Podcasts about wake me

Tunes: Fitzmaurice: A Connaught Air, Spatter the Dew, Moggy Will you Come Again, Billy O'Rourke, I'm Asleep and Don't Wake Me, Mount the Stage, Donald Bran, Loose the Belt, Fitzmaurice's Trip to Rosline Castle, The Munster Lassie, The Lads of Fingall, Turn the Pig from the Tea Pot, Jigg, Mrs. Garden Campbell's Jigg, The Tore Retreat, Kick the World Before You, Fitzmaurice's Hornpipe, Hamilton: Berlin Waltz O'Farrell: Pay the Reckoning For my earlier playthroughs which include a lot of concordances check out: No. 1: https://www.wetootwaag.com/s5e14 No. 2: https://www.wetootwaag.com/s5e18 No. 3: https://www.wetootwaag.com/s5e30 No. 4: https://www.wetootwaag.com/s6e06 +X+X+ 1807: A Connaught Air, Spatter the Dew, Moggy Will you Come Again, Billy O'Rourke, I'm Asleep and Don't Wake Me, Mount the Stage, Donald Bran, Loose the Belt, Fitzmaurice's Trip to Rosline Castle, The Munster Lassie, The Lads of Fingall, Turn the Pig from the Tea Pot, Jigg, Mrs. Garden Campbell's Jigg, The Tore Retreat, Kick the World Before You, Fitzmaurice's Hornpipe, from Fitzmaurice's New Collection of Irish Tunes nos. 1-4 https://books.google.com/books?id=vq4Fb5TyTK4C&newbks=0&pg=PP2#v=onepage&q&f=false +X+X+ For the Trip to Rosline Castle set see Bannocks of Barley Meal: https://jeremykingsbury.bandcamp.com/track/the-berlin-waltz-fitzmaurices-trip-to-roslin-castle-pay-the-reckoning (1853) The Berlin Waltz from Hamilton's Universal Tune-Book digital.nls.uk/special-collections-of-printed-music/archive/94521216 (1805) Fitzmaurice's Trip to Roslin Castle: from Fitzmaurice's New Collection of Irish Tunes. Adapted for the Piano Forte, Union Pipe, Flute,&Violin: www.google.com/books/edition/FitzmauricesNewCollectionofIrishTu/vq4Fb5TyTK4C?hl=en&gbpv=0&kptab=overview (1806) O'Farrell's Pay the Reckoning (Bobbing for Eels/ Jackson's Bottle of Brandy) digital.nls.uk/special-collections-of-printed-music/archive/87779834 FIN Here are some ways you can support the show: You can support the Podcast by joining the Patreon page at https://www.patreon.com/wetootwaag You can also take a minute to leave a review of the podcast if you listen on Itunes! Tell your piping and history friends about the podcast! Checkout my Merch Store on Bagpipeswag: https://www.bagpipeswag.com/wetootwaag You can also support me by Buying my Albums on Bandcamp: https://jeremykingsbury.bandcamp.com/ You can now buy physical CDs of my albums using this Kunaki link: https://kunaki.com/msales.asp?PublisherId=166528&pp=1 You can just send me an email at wetootwaag@gmail.com letting me know what you thought of the episode! Listener mail keeps me going! Finally I have some other support options here: https://www.wetootwaag.com/support Thanks! Listen on Itunes/Apple Podcasts: https://podcasts.apple.com/us/podcast/wetootwaags-bagpipe-and-history-podcast/id129776677 Listen on Spotify: https://open.spotify.com/show/5QxzqrSm0pu6v8y8pLsv5j?si=QLiG0L1pT1eu7B5_FDmgGA

Sintonía: "Oh Mary Don´t You Weep" - The Fisk Jubilee Singers"Up Above My Head" - Sister Rosetta Tharpe & Marie Knight with The Sam Price Trio; "God´s Gonna Gut ´em Down" - The Golden Gate Quartet; "I Want My Crown" - The Pilgrim Travellers; "Get On Board Little Children" - Alphabetical Four; "Climbing Up The Mountain" - Morris Brown Quartet; "Precious Memories" - Sister Rosetta Tharpe & Marie Knight; "Didn´t It Rain" - The Golden Gate Quartet; "Let The Church Roll On" - Capitol City Four; "Standing On The Highway" - The Pilgrim Travellers; "Wake Me, Shake Me, Don´t Let Me Sleep Too Long" - The Wright Brothers Gospel Singers; "Rock Me" - Sister Rosetta Tharpe; "Where Could I Go But To The Lord" - Sister Ernestine Washington with Bunk Johnson´s Jazz Band; "I Heard Zion Mourn" - Southern Sons; "Lonesome Road" - Sister Rosetta Tharpe with Lucky Millinder & His Orchestra; "You´ve Got To Move" - Elder Charles Beck; "Don´t Take Everybody To Be Your Friend" - Sister Rosetta Tharpe & The Sam Price Trio; "Amazing Grace" - Mahalia JacksonTodas las músicas extraídas de la recopilación (2xCD) "Black Gospel" de la serie "As Good As It Gets" del sello Disky Communications (2000).Escuchar audio

ArtHaus Radio_296_Wake Me by WCUG

In this episode of The Balcony Show we are featuring music and an interview with Alt/Rock band The Orange Clouds. Our dude of all things awesome Madcat has the single "Finger On The Trigger" from Wake Me in this week's Maadtraxx, Donna has the new single 'Mother" from Burr Island, Bo has another great tip for Indie artists and Mike is bringing the weird in this week's Naturally, Not The News. Tune in for another great show! Hosted on Acast. See acast.com/privacy for more information.

We had a great conversation with Emmy Award-winning Actress Danielle Bisutti on The Chris & Sandy Show. We talked about her role in The Blue Rose, what she learned from her role, her life and so much more!Born and raised in Los Angeles, Danielle Bisutti attended California State University, Fullerton, where she received a BA in Acting and Musical Theatre graduating Magna Cum Laude. While attending CSUF, she was nominated multiple times for Best Actress in the Irene Ryan Competition and took the runner-up position at The Lincoln Theatre in NYC. She played the role of ‘Sheila' in a California-based production of Hair and brought the cast to Chicago to perform at the Democratic National Convention, along with a five-week run at The New Athenaeum Theatre. Her other theater credits include Reno Sweeney in Anything Goes, Maggie in Boy's Life, Yelena in Uncle Vanya, Fastrada in Pippin and Ophelia in Hamlet. She also studied with Lesley Kahn, performed with the Upright Citizens Brigade and studied with the Film Actor's Workshop under Eric Kline. Bisutti has been seen on some of television's most popular series including Parks & Recreation, Last Man Standing, CSI: Miami, Without a Trace, The O.C., Castle, NCIS, Criminal Minds, 90210, Shonda Rhimes' For the People, Private Practice, Body of Proof, Two and a Half Men and Boston Legal. She is best known for her starring role as Amanda Cantwell opposite Keke Palmer on the Nickelodeon series True Jackson VP. Her film credits include Insidious Chapter 2, Universal Studio's Curse of Chucky, Michael Rosenbaum's indie comedy Back in the Day, Lionsgate's Venice Underground opposite Eric Mabius, The Neighbor with Matthew Modine and Lionsgate's Faith-based film No Greater Love. She won a Los Angeles area Emmy Award in 2022 for hosting Street Music Los Angeles. She co-produced the web series Hollywood Girl in which she had a starring role as Pasha Maneer. Her talents lend to both onscreen and behind the scenes work. In 2018, Bisutti provided the voice and motion capture for the Witch of the Woods, who is later to be revealed as the Goddess Freya in the Sony Playstation video game God of War. She continued her role for the 2022 release of God of War: Ragnarok – roles for which she has been BAFTA nominated for. Additionally, she performance captured the role of “Claudia Grimstone” in Madden NFL 21: Face of the Franchise and voiced “Wonder Woman” in the Lego Movie 2 video game. A Writer, Producer and Director: Her company Perfect Timing Productions' current projects include Mood Swings, a TV comedy series for Pureflix, and short film Little May which was an "Official Selection" of Academy Award qualifying LA Shorts International Film Festival and Fade In Awards Grand Jury Prize "Best Short Script" 2019. Projects in development include TV pilots: Wonderland, Damsels and feature films projects: The Fort, The Christmas Rebound, and Wake Me.As a Singer-Songwriter, Danielle's original songs have been placed in films Venice Underground, April Moon, In the Presence of, Shadowheart, and theme song Heaven for the indie feature City of... which she performed live at the 19th Annual Steve Chase Humanitarian Awards Desert AIDS Project accompanying dancers Kupono and Marko from So You Think You Can Dance with with choreography by Ray Leeper. She received a Los Angeles Music Award for "Best Female Singer-Songwriter." Her album "Glimmer" was nominated for AAA Album of the Year and her song "In Passing" has received Unanimous Choice Recipient Award for Independent AC Single of the Year. Music Connection Magazine has featured Danielle in its Hot 100 Unsigned Artists list. Annually Danielle sings on stage with rock n' roll legends at the Venice Beach Sign Holiday Lighting ceremony, past artists: Al Jardine of The Beach Boys and Andy Summers of The Police. Danielle sings and plays piano, guitar and ukulele with her band Midnight Velvet, interweaving jazz and blues standards in...

I had the absolute pleasure of speaking to Director George Baron and the beautiful Danielle Bisutti about their roles in “The Blue Rose” and this being George's directorial debut (and seeing how that he was able to strategize and complete this film), I am excited and looking forward to seeing it when it's released on July 12th. Pre-order is now available for the movie on Apple Tv and on Amazon. Both described their characters very well and in the most intriguing way, these two were phenomenal in this interview. This happens to be one of my favorite interviews, these two are so down to earth and easy to talk to. David did admit that David Lynch is one of his biggest influences and there's absolutely nothing wrong with that – we all have our influences it's just that I have hard time trying to figure out mine. Danielle on the other hand, has many influences and Madeline Kahn is one of them. It's no wonder these two individuals are so very talented, and they deserve to be nominated for all of the awards in Hollywood. Danielle has upcoming projects to look out for: “Hollywood Heist” with an all-star cast and “Wake Me” – so keep an eye out for those two. Make sure you go to the theater and watch the release of this movie, unless you are afraid to leave your home then you can order it on Apple TV and Amazon.

WAKE ME have been swinging out of the gates since working with Platinum Super Producer Erik Ron (Godsmack, Staind, Bush) in 2018 and have been invited to share the stage with some of Rock's biggest names including Avenged Sevenfold, Shinedown, Kim Dracula, Five Finger Death Punch, Pop Evil, From Ashes To New, Skillet, Of Mice and Men, Puddle of Mudd, Sevendust, August Burns Red, 10 Years and more. In that same timeframe, the band has accumulated over 15 Million streams on Spotify alone and has been featured on multiple Rock and Metal Editorial Playlists. Their early-band rock/metal cover of Seal's "Kiss from a Rose" has garnered over 7 Million streams and named as one of the "greatest rock covers of the last two decades" by GUITAR WORLD MAGAZINE....ALL OF THIS AS AN INDEPENDENT BANDTheir hook-filled blend of hard rock, pop, and an unmistakable foundation of metal and skate punk has established WAKE ME as a band that is continuing to evolve and expand their sound while turning the heads of fans of all genres.The quartet now features the explosive Lead Vocals and guitars of Collin Sanford with original frontman Justin Ray stepping into lead guitar/backup vocal duty while the rhythm section is dominated by Travis "Tricky" Authier (Drums) and the mighty Carlos Martin (Bass).WAKE ME has been carefully curating singles over the past 5 years with established and on-the-rise producers such as Erik Ron (Godsmack, Staind, Bush), Andrew Baylis (Jellyroll, VRSTY), Joey Bradford (The Used, Letterkills), and Hiram Hernandez (AILD, Word Alive). WAKE ME is currently working with the legendary Joey Bradford of The Used on a new batch of material. 2024 tour dates to be announced soon...https://wakemeband.com/www.caughtonthemike.com

1. Delta Heavy: Punching Holes 2. Serks: Restless 3. Dub Head: Kraken 4. Dub Head: Silicon Mode 5. Tweakz: Raigeki 6. Tweakz ft. Freddy B: x22 7. Tweakz ft. Yatuza: Imma Be 8. Serks: Lonely Soul 9. Kumo: Sinkhole (Teej rmx) 10. Z.I.L: Song To Sun 11. Dub Head: Operator 12. Kije: Posted 13. Andy Pain: Raumpfleger 14. Andy Pain: Meknosenian 15. Dub Head: Funkyphone 16. Tweakz: Enter The Dragon ft. DJ Logos 17. Chippie: Big Grey Wolf VIP 18. Ivy Lab: Snap 101 19. Poni: Dolor 20. Jack Smooth: Himalaya 21. Dacamera: The Enduring Sophisticate 22. Gydra & 2Whales: Caravan 23. Mollie Collins & Leah Guest: Need Ya (I Don't Wanna) VIP mix 24. Delah & Ciland: Fall Down (One Mindz rmx) 25. Emperor: Ursa 26. Agressor Bunx: Supersonic 27. Okee: Synchronicity 28. Easy: Reaching 29. Pyxis: Into The Light 30. goddard. x Cat Burns: Wasted Youth 31. Keeno & Makoto: Riviera 32. TRC2: Straw Hat (NonRev rmx) 33. Mage: Don't Wake Me

Cerramos semana con el hit ochentero “Wake Me up Before You Go-Go”.

In this 1367th episode of Toronto Mike'd, Mike takes a closer look at a 90s jam that mattered: Rusty's Wake Me. Toronto Mike'd is proudly brought to you by Great Lakes Brewery, Palma Pasta, Ridley Funeral Home, Electronic Products Recycling Association, Raymond James Canada and Moneris. If you would like to support the show, we do have partner opportunities available. Please email Toronto Mike at mike@torontomike.com

link 01. Underworld — Scribble (Radio Edit) 02. Jon Hopkins — Emerald Rush 03. Deekline & Wizard — Barcelo Cola 04. Shaggy — Boombastic 05. Мумий Тролль — Невеста? 06. Russian Style Folkestra — Chop Suey 07. Faithless — We Come One 08. The Cardigans — Iron Man 09. Green Day — Wake Me up … Продолжить чтение Lofstrom loop 346 (29.09.2023)

Bonjour!!Hope you're all well? Apologies for the show being a week late. Full explanation given in in the opening ramble.Anyway, it's definitely worth the wait. Heaven sent newness for you all to fall in love with.PLEASE SPREAD THE WORD, SUBSCRIBE & SUPPORT THE MUSIC!Love you endlessly...Ross xxHere are all my links:-Bandcamp: https://franksonmusicuk.bandcamp.com-Instagram: https://www.instagram.com/FranksonMusicUK-Twitter: https://twitter.com/FranksonMusicUK-Facebook: https://www.facebook.com/FranksonMusicUK-YouTube: https://www.youtube.com/channel/FranksonMusicUK-Headway: https://www.headway.org.ukTracklist:1. Totek 'Touchh' (Darker Than Wax)2. Mattr 'Tal' (Loft & Sound)3. Barry Can't Swim 'Woman' (Ninja Tune)4. Simon Mavin 'Good Hair Day' (Bastard Jazz)5. Tommaso Cappellato X Pavimento Fertile, ft. Lalin St. Juste 'Under The Moon' (Pavimento Fertile)6. Manmade Science, ft. Haldor Legreid 'Just Tell Me When (Vox Version)' (18347)7. Leslie Lello 'Spirito Rivera (Aroop Roy Remix)' (The Disco Express)8. DJ Aakmael 'Strobe (The Revenge Remix)' (Sloth Boogie)9. Cinthie 'U Won'y Wake Me' (Elevate.Berlin)10. Kiimi 'Earth' (Three Six Zero)11. Maya Jane Coles 'In2u (Original Mix) (I/Am/Me)12. Seb Wildblood, ft. Lawrence 'Don't See This' (Seb Wildblood)13. Capricorn '20Hz (Marco Lys Radio Edit)' (R&S)14. Asma Maroof, Patrick Belaga, Tapiwa Svosve ‘Sport' (PAN)

In 1993 Chester And His High School Buddy Sean Dowdell Decided They Wanted To Start A Band, They Called Themselves "Sean Dowdell And His Friends?"... Then Quickly Decided "Grey Daze" Was Better.  They Recorded 2 Albums Before Chester Would Join Linkin Park And The Band Would Fall Into The Past.  Then Years Later They Planned on Bringing The Band Back, With The Albums Being Re-Released And A Full Blown Grey Daze Tour. Of Course Chester's Death Would Sadly Bring The Revival To An End.  But After A Few Years Of Lawyers Doing Lawyer Stuff... The Re- Releases Finally Saw The Light Of Day.  Ross Ford Got Time With Sean Dowdell In February 2020 To Talk Up The Recordings And Sean's Time With Chester.  The Grey Daze Records, 1994's "Wake Me" And The 1997 Album "No Sun Today", Have Both Been Re-Mastered And Re-Released Since The Interview. More At GreyDazeMusic.com.

