Podcast appearances and mentions of Wayne Kramer

Join us in conversation with renowned songstress and author, Adele Bertei, as we weave our way through the life and times of Sinead O'Connor, courage in the name of justice, and the healing power of song. Adele is an anti-disciplinary author, director, performer, and composer currently residing in Los Angeles, CA. She is the author of Peter and the Wolves (Smog Veil, 2020), Why Labelle Matters (University of Texas Press, 2021), Twist: Tales of a Queer Girlhood (ZE Books, 2023), and Universal Mother (Bloomsbury 33 1/3, 2025).   Bertei was an original member of the critically lauded Contortions, produced by Brian Eno on the seminal No New York LP. Reading prose and poetry, she opened for writers such as William Burroughs, Allen Ginsberg, and Kathy Acker among many others. Bertei acted in several underground films, including a lead role in Born In Flames by Lizzie Borden.   Bertei was lead singer in the Bloods –America's first openly queer band of women, and has performed and recorded as a backing vocalist and touring vocalist for artists such as Tears for Fears, Thomas Dolby, Culture Club, Whitney Houston, Sandra Bernhard and Sophie B. Hawkins among many others.   New York City's Museum of Modern Art recently acquired films of Bertei reading her poem The Ragazzi Manifesto in 1978, and The Offenders by Scott and Beth B., where Bertei plays the lead.   She has created and facilitated songwriting workshops for homeless youth at My Friend's Place in Hollywood, and as a member of Wayne Kramer's Jail Guitar Doors, teaching songwriting to the incarcerated at the Twin Towers facility in downtown LA, and at Century Women's Regional Center at Lynwood, the largest women's jail in the nation.   Her next book, No New York: A Memoir of No Wave and the Women Who Shaped the Scene, will be released in early 2026 by Faber & Faber UK.   Thanks to my producer and editor, Lucas Bakker @Iamlucasbakker- whose original music and soundtrack weave the Blue Medicine Journal podcast all together!  

DJ Jesse Luscious spins classic blocks of punk from across the world & across the decades, plus new tracks from Whimsyland, Pardon Us, Season To Risk, Spitfires, Distorted Times, Fugue State, & Birth (Defects), classics from Jucifer, Sex Pistols, Iowaska, NOFX, Ann Beretta, Runaways, Joe Strummer & The Mescaleros, Dopamines, Citizen Fish, Wayne Kramer, More Fiends, She Males, Sensation, Gargoyles, Ruin, DOA, Sham 69, Subhumans (Canada), Sharp Objects, D.I., The Business, & Ramones, and the Luscious Listener's Choice!  Whimsyland- Blurpy The Bumpy Barge Whimsyland- Rough N Tumble Buccaneers Pardon Us- High-Rise Ann Beretta- Fire In The Hole NOFX- Leaving Jesusland (edit) Season To Risk- Echo Chamber Dopamines- Business Papers (edit) Spitfires- Better The Devil You Know Joe Strummer And The Mescaleros- Coma Girl Distorted Times- Thieves And Leeches Citizen Fish- Give Me Beethoven… Wayne Kramer- Crack In The Universe Runaways- Cherry Bomb More Fiends- Wild West Philly She Males- Love Crawl (edit) Ruin- Life After Life Iowaska- Mother Earth Fugue State- The Pipeline Sensation- Viktor (edit) Birth (Defects)- Guiltless Gargoyles- Michigan D.O.A.- D.O.A. Subhumans (Canada)- Death To The Sickoids Sharp Objects- Zero Ambition D.I.- Hang Ten In East Berlin Business- National Insurance Blacklist Sham 69- If The Kids Are United… Sex Pistols- Pretty Vacant Space Ghost- Meets The Ramones Ramones- The KKK Took My Baby Away Jucifer- To The Lost

Three thrillers featuring the word "run" in the title, each one more or less about someone running to or from something! RUN (1991, Geoff Burrowes) NOWHERE TO RUN (1993, Robert Harmon) RUNNING SCARED (2006, Wayne Kramer)

"This is not a time to be dismayed, this is punk rock time. This is what Joe Strummer trained you for. It is now time to go. You're a good person. That means more now more than ever." - Henry RollinsWe could not have said it better, Henry. If 2025 isn't punk rock time, then when is? The word ICONOCLAST is defined by Merriam-Webster as “A person who attacks settled beliefs or institutions”. That sounds pretty punk rock to us. We need these folks now for their wisdom, their fearlessness and their heart. Our old friend Ryan Stockstad is back along with our new friend, first time ATTT guest Chris Bickel for a look at our favorite icons that embody the righteousness and goodness that is the spirit of punk rock. Picks 10-6 are featured here in Part 1.Between acting, writing and directing, Ryan's always up to stuff. Follow him on Instagram to keep up.https://www.instagram.com/hollywoodpsychic/Chris Bickel's latest film Pater Noster & Mission Of Light is getting rave reviews. Don't miss it!https://www.indiegogo.com/projects/pater-noster-and-the-mission-of-light-horror-film#/We've lowered our prices, but not our standards over at the ATTT Patreon! Those who are kindly contributing $2 a month are receiving an exclusive monthly Emergency Pod episode featuring our favorite guests and utilizing our patent-pending improv format in which we miraculously pull a playlist out of thin air. The great David Daskal makes his return April 1st. No Foolin'!Find out more at https://www.patreon.com/c/alltimetoptenWe're having a blast chatting it up about music over on the ATTT Facebook Group. Join us and start a conversation!https://www.facebook.com/groups/940749894391295

or .... The Racketeers by Mad For the Racket? It doesn't really appear that anybody knows what this band and album are called.Anyway, Duff McKagan of Guns'n'Roses joins with Wayne Kramer of MC5, Brian James of The Damned, and Stewart Copeland of the Police.....???Check it all out right?www.bandcamp.com/devansmusicwww.facebook.com/dmapodcasthttps://www.discogs.com/seller/battra13/profile

Jim Walters in conversation with David Eastaugh https://www.facebook.com/DasDamenOfficial The band was formed in 1984 by Jim Walters (vocals, guitar), Alex Totino (guitar, vocals), Phil Leopold von Trapp (bass, vocals), and Lyle Hysen (drums). Totino and Hysen were previously in the New York hardcore band The Misguided. Das Damen released their self-titled debut album on Thurston Moore's Ecstatic Peace! in 1986. They subsequently signed to SST Records and released Jupiter Eye in 1987, which has been described as "quasi-hardcore that touched on MC5-like garage psychedelia". A third album, Triskaidekaphobe, followed. It featured a guest appearance by ex-MC5 guitarist Wayne Kramer.  

"House Of Steam" Putting it simply the L.A.-born Nels Cline's resume' is so deep, to quote Mark Eitzel, it "would make the ocean proud." The guitarist and composer is one of the most respected names in the business and though he's perhaps best known these days for being the guitarist of Wilco, let's not single story Mr. Cline, because his body of work is varied and extensive. Aside from his early jazz work with his twin brother Alex, he's played with everyone from the Geraldine Fibbers to Mike Watt to Thurston Moore. But that doesn't even scratch the surface. Cline has played on close to 200 albums in jazz, pop, rock, country, and experimental music. Let me give you a few of those 200 to play with: Yoko Ono, Henry Kaiser, Firehose, Wayne Kramer, Rickie Lee Jones, John Zorn, Ramblin' Jack Elliot, Neil Finn, Lee Ranaldo and Chris Stamey. And belive me when I tell you that's a heavily expurgated list. Over the years Cline has been in bands with his pal Mike Watt Floored By Four, band with his wife Yuka Honda of Cibo Matto and he's had the Nels Cline Singers, the Nels Cline Trio, and the Nels Cline 4. Now comes The Consentrik Quartet, which is Cline along with saxophonist Ingrid Laubrock, bassist Chirs Lightcap and drummer Tom Rainey. Improvisational, experimental and downright wonderful, the band's debut album is a profound blend of rich cycle grooves, unexpected rhythmic excursions, and subtle meter innovations. It's marvelous work. Filled with delicate percussive brushes, virtuoso sax fills, prowling bass lines idiosyncratic sax melodies and Cline's nimble guitar lines moving through each composition with dextrous finesse, it's hard to think of a richer listening experience in recent memory. It's hard to think of a nicer guy as well--Nels is a lovely fellow and now you get to meet him. www.nelscline.com (http://www.nelscline.com) www.bombshellradio.com (http://www.bombshellradio.com) www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.alexgreenbooks.com (http://www.alexgreenbooks.com) Stereo Embers The Podcast IG & Bluesky: @emberspodcast Email: editor@stereoembersmagazine.com

Annulation de la série documentaire sur Prince, sous la direction d'Ezra Edelman, par les héritiers : le réalisateur se défend. Le punk britannique perd l'un de ses pionniers : Brian James, guitariste et membre fondateur de The Damned, est décédé à l'âge de 70 ans. Linkin Park, première tournée mondiale, arrêt prévu au festival Rock Werchter le 3 juillet 2025, le groupe mené par Mike Shinoda a le vent en poupe et partagent régulièrement des vidéos de leur vie sur les routes, intitulées ‘'LPTV FROM ZERO''. Courtney Love a surpris le public de la Royal Geographical Society de Londres en chantant un titre de Bob Dylan, " Like a Rolling Stone ". Mots-Clés : gigantesque, plateforme, streaming, Kid de Minneapolis, inexactitudes dramatiques, approche sensationnaliste, vie, image, authentique, carrière musicale, compositeur, New Rose, single, 1976, collaborations, Iggy Pop, Stewart Copeland, The Police, Wayne Kramer, MC5, Captain Sensible, influence, Emily Armstrong, chanteuse , nu metal, stade, Mexico, épisode, exclusif, leaders, Hole, animer, conversation, acteur-écrivain, Todd Almond, livre, Slow Train Coming : Bob Dylan's Girl From the North Country and Broadway's Rebirth, discussion, guitariste acoustique. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, en direct chaque jour à 7h30 et 18h30 sur votre radio rock'n'pop. Merci pour votre écoute Plus de contenus de Classic 21 sur www.rtbf.be/classic21 Ecoutez-nous en live ici: https://www.rtbf.be/radio/liveradio/classic21 ou sur l'app Radioplayer BelgiqueRetrouvez l'ensemble des contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Découvrez nos autres podcasts : Le journal du Rock : https://audmns.com/VCRYfsPComic Street (BD) https://audmns.com/oIcpwibLa chronique économique : https://audmns.com/NXWNCrAHey Teacher : https://audmns.com/CIeSInQHistoires sombres du rock : https://audmns.com/ebcGgvkCollection 21 : https://audmns.com/AUdgDqHMystères et Rock'n Roll : https://audmns.com/pCrZihuLa mauvaise oreille de Freddy Tougaux : https://audmns.com/PlXQOEJRock&Sciences : https://audmns.com/lQLdKWRCook as You Are: https://audmns.com/MrmqALPNobody Knows : https://audmns.com/pnuJUlDPlein Ecran : https://audmns.com/gEmXiKzRadio Caroline : https://audmns.com/WccemSkAinsi que nos séries :Rock Icons : https://audmns.com/pcmKXZHRock'n Roll Heroes: https://audmns.com/bXtHJucFever (Erotique) : https://audmns.com/MEWEOLpEt découvrez nos animateurs dans cette série Close to You : https://audmns.com/QfFankx

Critics universally panned Wayne Kramer's box office flop Running Scared (2006). Top critics on Rotton Tomatoes rate the film at bleak 27% while fans give the film a superior 79% rating. On IMDB, it is Kramer's highest-rated film, with a respectable 7.3 stars. With standout performances by Paul Walker (The Fast and the Furious), Vera Farmiga (Up In the Air, The Departed), then unknown Cameron Bright (the Twilight Saga), and Chazz Palminteri (A Bronx Tale), Kramer's gritty screenplay is brought to life in a twisted tale that references Grimm's Fairy Tales, Brian De Palma, and John Wayne. Paul and Steve revisit the film's graphic shootouts, car chases, and fight scenes, weighing in on the big question: Who got it right? The critics or the fans?MENTIONSOpening scene shootout: https://www.youtube.com/watch?v=H7UdT1BtPRYKidnap scene: https://youtu.be/ZnaF4zql9ds?si=WFfZ6e1XrJb7WjFaHocky rink stand off Part 1: https://youtu.be/IJV7dz2ZEYw?si=gW7t9_jiBkCy5VrjHocky rink stand off Part 2: https://youtu.be/wTwhgAzr5eA?si=1a6EY6s8edK5a2SV Joey and Oleg face the Pimp: https://youtu.be/PYWqo1-thgc?si=CrItUmO3SLrvWmpuTAMMFF Film Freeway: https://filmfreeway.com/TAMMFF FILM FIGHTS WITH FRIENDSDo you listen to our show as an audio podcast? Give video a try. Subscribe to our Youtube for the video version with awesome behind the scenes pics and video! https://www.youtube.com/@FilmFightsFriendsPod?sub_confirmation=1Dig the show? Consider supporting our Patreon. There are some cool perks! Patreon: http://patreon.com/FilmFightsFriendsPod Join our e-mail list! Hit us up here: fightingwithfriends@gmail.comInstagram: http://instagram.com/FilmFightsFriendsPodFacebook: http://facebook.com/FilmFightsFriendsPodSteve's Instagram: http://Instagram.com/sambosteve Steve's IMDB: http://imdb.me/stephenkoepferPaul's on Instagram: http://Instagram.com/KravMagaChefPaul's IMDB: https://www.imdb.com/name/nm8062990/?ref_=fn_al_nm_1Breakfall Studios' Instagram: http://Instagram.com/breakfallstuntsOUR SPONSORSStunt Accesshttp://stuntaccess.com

Baxie talks to Frank Meyer from the Street Walkin' Cheetahs! After more than 30 years Frank is about to release his very first solo album, “Living Between the Lines”. Frank has not only played with the likes of James Williamson from The Stooges, FEAR!, Handsome Dick Manitoba from The Dictators, Sylvain Sylvain from the NY Dolls, and Wayne Kramer from The MC5–he's written several books about the Ramones, Van Halen, and fatherhood and Dave Mustaine from Megadeth. He's also been an award-winning documentary filmmaker maker, a producer for NBC, and a content director for Fender guitars. He also happens to be the older brother of actor Breckin Meyer! Some amazing stories from one of the hardest working guys ever! Listen on Apple Podcasts, Spotify, YouTube, and on the Rock102 app! Brought to you by Metro Chrysler Dodge Jeep Ram of Chicopee!

