppression was both an effect of and cause of other forms of racial oppression, and that the rights of Black workers needed to be fought for. In 1967 he had set up a new organisation, the Poor People's Campaign, which was set to march on Washington to demand a program that included full employment, a guaranteed income -- King was strongly influenced in his later years by the ideas of Henry George, the proponent of a universal basic income based on land value tax -- the annual building of half a million affordable homes, and an end to the war in Vietnam. This was King's main focus in early 1968, and he saw the sanitation workers' strike as a major part of this campaign. Memphis was one of the most oppressive cities in the country, and its largely Black workforce of sanitation workers had been trying for most of the 1960s to unionise, and strike-breakers had been called in to stop them, and many of them had been fired by their white supervisors with no notice. They were working in unsafe conditions, for utterly inadequate wages, and the city government were ardent segregationists. After two workers had died on the first of February from using unsafe equipment, the union demanded changes -- safer working conditions, better wages, and recognition of the union. The city council refused, and almost all the sanitation workers stayed home and stopped work. After a few days, the council relented and agreed to their terms, but the Mayor, Henry Loeb, an ardent white supremacist who had stood on a platform of opposing desegregation, and who had previously been the Public Works Commissioner who had put these unsafe conditions in place, refused to listen. As far as he was concerned, he was the only one who could recognise the union, and he wouldn't. The workers continued their strike, marching holding signs that simply read "I am a Man": [Excerpt: Stevie Wonder, "Blowing in the Wind"] The Southern Christian Leadership Conference and the NAACP had been involved in organising support for the strikes from an early stage, and King visited Memphis many times. Much of the time he spent visiting there was spent negotiating with a group of more militant activists, who called themselves The Invaders and weren't completely convinced by King's nonviolent approach -- they believed that violence and rioting got more attention than non-violent protests. King explained to them that while he had been persuaded by Gandhi's writings of the moral case for nonviolent protest, he was also persuaded that it was pragmatically necessary -- asking the young men "how many guns do we have and how many guns do they have?", and pointing out as he often did that when it comes to violence a minority can't win against an armed majority. Rev Franklin went down to Memphis on the twenty-eighth of March to speak at a rally Dr. King was holding, but as it turned out the rally was cancelled -- the pre-rally march had got out of hand, with some people smashing windows, and Memphis police had, like the police in Detroit the previous year, violently overreacted, clubbing and gassing protestors and shooting and killing one unarmed teenage boy, Larry Payne. The day after Payne's funeral, Dr King was back in Memphis, though this time Rev Franklin was not with him. On April the third, he gave a speech which became known as the "Mountaintop Speech", in which he talked about the threats that had been made to his life: [Excerpt: Martin Luther King, "Mountaintop Speech": “And then I got to Memphis. And some began to say the threats, or talk about the threats that were out. What would happen to me from some of our sick white brothers? Well, I don't know what will happen now. We've got some difficult days ahead. But it doesn't matter with me now. Because I've been to the mountaintop. And I don't mind. Like anybody, I would like to live a long life. Longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the promised land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land. So I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord."] The next day, Martin Luther King was shot dead. James Earl Ray, a white supremacist, pled guilty to the murder, and the evidence against him seems overwhelming from what I've read, but the King family have always claimed that the murder was part of a larger conspiracy and that Ray was not the gunman. Aretha was obviously distraught, and she attended the funeral, as did almost every other prominent Black public figure. James Baldwin wrote of the funeral: "In the pew directly before me sat Marlon Brando, Sammy Davis, Eartha Kitt—covered in black, looking like a lost, ten-year-old girl—and Sidney Poitier, in the same pew, or nearby. Marlon saw me, and nodded. The atmosphere was black, with a tension indescribable—as though something, perhaps the heavens, perhaps the earth, might crack. Everyone sat very still. The actual service sort of washed over me, in waves. It wasn't that it seemed unreal; it was the most real church service I've ever sat through in my life, or ever hope to sit through; but I have a childhood hangover thing about not weeping in public, and I was concentrating on holding myself together. I did not want to weep for Martin, tears seemed futile. But I may also have been afraid, and I could not have been the only one, that if I began to weep I would not be able to stop. There was more than enough to weep for, if one was to weep—so many of us, cut down, so soon. Medgar, Malcolm, Martin: and their widows, and their children. Reverend Ralph David Abernathy asked a certain sister to sing a song which Martin had loved—“Once more,” said Ralph David, “for Martin and for me,” and he sat down." Many articles and books on Aretha Franklin say that she sang at King's funeral. In fact she didn't, but there's a simple reason for the confusion. King's favourite song was the Thomas Dorsey gospel song "Take My Hand, Precious Lord", and indeed almost his last words were to ask a trumpet player, Ben Branch, if he would play the song at the rally he was going to be speaking at on the day of his death. At his request, Mahalia Jackson, his old friend, sang the song at his private funeral, which was not filmed, unlike the public part of the funeral that Baldwin described. Four months later, though, there was another public memorial for King, and Franklin did sing "Take My Hand, Precious Lord" at that service, in front of King's weeping widow and children, and that performance *was* filmed, and gets conflated in people's memories with Jackson's unfilmed earlier performance: [Excerpt: Aretha Franklin, "Take My Hand, Precious Lord (at Martin Luther King Memorial)"] Four years later, she would sing that at Mahalia Jackson's funeral. Through all this, Franklin had been working on her next album, Aretha Now, the sessions for which started more or less as soon as the sessions for Lady Soul had finished. The album was, in fact, bookended by deaths that affected Aretha. Just as King died at the end of the sessions, the beginning came around the time of the death of Otis Redding -- the sessions were cancelled for a day while Wexler travelled to Georgia for Redding's funeral, which Franklin was too devastated to attend, and Wexler would later say that the extra emotion in her performances on the album came from her emotional pain at Redding's death. The lead single on the album, "Think", was written by Franklin and -- according to the credits anyway -- her husband Ted White, and is very much in the same style as "Respect", and became another of her most-loved hits: [Excerpt: Aretha Franklin, "Think"] But probably the song on Aretha Now that now resonates the most is one that Jerry Wexler tried to persuade her not to record, and was only released as a B-side. Indeed, "I Say a Little Prayer" was a song that had already once been a hit after being a reject. Hal David, unlike Burt Bacharach, was a fairly political person and inspired by the protest song movement, and had been starting to incorporate his concerns about the political situation and the Vietnam War into his lyrics -- though as with many such writers, he did it in much less specific ways than a Phil Ochs or a Bob Dylan. This had started with "What the World Needs Now is Love", a song Bacharach and David had written for Jackie DeShannon in 1965: [Excerpt: Jackie DeShannon, "What the "World Needs Now is Love"] But he'd become much more overtly political for "The Windows of the World", a song they wrote for Dionne Warwick. Warwick has often said it's her favourite of her singles, but it wasn't a big hit -- Bacharach blamed himself for that, saying "Dionne recorded it as a single and I really blew it. I wrote a bad arrangement and the tempo was too fast, and I really regret making it the way I did because it's a good song." [Excerpt: Dionne Warwick, "The Windows of the World"] For that album, Bacharach and David had written another track, "I Say a Little Prayer", which was not as explicitly political, but was intended by David to have an implicit anti-war message, much like other songs of the period like "Last Train to Clarksville". David had sons who were the right age to be drafted, and while it's never stated, "I Say a Little Prayer" was written from the perspective of a woman whose partner is away fighting in the war, but is still in her thoughts: [Excerpt: Dionne Warwick, "I Say a Little Prayer"] The recording of Dionne Warwick's version was marked by stress. Bacharach had a particular way of writing music to tell the musicians the kind of feel he wanted for the part -- he'd write nonsense words above the stave, and tell the musicians to play the parts as if they were singing those words. The trumpet player hired for the session, Ernie Royal, got into a row with Bacharach about this