Karen shares her powerful story of growing up in an alcoholic home and the impact it had on her life, including her struggle with emotional suppression and disconnection. Tune in to hear Karen's journey towards healing, self-discovery, and finding peace within herself. She offers insightful advice for those dealing with addiction in their lives and emphasizes the importance of seeking support and approaching these situations with curiosity and compassion. This podcast is a must-listen for anyone looking to overcome past traumas and experiences and connect with themselves and others on a deeper level._____If you or anyone you know is struggling with addiction, depression, trauma, sexual abuse or feeling overwhelmed, we've compiled a list of resources at secretlifepodcast.com.______To share your secret and be a guest on the show email secretlifepodcast@icloud.comABOUT OUR GUEST:Karen Maloney“Your life is like a mirror reflecting your beliefs to you.” Life wasn't always how it is now. To many people I may look and appear the same, but INSIDE I feel like a completely different person. Just like a computer, I've installed a whole new operating system. I've deleted old files & replaced them with new programs instead (i.e. habits, beliefs, thoughts etc) and revolutionised my internal world, shifting the way I think and what I believe about myself. Everything comes from within – ‘as within, so without'. It's been life-changing for me and I know it can be the same for you!Now I can see CLEARLY that for most of my life I lived in the baseline energy of fear. I lived my life in ‘freeze' mode. I felt disassociated, unsafe, anxious and I felt awkward being myself. I judged myself harshly (always trying to be perfect!) and my brain went a 100 miles and hour. But for the most part I never realised there was anything wrong with that. It was my ‘normal'. I thought it was a sign of my ambition and drive. Out of an unconscious fear, I lived from the level of my mind. I thought if I can think, plan, control and rationalise everything in my mind, I would be safe. That need for control provided me with a sense of safety and security inside, that I didn't feel in the external world. But it also lead to burnout. Find out MORE: Soulpowerlight.comCuriosity & Consciousness Podcast_____SECRET LIFE'S TOPICS INCLUDE:addiction recovery, mental health, alcoholism, drug addiction, sex addiction, love addiction, OCD, ADHD, dyslexia, eating disorders, debt & money issues, anorexia, depression, shoplifting,  molestation, sexual assault, trauma, relationships, self-love, friendships, community, secrets, self-care, courage, freedom, and happiness._____Create and Host Your Podcast with the same host we use - RedCircle_____Get your copy of SECRET LIFE OF A HOLLYWOOD SEX & LOVE ADDICT -- Secret Life Novel or on Amazon______HOW CAN I SUPPORT THE SHOW?Tell Your Friends & Share Online!Follow, Rate & Review: Apple Podcasts | SpotifyFollow & Listen iHeart | Stitcher | Google Podcasts | Amazon | PandoraSpread the word via social mediaInstagramTwitterFacebook#SecretLifePodcastDonate - You can also support the show with a one-time or monthly donation via PayPal (make payment to secretlifepodcast@icloud.com) or at our WEBSITE.Connect with Brianne Davis-Gantt (@thebriannedavis)Official WebsiteInstagramFacebookTwitterConnect with Mark Gantt (@markgantt)Main WebsiteDirecting WebsiteInstagramFacebookTwitterTranscript[0:00:00] Karen: Often a child who grew up in an alcoholic home can have difficulties with trust, with identifying, expressing feelings. And they either go one of two ways totally controlled, or feeling like they have no control over their life. This is 1 million% describing me.[0:00:23] Brianne Davis: Welcome to the Secret Life Podcast. Tell me your secret, I'll tell you mine. Sometimes you have to go through the darkness to reach the light. That's what I did. After twelve years of recovery in sex and love addiction, I finally found my soulmate myself. Please join me in my novel, Secret Life of a Hollywood Sex & Love Addict. A four-time bestseller on Amazon. It's a brutal, honest, raw, gnarly ride, but hilarious at the same time. Check it out now on Amazon. Welcome to Secret Life Podcast. I'm Brianne Davis-Gantt. Today, I'm pulling back the curtains of all kinds of human secrets. We'll hear about what people are hiding from themselves or others. You know, those deep, dark secrets you probably want to take to your grave, or, you know, those light or funnier secrets that are just plain embarrassing. Really.[0:01:23] Brianne Davis: The how, what, when, where, why of it all. Today. My guest is Karen. Now, Karen, I have a question for you. Dun dun dun. What is your secret?[0:01:37] Karen: I grew up in an alcoholic home. And actually, the impact that it had on me that I totally did not connect the dots to that at all.[0:01:48] Brianne Davis: Like the denial of what living in an alcoholic home does to you.[0:01:53] Karen: Yeah, well, I don't even because there's so many different I suppose that word was never used. It wasn't a thing. It wasn't as if my dad was out all day every day and coming home drunk and crawling havoc and messing up the place and all this kind of thing. No, he totally worked all day, but he went out every single night and came home, particularly when I was a child, I remember him coming home drunk, like, absolutely obliterated, and I hated it. And I always just wanted to be in bed and I would be like, oh, please don't come in and wake me up. Because sometimes he would he'd come in and he'd wake me up and that's when he'd be like, oh my God, I love you so much. profusing his undying love. And sometimes he passed out as well. With life an arm over me. And as a child, I was just terrified.[0:02:41] Brianne Davis: So terrifying. That overwhelming. It's almost like when a family member would do that, it was like you didn't know what to do with all that energy coming at you.[0:02:53] Karen: Yeah, and that's when I literally stopped breathing. Because as a child and before the age of seven, we're literally in PETA. We've been programmed. It's like we're in a hypnotized state again. I'm looking back now as a journey of discovery and healing and connecting all the dots, but I didn't know this at the time. But that's when I stopped breathing, I'd be so terrified. I went into freeze mode because even my dad, if he passed out with his arm over me, I would stop breathing because I'd be like, I don't want to wake him, because if he starts producing his love again, the smell of drink, it's just not cool for a child. And I live my life in that freeze mode.[0:03:39] Brianne Davis: Like, you would realize you were holding your breath.[0:03:43] Karen: And especially if I felt triggered or vulnerable or particularly when it came to relationships and opening up and expressing feelings and emotions, life, I just did not do that. I was a closed book. And if ever I felt in that space of needing to open up, I would go in that freeze mode. It was like, stop breathing. Shut down. Yes.[0:04:05] Brianne Davis: I want to ask you, so I've taken breath class. As an actor, you work with your breath and all. My teacher told me that I breathe just in my chest, and I didn't connect my breath to my belly. And the lower area, is that how you life? I guess I was disconnected too.[0:04:25] Karen: Yeah, upper chest breathing. Because I've studied a lot and done a couple of courses while on breath work. And that upper chest breathing, is that really kind of panic, fight or flight you're passing extra cortisol you're in fight or flight, essentially. You're not in that rest or digest, like, full, deep, diaphragmic breaths that allow oxygenated blood to pass around your body. So, yeah, it does have an impact. But it's so funny because recently I joined Alanon, and honestly, by joining there and that's through another episode of a person close to me drinking. And I was just like, oh, my God. Even with all my skills, all my tools, all my practices, I couldn't cope. It was really triggering me. So I was like, oh, my God, I need help here.[0:05:12] Brianne Davis: Wait, let's not jump ahead, though. Wait, let's go back. I have a couple of questions. Okay. You're like, I know exactly what I want to say, but no. When your household was in that state so he drank every night. He was a functioning alcoholic. It sounds life.[0:05:27] Karen: Now you can look back and go, yeah, absolutely. Because he was up every morning, went to work.[0:05:31] Brianne Davis: Yeah. And that's the hardest ones to diagnose. If your life is not falling to pieces, it's hard to be like, oh, I have a problem.[0:05:39] Karen: Yeah.[0:05:40] Brianne Davis: So was there a word you guys used for when he was in that state, or was it just not talked about?[0:05:46] Karen: No, like I say, it was not mentioned. That word was never brought up. It was never an issue. It was just like and honestly, when I look back, I didn't see it as an issue. I didn't think, oh, my God, my dad goes out every night. It was just like a normal as far as I knew, it's what everyone did.[0:06:04] Brianne Davis: Wait and where are you from?[0:06:06] Karen: Ireland.[0:06:06] Brianne Davis: Ireland, that's it. You're Irish, right? But I'm Irish too and it's like a lot of people I hear say, well, Irish just drink a lot. Like it's our culture, it's the society we were raised in. Yeah.[0:06:19] Karen: And it definitely was part that. But I could see as well, it was probably his bit of a wind down his sanctuary where he met his buddies and they all catched up, caught up, but also when it's every single night of the year. The only two nights he didn't go out was Good Friday because the pubs were closed during Christmas Day because the pubs were closed and I do not remember a single day when he did not go. That's just how it was. But like I'm saying, it was just so normalized and I think this is what happens a lot in trauma or whatever kind of situation. They're just so normal. You don't see that there's any issue. They're just like your blind spots and those particularly coming home life really drunk and kind of waking us up in the middle of the night to tell us he loves us so much, in that I remember that happening literally a handful of times. But when I was really young, like five, six, seven, maybe around that age, it didn't happen as we got older, but he still went out. But it happened enough times for me to live my life in a programmed state of that not feeling safe, that fear, that living in freeze mode, shutting down. That's what we do.[0:07:40] Brianne Davis: You're supposed to rely on, is not in a healthy state. So the boundaries are crossed. Like your boundaries were crossed as a little girl. A father should not be climbing in bed and passing out drunk with his arm over his daughter. Is that when you had that AHA moment? Because you had it after we talked, right? Like we talked on your podcast. So how did that AHA moment realize, I know you have another family member that's also an alcoholic. Can you connect all those dots when this moment of AHA happened for you?[0:08:13] Karen: Yeah, my AHA moment when it all connected and I really saw the impact that those events had on me was like I mentioned, just another family member and just me not being able to cope and I was like, oh hell, I need help here.[0:08:30] Brianne Davis: And did something happen with the other family member? Did the person bottom out or just.[0:08:37] Karen: Every now and again they're just not in a good place, don't have healthy supportive habits. So it's just kind of like, well, I don't give a shit anyway, so I'm just going to go and get obliterated and maybe on a weekly Davis would just be obliterated and awake all night and singing and Wake Me up and I'm just like, what the fuck? So I was just life, oh my God, I need help here. Because obviously again, that's a coping mechanism and they're not ready to do anything else. But it was really triggering me more than anything else because, like, that I have so many tools and skills of and have been on this journey. So I reached out to Alanon and it's so funny because obviously there's so many groups, but it's not funny because there's no such thing as coincidence. But I ended up joining a group called growing up in an Alcoholic Home. And even though looking at it, I was life. Yeah, but that's not really the truth because you have this idea that Narcolic is drunk all day every day and calls him mayhem, which happens.[0:09:35] Brianne Davis: But I was grown up and well, they call Alanon, just so anybody's listening, you don't have to have a drunk parent to be an Alanon. I also went to Alanon. Neither of my parents were drinkers, but it was a dysfunctional family. So they say Alanon's for alcoholic or dysfunctional family, or if you have a.[0:09:52] Karen: Relative or friend, they say, yeah.[0:09:57] Brianne Davis: Well, they're another addiction. Like, my mom is a workaholic. She'll say that other family members had problems. But yeah.[0:10:04] Karen: So this group jumped out at me and at first I was like, no, I'm not going to join that one. I didn't really grow up in the Melcolic home, but then I was like, because this was a Friday and I was like, I really want to just join now. So this was a Saturday morning, so it was the next day. So I was like, yeah, I'm just going to join it. And oh my God. On their opening paragraph, even they describe this adult child and they describe this person who as a child, if they grew up in an alcoholic home and if they often felt either physically unsafe or psychologically unsafe, and that was obviously me, psychologically unsafe.[0:10:44] Brianne Davis: When a parent crosses a line that is just unsure and not normal, which happened to me, I wasn't as sexually abused by a parent, but there was some line crossing where boundaries that is inappropriate for a child. So if you're out there and something has happened where you're like, well, it wasn't sexual abuse, but it definitely made me really uncomfortable as a child. It was too intimate and it was emotionally a meshing and physically meshing a little bit. You're okay to say something happened and I'm uncomfortable, even if it wasn't sexual? I just have to say that because it was so hard for me doing the work to be like, but nothing sexual happened. And my therapist would be like, no, it was inappropriate at six years old for this to happen to you. So I just have to say that because I had the hardest time admitting that to myself.[0:11:35] Karen: Yeah, no, for sure, you're right. And it does make sense, as I say, although I didn't feel physically unsafe. Of course it makes sense. Like you say, yes, absolutely. Boundaries were crossed that's just not normal behavior, definitely, but, like, that it was more a psychological effect for me and how I life. But they had this paragraph on an adult child and how it impacts them, how often a child who grew up in an alcoholic home can have difficulties with trust, with identifying, expressing feelings. And they either go one of two ways total control or feeling like they have no control over their life. And I swear to God, my jaw dropped on the ground because I was like, this is 1 million% describing me and how I operated in my life. I was a total and not sure control freak because I suppose I didn't feel safe. So I had this story. And again, this was all unconscious at the time. This is through the inner work and the uncovering that my story that I was telling myself was if I could control everything outside of myself, I was safe.[0:12:39] Brianne Davis: Yeah.[0:12:40] Karen: And we obviously can't live that way. It's exhausting. We can control nothing.[0:12:44] Brianne Davis: I was saying I love power and control because that's the only thing I felt, because I felt so not in control of everything. And you can't yeah, you can't go through life trying to have power and control over anyone.[0:12:56] Karen: No, but I did. But more so, even over myself. And it was overanalyzing. It was overly critical. I was overly independent. Like, I was just like, I'll do it all myself. I don't want anyone to help me. I didn't want to ask for help. Life just that pure perfectionism. And that just feeling uncomfortable being myself. And a lot of people do it, but that editing, altering, censoring ourselves in order to be liked, to be accepted by others. And again, it wasn't conscious to me at the time. I wasn't going around going I was the most disingenuous person ever. No, I was completely oblivious. I just felt so unsafe and unconnected and uncomfortable being me that this is just what I did.[0:13:40] Karen: And I see I carried so much embarrassment. I really had so much underlying shame and embarrassment, and I was afraid to be seen. I didn't want to be seen. Why were you hired?[0:13:52] Brianne Davis: Can you explain?[0:13:54] Karen: I was embarrassed because if and I remember, I didn't like having friends staying over purely for the fact I was like, oh, my God, imagine if they stayed and he came in in the middle of night, waking us up, saying all this shite. I was just, like, so embarrassed.[0:14:08] Brianne Davis: Right?[0:14:09] Karen: And that's really where it came from. It was just that pure embarrassment of having someone over and seen this behavior or feel behavior that stuck with me. And still at times, because sometimes our wounds, they're always there. No matter the healing we do, we get triggered. And even recently, life last week, I was meditating on the couch in the sitting room, and next thing I heard my brother coming in, and I got really embarrassed. I was like, oh my God, I'm going to stop. But I've done it so much now it's in that moment going, no, that's an old story.[0:14:45] Brianne Davis: That's life. Life.[0:14:46] Karen: And I just stay there, I'm safe, all is good. Who cares if he sees me? Life, let him think what he wants. It's totally fine.[0:14:56] Brianne Davis: Has this affected your romantic relationships?[0:15:00] Karen: Totally, yeah. And again, it was all unconscious. But now I can see how and just to say before I go into this, that AHA moment was joining that group and actually seeing because just connecting the dots and it's just like all the cards fell and it was like, oh my God. That really did have that much of an impact on me because it crossed my mind before and I was like that's when I stopped breathing. But I kind of thought that was it. But no, it was everything in how I was. And because that feeling of not being safe or being afraid to be myself, wanting to kind of hide and being that control freak and perfectionist and overly independent, that obviously put me in my masculine energy. I lived in my masculine energy.[0:15:53] Brianne Davis: Me too.[0:15:56] Karen: Which again, when I saw that I was like, oh my God, we're so blind.[0:16:01] Brianne Davis: But that's the thing. I think a lot of women go to the masculine energy when they feel unsafe. As a child, when you have to walk on eggshells with someone in your household at such a young age, not knowing what you're going to get, if it's a rager, if it's drinking, if it's overly infectionate, all that stuff, you usually turn to the masculine energy because it shuts you down and it protects you.[0:16:23] Karen: Well, it kept me in my head. I was totally disconnected from my body. I lived from the level of mind that thinking, planning, doing. Like if I could think every aspect of us, it's going to be fine, I could control us, I could think my way out of things, overanalyze and.[0:16:38] Brianne Davis: Figure it out completely, which doesn't burnish.[0:16:43] Karen: Because you cannot live there. But again, it was so normal to me because I'm a really ambitious and driven person and I thought my constant striving and pushing and hustling and efforting, I thought that was a sign of oh, that's a sign of my ambition. Like, I didn't see that it was so detrimental. So because I lived at that masculine energy, I obviously was attracting people who were men, who were more in their feminine and who just couldn't hold space to me because energy always has to balance. And again, I was just such a closed book. I just couldn't open, I couldn't express. I was life just kind of numb inside. I was just like, oh, shut down. So totally. Yeah, it impacted everything, but especially relationships. And like, that not even just intimate. Even some of my closest relationships with friends. I remember years and years ago we were on holidays and a friend of mine, one of my best friends, even said to me, she was just like she's just like, who are you? I just don't even know who you are. You don't share.[0:17:48] Karen: And I was like, oh, my God.[0:17:50] Brianne Davis: How long did you have this friendship? How long were you guys?[0:17:52] Karen: Oh, we've been friends since primary school.[0:17:55] Brianne Davis: Wow. To have somebody that you've known that long be life, who are you? Yeah, because I were never completely available.[0:18:04] Karen: Not on an emotional level. Never. I was terrified. I didn't know how to speak about emotions. I didn't know how to express feelings. I didn't know how because, again, one of what happened. But two, we're not taught that inside society. We're not taught how to process emotions, how to feel them, how to release them. So, yeah, it was that. And actually oh, my God, this is so awful that I remember, like, an early boyfriend as well, who I really, really liked and like, that I liked him so much. I was terrified. Again, that fear of being yourself. I was like, Fear of fear. But even more, it was how I acted, what I said. I just had this fear of he doesn't life me because I like him so much.[0:18:46] Karen: So it's that editing that constantly not feeling comfortable in yourself, to just be yourself. It's trying to be that perfect person. And I remember at one stage and we were going out and I remember one day he gave me a big hug. We just met and he gave me a big hook. And he was like, I don't know what's wrong with you? He's like, It's like you're dead inside.[0:19:08] Brianne Davis: What age?[0:19:10] Karen: Oh, my God. I was like, early teens, late teens, late teens.[0:19:13] Brianne Davis: Like 1617?[0:19:15] Karen: Yeah, probably 1718.[0:19:17] Brianne Davis: Wow.[0:19:18] Karen: Like, around that age. Those kind of comments obviously don't help a person to try.[0:19:25] Brianne Davis: Were you confused or did you brush it off? Did you guys? What happened after that? I'm just curious.[0:19:31] Karen: Yeah, well, obviously, we kind of still went out for a bit, but obviously, it didn't go very far. But as I got older, I was more curious. I was like, Why? Because, again, like I'm saying, this was all unconscious. I didn't connect.[0:19:49] Brianne Davis: It's those secrets that we keep from ourselves. We are crazy.[0:19:54] Karen: And that's why the inner work is going within. Because what we carry unconsciously to ourselves are our blind spots. So, yes, I had a curiosity and I was like, what's wrong with me? Why can't I feel this huge joy and kind of safety and things like that? That's what led me on my path of healing and discovery and intimacy.[0:20:15] Brianne Davis: I know, but what you just said was really important. When you dead in the feelings of not being wanted or not being enough or scared of intimacy or being loved and all that, you dead in everything. That's what my therapy you dead in the joy. You don't get to pick and choose what emotional you don't actually feel all of them.[0:20:36] Karen: And you know what's even funny? I remember that's why Brennan Brown's talk, the Power of Vulnerability is one of my favorite ever. It is brilliant. And I remember when I first watched that, probably in 2015 or 2016, I was going out with a guy and he was going through different issues or whatever, and he was a bit shut down, obviously, as well. But again, I was totally unconscious. And I remember I watched that Ted Talk and my mind was blown. And she literally says that at the end, she was like, you can't pick and choose emotions. If you're shut down to one, you're shut down to all of them.[0:21:13] Brianne Davis: Yeah, I heard that twelve years ago. And it just blew my mind when she said that, because I was like, wow. That's why I feel like I never am fully joyous, because I was so dead. And I didn't want to feel anything because as an addict, I don't want to feel anything. Like, I just want to feel euphoria. 24/7. If I can't feel that, I don't want to feel anything else.[0:21:33] Karen: But I remember watching that mind blown. Loved it. But then I was like, that's what's wrong with my boyfriend, trying to get him to watch it. And it just blows my mind now, because again, it's that thing of everything as a reflection. It's not outside of us, it's something within us as well. But again, I was so unconscious. And it even makes sense now as well, because I traveled for years after university and life, you're saying there as well. I just couldn't feel the full expression of anything. I was just pretty much like, pretty numb to everything. And people you'll be watching this incredible sunset and people are like, oh my God, it's so incredible. Newly cried. And I'm like, yeah, it's ground, like.[0:22:12] Brianne Davis: Trying to set like, can we go now?[0:22:14] Karen: Yeah. Trying to kind of fake this, going, oh, yeah. And I'm like going, how are they getting so excited about this? I'm like, It's beautiful, but I just can't feel it. Whereas now I'm that person that I'm like. I'm like crying at the sunset, going, oh my God, it's so beautiful. Nature is so powerful, but I just live my life numb. And again, I just wasn't even aware.[0:22:36] Brianne Davis: Can I just say, too, it was really fascinating when you said about the boyfriend, and I just want to point out, and I always love to take these things because they're tips. Like, if anyone's listening and you keep picking that unavailable person, and it's because something in you is unavailable. You pick those people because you're unavailable. And that's when you go inward. Life, you said you have to do the inner work. If there's drama or you're not feeling what everybody else is feeling, usually there's something we're cut off from.[0:23:05] Karen: Yeah, and that's exactly why they say everything does start from within. If we can't feel the full expression of love, of joy, of whatever within us, first and foremost, nothing outside of us can make us feel it. Yes, they can augment it, they can make it bigger, but they cannot make us feel anything that we do not or have activated within ourselves first. So that's why it's all from within. It all starts from within everything. If it's not happening on the external, it's because of something that we hold within a limiting belief, a subconscious pattern, something. And that's why through my own journey and all my learnings and all these AHA like faceplant moments going, oh my God, how could I be so blind? But that's part of the journey. It's not when you have these uncoverings, it's not to get even harder on yourself. It's kind of to be like, oh, well, now I know. Now I've got something.[0:23:58] Brianne Davis: Now you're gentle, you have compassion and empathy, saying, oh, these are the things that happen. This is why I'm the way I am. And now I need to work on them because you can't carry around that baggage through your life or you're responsible for your behavior now that you know. But here's the thing, and I want to ask you, I want to get back to now there's a person in your life. Is your father still around? I wanted to ask.[0:24:22] Karen: No, he passed away ten years ago this year of cancer. But obviously it was all connected. And it's funny, actually, he mentioned to me close to the end, he said to me one day, he was like, you know what, Karen? I always thought I was an alcoholic and the drink would kill me. And he was like, and here I am with cancer. But it was cold on cancer. So there was obviously a connection.[0:24:47] Brianne Davis: Now you are dealing with someone in your life that is drinking a lot, right?[0:24:53] Karen: Yeah. On a weekly basis, kind of going.[0:24:57] Brianne Davis: So how are you dealing with that? How are you taking care of yourself now that you know this journey and you know what you've been through and you have the tools and you're with other people like mine going through the same thing. How? Karen, you dealing with someone you care about having the same disease, and it's.[0:25:15] Karen: Hard the closer the person is to you because you want to. And especially when you've been on a healing journey, you want to share all these tools and everything. I know, right?[0:25:25] Brianne Davis: And they're like, no, I'm not interested. Leave me alone. That happens to me on a daily basis. It's the most heartbreaking when you're like, no, it's heartbreaking the way you can be better. You don't have to be living like this. And they're, like, not interested.[0:25:37] Karen: Yeah, totally. And that's a really hard part. But it's about making peace with that as well. And I suppose for me now, for years, I have so many daily practices. Like it is my jam to be meditating, to be praying, to be doing yoga, to be conscious all day, every day, that is me. And even more so when I feel triggered in this particular situation. But also it was that extra level of me reaching out to get help from Alanon and be in a like minded group of people who are experiencing the same, to just be able to share because a word you mentioned there as well. When you go on this healing journey and really connect back to yourself, you gain so much compassion for yourself going, wow. It's that thing of when we know better, we do better. But that compassion. Again, like I said before, we have to activate things within ourselves. So the fact that I activated it within myself, for myself, I actually extend that to others. So even to my dad, I have huge compassion for him because I'm like, shit, I don't know what was going on in his life.[0:26:39] Brianne Davis: Yeah, what he went through, you have no idea. It's that empathy that we get to have now because we see that we're all going through something nobody does. Hurt people, hurt people and people are trying to function. But yeah, you look at it from a different angle, totally.[0:26:55] Karen: And I don't think anyone is innately bad, so I do that as well in this situation. And also it's the bigger picture of the higher consciousness that we are a soul, we are a spirit having a human experience. And I'm life just because I think it's bad or it's wrong or it's not the best way. I don't know what another soul is here to experience and to go through and it's just to try, hold, to look after myself. But to hold that space of compassion and love and be just like look, I know you're going through a difficult time. I'm here. Please let me know if I can do anthem. But I also know it's your journey and I fully love you. And giving them that space as well, I think is huge. And I know for us it's made a massive difference because although it hurts and it pains, again, it's not my life. Everyone's here to experience their own things and again, I know it's because of something else that's going on and they know as well. And when they're ready to look at another way, then it'll be their time and it's being okay with that. And I think that's the full truth of awakening, of responsibility, it is that making peace with everyone and anyone, however they're living their life, it's like, okay, maybe it's not my choice, but I don't want to take my anger or because you're not meeting my expectations out on you. That's my piece to deal with. If I am triggered, because that's what they say, nothing can affect me unless I have an unhealed wound within me, unless it's touching something within.[0:28:24] Karen: Me. So it's that constant invitation, and that's the way I looked at it. I'm like, it's an invitation for me to go deeper into my work. And I am so grateful. And I've said this to him as well. I'm like, oh, my God. I'm so grateful, actually, that you're going through this phase, because it has pushed me to go deeper within myself. And now I've connected with this whole community that I am growing and learning so much. And I'm like, oh, my God. And it is helping him. He's like, wow, that's really interesting. And he's starting to look for other avenues in that. So we just never know. And it's really hard the closer someone is. But it's not about getting anger, calling, just telling them to get their shit together and stop being such an asshole or whatever.[0:29:08] Karen: And that's really hard. But it's always our work. It's always our piece.[0:29:12] Brianne Davis: Yeah, I 100% agree. And I love talking to you. We could talk forever. But I have one more question before we go. If someone is dealing with an alcoholic or an addict and they don't know how to have a relationship or move forward, what would be your last bit of advice that you wish you would have heard a long time ago? Yeah.[0:29:35] Karen: Well, again, I suppose because it depends where you're at in your journey, because for so long, I was so unconscious, I didn't even see the connection. So curiosity is such an incredible tool. Like, if we live a life of curiosity and more curiosity about ourselves, why am I getting so angry? What is it touching within me? Why am I you know, can I not hold a space of.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Many of us grew up listening to The Coasters, the iconic 1950s band that bridged the gap between doo-wop and R&B, that brought humor and sass to the birth of rock 'n' roll. Remember “Yakety Yak” and “Charlie Brown,” “Along Came Jones” and “Poison Ivy,” “Wake Me, Shake Me” and “Little Egypt”? But before any of those tunes topped the charts, it was a lesser known Coasters cut that grabbed us. Picture it: Hot summer, 1957, and into our shiny new transistor radios The Coasters came sashaying into our ears with a sexy little song that said, yeah, she may go to the baker for cake and to the butcher for steak, but when she wants good lovin'? …well! It was a winking and nodding Jerry Leiber-Mike Stoller composition called “(When She Wants Good Lovin') My Baby Comes to Me.”The song, a minor hit for The Coasters, was resurrected nine years later when a little known group called The Chicago Loop took a rendition of it to No. 37 on the Billboard Hot 100 chart. Rock trivia-lovers like to point out this disc because it features a young Michael Bloomfield on the guitar and Barry Goldberg on keyboards.But in the Floodisphere, we were much more impressed with a different pressing of the song released one year earlier. Favorite folksinger Tom Rush's 1965 self-titled debut Elektra album included a version of the tune, accompanied by bassist Bill Lee along with John Sebastian (of The Lovin' Spoonful) and Fritz Richmond (of The Jim Kweskin Jug Band.) Choosing the song was a rather bold move for Rush at a time when some music purists were trying — in vain — to keep the gap between rock and folk as wide as possible. In his liner notes, Tom pointed out that the song was released on the flip side of “Great Big Idol with the Golden Head,” adding, “I am a great admirer of The Coasters.”It was back in the 1970s that Dave Peyton, Rog Samples and Charlie Bowen started playing around with the song because it definitely had jug band vibe going on. Want to hear a fast and furious take from an August night in 1979 (with our buddy Jack Nuckols just killing it on the spoons)? Click the button below:After that, the song went back to sleep in our consciousness for, oh, a half century or so.Then last winter, Randy Hamilton started singing harmony with Charlie on the chorus and suddenly the song was back, evolving into a fine vehicle for cool solos by Danny Cox, Veezy Coffman and Sam St. Clair. Click here to hear the 2022 version of this early rock classic. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Day 24 of 30: Don't Wake Me, I'm Dreamin'! Want the Shadow Self to reveal what we secretly fear or desire? This is a 2-part episode. The 2nd part will be published AFTER this challenge is completed. SO, be on the lookout for part 2! --- Send in a voice message: https://anchor.fm/c4challenge/message

Religiously Incorrect Podcast 1.16.22"Don't Wake Me, I'm Dreaming"Pastor Todd & Pastor Jeff discuss MLK's legacy, how far we've come, and how far we haven't. #RIP #RealRawUncut Like, Share, and Tag!SUBSCRIBE on YouTube and FOLLOW us on IG, FB, and Twitter!Hosts: Pastor Todd and Pastor JeffProduced by: Michael J.Production: Big Mike, Mr. LarryDesign by: Larry JohnsonMusic: J. AustinFOLLOW:WEBSITE: http://www.ReligiouslyIncorrectPodcast.comFACEBOOK: https://www.facebook.com/ReligiouslyIncorrectPodcastTWITTER: https://www.twitter.com/OfficialRIPCINSTAGRAM: https://www.instagram.com/ReligiouslyIncorrectPodcast

Virginia to Vegas is the stage name of Canadian singer/songwriter Derik Baker. With over 260 million streams and 4 platinum singles, Derik Baker is best known for his melodic, electronic-tinged indie pop. He caught the attention of Wax Records executive Jamie Appleby, who signed him and issued his debut single "We Are Stars." The song peaked into the Top 20 of the Canadian singles chart and paved the way for his Vol. 1 EP. More singles followed, including 2015's "Our Story" and "Somebody's Watching Me," the latter of which featured a sample of Rockwell's 1984 hit of the same name. In 2016, Baker issued his debut full-length as Virginia to Vegas, Utopian. Included on the album was the single "Lights Out." A second EP, Hartland St., arrived in 2019. Only months after the release of Hartland St., Virginia To Vegas released the single "Betterman" on February 14, 2020, followed by an EP titled A Constant State of Improvement on February 28, 2020, which includes the song "Betterman". On October 30, 2020, he released another EP, Don't Wake Me, I'm Dreaming,[14] which includes the lead single "Palm Springs (The Way You Made Me Feel)", released on September 18.