I dette afsnit af 'Rockhistorier' kigges der, traditionen tro, tilbage på 20 af de største kunstnere, der forlod os i det forgangne år. Henrik Queitsch og Klaus Lynggaard har samlet en divers playliste, med alt fra funkinspirerede intromelodier fra Quincy Jones til Françoise Hardys tårefremkaldende ballader. Værter: Klaus Lynggaard og Henrik QueitschKlip: Kristian VestergaardPlayliste: Quincy Jones: “Theme from ‘Ironside'” (1971) John Mayall & the Bluesbreakers with Eric Clapton: “All Your Love” (Bluesbreakers, 1966)  Kris Kristofferson: ”Casey's Last Ride” (1970)Duane Eddy: “Rebel-‘Rouser” (1958)Phil Lesh/Grateful Dead: “Unbroken Chain” (1974)Sérgio Mendes & Brazil '66: “Batucada” (1968)Preben Devantier/Steppeulvene: “Dunhammeraften” (1967)Christian Sievert: ”Fantasia por seguiriyas” (1976)Françoise Hardy: ”Ma jeunesse fout le camp” (1967) Frankie Beverly/Maze: ”Color Blind” (1977)Melanie: “Lay Down (Candles in the Rain)” (1970)Mary Weiss/The Shangri-La's: “Give Him a Great Big Kiss” (1964)Wayne Kramer & Dennis Thompson/MC5: “Tonight” (1970)Eric Carmen/Raspberries: “Go All the Way” (1972) Johnny Madsen: “Aldrig mere” (2015)Steve Harley/Cockney Rebel: “Tumbling Down” (1974)James Chance & the Contortions: “Contort Yourself” (1979)Karl Wallinger/World Party: “It Is Like Today?” (1993)Steve Albini (født 1962)/Big Black: “Kerosene” (1985)Laura Illeborg (født 1969): ”God vagt” (2007)

Una sesión de bolsillo de efecto quitapenas y absolutamente desprejuiciada a la hora de mezclar estilos o de juntar clásicos con rarezas y frikadas: aquí vale todo mientras nos haga disfrutar.Playlist;(sintonía) MATORRALMAN “Destrampada”MESSER FÜR FRAU MÜLLER “Supersonic vibrator”THE CRAMPS “Let’s get fuck up”BUCK NAKED and THE BARE BOTTOM BOYS “Teenage pussyfrom outer space”THE MONKS “Monk time”LES YPER-SOUND “Psyché-Rock”THE FLESHTONES “Roman Gods”LOS CHICOS “Living legends”DOCTOR EXPLOSION “Chesterfield Childish Club”THE ELITE “My confusion”WAYNE KRAMER “Bonzo goes to Bitsburg”RAMONES “Chop Suey” an ultra rare tune from the get crazy movie soundtrackTHE B-52’S “Party out of bound”DE GRABELTONS “Make love”LES LULLIES “Dernier soir”MING CITY ROCKERS “Get outta your head”Escuchar audio

Baxie talks with the legendary Brian James. Brian talks about co-founding The Damned—the first British punk band to release a single with "New Rose" (October of 1976). The Damned were also the British Punk band to release an album with "Damned Damned Damned "(February of 1977). They were also the first British Punk band to tour the United States (April of 1977). Brian talks about forming the band and why he left. He also talks about playing with Iggy Pop and about his years with the late Stiv Bators (The Dead Boys) in forming the Lords of the New Church, and the band he formed with Wayne Kramer of the MC5, Stewart Copeland from The Police, Duff McKagan from Guns & Roses, and Clem Burke from Blondie called the Racketeers! Just awesome!!! Listen on Apple Podcasts, Spotify, YouTube, the Rock102 website, and on the Rock102 app! Brought to you by Metro Chrysler Dodge Jeep Ram of Chicopee!

In this special episode of Rock is Lit, host Christy Alexander Hallberg hands the mic to teacher, podcaster, and DJ Andrew Smith, who interviews his friend Peter Werbe about Peter's debut novel, ‘Summer On Fire'. Peter also reads an excerpt from the book. Peter Werbe is a veteran of Detroit's alternative and commercial media scene, as well as a political activist. A member of the editorial collective of ‘Fifth Estate' magazine, his work appears in its online archive. His radio career spanned Detroit's major rock stations—WABX, WWWW, WRIF, and WCSX—where he hosted Nightcall, WRIF's phone-in talk show and the longest-running program of its kind in U.S. radio history (1970–2016). Peter's novel, written during the pandemic near his 80th birthday, is a fictionalized memoir about the 1967 Detroit Rebellion and its surrounding antiwar, psychedelic rock counterculture. Set in a transformative seven weeks, ‘Summer On Fire' explores the radical Detroit scene, featuring characters navigating protests, anarchism, fascist opposition, and rock and roll at the Grande Ballroom. Themes of ethical dilemmas echo today's societal crises. The book also captures the spirit of cultural icons like MC5, The Stooges, Wayne Kramer, and John Sinclair. Andrew Smith, host of Teacher On The Radio, is also a professor of English and religious studies at Tennessee Tech.   MUSIC IN THE EPISODE IN ORDER OF APPEARANCE: Rock is Lit theme music [Guitar Instrumental Beat] Sad Rock [Free Use Music] Punch Deck—“I Can't Stop” Late 60s Style Psychedelic Rock Track “Summer of Love”/License Music for Videos MC5 “Kick Out the Jams” Frank Zappa “Plastic People” Big Brother and the Holding Company “Down On Me” Bar-Kays “Soul Finger” John Lee Hooker “The Motor City is Burning” The Stooges “I Wanna Be Your Dog” [Guitar Instrumental Beat] Sad Rock [Free Use Music] Punch Deck—“I Can't Stop” Rock is Lit theme music    LINKS: Leave a rating and comment for Rock is Lit on Goodpods: https://goodpods.com/podcasts/rock-is-lit-212451 Leave a rating and comment for Rock is Lit on Apple Podcasts: https://podcasts.apple.com/us/podcast/rock-is-lit/id1642987350 Peter Werbe's website: https://www.peterwerbe.org/ Peter Werbe on Facebook: @PeterWerbe Andrew Smith's website: http://www.teacherontheradio.com/ Andrew Smith on YouTube: https://www.youtube.com/@teacherontheradio Andrew Smith on Facebook: @AndrewWilliamSmith Andrew Smith on Twitter: @teacheronradio Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/rockislit Christy Alexander Hallberg on Instagram, Twitter, YouTube: @ChristyHallberg Rock is Lit on Instagram: @rockislitpodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Christian Swain co-founded Pantheon Podcasts because he's a lifelong fan of rock music and wanted to do everything in his power to help keep rock music alive and well. As that's exactly why we started our main show, The Ugly American Werewolf in London Rock Podcast, and why we joined Pantheon in 2022. As a musician himself, Christian has always been drawn to the power of a live rock show - the power of which is unrivaled in the artistic world. Christian grew up in LA, getting into punk rock and Kick Out The Jams by the MC5 was an anthem to him growing up and helped guide him in his life and career. After Christian had the chance to interview founding member Wayne Kramer on his show, The Rock N Roll Archeologist, he then had the opportunity to finally see his idol live in San Francisco. But what also made the opportunity so cool is that Kramer was touring in 2018 with an all-star band dubbed the MC50 to celebrate 50 years of the MC5. So Kim Thayill (Soundgarden), Billy Gould (Faith No More) and others toured with Wayne to honor their catalog. And the show was so live that Christian couldn't help but get caught up in the mosh pit and celebrate like a teenager. He shares his story of that night with us here. However, Christian is also the CEO of Pantheon Media and Pantheon is raising money to help grow the world's #1 music podcast company. He gives listeners a breakdown of how they can support their favorite podcasts and invest in Pantheon with minimal money down. It's an exciting opportunity for music fans, you can learn more here: https://www.startengine.com/offering/pantheonmedia Ugly American Werewolf in London Website Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Christian Swain co-founded Pantheon Podcasts because he's a lifelong fan of rock music and wanted to do everything in his power to help keep rock music alive and well. As that's exactly why we started our main show, The Ugly American Werewolf in London Rock Podcast, and why we joined Pantheon in 2022. As a musician himself, Christian has always been drawn to the power of a live rock show - the power of which is unrivaled in the artistic world. Christian grew up in LA, getting into punk rock and Kick Out The Jams by the MC5 was an anthem to him growing up and helped guide him in his life and career. After Christian had the chance to interview founding member Wayne Kramer on his show, The Rock N Roll Archeologist, he then had the opportunity to finally see his idol live in San Francisco. But what also made the opportunity so cool is that Kramer was touring in 2018 with an all-star band dubbed the MC50 to celebrate 50 years of the MC5. So Kim Thayill (Soundgarden), Billy Gould (Faith No More) and others toured with Wayne to honor their catalog. And the show was so live that Christian couldn't help but get caught up in the mosh pit and celebrate like a teenager. He shares his story of that night with us here. However, Christian is also the CEO of Pantheon Media and Pantheon is raising money to help grow the world's #1 music podcast company. He gives listeners a breakdown of how they can support their favorite podcasts and invest in Pantheon with minimal money down. It's an exciting opportunity for music fans, you can learn more here: https://www.startengine.com/offering/pantheonmedia Check out our new website: Ugly American Werewolf in London Website Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

This sequel to the Tom Morello MC5 episode goes deep on an exploration of the just-released Heavy Lifting LP, along with its producer, the great Bob Ezrin, producer of such classics as Pink Floyd's The Wall, Kiss's Destroyer, and Alice Cooper's Billion Dollar Babies.  Here's just some of the many things Bob and I touch on in this podcast:  Bob's work as the king of the rock opera, specifically on Lou Reed's Berlin, about which I was able to ask him a question I've been literally waiting to ask since I was 14 years old (this section is only available in The Director's Cut of this episode); The fascinating story of how this record started off as a Wayne Kramer film project and wound up transforming into an MC5 LP; Plus, a deep-dive discussion about the brand-new, yet final MC5 record, Heavy Lifting! Listen: https://podfollow.com/1592182331⁠⁠ I support a wife and a five-year-old son with Discograffiti as my sole source of income.  If you're a Bob Ezrin superfan like me, you'll want THE DIRECTOR'S CUT of this episode. It's ad-free and features 9 minutes of essential additional material! You can purchase it as a one-off from our Patreon Shop: www.patreon.com/discograffiti/shop/ Better yet, SUBSCRIBE TO OUR PATREON and receive a ceaseless barrage of must-hear binge-listening! Discograffiti's 4-show-a-week release schedule can be yours for the price of a cup of coffee a week.  Patreon.com/Discograffiti CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon: www.Patreon.com/Discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti Order the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): www.patreon.com/discograffiti/shop/197404 Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzak Order the METAL MACHINE MUZAK Double Vinyl + Digital package: www.patreon.com/discograffiti/shop/169954 Merch Shop: https://discograffitipod.myspreadshop.com/all Venmo Dave A Tip: @David-Gebroe Web site: http://discograffiti.com/ CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe #bobezrin #pinkfloydthewall #tommorello #mc5 #heavylifting #kickoutthejams #backintheusa #hightime #loureedberlin #elektrarecords #rageagainstthemachine #kissdestroyer #ratm #kissarmy #metalmachinemuzak #audioslave #discograffiti #guitarist #zachdelarocha #creem #waynekramer #dennisthompson #robtyner  #michaeldavis #iggypop #thestooges #punk #fredsonicsmith #protopunk #brucespringsteen --- Support this podcast: https://podcasters.spotify.com/pod/show/discograffiti/support

Rage Against The Machine's Tom Morello was part of the powerhouse unit that recorded Heavy Lifting, The MC5's first album in 53 years. In this unforgettable podcast, Tom pays tribute to both the band and the recently departed Wayne Kramer, the band's legendary guitarist/songwriter and his close personal friend. Here's just some of the many things Tom and I touch on in this podcast:  Why Tom feels that the MC5 are the spiritual forebears to Rage Against The Machine; A moving glimpse into Tom and Wayne's friendship and the far-reaching work they did with Jail Guitar Doors; Plus, incendiary discussions about their early singles, Kick Out The Jams, Back In The USA, High Time, and their incredible new opus, Heavy Lifting! Don't miss next week's podcast with Heavy Lifting producer Bob Ezrin, as we continue our celebration of The MC5! Listen: https://podfollow.com/1592182331⁠⁠ I support a wife and a five-year-old son with Discograffiti as my sole source of income.  This episode of Discograffiti is sponsored by Creem Magazine. Please subscribe. Visit Creem.com/Subscribe & enter the code DAVID at checkout If you're a Tom Morello & MC5 superfan like me, you'll want THE DIRECTOR'S CUT of this episode. It's ad-free and features 33 minutes of essential additional material! You can purchase it as a one-off from our Patreon Shop: www.patreon.com/discograffiti/shop/ Better yet, SUBSCRIBE TO OUR PATREON and receive a ceaseless barrage of must-hear binge-listening! Discograffiti's 4-show-a-week release schedule can be yours for the price of a cup of coffee a week.  Patreon.com/Discograffiti TIPS: VENMO GEBROE @David-Gebroe PayPal @davidbgebroe@gmail.com  Even a $1 tip will be massively helpful. Thank you. CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon: www.Patreon.com/Discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti Order the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): www.patreon.com/discograffiti/shop/197404 Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzak Order the METAL MACHINE MUZAK Double Vinyl + Digital package: www.patreon.com/discograffiti/shop/169954 Merch Shop: https://discograffitipod.myspreadshop.com/all Venmo Dave A Tip: @David-Gebroe Web site: http://discograffiti.com/ CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe #tommorello #mc5 #heavylifting #kickoutthejams #backintheusa #hightime #elektrarecords #rageagainstthemachine #bradwilk #ratm #timcommerford #zackdelarocha #metalmachinemuzak #audioslave #chriscornell #prophetsofrage #discograffiti #guitarist #zachdelarocha #creem #waynekramer #dennisthompson #robtyner  #michaeldavis #iggypop #thestooges #punk #fredsonicsmith #protopunk #brucespringsteen --- Support this podcast: https://podcasters.spotify.com/pod/show/discograffiti/support