unorthodox way of communicating musical feeling, and the track ended up taking ten takes (as opposed to the normal three for a Bacharach session), with Royal being replaced half-way through the session. Bacharach was never happy with the track even after all the work it had taken, and he fought to keep it from being released at all, saying the track was taken at too fast a tempo. It eventually came out as an album track nearly eighteen months after it was recorded -- an eternity in 1960s musical timescales -- and DJs started playing it almost as soon as it came out. Scepter records rushed out a single, over Bacharach's objections, but as he later said "One thing I love about the record business is how wrong I was. Disc jockeys all across the country started playing the track, and the song went to number four on the charts and then became the biggest hit Hal and I had ever written for Dionne." [Excerpt: Dionne Warwick, "I Say a Little Prayer"] Oddly, the B-side for Warwick's single, "Theme From the Valley of the Dolls" did even better, reaching number two. Almost as soon as the song was released as a single, Franklin started playing around with the song backstage, and in April 1968, right around the time of Dr. King's death, she recorded a version. Much as Burt Bacharach had been against releasing Dionne Warwick's version, Jerry Wexler was against Aretha even recording the song, saying later “I advised Aretha not to record it. I opposed it for two reasons. First, to cover a song only twelve weeks after the original reached the top of the charts was not smart business. You revisit such a hit eight months to a year later. That's standard practice. But more than that, Bacharach's melody, though lovely, was peculiarly suited to a lithe instrument like Dionne Warwick's—a light voice without the dark corners or emotional depths that define Aretha. Also, Hal David's lyric was also somewhat girlish and lacked the gravitas that Aretha required. “Aretha usually listened to me in the studio, but not this time. She had written a vocal arrangement for the Sweet Inspirations that was undoubtedly strong. Cissy Houston, Dionne's cousin, told me that Aretha was on the right track—she was seeing this song in a new way and had come up with a new groove. Cissy was on Aretha's side. Tommy Dowd and Arif were on Aretha's side. So I had no choice but to cave." It's quite possible that Wexler's objections made Franklin more, rather than less, determined to record the song. She regarded Warwick as a hated rival, as she did almost every prominent female singer of her generation and younger ones, and would undoubtedly have taken the implication that there was something that Warwick was simply better at than her to heart. [Excerpt: Aretha Franklin, "I Say a Little Prayer"] Wexler realised as soon as he heard it in the studio that Franklin's version was great, and Bacharach agreed, telling Franklin's biographer David Ritz “As much as I like the original recording by Dionne, there's no doubt that Aretha's is a better record. She imbued the song with heavy soul and took it to a far deeper place. Hers is the definitive version.” -- which is surprising because Franklin's version simplifies some of Bacharach's more unusual chord voicings, something he often found extremely upsetting. Wexler still though thought there was no way the song would be a hit, and it's understandable that he thought that way. Not only had it only just been on the charts a few months earlier, but it was the kind of song that wouldn't normally be a hit at all, and certainly not in the kind of rhythmic soul music for which Franklin was known. Almost everything she ever recorded is in simple time signatures -- 4/4, waltz time, or 6/8 -- but this is a Bacharach song so it's staggeringly metrically irregular. Normally even with semi-complex things I'm usually good at figuring out how to break it down into bars, but here I actually had to purchase a copy of the sheet music in order to be sure I was right about what's going on. I'm going to count beats along with the record here so you can see what I mean. The verse has three bars of 4/4, one bar of 2/4, and three more bars of 4/4, all repeated: [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] While the chorus has a bar of 4/4, a bar of 3/4 but with a chord change half way through so it sounds like it's in two if you're paying attention to the harmonic changes, two bars of 4/4, another waltz-time bar sounding like it's in two, two bars of four, another bar of three sounding in two, a bar of four, then three more bars of four but the first of those is *written* as four but played as if it's in six-eight time (but you can keep the four/four pulse going if you're counting): [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] I don't expect you to have necessarily followed that in great detail, but the point should be clear -- this was not some straightforward dance song. Incidentally, that bar played as if it's six/eight was something Aretha introduced to make the song even more irregular than how Bacharach wrote it. And on top of *that* of course the lyrics mixed the secular and the sacred, something that was still taboo in popular music at that time -- this is only a couple of years after Capitol records had been genuinely unsure about putting out the Beach Boys' "God Only Knows", and Franklin's gospel-inflected vocals made the religious connection even more obvious. But Franklin was insistent that the record go out as a single, and eventually it was released as the B-side to the far less impressive "The House That Jack Built". It became a double-sided hit, with the A-side making number two on the R&B chart and number seven on the Hot One Hundred, while "I Say a Little Prayer" made number three on the R&B chart and number ten overall. In the UK, "I Say a Little Prayer" made number four and became her biggest ever solo UK hit. It's now one of her most-remembered songs, while the A-side is largely forgotten: [Excerpt: Aretha Franklin, "I Say a Little Prayer"] For much of the
Episode 82. This very special episode of the BAAS Entertainment Podcast highlights the amazing performers - Steven Kroon, Ty Stephens and Carla Cook - who will be part of the BAAS Entertainment Gala taking place on September 16, 2023. These three amazing performers are friends who share a love of crossing musical genres. They are planning an amazing evening of music to benefit two special charities, Chelsea's Charity and The Ana Grace Project. The first annual BAAS Entertainment Benefit Gala will be held at Edmond Town Hall (45 Main Street, Newtown, CT) on Saturday, September 16. VIP tickets ($150) include upfront seating, plus a pre-show VIP reception with artist meet and greet, hors d'oeuvres, beverages, and an incredible swag bag full of goodies. Regular tickets are $50 each. This is a show you will remember for the rest of your life.Ty Stephens started as a dancer, which brought him to New York and gave him the opportunity to perform in back-to-back Broadway shows. Knowing that the career of a dancer is limited, he transitioned into a singer, helped by the legendary Gregory Hines, establishing a career as a performer that has taken him around the world. His style is uniquely his own, centered around 70's R&B, with jazz, soul, funk, and Broadway, all mixed together.Steven Kroon got his start in Spanish Harlem in the early 1950s. His father was a musicologist who always played Spanish music in their home. Many of the legendary musicians he listened to, including Tito Puente, lived in the area. Later, they moved to Queens, and were immersed in the music of his neighborhood, which was filled with performers and producers. Count Basie lived four blocks away. All of the combinations of cultures and sounds created Kroon's distinctive style. The break that changed his life was when he had an opportunity to audition for Luther Vandross. He got the gig and ended up working with Luther for 20 years. He learned so much working with all of the stellar musicians around Luther. Being around Luther, he learned so much about the industry since Luther was so hands-on with everything he did. He also earned the opportunity to work with legendary jazz double bassist Ron Carter. Working with Vandross and Carter exposed Kroon to the very top R&B and jazz artists in the world. After 20 years, he decided it was time to “do me,” left those groups to record on his own and blaze his own path. He created a masterpiece with many of the musicians he worked with. He is blessed, proud and happy now to be able to do what he wants to do.Carla Cook got her start in the church in Detroit, and always loved to sing in choirs. Her brother loved jazz, giving her an early exposure to the music. Being in Detroit, her high school years were filled with the sounds of Motown. She moved to Boston, and formed the first of several jazz ensembles, gigging at jazz clubs and private events. She moved to New York in 1990, where she began performing regularly on the jazz scene. Her debut album, “It's All About Love,” earned an AFIM-Indie award and a Grammy nomination, and widespread critical acclaim for her two subsequent recordings, “Dem Bones,” and “Simply Natural”. She is currently a jazz vocal instructor at The Juilliard School.Listen and subscribe to the BAAS Entertainment Podcast on Amazon Music, Apple Podcasts, Google Podcasts, Deezer, iHeartRadio, Pandora, Podchaser, Spotify, Stitcher and TuneIn. “Hey, Alexa. Play the BAAS Entertainment Podcast.”Listen and subscribe to the BAAS Entertainment Podcast on Spotify, Amazon Music, Apple Podcasts, Google Podcasts, Deezer, iHeartRadio, Pandora, Podchaser, Pocket Casts and TuneIn. “Hey, Alexa. Play the BAAS Entertainment Podcast.”