در این قسمت قصه‌ی زندگی ورزشی کارزان قزاق که به عنوان نماینده‌ی ایران عازم مسابقات اسکای رانینگ است را می‌شنوید. کارزان 21 ساله متولد مهاباد است و از 12 سالگی به صورت جدی در کوهستان و مسابقات صحرانوردی فعالیت خود را شروع کرده است. او تجربیات منحصر به فردی همچون صعود به قله بالای 7 هزار متری لنین را در 17 سالگی دارد... اینستاگرام رانیو: runyou_podcast وب سایت رانیو: www.runyoupodcast.com لینک حامی باش رانیو: https://hamibash.com/runyoupodcast موسیقی استفاده شده: Wake Me up when September ends by Green Day

Underground Tel-Aviv Stands For Quality Music Only! Follow us on Instagram: www.instagram.com/underground.telaviv/ 
Follow us on FaceBook: https://www.facebook.com/UndergroundTelAviv Adam Ten will make his debut on Sapiens Records with "Wake Me". The four-track EP also includes a collaboration with fellow Tel Aviv artist Mita Gami. Tracklist: 1. Adam Ten - Wake Me (Original Mix) 2. Adam Ten - Wake Me (Bawrut Remix) 3. Adam Ten - Robot Love (Original Mix) 4. Adam Ten & Mita Gami - Club 04 (Original Mix) Read more on UTA website: https://www.undergroundtelaviv.com/premiere-adam-ten-robot-love-sapiens/ Release Date: July 23rd, 2021. Label: Sapiens. Pre-Order: https://www.beatport.com/release/wake-me/3451614 Follow Adam Ten: https://soundcloud.com/adamten Like Adam Ten: https://www.facebook.com/adamtendovgummy Follow Adam Ten On Instagram: https://www.instagram.com/adamten_/ Follow Sapiens: https://soundcloud.com/sapiensrecords Like Sapiens: https://www.facebook.com/sapiensrec Follow Sapiens On Instagram: https://www.instagram.com/sapiensrec/

Tunes: Thomas Marsden: Mr. Preston's Hornpipe Fitzmaurice: I'm Asleep and Don't Wake Me, Mount the Stage, Donald Bran, Loose the Belt, Fitzmaurice's Trip to Rosline Castle Walsh: Petticoat Loose, Petticoat Tight Nixon: Petticoat Loose Allan Ramsay (Stuart): Cha mi ma chattle Wright: Past One O'Clock McGibbon: Cold Frosty Morning Oswald: Cold Frostie Morning (performed by Rob Turner) Milligan-Fox (Joyce): Lament of a Druid O'Farrell: Past One O'Clock Edward Bunting (Higgins): Tá Mé Mo Chodladh (I'm Asleep Don't Waken Me) (Performed by Simon Chadwick) Please Consider Joining Patreon to Support the Show: https://www.patreon.com/wetootwaag Special Thanks to Pete Stewart, Rob Turner and Simon Chadwick for being On the Episode this week. Pete Stewart has some great videos uploaded to his Youtube Channel: https://www.youtube.com/channel/UCbihXksKCthLa2FGmI-piBQ He Sells three of his books on his website: http://www.hornpipemusic.co.uk/ He is also the editor of the Common Stock Journal from the LBPS which you can read even if not a member (apart from the most recent issues): https://lbps.net/j3site/index.php/common-stock Rob Turner has glorioius renditions of many tunes from the same collections I have to rip apart and adjust to play, hear them how they were intended by subscribing to Rob's Youtube page: https://www.youtube.com/channel/UCMNv7YozytBYTZHjyMGxO1A Simon Chadwick also is a must follow on Youtube: https://www.youtube.com/user/simonmchadwick Simon's Website is filled with valuable articles and comments on a huge variety of topics, but also many of the printed music sources I play on the podcast: http://simonchadwick.net/ XXX+++XXX+++XXXXX+++XXX+++XXX 1690s: Mr. Preston's Hornpipe: You can buy a lovely print of Thomas Marsden's “A Collection of Original Lancashire Hornpipes” as part of Pete Stewart's Book, “Three Extraordinary Collections”: http://www.hornpipemusic.co.uk/index.php/publications/three-extraordinary-collections The ABC is also available on Traditional Tune Archive: https://tunearch.org/wiki/Mr.Preston%27sHornpipe_(1) Mr. Preston's Hornpipe Played by Pete Stewart: https://youtu.be/6TXJphyjFfw XX+++XXX+++XX 1805: Mount the Stage: From Fitzmaurice's New Collection of Irish Tunes No 2: https://www.google.com/books/edition/FitzmauricesNewCollectionofIrishTu/vq4Fb5TyTK4C?hl=en&gbpv=1&pg=PP6&printsec=frontcover 1805: Donald Bran: From Fitzmaurice's New Collection of Irish Tunes No 2: https://www.google.com/books/edition/FitzmauricesNewCollectionofIrishTu/vq4Fb5TyTK4C?hl=en&gbpv=1&pg=PP7&printsec=frontcover 1805: Fitzmaurice's Trip to Rosline Castle: From Fitzmaurice's New Collection of Irish Tunes No 2: https://www.google.com/books/edition/FitzmauricesNewCollectionofIrishTu/vq4Fb5TyTK4C?hl=en&gbpv=1&pg=PP7&printsec=frontcover +++XXXX+++ Petticoat Loose: 1748: Petticoat Tight: from Walsh's Caledonian Country Dances: https://digital.nls.uk/special-collections-of-printed-music/archive/90248459 1748: Petticoat Loose: from Walsh's Caledonian Country Dances: https://digital.nls.uk/special-collections-of-printed-music/archive/90247895 1805: Loose the Belt: From Fitzmaurice's New Collection of Irish Tunes No 2: https://www.google.com/books/edition/FitzmauricesNewCollectionofIrishTu/vq4Fb5TyTK4C?hl=en&gbpv=1&pg=PP7&printsec=frontcover ++XX++ 1778: Petticoat Loose: From Thomas Nixon Jr's Music Book http://www.framinghamhistory.org/framinghamhistory/Default/exhibit4/e40080b.htm For More information on The Nixon Manuscript see here: https://exhibitions.framinghamhistory.org/home/top-ten/tunebook-1/ Exploring the manuscript is not particularly easy, you have to use two websites to browse by tune title. This site can give you the titles and what page they are on: https://www.cdss.org/elibrary/Easmes/TOC/St053752.htm# This page allows you to click on the page by number but doesn't have any other information on it: http://www.framinghamhistory.org/framinghamhistory/Default/exhibit4/vexid4.htm ++X++X++ I didn't play these settings but you can look at them if you want: 1776: William Vickers' Petticoat Loose: http://www.farnearchive.com/farneimages/jpgs/R0305300.jpg 1812: John Bell's Petticoat Loose: http://www.farnearchive.com/farneimages/jpgs/R1009400.jpg +++XXXX+++ I'm Asleep and Don't Wake Me/Past One O'Clock/Cold Frosty Morning: 1805: I'm Asleep and Don't Wake Me: From Fitzmaurice's New Collection of Irish Tunes No 2: https://www.google.com/books/edition/FitzmauricesNewCollectionofIrishTu/vq4Fb5TyTK4C?hl=en&gbpv=1&pg=PP6&printsec=frontcover 1720s: Cha mi ma chattle: Musick for Allan Ramsay's collection of 71 Scots songs (Set by Stuart): https://digital.tcl.sc.edu/digital/collection/rbc/id/3002 You can Buy Paddy Keenan's Na Keen Affair Album to listen to the entirety of Johnny's Song for the Avalon here: https://www.paddykeenan.com/nakeenaffair 1740s Past One O'Clock: Wright's Compleat Collection of Celebrated Country Dances both Old and New: https://www.vwml.org/topics/historic-dance-and-tune-books/Wrights https://media.vwml.org/images/web/Wrights/37530048.jpg 1750s Cold Frosty Morning: William McGibbon's Tune 119 in Volume IV https://imslp.org/wiki/ACollectionofScotsTunes(McGibbon%2CWilliam) Many Thanks to Rob Turner for his excellent playing of Oswald's Cold Frostie Morning: https://youtu.be/IOW168FRkLo 1745-1760s Cold Frostie Morning: James Oswald's Caledonia Pocket Companion: https://digital.nls.uk/special-collections-of-printed-music/archive/91499924 1806: Past One O'Clock: O'Farrell's Pocket Companion: https://digital.nls.uk/special-collections-of-printed-music/archive/87780446 1900 (1792) Lament of A Druid: From Charlotte Milligan-Fox https://www.google.com/books/edition/JournaloftheIrishFolkSongSociety_L/0-o2AQAAMAAJ?hl=en&gbpv=1&pg=PA16&printsec=frontcover 1792: Tá Mé Mo Chodladh (I'm Asleep Don't Waken Me): From Edward Bunting's live notes of Hugh Higgins'playing: https://digital-library.qub.ac.uk/digital/collection/p15979coll9/id/97/rec/8 You Can Watch Simon's Performance here: https://youtu.be/5iH3-Ebv0lE Simon's further Notes: http://simonchadwick.net/2020/05/ta-me-mo-chodladh-from-hugh-higgins-in-1792.html Willie Clancy Playing Tá mé mo chodladh, nár dhúisce mé can be listened to here: https://youtu.be/3Gq8BQ0VKmo?t=1858 ++X++X++ I didn't play these settings or they aren't Tunes but here are links for your convenience: 1733 The Words from Charles Coffey's Irish Ballad Opera, “The Beggar's Wedding” Air X: https://www.google.com/books/edition/TheBeggars_Wedding/UA1EAQAAMAAJ?hl=en&gbpv=1&pg=PA33&printsec=frontcover 1748 Past One O'Clock (Scottish Section) It is in Thurmoth's Twelve Scotch and Twelve Irish Airs: https://archive.org/details/imslp-irish-and-12-scotch-airs-with-variations-thumoth-burke/page/n17/mode/1up 1762: Cold Frosty Morning: Francis Peacock's Fifty Favorite Scotch Airs: https://digital.nls.uk/special-collections-of-printed-music/archive/105810724 1840: I Am Asleep and Don't Waken Me: From Edward Bunting's The ancient music of Ireland https://archive.org/details/ancientmusicofir00bunt/page/74/mode/1up For More information I recommend the Following Tune Annotation Pages from Traditional Tune Archive: https://tunearch.org/wiki/Annotation:IAmAsleepandDon%27tWakenMe(2) https://tunearch.org/wiki/Annotation:PastOne_O%27Clock ++X++X++ Please take advantage of the Tune Collection tab: https://www.wetootwaag.com/tunesources Also Please take a minute to leave a review of the podcast! Listen on Apple Podcasts: https://podcasts.apple.com/us/podcast/wetootwaags-bagpipe-and-history-podcast/id129776677 Listen on Itunes: https://podcasts.apple.com/us/podcast/wetootwaags-bagpipe-and-history-podcast/id129776677 Listen on Spotify: https://open.spotify.com/show/5QxzqrSm0pu6v8y8pLsv5j?si=QLiG0L1pT1eu7B5_FDmgGA

Motown is synonymous with soul music. …… Motown, the label, was founded by Berry Gordy Jr. as Tamla Records in 1959, and became Motown Records in 1960. Motown artists achieved 79 records in the Top-10 of the Billboard Hot 100 chart between 1960 and 1969. Here are some of the Best of Motown to help you relax and to remember. *****Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 or by email at dannymemorylane@gmail.comIn this episode you'll hear:1) Ain't Too Proud To Beg by The Temptations2) I Second That Emotion by Smokey Robinson & The Miracles3) Shake Me, Wake Me by The Four Tops4) Ask Any Girl by The Supremes5) Shoo-Be-Doo-Be-Doo-Da-Day by Stevie Wonder6) Just To Be Close To You by The Commodores7) My Baby Must Be A Magician by The Marvelettes8) I Love the Way You Love by Marv Johnson (with The Rayber Voices)9) Just to Keep You Satisfied by Marvin Gaye (with The Originals, backing vocals)10) If We Hold On Together by Diana Ross11) More Love by Smokey Robinson & The Miracles12) Reach Out I'll Be There by The Four Tops13) Signed, Sealed, Delivered (I'm Yours) by Stevie Wonder14) When The Lovelight Starts Shining Through His Eyes by The Supremes15) Got To Give It Up (Part 1) by Marvin Gaye16) Jimmy Mack by Martha & The Vandellas17) Destination: Anywhere by The Marvelettes18) Shop Around by The Miracles (with Smokey Robinson)19) We Can Work It Out by Stevie Wonder20) Remember Me by Diana Ross21) Still by The Commodores

Last Christmas：Look up! 《開場》 Ladt Gaga – Born This Way 《影音信箱》Last Christmas電影原聲帶 Wham! – Last Christmas George Michael – Don't Let the Sun Go Down on Me George Michael – Freedom!‘90 Wham! – Wake Me up Before You Go-Go 《影情催落去》Last Christmas劇情介紹與觀後感 Bruni Mars – Marry You 白安 – 是什麼上我遇見這樣的你 頑童Mj116 – SPOTLIGHT 《影事面面觀》聖誕電影 范瑋琪 – 很久很久以後 周杰倫 – 說好的幸福呢 蔡健雅 – 陌生人 《影人入勝》冬至？聖誕節？行憲紀念日？ 蔡依林 – 如果我沒有傷口 張惠妹 – 人質 告五人 – 愛人錯過

Magazine literario −dirigido y presentado por Paco Atero− dedicado al mundo de la novela negra en todas sus vertientes: libros, noticias, actualidad, sucesos, televisión, cine, cómic, otros géneros literarios, etc. Con la colaboración de Roser Ribas, Alba Prieto, Julio Megía, José Antonio Algarra, Rocío Palomino y Román Romeral. Producido en Bellvei Ràdio (con David Canto). Contenido del programa: - ACTUALIDAD NEGRAYMORTAL con Roser Ribas. Apoyo en ivoox, tazas Negra y Mortal (contacto@negraymortal.com), promoción (promocion@negraymortal.com), Gordo de feria, de Esther García Llovet (Anagrama) y Bajo la piel de Susana Rodríguez Lezaun (Harper Collins). - EN LA ONDA CON JULIO. Recomendación de la serie de TV: ‘NOBEL’. Disponible en Filmin. - LOS PELICULONES DE HUTXU. Recomendación de la película: ‘EN EL CALOR DE LA NOCHE’ (1967) Director: Norman Jewison. Disponible en Filmin. - TRUE CRIME CON ALBA PRIETO. Recomendación de la novela: 'AQUÍ NO ES MIAMI' (Random House) de Fernanda Melchor https://eltaquigrafo.com/aqui-no-es-miami-cronica-de-una-muerte-anunciada/6634/ - EL REALISMO SUCIO DE KATRINA. Paline. Memorias de la Madama de Clay Street. (Bowling Green, Kentucky, 1905 – Texas, 1992). - OSCUROS DOCUMETALES CON ROMÁN. Recomendación de la miniserie: ‘EL GOLPE MAESTRO’ (2021). Disponible en Netflix Tema musical portada: Good Reddance - Green Day Tema musical cierre: Wake Me up When September Ends - Green Day Suscribiros a nuestro canal para recibir de la manera más cómoda todos nuestros podcasts. Nos podéis escuchar en Ivoox, Apple Podcast, Spotify, Podimo y en nuestra sección de Podcast en negraymortal.com Os invitamos a dejar vuestros comentarios tanto en nuestras cuentas en RRSS como enviando un correo electrónico a: podcastnoir@negraymortal.com ¡Gracias por vuestras escuchas!

 Many of us grew up listening to The Coasters, the iconic 1950s band that bridged the gap between doowop and R&B, that brought humor and sass to the birth of rock ’n’ roll. “Yakety Yak” and “Charlie Brown,” “Along Came Jones” and “Poison Ivy,” “Wake Me, Shake Me” and “Little Egypt.” But, you know, before any of those tunes topped the charts, it was a lesser known Coasters cut that grabbed us. Picture it: Hot summer, 1957, and into our new transistor radios, The Coasters came sashaying into our ears with a sexy little song that said, yeah, she may go to the baker for cake and to the butcher for steak, but when she wants good lovin’? …well! Now, back in The Flood’s beginnings in the ‘70s, Dave Peyton, Rog Samples and Charlie Bowen started playing around with this Jerry Leiber / Mike Stoller composition because it definitely had jug band vibe going on, but the song’s been asleep in our consciousness, well, until this winter when it started popping up again at our practice sessions. Here then, from a rehearsal just a few weeks ago, with Doug and Veezy trading riffs between the verses, it’s “(When She Wants Good Lovin’) My Baby Comes to Me.”

Thursday will be the last show of this week.  Still no takers on my Voice Over Business.  Gotta find a money-making venture, I believe this IS it, but I need better focus!  Are you sharing my demo when it posts?    Please do and thank you.  I'll be working a new demo over this weekend, hence Friday off!  Just can't allow ego to get in the way of progress.  The Music Authority LIVE STREAM Show & Podcast...listen, like, comment, download, share, repeat daily on Google Podcast Manager, Mixcloud, Player FM, Stitcher, Tune In, Podcast Addict, Cast Box, Radio Public, and Pocket Cast, and APPLE iTunes! AND NOW ON MORNINGS IN CANADA!  https://s1.citrus3.com:2000/public/HCRRadio Hamilton Co-Op Radio! Follow the show on TWITTER JimPrell@TMusicAuthority! Are you listening? How does and can one listen in? Let me list the ways...Listen LIVE here - https://fastcast4u.com/player/jamprell/ Podcast - https://themusicauthority.transistor.fm/   The Music Authority LIVE STREAM Show & Podcast! Please check out my shows special recorded hour, Tuesday, Wednesday, and Thursday at 7PM UK time, 2PM ET, 11AM PT Now Rocking The KOR! www.koradio.rocks ALSO! Hear a completely different recorded hour of Power Pop, Rock, Soul, Rhythm & Blues...NO TWO LIVE SHOWS THE SAME, Friday, Saturday, and Sunday on Pop Radio UK 6PM UK, 1PM ET, 10AM PT! February 3, 2021, Wednesday, for the week, hour nine…The Successful Failures - It's The Turnpike [Here I Am]Clementines - 02 Julia [Home Is Where the Art Is - EP]The Skylarks - No Surrender [On The Back Of The New]Genya Ravan - Fool For A Pretty Face (Rum Bar Records)Michael Carpenter - Out of This World [Songs Of Other People #2]Lannie Flowers - It's All Over [Home] (Spyder Pop Records)Bud Rogers - 07-Innocent DaysThe Cryers - Live To Be Free [The Cryers]The Beatersband - Pugnei Chiusi [Volume 2]The Grip Weeds - Sight Unseen [Giant On The Beach Anniversary Edition - Remixed And Expanded Edition]The Boys With The Perpetual Nervousness - 09 Start It Again [Dead Calm]The Connection - 04 Wake Me, Shake Me (Don't Let Me Sleep To Long) [Connection Collection]Bourgeois Tagg - I Don't Mind At AllBlue Ash - Abracadabra (Have You Seen Her?)The Bye Bye Blackbirds - 03 Duet [Take Out The Poison]Empty City Squares - 11 Nothing Got In The Way [337]Kaiser Chiefs – Thank You Very Much

Join us as we rundown all the noteworthy crowdfunding campaigns in Christian music, plus a special challenge from Garret on embracing this season of giving. ------------ SPOTLIGHT CAMPAIGN ------------- * Graham Jones - Good News, Great Joy - https://www.kickstarter.com/projects/grahamjonesmusic/gngj ------------- OTHER CAMPAIGNS --------------- * Abby Holliday - When We're Apart I Fall Apart - https://www.kickstarter.com/projects/wwfaifa/when-were-far-apart-i-fall-apart once-and-future * Chase Tremaine - Development & Compromise - https://chasetremaine.bandcamp.com/album/development-compromise * Thomas Bowles - Don't Wake Me - https://www.kickstarter.com/projects/thomasbowles/dont-wake-me * Mikee Bridges - Blood Sweat & Sin - The History of Christian Rock - https://www.gofundme.com/f/docuseries-on-the-history-of-christian-rock * Mark Heard - Dry Bones Dance (remaster/reissue) - https://igg.me/at/drybonesdance ------------- CREDITS -------------- * Host/Producer - Garret Godfrey * Executive Producer - Dave Trout * SPONSOR: Andrew Haines - https://is.gd/ahainessp * UTR's Buildathon Campaign - https://utrmedia.org/b20 * Twitter: https://twitter.com/goodpatron * Facebook Group: https://www.facebook.com/crowdfundingchristianmusic (c) 2020 UTR Media. All Rights Reserved. A 501(c)(3) non-profit organization - info at https://utrmedia.org

The TV show’s title and setting refers to My Khe beach in the city of Đà Nẵng, Vietnam. The actual beach was nicknamed "China Beach" in English by American and Australian soldiers during the Vietnam War. The show is based on the book Home Before Morning (1983) written by the former U.S. Army Nurse Lynda Van Devanter. The series looks at the Vietnam War from unique perspectives: those of the women, both military personnel and civilians, who were present during the conflict. The focal point was the 510th Evacuation Hospital, referred to as “The Five and Dime” E.V.A.C. hospital. The club at the Five and Dime was called The Jet Set. During the Vietnam War 402 American medics were killed in the service of their country. ***** The show ran from April 1988 to July 1991. Season 4 was the last for the show. It dealt with the ending and the beginning via flash-backs and flash-forwards. In the final episode Boonie throws a “Five & Dime” reunion and the China Beach survivors visit the Vietnam Memorial in Washington, D.C. ***** China Beach, the cast and writers won many awards, including a Golden Globe (1990) and a People’s Choice Award (1989). ***** During Season 4 we saw: K.C. gave birth in Saigon (1967) to a baby girl. Years later, the story flashes forward to 1985 where Boonie has adopted the girl (Karen). **** Diane Keaton directed Episode 5 (11/3/90) titled “Fever”. **** In Episode 6, McMurphy was riding a Triumph Bonneville **** In Episode 10, Sarge & Lilah’s got married. **** Episode 11 was set in April of 1975 after the fall of Saigon and featured a deserted China Beach. *** Gary Sinese directed Episode 12. **** Season 4’s final episode [2 hrs.], “Hello Goodbye” aired 7/22/91. The episode contained this dedication: * To the Vietnam Veterans, especially the women who served, to whom this episode is dedicated, with thanks and respect. China Beach, the TV series, portrayed the cost of the Vietnam War. It helped us heal while remembering the sacrifices of the young women and men who fought there. You will never be forgotten. * ****** Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 ****** or by email at dannymemorylane@gmail.com - - - - - - - - - Here’s some of the music we heard in Season 4 of China Beach: ***** 1) Reflections by Diana Ross & The Supremes 2) American Pie by Don McLean 3) I Heard It Through the Grapevine by Marvin Gaye 4) Dirty Water by The Standells 5) Remember (Walkin' In The Sand) by The Shangri-Las 6) Shake Me, Wake Me by The Four Tops 7) I Got You Babe by Sonny & Cher 8) Downtown by Petula Clark 9) Respect by Aretha Franklin 10) Summer In The City by The Lovin' Spoonful 11) Fever by Peggy Lee 12) Going To A Go-Go by The Miracles (w/ Smokey Robinson) 13) The Boy From New York City by The Ad Libs 14) Ask Me No Questions by B.B. King 15) Searching For My Love by Bobby Moore & The Rhythm Aces 16) Born To Be Wild by Steppenwolf 17) Happy Together by The Turtles 18) When A Man Loves A Woman by Percy Sledge 19) Pushin' Too Hard by The Seeds 20) Let's Work Together by Canned Heat 21) Stay by Maurice Williams & The Zodiacs 22) Walk On The Wild Side by Lou Reed 23) Lovin' Her Was Easier (Than Anything I'll Ever Do Again) by Kris Kristofferson 24) Baby, I Need Your Loving by The Four Tops 25) Free Bird by Lynyrd Skynyrd 26) Out Of Time by The Rolling Stones 27) You Can't Hurry Love by The Supremes 28) White Rabbit by Jefferson Airplane 29) Do You Love Me? by The Contours 30) I-Feel-Like-I'm-Fixin'-To-Die Rag by Country Joe & The Fish 31) The Tracks Of My Tears by Linda Ronstadt 32) Always On My Mind by Willie Nelson 33) Try And Love Again by The Eagles 34) I've Grown Accustomed To Her Face by Art Garfunkel 35) I Can Let Go Now by Michael McDonald 36) China Beach by Gregg Nestor & Tommy Morgan 37) The Star Spangled Banner by Branford Marsalis

Tara Brooks is a fantastic DJ and producer based out of Los Angeles, California. She has played around the globe in Australia, Berlin, Mexico, Ibiza, New York just to name a few.  She is also a resident of the Desert Hearts collective, and her productions have been picked up by such major labels as Bedrock, Voltaire, Katermukke, and Get Physical Music. Check out her latest EP called "Wake Me" on Beatport and all major music sales platforms.  Follow Tara on:  SoundCloud: https://soundcloud.com/tarabrooksmusic Resident Advisor: https://www.residentadvisor.net/dj/tarabrooks/ Instagram: https://www.instagram.com/tarabrooksmusic/  

Jaye Griffiths is best known for playing Elle Gardner in Casualty, Janet Mander in Silent Witness, Ros Henderson in Bugs and Dr. Elizabeth Croft in Doctors. In 2014 she opened a one-woman stage show in New York's Broadway, Don't Wake Me. She is guest number 44 on My Time Capsule and chats to Michael Fenton Stevens about the five things she'd like to put in a time capsule; four she’d like to preserve and one she’d like to bury and never have to think about again .Jaye Griffiths play, Don't Wake Me https://youtu.be/pW4wVke2DjMFollow My Time Capsule on Twitter, Instagram & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter: @fentonstevens and Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by Matthew Boxall .Social media support by Harriet Stevens .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people. See acast.com/privacy for privacy and opt-out information.

Remember Everyone Deployed (R.E.D) was created to show solidarity and support for our deployed service members every Friday until they return home to their families. The goal is to carry the message to a national level to show them that they are never forgotten. ***** Our mission here at the Music Museum is to support all Vietnam Veterans and those who serve the United States, then and now. Our shows are broadcast around the world. They say thank you & “welcome home” to all Vietnam Vets. There is no opinion offered on the War. It’s all about the music. ******* For your service and your sacrifice, this is Vietnam War: The Music – Everyday Is R.E.D. Friday ****** One of the songs featured in this episode, Da Nang Lullaby, is performed by Vietnam Veterans Bull Durham (lead), Robin Thomas, Saul Broudy, and Tom Price. The “Gooney Bird” plane that’s mentioned refers to a Douglas C-47 Skytrain [a military transport aircraft developed from the civilian Douglas DC-3 airliner] ***** Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 **** or by email at dannymemorylane@gmail.com **** In this episode you’ll hear: 1) The Ballad of the Green Berets by Staff Sgt. Barry Sadler 2) Welcome Home by Country Joe McDonald 3) Beast Of Burden by The Rolling Stones 4) Courtesy Of The Red White And Blue by 4troops 5) I Ain't Gonna Eat Out My Heart Anymore by The Young Rascals 6) Papa's Got A Brand New Bag by James Brown 7) Singing In Vietnam Talking Blues by Johnny Cash 8) Hello, I Love You by The Doors 9) Shake Me, Wake Me by The Four Tops 10) The Actor by The Moody Blues 11) I Can't Help It If I'm Still In Love With You by Willie Nelson 12) Me and Baby Brother by War 13) I-Feel-Like-I'm-Fixin'-To-Die Rag by Country Joe & The Fish 14) Da Nang Lullaby by Bull Durham (lead), Robin Thomas, Saul Broudy & Tom Price 15) (Wish I Could) Hideaway by Creedence Clearwater Revival 16) Heartache Tonight by John Anderson 17) Hot Fun In The Summertime by Sly & The Family Stone 18) Summertime by Janis Joplin 19) Baby, I Love You by Aretha Franklin 20) Love The One You're With by Stephen Stills 21) Why You Been Gone So Long by Johnny Darrell 22) He Ain't Heavy...He's My Brother by Neil Diamond 23) Sloop John B. by The Kingston Trio 24) I'm Free by The Who 25) It's Now Or Never by Elvis Presley 26) To A Soldier Boy by The Tassels 27) Mustang Sally by Wilson Pickett 28) The Boxer by Simon & Garfunkel 29) Too Busy Thinking About My Baby by Marvin Gaye 30) Chicago by Graham Nash 31) Dazed And Confused by Led Zeppelin 32) She's Not There by Santana 33) Lather by Jefferson Airplane 34) Two Soldiers Coming Home by Lori McKenna 35) Going Home by Aaron Neville

Peace & Blessings to you ALL! Thank you for your patience and support. Much has happened over the past six-months and hope to find you and your loved ones safe and healthy. I bring you musical healing and spiritual blessings. Soulfrica conveys emotion and experiences, which are musically told in these selections. Stories of passion, pain, joy and laughter. A story that channels "The Black Gold of The Sun". For the opener I chose a tune entitled "Village of The Sun" which channels so-much of what these months have felt like, emotional and at times confused. The horns dictate empathy and gratitude. Crossing over through the stereophonic hemisphere, I re-direct your ears to "Wake Me" a beautiful reinterpretation by Louie Vega & Joe Claussell, performed by the incredible Incognito. The musical journey makes way for new sounds from: Alton Miller, Ron Trent, Steve Howerton & Doug Gomez, Leo Alarcon, Dave Morales and re-edits by yours truly Thank you ALL for listening, Share & Enjoy!