Sanford, MI/Midland, MI world music master, teacher, student, tone-enthusiast, and forebearer of touch and musical invitation, Bryan Rombalski is ahead of everyone else when it comes to the musical curves. Guitar teacher, former classic rocker, '80s sound designer, and jazz/fusion projecting, speaking many musical languages, Rombalski has laid more ground offering his gifts as a musician from a mental standpoint, than most musicians can put on a resume. Let's fact check: played with Leslie West/Mountain, UFO, Cheap Trick, and Van Halen (hanging out with Edward on their first tour of course) while in Couture, a touring monster, was able to grasp the Robert Fripp/Adrian Belew, Andy Summers, and Talking Heads thrivent-stylistic music while in '80s and '90s cover acts, and went on to learn from masters and teach students, while maintaining regular monthly jazz sets in Midland over the past 15 or so years. Rombalski's gentle demeanor comes from invitation to participate, rather than the 'ram-it down the throat' guitar hero's which adorned the covers of the magazines.    A YouTube video initiation showcases his genius in finger style, common thread, and quartet/quintet values. Equally at home with Wayne Shorter and Wayne Kramer, or even John Coltrane and Mark Knopfler, Rombalski's ethos as a musician knows zero bounds. His studies have taken him around the world and yet he reserves space for his art, teaching and performance as his daily bread.  There is only ONE Bryan Rombalski.     Turn it up--he's soft spoken with a huge sound.

Thee Songs: The Wild Palms – Silver Jews You Got Me Girl – The Milkshakes Out of the Unknown – Died Pretty The Truman Show – Holiday Ghosts It's A Dream – Little Ed and the Soundmates Band Lesange – Jacno Git In There – Betty Davis Time – Edwin Starr Night Sweats – The Sadists If You Love Me – Hate Me – Lynne Ann Kingan I Will Never Wear Stilettos – Gina Birch I'm Gonna Wiggle – Mozart Estate From Here to and Now Otherwise – Jessamine Pied Piper – Bob and Marcia The Day Before Tomorrow – BMX Bandits Turn Up the Mains – Alison Mosshart, Wayne Kramer, Tom Morello, Steven van Zandt, Mike Watt, Joey C. Open Space – Piero Umiliani Vampire Blues – Wooden Shjips I Wish That I Could See You Soon – Herman Dune Sick of Goodbyes – Sparklehorse St James Infirmary – Dean Jones Ain't Bin to No Music School – The Nosebleeds Barry White – Revival Season Loot At the Sky – Osees Funky Miracle – The Meters Candyskin (Peel session version) – Fire Engines

In this conversation, Adam Walter interviews Wayne Kramer from Symoda, discussing the importance of customer experience in the MSP industry. They explore the layers of customer communication, the significance of understanding customer needs, and the evolving landscape of technology and its impact on service delivery. Wayne emphasizes the need for MSPs to adapt to changing expectations and to build strong relationships with their clients by effectively communicating at different levels. The discussion also touches on the future of MSPs and the necessity of consulting with customers to provide tailored solutions.

For music fans, the legend of the Grande Ballroom looms large. The room played host to important shows by band such as The MC5, The Who, Iggy and the Stooges and BB King. While it's not longer a music venue, the room is an iconic part of the history of Detroit music. We talked with Tony D'Annunzio, director of the documentary, Louder Then Love: The Grande Ballroom Story, which is screening as part of the Beaver Island Film Festival, September 21st, 2024.For more information on the film, check out the movie's website. And for more information about the Beaver Island Film Festival, check out their page on Facebook.

Join DJ Jesse Luscious as he spins new & classic Queercore from Pansy Division, Middle-Aged Queers, Dog Park Dissidents, Death Goals, & Rites of Hadda, Skate Rock from McRad, Dirty Rotten Imbeciles, Seized Up, & Suicidal Tendencies, new tunes from Brigata Vendetta, the silence industry, Pale Horses, Wolfbrigade, The Domestics, & Night Court, and classics from Ramones, City Mouse, Circle Jerks, NEXØ, Dillinger Four, Epoxies, The Business, Foxcunt, Prey, Cockney Rejects, The Dictators, Wayne Kramer, Death Wheelers, Germs,  Naked Raygun, Flipper, Tattle Tales, Unsane, Undertones, & The Sex Pistols, plus the Luscious Listener's Choice!  Rites Of Hadda- Queer Fool Middle Aged Queers- Frankenstein's Alive Circle Jerks- Don't Care Circle Jerks- Live Fast Die Young (edit) Naked Raygun- Rat Patrol Tattle Tales- Lucky Girl Undertones- Male Model NEXØ- Conspiritualist Dog Park Dissidents- Rainbow Drones Night Court- Sardines And Teenage Dreams Foxcunt- UKBA Death Goals- Knife Bouquet (Radio Edit) Unsane- Ha Ha Ha Flipper- Life Germs- The Other Newest One Pale Horses- Never Know Death Wheelers- Backstabber Wolfbrigade- Life Knife Death Domestics- Hate! Hate! Hate! Wayne Kramer- The Harder They Come Dictators- The Next Big Thing Ramones- I Just Wanna Have Something To Do Sex Pistols- Holidays In The Sun Dillinger Four- All Rise For The Rational Anthem City Mouse- Bullets Seized Up- Deathweb Suicidal Tendencies- Possessed Mc Rad- McShred D.R.I.- Sad To Be Brigata Vendetta- Nothing Left Prey- Aftermath I Cockney Rejects- War On The Terraces (For The Firm) Business- The Truth The Whole Truth And Nothing But Pansy Division- That's So Gay Epoxies- (We're All) Clones Silence Industry- Forward And/Or Dust!

In this episode of the Finding Harmony Podcast, Harmony Slater and Russell Case sit down with Shane Scaglione, an eclectic and passionate yogi, beat poet, and world traveler. Shane shares his fascinating journey from his early days in New York, through his experiences living in India, and his deep dive into yoga and beat poetry. Shane's story is filled with unique encounters—from his time with beat poets and karate experts to his immersion in Ashtanga Yoga and his transformative years studying with Richard Freeman. Join us as we explore the confluence of cultures, disciplines, and philosophies that have shaped Shane's path and discover how the principles of yoga continue to guide his eclectic life. Key Topics Discussed: Introduction to Shane Scaglione: Shane's early life in New York and his introduction to karate and beat poetry. His journey across various disciplines, including his studies at the Jack Kerouac School of Disembodied Poetics at Naropa University in Boulder, Colorado. Shane's Adventures and Encounters: Stories of meeting iconic figures like Allen Ginsberg, Wayne Kramer, and Ken Kesey. Shane's unique experiences living in New York, Los Angeles, and India, highlighting the cultural and philosophical diversity he encountered. Yoga as a Pathway: How Shane discovered yoga through his love of basketball and martial arts. His transition into the practice of Sivananda and Ashtanga Yoga and his eventual deep study under Richard Freeman. Life in India and Spiritual Practices: Shane's multiple trips to India, totaling three years, where he immersed himself in yoga practice, philosophy, and spirituality. His time spent with various spiritual teachers, including a significant stay at Amma's ashram in Kerala. Beat Poetry and Writing: Shane's passion for writing and beat poetry, influenced by Jim Carroll and other prominent poets. Readings from his books, "A Way in India, Volumes 1-3," that reflect his spiritual and poetic journey. Current Yoga Practices and Teaching: Shane's current role teaching at a yoga ashram in San Francisco and running yoga programs at tech companies like Asana. His thoughts on yoga as a lifestyle and its potential to transform lives beyond physical practice. Philosophical Reflections: Discussions on the teachings of Swami Bharati and their impact on Shane's understanding of yoga and spirituality. Insights into the deeper practices of yoga, including meditation, mantra chanting, and fire ceremonies (Homa). Closing Thoughts: Harmony reflects on the importance of integrating yoga into daily life and how listeners can deepen their practice by joining her Inner Circle Mentorship. Resources and Links: Learn more about Shane Scaglione and his teachings: 8 Limbed Yoga Connect with Us (We love to hear from you!) Harmony Slater's Website: http://harmonyslater.com Finding Harmony Community  https://harmonyslater.com/harmony-slater-coaching ⁠Find Harmony on Instagram⁠ Follow the Finding Harmony Podcast on IG ⁠Two Minute Breathwork Session⁠ Yoga Gives Back Fundraiser Subscribe & Listen: Don't forget to subscribe to Finding Harmony Podcast for more episodes filled with enriching discussions and insights into the world of yoga

Preparamos esta ensalada de RnR con unas cuantas canciones inspiradas o vinculadas a Detroit. La Ciudad del Motor fue durante décadas uno de los puntos más calientes en el rocknroll estadounidense, una ciudad que posee en su ADN un extra de energía, con un sonido y una actitud alimentados por un combustible de alto octanaje que hizo que muchos grupos y artistas quedasen marcados por su esencia. Suenan grupos locales, pero también bandas y artistas de otros lugares que dedicaron canciones a esa ciudad.Playlist;(sintonía) DAVIE ALLAN and THE ARROWS “Another cycle in Detroit”ANDRE WILLIAMS “Detroit Michigan”SOUNDS INCORPORATED “Detroit”NIKKI CORVETTE and THE STINGRAYS “Back to Detroit”BLONDIE “Detroit 442”FATS DOMINO “Detroit City Blues”JOHN LEE HOOKER “The motor city is burning”DETROIT featuring MITCH RYDER “Rock’n’Roll”THE ROCKETS “Born in Detroit”THE GORIES “Detroit breakdown”THE DIRTBOMBS “Broke in Detroit again”KISS “Detroit Rock City”RADIO BIRDMAN “Murder City nights”DAVID BOWIE “Panic in Detroit”PRIMAL SCREAM “Detroit”TOM JONES “Detroit City”WAYNE KRAMER “Back to Detroit”Escuchar audio

Nature Finds a Way: Steven Spielberg's Jurassic Park This week Ibrahim & I close out the month with a fan favorite, a ground-breaking special effects extravaganza, the emergence of a new cinematic tool, and a hint at the cinematic world to come. This week we close out our look at blockbusters bookending Steven Spielberg's 1975 Jaws with his 1993 look at Jaws on land - Jurassic Park. This was a fun time looking back on a classic and examining how it changed the face of filmmaking. There's a whole lot to cover here - Mr. Chavez's fascination with the film, its role in Spielberg's filmography, the relationship to Jaws, and the ushering in of CGI as a mainstay of filmmaking. We discuss all of this as well as the performances of Sam Neill, Laura Dern, Sir Richard Attenborough, Wayne Kramer, Samuel L. Jackson, and - of course - Jeff Goldblum. It's a fun talk. Take a listen. As always, we can be reached at gondoramos@yahoo.com.  For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos  - Anything and Everything is appreciated, You Cheap Bastards.

Part 12 of the Rock Legend Series focuses on guitarist, singer, songwriter, producer, and film and television composer Wayne Kramer of the Detroit rock band MC5. We talk about his Michigan upbringing, his musical journey, his accomplishments after MC5 and his legacy.  Contact us at https://instagram.com/musically_meditated 

In this episode Corey Glover and Vernon Reid join the podcast. They talk about Living Colour celebrating 30 years of Stain, touring with Extreme, working on new Living Colour music, Corey's new band Sonic Universe, working with Mike Orlando, recording with Run DMC / Jamaster Jay for the Judgement Night soundtrack, writing socially relevant music throughout the years, the importance of MC5 and the loss of Wayne Kramer, The Eisley Brothers, Tom Morello, JFK, the Rock n Roll Hall of Fame, Bad Brains, Foreigner, and a TON more. This episode is brought to you by DEB Concerts. Follow DEB on Facebook and Twitter to get updates on upcoming shows from Faster Pussycat and more! This episode is also brought to you by Sunset Tattoo Tulsa. Sunset Tattoo has over 25 years of experience, and is located at 3146 E. 15th St. in Tulsa, OK. Native owned, and a female tattoo artist in house. The tattoos are "Done Good and Proper" so be sure to like their facebook page for more details. Stream us anytime everywhere podcasts are heard.

durée : 00:54:31 - Very Good Trip - par : Michka Assayas - Ce soir, nous allons faire un bond dans le passé, vers un certain soir d'octobre 1968, où, dans la ville de Détroit, un concert historique a eu lieu. Un concert explosif qui a annoncé une bonne part de la musique, la plus bruyante et enfiévrée qu'il m'arrive de programmer dans cette émission.