todays show ready now for the masses to listen again or share with friends downloads are free also so help ya selves more saturday 4 till 6 tell all your friends and neghbours come early stay late lol x 1/martin mayhem and timmi magic ft Elizabeth troy I need your lovin 2/chic good times rollerskate recut sgt slick 3/kelli sae good love Michael gray ext 4/david morales life is a dance philly mix 5/you cant hide your self from heaven dj prince remake 6/lulu independence michelle chivarini and dj spen ext 7/gee bello pure perfection ft Jocelyn brown cool million mix 8/stokes and machine freeway soul jazz mix 9/Carmichael music lover know you better 10/big moses ft Kenny bobien brighter days pete le freq 11/spencer morales what cha gonna do with my lovin m and m mix 12/hardsoul ft ron carroll back together directors cut 13/gary b poole revival radio edit 14/sophie Lloyd and amy douglas sweet love ,love hangover ext mix 15/solution's good love 16/Gladys knight babay don't change your mind karl winters ext# 17/papik and the soultrend orch lets fall in love 18/output /input here I go again 19/lina loi let it go regi myrex 20/ce ce rogers all join hands essay mix 21/risk assessment its not right but its ok grant nelson remix 22/donna allen he is the joy pete le freq refreq 23/luthor Vandross the sweetest one 24/chris clark somethings wrong 25/dean parish im on my way 26/four tops I just cant get you out of my mind 27/stevie wonder don't you worry about a thing 28/incognito don't wanna know 29/incognito silver shadow 30/chris cross ride like the wind j n ext disco mix
Hey Beautiful people!!! This weeks rewind in Full HD . Hey Beautiful people!!! Back once again like a renegade master. Yes I'm back so try to contain yourselves. I hope you can join me this Sunday at the new time of 10 am UK on Cruise FM. Yes that's right now 3 hours of Paradise. This weeks feature hour is remembering the Amazing Luther Vandross and some of his fantastic back catalogue with a few surprises you know it's going to be a trip down Luther Lane. As per usual I'll be bringing a taste of Paradise to the weekend. The vinyl frontier with cuts from my recent Vinyl excursion plus new music and a few cheeky bootlegs. I hope you can join me on this special weekly journey .. Here are the listen links on the award winning Cruise FM. , Now Live between 10am and 1pm I love you all.. XX
the secound of a few stand in shows for merv broadcast on zero radio on the 1,6 ,23 i wasnt going to podcast these but many who cant listen live have said they dont want to be left out hope you enjoy bit uptempo this podcast dancing shoes on x 1/inaya day ralph gumm lose my worries 2/sunkids ft chance rise up 3/luthor Vandross the sweetest one 4/the chocolate fudge co everything 5/Beverley and mark knight everythings gonna be alright 6/chris cross ride like the wind dave lee disco mix 7/wayne soul avengerz ft vanessa trois never knew love 8/George benson love ballard dave lee jazzy reprise 9/david lc Thomas make it hot 10/café 432 ft simon king remember ext 11/dave and maurrisa look at the stars starshine mix 12/Geraldine hunt cant fake the feeling carl cox remix 13/princess ill keep on lovin you dr packer 14/carol king I feel the earth move andy Buchan edit 15/Sense Of Sound Singers - Spread Love - Yam Who? Extended Gospel 16/Jason head ,babrbera tucker head up high ext 17/delegation heartache number 9 dimitri from paris 9 mins of funk remix 18/wayne soul avengerz oddesey inc inc trois garcon remix ft bobbi depasois dusk till dawn 19/Brandon delagrantiss my work rob hardt remix 20/rich begger nights don e 21/johnny Bristol love no longer has a hold on me ext 22/kid creole and the coconuts stool pidgeon mike a tees edit for friends 23/full flava the glow of love 2.0 remix 24/incognito we are in this thing together 25/incognito ft maysa all for you funkatomic and francis hylton remix 26/funkatomic ft tracey Hamlyn ride on the moon 27/ betty wright tonight is the night woody bianchi retouch
well for those that want to hear this again here is the podcast from thursdays show where i sat in for the rather swerve merv enjoy 1/ crown heights affair galaxy of love 2/norma jean Saturday Dimitri from paris remix 3/d train walk on by 4/fonzi thornton ill change my game ft chic 5/gwen mccrae doin it joey negro soulful reprise 6/rose Royce magic touch album version 7/fish go deep ft tracey k cure and the cause dk meme philly soul suite mix 8/cool million ft shalia prospere brand new day 9/lynn davis beautiful you 10/ Gregory porter on my way to harlem album version 11/Vincent ingala on the move 12/gabo Szabo keep smiling 13/wilton felder inherit the wind ft bobby Womack 14/mark Johnson daydream 15/shaun g she calls me sunshine 16/marvin gaye sexual healing studio rio mix 17/papik caught up in the rapture 18/bill withers lovely day studio rio mix 19/tres men I wouldn't change a thing 20/October London lovers interlude the realm ext edit 21/ewf cant let go joey negro elevated mix 22/delia rene your gonna want me back joey negro disco blend 23/Yvonne gage I feel you Maurice Joshua club mix 24/Gregory porter liquid spirit claptone remix 25/the journeymen ft anne marie Johnson I wanna be down 26/dj fudge and chinuha hawk whos gonna save the world 27/seamus hadji ,Michael gray ft Audrey martellis wish 28/sherrie hicks soul ties vibe mix 29/yam who ill be a freak for you 30/Dimitri from paris and flourious music saved my life marshal Jefferson remix 31/change ft luthor Vandross v janet Jackson glow of love young pulse remix