Peace & Blessings to you ALL! Thank you for your patience and support. Much has happened over the past six-months and hope to find you and your loved ones safe and healthy. I bring you musical healing and spiritual blessings. Soulfrica conveys emotion and experiences, which are musically told in these selections. Stories of passion, pain, joy and laughter. A story that channels "The Black Gold of The Sun". For the opener I chose a tune entitled "Village of The Sun" which channels so-much of what these months have felt like, emotional and at times confused. The horns dictate empathy and gratitude. Crossing over through the stereophonic hemisphere, I re-direct your ears to "Wake Me" a beautiful reinterpretation by Louie Vega & Joe Claussell, performed by the incredible Incognito. The musical journey makes way for new sounds from: Alton Miller, Ron Trent, Steve Howerton & Doug Gomez, Leo Alarcon, Dave Morales and re-edits by yours truly Thank you ALL for listening, Share & Enjoy!

Peace & Blessings to you ALL! Thank you for your patience and support. Much has happened over the past six-months and hope to find you and your loved ones safe and healthy. I bring you musical healing and spiritual blessings. Soulfrica conveys emotion and experiences, which are musically told in these selections. Stories of passion, pain, joy and laughter. A story that channels "The Black Gold of The Sun". For the opener I chose a tune entitled "Village of The Sun" which channels so-much of what these months have felt like, emotional and at times confused. The horns dictate empathy and gratitude. Crossing over through the stereophonic hemisphere, I re-direct your ears to "Wake Me" a beautiful reinterpretation by Louie Vega & Joe Claussell, performed by the incredible Incognito. The musical journey makes way for new sounds from: Alton Miller, Ron Trent, Steve Howerton & Doug Gomez, Leo Alarcon, Dave Morales and re-edits by yours truly Thank you ALL for listening, Share & Enjoy!

Smoove & Turrell – “Elgin Towers ” (Hot Toddy Dub) [Jalapeno] DJ Patti Kane – “Resilience” (House Royalty Rhythm Edit) [TMG Records] Incognito – “Wake Me ” (Louie Vega & Joe Claussell Remix) [Vega Records] Magic In Threes – “Finnish Funk ” (COEO Remix) [Razor-N-Tape] Manuel-M & David Duriez – “Endless Rain” [Brique Rouge] Seva […] The post Housetrap 7th Sep 2020 appeared first on SSRadio.

Gregg's Guide to New Music: Episode 274 Gregg highly recommends checking out, and supporting the following bands and musicians. Links to find more from them, and to purchase their music are posted below. Nosebleed –https://nosebleedband.bandcamp.com/ Dream Wife – https://dreamwife.co/, https://dreamwife.bandcamp.com/ facebook.com/dreamwifedream/ Foxy Shazam – https://www.foxyshazam.com/, https://fs-gonzo.bandcamp.com/ facebook.com/FoxyShazam/ Not Tonight and the Headaches – https://nottonightandtheheadaches.bandcamp.com/ facebook.com/nottonightandtheheadaches/ Wake Me – https://wakemeband.com/ facebook.com/wakemeofficial/ Evade Escape – https://evadeescape.bigcartel.com/ facebook.com/EvadeEscape/ Neck Deep – https://neckdeepuk.com/ facebook.com/neckdeepuk/ Murica – https://www.murica.co.uk/, https://murica.bandcamp.com/ facebook.com/MuricaBand/ American Hi-Fi – iTunes, Amazon, Google Play facebook.com/americanhifi/ Mad Caddies – http://madcaddies.com/ facebook.com/madcaddiesofficial/

Gregg’s Guide to New Music: Episode 274 Gregg highly recommends checking out, and supporting the following bands and musicians. Links to find more from them, and to purchase their music are posted below. Nosebleed –https://nosebleedband.bandcamp.com/ Dream Wife – https://dreamwife.co/, https://dreamwife.bandcamp.com/ facebook.com/dreamwifedream/ Foxy Shazam – https://www.foxyshazam.com/, https://fs-gonzo.bandcamp.com/ facebook.com/FoxyShazam/ Not Tonight and the Headaches – https://nottonightandtheheadaches.bandcamp.com/ facebook.com/nottonightandtheheadaches/ Wake Me – https://wakemeband.com/ facebook.com/wakemeofficial/ Evade Escape – https://evadeescape.bigcartel.com/ facebook.com/EvadeEscape/ Neck Deep – https://neckdeepuk.com/ facebook.com/neckdeepuk/ Murica – https://www.murica.co.uk/, https://murica.bandcamp.com/ facebook.com/MuricaBand/ American Hi-Fi – iTunes, Amazon, Google Play facebook.com/americanhifi/ Mad Caddies – http://madcaddies.com/ facebook.com/madcaddiesofficial/

Gregg’s Guide to New Music: Episode 274 Gregg highly recommends checking out, and supporting the following bands and musicians. Links to find more from them, and to purchase their music are posted below. Nosebleed –https://nosebleedband.bandcamp.com/ Dream Wife – https://dreamwife.co/, https://dreamwife.bandcamp.com/ facebook.com/dreamwifedream/ Foxy Shazam – https://www.foxyshazam.com/, https://fs-gonzo.bandcamp.com/ facebook.com/FoxyShazam/ Not Tonight and the Headaches – https://nottonightandtheheadaches.bandcamp.com/ facebook.com/nottonightandtheheadaches/ Wake Me – https://wakemeband.com/ facebook.com/wakemeofficial/ Evade Escape – https://evadeescape.bigcartel.com/ facebook.com/EvadeEscape/ Neck Deep – https://neckdeepuk.com/ facebook.com/neckdeepuk/ Murica – https://www.murica.co.uk/, https://murica.bandcamp.com/ facebook.com/MuricaBand/ American Hi-Fi – iTunes, Amazon, Google Play facebook.com/americanhifi/ Mad Caddies – http://madcaddies.com/ facebook.com/madcaddiesofficial/

Gregg’s Guide to New Music: Episode 274 Gregg highly recommends checking out, and supporting the following bands and musicians. Links to find more from them, and to purchase their music are posted below. Nosebleed –https://nosebleedband.bandcamp.com/ Dream Wife – https://dreamwife.co/, https://dreamwife.bandcamp.com/ facebook.com/dreamwifedream/ Foxy Shazam – https://www.foxyshazam.com/, https://fs-gonzo.bandcamp.com/ facebook.com/FoxyShazam/ Not Tonight and the Headaches – https://nottonightandtheheadaches.bandcamp.com/ facebook.com/nottonightandtheheadaches/ Wake Me – https://wakemeband.com/ facebook.com/wakemeofficial/ Evade Escape – https://evadeescape.bigcartel.com/ facebook.com/EvadeEscape/ Neck Deep – https://neckdeepuk.com/ facebook.com/neckdeepuk/ Murica – https://www.murica.co.uk/, https://murica.bandcamp.com/ facebook.com/MuricaBand/ American Hi-Fi – iTunes, Amazon, Google Play facebook.com/americanhifi/ Mad Caddies – http://madcaddies.com/ facebook.com/madcaddiesofficial/

Wake Me up When Corona Ends (From Rumble Records)

Happy Fathers Day! Here's 10 songs dedicated to our dads and father figures. Spotify Playlist: https://open.spotify.com/playlist/2cPSZmbOXcFa8fjnIoBBSR?si=LlLYfKKdRqSAs7tCp7BAFgTheme Song: "Dance Track", composed by Jessica Ann CatenaSongs Used:10. “A Father’s Song” - Fred Penner (1988)9. “You’re Gonna Miss This (Live)” - Trace Adkins (The Celebrity Apprentice Finale, 2008)8. “I Hold On” - Dierks Bentley (2014)7. “Lullabye (Goodnight, My Angel)” - Billy Joel (1993)6. “Piece By Piece (Live) - Kelly Clarkson (American Idol 16, 2016)5. ”Wake Me up When September Ends” - Green Day (2004-2006)4. “Papa’s Got a Brand New Bag” - James Brown (1965)3. “Humble and Kind” - Tim McGraw (2016)2. “Isn’t She Lovely” - Stevie Wonder (1976)1. “Just the Two of Us” - Will Smith (1997-1998)"Just the Two of Us" - Bill Withers & Grover Washington Jr. (1980)

Episode sixty-eight of A History of Rock Music in Five Hundred Songs looks at “Searchin'” by The Coasters, and at the group’s greatest success and split, and features discussion of racism, plagiarism, STDs and Phil Spector. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “Tears on My Pillow” by Little Anthony and the Imperials.   —-more—-   Resources As always, I’ve created Mixcloud streaming playlists with full versions of all the songs in the episode. Because of the limit on the number of songs by one artist, I have posted them as two playlists — part one, part two.  I’ve used multiple sources to piece together the information here. Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz tells Leiber and Stoller’s side of the story well. Yakety Yak, I Fought Back: My Life With the Coasters by Carl and Veta Gardner is a self-published, rather short, autobiography, which gives Gardner’s take on the formation of the Coasters. Those Hoodlum Friends is a Coasters fansite, with a very nineties aesthetic (frames! angelfire domain name! Actual information rather than pretty, empty, layouts!)   The Coasters by Bill Millar is an excellent, long out-of-print, book which provided a lot of useful information. And The Definitive Coasters is a double-CD set that has the A- and B-sides of all the group’s hits. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript When we last left the Coasters, they’d just taken on two new singers — Cornell Gunter and Dub Jones — to replace Leon Hughes and Bobby Nunn. The classic lineup of the Coasters had finally fallen into place, but it had been a year since they had had a hit — for most of 1957, their writing and production team, Jerry Leiber and Mike Stoller, had been concentrating on more lucrative work, with Elvis Presley among others.   Leiber and Stoller had a rather unique setup, which very few other people in the business had at that point. They were independent writer/producers — an unusual state in itself in the 1950s — but they were effectively under contract to two different labels, whose markets and audiences didn’t overlap very much. They were contracted to RCA to work with white pop stars — not just Elvis, though he was obviously important to them, but people like Perry Como, who were very far from Leiber and Stoller’s normal music. That contract with RCA produced a few hits outside Elvis, but didn’t end up being comfortable for either party, and ended after a year or so, but it was still remarkable that they would be working as producers for a major label while remaining independent contractors. And at the same time, they were also attached to Atlantic, where they were recording almost exclusively with the black performers that they admired, such as Ruth Brown, LaVern Baker, and the Drifters. And it was, of course, also at Atlantic that they were working with the Coasters, who unlike those other artists were Leiber and Stoller’s own personal project, and the one with whom they were most identified, and for whom they were about to write the group’s biggest hit: [Excerpt: The Coasters, “Yakety Yak”] For the most part, Leiber and Stoller had the classic songwriting split of one lyricist and one composer. Leiber had started out as a songwriter who couldn’t play an instrument or write music — he’d just written lyrics down and remembered the tune in his head — while Stoller was already an accomplished and sophisticated jazz pianist by the time the two started collaborating. But they wrote together, and so occasionally one would contribute ideas to the other’s sphere. Normally, we don’t know exactly how much each contributed to the other’s work, because they didn’t go into that much detail about how they wrote songs, but in the case of “Yakety Yak” we know exactly how the song was written — everyone who has had a certain amount of success in the music business tends to have a store of anecdotes that they pull out in every interview, and one of Leiber and Stoller’s was how they wrote “Yakety Yak”. According to the anecdote, they were in Leiber’s house, in a writing session, and Stoller started playing a piano rhythm, with the idea it might be suitable for the Coasters, while Leiber was in the kitchen. Leiber heard him playing and called out the first line, “Take out the papers and the trash!”, and Stoller immediately replied “Or you don’t get no spending cash”. They traded off lines and had the song written in about ten minutes. “Yakety Yak” featured a new style for the Coasters’ records. Where their earlier singles had usually alternated between a single lead vocalist — usually Carl Gardner — on the verses, and the group taking the chorus, with occasional solo lines by the other members, here the lead vocal was taken in unison by the two longest-serving members of the group, Gardner and Billy Guy, with Cornell Gunter harmonising with them. Leiber and Stoller, in their autobiography, actually call it a duet between Gardner and Guy, but I’m pretty sure I hear three voices on the verses, not two, although Gardner’s voice is the most prominent. Then, at the end of each verse, there’s the chorus line, where the group sing “Yakety Yak”, and then Dub Jones takes the single line “Don’t talk back”: [Excerpt: The Coasters, “Yakety Yak”] This formula would be one they would come back to again and again — and there was one more element of the record that became part of the Coasters’ formula — King Curtis’ saxophone part: [Excerpt: The Coasters, “Yakety Yak”] While “Yakety Yak” seems in retrospect to be an obvious hit record, it didn’t seem so at the time, at least to Jerry Leiber. Mike Stoller was convinced from the start that it would be a massive success, and wanted to put another Leiber and Stoller song on the B-side, so they’d be able to get royalties for both sides when the record became as big as he knew it would. Leiber, though, thought they needed a proven song for the B-side — something safe for if “Yakety Yak” was a flop. They went with Leiber’s plan, and the B-side was a version of the old song “Zing! Went the Strings of My Heart”, performed as a duet by Dub Jones and Cornell Gunter: [Excerpt: The Coasters, “Zing! Went the Strings of My Heart”] Leiber shouldn’t have worried — “Yakety Yak” was, of course, a number one hit single. The song was successful enough that it spawned a few answer records, including one by Cornell Gunter’s sister Gloria, which Cornell sang backing vocals on: [Excerpt: Gloria Gunter, “Move on Out”] With the new lineup of the group in place, they quickly settled into a hit-making machine. Everyone had a role to play. Leiber and Stoller would write the songs and take them into the studio. Stoller would write the parts for the musicians and play the piano, while Leiber supervised in the control room. Cornell Gunter would work out the group’s vocal arrangements, Dub Jones would always take his bass solo lines, and either Carl Gardner or Billy Guy would take the lead vocal — but when they did, they’d be copying, as exactly as they could, a performance they’d been shown by Leiber. From the very start of Leiber and Stoller’s career, Leiber had always directed the lead vocalist and told them how to sing his lines — you may remember from the episode on “Hound Dog”, one of the very first songs they wrote, that Big Mama Thornton was annoyed at him for telling her how to sing the song. When Leiber and Stoller produced an artist, whether it was Elvis or Ruth Brown or the Coasters or whoever, they would get them to follow Leiber’s phrasing as closely as possible. And this brings me to a thing that we need to deal with when talking about the Coasters, and that is the criticism that is often levelled against their records that they perpetuate racist stereotypes. Johnny Otis, in particular, would make this criticism of the group’s records, and it’s one that must be taken seriously — though of course Otis had personal issues with Leiber and Stoller, resulting from the credits on “Hound Dog”. But other people, such as Charlie Gillett, have also raised it. It’s also a charge that, genuinely, I am not in any position to come to a firm conclusion on. I’m a white man, and so my instincts as to what is and isn’t racist are likely to be extremely flawed. What I’d say is this — the Coasters’ performances, and *especially* Dub Jones’ vocal parts, are very clearly rooted in particular traditions of African-American comedy, and the way that that form of comedy plays with black culture, and reappropriates stereotypes of black people. If black people were performing, just like this, songs just like this that they had written themselves, there would be no question — it wouldn’t be racist. Equally, if white people were performing these songs, using the same arrangements, in the same voices, it would undoubtedly be racist — it would be an Amos and Andy style audio blackface performance, and an absolute travesty. The problem comes with the fact that the Coasters were black people, but they were performing songs written for them by two white people — Jerry Leiber and Mike Stoller — and that Leiber and Stoller were directing how they should perform those songs. To continue the Amos ‘n’ Andy analogy, is this like when Amos and Andy transferred from the radio to the TV, and the characters were played by black actors imitating the voices of the white comedians who had created the characters? I can’t answer that. Nor can I say if it makes a difference that Leiber and Stoller were Jewish, and so were only on the borders of whiteness themselves at the time, or that they were deeply involved in black culture themselves — though that said, they also claimed on several occasions that they weren’t writing about black people in particular in any of their songs. Leiber said of “Riot in Cell Block #9” “It was inspired by the Gangbusters radio drama. Those voices just happened to be black. But they could have been white actors on radio, saying, “Pass the dynamite, because the fuse is lit.”” [Excerpt: The Robins, “Riot in Cell Block #9”] That may be the case as well — their intent may not have been to write about specifically black experiences at all. And certainly, the Coasters’ biggest hits seem to me to be less about black culture, and more about generic teenage concerns. But still, it’s very obvious that a large number of people did interpret the Coasters’ songs as being about black experiences specifically — and about a specific type of black experience. Otis said of Leiber and Stoller, “They weren’t racist in the true sense of the word, but they dwelled entirely on a sort of street society. It’s a very fine point — sure, the artist who performed and created these things, that’s where he was. He wasn’t a family person going to a gig, he was in the alleys, he was out there in the street trying to make it with his guitar. But while it might be a true reflection of life, it’s not invariably a typical reflection of the typical life in the black community”. The thing is, as well, a lot of this isn’t in the songwriting, but in the performance — and that performance was clearly directed by Leiber. I think it makes a difference, as well, that the Coasters had two different audiences — they had an R&B audience, who were mostly older black people, and they had a white teenage audience. Different audiences preferred different songs, and again, there’s a difference between black performers singing for a black audience and singing for a white one. I don’t have any easy answers on this one. I don’t think that whether something is racist or not is a clear binary, and I’m not the right person to judge whether the Coasters’ music crosses any lines. But I thought it was important that I at least mention that there is a debate to be had there, and not just leave the subject alone as being too difficult. The song Johnny Otis singled out in the interview was “Charlie Brown”, which most people refer to as the follow-up to “Yakety Yak”. In fact, after “Yakety Yak” came a blues song called “The Shadow Knows”, based on the radio mystery series that starred Orson Welles. While Leiber and Stoller often talked about the inspiration that radio plays gave them for their songs for the group, that didn’t translate to chart success — several online discographies even fail to mention the existence of “The Shadow Knows”. It’s a more adult record than “Yakety Yak”, and seems to have been completely ignored by the Coasters’ white teenage audience — and in Leiber and Stoller’s autobiography, they skip over it completely, and talk about “Charlie Brown” as being immediately after “Yakety Yak”. “Charlie Brown” took significantly longer to come up with than the ten minutes that “Yakety Yak” had taken — while Stoller came up with some appropriate music almost straight away, it took Leiber weeks of agonising before he hit on the title “Charlie Brown”, and came up with the basic idea for the lyric — which, again, Stoller helped with. It’s clear, listening to it, that they were trying very deliberately to replicate the sound of “Yakety Yak”: [Excerpt: The Coasters, “Charlie Brown”] “Charlie Brown” was almost as big a hit as “Yakety Yak”, reaching number two on the pop charts, so of course they followed it with a third song along the same lines, “Along Came Jones”. This time, the song was making fun of the plethora of Western TV series: [Excerpt: The Coasters, “Along Came Jones”] While that’s a fun record, it “only” reached number nine in the pop charts – still a big success, but nowhere near as big as “Charlie Brown” or “Yakety Yak”. Possibly “Along Came Jones” did less well than it otherwise would have because The Olympics had had a recent hit with a similar record, “Western Movies”: [Excerpt: The Olympics, “Western Movies”] Either way, the public seemed to tire of the unison-vocals-and-honking-sax formula — while the next single was meant to be a song called “I’m a Hog For You Baby” which was another iteration of the same formula (although with a more bluesy feel, and a distinctly more adult tone to the lyrics) listeners instead picked up on the B-side, which became their biggest hit among black audiences, becoming their fourth and final R&B number one, as well as their last top ten pop hit. This one was a song called “Poison Ivy”, and it’s frankly amazing that it was even released, given that it’s blatantly about sexually transmitted diseases — the song is about a woman called “Poison Ivy”, and it talks about mumps, measles, chicken pox and more, before saying that “Poison Ivy will make you itch” and “you can look but you’d better not touch”. It’s hardly subtle: [Excerpt: The Coasters, “Poison Ivy”] Shortly after that, Adolph Jacobs left the group. While he’d always been an official member, it had always seemed somewhat strange that the group had one non-singing instrumental member — and that that member wasn’t even a particularly prominent instrumentalist on the records, with Mike Stoller’s piano and King Curtis’ saxophone being more important to the sound of the records. “Poison Ivy” would be the group’s last top ten hit, and it seemed to signal Leiber and Stoller getting bored with writing songs aimed at an audience of teenagers. From that point on, most of the group’s songs would be in the older style that they’d used with the Robins — songs making social comments, and talking about adult topics. The next single, “What About Us?”, which was a protest song about how rich (and by implication) white people had an easy life while the singers didn’t have anything, “only” reached number seventeen, and there seems to have been a sort of desperate flailing about to try new styles. They released a single of the old standard “Besame Mucho”, which extended over two sides — the second side mostly being a King Curtis saxophone solo. That only went to number seventy. Then they released the first single written by a member of the group — “Wake Me, Shake Me”, which was written by Billy Guy. That was backed by the old folk song “Stewball”, and didn’t do much better, reaching number fifty-one on the charts. The song after that was an attempt at yet another style, and that did even worse in the charts, but it’s now considered one of the Coasters’ great classics. “Clothes Line (Wrap It Up)” was a comedy blues song written by a singer called Kent Harris and performed by him under the name Boogaloo and His Solid Crew, and it seems to have been modelled both on the early Robins songs that Leiber and Stoller had written, and on Chuck Berry’s “No Money Down”: [Excerpt: Boogaloo and His Solid Crew: “Clothes Line (Wrap it Up)”] Leiber and Stoller told various different stories over the years about how the Coasters came to record what they titled “Shopping For Clothes”, but the one they seem to have settled on was that Billy Guy vaguely remembered hearing the original record, and knew about half the lyrics, and they’d reconstructed the song from what he remembered. They’d been unable to find out who had written it, so had just credited it to “Elmo Glick”, a pseudonym they sometimes used. The new version of the song was reworked significantly, and in particular it became a dialogue, with Billy Guy playing the shopper and Dub Jones playing the sales assistant: [Excerpt: The Coasters, “Shopping For Clothes”] The record only reached number eighty-three on the charts, and of course Kent Harris sued and was awarded joint writing credit with Leiber and Stoller. While it didn’t chart, it is usually regarded as one of the Coasters’ very best records. It’s also notable for being the first Coasters record to feature a young session musician that Leiber and Stoller were mentoring at the time. Lester Sill, who had been Leiber and Stoller’s mentor in their early years, had partnered with them in several business ventures, and was currently the Coasters’ manager, phoned them up out of the blue one day, and told them about a kid he knew who’d had a big hit with a song called “To Know Him Is To Love Him”, which he’d written for his group the Teddy Bears: [Excerpt: The Teddy Bears, “To Know Him Is To Love Him”] That record had been released on Trey Records, a new label that Sill had set up with another producer, Lee Hazlewood. Sill said that the kid in question was a huge admirer of Leiber and Stoller, and wanted to learn from them. Would they give him some kind of job with them, so he could be like an apprentice? So, as a favour to Sill, and even though they found they disliked the kid once he got to New York, they signed him to a publishing contract, gave him jobs as a session guitarist, and even let him sleep in their office or in Leiber’s spare room for a while. We’ll be hearing more about how their collaboration with Phil Spector worked out in future episodes. Around the time that “Shopping For Clothes” came out, the group became conscious that their time as a pop chart act with a teenage fanbase was probably close to its end, and they decided to do something that Carl Gardner had wanted to do for a while, and try to transition into the adult white market — the kind of people who were buying records by Tony Bennett or Andy Williams. Gardner had wanted, from the start, to be a big band singer, and his friend Johnny Otis had always encouraged him to try to sing the material he really loved, rather than the stuff he was doing with the Coasters. So eventually it was agreed that the group would do their first proper album — something recorded with the intention of being an LP, rather than a collection of singles shoved together. This record was to be titled “One By One”, and would have the group backed by an orchestra, singing old standards. Each song would have a single lead vocalist, with the others relegated to backing vocal parts. Gardner took lead on four songs, and seems to have believed that this would be his big chance to transition into being a solo singer, but it didn’t work out like that. The album wasn’t a particular success, either commercially or critically, but to the extent that anyone noticed it at all, they mostly commented on how good Cornell Gunter sounded. Gunter had always been relegated to backing roles in the group — he was an excellent singer, and a very strong physical comedian, but his sweeter voice didn’t really suit being lead on the material that made the group famous. Gunter had always admired the singer Dinah Washington, and he used to do imitations of her in the group’s shows. Getting the chance to take a solo lead on three songs, he shone with his imitation of her style: [Excerpt: The Coasters, “Easy Living”] For comparison, this is Washington’s version of the same song: [Excerpt: Dinah Washington, “Easy Living”] Despite the record showing what strong vocalists the group were, it did nothing, and by this time the group’s commercial fortunes seemed to be in terminal decline. Looking at their releases around this period, it’s noticeable as well that the Coasters stop being produced exclusively by Leiber and Stoller — several of their recordings are credited instead to Sill and Hazlewood as producers. There could be several explanations for this — it could be that Leiber and Stoller were bored of working with the Coasters, or it could be that they thought that getting in another production team might give the group a boost — after all, Sill and Hazlewood had recently had a few hits of their own, producing records like “Rebel Rouser” by Duane Eddy: [Excerpt: Duane Eddy, “Rebel Rouser”] But nothing they produced for the group had any great commercial success either. The group’s last top thirty hit was another Leiber and Stoller song — one that once again shows the more adult turn their writing for the group had taken: [Excerpt: The Coasters, “Little Egypt”] “Little Egypt” was originally the stage name for three different belly-dancers, two of whom performed in Chicago in the mid-1890s and introduced the belly dance to the American public, and another who performed in New York a few years later and was the subject of a scandal when a party she was performing at was raided and it was discovered she planned to perform nude. These dancers had been so notorious that as late as the early 1950s — nearly sixty years after their careers — there was a highly fictionalised film supposedly based on the life of one of them. Whether Leiber and Stoller were inspired by the film, or just by the many exotic dancers who continued using variations of the name, their song about a stripper would be the last time the Coasters would have a significant hit. Shortly after its release, Cornell Gunter decided to leave the group and take up an opportunity to sing in Dinah Washington’s backing group. He was replaced by Earl “Speedo” Carroll, who had previously sung with a group called the Cadillacs, whose big hit was “Speedoo”: [Excerpt: The Cadillacs, “Speedoo”] Carroll, according to Leiber and Stoller, was so concerned about job security that he kept his day job as a school janitor after joining the Coasters. Unfortunately, Gunter was soon sacked by Dinah Washington, and he decided to form his own group, and to call it the Coasters. A more accurate name might have been the Penguins, since the other three members of his new group had been members of the Penguins previously — Gunter had come out of the same stew of vocal groups as the Penguins had, and had known them for years. Gunter’s group weren’t allowed to record as the Coasters, so they made records just under Gunter’s own name, or as “Cornell Gunter and the Cornells”: [Excerpt: Cornell Gunter, “In a Dream of Love”] But while he couldn’t make records as the Coasters, his group could tour under that name — and they were cheaper than the other group. Gunter was friends with Dick Clark, and so Clark started to book Gunter’s version of the group, rather than the version that was in the studio. Not that the group in the studio was exactly the same as the group you’d see live, even if you did go and see the main group. Billy Guy decided he wanted to try a solo career, but unlike Gunter he didn’t quit the group. Instead, he had a replacement go out on the road for him, but still sang with them in the studio. None of Guy’s solo records did particularly well, and several of them ended up getting reissued under the Coasters name, even though no other Coasters were involved: [Excerpt: Billy Guy, “It Doesn’t Take Much”] The band membership kept changing, and the hits stopped altogether. Over the next few decades, pretty much everyone who’d been involved with the Coasters started up their own rival version of the group. Carl Gardner apparently retained the legal rights to the name “the Coasters”, and would sue people using it without his permission, but that didn’t stop other members performing under names like “Cornel Gunter’s Coasters”, which isn’t precisely the same. Sadly, several people associated with the Coasters ended up dying violently. King Curtis was stabbed to death in the street in 1971, outside his apartment building. Two people were making a drug deal outside his door, and he asked them to move, as he was trying to carry a heavy air-conditioning unit in. They refused, a fight broke out, and he ended up dead, aged only thirty-seven. One of Cornell Gunter’s Coasters was murdered by Gunter’s manager in 1980, after threatening to expose some of the manager’s criminal activities. And finally Gunter himself was shot dead in 1990, and his killer has never been found. These days there are three separate Coasters groups touring. “Cornell Gunter’s Coasters” is a continuation of the group that Gunter led before his death. “The Coasters” is managed by Carl Gardner’s widow. And Leon Hughes, who is the only surviving original member of the Coasters but was gone by the time of “Yakety Yak”, tours as “Leon Hughes and His Coasters”. The Coasters are now all gone, other than Hughes, but their records are still remembered. They created a sound that influenced many, many, other groups, but has never been replicated by anyone. They were often dismissed as just a comedy group, but as anyone who has ever tried it knows, making music that is both funny and musically worthwhile is one of the hardest things you can do. And making comedy music that’s still enjoyable more than sixty years later? No-one else in rock and roll has ever done that.