On this week's Loudini Rock & Roll Circus Podcast  we take you back to 1991 for the release of what many fans say was Van Halen's last "good" album. For Unlawful Carnal Knowledge spawned 5 top 10 singles and an MTV video award, not bad for an album universally panned by the critics! #vanhalen #shredguitar #sammyhagar       Topics Discussed: What we did this week: Loudini: Rock & Roll Machine,  Wayne Kramer, Chris Martin's '58 Les Paul, Mark Knopfler's Christie's Aucion,  International Guitar Rock Day: https://www.grooveyardrecords.com/, The Lord of Misrule, TAXI, Pete Townsend's advice to Neil Young, SUper Bowl halftime show Mr Pittsburgh: The Greatest Night In Pop, Lily: Madonna, Living Color, Extreme   For Unlawful Carnal Knowledge;   Title is a response to the PRC 3rd number one album in a row a year in the making hagar going through a hard time in marriage right now, last song completed but started before hagar was in the band produced by Andy Johns and Ted Templemen ed's gear   Poundcake Spanked Right Now   YouTube(ers)       reference:   https://ultimateclassicrock.com/van-halen-for-unlawful-carnal-knowledge/ https://en.wikipedia.org/wiki/For_Unlawful_Carnal_Knowledge https://projectevh.com/2015/10/21/for-unlawful-carnal-knowledge/         New & Notable:   Kevin: Pearl Jam; Dark Matter Loudini:  Aristocrats; Aristoclub Lily: Ronin; Valak     Loudini's Great Moments in YouTube:     This Day In Music https://www.thisdayinmusic.com   top40weekly.com   Viewer's Comments   Offer:   Get a FREE EP HERE: http://LouLombardiMusic.com if  you love great guitar driven rock from the 70s, 80s, 90s and even  today, you will want to get my EP "The Bad Years". Get your copy while  supplies last!

On this week's show, we... spend quality time with superlative new records from Brittany Howard, The Last Dinner Party & Madi Diazspin new singles from Goat Girl, Old 97's & Beyonce pour one out for Dex Romweber & Wayne Kramer All this & much, much less! Debts No Honest Man Can Pay is over 2 rock-solid hours of musical eclectica & other noodle stories. The show started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004.

This week, hosts Jim DeRogatis and Greg Kot pay tribute to the late singer, songwriter and guitarist Wayne Kramer of the MC5. They'll revisit their past interview with him and talk about his life, music and the power of collaboration. Plus, the hosts will review the new album from Brittany Howard.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:The MC5, "Kick Out the Jams," Kick Out the Jams, Elektra, 1969The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Brittany Howard, "What Now," What Now, Island, 2024Brittany Howard, "Another Day," What Now, Island, 2024Brittany Howard, "Prove It To You," What Now, Island, 2024Brittany Howard, "To Be Still," What Now, Island, 2024MC5, "Motor City Is Burning," Kick Out the James, Elektra, 1969MC5, "Ramblin' Rose," Kick Out the James, Elektra, 1969MC5, "The American Ruse," Back in the USA, Atlantic, 1970MC5, "Rocket Reducer N. 62 (Rama Lama Fa Fa Fa)," Kick Out the James, Elektra, 1969MC5, "Gotta Keep Movin'," Back in the USA, Atlantic, 1970MC5, "Sister Anne," High Time, Atlantic, 1971Wayne Kramer, "Poison," The Hard Stuff, Epitaph, 1995MC5, "Starship," Kick Out the James, Elektra, 1969The Stooges, "Search and Destroy," Raw Power, Columbia, 1973Ted Nugent, "Cat Scratch Fever," Cat Scratch Fever, Epic, 1977Wayne Kramer, "Crack in the Universe," The Hard Stuff, Epitaph, 1995MC5, "Looking At You," Back in the USA, Atlantic, 1970MC5, "Future/Now," High Time, Atlantic, 1971MC5, "Let Me Try," Back in the USA, Atlantic, 1970Louise Post, "Don't Give Up," Sleepwalker, El Camino, 2023See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Guest: Khalil Rafati Known For: Owner, SunLife Organics; Author; Public Speaker; Entrepreneur; Investor Topics: Addiction as a superpower;  the importance of personal responsibility; the societal condition of learned helplessness; rehab as “drug college”; the simple and selfless act of service that changed his life in an instant,  the privilege of getting to workout with the greatest trainer on the planet (@KellyMathews); his memories of being mentored by the great Wayne Kramer; the philosophy of doing good things (but not getting caught); and so much more.   ABOUT KHALIL RAFATI From the streets of Skid Row to the beaches of Malibu, entrepreneur Khalil Rafati became the hero of his own story. After years of struggling with addiction, Khalil got himself clean, transformed his life, and then he quite literally put his money where his mouth is by opening SunLife Organics - a health food and juice store that has become a favorite of A-listers and wellness fanatics alike. Since then, he's grown his business and authored two books based on his experiences and philosophy, “I Forgot To Die” and “Remembering To Live'.'  From homeless and addicted to a millionaire business, Khalil's journey is a testament to his work ethic. his hunger, and his drive to become 1% better every day.   FOLLOW KHALIL Khalil's Instagram: http://www.instagram.com/khalilrafati SunLife Organics: https://sunlifeorganics.com/ Khalil's Trainer, Kelly Matthews: https://www.instagram.com/kellylmatthews/ Join Ladder: https://www.joinladder.com/team/limitless?utm_medium=coach-acquisition&utm_source=instagram&utm_campaign=link-in-bio&utm_term=kelly-2023&utm_content=limitlesss   KHALIL'S BOOKS “I Forgot to Die” https://a.co/d/9jA4Zlj  “Remembering to Live” https://a.co/d/aWxhLvE BOLT by TenThousand: https://www.tenthousand.cc/collections/bolt   FOLLOW SPENCER COURSEN IG https://www.instagram.com/s.coursen Twitter X: https://twitter.com/spencercoursen TikTok: https://www.tiktok.com/@s.coursen Website: www.SpencerCoursen.com   SHOW NOTES Ketone IQ: https://hvmn.com/products/ketone Elemental Health CBD Gummies: https://elementhealthsupply.com/collections/softgels-gummies/products/full-spectrum-cbd-softgel MASA Chips: https://www.masachips.com/ Filmed on Location at Record ATX: https://www.recordatx.com/ Remembering Guitarist Wayne Kramer, Founder of the MC5: https://www.npr.org/2024/02/09/1230071788/remembering-guitarist-wayne-kramer-founder-of-the-mc5 Love Yourself Like Your Life Depends On It by Kamal Ravikant: https://a.co/d/1RP838q Theme Music: "Underground Moments" by Cushy: https://www.epidemicsound.com/artists/cushy/  Podcast Production: Ronin6 Media   SPECIAL THANKS Lauren Brown (IG @laurenelizabethb) Ronin6.com  TheSafetyTrap.com CoursenSecurityGroup.com

In this episode, Rivers and Carter are hangin' out at Disgraceland Studios with our friend, comedian Justin Otis! We chat a little bit about Super Bowl LVIII before launching into some rememberances of the recently departed Mojo Nixon, Carl Weathers, Wayne Kramer, and Toby Keith. We check out the energy drink for Mormon edgelords called "Bucked Up L.F.G." and the traumatic childhood backstory of their twin CEOs. Then, just in time for President's Day, Rivers details the disturbing and pretty funny 1799 death of George Washington. Disney closes down the Star Wars hotel they wanted to lock people in for a whole weekend and The Red Hot Chili Peppers' "Give it Away" is our JAM OF THE WEEK! Tune in now, y'all.  Find Justin on social media @JustinsOtis and go see him do comedy if he's coming to your town!  Follow the show on Twitter @TheGoodsPod.  Rivers is @RiversLangley  Sam is @SlamHarter  Carter is @Carter_Glascock  Subscribe on Patreon for HOURS of bonus content! http://patreon.com/TheGoodsPod Pick up a Goods from the Woods t-shirt at: http://prowrestlingtees.com/TheGoodsPod 

We remember Wayne Kramer, the guitarist of the late '60s proto-punk band MC5. The revolutionary band's idols were the Black Panther party, Malcolm X and John Coltrane. Kramer died last week at 75. He spoke with Terry Gross in 2002.Also we listen back to our 1988 interview with actor Carl Weathers, who played Apollo Creed in the Rocky movies. He died at 76. Justin Chang reviews the French film The Taste of Things.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Wayne Kramer, the guitar force behind MC5, has passed at 75. His raw sound and defiant spirit set the stage for punk rock. From Detroit's streets to global stages, his music was a call to arms. Beyond the music, he championed change, founding Jail Guitar Doors U.S.A. His legacy as a rebel and visionary lives on. Rest in power, Wayne. As a tribute this week we are replaying Wayne's appearance on the podcast. 

Topics include:Universal pulls music from TikTok Lil Jon wants to guide your meditation The Grammys MBU: Toby Keith, Wayne Kramer, Carl WeathersSLAPS: Gary Clark Jr, Kate Hudson, Billy Joel, Wavedash ft. Toro y moi Tan.gent on Spotify, BandcampFollow The Rumble TrioNew NOBS Brass EP HEREDoes It Slap Playlist The Hustle Season on Patreon Our Linktree:::::ADVERTISE ON THE HUSTLE SEASON PODCAST:::::Have a business/event you want to get out to listeners?Are you an out of town band coming to Richmond and want to promote your gig ?? Buy a spot on the Hustle Season Podcast, starts at $25. So easy!!

This week in the After Party, Jake talks this week's brand-new DISGRACELAND episode on Scott Weiland, our REWIND episode on MC5, and your voicemails, texts, emails, and more. Who are your top five 90s frontmen? Who are your top 5 proto-punk bands? Drop a line at 617-906-6638, disgracelandpod@gmail.com, or on socials @disgracelandpod, and come join the After Party. Learn more about your ad choices. Visit megaphone.fm/adchoices

2024 Grammy Awards recap, Gary Graff joins us with rock news, King Charles has cancer, and getting fired on TikTok trend. 2024 Grammy Recap: Trevor Noah still isn't funny. Fantasia had a wide gate. Tracy Chapman shined. Billy Joel did his new song. Joni Mitchell was uncomfortable. Billie Eilish and Finneas are the new Carpenters. Victoria Monét would not shut up. Celine Dion was SNUBBED by Taylor Swift. Miley Cyrus had really weird hair. U2 bored everyone with a new song. Jay-Z whined about Beyonce not winning an Album of the Year. Killer Mike was arrested after winning some awards. Bill Maher is holding on to a Kanye West interview and will not air it because Ye is a “charming anti-semite”. KEYTARS ROCK!!!! Mr. Big Stuff Gary Graff joins the show to defend Trevor Noah, explain where Tracy Chapman has been, praise Joni Mitchell, update us on the Mac Saturn mess, eulogize the MC5's Wayne Kramer, predict the upcoming Rock and Roll Hall of Fame nominees, David Lee Roth vs Wolfie Van Halen, Rage Against The Machine's breakup, questions from Kull and much more. Still no verdict on the Jennifer Crumbley trial. The site of Free Press Film critic Terry Lawson yelling at us, The Maple Theater, has closed. Sad. Gen Z is complaining about sports now. King Charles has cancer. Prince Harry is running to his side. E. Jean Carroll had a huge party to celebrate her victory over Donald Trump. Alvin Bragg is after those pesky migrants in NY. What a mess in NYC. They have a big problem on their hands. 60 Minutes shows how Chinese nationals are crossing the border. Dr. Phil is there to save the day. Trudi has a secret vacation to Ecuador planned. Drew rolls through the Best Album of every year. We also learn of the misses in the Best New Artist category. Justin Timberlake may do a sit-down tell-all with Oprah Winfrey to respond to Britney Spears. Amanda Bynes communicates via TikTok. Breckin Meyer moves in on Bob Saget's widow. Getting fired on TikTok is so hot right now. Visit Our Presenting Sponsor Hall Financial – Michigan's highest rated mortgage company If you'd like to help support the show… consider subscribing to our YouTube Page, Facebook, Instagram and Twitter (Drew and Mike Show, Marc Fellhauer, Trudi Daniels, Jim Bentley and BranDon).

This week's episode is dedicated to the memory of legendary guitarist, singer, songwriter, producer and film and television composer Wayne Kramer, who passed away recently.  Wayne was far more influential than many realize as his band MC5 basically invented punk rock a full decade before it even emerged as a genre. The band and its albums became a model for punk bands on both sides of the Atlantic. In fact, The Clash even wrote not one, but two songs about him! A formidable player, Rolling Stone Magazine ranked Wayne as one of the 100 greatest guitarists of all time. He also collaborated with a who's who of rock's most elite artists over the years, and his scoring work can be heard on films like Talladega Nights, Step Brothers, the HBO comedy series Eastbound & Down, ESPN's 5-4-3-2-1, In My Own Words, and Under The Lights, and even for the “Unlabeled” Jim Beam commercial. Musical accolades are well and good, but I think what Wayne was most proud of was the fact that he was able to overcome his  personal trials with drugs and jail time. He emerged from this darkness transformed, and then went on to save countless lives through his tireless acts of service. He was extremely passionate about his work with Jail Guitar Doors, a program that provides guitars and music lessons for inmates at more than 50 penal institutions throughout the United States. Through the years, he regularly played concerts with an all-star band at prisons around the country. During this interview from January 6th, 2022, we talked about why musicians from Detroit have a special edge to them, why the MC5 was banned from radio, how going to prison saved his life, getting into film scoring, and much more. This is a replay of an interview that I did with Wayne via Zoom from his studio in Los Angeles. var podscribeEmbedVars = { epId: 96191804, backgroundColor: 'white', font: undefined, fontColor: undefined, speakerFontColor: undefined, height: '600px', showEditButton: false, showSpeakers: true, showTimestamps: true };

Ross Jennings and Peter Jones of Haken join the podcast! We are here to discuss their upcoming North American tour starting February 10, the anticipation of playing the latest album Fauna will be played in its entirety, Peter Jones releasing a keyboard guide of his work on the album, playing Japan for the first time in the band's history after the North American tour, the positive experience when albums make year end lists, saving a cat's life last time they toured America, the team building the band does when on tour in America, the desire to start writing new material, and the open discussion of how singles being released instead of full lengths can have a positive impact. Petar and Sylvia discuss the passing of legendary MC5 guitarist Wayne Kramer, Ihsahn's comments on creating a new Emperor album, how difficult it is for a band to capture the essence of their youth, Marilyn Manson paying the price of a new home in legal fees to Evan Rachel Wood, and we share a story of co-host Brandon jumping out of a plane with the late Jesse Jane. Song: MC5 “Kick Out the Jams” Song: Haken “Nightingale” Song: Haken “The Alphabet of Me” Learn more about your ad choices. Visit podcastchoices.com/adchoices

RIP Legends

We pay tribute to the iconic guitarist and founder of the MC5. News of Wayne Kramer's passing at the age of 75 broke this weekend. Patrick is joined by Vasant Ramamurthy to discuss his career and legacy.   Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart, Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, covered by Frank Muffin. Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.