wow show 30 alreday here it is the podcast from wedensdays show hope it finds you all well safe and happy the weathers supposed to be great this weekend just the thing to play loud in ya gardens and annoy the neighbours lol as always many thanks for those that listen live and those that love the podcast keep up the good work my friends more next week 1/ Cheryl lynn shake it up tonight 2/Maxine singleton you cant run from love 3/evelyn champagne king if you want my lovin 4/Jeffrey Osbourne I really don't need no light 5/edna wright here I go again 6/Jermaine Jackson lets get serious 7/tucka king of swing 8/ron carrol ,swaylo Michael gray remix of something beautiful 9/world premiere share the night Michael gray 10/Michael gray and Kelly sae over and over 11/Vincent ingalla coast to coast 12/Ronnie Jordan get to grips 13/don arcadio teddy Pendergrass get up get down get funky 14/sos band grooving that's what were doin 15/stevie wonder golden lady 16/queen latifah hard times 17/the realm ft hatina love hurts 18/cool million ft shalia prospere brand new day 19/Natasha watts brighter days remix 20/john legend green light 21/sunlight square breakin down sugar samba dale ma 22/Salome de bahia outra lugar 23/swing out sister am I the same girl 24/mascara ft luthor Vandross see you in l a /jet plane ride 25/roger hill usic ft cherrelle all the love I need 26/kellie sae , Michael gray Michael gray remix good love 27/block and crown startin sumthing 28/jazzy dee get on up mike and tees edit for friends 29/yooks and tasha larae wishing on a star
welcome to paul sams midweek modern soul on zero radio show 27 , as always im overwelmed with the amount of people who listen live wedensday 9 till 12 and the small army of listeners and downloaders of the podcast more next week keep up the good work my furry friends and pedigree chums x 1/ Harold Melvin and the bluenotes bad luck m and m mix 2/sam karlson because of you art of tones remix 3/ron carrol ft swaylo something beautiful Michael gray remix 4/aldo bergamasco ft karla brown sounds 5/shaun escofferey days like these spinna and ticklah club mix 6/margie joseph prophecy pete le freq refreq 7/east west connection east west club mix 8/dave koz ft luthor Vandross cant let go 9/paul weller promised land 10/ron carrol my prayer micky more and andy tee ext 11/chocolate fudge band everything 12/fanatix ft sara devine and sterling ensemble call on me 13/wayne soul avengerz heard it all before 14/melba moore standing right here 15/shaun g she calls me sunshine 16/jagerossa it's the same 17/Kathy brown jet boot jack thief in the night birdie remix 18/cornell cc carter its so nice 19/sos band take your time do it right 20/Melonie Fiona sad songs 21/sos band weekend girl 22/tarus riley shes royal 23/sence of sound singers spread love yam who gospel mix 24/dobie gray out on the floor 25/ bobbie hebb love love love 27/kiko navaro dj pippi ft angela Johnson you cant fun from my love 28/pete simpson wont you see me mijangos vocal 29/ferry ultra ft melva Houston a little soul young pulse remix 30/mutherfunkerz galaxy wakandans in space mix
welcome to show 21 the podcast on zeroradio.co.uk feel free to share with friends and neighbours as always weather they like it or not once again i have to thank everyone that listens live on a wedensday or downloads plays the podcast i want you to know your continued support means a lot as always more next week keep 1/the glow of love eddie valdez remix 2/lisa Stansfield around the world dr packer 3/idris muhammed tasty cakes 4/shalamar attention to my baby Womack rework 5/whispers emergency 6/shalamar sweeter as the days go by 7/luthor Vandross never too much Michael gray remix 8/kid creole and the coconuts im a wonderful thing mike and tees edit 4 friends 9/maysa hypnotic love 10/diane shaw that thing you do London town mix 11/next v Bruno mars wifey soul merchant unwrapped 12/gq disco nights dr packer 13/luthor Vandross your love baby dr packer 14/Stacey kidd let no groove put us under main mix 15/Curtis Mayfield victory paul simpson remix 16/jt taylor feel the need album version 17/vaneese and Carolyn goodbye song 18/saleena jones am I the same girl 19/stargard wear it out pete le freq refreq 20/yazz ,inaya day bring it up dj spen inaya day bring it up 21/gayle adams lets go all the way 22/brian power ft roachford got to be house mix 23./shapeshifters ft billy porter finally ready ext 24/gok wan right direction 25/freemasons ft Amanda Wilson love on my mind 26/leonid and friends ft Arturo sandeval street player Dimitri from paris remix 27/sartorial disco biscuit
show 19 for zero radio already phew . many thanks for your continued support as always means a lot keep up the good work people more next week x HERES TODAYS PLAY LIST OF WHAT WAS PLAYED ON ZERO RADIO NO NEED FOR SHAZAM HERES THE COUP LOL 1/incognito nights over Egypt maw main mix 2/luthor Vandross the sweetest one k w extended 3/ leonid and friends ft kesnia buznia aint no body 4/ac soul symphony the philly avengerz 5/t Markakis marvins touch original mix 6/eddie bishop call me 7/Yvonne baker you didn't say a word 8/corey braverman I saw the light 9/Evette busby mr big stuff 10/the regime be a lover 11/sade the kiss of life extended 12/deodato keep it in the family 13/deodato keep on moving jellybean remix 14/los hermanos morano betcha by golly wow 15/louie vega presents luisito quintero acid 16/quincey jones razzamataz dj s remix 17/mirko and meex ooh la la extended 18/Sharon red never gonna give you up Michael gray remix 19/lax all my love pete le freq refreq 20/bomel living rent free on my mind 21/the jacksons show you the way to go dj meme dext 22/janet Jackson together again tonyhumphreys club mix 23/artful and ridney ft terri walker missing you ridney rework 24/café 432 ft lifford my bell 25/shapeshifters try my love on for size ft teni tenks 26/café 432 ft simon king remember ext 27/bah samba let the drums speak part 2 ( bangra mix) 28/dj psy rude love 29/Anthony white stop and think it over 30/Dylan chambers don't give up on love 31/mark capani I believe in miracles 32/Aretha franklin one step ahead futurecast re edit 33/leonid and friends my old school