Episode sixty-eight of A History of Rock Music in Five Hundred Songs looks at “Searchin'” by The Coasters, and at the group’s greatest success and split, and features discussion of racism, plagiarism, STDs and Phil Spector. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “Tears on My Pillow” by Little Anthony and the Imperials.   —-more—-   Resources As always, I’ve created Mixcloud streaming playlists with full versions of all the songs in the episode. Because of the limit on the number of songs by one artist, I have posted them as two playlists — part one, part two.  I’ve used multiple sources to piece together the information here. Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz tells Leiber and Stoller’s side of the story well. Yakety Yak, I Fought Back: My Life With the Coasters by Carl and Veta Gardner is a self-published, rather short, autobiography, which gives Gardner’s take on the formation of the Coasters. Those Hoodlum Friends is a Coasters fansite, with a very nineties aesthetic (frames! angelfire domain name! Actual information rather than pretty, empty, layouts!)   The Coasters by Bill Millar is an excellent, long out-of-print, book which provided a lot of useful information. And The Definitive Coasters is a double-CD set that has the A- and B-sides of all the group’s hits. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript When we last left the Coasters, they’d just taken on two new singers — Cornell Gunter and Dub Jones — to replace Leon Hughes and Bobby Nunn. The classic lineup of the Coasters had finally fallen into place, but it had been a year since they had had a hit — for most of 1957, their writing and production team, Jerry Leiber and Mike Stoller, had been concentrating on more lucrative work, with Elvis Presley among others.   Leiber and Stoller had a rather unique setup, which very few other people in the business had at that point. They were independent writer/producers — an unusual state in itself in the 1950s — but they were effectively under contract to two different labels, whose markets and audiences didn’t overlap very much. They were contracted to RCA to work with white pop stars — not just Elvis, though he was obviously important to them, but people like Perry Como, who were very far from Leiber and Stoller’s normal music. That contract with RCA produced a few hits outside Elvis, but didn’t end up being comfortable for either party, and ended after a year or so, but it was still remarkable that they would be working as producers for a major label while remaining independent contractors. And at the same time, they were also attached to Atlantic, where they were recording almost exclusively with the black performers that they admired, such as Ruth Brown, LaVern Baker, and the Drifters. And it was, of course, also at Atlantic that they were working with the Coasters, who unlike those other artists were Leiber and Stoller’s own personal project, and the one with whom they were most identified, and for whom they were about to write the group’s biggest hit: [Excerpt: The Coasters, “Yakety Yak”] For the most part, Leiber and Stoller had the classic songwriting split of one lyricist and one composer. Leiber had started out as a songwriter who couldn’t play an instrument or write music — he’d just written lyrics down and remembered the tune in his head — while Stoller was already an accomplished and sophisticated jazz pianist by the time the two started collaborating. But they wrote together, and so occasionally one would contribute ideas to the other’s sphere. Normally, we don’t know exactly how much each contributed to the other’s work, because they didn’t go into that much detail about how they wrote songs, but in the case of “Yakety Yak” we know exactly how the song was written — everyone who has had a certain amount of success in the music business tends to have a store of anecdotes that they pull out in every interview, and one of Leiber and Stoller’s was how they wrote “Yakety Yak”. According to the anecdote, they were in Leiber’s house, in a writing session, and Stoller started playing a piano rhythm, with the idea it might be suitable for the Coasters, while Leiber was in the kitchen. Leiber heard him playing and called out the first line, “Take out the papers and the trash!”, and Stoller immediately replied “Or you don’t get no spending cash”. They traded off lines and had the song written in about ten minutes. “Yakety Yak” featured a new style for the Coasters’ records. Where their earlier singles had usually alternated between a single lead vocalist — usually Carl Gardner — on the verses, and the group taking the chorus, with occasional solo lines by the other members, here the lead vocal was taken in unison by the two longest-serving members of the group, Gardner and Billy Guy, with Cornell Gunter harmonising with them. Leiber and Stoller, in their autobiography, actually call it a duet between Gardner and Guy, but I’m pretty sure I hear three voices on the verses, not two, although Gardner’s voice is the most prominent. Then, at the end of each verse, there’s the chorus line, where the group sing “Yakety Yak”, and then Dub Jones takes the single line “Don’t talk back”: [Excerpt: The Coasters, “Yakety Yak”] This formula would be one they would come back to again and again — and there was one more element of the record that became part of the Coasters’ formula — King Curtis’ saxophone part: [Excerpt: The Coasters, “Yakety Yak”] While “Yakety Yak” seems in retrospect to be an obvious hit record, it didn’t seem so at the time, at least to Jerry Leiber. Mike Stoller was convinced from the start that it would be a massive success, and wanted to put another Leiber and Stoller song on the B-side, so they’d be able to get royalties for both sides when the record became as big as he knew it would. Leiber, though, thought they needed a proven song for the B-side — something safe for if “Yakety Yak” was a flop. They went with Leiber’s plan, and the B-side was a version of the old song “Zing! Went the Strings of My Heart”, performed as a duet by Dub Jones and Cornell Gunter: [Excerpt: The Coasters, “Zing! Went the Strings of My Heart”] Leiber shouldn’t have worried — “Yakety Yak” was, of course, a number one hit single. The song was successful enough that it spawned a few answer records, including one by Cornell Gunter’s sister Gloria, which Cornell sang backing vocals on: [Excerpt: Gloria Gunter, “Move on Out”] With the new lineup of the group in place, they quickly settled into a hit-making machine. Everyone had a role to play. Leiber and Stoller would write the songs and take them into the studio. Stoller would write the parts for the musicians and play the piano, while Leiber supervised in the control room. Cornell Gunter would work out the group’s vocal arrangements, Dub Jones would always take his bass solo lines, and either Carl Gardner or Billy Guy would take the lead vocal — but when they did, they’d be copying, as exactly as they could, a performance they’d been shown by Leiber. From the very start of Leiber and Stoller’s career, Leiber had always directed the lead vocalist and told them how to sing his lines — you may remember from the episode on “Hound Dog”, one of the very first songs they wrote, that Big Mama Thornton was annoyed at him for telling her how to sing the song. When Leiber and Stoller produced an artist, whether it was Elvis or Ruth Brown or the Coasters or whoever, they would get them to follow Leiber’s phrasing as closely as possible. And this brings me to a thing that we need to deal with when talking about the Coasters, and that is the criticism that is often levelled against their records that they perpetuate racist stereotypes. Johnny Otis, in particular, would make this criticism of the group’s records, and it’s one that must be taken seriously — though of course Otis had personal issues with Leiber and Stoller, resulting from the credits on “Hound Dog”. But other people, such as Charlie Gillett, have also raised it. It’s also a charge that, genuinely, I am not in any position to come to a firm conclusion on. I’m a white man, and so my instincts as to what is and isn’t racist are likely to be extremely flawed. What I’d say is this — the Coasters’ performances, and *especially* Dub Jones’ vocal parts, are very clearly rooted in particular traditions of African-American comedy, and the way that that form of comedy plays with black culture, and reappropriates stereotypes of black people. If black people were performing, just like this, songs just like this that they had written themselves, there would be no question — it wouldn’t be racist. Equally, if white people were performing these songs, using the same arrangements, in the same voices, it would undoubtedly be racist — it would be an Amos and Andy style audio blackface performance, and an absolute travesty. The problem comes with the fact that the Coasters were black people, but they were performing songs written for them by two white people — Jerry Leiber and Mike Stoller — and that Leiber and Stoller were directing how they should perform those songs. To continue the Amos ‘n’ Andy analogy, is this like when Amos and Andy transferred from the radio to the TV, and the characters were played by black actors imitating the voices of the white comedians who had created the characters? I can’t answer that. Nor can I say if it makes a difference that Leiber and Stoller were Jewish, and so were only on the borders of whiteness themselves at the time, or that they were deeply involved in black culture themselves — though that said, they also claimed on several occasions that they weren’t writing about black people in particular in any of their songs. Leiber said of “Riot in Cell Block #9” “It was inspired by the Gangbusters radio drama. Those voices just happened to be black. But they could have been white actors on radio, saying, “Pass the dynamite, because the fuse is lit.”” [Excerpt: The Robins, “Riot in Cell Block #9”] That may be the case as well — their intent may not have been to write about specifically black experiences at all. And certainly, the Coasters’ biggest hits seem to me to be less about black culture, and more about generic teenage concerns. But still, it’s very obvious that a large number of people did interpret the Coasters’ songs as being about black experiences specifically — and about a specific type of black experience. Otis said of Leiber and Stoller, “They weren’t racist in the true sense of the word, but they dwelled entirely on a sort of street society. It’s a very fine point — sure, the artist who performed and created these things, that’s where he was. He wasn’t a family person going to a gig, he was in the alleys, he was out there in the street trying to make it with his guitar. But while it might be a true reflection of life, it’s not invariably a typical reflection of the typical life in the black community”. The thing is, as well, a lot of this isn’t in the songwriting, but in the performance — and that performance was clearly directed by Leiber. I think it makes a difference, as well, that the Coasters had two different audiences — they had an R&B audience, who were mostly older black people, and they had a white teenage audience. Different audiences preferred different songs, and again, there’s a difference between black performers singing for a black audience and singing for a white one. I don’t have any easy answers on this one. I don’t think that whether something is racist or not is a clear binary, and I’m not the right person to judge whether the Coasters’ music crosses any lines. But I thought it was important that I at least mention that there is a debate to be had there, and not just leave the subject alone as being too difficult. The song Johnny Otis singled out in the interview was “Charlie Brown”, which most people refer to as the follow-up to “Yakety Yak”. In fact, after “Yakety Yak” came a blues song called “The Shadow Knows”, based on the radio mystery series that starred Orson Welles. While Leiber and Stoller often talked about the inspiration that radio plays gave them for their songs for the group, that didn’t translate to chart success — several online discographies even fail to mention the existence of “The Shadow Knows”. It’s a more adult record than “Yakety Yak”, and seems to have been completely ignored by the Coasters’ white teenage audience — and in Leiber and Stoller’s autobiography, they skip over it completely, and talk about “Charlie Brown” as being immediately after “Yakety Yak”. “Charlie Brown” took significantly longer to come up with than the ten minutes that “Yakety Yak” had taken — while Stoller came up with some appropriate music almost straight away, it took Leiber weeks of agonising before he hit on the title “Charlie Brown”, and came up with the basic idea for the lyric — which, again, Stoller helped with. It’s clear, listening to it, that they were trying very deliberately to replicate the sound of “Yakety Yak”: [Excerpt: The Coasters, “Charlie Brown”] “Charlie Brown” was almost as big a hit as “Yakety Yak”, reaching number two on the pop charts, so of course they followed it with a third song along the same lines, “Along Came Jones”. This time, the song was making fun of the plethora of Western TV series: [Excerpt: The Coasters, “Along Came Jones”] While that’s a fun record, it “only” reached number nine in the pop charts – still a big success, but nowhere near as big as “Charlie Brown” or “Yakety Yak”. Possibly “Along Came Jones” did less well than it otherwise would have because The Olympics had had a recent hit with a similar record, “Western Movies”: [Excerpt: The Olympics, “Western Movies”] Either way, the public seemed to tire of the unison-vocals-and-honking-sax formula — while the next single was meant to be a song called “I’m a Hog For You Baby” which was another iteration of the same formula (although with a more bluesy feel, and a distinctly more adult tone to the lyrics) listeners instead picked up on the B-side, which became their biggest hit among black audiences, becoming their fourth and final R&B number one, as well as their last top ten pop hit. This one was a song called “Poison Ivy”, and it’s frankly amazing that it was even released, given that it’s blatantly about sexually transmitted diseases — the song is about a woman called “Poison Ivy”, and it talks about mumps, measles, chicken pox and more, before saying that “Poison Ivy will make you itch” and “you can look but you’d better not touch”. It’s hardly subtle: [Excerpt: The Coasters, “Poison Ivy”] Shortly after that, Adolph Jacobs left the group. While he’d always been an official member, it had always seemed somewhat strange that the group had one non-singing instrumental member — and that that member wasn’t even a particularly prominent instrumentalist on the records, with Mike Stoller’s piano and King Curtis’ saxophone being more important to the sound of the records. “Poison Ivy” would be the group’s last top ten hit, and it seemed to signal Leiber and Stoller getting bored with writing songs aimed at an audience of teenagers. From that point on, most of the group’s songs would be in the older style that they’d used with the Robins — songs making social comments, and talking about adult topics. The next single, “What About Us?”, which was a protest song about how rich (and by implication) white people had an easy life while the singers didn’t have anything, “only” reached number seventeen, and there seems to have been a sort of desperate flailing about to try new styles. They released a single of the old standard “Besame Mucho”, which extended over two sides — the second side mostly being a King Curtis saxophone solo. That only went to number seventy. Then they released the first single written by a member of the group — “Wake Me, Shake Me”, which was written by Billy Guy. That was backed by the old folk song “Stewball”, and didn’t do much better, reaching number fifty-one on the charts. The song after that was an attempt at yet another style, and that did even worse in the charts, but it’s now considered one of the Coasters’ great classics. “Clothes Line (Wrap It Up)” was a comedy blues song written by a singer called Kent Harris and performed by him under the name Boogaloo and His Solid Crew, and it seems to have been modelled both on the early Robins songs that Leiber and Stoller had written, and on Chuck Berry’s “No Money Down”: [Excerpt: Boogaloo and His Solid Crew: “Clothes Line (Wrap it Up)”] Leiber and Stoller told various different stories over the years about how the Coasters came to record what they titled “Shopping For Clothes”, but the one they seem to have settled on was that Billy Guy vaguely remembered hearing the original record, and knew about half the lyrics, and they’d reconstructed the song from what he remembered. They’d been unable to find out who had written it, so had just credited it to “Elmo Glick”, a pseudonym they sometimes used. The new version of the song was reworked significantly, and in particular it became a dialogue, with Billy Guy playing the shopper and Dub Jones playing the sales assistant: [Excerpt: The Coasters, “Shopping For Clothes”] The record only reached number eighty-three on the charts, and of course Kent Harris sued and was awarded joint writing credit with Leiber and Stoller. While it didn’t chart, it is usually regarded as one of the Coasters’ very best records. It’s also notable for being the first Coasters record to feature a young session musician that Leiber and Stoller were mentoring at the time. Lester Sill, who had been Leiber and Stoller’s mentor in their early years, had partnered with them in several business ventures, and was currently the Coasters’ manager, phoned them up out of the blue one day, and told them about a kid he knew who’d had a big hit with a song called “To Know Him Is To Love Him”, which he’d written for his group the Teddy Bears: [Excerpt: The Teddy Bears, “To Know Him Is To Love Him”] That record had been released on Trey Records, a new label that Sill had set up with another producer, Lee Hazlewood. Sill said that the kid in question was a huge admirer of Leiber and Stoller, and wanted to learn from them. Would they give him some kind of job with them, so he could be like an apprentice? So, as a favour to Sill, and even though they found they disliked the kid once he got to New York, they signed him to a publishing contract, gave him jobs as a session guitarist, and even let him sleep in their office or in Leiber’s spare room for a while. We’ll be hearing more about how their collaboration with Phil Spector worked out in future episodes. Around the time that “Shopping For Clothes” came out, the group became conscious that their time as a pop chart act with a teenage fanbase was probably close to its end, and they decided to do something that Carl Gardner had wanted to do for a while, and try to transition into the adult white market — the kind of people who were buying records by Tony Bennett or Andy Williams. Gardner had wanted, from the start, to be a big band singer, and his friend Johnny Otis had always encouraged him to try to sing the material he really loved, rather than the stuff he was doing with the Coasters. So eventually it was agreed that the group would do their first proper album — something recorded with the intention of being an LP, rather than a collection of singles shoved together. This record was to be titled “One By One”, and would have the group backed by an orchestra, singing old standards. Each song would have a single lead vocalist, with the others relegated to backing vocal parts. Gardner took lead on four songs, and seems to have believed that this would be his big chance to transition into being a solo singer, but it didn’t work out like that. The album wasn’t a particular success, either commercially or critically, but to the extent that anyone noticed it at all, they mostly commented on how good Cornell Gunter sounded. Gunter had always been relegated to backing roles in the group — he was an excellent singer, and a very strong physical comedian, but his sweeter voice didn’t really suit being lead on the material that made the group famous. Gunter had always admired the singer Dinah Washington, and he used to do imitations of her in the group’s shows. Getting the chance to take a solo lead on three songs, he shone with his imitation of her style: [Excerpt: The Coasters, “Easy Living”] For comparison, this is Washington’s version of the same song: [Excerpt: Dinah Washington, “Easy Living”] Despite the record showing what strong vocalists the group were, it did nothing, and by this time the group’s commercial fortunes seemed to be in terminal decline. Looking at their releases around this period, it’s noticeable as well that the Coasters stop being produced exclusively by Leiber and Stoller — several of their recordings are credited instead to Sill and Hazlewood as producers. There could be several explanations for this — it could be that Leiber and Stoller were bored of working with the Coasters, or it could be that they thought that getting in another production team might give the group a boost — after all, Sill and Hazlewood had recently had a few hits of their own, producing records like “Rebel Rouser” by Duane Eddy: [Excerpt: Duane Eddy, “Rebel Rouser”] But nothing they produced for the group had any great commercial success either. The group’s last top thirty hit was another Leiber and Stoller song — one that once again shows the more adult turn their writing for the group had taken: [Excerpt: The Coasters, “Little Egypt”] “Little Egypt” was originally the stage name for three different belly-dancers, two of whom performed in Chicago in the mid-1890s and introduced the belly dance to the American public, and another who performed in New York a few years later and was the subject of a scandal when a party she was performing at was raided and it was discovered she planned to perform nude. These dancers had been so notorious that as late as the early 1950s — nearly sixty years after their careers — there was a highly fictionalised film supposedly based on the life of one of them. Whether Leiber and Stoller were inspired by the film, or just by the many exotic dancers who continued using variations of the name, their song about a stripper would be the last time the Coasters would have a significant hit. Shortly after its release, Cornell Gunter decided to leave the group and take up an opportunity to sing in Dinah Washington’s backing group. He was replaced by Earl “Speedo” Carroll, who had previously sung with a group called the Cadillacs, whose big hit was “Speedoo”: [Excerpt: The Cadillacs, “Speedoo”] Carroll, according to Leiber and Stoller, was so concerned about job security that he kept his day job as a school janitor after joining the Coasters. Unfortunately, Gunter was soon sacked by Dinah Washington, and he decided to form his own group, and to call it the Coasters. A more accurate name might have been the Penguins, since the other three members of his new group had been members of the Penguins previously — Gunter had come out of the same stew of vocal groups as the Penguins had, and had known them for years. Gunter’s group weren’t allowed to record as the Coasters, so they made records just under Gunter’s own name, or as “Cornell Gunter and the Cornells”: [Excerpt: Cornell Gunter, “In a Dream of Love”] But while he couldn’t make records as the Coasters, his group could tour under that name — and they were cheaper than the other group. Gunter was friends with Dick Clark, and so Clark started to book Gunter’s version of the group, rather than the version that was in the studio. Not that the group in the studio was exactly the same as the group you’d see live, even if you did go and see the main group. Billy Guy decided he wanted to try a solo career, but unlike Gunter he didn’t quit the group. Instead, he had a replacement go out on the road for him, but still sang with them in the studio. None of Guy’s solo records did particularly well, and several of them ended up getting reissued under the Coasters name, even though no other Coasters were involved: [Excerpt: Billy Guy, “It Doesn’t Take Much”] The band membership kept changing, and the hits stopped altogether. Over the next few decades, pretty much everyone who’d been involved with the Coasters started up their own rival version of the group. Carl Gardner apparently retained the legal rights to the name “the Coasters”, and would sue people using it without his permission, but that didn’t stop other members performing under names like “Cornel Gunter’s Coasters”, which isn’t precisely the same. Sadly, several people associated with the Coasters ended up dying violently. King Curtis was stabbed to death in the street in 1971, outside his apartment building. Two people were making a drug deal outside his door, and he asked them to move, as he was trying to carry a heavy air-conditioning unit in. They refused, a fight broke out, and he ended up dead, aged only thirty-seven. One of Cornell Gunter’s Coasters was murdered by Gunter’s manager in 1980, after threatening to expose some of the manager’s criminal activities. And finally Gunter himself was shot dead in 1990, and his killer has never been found. These days there are three separate Coasters groups touring. “Cornell Gunter’s Coasters” is a continuation of the group that Gunter led before his death. “The Coasters” is managed by Carl Gardner’s widow. And Leon Hughes, who is the only surviving original member of the Coasters but was gone by the time of “Yakety Yak”, tours as “Leon Hughes and His Coasters”. The Coasters are now all gone, other than Hughes, but their records are still remembered. They created a sound that influenced many, many, other groups, but has never been replicated by anyone. They were often dismissed as just a comedy group, but as anyone who has ever tried it knows, making music that is both funny and musically worthwhile is one of the hardest things you can do. And making comedy music that’s still enjoyable more than sixty years later? No-one else in rock and roll has ever done that.