RIP Legends

Wayne Kramer & Aston ‘Family Man' Barrett came to different genres of music, through different paths and different countries - though they were both at the forefront of singing the songs of freedom and kicking out the Jams - forever Jamming! Kramer with the heavy rock proto punk MC5 and Barrett with social conscious positive vibes of Bob Marley and the Wailers making reggae popular world wide. These bands might not have been the first, but still started it all, rising up from urban decay to deliver a unique artistic approach and a fight for justice rebel message. Featuring The White Stripes, Spacemen 3, Johnny Thunders, The Detroit Cobras, The Clash and loads more. This show was first broadcast on the 5th of February, 2024For more info and tracklisting, visit: https://thefaceradio.com/worldy/Tune into new broadcasts of Worldy with Matt and Dom, LIVE, Monday from 10 AM - 12 Noon EST / 3- 5 PM GMT.Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Marc's 2014 conversation with Wayne Kramer, co-founder of the legendary rock group MC5, covering the ‘60s, jazz, Iggy Pop, the White Panther Party, prison, drugs and more. Wayne died on February 2, 2024 at age 75. Sign up here for WTF+ to get the full show archives and weekly bonus material! https://plus.acast.com/s/wtf-with-marc-maron-podcast. Hosted on Acast. See acast.com/privacy for more information.

This week on Dopey! Rock and Roll legend, Wayne Kramer comes on the show to kick out the serious Dopey, mother fucker! We hear all about the beginnings of the seminal rock and roll band the MC5 and Wayne's earliest days of taking drugs in the 1960's in Detroit. That's when the shit hit's the fan and Wayne's career gets sidetracked, but that's just the tip of the iceberg. More About Dopey: Dopey Podcast is the world's greatest podcast on drugs, addiction and dumb shit. Chris and I were two IV heroin addicts who loved to talk about all the coke we smoked, snorted and shot, all the pills we ate, smoked, all the weed we smoked and ate, all the booze we consumed and all the consequences we suffered. After making the show for 2 and a half years, Chris tragically relapsed and died from a fentanyl overdose. Dopey continued on, at first to mourn the horrible loss of Chris, but then to continue our mission - which was at its core, to keep addicts and alcoholics company. Whether to laugh at our time in rehab, or cry at the worst missteps we made, Dopey tells the truth about drugs, addiction and recovery. We continually mine the universe for stories rife with debauchery and highlight serious drug taking and alcoholism. We also examine different paths toward addiction recovery. We shine a light on harm reduction and medication assisted treatment. We talk with celebrities and nobodies and stockpile stories to be the greatest one stop shop podcast on all things drugs, addiction, recovery and comedy pathfinding the route to the heart of the opioid epidemic.

RIP Wayne Kramer. The Detroit legend, MC5 co-founder, film composer, and activist passed away today at the age of 75.