morning my furry friends and pedigree chums heres this weeks show brought to on a stayrday as noemal all the way from studio 2 the greenfield studio lol many thanks for your continued support makes an old man very happy more next week as alway see you live wedensday maybe ? who can tell x 1/candi staton id rather be an old mans sweetheart mako and mr bristow edit 2/sax pack sooner or later 3/Italian groove collective jump through hoops 4/mongo Santamaria watermelon man 5/Italian groove collective soulful distances 6/haggis horns the traveller part 2 7/lee garret youre my everything extended 8/Gloria gaynor never can say goodbye tom moulton 9/boz scaggs lowdown paul simpson remix 10/a c soul symphony ft ricci benson still in love dave lee remix 11/Alison limerick where love lives classic mix 12/calvin harris new to you 13/benson let the love 14/leonid and friends ft Arturo sandeval street player dimitri from paris remix 15/dira bring it on 16/lolas theme shapeshifters album version 17/phase 2 reachin latin workout remix 18/eric benet georgy porgy 19/eric benet weekend 20/khalid know your worth 21/blackness ft titiyo should have been you cutfather and joe radio edit 22/Edwin starr happy radio moz morris razor trax restructure mix 23/Thelma Houston Saturday night Sunday morning m and m mix 24/sally green and dj ak heartbeat 25/full flava ft carleen Anderson was that all it was micky more and andy tee 26/sally green and dj ak slide 27/full flava ft donna gardier the glow of love 2.0 remix 28/janet Jackson /luthor Vandross best things in life are free k klass edit 29/solutions listen ext 30/el debarge and faith evans lay with you 31/sil sonic skate mike and tees edit 4 friends
Ivan Hampden Jr. , Founder and President/CEO of Hamptown Music Institute, was born and raised in New York City, and grew up in Harlem's musically diverse neighborhoods to the rhythms of R&B, Salsa, Caribbean, Jazz, Blues, Pop, Funk and whatever else trickled in. This saturation of music inspired Hampden to start playing the drums at the age of eight, with the local Catholic school marching band. By age 13, he was playing in local clubs in and around New York City, with Blues musicians who helped instill in him a sense of timing and groove. The musical diversity of his early youth set the foundation for Hampden's future work with percussion and keyboards. Hampden started his formal training in 1973, studying at the Jazz Mobile with Charlie Percep, and at Mannes College of Music with Norman Grossman. He went on to attend Bronx Community College in 1977, where he received private lessons at the Metropolitan Opera with Richard Horowitz. During his first semester at Bronx Community College, a friend told him about the Dance Theatre of Harlem. Hampden had to be involved and joined the orchestra—a position he still holds today. While at the Dance Theatre of Harlem, Hampden was also a drum and percussion instructor at the Harlem School of the Arts, and at Seton Hall University in the Black Music Department. But his talent reached far beyond Harlem. Hampden has touched and enhanced the New York theater community as well, performing for various shows on Broadway, The Alvin Ailey Dance Theater, and many more.. Not only an accomplished drummer and percussionist, Hampden is also a producer and songwriter who collaborates with such artists as Luther Vandross, Nick Ashford, Chaka Khan, Eartha Kitt, and many others. Along with being Luther Vandross' drummer and co-writing partner for 17 years (which earned him recognition four(4)times from the Grammy Awards as a Musician, Arranger and Programmer on a number of Vandross's platinum recordings) until the time of the consummate musician's death , Hampden currently records and tours with other notable artists such as Stephanie Mills, Ashford & Simpson, Roberta Flack, Phil Perry, Vanessa Williams and Jennifer Lopez. In 2001, Hampden relocated to the south, where he continues to write and produce in between touring around the country and world. In fall 2007, Hampden signed on as an adjunct professor at North Carolina Central University in Durham, North Carolina, teaching recording production I and II, and audio postproduction. In the Fall of 2010, Ivan also accepted an offer to teach Drums and Percussion at Johnston Community College. After 10 years of teaching as a music educator in North Carolina, He is now Founder and CEO of The Hamptown Music Institute in Clayton, North Carolina, where his mission is to “Develop the next generation of music industry professionals and Artists.” While continuing to be in demand as a music Producer, Ivan is also working with new local talent around the country. Live Performance credits: Bonnie Raitt, Al Jarreau, Dionne Warwick, Maceo Parker, El Debarge, Kenny Lattimore, Aretha Franklin, Stevie Wonder, Michael MacDonald, India.Arie and Joe—the list goes on and on. New and accomplished talent alike seems to gravitate toward Hampden. Recording Credits: Hampden's recording resume includes such artists as Diana Ross, Akiko Yano, Ann Nesby, Doc Powell, Jocelyn Brown, Mavis Staples, The Temptations, Nestor Torres, Marcus Miller, Cathy Dennis, Howard Hewett, Luther Vandross, Beyonce Knowles, Ashford & Simpson, Sy Coleman, Tramaine Hawkins and Roberta Flack, just to name a few.Listen and subscribe to the BAAS Entertainment Podcast on Spotify, Amazon Music, Apple Podcasts, Google Podcasts, Deezer, iHeartRadio, Pandora, Podchaser, Pocket Casts and TuneIn. “Hey, Alexa. Play the BAAS Entertainment Podcast.”