Episode sixty-eight of A History of Rock Music in Five Hundred Songs looks at "Searchin'" by The Coasters, and at the group's greatest success and split, and features discussion of racism, plagiarism, STDs and Phil Spector. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on "Tears on My Pillow" by Little Anthony and the Imperials.   ----more----   Resources As always, I've created Mixcloud streaming playlists with full versions of all the songs in the episode. Because of the limit on the number of songs by one artist, I have posted them as two playlists -- part one, part two.  I've used multiple sources to piece together the information here. Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz tells Leiber and Stoller's side of the story well. Yakety Yak, I Fought Back: My Life With the Coasters by Carl and Veta Gardner is a self-published, rather short, autobiography, which gives Gardner's take on the formation of the Coasters. Those Hoodlum Friends is a Coasters fansite, with a very nineties aesthetic (frames! angelfire domain name! Actual information rather than pretty, empty, layouts!)   The Coasters by Bill Millar is an excellent, long out-of-print, book which provided a lot of useful information. And The Definitive Coasters is a double-CD set that has the A- and B-sides of all the group's hits. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript When we last left the Coasters, they'd just taken on two new singers -- Cornell Gunter and Dub Jones -- to replace Leon Hughes and Bobby Nunn. The classic lineup of the Coasters had finally fallen into place, but it had been a year since they had had a hit -- for most of 1957, their writing and production team, Jerry Leiber and Mike Stoller, had been concentrating on more lucrative work, with Elvis Presley among others.   Leiber and Stoller had a rather unique setup, which very few other people in the business had at that point. They were independent writer/producers -- an unusual state in itself in the 1950s -- but they were effectively under contract to two different labels, whose markets and audiences didn't overlap very much. They were contracted to RCA to work with white pop stars -- not just Elvis, though he was obviously important to them, but people like Perry Como, who were very far from Leiber and Stoller's normal music. That contract with RCA produced a few hits outside Elvis, but didn't end up being comfortable for either party, and ended after a year or so, but it was still remarkable that they would be working as producers for a major label while remaining independent contractors. And at the same time, they were also attached to Atlantic, where they were recording almost exclusively with the black performers that they admired, such as Ruth Brown, LaVern Baker, and the Drifters. And it was, of course, also at Atlantic that they were working with the Coasters, who unlike those other artists were Leiber and Stoller's own personal project, and the one with whom they were most identified, and for whom they were about to write the group's biggest hit: [Excerpt: The Coasters, "Yakety Yak"] For the most part, Leiber and Stoller had the classic songwriting split of one lyricist and one composer. Leiber had started out as a songwriter who couldn't play an instrument or write music -- he'd just written lyrics down and remembered the tune in his head -- while Stoller was already an accomplished and sophisticated jazz pianist by the time the two started collaborating. But they wrote together, and so occasionally one would contribute ideas to the other's sphere. Normally, we don't know exactly how much each contributed to the other's work, because they didn't go into that much detail about how they wrote songs, but in the case of "Yakety Yak" we know exactly how the song was written -- everyone who has had a certain amount of success in the music business tends to have a store of anecdotes that they pull out in every interview, and one of Leiber and Stoller's was how they wrote "Yakety Yak". According to the anecdote, they were in Leiber's house, in a writing session, and Stoller started playing a piano rhythm, with the idea it might be suitable for the Coasters, while Leiber was in the kitchen. Leiber heard him playing and called out the first line, "Take out the papers and the trash!", and Stoller immediately replied "Or you don't get no spending cash". They traded off lines and had the song written in about ten minutes. "Yakety Yak" featured a new style for the Coasters' records. Where their earlier singles had usually alternated between a single lead vocalist -- usually Carl Gardner -- on the verses, and the group taking the chorus, with occasional solo lines by the other members, here the lead vocal was taken in unison by the two longest-serving members of the group, Gardner and Billy Guy, with Cornell Gunter harmonising with them. Leiber and Stoller, in their autobiography, actually call it a duet between Gardner and Guy, but I'm pretty sure I hear three voices on the verses, not two, although Gardner's voice is the most prominent. Then, at the end of each verse, there's the chorus line, where the group sing "Yakety Yak", and then Dub Jones takes the single line "Don't talk back": [Excerpt: The Coasters, "Yakety Yak"] This formula would be one they would come back to again and again -- and there was one more element of the record that became part of the Coasters' formula -- King Curtis' saxophone part: [Excerpt: The Coasters, "Yakety Yak"] While “Yakety Yak” seems in retrospect to be an obvious hit record, it didn't seem so at the time, at least to Jerry Leiber. Mike Stoller was convinced from the start that it would be a massive success, and wanted to put another Leiber and Stoller song on the B-side, so they'd be able to get royalties for both sides when the record became as big as he knew it would. Leiber, though, thought they needed a proven song for the B-side -- something safe for if "Yakety Yak" was a flop. They went with Leiber's plan, and the B-side was a version of the old song "Zing! Went the Strings of My Heart", performed as a duet by Dub Jones and Cornell Gunter: [Excerpt: The Coasters, "Zing! Went the Strings of My Heart"] Leiber shouldn't have worried -- "Yakety Yak" was, of course, a number one hit single. The song was successful enough that it spawned a few answer records, including one by Cornell Gunter's sister Gloria, which Cornell sang backing vocals on: [Excerpt: Gloria Gunter, "Move on Out"] With the new lineup of the group in place, they quickly settled into a hit-making machine. Everyone had a role to play. Leiber and Stoller would write the songs and take them into the studio. Stoller would write the parts for the musicians and play the piano, while Leiber supervised in the control room. Cornell Gunter would work out the group's vocal arrangements, Dub Jones would always take his bass solo lines, and either Carl Gardner or Billy Guy would take the lead vocal -- but when they did, they'd be copying, as exactly as they could, a performance they'd been shown by Leiber. From the very start of Leiber and Stoller's career, Leiber had always directed the lead vocalist and told them how to sing his lines -- you may remember from the episode on "Hound Dog", one of the very first songs they wrote, that Big Mama Thornton was annoyed at him for telling her how to sing the song. When Leiber and Stoller produced an artist, whether it was Elvis or Ruth Brown or the Coasters or whoever, they would get them to follow Leiber's phrasing as closely as possible. And this brings me to a thing that we need to deal with when talking about the Coasters, and that is the criticism that is often levelled against their records that they perpetuate racist stereotypes. Johnny Otis, in particular, would make this criticism of the group's records, and it's one that must be taken seriously -- though of course Otis had personal issues with Leiber and Stoller, resulting from the credits on "Hound Dog". But other people, such as Charlie Gillett, have also raised it. It's also a charge that, genuinely, I am not in any position to come to a firm conclusion on. I'm a white man, and so my instincts as to what is and isn't racist are likely to be extremely flawed. What I'd say is this -- the Coasters' performances, and *especially* Dub Jones' vocal parts, are very clearly rooted in particular traditions of African-American comedy, and the way that that form of comedy plays with black culture, and reappropriates stereotypes of black people. If black people were performing, just like this, songs just like this that they had written themselves, there would be no question -- it wouldn't be racist. Equally, if white people were performing these songs, using the same arrangements, in the same voices, it would undoubtedly be racist -- it would be an Amos and Andy style audio blackface performance, and an absolute travesty. The problem comes with the fact that the Coasters were black people, but they were performing songs written for them by two white people -- Jerry Leiber and Mike Stoller -- and that Leiber and Stoller were directing how they should perform those songs. To continue the Amos 'n' Andy analogy, is this like when Amos and Andy transferred from the radio to the TV, and the characters were played by black actors imitating the voices of the white comedians who had created the characters? I can't answer that. Nor can I say if it makes a difference that Leiber and Stoller were Jewish, and so were only on the borders of whiteness themselves at the time, or that they were deeply involved in black culture themselves -- though that said, they also claimed on several occasions that they weren't writing about black people in particular in any of their songs. Leiber said of "Riot in Cell Block #9" "It was inspired by the Gangbusters radio drama. Those voices just happened to be black. But they could have been white actors on radio, saying, “Pass the dynamite, because the fuse is lit.”" [Excerpt: The Robins, “Riot in Cell Block #9”] That may be the case as well -- their intent may not have been to write about specifically black experiences at all. And certainly, the Coasters' biggest hits seem to me to be less about black culture, and more about generic teenage concerns. But still, it's very obvious that a large number of people did interpret the Coasters' songs as being about black experiences specifically -- and about a specific type of black experience. Otis said of Leiber and Stoller, "They weren't racist in the true sense of the word, but they dwelled entirely on a sort of street society. It's a very fine point -- sure, the artist who performed and created these things, that's where he was. He wasn't a family person going to a gig, he was in the alleys, he was out there in the street trying to make it with his guitar. But while it might be a true reflection of life, it's not invariably a typical reflection of the typical life in the black community". The thing is, as well, a lot of this isn't in the songwriting, but in the performance -- and that performance was clearly directed by Leiber. I think it makes a difference, as well, that the Coasters had two different audiences -- they had an R&B audience, who were mostly older black people, and they had a white teenage audience. Different audiences preferred different songs, and again, there's a difference between black performers singing for a black audience and singing for a white one. I don't have any easy answers on this one. I don't think that whether something is racist or not is a clear binary, and I'm not the right person to judge whether the Coasters' music crosses any lines. But I thought it was important that I at least mention that there is a debate to be had there, and not just leave the subject alone as being too difficult. The song Johnny Otis singled out in the interview was "Charlie Brown", which most people refer to as the follow-up to "Yakety Yak". In fact, after "Yakety Yak" came a blues song called "The Shadow Knows", based on the radio mystery series that starred Orson Welles. While Leiber and Stoller often talked about the inspiration that radio plays gave them for their songs for the group, that didn't translate to chart success -- several online discographies even fail to mention the existence of "The Shadow Knows". It's a more adult record than "Yakety Yak", and seems to have been completely ignored by the Coasters' white teenage audience -- and in Leiber and Stoller's autobiography, they skip over it completely, and talk about "Charlie Brown" as being immediately after "Yakety Yak". "Charlie Brown" took significantly longer to come up with than the ten minutes that "Yakety Yak" had taken -- while Stoller came up with some appropriate music almost straight away, it took Leiber weeks of agonising before he hit on the title "Charlie Brown", and came up with the basic idea for the lyric -- which, again, Stoller helped with. It's clear, listening to it, that they were trying very deliberately to replicate the sound of "Yakety Yak": [Excerpt: The Coasters, "Charlie Brown"] "Charlie Brown" was almost as big a hit as "Yakety Yak", reaching number two on the pop charts, so of course they followed it with a third song along the same lines, "Along Came Jones". This time, the song was making fun of the plethora of Western TV series: [Excerpt: The Coasters, "Along Came Jones"] While that's a fun record, it “only” reached number nine in the pop charts – still a big success, but nowhere near as big as “Charlie Brown” or “Yakety Yak”. Possibly "Along Came Jones" did less well than it otherwise would have because The Olympics had had a recent hit with a similar record, "Western Movies": [Excerpt: The Olympics, "Western Movies"] Either way, the public seemed to tire of the unison-vocals-and-honking-sax formula -- while the next single was meant to be a song called "I'm a Hog For You Baby" which was another iteration of the same formula (although with a more bluesy feel, and a distinctly more adult tone to the lyrics) listeners instead picked up on the B-side, which became their biggest hit among black audiences, becoming their fourth and final R&B number one, as well as their last top ten pop hit. This one was a song called "Poison Ivy", and it's frankly amazing that it was even released, given that it's blatantly about sexually transmitted diseases -- the song is about a woman called "Poison Ivy", and it talks about mumps, measles, chicken pox and more, before saying that "Poison Ivy will make you itch" and "you can look but you'd better not touch". It's hardly subtle: [Excerpt: The Coasters, "Poison Ivy"] Shortly after that, Adolph Jacobs left the group. While he'd always been an official member, it had always seemed somewhat strange that the group had one non-singing instrumental member -- and that that member wasn't even a particularly prominent instrumentalist on the records, with Mike Stoller's piano and King Curtis' saxophone being more important to the sound of the records. "Poison Ivy" would be the group's last top ten hit, and it seemed to signal Leiber and Stoller getting bored with writing songs aimed at an audience of teenagers. From that point on, most of the group's songs would be in the older style that they'd used with the Robins -- songs making social comments, and talking about adult topics. The next single, "What About Us?", which was a protest song about how rich (and by implication) white people had an easy life while the singers didn't have anything, "only" reached number seventeen, and there seems to have been a sort of desperate flailing about to try new styles. They released a single of the old standard "Besame Mucho", which extended over two sides -- the second side mostly being a King Curtis saxophone solo. That only went to number seventy. Then they released the first single written by a member of the group -- "Wake Me, Shake Me", which was written by Billy Guy. That was backed by the old folk song "Stewball", and didn't do much better, reaching number fifty-one on the charts. The song after that was an attempt at yet another style, and that did even worse in the charts, but it's now considered one of the Coasters' great classics. "Clothes Line (Wrap It Up)" was a comedy blues song written by a singer called Kent Harris and performed by him under the name Boogaloo and His Solid Crew, and it seems to have been modelled both on the early Robins songs that Leiber and Stoller had written, and on Chuck Berry's "No Money Down": [Excerpt: Boogaloo and His Solid Crew: "Clothes Line (Wrap it Up)"] Leiber and Stoller told various different stories over the years about how the Coasters came to record what they titled "Shopping For Clothes", but the one they seem to have settled on was that Billy Guy vaguely remembered hearing the original record, and knew about half the lyrics, and they'd reconstructed the song from what he remembered. They'd been unable to find out who had written it, so had just credited it to "Elmo Glick", a pseudonym they sometimes used. The new version of the song was reworked significantly, and in particular it became a dialogue, with Billy Guy playing the shopper and Dub Jones playing the sales assistant: [Excerpt: The Coasters, "Shopping For Clothes"] The record only reached number eighty-three on the charts, and of course Kent Harris sued and was awarded joint writing credit with Leiber and Stoller. While it didn't chart, it is usually regarded as one of the Coasters' very best records. It's also notable for being the first Coasters record to feature a young session musician that Leiber and Stoller were mentoring at the time. Lester Sill, who had been Leiber and Stoller's mentor in their early years, had partnered with them in several business ventures, and was currently the Coasters' manager, phoned them up out of the blue one day, and told them about a kid he knew who'd had a big hit with a song called "To Know Him Is To Love Him", which he'd written for his group the Teddy Bears: [Excerpt: The Teddy Bears, "To Know Him Is To Love Him"] That record had been released on Trey Records, a new label that Sill had set up with another producer, Lee Hazlewood. Sill said that the kid in question was a huge admirer of Leiber and Stoller, and wanted to learn from them. Would they give him some kind of job with them, so he could be like an apprentice? So, as a favour to Sill, and even though they found they disliked the kid once he got to New York, they signed him to a publishing contract, gave him jobs as a session guitarist, and even let him sleep in their office or in Leiber's spare room for a while. We'll be hearing more about how their collaboration with Phil Spector worked out in future episodes. Around the time that "Shopping For Clothes" came out, the group became conscious that their time as a pop chart act with a teenage fanbase was probably close to its end, and they decided to do something that Carl Gardner had wanted to do for a while, and try to transition into the adult white market -- the kind of people who were buying records by Tony Bennett or Andy Williams. Gardner had wanted, from the start, to be a big band singer, and his friend Johnny Otis had always encouraged him to try to sing the material he really loved, rather than the stuff he was doing with the Coasters. So eventually it was agreed that the group would do their first proper album -- something recorded with the intention of being an LP, rather than a collection of singles shoved together. This record was to be titled "One By One", and would have the group backed by an orchestra, singing old standards. Each song would have a single lead vocalist, with the others relegated to backing vocal parts. Gardner took lead on four songs, and seems to have believed that this would be his big chance to transition into being a solo singer, but it didn't work out like that. The album wasn't a particular success, either commercially or critically, but to the extent that anyone noticed it at all, they mostly commented on how good Cornell Gunter sounded. Gunter had always been relegated to backing roles in the group -- he was an excellent singer, and a very strong physical comedian, but his sweeter voice didn't really suit being lead on the material that made the group famous. Gunter had always admired the singer Dinah Washington, and he used to do imitations of her in the group's shows. Getting the chance to take a solo lead on three songs, he shone with his imitation of her style: [Excerpt: The Coasters, "Easy Living"] For comparison, this is Washington's version of the same song: [Excerpt: Dinah Washington, "Easy Living"] Despite the record showing what strong vocalists the group were, it did nothing, and by this time the group's commercial fortunes seemed to be in terminal decline. Looking at their releases around this period, it's noticeable as well that the Coasters stop being produced exclusively by Leiber and Stoller -- several of their recordings are credited instead to Sill and Hazlewood as producers. There could be several explanations for this -- it could be that Leiber and Stoller were bored of working with the Coasters, or it could be that they thought that getting in another production team might give the group a boost -- after all, Sill and Hazlewood had recently had a few hits of their own, producing records like "Rebel Rouser" by Duane Eddy: [Excerpt: Duane Eddy, "Rebel Rouser"] But nothing they produced for the group had any great commercial success either. The group's last top thirty hit was another Leiber and Stoller song -- one that once again shows the more adult turn their writing for the group had taken: [Excerpt: The Coasters, "Little Egypt"] "Little Egypt" was originally the stage name for three different belly-dancers, two of whom performed in Chicago in the mid-1890s and introduced the belly dance to the American public, and another who performed in New York a few years later and was the subject of a scandal when a party she was performing at was raided and it was discovered she planned to perform nude. These dancers had been so notorious that as late as the early 1950s -- nearly sixty years after their careers -- there was a highly fictionalised film supposedly based on the life of one of them. Whether Leiber and Stoller were inspired by the film, or just by the many exotic dancers who continued using variations of the name, their song about a stripper would be the last time the Coasters would have a significant hit. Shortly after its release, Cornell Gunter decided to leave the group and take up an opportunity to sing in Dinah Washington's backing group. He was replaced by Earl "Speedo" Carroll, who had previously sung with a group called the Cadillacs, whose big hit was "Speedoo": [Excerpt: The Cadillacs, "Speedoo"] Carroll, according to Leiber and Stoller, was so concerned about job security that he kept his day job as a school janitor after joining the Coasters. Unfortunately, Gunter was soon sacked by Dinah Washington, and he decided to form his own group, and to call it the Coasters. A more accurate name might have been the Penguins, since the other three members of his new group had been members of the Penguins previously -- Gunter had come out of the same stew of vocal groups as the Penguins had, and had known them for years. Gunter's group weren't allowed to record as the Coasters, so they made records just under Gunter's own name, or as "Cornell Gunter and the Cornells": [Excerpt: Cornell Gunter, “In a Dream of Love”] But while he couldn't make records as the Coasters, his group could tour under that name -- and they were cheaper than the other group. Gunter was friends with Dick Clark, and so Clark started to book Gunter's version of the group, rather than the version that was in the studio. Not that the group in the studio was exactly the same as the group you'd see live, even if you did go and see the main group. Billy Guy decided he wanted to try a solo career, but unlike Gunter he didn't quit the group. Instead, he had a replacement go out on the road for him, but still sang with them in the studio. None of Guy's solo records did particularly well, and several of them ended up getting reissued under the Coasters name, even though no other Coasters were involved: [Excerpt: Billy Guy, "It Doesn't Take Much"] The band membership kept changing, and the hits stopped altogether. Over the next few decades, pretty much everyone who'd been involved with the Coasters started up their own rival version of the group. Carl Gardner apparently retained the legal rights to the name "the Coasters", and would sue people using it without his permission, but that didn't stop other members performing under names like "Cornel Gunter's Coasters", which isn't precisely the same. Sadly, several people associated with the Coasters ended up dying violently. King Curtis was stabbed to death in the street in 1971, outside his apartment building. Two people were making a drug deal outside his door, and he asked them to move, as he was trying to carry a heavy air-conditioning unit in. They refused, a fight broke out, and he ended up dead, aged only thirty-seven. One of Cornell Gunter's Coasters was murdered by Gunter's manager in 1980, after threatening to expose some of the manager's criminal activities. And finally Gunter himself was shot dead in 1990, and his killer has never been found. These days there are three separate Coasters groups touring. "Cornell Gunter's Coasters" is a continuation of the group that Gunter led before his death. "The Coasters" is managed by Carl Gardner's widow. And Leon Hughes, who is the only surviving original member of the Coasters but was gone by the time of "Yakety Yak", tours as "Leon Hughes and His Coasters". The Coasters are now all gone, other than Hughes, but their records are still remembered. They created a sound that influenced many, many, other groups, but has never been replicated by anyone. They were often dismissed as just a comedy group, but as anyone who has ever tried it knows, making music that is both funny and musically worthwhile is one of the hardest things you can do. And making comedy music that's still enjoyable more than sixty years later? No-one else in rock and roll has ever done that.

It took three family tragedies for Jade to awaken from decades of darkness and self-sabotage. The agony of losing her last living sister to suicide the summer of 2015 left only enough energy to deal with her grief. She knew then she must face the pain of her past or risk losing herself for good. By listening intently to her inner voice, Jade began healing from the inside out and finally living in an authentic way. On her quest for self-love and acceptance, she discovered life coaching and began investing in her own well-being and success. For the very first time in her life, she embraced her entire story and started sharing it with others. ​In 2016, she joined the Walworth County Suicide Prevention Education and Awareness Coalition and, in 2017 and 2018, also co-chaired the Walworth County Out of the Darkness Community Walk for suicide awareness and prevention. Jade volunteers for the American Foundation for Suicide Prevention's Healing Conversations Program (formerly known as the Survivor Outreach Program), which offers personal support to survivors of suicide loss. Her website, No Parameters, was initially a blog: a place to keep, honor, and share her grief poetry and stories. But, by the fall of 2017, she knew it needed to be more. Jade wanted to give other survivors permission to live wholeheartedly too, so they could embrace their stories and come back to life again. It was then the coaching services were added. Her passions are postvention* and teaching others how to create and sustain genuine and meaningful connections. In short, She helps women rebuild after traumatic loss. In September of 2018, her first book, Wake Me from the NIGHTMARE: Hope, Healing, and Empowerment After Suicide Loss, was released on Amazon, and it quickly became a number one bestseller. Shortly thereafter, it was picked up by Morgan James Publishing in New York. The paperback was released to bookstores on November 12th, 2019! Jade is hoping change the way we approach suicide grief and those  grieving, and help to reduce the stigma still surrounding mental health conditions and suicide. Her work has been featured in several online publications including Elephant Journal, The Good Men Project, and The Urban Howl. ​She hopes these stories offer strength and hope to other trauma and loss survivors, so they can learn to trust themselves and the world again. ​Her life has been devoted to helping herself, her kids, and others overcome fear, limitations, and heartache. ​She is the Mid-Western version of the girl next door. *Postvention is a term often used in the suicide prevention field. Postvention refers to activities which reduce the risk of suicide and promote healing after a suicide death.

Jade, our incest survivor guest, discusses her background with physical, emotional and sexual abuse by two primary perpetrators, her father and older brother. She then walks us through her struggles with her own healing, suicide attempts, and dealing with the death by suicide of someone close to her. Join us as she expands upon: •Understanding the varying responses to abuse by each perpetrator •Childhood life without boundaries •Ways she “normalized” the situation •Her rocky path to healing •Sensory memories •Coming to terms with the much too soon deaths of her siblings •Her crash course in self-love and reclaiming herself •Practical tips on addressing suicidal thoughts and helping survivors of suicide loss •Her book “Wake Me from the NIGHTMARE: Hope, Healing and Empowerment After Suicide Loss”

On this week’s edition of the Free Form Rock Podcast we review and album from the ORIGINAL 1970’s group, Skid Row. We review their album titled, “Skids.”  Before we get into that, we play a Lee Gerstman classic titled; “Had I Known”.  We end our episode with our tracks of the week which include “Wake Me, Shake me “ by The Blues Project and “Toughest Street in Town” by Thin Lizzy. Be sure to  follow us on Podbean, subscribe to us on iTunes and leave a 5 star review! Until next week, take a freaking walk on the wild side while ROCKIN out to some killer tunes!

Bonjour et bienvenue dans « One Shot First » le podcast qui tire ses recommandations de comics en premier. L'épisode qui n'est pas Kheiron. Pour ouvrir cette saison 4, quoi de mieux que de parler des copies du plus célèbres des Gothamites ? N'hésitez pas à nous contacter Sur notre site ou bien sur nos réseaux sociaux : _Facebook _Twitter Si vous souhaitez nous soutenir n'oubliez pas d'aller nous mettre 5 étoiles sur Itunes Notre chanson de fin est Kiss From a Rose par Wake Me:

Chris Dudley, samples and keyboardist for Underoath is the 200th guest on this milestone episode of the BREWtally Speaking Podcast!! Chris sits down with co host Jon to talk about being on tour with legendary bands like Alice in Chains and Korn. If he realizes his band is that iconic for the bands they take out on tour with them. We also talk about what it was like scoring a film, giving up security of a normal job for a life back in a touring band. If Underoath is writing new music and so much more. Hosts Dan and Jon reflect on 200 episodes of the podcast. Intro Music: "Wake Me" by Underoath "Pretty Lights" by Heartsick Show Sponsor: The Bean Bastard (www.thebeanbastard.com) Links: Facebook: www.facebook.com/underoath www.facebook.com/thebeanbastard www.facebook.com/metalnexus www.facebook.com/brewspeakpod Instagram: @underoathband, @chrisunderoath, @thebeanbastard, @metal.nexus, @brewspeakpod, @jbeatty616 Twitter: @underoathband, @chrisunderoath, @metal_nexus, @brewspeakpod, @discussmetaldan, @jbeatty616 Patreon: www.patreon.com/brewspeakpod Email: Brewtallyspeaking@gmail.com Website: www.metalnexus.net RATE/REVIEW/SUBSCRIBE!!!