A replay of our interview with Wayne Kramer (1948-2024) discussing the MC5, the recording, censorship and legacy of “Kick Out The Jams”, making “Back In The USA” and “High Time”, various controversies, “Jail Guitar Doors” and more. Which came first – the guitar or politics? Starting to play in local bands His mother's warning for going into music Forming the MC5 Original lineup of MC5 The ethos and radicalization of MC5 The music and message of MC5 The story of AMG records and early records of MC5 Reissue of music on AMG A-Square records “Borderline / Looking At You” Memories of the Chicago Democratic National Convention – 1968 Getting signed to Elektra records by Danny Fields The Stooges got signed as their “Little Brother Band” Recording “Kick Out The Jams” Recollections of the live sets for “Kick Out The Jams” The guitar went immediately out of tune Wayne singing “Ramblin' Rose” Rob Tyner and being censored for “Kick Out The Jams” The MC5 strategy for changing “brothers and sisters” to “Mother f*ckers” Reaction to being censored by their record label Calling out the “Hudson's Record Store” Getting dropped from Elektra while record is still in the charts Danny Fields got slapped and fired Wayne's reaction to the album “Kick Out The Jams” Album cover of “Kick Out The Jams” – art director put himself on cover  Transitioning to Atlantic Records was painful Hard to record “Back In The USA” Jon Landau's wisdom and Wayne playing bass himself Critics disliked the spontaneity of MC5 Highlights of “Back in the USA” How did hard bop influence the MC5? Memories of “High Time” The fight with Bill Graham The end of the MC5 Last gasp of the MC5 in Europe The longevity and influence of MC5 The genesis of “Jail Guitar Doors” Playing for inmates with Chuck D The rehabilitation and other musicians Voyage Air Guitars donating to “Jail Guitar Doors” End of interview Help support our podcast: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Episode 168 of A History of Rock Music in Five Hundred Songs looks at “I Say a Little Prayer”, and the interaction of the sacred, political, and secular in Aretha Franklin's life and work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-five-minute bonus episode available, on "Abraham, Martin, and John" by Dion. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. Even splitting it into multiple parts would have required six or seven mixes. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. Information about Martin Luther King came from Martin Luther King: A Religious Life by Paul Harvey. I also referred to Burt Bacharach's autobiography Anyone Who Had a Heart, Carole King's autobiography A Natural Woman, and Soul Serenade: King Curtis and his Immortal Saxophone by Timothy R. Hoover. For information about Amazing Grace I also used Aaron Cohen's 33 1/3 book on the album. The film of the concerts is also definitely worth watching. And the Aretha Now album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick warning before I begin. This episode contains some moderate references to domestic abuse, death by cancer, racial violence, police violence, and political assassination. Anyone who might be upset by those subjects might want to check the transcript rather than listening to the episode. Also, as with the previous episode on Aretha Franklin, this episode presents something of a problem. Like many people in this narrative, Franklin's career was affected by personal troubles, which shaped many of her decisions. But where most of the subjects of the podcast have chosen to live their lives in public and share intimate details of every aspect of their personal lives, Franklin was an extremely private person, who chose to share only carefully sanitised versions of her life, and tried as far as possible to keep things to herself. This of course presents a dilemma for anyone who wants to tell her story -- because even though the information is out there in biographies, and even though she's dead, it's not right to disrespect someone's wish for a private life. I have therefore tried, wherever possible, to stay away from talk of her personal life except where it *absolutely* affects the work, or where other people involved have publicly shared their own stories, and even there I've tried to keep it to a minimum. This will occasionally lead to me saying less about some topics than other people might, even though the information is easily findable, because I don't think we have an absolute right to invade someone else's privacy for entertainment. When we left Aretha Franklin, she had just finally broken through into the mainstream after a decade of performing, with a version of Otis Redding's song "Respect" on which she had been backed by her sisters, Erma and Carolyn. "Respect", in Franklin's interpretation, had been turned from a rather chauvinist song about a man demanding respect from his woman into an anthem of feminism, of Black power, and of a new political awakening. For white people of a certain generation, the summer of 1967 was "the summer of love". For many Black people, it was rather different. There's a quote that goes around (I've seen it credited in reliable sources to both Ebony and Jet magazine, but not ever seen an issue cited, so I can't say for sure where it came from) saying that the summer of 67 was the summer of "'retha, Rap, and revolt", referring to the trifecta of Aretha Franklin, the Black power leader Jamil Abdullah al-Amin (who was at the time known as H. Rap Brown, a name he later disclaimed) and the rioting that broke out in several major cities, particularly in Detroit: [Excerpt: John Lee Hooker, "The Motor City is Burning"] The mid sixties were, in many ways, the high point not of Black rights in the US -- for the most part there has been a lot of progress in civil rights in the intervening decades, though not without inevitable setbacks and attacks from the far right, and as movements like the Black Lives Matter movement have shown there is still a long way to go -- but of *hope* for Black rights. The moral force of the arguments made by the civil rights movement were starting to cause real change to happen for Black people in the US for the first time since the Reconstruction nearly a century before. But those changes weren't happening fast enough, and as we heard in the episode on "I Was Made to Love Her", there was not only a growing unrest among Black people, but a recognition that it was actually possible for things to change. A combination of hope and frustration can be a powerful catalyst, and whether Franklin wanted it or not, she was at the centre of things, both because of her newfound prominence as a star with a hit single that couldn't be interpreted as anything other than a political statement and because of her intimate family connections to the struggle. Even the most racist of white people these days pays lip service to the memory of Dr Martin Luther King, and when they do they quote just a handful of sentences from one speech King made in 1963, as if that sums up the full theological and political philosophy of that most complex of men. And as we discussed the last time we looked at Aretha Franklin, King gave versions of that speech, the "I Have a Dream" speech, twice. The most famous version was at the March on Washington, but the first time was a few weeks earlier, at what was at the time the largest civil rights demonstration in American history, in Detroit. Aretha's family connection to that event is made clear by the very opening of King's speech: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech"] So as summer 1967 got into swing, and white rock music was going to San Francisco to wear flowers in its hair, Aretha Franklin was at the centre of a very different kind of youth revolution. Franklin's second Atlantic album, Aretha Arrives, brought in some new personnel to the team that had recorded Aretha's first album for Atlantic. Along with the core Muscle Shoals players Jimmy Johnson, Spooner Oldham, Tommy Cogbill and Roger Hawkins, and a horn section led by King Curtis, Wexler and Dowd also brought in guitarist Joe South. South was a white session player from Georgia, who had had a few minor hits himself in the fifties -- he'd got his start recording a cover version of "The Purple People Eater Meets the Witch Doctor", the Big Bopper's B-side to "Chantilly Lace": [Excerpt: Joe South, "The Purple People Eater Meets the Witch Doctor"] He'd also written a few songs that had been recorded by people like Gene Vincent, but he'd mostly become a session player. He'd become a favourite musician of Bob Johnston's, and so he'd played guitar on Simon and Garfunkel's Sounds of Silence and Parsley, Sage, Rosemary and Thyme albums: [Excerpt: Simon and Garfunkel, "I am a Rock"] and bass on Bob Dylan's Blonde on Blonde, with Al Kooper particularly praising his playing on "Visions of Johanna": [Excerpt: Bob Dylan, "Visions of Johanna"] South would be the principal guitarist on this and Franklin's next album, before his own career took off in 1968 with "Games People Play": [Excerpt: Joe South, "Games People Play"] At this point, he had already written the other song he's best known for, "Hush", which later became a hit for Deep Purple: [Excerpt: Deep Purple, "Hush"] But he wasn't very well known, and was surprised to get the call for the Aretha Franklin session, especially because, as he put it "I was white and I was about to play behind the blackest genius since Ray Charles" But Jerry Wexler had told him that Franklin didn't care about the race of the musicians she played with, and South settled in as soon as Franklin smiled at him when he played a good guitar lick on her version of the blues standard "Going Down Slow": [Excerpt: Aretha Franklin, "Going Down Slow"] That was one of the few times Franklin smiled in those sessions though. Becoming an overnight success after years of trying and failing to make a name for herself had been a disorienting experience, and on top of that things weren't going well in her personal life. Her marriage to her manager Ted White was falling apart, and she was performing erratically thanks to the stress. In particular, at a gig in Georgia she had fallen off the stage and broken her arm. She soon returned to performing, but it meant she had problems with her right arm during the recording of the album, and didn't play as much piano as she would have previously -- on some of the faster songs she played only with her left hand. But the recording sessions had to go on, whether or not Aretha was physically capable of playing piano. As we discussed in the episode on Otis Redding, the owners of Atlantic Records were busily negotiating its sale to Warner Brothers in mid-1967. As Wexler said later “Everything in me said, Keep rolling, keep recording, keep the hits coming. She was red hot and I had no reason to believe that the streak wouldn't continue. I knew that it would be foolish—and even irresponsible—not to strike when the iron was hot. I also had personal motivation. A Wall Street financier had agreed to see what we could get for Atlantic Records. While Ahmet and Neshui had not agreed on a selling price, they had gone along with my plan to let the financier test our worth on the open market. I was always eager to pump out hits, but at this moment I was on overdrive. In this instance, I had a good partner in Ted White, who felt the same. He wanted as much product out there as possible." In truth, you can tell from Aretha Arrives that it's a record that was being thought of as "product" rather than one being made out of any kind of artistic impulse. It's a fine album -- in her ten-album run from I Never Loved a Man the Way I Love You through Amazing Grace there's not a bad album and barely a bad track -- but there's a lack of focus. There are only two originals on the album, neither of them written by Franklin herself, and the rest is an incoherent set of songs that show the tension between Franklin and her producers at Atlantic. Several songs are the kind of standards that Franklin had recorded for her old label Columbia, things like "You Are My Sunshine", or her version of "That's Life", which had been a hit for Frank Sinatra the previous year: [Excerpt: Aretha Franklin, "That's Life"] But mixed in with that are songs that are clearly the choice of Wexler. As we've discussed previously in episodes on Otis Redding and Wilson Pickett, at this point Atlantic had the idea that it was possible for soul artists to cross over into the white market by doing cover versions of white rock hits -- and indeed they'd had some success with that tactic. So while Franklin was suggesting Sinatra covers, Atlantic's hand is visible in the choices of songs like "(I Can't Get No) Satisfaction" and "96 Tears": [Excerpt: Aretha Franklin, "96 Tears'] Of the two originals on the album, one, the hit single "Baby I Love You" was written by Ronnie Shannon, the Detroit songwriter who had previously written "I Never Loved a Man (the Way I Love You)": [Excerpt: Aretha Franklin, "Baby I Love You"] As with the previous album, and several other songs on this one, that had backing vocals by Aretha's sisters, Erma and Carolyn. But the other original on the album, "Ain't Nobody (Gonna Turn Me Around)", didn't, even though it was written by Carolyn: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] To explain why, let's take a little detour and look at the co-writer of the song this episode is about, though we're not going to get to that for a little while yet. We've not talked much about Burt Bacharach in this series so far, but he's one of those figures who has come up a few times in the periphery and will come up again, so here is as good a time as any to discuss him, and bring everyone up to speed about his career up to 1967. Bacharach was one of the more privileged figures in the sixties pop music field. His father, Bert Bacharach (pronounced the same as his son, but spelled with an e rather than a u) had been a famous newspaper columnist, and his parents had bought him a Steinway grand piano to practice on -- they pushed him to learn the piano even though as a kid he wasn't interested in finger exercises and Debussy. What he was interested in, though, was jazz, and as a teenager he would often go into Manhattan and use a fake ID to see people like Dizzy Gillespie, who he idolised, and in his autobiography he talks rapturously of seeing Gillespie playing his bent trumpet -- he once saw Gillespie standing on a street corner with a pet monkey on his shoulder, and went home and tried to persuade his parents to buy him a monkey too. In particular, he talks about seeing the Count Basie band with Sonny Payne on drums as a teenager: [Excerpt: Count Basie, "Kid From Red Bank"] He saw them at Birdland, the club owned by Morris Levy where they would regularly play, and said of the performance "they were just so incredibly exciting that all of a sudden, I got into music in a way I never had before. What I heard in those clubs really turned my head around— it was like a big breath of fresh air when somebody throws open a window. That was when I knew for the first time how much I loved music and wanted to be connected to it in some way." Of course, there's a rather major problem with this story, as there is so often with narratives that musicians tell about their early career. In this case, Birdland didn't open until 1949, when Bacharach was twenty-one and stationed in Germany for his military service, while Sonny Payne didn't join Basie's band until 1954, when Bacharach had been a professional musician for many years. Also Dizzy Gillespie's trumpet bell only got bent on January 6, 1953. But presumably while Bacharach was conflating several memories, he did have some experience in some New York jazz club that led him to want to become a musician. Certainly there were enough great jazz musicians playing the clubs in those days. He went to McGill University to study music for two years, then went to study with Darius Milhaud, a hugely respected modernist composer. Milhaud was also one of the most important music teachers of the time -- among others he'd taught Stockhausen and Xenakkis, and would go on to teach Philip Glass and Steve Reich. This suited Bacharach, who by this point was a big fan of Schoenberg and Webern, and was trying to write atonal, difficult music. But Milhaud had also taught Dave Brubeck, and when Bacharach rather shamefacedly presented him with a composition which had an actual tune, he told Bacharach "Never be ashamed of writing a tune you can whistle". He dropped out of university and, like most men of his generation, had to serve in the armed forces. When he got out of the army, he continued his musical studies, still trying to learn to be an avant-garde composer, this time with Bohuslav Martinů and later with Henry Cowell, the experimental composer we've heard about quite a bit in previous episodes: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] He was still listening to a lot of avant garde music, and would continue doing so throughout the fifties, going to see people like John Cage. But he spent much of that time working in music that was very different from the avant-garde. He got a job as the band leader for the crooner Vic Damone: [Excerpt: Vic Damone. "Ebb Tide"] He also played for the vocal group the Ames Brothers. He decided while he was working with the Ames Brothers that he could write better material than they were getting from their publishers, and that it would be better to have a job where he didn't have to travel, so he got himself a job as a staff songwriter in the Brill Building. He wrote a string of flops and nearly hits, starting with "Keep Me In Mind" for Patti Page: [Excerpt: Patti Page, "Keep Me In Mind"] From early in his career he worked with the lyricist Hal David, and the two of them together wrote two big hits, "Magic Moments" for Perry Como: [Excerpt: Perry Como, "Magic Moments"] and "The Story of My Life" for Marty Robbins: [Excerpt: "The Story of My Life"] But at that point Bacharach was still also writing with other writers, notably Hal David's brother Mack, with whom he wrote the theme tune to the film The Blob, as performed by The Five Blobs: [Excerpt: The Five Blobs, "The Blob"] But Bacharach's songwriting career wasn't taking off, and he got himself a job as musical director for Marlene Dietrich -- a job he kept even after it did start to take off.  