Recipe – Oven Roasted Salmon with Fruit Salsa Divabetic was inspired by the late R&B legend Luther Vandross, founded in 2005 by his long-time assistant, Max “Mr. Divabetic” Szadek. Divabetic, a combination of the word “diabetic” with the letter “V” inserted for Vandross, evokes feelings of power and a positive attitude associated with the great divas Luther loved, like Patti LaBelle. started Divabetic in 2003. I sold my first Divabetic t-shirt and donated the proceeds to different diabetes nonprofits until Divabetic became a nonprofit in 2005. I'll be promoting Divabetic's latest mystery podcast, "Tomorrow Is Not On The Menu" available for free on iTunes, BlogTalkRadio and Spotify. This show focuses on sugar addiction and the added sugar in our diets and dispels the myth that weight loss is the be-all and end-all to achieving better diabetes management. Brief Synopsis: The happy healthcare host, Mr. Divabetic, lands his to-die-for job as a caterer for the nation's hottest health guru, Wendy Wattage's Wellness Retreat on the Jersey Shore. Everything seems low pressure and low calorie until the body of the nasty food critic, Marilyn Macaroni, is found stabbed to death with one of Max's new chef knives. Now he's the prime suspect in a big, fat murder investigation! Can he and his team of friends, diabetes educators, and his nosey Italian mother, Mama Rose Marie, find the killer before the police arrive? Or will he be trading his fruit suit for coveralls with stripes? Weight loss murder never tasted so good. Starring Mr. Divabetic, Best-Selling Author Tonya Kappes, Mama Rose Marie, Patricia Addie-Gentle RN, CDCES, Maryann Horst Nicolay MEd, NTDR, Kathie Dolgin aka 'High Voltage,' Seveda Williams, Catherine Schuller, Dave Jones, and Lorraine Brooks. Produced by Leisa Chester Weir. Special thanks to our colleague, the multi-talented Wendy Radford. Blog Talk link: https://www.blogtalkradio.com/divatalkradio1/2023/01/16/divabetic-mysteries-tomorrow-is-not-on-the-menu-part-8 Divabetic Mystery Podcast's goals are: Encourage people with diabetes to problem-solve issues related to their self-care like their favorite TV detectives (write things down, search for clues and share information with your healthcare collaborators and ask questions) Manage diabetes as a team rather than go it alone Make learning about diabetes fun and interesting This year, Divabetic is talking about re-framing the way we look at 'mistakes" as "discoveries" rather than "regrets." Our first podcast, of the year, features guest Rachel Zinman, a yoga instructor and author living with LADA. Rachel shares a Guided Meditation about Compassion. It's our 6th consecutive year of partnering with Rachel at the start of the New Year to encourage listeners to reset with a fresh, clear mindset about managing their diabetes. Visit: https://divabetic.org Twitter: https://twitter.com/divabeticorg Facebook: https://www.facebook.com/divabeticorg Instagram: https://www.instagram.com/official_diivabetic Podcasts: https://www.blogtalkradio.com/divatallkradio1 Eataly...Maxs happy place https://www.eataly.com/us_en/stores/nyc-flatiron
todays show posted early my furry friends and pedigree chums as there will be the usual xmas day podcast available for you to listen to while cooking the xmas dinner a trip through the seven inch records to sing along to many thanks for listening to the live broadcast and the podcasts means a lot to me as always x back live next wedensday on zero radio . co .uk 1/louie vega ft Karen harding free to love david morale sext disco juice remix 2/colours are forever ft Genevieve allan walterino retouch 3/voyage from east to west 4/tramps disco inferno ben liebrand rework 5/savannah never let you go dj s remix 6/Wilbert longmuire black is the colour 7/colin Watson ft derek nask just for you 8/mongo Santamaria watermelon man 9/oddesey native new Yorker original 12 mix 10/reel people ft angie stone don't stop the music art of tones modern disco 11/ Kenny Thomas get it on time oppolopo remix 12/ewf fantasy 3d rythms of life tropical soul cover 13/Raoul de lima children mijangos afro latin mix 14/kariya let me love for tonight club mix 15/inaky Garcia another starr 16/Yvonne eliman if I cant have you extended 17/eric kupper Kenny summit ft illustrious blacks cloud 9 18/leonid and friends ft aturo Sandoval sreet player 19/Thelma Houston don't leave me this way original import 12 20/khemistry can you feel my love dj s remix 21/shapeshifters ft teni tenks try my love on for size ext 22/sunburst band ft pete simpson why wait for tomorrow micky more and andy tee remix 23/mascara ft luthor Vandross see you in l a 24/mascara ft luthor Vandross jet plane ride 25/luthor Vandross you really started something 26/ernest ernie and the sincerities do something 27/billy mac Christmas is all around
heres wedensdays show replayed for all you regular saturday listeners that cant listen live as usual a tad more soulful in part so i hope you enjoy thanks for listening in every week means a lot to me and remember live on wedensdays 9 till 12 on zero radio .co .uk x see ya there x 1/café 432 ft lifford my bell 2/be funky dutchian soul and yogi mix 3/shapeshifters lolas thems dr packer recut 4/diana ross takes me higher 5/aston Martinez ft brian chambers holdin on 6/tortured soul when I let you inside 7/reel people fy tony momrelle and shezar 80s love 8/reel people ft tony momrelle buttercup terry hunter remix 9/brian power ft marc evans falling back into love 10/dj friction ft david whitley all night long 11/2 kings and a cypher you know how to make me 12/mystic diversions float on moonlight mix 13/steve khan darling darling baby 14/teena marie wishing on a star 15/swv right here human nature mix 16/projection lovestruck 17/shaeshifters back to basics directors cut nocturnal groove 18/Dionne warwick walk on by mojo filter remix 19/Yvonne eliman if I cant have you ext rework 20/incognito ft maysa all for you funkatomic and francis Hilton remix 21/whitney Houston million dollar bill directors cut seven 22/jean carne don't let it go to your head Michael gray remix 23/cool million ft Suzanne rum maybe you're the one 24/jasmine kara ordinary joe 25/Lyndsay webster ft Nicholas payton im ok 26/isley bros harvest for the world 27/luthor Vandross never to much Michael gray remix 28/luthor Vandross your love dr packer 29/supremes up the laddrer to the roof almighty mix 30/diana ross remember me refreshed by fu turo 1 31/oddesey battened ships
its that time again for the lovely listeners who cant listen live on a wedensday the podcast to full fill your saturday fix of samsy on ya wireless playing choonage to keep ya toes a tapping feel free to share with family friends and neighbours weather they like it or not mwhahaha more next week my furry friends x 1/late nite tuff guy I know you 2/soul 2 soul keep on moving copywrite salsa remix 3/andre ward do I do 4/Harold Melvin and the bluenotes wake up everybody Joshua grey remix 5/dr packer ft colonel Abrahams you're the one for me ross couch remix 6/shapeshifters ft Kimberley davis loves been waiting extended 7/crown heights affair you gave me love Michael gray remix 8/chaka khan move me no mountain 9/Charlie Wilson all of my love ft smokey robinson 10/Charlie Wilson never got enough 11/urban blues project ft Michael proctor love don't live jazz and groove remix 12/t connection at midnight mike and tees edit 4 friends remix 13/prospect park shake it up tonight dave lee disco reshake 14/helen rogers ft junior giscombe I feel you here 15/Kenny Thomas got it on time 16/agape soul kite boogie back mix 17/glenn jones ft yanna crawley family time 18/emma noble woman of the world 19/act 1 tom the peeper tom moulton remix 20/diana ross surrender eric kuppers supertonic remix 21/claptone ft barry manilow nobody erobique reflex revision 22/janet Jackson ,luthor Vandross best things in life are free k klass remix 23/shapeshifters ft adi oasis tell me its not over ext 24/terry Ronald what the child needs overnight club mix 25/kindred soul family never loved you more stretched mix 26/Paloma faith crybaby 27/mardie miles kiss of life 28/paprika soul music of life 29/norman Connors I really love you 30/Mario biondi this is what you are midnite monti gotti soul remix 31/kirk franklin lokking for you 32/kool and the gang open sesame hp rework j ski edit