Playlist: Kat Riggins, Johnnie Walker, Eric Reed, Eyes On You, Charlie Wooten Project, Dime Note, Bruce Katz, Red Sneakers, Bobby Rush, You Got The Goods On You, Billy Price, Working On Your Chain Gang, J.P. Soars, Let It Ride, Annika Chambers, World Of Hurt, Professor Louie And The Crowmatix, Love Bound, Dudley Taft, Simple Life, Altered Five Blues Band, Right On, Right On, Coco Montoya, Good Man Gone, Pascal Bokar, I Wanna See You In My Dreams, The Nick Moss Band feat. Dennis Gruenling, Ugly Woman, Misty Blues, Need More, Vaneese Thomas, Wake Me, Tweed, Woman Don’t Lie, Moonshine Society, Southern Road, Eliza Neals, Livin With Yo Mama feat. Popa Chubby, Alex Lopez, I Can’t Stop, Gracie Curran, Chasing Sunsets, Vince Agwada, King Of The Night, Griff Hamlin And The Single Barrel Blues Band, Bourbon And A Pistol, Billie Williams, Ten Million Sisters, Lurrie Bell, Drifting, Mississippi Heat, Cab Driving Man, Joanna Connor, It’s A Woman’s World, Downchild Blues Band, Worried About The World, Danielle Nicole, Crawl, Johnny Sansone, The Lord Is Waiting And The Devil Is Too, Mojomatics, Soy Baby Many Thanks To: We here at the Black-Eyed & Blues Show would like to thank all the PR and radio people that get us music including Frank Roszak, Rick Lusher ,Doug Deutsch Publicity Services,American Showplace Music, Alive Natural Sounds, Ruf Records, Vizztone Records,Blind Pig Records,Delta Groove Records, Electro-Groove Records,Betsie Brown, Blind Raccoon Records, BratGirl Media, Mark Pucci Media, Mark Platt @RadioCandy.com and all of the Blues Societies both in the U.S. and abroad. All of you help make this show as good as it is weekly. We are proud to play your artists.Thank you all very much! Blues In The Area: BLUES SCHEDULE WEEKLY REPORT 8/15 thru 8/21 BAND VENUE LOCATION THURSDAY 8/15 LIVIU POP with BRIAN CHARETTE BLACK EYED SALLY'S HARTFORD ROCKY LAWRENCE THE CRAVE (6:30 PM ) ANSONIA RICK ESTRIN CHAN'S WOONSOCKET RI KEN SAFETY OPEN MIC CJ SPARROWS CHESHIRE OPEN MIC FAST EDDIE'S BILLARD CAFÉ NEW MILFORD DAVE STOLTZ SOLO OLD FARMS HOTEL AVON GREG SHERROD OPEN MIC THE BLACK SHEEP NIANTIC JIMI PHOTON JAM HUNGRY TIGER MANCHESTER WENDY MAY OPEN MIC THE BLACK DUCK CAFÉ WESTPORT WALTER TROUT INFINITY MUSIC HALL NORFOLK JOHN MAYALL FTC FAIRFIELD PROF HARP PROVA BROCTON MA JAKE KULAK AND LOW DOWN LAWN SERIES MADISON RIVER CITY SLIM & ZYDECO HOGS PUBLIC LIBRARY (7 PM ) BRISTOL TRIBUTE TO TEDESCHI TRUCKS BAND ARCH STREET TAVERN HARTFORD RAMBLIN DAN STEVENS MUSEUM OF AMERICAN ART 5:30 NEW BRITAIN BALKUN BROTHERS HARRY BROWN'S FARM STARKS, ME AMONG THE ACRES HOG RIVER BREWERY HARTFORD KATIE HENRY BAND THEODORE'S SPRINGFIELD MA SATISFACTION (Stones Tribute Band ) KATY OLD SAYBROOK FRIDAY 8/16 DELBERT McCLINTON FTC WAREHOUSE FAIRFIELD JW JONES BRIDGE STREET LIVE COLLINSVILLE TNG MAPLE TREE CAFÉ SIMSBURY KAL DAVID with LAURI BONO BLACK EYED SALLY'S HARTFORD JAKE KULAK AND LOW DOWN NOTE KITCHEN BETHEL JOHNNY RAWLS THEODORE'S SPRINGFIELD MA RONNIE BAKER BROOKS CHAN'S WOONSOCKET RI JOHNNY NICHOLAS & REXAS ALL STARS KNICKERBOCKER MUSIC CENTER WESTERLY RI WALTER TROUT NARROWS ART CENTER FALL RIVER MA RAMBLIN DAN STEVENS HAMBURG FAIR (5 PM ) OLD LYME UNFINISHED BUSINESS BLUES BAND MATTY'S NEXT DOOR MIDDLETOWN RICK ESTRIN/JOANNA CONNOR/ MORE CHENANGO BLUES FESTIVAL NORWICH NY SUE MENHART BAND STEAK LOFT MYSTIC ROBERT EARL KEEN INFINITY MUSIC HALL NORFOLK THE NEYBAS MAIN PUB MANCHESTER THE LOW CARD STOMPING GROUND PUTNAM JEN DURKIN / MARTY Q / SANDOVAL TIPPING CHAIR TAVERN MILLDALE LE MIXX DONAHUE'S BEACH BAR MADISON FRANKIE AND THE KNOW IT ALL'S CANOE CLUB (5:30 PM ) MIDDLETOWN SATISFACTION (Stones Tribute ) WALL STREET THEATER NORWALK COTTON GIN & THE SWAMP YANKEES ROTHBARD ALE WESTPORT VINNIE FERRONE WEE BURN BEACH CLUB ROWAYTON THE B-SIDE RIPKA'S NORWALK OLD SCHOOL PEACHES SOUTHERN PUB NORWALK JOHN MACBETH MULLIGANS TORRINGTON ERAN TROY DANNER Solo PARADISE HILLS VINEYARD (5 PM ) WALLINGFORD TSC ACOUSTIC SUNSET LANDING WATERFORD BOBBY T'S ALL STARS PHOENIX DINING & ENTERTAINMENT PAWCATUCK G LOVE & SPECIAL SAUCE DARYL'S HOUSE PAWLING NY THE WOODSTOCK CONCERT THE FALCON MARLBORO NY SATURDAY 8/17 SHABOO REUNION (Salutes Woodstock) JILLSON SQUARE WILLIMANTIC DELBERT McCLINTON INFINITY MUSIC HALL HARTFORD JOHN MAYALL NARROWS ART CENTER FALL RIVER MA SANSONE/NICOLE/DOWNCHILD/BENOIT CHENANGO FESTIVAL NORWICH NY J WILLIS / JL WALKER/MISS HEAT w L BELL CHENANGO FESTIVAL NORWICH NY JAKE KULAK AND LOW DOWN THEODORE'S SPRINGFIELD MA RAMBLIN DAN STEVENS HAMBURG FAIR (NOON ) OLD LYME PAUL TOSCANO & SPECIAL SAUCE BLACK EYED SALLY'S HARTFORD COLD SHOT SOUTHWICK INN SOUTHWICK MA ROCK THIS TOWN ORCHESTRA TIPPING CHAIR TAVERN MILLDALE SATISFACTION (Stones Tribute ) INFINITY MUSIC HALL NORFOLK PROF HARP with COBRA KINGS HOTEL VERNON WORCESTER MA WHISKEY MYERS IRON HORSE NORTHAMPTON MA KEEP IT ROLLING HUNGRY TIGER MANCHESTER TONY FERRIGNO BAND BLACK DUCK CAFÉ WESTPORT DEAD SHOW THE ACOUSTIC BRIDGEPORT VINNIE FERRONE ROGER SHERMAN INN NEW CANAAN JR KRAUSS & THE SHAKES MULLIGANS TORRINGTON JEFF PRZECH (Acoustic ) WITCHDOCTOR BREWING CO SOUTHINGTON THE BERNADETTE'S CASA MIA AT THE HAWTHORN BERLIN ERAN TROY DANNER (Electric Trio ) SUNSET GRILL AT CRESTBROOK PARK WATERTOWN PEACE LOVE & TERRAPIN GARCIA'S AT THE CAPITAL THEATER PORT CHESTER NY SARA ASHLEIGH BAND LAKE GEORGE TAVERN WALES MA JOE LOUIS WALKER BAND TOWN CRIER CAFÉ BEACON NY SUNDAY 8/18 JOHN MAYALL INFINITY MUSIC HALL NORFOLK VITAMIN B-3 CANOE CLUB ( 3 PM ) MIDDLETOWN McDONALD / FORST / BARNES HOUSE OF RISING PUN (Scott & Ellen) AVON THE COFFEE GRINDERS LITTLE RED BARN BREWERS (2 PM ) WINSTED RYAN HARTT with TOM FERRARO NARRAGANSETT CAFÉ (4 TO 7 PM) JAMESTOWN RI OPEN MIC DONAHUE'S BEACH BAR (3:30 PM ) MADISON THE MANCHURIANS CAFÉ NINE (4 PM ) NEW HAVEN BROTHER EARL BRASS HORSE (3 TO 7 PM ) BARKHAMSTED RICK HARRINGTON KATY OLD SAYBROOK GREG SHERROD JAM THE ANDREA MISQUAMICUT RI BLUES JAM STONEHOUSE BAR (4 TO 8 PM ) BALTIC OPEN MIC STOMPING GROUND (7 PM ) PUTNAM RAMBLIN DAN STEVENS HAMBURG FAIR (noon ) OLD LYME RICK HARRINGTON CADY'S TAVERN CHEPACHET RI JIM'S JAM GREENDALES PUB WORCESTER MA ROCKABILLY JAM BOUNDARY BREWHOUSE PAWTUCKET RI ELECTRIC BLUES JAM SULLY'S PUB HARTFORD FRONT ROW BAND JAM MALONEY'S PUBLIC HOUSE MERIDEN WHAMMER JAMMER OPEN MIC VFW PRESTON GEORGE LESIW JAM CAFÉ NINE NEW HAVEN NRBQ FTC FAIRFIELD F AND BLUES BAND FITCH HIGH (Heart Run at 10 am ) GROTON OTIS AND THE HURRICANES THE BARN (Historical Society 5:30 ) WESTON GROOVE SECTION ELKS CLUB ( 1 PM ) WESTBROOK VINNIE FARRONE PONUS YACHT CLUB (5 PM ) STAMFORD DAVID STOLTZ FLYING MONKEY (4 TO 7 PM) HARTFORD BLUES AND BEYOND JAM THE HILLS AT CLUB ONE FEEDING HILLS MA JOHNNY & EAST COAST ROCKERS DONAHUE'S BEACH BAR (4:30 PM ) MADISON ERAN TROY DANNER Solo BRASS WORKS BREWING (1:30 PM ) WATERBURY TONY FERRIGNO HUNTINGTON GREEN (3 PM ) SHELTON CEE CEE & THE RIDERS VW'S ON THE HILL (Noon ) CUMBERLAND RI ROCKY LAWRENCE TAINO'S (1 PM ) MERIDEN BIG JOE FITZ FALCON BRUNCH (11 TO 2 PM ) MARLBORO NY BLUES AND BEYOND JAM THE HILLS AT CLUB ONE FEEDING HILLS MA MONDAY 8/19 GREG PICCOLO STEAK LOFT MYSTIC BLUES JAM THE BAYOU MOUNT VERNON NY OPEN MIC JUNE'S OUTBACK PUB KILLINGWORTH OPEN MIC NOTE KITCHEN BETHEL TOM CRIVELLONE BLUES JAM THE ACOUSTIC BRIDGEPORT OPEN MIC STRANGE BREW PUB NORWICH PETEY HOP ACOUSTIC OPEN MIC LUCY'S LOUNGE PLEASANTVILLE NY GEOFF WILLARD OPEN MIC HUNGRY TIGER MANCHESTER TUXEDO JUNCTION (Swing ) BILL'S SEAFOOD WESTBROOK TERRI AND ROB OPEN MIC BUTTONWOOD TREE MIDDLETOWN TUESDAY 8/20 RAMBLIN DAN STEVENS NIGHTINGALES CAFÉ OLD LYME UNPLUGGED OPEN MIC STRANGE BREW PUB NORWICH SHAWN TAYLOR LENNY'S (6 PM ) BRANFORD SARAH POTENZA BALLARD PARK RIDGEFIELD OPEN MIC CROWN AND HAMMER COLLINSVILLE HOT TUNA / DAVE MASON COLLEGE STREET MUSIC HALL NEW HAVEN RUFUS WAINWRIGHT RIDGEFIELD PLAYHOUSE RIDGEFIELD WEDNESDAY 8/21 WACKY BLUES JAM GREENDALES PUB WORCESTER MA LAMB JAM SEAGRAPE CAFÉ FAIRFIELD ACOUSTIC OPEN MIC FALCON UNDERGROUND MARLBORO NY FREE FUNK WEDNESDAY ARCH STREET TAVERN HARTFORD DAVE STOLTZ OLD FARMS HOTEL AVON BATTLE OF THE BANDS (Jake Kulak) ATRIUM LOUNGE FOXWOOD CASINO OPEN MIC MAPLE TREE CAFÉ SIMSBURY ROBERT EARL KEEN NARROWS ART CENTER FALL RIVER MA VINTAGE RHYTHM & BLUES ENSEMBLE PUB ON PARK CRANSTON RI RAMBLIN DAN STEVENS & MELLOW MEN OLD LYME INN (Patio at 6 pm) OLD LYME OPEN MIC YANTIC INN YANTIC OTIS AND THE HURRICANES WAVENY PARK NEW CANAAN RORY BLOCK / CINDY CASHDOLLAR DARYL'S HOUSE PAWLING NY JOHNNY & THE EAST COAST ROCKERS KNICKERBOCKER MUSIC CENTER WESTERLY RI MURRAY THE WHEEL TOOTZY PIZZA WILTON FRIENDS DAY OPEN MIC THEODORE'S SPRINGFIELD MA OPEN MIC DONAHUE'S BEACH BAR MADISON COMMUNITY JAM feat PETER BYRON BLACK EYED SALLY'S HARTFORD ED TRAIN - JUKE JOINT WEDENSDAY PEACHES SOUTHERN PUB NORWALK ERAN TROY DANNER Solo TIPPING CHAIR TAVERN MILLDALE https://itunes.apple.com/us/podcast/id502316055

Playlist: The Young Presidents, Slipping Away, Diana Rein, Get Down, Charlie Wooten Project, Tell Me A Story, Bruce Katz, Down At The Barrelhouse, Bobby Rush, Good Stuff, Billy Price, We’re In Love J.P. Soars, If You Wanna Get To Heaven, Annika Chambers, You Can’t Win, Raw Terra, Monkey See, Monkey Do, Peyton Gilliland, Magnetic, Professor Louie And The Crowmatix, L-50 Blues, Heather Newman, Cheapshot, Dudley Taft, In Your Way, Altered Five Blues Band, Too Mad To Make Up, Coco Montoya, Coming In Hot, Janiva Magness, Lodi, Pascal Bokar, The Blues Don’t Like Nobody, The Nick Moss Band feat. Dennis Gruenling, 312 Blood, Joanne Broh, Kitchen Man, Misty Blues, Spilt Whiskey, Donna Hourigan & The Lucky Lips, Talk The Talk, Vanesse Thomas, Wake Me, Tweed, Walls, Moonshine Society, Shake, Emery Williams Jr, Hurtin’ On You, Eliza Neals feat. Popa Chubby, Knock, Knock Knockin’, Alex Lopez, Cheating Blues, Gracie Curran, Sweet Sativa, Vince Agwada, Credit Card, Jeff Dale & The South Woodlawners, Can I Boogie, Griff Hamlin And The Single Barrel Blues Band, Nothing Better, Delbert McClinton, Any Other Way, Kat Riggins, Queen Bee, Kat Riggins, Kitty Won’t Scratc, Mojomatics, Soy Baby, Many Thanks To: We here at the Black-Eyed & Blues Show would like to thank all the PR and radio people that get us music including Frank Roszak, Rick Lusher ,Doug Deutsch Publicity Services,American Showplace Music, Alive Natural Sounds, Ruf Records, Vizztone Records,Blind Pig Records,Delta Groove Records, Electro-Groove Records,Betsie Brown, Blind Raccoon Records, BratGirl Media, Mark Pucci Media, Mark Platt @RadioCandy.com, Bigtone Records, Rip Cat Records, Gulf Coast Records, Whiskey Bayou Records and all of the Blues Societies both in the U.S. and abroad. All of you help make this show as good as it is weekly. We are proud to play your artists.Thank you all very much! Blues In The Area: BLUES SCHEDULE WEEKLY REPORT 8/8 thru 8/14 BAND VENUE LOCATION THURSDAY 8/8 LIVIU POP with LUCKY PETERSON BLACK EYED SALLY'S HARTFORD ROCKY LAWRENCE THE CRAVE (6:30 PM ) ANSONIA TAB BENOIT NARROWS ART CENTER FALL RIVER MA KEN SAFETY OPEN MIC CJ SPARROWS CHESHIRE OPEN MIC FAST EDDIE'S BILLiARD CAFÉ NEW MILFORD DAVE STOLTZ SOLO OLD FARMS HOTEL AVON GREG SHERROD OPEN MIC THE BLACK SHEEP NIANTIC JIMI PHOTON JAM HUNGRY TIGER MANCHESTER WENDY MAY OPEN MIC THE BLACK DUCK CAFÉ WESTPORT OTIS AND THE HURRICANES NORTHSTAR RESTAURANT SCOTTS CORNER NY RAMBLIN DAN STEVENS PERKS AND CORKS WESTERLY RI CHRIS LEIGH BAND LATITUDE 41 (Blues Meets Pink 6 PM) MYSTIC BLUES ON THE ROCKS BACK PORCH RESTAURANT (6:30 PM ) OLD SAYBROOK MICHAEL CLEARY BAND MADISON BEACH HOTEL MADISON BABY DYNAMITE / ANNE MINOGUE CAFÉ NINE NEW HAVEN DARIK AND THE FUNBAGS MGM CASINO SPRINGFIELD MA LOVELACE / LESIW BLUES REVUE MAG'S PIZZA BAR AND GRILL SEYMOUR JAKE KULAK AND LOW DOWN HANGING HILLS BREWERY HARTFORD FRIDAY 8/9 LUCKY PETERSON with LIVIU POP ROTHBARD ALE ON BARD ALLEY WESTPORT DIAMONDBACK / COLE MORSON BAND HUNGRY TIGER (Block Party ) MANCHESTER BALKUN BROTHERS MAIN PUB MANCHESTER THE COFFEE GRINDERS SILK CITY COFFEE MANCHESTER MARK NOMAD MAPLE TREE CAFÉ SIMSBURY ROCKY LAWRENCE DANIEL PACKER INN MYSTIC ROB STONE THE FALCON MArLBORO NY JEFF PITCHELL & TEXAS FLOOD THEODORE'S SPRINGFIELD MA EDGAR WINTER BAND DARYL'S HOUSE PAWLING NY DEAN SHOT (Tribute to Howling Wolf) CHAN'S WOONSOCKET RI KAT RIGGINS BLACK EYED SALLY'S HARTFORD PROF HARP CONCERT ON THE GREEN (7 - 9 PM ) TAUNTON MA ZACK DEPUTY KNICKERBOCKER MUSIC CENTER WESTERLY RI ALI KAT & THE REVELATORS HAYMARKETCOMMON AMPHITHEATER STAFFORD SPRINGS GROOVE SECTION COPPER HILL GOLF CL;UB (6:30 ) EAST GRANBY THE SHUFFLE KINGS PERKS AND CORKS WESTERLY RI COBALT EXPRESS BRASS HORSE BARKHAMSTED DEAD MEETS MARLEY ARCH STREET TAVERN HARTFORD JAKE KULAK AND LOW DOWN NEW HAVEN COUNTRY CLUB HAMDEN SAWTELLES CAFÉ NINE NEW HAVEN TAB BENOIT NARROW ART CENTER FALL RIVER MA LEGION OF JERRY (Tribute to Garcia ) THE ACOUSTIC BRIDGEPORT PULSE SHAMROCK PUB WATERBURY THE HOOLIOS McCOOKS CONCERT SERIES NIANTIC JEN DURKIN & THE BUSINESS VETERANS MEMORIAL PARK SHELTON ERAN TROY DANNER (Electric Trio) COE PARK TORRINGTON FAKE ID SPOTTED HORSE WESTPORT GEORGE LESIW BAND TRIBUS BEER CO MILFORD SATURDAY 8/10 JOE LOUIS WALKER TOWNE CRIER CAFÉ BEACON NY LUCKY PETERSON THEODORE'S SPRINGFIELD MA GLOUCESTER BLUES FESTIVAL STAGE FORT PARK GLOUCESTER MA JOHNNY & EAST COAST ROCKERS SNEEKERS CAFÉ GROTON SHAWN TAYLOR STONES THROW SEYMOUR CHRIS LEIGH BAND CALABRESE CLUB (7 TO 10 PM ) WESTERLY RI SARA ASHLEIGH BAND PJ'S HOLLAND MA POPA CHUBBY CHAN'S WOONSOCKET RI THE VETTED PIT STOP MILFORD RED BALL EXPRESS BRYAC BLACK ROCK JAKE KULAK AND LOW DOWN COALHOUSE PIZZA STAMFORD BONE DRY DUO NOTE KITCHEN BETHEL OTIS AND THE HURRICANES PEACHES SOUTHERN PUB NORWALK THE BIG CHIEF BAND THE CRABSHELL STAMFORD FAKE ID OLD GREENWICH SOCIAL OLD GREENWICH SARAH BORGES & BROKEN SINGLES CAFÉ NINE NEW HAVEN COBALT RHYTHM KINGS LENNY'S BRANFORD THE GUY ZINDA BAND BILL'S SEAFOOD WESTBROOK MICHAEL CLEARY BAND THE BACK PORCH OLD SAYBROOK TSC ACOUSTIC BALOS WEST HARTFORD CHRIS STOVALL BROWN STOMPING GROUND PUTNAM JEFF PITCHELL BLACKLEDGE COUNTRY CLUB HEBRON SUE MENHART BAND OLDE MISTICK VILLAGE (2 PM ) MYSTIC HARVEST & RUST (Neil Young Tribute) ARCH STREET TAVERN HARTFORD SUPERGREEN HUNGRY TIGER MANCHESTER THE BERNADETTES / GREG MATTSON TIPPING CHAIR TAVERN MILLDALE THE DILEMMA (Corey Rieman ) SOFTAILS CAFÉ & GRILL DURHAM THE FUNK JUNKIES THE FALCON (7 PM ) MARLBORO NY DARIK AND THE FUNBAGS CAPT NICKS BLOCK ISLAND RI GEORGE LESIW BAND TRIBUS BEER CO (Free 1 to 4 pm ) MILFORD MICHAEL LOUIS MACGREGOR'S PUB (Central Mall) HUNTER NY MEASURED SOUL BLACK EYED SALLY'S HARTFORD DRIVING IRIS MAPLE TREE CAFÉ SIMSBURY SUNDAY 8/11 SUGAR RAY & THE BLUETONES NARRAGANSETT CAFÉ (4 TO 7 PM) JAMESTOWN RI FOUR BARREL BILLY DONAHUE'S BEACH BAR (3:30 PM ) MADISON TAB BENOIT / ERIC JOHNSON DARYL'S HOUSE PAWLING NY CARL RICCI & 706 UNION AVE BRASS HORSE (3 TO 7 PM ) BARKHAMSTED JOHN MAYALL KATY OLD SAYBROOK GREG SHERROD OPEN MIC THE ANDREA MISQUAMICUT RI BLUES JAM STONEHOUSE BAR (4 TO 8 PM ) BALTIC OPEN MIC STOMPING GROUND (7 PM ) PUTNAM LUCKY PETERSON with LIVIU POP THE CHICKEN SHACK MARLBOROUGH RICK HARRINGTON JAM CADY'S TAVERN CHEPACHET RI JIM'S BLUES JAM GREENDALES PUB WORCESTER MA ROCKABILLY JAM BOUNDARY BREWHOUSE PAWTUCKET RI ELECTRIC BLUES JAM SULLY'S PUB HARTFORD FRONT ROW BAND JAM MALONEY'S PUBLIC HOUSE MERIDEN WHAMMER JAMMER OPEN MIC VFW PRESTON THE LANGLY PROJECT LENNY'S (4 PM ) BRANFORD DITTY MACK / SOMEONE YOU CAN X RAY JUNE'S OUTBACK PUB KILLINGWORTH THE 5 O'CLOCKS SHERMAN GREEN FAIRFIELD BACK TO THE GARDEN TOWNE CRIER CAFÉ BEACON NY CEE CEE & THE RIDERS SUMMER CONCERTS SO KINGSTOWN RI JOHNNY & EAST COAST ROCKERS RATHSKELLER (3 PM ) CHARLESTOWN RI DAVID STOLTZ FLYING MONKEY (4 TO 7 PM) HARTFORD BLUES AND BEYOND JAM THE HILLS AT CLUB ONE FEEDING HILLS MA OPEN MIC STATE HOUSE NEW HAVEN PROF HARP DOUG'S HOUSE OF HARMONY NEW BEDFORD MA ROCKY LAWRENCE TAINO'S (1 PM ) MERIDEN MONDAY 8/12 GREG PICCOLO STEAK LOFT MYSTIC TUXEDO JUNCTION (Swing ) BILL'S SEAFOOD WESTBROOK TOMMY WHALEN OPEN MIC HUNGRY TIGER MANCHESTER LUCKY PETERSON with LIVIU POP THE TURNING POINT PIERMONT NY TERRI AND ROB OPEN MIC BUTTONWOOD TREE MIDDLETOWN BLUES JAM THE BAYOU MOUNT VERNON NY OPEN MIC JUNE'S OUTBACK PUB KILLINGWORTH OPEN MIC NOTE KITCHEN BETHEL TOM CRIVELLONE BLUES JAM THE ACOUSTIC BRIDGEPORT OPEN MIC STRANGE BREW PUB NORWICH PETEY HOP ACOUSTIC OPEN MIC LUCY'S LOUNGE PLEASANTVILLE NY TUESDAY 8/13 MICHAEL PALIN'S OTHER ORCHESTRA BLACK EYED SALLY'S HARTFORD JOHN MAYALL IRON HORSE (7 PM ) NORTHAMPTON MA RAMBLIN DAN STEVENS NIGHTINGALES (Pickin Party at 6 PM) OLD LYME MARK PARADISE HUNGRY TIGER MANCHESTER UNPLUGGED OPEN MIC STRANGE BREW PUB NORWICH BRANDT TAYLOR LENNY'S (6 PM ) BRANFORD ERAN TROY DANNER (Electric Trio ) JACKSON COVE OXFORD OPEN MIC CROWN AND HAMMER COLLINSVILLE WEDNESDAY 8/14 MURALI CORYELL NORWICH ART CENTER NORWICH F AND BLUES BAND HOWARD T BROWN PARK (6 PM ) NORWICH WACKY BLUES JAM GREENDALES PUB WORCESTER MA LAMB JAM SEAGRAPE CAFÉ FAIRFIELD ACOUSTIC OPEN MIC FALCON UNDERGROUND MARLBORO NY FREE FUNK WEDNESDAY ARCH STREET TAVERN HARTFORD DAVE STOLTZ OLD FARMS HOTEL AVON BATTLE OF THE BANDS ATRIUM LOUNGE FOXWOOD CASINO OPEN MIC MAPLE TREE CAFÉ SIMSBURY ROBERT EARL KEEN NARROWS ART CENTER FALL RIVER MA VINTAGE RHYTHM & BLUES ENSEMBLE PUB ON PARK CRANSTON RI RAMBLIN DAN STEVENS & MELLOW MEN OLD LYME INN (Patio at 6 pm) OLD LYME OPEN MIC YANTIC INN YANTIC JAKE KULAK AND LOW DOWN VALLEY ADVOCATE NORTHAMPTON MA BLUES ON THE ROCKS VILLAGE GAZEBO (6:30 PM ) ESSEX DAVE ROBBINS WHITE LION BREWING CO (5 PM ) SPRINGFIELD MA MURRAY THE WHEEL TOOTZY PIZZA WILTON FRIENDS DAY OPEN MIC THEODORE'S SPRINGFIELD MA SANDY CONNOLLY OPEN MIC DONAHUE'S BEACH BAR MADISON COMMUNITY JAM - GENE DONALDSON BLACK EYED SALLY'S HARTFORD ED TRAIN - JUKE JOINT WEDNESDAY PEACHES SOUTHERN PUB NORWALK https://itunes.apple.com/us/podcast/id502316055