Part of the problem was that he intuitively wrote music that didn't quite fit into standard structures -- there would be odd bars of unusual time signatures thrown in, unusual harmonies, and structural irregularities -- but then he'd take feedback from publishers and producers who would tell him the song could only be recorded if he straightened it out. He said later "The truth is that I ruined a lot of songs by not believing in myself enough to tell these guys they were wrong." He started writing songs for Scepter Records, usually with Hal David, but also with Bob Hilliard and Mack David, and started having R&B hits. One song he wrote with Mack David, "I'll Cherish You", had the lyrics rewritten by Luther Dixon to make them more harsh-sounding for a Shirelles single -- but the single was otherwise just Bacharach's demo with the vocals replaced, and you can even hear his voice briefly at the beginning: [Excerpt: The Shirelles, "Baby, It's You"] But he'd also started becoming interested in the production side of records more generally. He'd iced that some producers, when recording his songs, would change the sound for the worse -- he thought Gene McDaniels' version of "Tower of Strength", for example, was too fast. But on the other hand, other producers got a better sound than he'd heard in his head. He and Hilliard had written a song called "Please Stay", which they'd given to Leiber and Stoller to record with the Drifters, and he thought that their arrangement of the song was much better than the one he'd originally thought up: [Excerpt: The Drifters, "Please Stay"] He asked Leiber and Stoller if he could attend all their New York sessions and learn about record production from them. He started doing so, and eventually they started asking him to assist them on records. He and Hilliard wrote a song called "Mexican Divorce" for the Drifters, which Leiber and Stoller were going to produce, and as he put it "they were so busy running Redbird Records that they asked me to rehearse the background singers for them in my office." [Excerpt: The Drifters, "Mexican Divorce"] The backing singers who had been brought in to augment the Drifters on that record were a group of vocalists who had started out as members of a gospel group called the Drinkard singers: [Excerpt: The Drinkard Singers, "Singing in My Soul"] The Drinkard Singers had originally been a family group, whose members included Cissy Drinkard, who joined the group aged five (and who on her marriage would become known as Cissy Houston -- her daughter Whitney would later join the family business), her aunt Lee Warrick, and Warrick's adopted daughter Judy Clay. That group were discovered by the great gospel singer Mahalia Jackson, and spent much of the fifties performing with gospel greats including Jackson herself, Clara Ward, and Sister Rosetta Tharpe. But Houston was also the musical director of a group at her church, the Gospelaires, which featured Lee Warrick's two daughters Dionne and Dee Dee Warwick (for those who don't know, the Warwick sisters' birth name was Warrick, spelled with two rs. A printing error led to it being misspelled the same way as the British city on a record label, and from that point on Dionne at least pronounced the w in her misspelled name). And slowly, the Gospelaires rather than the Drinkard Singers became the focus, with a lineup of Houston, the Warwick sisters, the Warwick sisters' cousin Doris Troy, and Clay's sister Sylvia Shemwell. The real change in the group's fortunes came when, as we talked about a while back in the episode on "The Loco-Motion", the original lineup of the Cookies largely stopped working as session singers to become Ray Charles' Raelettes. As we discussed in that episode, a new lineup of Cookies formed in 1961, but it took a while for them to get started, and in the meantime the producers who had been relying on them for backing vocals were looking elsewhere, and they looked to the Gospelaires. "Mexican Divorce" was the first record to feature the group as backing vocalists -- though reports vary as to how many of them are on the record, with some saying it's only Troy and the Warwicks, others saying Houston was there, and yet others saying it was all five of them. Some of these discrepancies were because these singers were so good that many of them left to become solo singers in fairly short order. Troy was the first to do so, with her hit "Just One Look", on which the other Gospelaires sang backing vocals: [Excerpt: Doris Troy, "Just One Look"] But the next one to go solo was Dionne Warwick, and that was because she'd started working with Bacharach and Hal David as their principal demo singer. She started singing lead on their demos, and hoping that she'd get to release them on her own. One early one was "Make it Easy On Yourself", which was recorded by Jerry Butler, formerly of the Impressions. That record was produced by Bacharach, one of the first records he produced without outside supervision: [Excerpt: Jerry Butler, "Make it Easy On Yourself"] Warwick was very jealous that a song she'd sung the demo of had become a massive hit for someone else, and blamed Bacharach and David. The way she tells the story -- Bacharach always claimed this never happened, but as we've already seen he was himself not always the most reliable of narrators of his own life -- she got so angry she complained to them, and said "Don't make me over, man!" And so Bacharach and David wrote her this: [Excerpt: Dionne Warwick, "Don't Make Me Over"] Incidentally, in the UK, the hit version of that was a cover by the Swinging Blue Jeans: [Excerpt: The Swinging Blue Jeans, "Don't Make Me Over"] who also had a huge hit with "You're No Good": [Excerpt: The Swinging Blue Jeans, "You're No Good"] And *that* was originally recorded by *Dee Dee* Warwick: [Excerpt: Dee Dee Warwick, "You're No Good"] Dee Dee also had a successful solo career, but Dionne's was the real success, making the names of herself, and of Bacharach and David. The team had more than twenty top forty hits together, before Bacharach and David had a falling out in 1971 and stopped working together, and Warwick sued both of them for breach of contract as a result. But prior to that they had hit after hit, with classic records like "Anyone Who Had a Heart": [Excerpt: Dionne Warwick, "Anyone Who Had a Heart"] And "Walk On By": [Excerpt: Dionne Warwick, "Walk On By"] With Doris, Dionne, and Dee Dee all going solo, the group's membership was naturally in flux -- though the departed members would occasionally join their former bandmates for sessions, and the remaining members would sing backing vocals on their ex-members' records. By 1965 the group consisted of Cissy Houston, Sylvia Shemwell, the Warwick sisters' cousin Myrna Smith, and Estelle Brown. The group became *the* go-to singers for soul and R&B records made in New York. They were regularly hired by Leiber and Stoller to sing on their records, and they were also the particular favourites of Bert Berns. They sang backing vocals on almost every record he produced. It's them doing the gospel wails on "Cry Baby" by Garnet Mimms: [Excerpt: Garnet Mimms, "Cry Baby"] And they sang backing vocals on both versions of "If You Need Me" -- Wilson Pickett's original and Solomon Burke's more successful cover version, produced by Berns: [Excerpt: Solomon Burke, "If You Need Me"] They're on such Berns records as "Show Me Your Monkey", by Kenny Hamber: [Excerpt: Kenny Hamber, "Show Me Your Monkey"] And it was a Berns production that ended up getting them to be Aretha Franklin's backing group. The group were becoming such an important part of the records that Atlantic and BANG Records, in particular, were putting out, that Jerry Wexler said "it was only a matter of common decency to put them under contract as a featured group". He signed them to Atlantic and renamed them from the Gospelaires to The Sweet Inspirations.  Dan Penn and Spooner Oldham wrote a song for the group which became their only hit under their own name: [Excerpt: The Sweet Inspirations, "Sweet Inspiration"] But to start with, they released a cover of Pops Staples' civil rights song "Why (Am I treated So Bad)": [Excerpt: The Sweet Inspirations, "Why (Am I Treated So Bad?)"] That hadn't charted, and meanwhile, they'd all kept doing session work. Cissy had joined Erma and Carolyn Franklin on the backing vocals for Aretha's "I Never Loved a Man the Way I Love You": [Excerpt: Aretha Franklin, "I Never Loved a Man the Way I Love You"] Shortly after that, the whole group recorded backing vocals for Erma's single "Piece of My Heart", co-written and produced by Berns: [Excerpt: Erma Franklin, "Piece of My Heart"] That became a top ten record on the R&B charts, but that caused problems. Aretha Franklin had a few character flaws, and one of these was an extreme level of jealousy for any other female singer who had any level of success and came up in the business after her. She could be incredibly graceful towards anyone who had been successful before her -- she once gave one of her Grammies away to Esther Phillips, who had been up for the same award and had lost to her -- but she was terribly insecure, and saw any contemporary as a threat. She'd spent her time at Columbia Records fuming (with some justification) that Barbra Streisand was being given a much bigger marketing budget than her, and she saw Diana Ross, Gladys Knight, and Dionne Warwick as rivals rather than friends. And that went doubly for her sisters, who she was convinced should be supporting her because of family loyalty. She had been infuriated at John Hammond when Columbia had signed Erma, thinking he'd gone behind her back to create competition for her. And now Erma was recording with Bert Berns. Bert Berns who had for years been a colleague of Jerry Wexler and the Ertegun brothers at Atlantic. Aretha was convinced that Wexler had put Berns up to signing Erma as some kind of power play. There was only one problem with this -- it simply wasn't true. As Wexler later explained “Bert and I had suffered a bad falling-out, even though I had enormous respect for him. After all, he was the guy who brought over guitarist Jimmy Page from England to play on our sessions. Bert, Ahmet, Nesuhi, and I had started a label together—Bang!—where Bert produced Van Morrison's first album. But Bert also had a penchant for trouble. He courted the wise guys. He wanted total control over every last aspect of our business dealings. Finally it was too much, and the Erteguns and I let him go. He sued us for breach of contract and suddenly we were enemies. I felt that he signed Erma, an excellent singer, not merely for her talent but as a way to get back at me. If I could make a hit with Aretha, he'd show me up by making an even bigger hit on Erma. Because there was always an undercurrent of rivalry between the sisters, this only added to the tension.” There were two things that resulted from this paranoia on Aretha's part. The first was that she and Wexler, who had been on first-name terms up to that point, temporarily went back to being "Mr. Wexler" and "Miss Franklin" to each other. And the second was that Aretha no longer wanted Carolyn and Erma to be her main backing vocalists, though they would continue to appear on her future records on occasion. From this point on, the Sweet Inspirations would be the main backing vocalists for Aretha in the studio throughout her golden era [xxcut line (and when the Sweet Inspirations themselves weren't on the record, often it would be former members of the group taking their place)]: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] The last day of sessions for Aretha Arrives was July the twenty-third, 1967. And as we heard in the episode on "I Was Made to Love Her", that was the day that the Detroit riots started. To recap briefly, that was four days of rioting started because of a history of racist policing, made worse by those same racist police overreacting to the initial protests. By the end of those four days, the National Guard, 82nd Airborne Division, and the 101st Airborne from Clarksville were all called in to deal with the violence, which left forty-three dead (of whom thirty-three were Black and only one was a police officer), 1,189 people were injured, and over 7,200 arrested, almost all of them Black. Those days in July would be a turning point for almost every musician based in Detroit. In particular, the police had murdered three members of the soul group the Dramatics, in a massacre of which the author John Hersey, who had been asked by President Johnson to be part of the National Advisory Commission on Civil Disorders but had decided that would compromise his impartiality and did an independent journalistic investigation, said "The episode contained all the mythic themes of racial strife in the United States: the arm of the law taking the law into its own hands; interracial sex; the subtle poison of racist thinking by “decent” men who deny they are racists; the societal limbo into which, ever since slavery, so many young black men have been driven by our country; ambiguous justice in the courts; and the devastation in both black and white human lives that follows in the wake of violence as surely as ruinous and indiscriminate flood after torrents" But these were also the events that radicalised the MC5 -- the group had been playing a gig as Tim Buckley's support act when the rioting started, and guitarist Wayne Kramer decided afterwards to get stoned and watch the fires burning down the city through a telescope -- which police mistook for a rifle, leading to the National Guard knocking down Kramer's door. The MC5 would later cover "The Motor City is Burning", John Lee Hooker's song about the events: [Excerpt: The MC5, "The Motor City is Burning"] It would also be a turning point for Motown, too, in ways we'll talk about in a few future episodes.  And it was a political turning point too -- Michigan Governor George Romney, a liberal Republican (at a time when such people existed) had been the favourite for the Republican Presidential candidacy when he'd entered the race in December 1966, but as racial tensions ramped up in Detroit during the early months of 1967 he'd started trailing Richard Nixon, a man who was consciously stoking racists' fears. President Johnson, the incumbent Democrat, who was at that point still considering standing for re-election, made sure to make it clear to everyone during the riots that the decision to call in the National Guard had been made at the State level, by Romney, rather than at the Federal level.  That wasn't the only thing that removed the possibility of a Romney presidency, but it was a big part of the collapse of his campaign, and the, as it turned out, irrevocable turn towards right-authoritarianism that the party took with Nixon's Southern Strategy. Of course, Aretha Franklin had little way of knowing what was to come and how the riots would change the city and the country over the following decades. What she was primarily concerned about was the safety of her father, and to a lesser extent that of her sister-in-law Earline who was staying with him. Aretha, Carolyn, and Erma all tried to keep in constant touch with their father while they were out of town, and Aretha even talked about hiring private detectives to travel to Detroit, find her father, and get him out of the city to safety. But as her brother Cecil pointed out, he was probably the single most loved man among Black people in Detroit, and was unlikely to be harmed by the rioters, while he was too famous for the police to kill with impunity. Reverend Franklin had been having a stressful time anyway -- he had recently been fined for tax evasion, an action he was convinced the IRS had taken because of his friendship with Dr King and his role in the civil rights movement -- and according to Cecil "Aretha begged Daddy to move out of the city entirely. She wanted him to find another congregation in California, where he was especially popular—or at least move out to the suburbs. But he wouldn't budge. He said that, more than ever, he was needed to point out the root causes of the riots—the economic inequality, the pervasive racism in civic institutions, the woefully inadequate schools in inner-city Detroit, and the wholesale destruction of our neighborhoods by urban renewal. Some ministers fled the city, but not our father. The horror of what happened only recommitted him. He would not abandon his political agenda." To make things worse, Aretha was worried about her father in other ways -- as her marriage to Ted White was starting to disintegrate, she was looking to her father for guidance, and actually wanted him to take over her management. Eventually, Ruth Bowen, her booking agent, persuaded her brother Cecil that this was a job he could do, and that she would teach him everything he needed to know about the music business. She started training him up while Aretha was still married to White, in the expectation that that marriage couldn't last. Jerry Wexler, who only a few months earlier had been seeing Ted White as an ally in getting "product" from Franklin, had now changed his tune -- partly because the sale of Atlantic had gone through in the meantime. He later said “Sometimes she'd call me at night, and, in that barely audible little-girl voice of hers, she'd tell me that she wasn't sure she could go on. She always spoke in generalities. She never mentioned her husband, never gave me specifics of who was doing what to whom. And of course I knew better than to ask. She just said that she was tired of dealing with so much. My heart went out to her. She was a woman who suffered silently. She held so much in. I'd tell her to take as much time off as she needed. We had a lot of songs in the can that we could release without new material. ‘Oh, no, Jerry,' she'd say. ‘I can't stop recording. I've written some new songs, Carolyn's written some new songs. We gotta get in there and cut 'em.' ‘Are you sure?' I'd ask. ‘Positive,' she'd say. I'd set up the dates and typically she wouldn't show up for the first or second sessions. Carolyn or Erma would call me to say, ‘Ree's under the weather.' That was tough because we'd have asked people like Joe South and Bobby Womack to play on the sessions. Then I'd reschedule in the hopes she'd show." That third album she recorded in 1967, Lady Soul, was possibly her greatest achievement. The opening track, and second single, "Chain of Fools", released in November, was written by Don Covay -- or at least it's credited as having been written by Covay. There's a gospel record that came out around the same time on a very small label based in Houston -- "Pains of Life" by Rev. E. Fair And The Sensational Gladys Davis Trio: [Excerpt: Rev. E. Fair And The Sensational Gladys Davis Trio, "Pains of Life"] I've seen various claims online that that record came out shortly *before* "Chain of Fools", but I can't find any definitive evidence one way or the other -- it was on such a small label that release dates aren't available anywhere. Given that the B-side, which I haven't been able to track down online, is called "Wait Until the Midnight Hour", my guess is that rather than this being a case of Don Covay stealing the melody from an obscure gospel record he'd have had little chance to hear, it's the gospel record rewriting a then-current hit to be about religion, but I thought it worth mentioning. The song was actually written by Covay after Jerry Wexler asked him to come up with some songs for Otis Redding, but Wexler, after hearing it, decided it was better suited to Franklin, who gave an astonishing performance: [Excerpt: Aretha Franklin, "Chain of Fools"] Arif Mardin, the arranger of the album, said of that track “I was listed as the arranger of ‘Chain of Fools,' but I can't take credit. Aretha walked into the studio with the chart fully formed inside her head. The arrangement is based around the harmony vocals provided by Carolyn and Erma. To add heft, the Sweet Inspirations joined in. The vision of the song is entirely Aretha's.” According to Wexler, that's not *quite* true -- according to him, Joe South came up with the guitar part that makes up the intro, and he also said that when he played what he thought was the finished track to Ellie Greenwich, she came up with another vocal line for the backing vocals, which she overdubbed. But the core of the record's sound is definitely pure Aretha -- and Carolyn Franklin said that there was a reason for that. As she said later “Aretha didn't write ‘Chain,' but she might as well have. It was her story. When we were in the studio putting on the backgrounds with Ree doing lead, I knew she was singing about Ted. Listen to the lyrics talking about how for five long years she thought he was her man. Then she found out she was nothing but a link in the chain. Then she sings that her father told her to come on home. Well, he did. She sings about how her doctor said to take it easy. Well, he did too. She was drinking so much we thought she was on the verge of a breakdown. The line that slew me, though, was the one that said how one of these mornings the chain is gonna break but until then she'll take all she can take. That summed it up. Ree knew damn well that this man had been doggin' her since Jump Street. But somehow she held on and pushed it to the breaking point." [Excerpt: Aretha Franklin, "Chain of Fools"] That made number one on the R&B charts, and number two on the hot one hundred, kept from the top by "Judy In Disguise (With Glasses)" by John Fred and his Playboy Band -- a record that very few people would say has stood the test of time as well. The other most memorable track on the album was the one chosen as the first single, released in September. As Carole King told the story, she and Gerry Goffin were feeling like their career was in a slump. While they had had a huge run of hits in the early sixties through 1965, they had only had two new hits in 1966 -- "Goin' Back" for Dusty Springfield and "Don't Bring Me Down" for the Animals, and neither of those were anything like as massive as their previous hits. And up to that point in 1967, they'd only had one -- "Pleasant Valley Sunday" for the Monkees. They had managed to place several songs on Monkees albums and the TV show as well, so they weren't going to starve, but the rise of self-contained bands that were starting to dominate the charts, and Phil Spector's temporary retirement, meant there simply wasn't the opportunity for them to place material that there had been. They were also getting sick of travelling to the West Coast all the time, because as their children were growing slightly older they didn't want to disrupt their lives in New York, and were thinking of approaching some of the New York based labels and seeing if they needed songs. They were particularly considering Atlantic, because soul was more open to outside songwriters than other genres. As it happened, though, they didn't have to approach Atlantic, because Atlantic approached them. They were walking down Broadway when a limousine pulled up, and Jerry Wexler stuck his head out of the window. He'd come up with a good title that he wanted to use for a song for Aretha, would they be interested in writing a song called "Natural Woman"? They said of course they would, and Wexler drove off. They wrote the song that night, and King recorded a demo the next morning: [Excerpt: Carole King, "(You Make Me Feel Like) A Natural Woman (demo)"] They gave Wexler a co-writing credit because he had suggested the title.  