Enspire Radio Presents: Luther Vandross
welcome to show 3 on zero radio broadcast live on a wedensday morning the podcast here saturday morning for those that couldnt listen live many thanks for you continued support xmeans a lot as always 1/double exposure everyman 2/aint no stopping us eric kupper extended 3/brian power ft lucita jules optimistic Michael gray radio mix 4/Brenda boykin love is in town edit 5/jo paciello a groovy sensation 6/fire island ft loleatta Holloway shout to the top hifi sean remix 7/buddy miles ,California raisens what dos it take 8/Julian Jonah coming back for your lovin 9/jimmy james a man like me 10/ramsey lewis spring high 11/tammi terrel all I do 12/awb lets go round again mike and tess edit 4 friends mis 13/sunlight square I believe in miracles 14/soul avengerz ft krysten cummings heard it all before 15/randy Roberts and Richard burton stairway to heaven dj spen , tommy ext 16/hill street soul a feeling so beautiful lowis mix 17/output/input eye to eye luxury soul edit 18/kaylow soul café 19/bill withers lovely day studio rio mix 20/marvin gaye come get to this 21/marvin gaye sexual healing studio rio mix 22/Nolan porter if I could only be sure redsoul remix 23/cool million and gay poole running around 12 24/cool million ft Eugene wilde back for more 25/change ft luthor Vandross glow of love 26/incognito goodbye to yesterday 27/incognito ft Mario biondi lowdown 28/full flava ft chatay savage gt down Saturday night Saturday night Sunday morning mix 29/full flava ft chantey savage September sunlight square remix 30/Richard earnshaw ft eric dillard and roy ayres in time 31/freemasons ft Amanda Wilson love on my mind back to philly mix 32/instant funk I got my mind made up barry harris remix
the first of many i hope the brand new show with samsy on the wonderful zero radio broadcast live on wedensday mornings 9 till 12 if you get the chance to listen live it would be great to have you along chat can be found on facebook page paul sams midweek modern soul on zero radio .co.uk see ya there x 1/ac soul symphony manhatten skyline jn spirit of 77 remix radio version 2/david morales life is a song philly mix extended 3.betty wright tonight is the night woody bianchi retouch 4/Bahama soul club ,Brenda boykin greg porter no words 5/Joanna law first time ever bumpy mix 6/incognito ft maysa all for you funkatomix and francis hylton remix 7/Beverley and mark knight everythings gonna be alright 8/shapeshifters ft billy porter finally ready seven 9/Andrew de la foix ft angela Johnson royal 10/lj Reynolds steppin out tonight /come get to this 11/marvin gaye where are we going 12/marvin gaye im gonna give you respect soul merchant extended 13/al green keep on pushing love 14/agape soul kite boogie back mix 15/bobby Womack how could you break my heart 16/helen rogers ft jnr giscombe I feel you here 17/Thelma Houston Saturday night Sunday morning m and m mix 18/luthor Vandross never too much dr packer remix 19/luthor Vandross your love baby dr packer remix 20/wilton felder inherit the wind 21/jay player love is the answer 22/incognito we are in this thing together 23/marvin gaye if this world were mine claes rosen remix 24/johnny Bristol love no longer has a hold on me hawkster edit 25/chaka khan woman like me terry hunter club mix 26/urban blues project ft Michael proctor love don't live classic vibe mix 27/gok wan the right direction
On this episode Scott and jack talk about the albums and songs of 1986
podcast 8 is here for the faithful sorry im not live broadcasting yet few tech issues being resolved but we are really close now untill then the podcast is here at the usual time to keep your toes tapping till samsy rides the airwaves once again yay feel free to download or share with friends once again many thanks for your contiuing support x 1/rhythm factory African rhythm a touch of jazz remix 2/cool million feat glenn jones tonight extended 3/pete le freq ray parker jnr party now refreq 4/anelisa lamola ,Gregg gould ,phebe Edwards earth song 5/Dayton grey love is on the line 6/dawn tallman get here dj spen and gary hudgins remix 7/dave lee ft bluey in 2 the light mind travel mix 8/assai I don't wanna be with you 9/luthor Vandross bad company 10/hi gloss youll never know dim zach edit 11/mistura ft tiffany tizelle if you ever need somebody 12/dennis taylor here I am nigel lowis remix 13/shuya okino still in love ft navasha daya 14/chaka khan woman like me terry hunter club mix 15/melvo baptiste ft Jamie 3-26 and antoinette bowen gonna be right 16/emaculate ft kaye fox do it 17/pete le freq friskey burn me up refreq 18/frankie knuckles gimmee gimmee gimmee disco shizzle eric kupper remix 19/ per qx wayne soul avengerz and oddesey inc joy and happiness 20/db boulevard point of view 21/shay jones are you gonna be there hurleys radio version 22/kim sims to blind to see it hurlys no rap house mix 23/cece peniston finally 12inch 24/ urban blues project love don't live jazz n groove original 25/jon cutler ft eman its yours 26/lyn lockarmy hostile takeover directors cut 27/funkatomix and sukisoul give back the love 28/soul messengers move the London remix 29/incognito ft maysa all for you funkatomic anfd francis hylton remix 30/passadenas tribute groove motion rework
Welcome to another episode of Rough Edges! This week, Sarah is joined by special guest, JaQuasia Vandross. JaQuasia is the Founding CEO & President of Black Girls Can Heal Inc. She currently serves as a Clinical Coordinator, providing underserved youth and families in the community and foster care with affordable therapy services. She is a 2016 Mercy College graduate with a B.S. in Psychology. She later graduated from Mercy College in 2020 with an M.S. in Clinical Mental Health Counseling. She also has a certification in helping clients with Alcoholism and Substance Abuse. Join these ladies as they talk about the importance of open communication in relationships, how youth relationships have similar patterns to adult relationships, and how to effectively communicate boundaries with your friends and loved ones. JaQuasia also shares her journey with managing her trauma and how her experiences inform her present work with those in foster care. If you'd like to learn more about Black Girls Can Heal Inc., you can follow their page on Instagram (@blackgirlscanheal_). If you'd also like updates on Rough Edges, you can follow the podcast on Instagram @rough.edges.podcast or visit our brand new website at roughedgespodcast.com! If you have any questions or further suggestions for how this podcast can grow, please email us at rough.edges.podcast@gmail.com. Thanks for listening and have a wonderful day!