(Discussion starts at 21:00) Dan and Scarlet open the episode with an astrology and Tarot forecast for the week of June 3 to June 9, 2019, followed by a discussion between the hosts all about how the Swedish government is talking about making rune symbols illegal.  Runes, which are the ancient alphabetic glyphs used in ancient Norse culture, have become popular among white supremecist groups lately, so Scarlet and Dan go back and forth about their opinions on whether or not banning them is a good solution to address the problem of white supremacy.  This is a wide ranging discussion that doesn't shy from controversy, so let us know your thoughts after listening. Check out Dan's new music video for his song "Wake Me" at the Youtube link below: https://www.youtube.com/watch?v=bVnoHhhhMdY  

Playlist: Delbert McClinton & Self Made Me, If I Hock My Guitar,Eric Reed, Crumbling Down,Scorch Sisters, Still Remember,Grady Champion, Down Home Blues,Justine and the Unclean, Monosyllabic Man,JP Reali, My Baby Loves To Boogie,Terry Robb, Still On, Trombeatz, Something New,Harpdog Brown, No Eyes For Me,Kate Lush Band, Jackson, Ellis Mano Band, Georgia,John Clifton, Keep It Clean,The Cash Box Kings, Back Off,Christone “Kingfish” Ingram, Trouble,Ross Osteen Band, Broom,The BB King Blues Band, Hey There Pretty Woman,Tony Campanella, My Motor’s Running,Kenny “Beedyeyes” Smith, What In The World,Joanne Shaw Taylor, All My Love,Michele D’Amour & The Love Dealers, Cradle To The Hearse,Jon Gindick, Baby’s Got The Blues,Albert Castiglia, Catch My Breath,Bob Corritore & Friends, Trying To Make A Living,Bonita & The Blues Shacks, That’s My Baby,Will Jacobs, Groove Thang,Kerry Kearney Band, Wake Me, Shake Me, Bake Me,Meg Williams, Sometimes I Need You Too,Laura Rain and the Caesars, Hi Fidelity Man,Anthony Gomes, White Trash Princess,Mojomatics, Soy Baby Many Thanks To: We here at the Black-Eyed & Blues Show would like to thank all the PR and radio people that get us music including Frank Roszak, Rick Lusher ,Doug Deutsch Publicity Services,American Showplace Music, Alive Natural Sounds, Ruf Records, Vizztone Records,Blind Pig Records,Delta Groove Records, Electro-Groove Records,Betsie Brown, Blind Raccoon Records, BratGirl Media, Mark Pucci Media, Mark Platt @RadioCandy.com and all of the Blues Societies both in the U.S. and abroad. All of you help make this show as good as it is weekly. We are proud to play your artists.Thank you all very much! Blues In The Area: 41 Bridge Street Live: Saturday, Christine Ohlman & Rebel Montez w/ Lovelace/Lesiw; Collinsville. The Ridgefield Playhouse: Friday, Trombone Shorty & Orleans Avenue Opening: Funky Dawgz Brass Band; Ridgefield. (203) 438-5795 FTC Stage One: Saturday, Gary Hoey; Wednesday, Satan and Adam: Films that Rock; Fairfield.  (203) 319-1404 The Bijou Theatre: Saturday, Allman Brothers Tribute - Brothers of the Road Band; Bridgeport. Black-eyed Sally's: Friday, Laura Rain & the Caesars; Saturday, Anthony Gomes Band; -Hartford. (860) 278 7427 BRYAC: Sunday, Sunday, Erin Harpe & the Messers (5 pm); Bridgeport. The Crabshell: Friday, Big Chief and the Midnight Groove; Stamford. The SeaGrape: Saturday, Chris Mahoney; Fairfield. Grey Goose: Saturday, Fake ID; Southport. Murphy's: Doug Wahlberg Band (Benefit for VFW 308); Newtown. Redding Roadhouse: Mental Health Band; Redding. Captain’s Cove: Monday, Eight to the Bar (3:30 pm); Bridgeport. Bill's Seafood: Saturday, Kathy Thompson Band; Monday, Johnny & The East Coast Rockers; Westbrook. Katharine Hepburn Cultural Arts Center: Saturday, Sacred Fire - Tribute To Santana; Old Saybrook. (860)-510-0473 Infinity Music Hall: Monday, Memorial Day BBQ Buffet; Norfolk. Mattabesett Canoe Club: Sunday, Vitamin B-3 (3 pm); Middletown. The Tautug Tavern: Friday, Fake ID Acoustic Duo; Bridgeport. Mulligans: Friday, Sara Ashleigh Band; Torrington. Hanq's: Friday, Orb Mellon Dave Robbins & Mark Hennessy; Torrington. Note Kitchen & Bar: Wednesday, Artie Tobia Duo; Bethel. Rizutto's Oyster Bar: Saturday, Otis and the Hurricanes; Westport. Bill's Crossroads: Sunday, Otis and the Hurricanes; Fairfield. Pearl at Longshore: Friday, Fake ID (6 pm); Westport. The Old Lyme Inn: Wednesday, Dan Stevens (6 pm); Old Lyme. Scotch Plains Tavern: Friday, Blues on the Rocks; Saturday, Katie Perkins; Sunday, Dan Stevens (3 pm), Essex. The Back Porch: Friday, Michael Cleary Band; Saturday, The Bernadettes; Old Saybrook  (860)-510-0282. Café 9: Sunday, Memorial Day BBQ w/George Baker Band; New Haven.  (203)-789-8281 Best Video: Friday, Bluegrass & Blues: Frog Hollow; Hamden. Owenego Inn: Friday, Eight to the Bar; Branford. Hog River Brewing Co: Sunday, Shawn Taylor (2 pm); Hartford.  860 206-2119 Lenny's Indian Head Inn: Thursday, Cobalt Rhythm Kings (6 pm); Branford. Foxwoods Atrium Bar Lounge: Thursday, Slow Hands: The Music of Eric Clapton; Mashentucket. Carmine's Bar, Grill & Stage: Saturday, Cobalt Express; East Hartford. Still Hill Brewery: Friday, Dan Stevens (5 pm); Rocky Hill. Senior Panchos: Thursday, Murray The Wheel Acoustic Duo; Thomaston. The Brass Horse Café: Sunday, Six Pack of Blues (3 pm); Barkhamsted. Cambridge Brew House: Saturday, Rich Badowski Band; Granby.  860-653-2738 Chippanee Golf Club: Saturday, Eran Troy Danner, solo acoustic; Bristol. Five Churches Brewing: Thursday, Orb Mellon (6 pm); New Britain. Old Platform 6: The Boogie Boys; Oakville. The Hops Company: Sunday, Eran Troy Danner, solo acoustic, (2 pm); Derby. Daddy Jack’s: Saturday, Dave Fields; New London. The Steak Loft: Friday, Johnny and The East Coast Rockers; Mystic. (860)-536-2661 Giants Neck Beach:  Saturday, The Second Chance (5 pm); Niantic. The Stomping Ground: Friday, The Peter Parcek Band; Saturday, The Infinite Groove; Wednesday, James Keyes; Putnam.  (860) 928-7900 The Windham Club: Friday, Patty Tuite Group (6 pm); North Windham.  860-456-1971 Daryl's House: Friday, The The Band Band: Bob Dylan Birthday Bash; Saturday, Acoustic Brunch: Nellybombs (12 pm); Saturday, Kim Simmonds & Savoy Brown; Pawling, NY  (845) 289-0185 The Turning Point: Friday, Adam Falcon; Saturday, The THE BAND Band Levon Helm Birthday Celebration; Piermont, NY The Falcon Underground: Friday, Vito Petroccitto & Little Rock; Marlboro, NY Towne Crier Café: Friday, Chris O'Leary Band; Beacon, NY Iron Horse: Friday, Jeff Pitchell & Texas Flood; Northampton, MA Theodores': Friday, Michelle Willson; Saturday, Laura Rain & the Caesars; Springfield. (413) 736-6000 The Knickerbocker Café: Saturday, Knickerbocker All Stars; Westerly. (401) 315-5070 Wormtown Trading Co:.StrangeCreek Campout 2019 w/ Creamery Station (May 24 - May 27); Greenfield, MA Narragansett Café: Sunday, Cee Cee & the Riders; Narragansett, RI Perks & Corks: Saturday, Dan Stevens; Westerly. RI Plainridge Park Casino: Sunday, The Barley Hoppers (4 pm); Plainville, MA https://itunes.apple.com/us/podcast/id502316055

Thanks, Rhonda Supreme! I, Valerie Denise Jones, appreciate the intro. _______SPECIAL GUEST: CHRISTOPHER WILLIAMS EPISODE TITLE: Don’t Wake Me, I’m Dreamin': Intimate Moments with R&B Singer Christopher WilliamsMORE ____CHRISTOPHER WILLIAMS Is Booked and Busy These Days In case you were oblivious as to the title of this EPISODE, here’s a quick recap:"I'm Dreamin"' is the title of a number-one R&B single by Christopher Williams. It appeared over the end credits of the film New Jack City and is featured on the soundtrack of the film, in which Williams has a supporting role. The hit song spent a couple of weeks at number-one on US R&B charts.LISTEN NOW to learn more about Christopher's status, schedule and social media. like . share . subscribe . download .https://www.spreaker.com/user/valeriedenisejones

DJ COPPOLA - Podcast #020 (90 Min) : www.djcoppola.com 01 - Tiesto & Don Diablo Ft. Thomas Troelsen - Chemicals (Original Mix) 02 - Jonas Blue ft. JP Cooper - Perfect Strangers 03 - Katy Perry Ft. Migos - Bon Appetit (Liam Keegan Remix) 04 - IIO Vs. Robin Schulz Ft. Franceso Yates - Sugar Rapture (DOSVEC Mashup Vs. EDX Mix) 05 - Rihanna - Umbrella Viento 2K18 (#Coppola & Medusa Banger) (Ft. Gianluca Vacchi) 06 - #Coppola - Brass 93" (Extended) 07 - Merk & Kremont, Kris Kiss - GANG feat. Kris Kiss (Original Mix) 07 - Pep & Rash - Rumors (Original Mix) 08 - DJ Snake - A Different Way 2K18 (#Coppola Bass House Banger) (Ft. Jauz & Noizu) 09 - Brohug - If I'm Wrong (Intro Clean) 10 - Steve Aoki & Bad Royale Ft. Ma$e & Big Gigantic - $4,000,000 (Oliver Heldens Remix) 11 - Adrien Toma - Talk to Me (#Coppola Remix) 12 - Asino - Gone (Rowen Reecks Remix) 13 - MHD - Afro Trap Part.8 [Never] 2K17 (#Coppola & DJ BigMike Banger) (Ft. Zonderling & Don Diablo) 14 - Plomo 15 - Calvin Harris - One Kiss (with Dua Lipa) 16 - Tchami & Malaa - Kurupt 17 - Aznavour - Parce Que Tu Crois 2K17 (#Coppola Banger) (Ft. Tujamo) 18 - Jax Jones - You Don't Know Me 2K18 (#Coppola Im Horny Intro) (Ft. Mousse T & JR) 18 - White Stripes - Seven Nation Army 2K18 (#Coppola Bass House Banger) (Ft. Damien N-Drix & Mesto) 19 - Rolling Stones - Satisfaction (#Ash & Coppola Future Bangerz) (Ft. Nathan Rux) 19 - Tchami - Adieu Mama 2K17 (#Coppola Edit) (Ft. Jonas Blue) 20 - Avicii & David S. - Wake Me up (#Coppola Edit) (Ft. Bob Marley) 21 - Oasis - Wonderwall 90's Deep Vs Lean On 2K17 (126-100-126) (#Coppola Hybrid Edit) (Ft. Major Lazer)

The Comics Agenda 79: Wake Me up before you Solo This Week Michael and Greg are joined by Insha Fitzpatrick (@benwyyatt) as we discuss the Solo Movie and where Star Wars should go next with some of their movies. Before that the team discusses some news items, and makes a pitch to ABC for us to replace Roseanne. Then we move into comics talk with the end of both Barrier, and Abbott. The start of Brian Michael Bendis at DC with Man of Steel #1, and the end of Dan Slotts run on Amazing Spiderman with issue 800. Listen, Enjoy and Subscribe. The Comics Agenda is hosted by Anelise (Twitter@Anelise.Farris ), Michael (Twitter@mokepf7) and Greg (Twitter@Comicsportsgeek). We discuss new comic book releases each week, in addition to breaking news, movies, and tv. You can reach us on Twitter @TheComicsAgenda or email us at TheComicsAgenda@gmail.com

1 Wake Me up by Avicii 2 [Nothing Else Matters by Metalica](https://djrocco.bandcamp.com/album/i-love-deep-house-vol-2/) 3 Love Fool by Cardigans 4 Frozen by Madonna 5 Feel The Silence by Depeche Mode 6 Never Gonna give you up by Rick Astley 7 Beat it by Michael Jackson 8 If I Lose Myself by One Republic 9 The final countdown by Europe 10 Bring Me To Life by Evanescence 11Living on my own by Freddie Mercury 12 Dont ​Stop Beliven by Journey 13 One by Swedish House Mafia 14 Seven Nation Army by The White Stripes 15 Butterfly by Crazy Town

Завершающий год выпуск Пиратской Станции! Здесь гармонично, а иногда и дико, переплелись большие треки 2017 и новинки последних дней года, огонь и хайп танцпола и музыкальная красота, классические формулы и новаторские решения в продакшене! Спасибо всем, кто был на связи и саппорте в этом году! Ваша энергия и любовь помогали продолжать ! Сделаем много шума сами себе!!!!) GVOZD vibes: 1.Camo Krooked feat. James Hersey - Like I Do 2.Fred V Grafix - Clap Funk 3.Snails & Pegboard Nerds - Deep in the Night (Muzzy Remix) 4.Fox Stevenson - Knowhow 5.Dimension - Generator 6.Sub Focus - X-Ray (Metrik Remix) 7.Delta Heavy feat. Jem Cooke - Nobody But You (Tantrum Desire Remix) 8.Wilkinson feat. Matt Wills - We Will Be 9.The Prototypes feat Mad Hed- Levelz 10.DJ Fresh vs. Diplo - Bang Bang (Rene LaVice's Trigger Happy Remix) 11.Yultron - If I Only Had The Heart 12.Diskord - Electrify 13.Levela - Koodana 14.Teddy Killerz - Bhaaloo 15.Drumsound & Bassline Smith - Cobra VIP 16.Killer Hertz - Levitation 17.Chase & Status - Tribes 18.Agressor Bunx - Radical Sound 19.Misanthrop - The Lick 20.Current Value - Deadly Toys 21.Killbox - Cousin of Zilch 22.Tobax - Many Digital Faces 23.Matiflow - Smoko (June Miller Remix) 24.Gydra, Fatloaf - Sphere 25.Filip Motovunski - Check Out The Vibe 26.Noisia - Voodoo (Noisia's 'Outer Edges' Remix) 27.Phace and Mefjus - The Mothership vip 28.Audio - Fizziks 29.Ozma - Essential 30.Dizkret - DeepSpace 31.Dua Lipa Be the One Cyberspyda & Exit4 rmx 32.Decent & Snapper - Hymera 33.Des McMahon - Blackhearted [Blacklab Remix] 34.Loadstar - All Junglists 35.InsideInfo - Spychase 36.Nu Elementz & Sub Killaz - Holding On 37.Bass Brothers - Badboy 38.Matzet - The Whistler 39.Simskai - Magician 40.Jayline - Omnia 41.Twisted Individual - Swan Cake (T-I Remix) 42.DJ Limited - Ain't No Love 43.Potential Badboy feat. Cowboy Ranger - Lion Roar (DnB Mix) 44.Dirty Skank Beats - Selva 45.Gunmen - The Sound 46.DJ Hybrid feat. Haribo - Raised In The Jungle (Rinse Out Mix) 47.High Contrast - Love On A 45 48.Whiney - Callow 49.Alix Perez & Zero T - Dangerous Liason 50.Dawn Wall - Lemon Dogs 51.Furney - I'm Awake Now 52.Satl - Midnight Moon 53.Indivision ft. Jonny Rose - Into the Wild 54.Derrick & Tonika - Hi Life 55.Milkyway - Unicorns & Rainbows 56.Grey Code, Aidan - Don't Wake Me 57.Missing - Stay here

From my 2001 Album Asleep Inside. This is what you would call an exploration with a snow globe. Follow it. This is God never giving up on me. The day I realized it was the day I wrote Don't Wake Me. It's dark and beautiful, full of right and wrong. It's a journey. It's neither one of us giving up.

DJ COPPOLA - Radio Show #006 IDFM (12-08-2017) www.djcoppola.com 01 - Jonas Blue Ft. William Singe - Mama (Offaiah Remix) [Intro Clean] 02 - Martin Solveig Ft. Alma - All Stars (Intro Clean) 03 - Malaa - Notorious (Original Mix) 04 - Watermat, Kelli-Leigh - Won't Stop (Bob Sinclar & The Cube Guys Extended Remix) 05 - Throttle - Hit The Road Jack (Cazztek Extended Remix) 06 - Bakermat - Baby (Extended Mix) 07 - Ed Sheeran - Shape Of You (#Ash & Coppola 2K17 Bangerz) (Ft. Major Lazer, TJR & Florida) 08 - Aznavour - Parce Que Tu Crois 2K17 (#Coppola Banger) (Ft. Tujamo) 09 - Alan Walker x Oliver Heldens - Faded Flamingo (#Coppola Future Banger) 10 - Tchami - Adieu (Extended) 11 - Adele & Madskies - Hello In Nomine (Nick Stevanson Mashup) 12 - David Guetta - This One's For You Vs Keep Pushin (#Coppola) (Ft. Tujamo) 13 - Kungs - This Girl Vintage Culture Cat Dealers Remix 14 - Avicii & David S. - Wake Me up (#Coppola Edit) (Ft. Bob Marley) 15 - Fugees - Ready Or Not (#Ash & Coppola) (Ft. Izecold & Brooks) 16 - Enur - Calabria Boom (#Coppola Bass House Banger) (Ft. Tiesto & Sevenn) 17 - Black Eyed Peas - I Gotta Feeling 2K17 (#Coppola Classic Banger) (Ft. Tujamo) 18 - Calvin Harris - You Used To Hold Me (Jacked Remix) 19 - Martin Solveig - Places (Club Mix) 20 - Don Diablo - Cutting Shapes (Extended Mix) 21 - Martin Solveig - Intoxicated Is What You Came For (#Ash & Coppola) (Ft.Nils Van Zandt & DJFM) 22 - Don Diablo - Momentum (original Mix) 23 - Ofenbach - Be Mine 24 - Kungs - I Feel So Bad 25 - Jax Jones - You Don't Know Me (Dirty)

Amazing night at Darjeeling Cafe for celebrate their birthday Lots of Funk, Afrobeat & jazzy vibes spinning in the air. Check it out ! Track List : Nancy Wilson - Sunshine The Chakachas - Stories Johnny Hammond - Rock Steady The Fatback Band - Keep On Steppin' The Meters - Funky Miracle Natalie Cole - Annie Mae Rhetta Hughes - Light My Fire Ohio Players - Pain Jackie Mittoo - Stereo Freeze Jimmy Cliff - The Harder They Come Nora Dean - Peace Begins Within Mungo's Hi Fi - Put it on ft. Shanti D D’Angelo - Betray My Heart Johnny "Guitar" Watson - Tarzan Black Sugar - Funky Man Charles Wright & The Watts 103rd St Rhythm Band - Express Yourself Sir Victor Uwaifo & His Melody Maestroes - Jungle Beat (Mutaba) Fela Kuti - Go Slow Skeletons - Over the Bridge (AfroStreet Remix) Bob Pinado & His Sound Casters - Me, You, One (Means I Love You) Mulatu Astatke - I Faram Gami I Faram Kid Creole & The Coconuts - Going Places Kelenkye Band-Jungle Music Miles Davis Featuring Easy Mo Bee -Fantasy King Sporty - if It's Funky, Wake Me

Avicii & David S. - Wake Me up 2K16 (#Coppola Edit) (Ft. Bob Marley)

show #54706.28.14    DEXTER ALLEN - RIDE THIS TRAIN from BLUEZ OF MY SOUL (3:04)    Claude Hay - Blues Train from I Love Hate You 2012 (2:48)    Johnny Cox - Didn't Commit The Crime from Thin Blue Line 2013 (5:21)    The Blues Band - Can't Get My Ass in Gear from Back for More 1989 (3:52)    CafeR&B - Don't Wake Me from Black & White 1999 (5:04)    Moreland & Arbuckle - Time Ain’t Long from 7 Cities 2013 (4:22)    The Nighthawks - Livin' the Blues from 444 2014 (4:21)    Collard Greens and Gravy - Juke Joint Boogie from Juke Joint Boogie 2012 (2:59)    Al Basile - Masked Man from Woke Up In Memphis 2014 (4:01)    Ronnie Earl & The Broadcasters - Stickin' from Peace of Mind 1990 (3:44)    Robert Johnson - Drunken Hearted Man [Alternate Take] from The Complete Recordings 1996 (2:27)    Rory Block - Pictures Of You from Tornado 1996 (3:48)    Arthur Ebeling - I was wrong from Piggy Dog 1995 (3:39)    Big Al & The Heavyweights - Down to the River from Nothin' But Good Lovin' 2004 (5:29)    Bjorn Berge - Pink Slip from Stringmachine 2001 (3:50)    Medford Slim Band - Plead With You from Come And Get It! 1994 (6:07)    Damon Fowler - Spark from Sounds of Home 2014 (3:17)    Barrelhouse Chuck & Kim Wilson's Blues All-Stars - She's Got A Thing Going On from Driftin' From Town To Town 2013 (3:47)    Bob Corritore - Harmonica Watusi from Taboo 2014 (3:29)    R.j. Mischo - Too cool for School from knowledge you cant get in college 2009 (3:02)    James Solberg Band - One False Move from One Of These Days (4:17)    Chris Whitley - Bordertown from Living With The Law 1991 (4:30)    Blacktop Deluxe - Outta The Red from Turn Up, Be Nice, Play Hard 2014 (5:00)    Ian Siegal - Work from Meat & Potatoes 2005 (7:15)    Little Village - Do You Want My Job from Little Village 1992 (5:37)    Asylum Street Spankers - Fuck Work from The Last Laugh 2014 (3:14)

Do you really know how your spinning wheel works?  Knowing how it works will help you spin the yarn you want, instead of just spinning whatever happens type of yarn. It's September, and that means back to school.  So we hit the books and learn about three different types of flyer bobbin systems used in spinning wheels.  Once you figure out what type of wheel you are using, you can then understand how to make your wheel work for you. There's lots of information on this podcast, so to give us a bit of a break, I am using music from the group CatzintheHatz.  Here's a link to their music: http://music.podshow.com/music/listeners/artistdetails.php?BandHash=b588c2cc09c7fe6855202a2901643905 And to close the podcast, there's a wonderful parody song, Wake Me up When this Math Class is Done, by the group fump: http://www.thefump.com/ As always all music is from the podsafe music network. Thanks for listening!