King later wrote in her autobiography "Hearing Aretha's performance of “Natural Woman” for the first time, I experienced a rare speechless moment. To this day I can't convey how I felt in mere words. Anyone who had written a song in 1967 hoping it would be performed by a singer who could take it to the highest level of excellence, emotional connection, and public exposure would surely have wanted that singer to be Aretha Franklin." She went on to say "But a recording that moves people is never just about the artist and the songwriters. It's about people like Jerry and Ahmet, who matched the songwriters with a great title and a gifted artist; Arif Mardin, whose magnificent orchestral arrangement deserves the place it will forever occupy in popular music history; Tom Dowd, whose engineering skills captured the magic of this memorable musical moment for posterity; and the musicians in the rhythm section, the orchestral players, and the vocal contributions of the background singers—among them the unforgettable “Ah-oo!” after the first line of the verse. And the promotion and marketing people helped this song reach more people than it might have without them." And that's correct -- unlike "Chain of Fools", this time Franklin did let Arif Mardin do most of the arrangement work -- though she came up with the piano part that Spooner Oldham plays on the record. Mardin said that because of the song's hymn-like feel they wanted to go for a more traditional written arrangement. He said "She loved the song to the point where she said she wanted to concentrate on the vocal and vocal alone. I had written a string chart and horn chart to augment the chorus and hired Ralph Burns to conduct. After just a couple of takes, we had it. That's when Ralph turned to me with wonder in his eyes. Ralph was one of the most celebrated arrangers of the modern era. He had done ‘Early Autumn' for Woody Herman and Stan Getz, and ‘Georgia on My Mind' for Ray Charles. He'd worked with everyone. ‘This woman comes from another planet' was all Ralph said. ‘She's just here visiting.'” [Excerpt: Aretha Franklin, "(You Make Me Feel Like) A Natural Woman"] By this point there was a well-functioning team making Franklin's records -- while the production credits would vary over the years, they were all essentially co-productions by the team of Franklin, Wexler, Mardin and Dowd, all collaborating and working together with a more-or-less unified purpose, and the backing was always by the same handful of session musicians and some combination of the Sweet Inspirations and Aretha's sisters. That didn't mean that occasional guests couldn't get involved -- as we discussed in the Cream episode, Eric Clapton played guitar on "Good to Me as I am to You": [Excerpt: Aretha Franklin, "Good to Me as I am to You"] Though that was one of the rare occasions on one of these records where something was overdubbed. Clapton apparently messed up the guitar part when playing behind Franklin, because he was too intimidated by playing with her, and came back the next day to redo his part without her in the studio. At this point, Aretha was at the height of her fame. Just before the final batch of album sessions began she appeared in the Macy's Thanksgiving Parade, and she was making regular TV appearances, like one on the Mike Douglas Show where she duetted with Frankie Valli on "That's Life": [Excerpt: Aretha Franklin and Frankie Valli, "That's Life"] But also, as Wexler said “Her career was kicking into high gear. Contending and resolving both the professional and personal challenges were too much. She didn't think she could do both, and I didn't blame her. Few people could. So she let the personal slide and concentrated on the professional. " Her concert promoter Ruth Bowen said of this time "Her father and Dr. King were putting pressure on her to sing everywhere, and she felt obligated. The record company was also screaming for more product. And I had a mountain of offers on my desk that kept getting higher with every passing hour. They wanted her in Europe. They wanted her in Latin America. They wanted her in every major venue in the U.S. TV was calling. She was being asked to do guest appearances on every show from Carol Burnett to Andy Williams to the Hollywood Palace. She wanted to do them all and she wanted to do none of them. She wanted to do them all because she's an entertainer who burns with ambition. She wanted to do none of them because she was emotionally drained. She needed to go away and renew her strength. I told her that at least a dozen times. She said she would, but she didn't listen to me." The pressures from her father and Dr King are a recurring motif in interviews with people about this period. Franklin was always a very political person, and would throughout her life volunteer time and money to liberal political causes and to the Democratic Party, but this was the height of her activism -- the Civil Rights movement was trying to capitalise on the gains it had made in the previous couple of years, and celebrity fundraisers and performances at rallies were an important way to do that. And at this point there were few bigger celebrities in America than Aretha Franklin. At a concert in her home town of Detroit on February the sixteenth, 1968, the Mayor declared the day Aretha Franklin Day. At the same show, Billboard, Record World *and* Cash Box magazines all presented her with plaques for being Female Vocalist of the Year. And Dr. King travelled up to be at the show and congratulate her publicly for all her work with his organisation, the Southern Christian Leadership Conference. Backstage at that show, Dr. King talked to Aretha's father, Reverend Franklin, about what he believed would be the next big battle -- a strike in Memphis: [Excerpt, Martin Luther King, "Mountaintop Speech" -- "And so, as a result of this, we are asking you tonight, to go out and tell your neighbors not to buy Coca-Cola in Memphis. Go by and tell them not to buy Sealtest milk. Tell them not to buy—what is the other bread?—Wonder Bread. And what is the other bread company, Jesse? Tell them not to buy Hart's bread. As Jesse Jackson has said, up to now, only the garbage men have been feeling pain; now we must kind of redistribute the pain. We are choosing these companies because they haven't been fair in their hiring policies; and we are choosing them because they can begin the process of saying, they are going to support the needs and the rights of these men who are on strike. And then they can move on downtown and tell Mayor Loeb to do what is right."] The strike in question was the Memphis Sanitation Workers' strike which had started a few days before.  The struggle for Black labour rights was an integral part of the civil rights movement, and while it's not told that way in the sanitised version of the story that's made it into popular culture, the movement led by King was as much about economic justice as social justice -- King was a democratic socialist, and believed that economic oppression was both an effect of and cause of other forms of racial oppression, and that the rights of Black workers needed to be fought for. In 1967 he had set up a new organisation, the Poor People's Campaign, which was set to march on Washington to demand a program that included full employment, a guaranteed income -- King was strongly influenced in his later years by the ideas of Henry George, the proponent of a universal basic income based on land value tax -- the annual building of half a million affordable homes, and an end to the war in Vietnam. This was King's main focus in early 1968, and he saw the sanitation workers' strike as a major part of this campaign. Memphis was one of the most oppressive cities in the country, and its largely Black workforce of sanitation workers had been trying for most of the 1960s to unionise, and strike-breakers had been called in to stop them, and many of them had been fired by their white supervisors with no notice. They were working in unsafe conditions, for utterly inadequate wages, and the city government were ardent segregationists. After two workers had died on the first of February from using unsafe equipment, the union demanded changes -- safer working conditions, better wages, and recognition of the union. The city council refused, and almost all the sanitation workers stayed home and stopped work. After a few days, the council relented and agreed to their terms, but the Mayor, Henry Loeb, an ardent white supremacist who had stood on a platform of opposing desegregation, and who had previously been the Public Works Commissioner who had put these unsafe conditions in place, refused to listen. As far as he was concerned, he was the only one who could recognise the union, and he wouldn't. The workers continued their strike, marching holding signs that simply read "I am a Man": [Excerpt: Stevie Wonder, "Blowing in the Wind"] The Southern Christian Leadership Conference and the NAACP had been involved in organising support for the strikes from an early stage, and King visited Memphis many times. Much of the time he spent visiting there was spent negotiating with a group of more militant activists, who called themselves The Invaders and weren't completely convinced by King's nonviolent approach -- they believed that violence and rioting got more attention than non-violent protests. King explained to them that while he had been persuaded by Gandhi's writings of the moral case for nonviolent protest, he was also persuaded that it was pragmatically necessary -- asking the young men "how many guns do we have and how many guns do they have?", and pointing out as he often did that when it comes to violence a minority can't win against an armed majority. Rev Franklin went down to Memphis on the twenty-eighth of March to speak at a rally Dr. King was holding, but as it turned out the rally was cancelled -- the pre-rally march had got out of hand, with some people smashing windows, and Memphis police had, like the police in Detroit the previous year, violently overreacted, clubbing and gassing protestors and shooting and killing one unarmed teenage boy, Larry Payne. The day after Payne's funeral, Dr King was back in Memphis, though this time Rev Franklin was not with him. On April the third, he gave a speech which became known as the "Mountaintop Speech", in which he talked about the threats that had been made to his life: [Excerpt: Martin Luther King, "Mountaintop Speech": “And then I got to Memphis. And some began to say the threats, or talk about the threats that were out. What would happen to me from some of our sick white brothers? Well, I don't know what will happen now. We've got some difficult days ahead. But it doesn't matter with me now. Because I've been to the mountaintop. And I don't mind. Like anybody, I would like to live a long life. Longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the promised land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land. So I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord."] The next day, Martin Luther King was shot dead. James Earl Ray, a white supremacist, pled guilty to the murder, and the evidence against him seems overwhelming from what I've read, but the King family have always claimed that the murder was part of a larger conspiracy and that Ray was not the gunman. Aretha was obviously distraught, and she attended the funeral, as did almost every other prominent Black public figure. James Baldwin wrote of the funeral: "In the pew directly before me sat Marlon Brando, Sammy Davis, Eartha Kitt—covered in black, looking like a lost, ten-year-old girl—and Sidney Poitier, in the same pew, or nearby. Marlon saw me, and nodded. The atmosphere was black, with a tension indescribable—as though something, perhaps the heavens, perhaps the earth, might crack. Everyone sat very still. The actual service sort of washed over me, in waves. It wasn't that it seemed unreal; it was the most real church service I've ever sat through in my life, or ever hope to sit through; but I have a childhood hangover thing about not weeping in public, and I was concentrating on holding myself together. I did not want to weep for Martin, tears seemed futile. But I may also have been afraid, and I could not have been the only one, that if I began to weep I would not be able to stop. There was more than enough to weep for, if one was to weep—so many of us, cut down, so soon. Medgar, Malcolm, Martin: and their widows, and their children. Reverend Ralph David Abernathy asked a certain sister to sing a song which Martin had loved—“Once more,” said Ralph David, “for Martin and for me,” and he sat down." Many articles and books on Aretha Franklin say that she sang at King's funeral. In fact she didn't, but there's a simple reason for the confusion. King's favourite song was the Thomas Dorsey gospel song "Take My Hand, Precious Lord", and indeed almost his last words were to ask a trumpet player, Ben Branch, if he would play the song at the rally he was going to be speaking at on the day of his death. At his request, Mahalia Jackson, his old friend, sang the song at his private funeral, which was not filmed, unlike the public part of the funeral that Baldwin described. Four months later, though, there was another public memorial for King, and Franklin did sing "Take My Hand, Precious Lord" at that service, in front of King's weeping widow and children, and that performance *was* filmed, and gets conflated in people's memories with Jackson's unfilmed earlier performance: [Excerpt: Aretha Franklin, "Take My Hand, Precious Lord (at Martin Luther King Memorial)"] Four years later, she would sing that at Mahalia Jackson's funeral. Through all this, Franklin had been working on her next album, Aretha Now, the sessions for which started more or less as soon as the sessions for Lady Soul had finished. The album was, in fact, bookended by deaths that affected Aretha. Just as King died at the end of the sessions, the beginning came around the time of the death of Otis Redding -- the sessions were cancelled for a day while Wexler travelled to Georgia for Redding's funeral, which Franklin was too devastated to attend, and Wexler would later say that the extra emotion in her performances on the album came from her emotional pain at Redding's death. The lead single on the album, "Think", was written by Franklin and -- according to the credits anyway -- her husband Ted White, and is very much in the same style as "Respect", and became another of her most-loved hits: [Excerpt: Aretha Franklin, "Think"] But probably the song on Aretha Now that now resonates the most is one that Jerry Wexler tried to persuade her not to record, and was only released as a B-side. Indeed, "I Say a Little Prayer" was a song that had already once been a hit after being a reject.  Hal David, unlike Burt Bacharach, was a fairly political person and inspired by the protest song movement, and had been starting to incorporate his concerns about the political situation and the Vietnam War into his lyrics -- though as with many such writers, he did it in much less specific ways than a Phil Ochs or a Bob Dylan. This had started with "What the World Needs Now is Love", a song Bacharach and David had written for Jackie DeShannon in 1965: [Excerpt: Jackie DeShannon, "What the "World Needs Now is Love"] But he'd become much more overtly political for "The Windows of the World", a song they wrote for Dionne Warwick. Warwick has often said it's her favourite of her singles, but it wasn't a big hit -- Bacharach blamed himself for that, saying "Dionne recorded it as a single and I really blew it. I wrote a bad arrangement and the tempo was too fast, and I really regret making it the way I did because it's a good song." [Excerpt: Dionne Warwick, "The Windows of the World"] For that album, Bacharach and David had written another track, "I Say a Little Prayer", which was not as explicitly political, but was intended by David to have an implicit anti-war message, much like other songs of the period like "Last Train to Clarksville". David had sons who were the right age to be drafted, and while it's never stated, "I Say a Little Prayer" was written from the perspective of a woman whose partner is away fighting in the war, but is still in her thoughts: [Excerpt: Dionne Warwick, "I Say a Little Prayer"] The recording of Dionne Warwick's version was marked by stress. Bacharach had a particular way of writing music to tell the musicians the kind of feel he wanted for the part -- he'd write nonsense words above the stave, and tell the musicians to play the parts as if they were singing those words. The trumpet player hired for the session, Ernie Royal, got into a row with Bacharach about this unorthodox way of communicating musical feeling, and the track ended up taking ten takes (as opposed to the normal three for a Bacharach session), with Royal being replaced half-way through the session. Bacharach was never happy with the track even after all the work it had taken, and he fought to keep it from being released at all, saying the track was taken at too fast a tempo. It eventually came out as an album track nearly eighteen months after it was recorded -- an eternity in 1960s musical timescales -- and DJs started playing it almost as soon as it came out. Scepter records rushed out a single, over Bacharach's objections, but as he later said "One thing I love about the record business is how wrong I was. Disc jockeys all across the country started playing the track, and the song went to number four on the charts and then became the biggest hit Hal and I had ever written for Dionne." [Excerpt: Dionne Warwick, "I Say a Little Prayer"] Oddly, the B-side for Warwick's single, "Theme From the Valley of the Dolls" did even better, reaching number two. Almost as soon as the song was released as a single, Franklin started playing around with the song backstage, and in April 1968, right around the time of Dr. King's death, she recorded a version. Much as Burt Bacharach had been against releasing Dionne Warwick's version, Jerry Wexler was against Aretha even recording the song, saying later “I advised Aretha not to record it. I opposed it for two reasons. First, to cover a song only twelve weeks after the original reached the top of the charts was not smart business. You revisit such a hit eight months to a year later. That's standard practice. But more than that, Bacharach's melody, though lovely, was peculiarly suited to a lithe instrument like Dionne Warwick's—a light voice without the dark corners or emotional depths that define Aretha. Also, Hal David's lyric was also somewhat girlish and lacked the gravitas that Aretha required. “Aretha usually listened to me in the studio, but not this time. She had written a vocal arrangement for the Sweet Inspirations that was undoubtedly strong. Cissy Houston, Dionne's cousin, told me that Aretha was on the right track—she was seeing this song in a new way and had come up with a new groove. Cissy was on Aretha's side. Tommy Dowd and Arif were on Aretha's side. So I had no choice but to cave." It's quite possible that Wexler's objections made Franklin more, rather than less, determined to record the song. She regarded Warwick as a hated rival, as she did almost every prominent female singer of her generation and younger ones, and would undoubtedly have taken the implication that there was something that Warwick was simply better at than her to heart. [Excerpt: Aretha Franklin, "I Say a Little Prayer"] Wexler realised as soon as he heard it in the studio that Franklin's version was great, and Bacharach agreed, telling Franklin's biographer David Ritz “As much as I like the original recording by Dionne, there's no doubt that Aretha's is a better record. She imbued the song with heavy soul and took it to a far deeper place. Hers is the definitive version.” -- which is surprising because Franklin's version simplifies some of Bacharach's more unusual chord voicings, something he often found extremely upsetting. Wexler still though thought there was no way the song would be a hit, and it's understandable that he thought that way. Not only had it only just been on the charts a few months earlier, but it was the kind of song that wouldn't normally be a hit at all, and certainly not in the kind of rhythmic soul music for which Franklin was known. Almost everything she ever recorded is in simple time signatures -- 4/4, waltz time, or 6/8 -- but this is a Bacharach song so it's staggeringly metrically irregular. Normally even with semi-complex things I'm usually good at figuring out how to break it down into bars, but here I actually had to purchase a copy of the sheet music in order to be sure I was right about what's going on. I'm going to count beats along with the record here so you can see what I mean. The verse has three bars of 4/4, one bar of 2/4, and three more bars of 4/4, all repeated: [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] While the chorus has a bar of 4/4, a bar of 3/4 but with a chord change half way through so it sounds like it's in two if you're paying attention to the harmonic changes, two bars of 4/4, another waltz-time bar sounding like it's in two, two bars of four, another bar of three sounding in two, a bar of four, then three more bars of four but the first of those is *written* as four but played as if it's in six-eight time (but you can keep the four/four pulse going if you're counting): [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] I don't expect you to have necessarily followed that in great detail, but the point should be clear -- this was not some straightforward dance song. Incidentally, that bar played as if it's six/eight was something Aretha introduced to make the song even more irregular than how Bacharach wrote it. And on top of *that* of course the lyrics mixed the secular and the sacred, something that was still taboo in popular music at that time -- this is only a couple of years after Capitol records had been genuinely unsure about putting out the Beach Boys' "God Only Knows", and Franklin's gospel-inflected vocals made the religious connection even more obvious. But Franklin was insistent that the record go out as a single, and eventually it was released as the B-side to the far less impressive "The House That Jack Built". It became a double-sided hit, with the A-side making number two on the R&B chart and number seven on the Hot One Hundred, while "I Say a Little Prayer" made number three on the R&B chart and number ten overall. In the UK, "I Say a Little Prayer" made number four and became her biggest ever solo UK hit. It's now one of her most-remembered songs, while the A-side is largely forgotten: [Excerpt: Aretha Franklin, "I Say a Little Prayer"] For much of the