podcast six here for you to enjoy on a saturday in its rightful place lol lots of new remixes this week so i hope this keeps ya tapping your toes my friends thanks for your continued support means a lot live radio show coming soon just resolving a few tech issues now x 1/todd gardner ft gynisse whatever down for whatever remix 2/wayne soul avengerz ft vannessa Jackson if I cant have you 3/bobby and steve ft jon pierce smile 4/bobby Thurston is something wrong with you kon edit 5/delegation one step more to take Dimitri from paris stepping into philly mix 6/lou rawls see you when I get there valter verde remix 7/simply red holding back the years jay ks funk groove 8/Michael Jackson off the wall valter verde remix 9/al green lets stay together valter verde remix 10/wayne soul avengerz ,odyssey inc just cant live without you 11/mishell ivon and andre napoleon u got me good 12/mishell ivon and Andrew napoleon dance all night 13/funkeesounds in the mood 14/dennis taylor smile 15/rob hardt and andre espuit be with you 16/foreal people ft xan blak raise a blaze 17/brian power ft lucita jules life song for sally 18/prospect park shake it up tonight dave lees disco reshake 19/marvin gaye if this world were mine claes rosen remix 20/Harold Melvin and the bluenotes don't leave me this way dave lee philly world remix 21/sandy barber I think ill do some stepping on my own john morales groove mix 22/dj rae and martin badder change mark picciotti remix 23/incognito feel the real pete le freq refreq 24/the shapeshifters ft obi frankly one that got away 25/kool and the gang celebration valter verde remix 26/luthor Vandross your love baby dr packer remix 27/funkatomic one fine day 28/atlantic starr circles dave lee remix
podcast five here already for your samsy fix this week some real bangers for you to enjoy im told i start on a new station on the 12th of october i know its wedensday morning but ill podcast it saturdays for the saturday crew x many thanks to you all for your continued support as always nice to know my shows have had such an effect on so many over the years more next week x1/gwen mcrae keep the fire burning jn feed the flame remix 2/Janice mclain smack dab in the middle 12inch mix 3/nu life now that I found you optimistic mix 4/todd terry keep on jumping ft Martha wash and Jocelyn brown 5/brian power ft lucita jules optimistic Michael gray ext 6/the jacksons living together Dimitri from paris remix 7/chaka khan I know you I live you 8/Brenda and the tabulations one girl to late 9/Tavares never had a love like this before 10/Tavares and Freda payne I wanna see you soon 11/emelie sande ft nile rogers when somone loves you 12/emelie sande more of you original 13/ingram the friend zone 14/the jack moves somebodies watching you 15/golden bridge ,monolog and t groove I can prove it 16/Marcia hines you got to let go 17/first choice are you ready for me moplan club mix 18/the Jackson walk right now john luongho disco mix 19/archie bell and the drells don't let love get you down 20/dolls combers ft james vargas Nathan 21/café 432 ft lifford meant to be club mix 22/ archie bell and the drells where will you go when the partys over 23/Kamasutra ft Jocelyn brown happiness eric kupper remix 24/diplomats of soul never gonna fall in love again 25/soul messengers move ( you got to) 26/change searching ft luthor Vandross figo sound 27/donnell jones u know whats up ken @ work 28/paul taylor how did you know ft regina belle 29/papik ft Francesca gramagna just thinking of you 30/soul 2 soul keep on moving copyright salsa remix 31/tres men I wouldn't change a thing 32/down to earth ft Stacey lee what we gonna do 33/paprika soul music of life 34/lj Reynolds come step to this/stepping out tonight
What does the color of your loofah say about you? Jim educates Shane, Zac, Jason and introducing Lane. Zac makes a public apology, Shane fills us in on his trip to San Diego Comic Con, man loses pinky to shark, brother cousins, Chik-Fil-A prank, Golden Bowl Mongolian Grill, and much more!
Oscar Montoya and Danielle Koenig join host Dave Holmes for the AMC Creed with Nicole Kidman, Wario Sports trivia, and give a commencement speech to the class of 2022Oscar Montoya would like to plug Minx on HBO and Podcast Killed the Video Star and recommends Calvin SeabrooksDanielle Koenig would like to plug How to Survive with Danielle and Kristine and Pop Cultured at Flappers recommends Two Old Queens Who've Only a Minute to Catch UpAnd Finally, Dave Holmes is on Twitter @DaveHolmes. Dave would like to recommend The New Kids On The Block: The Mixtape Tour 2022Find us on Twitter! We are @TroubledPodWritten by Riley Silverman and John-Luke Roberts, recorded remotely over Zoom and produced by Christian Dueñas and Laura Swisher.Join the MaxFun fam:maximumfun.org/join
Divabetic remembers Luther Vandross (April 20, 1951 – July 1, 2005) with this special podcast, Tribute to Luther Vandross, celebrating his career during the 1990's. Luther Vandross was a musical master whose style has influenced an entire generation of today's vocalists. His distinctive brand of satin-smooth vocal magic moved international audiences and continues to touch people to this day. The happy healthcare host, Max “Mr. Divabetic” Szadek, who worked with Vandross for more than 14 years, hosts this tribute podcast featuring Luther's former vocalists Paulette McWilliams, Pat Lacy, Tawatha Agee, Cindy Mizelle, and Kevin Owens, band member Bryon Miller, Vandross family member, Seveda Williams, friends Darren Margo and David Jones, the Luther Vandross historian, Leon Petrossian and Luther super fan, Jane Goodman from Great Britain. Throughout the podcast, we will be playing selected Luther Vandross songs that he recorded during the 1990's courtesy of SONY Music. Divabetic, the organization inspired by Luther's diabetes journey revisits the singer's career in the decade of hair scrunchies, boy bands, grunge, and rave parties. This Luther tribute remembers the moments, the music and the man, and the motivation to ensure that no one has to struggle with diabetes alone or in silence. Keep ‘your house a home' and learn how to prevent diabetes health-related complications from occurring. Visit: www.divabetic.org
He was “The Velvet Voice.” Luther Vandross was one of the brightest stars in the music business in the 80's and 90's, notching up a slew of hit albums, including his “party starter” single , “Never Too Much” and his album “Dance With My Father” which went straight to Number 1. After his career faltered, Luther was poised for a comeback in the early 2000's when disaster struck—A massive stroke left him in a coma for nearly 2 months. Vandross survived but less than 2 years later he collapsed and died following what medical reports described as a “cardiac arrhythmia.” Forensic Pathologist Dr. Michael Hunter investigates what really killed Luther Vandross and uncovers the story of a man tormented by a food addiction that led to huge weight gains and losses. But was it weight that killed Luther Vandross or something hidden even deeper? Like what you hear and want more true crime and mystery? Go to https://www.reelz.com/podcasts/
He was “The Velvet Voice.” Luther Vandross was one of the brightest stars in the music business in the 80's and 90's, notching up a slew of hit albums, including his “party starter” single , “Never Too Much” and his album “Dance With My Father” which went straight to Number 1. After his career faltered, Luther was poised for a comeback in the early 2000's when disaster struck—A massive stroke left him in a coma for nearly 2 months. Vandross survived but less than 2 years later he collapsed and died following what medical reports described as a “cardiac arrhythmia.” Forensic Pathologist Dr. Michael Hunter investigates what really killed Luther Vandross and uncovers the story of a man tormented by a food addiction that led to huge weight gains and losses. But was it weight that killed Luther Vandross or something hidden even deeper? Like what you hear and want more true crime and mystery? Go to https://www.reelz.com/podcasts/
Brace yourselves. It's another dating episode. We do talk about the Racism of Bumble. And then we roast the shit out of Martin Luther( not to be confused with Martin Luther King, who is Martin Luther King Jr's dad) for hating jews.
There's more playoff basketball, so of course there's more Obvious Weapon! The fellas are back discussing the historic play of Luka Doncic, Donavan Mitchell, and LeBron James. Yes, you read that right. LeBron is STILL making history. The OW host also talk potential second round match-ups and discuss what would Kawhi's career look like if he put in postseason effort during the regular season??? Plus, the MVP of the NBA doesn't have a jump shot???Support the Show.
Today on The Neil Haley Show, The Total Tutor Neil Haley and Caregiver Dave will interview Celebrity Carl McDowell. I play TTD on HBO's Ballers, I was Vandross on FX's Sons of Anarchy, I've also played on Togetherness, Scorpion, Rush Hour, Dog with a Blog, and Animal Kingdom
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