Podcasts about Wild One

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  • 190PODCASTS
  • 226EPISODES
  • 55mAVG DURATION
  • 5WEEKLY NEW EPISODES
  • Oct 23, 2021LATEST

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Best podcasts about Wild One

Latest podcast episodes about Wild One

Signal of Doom: A Comic Book Podcast
#238: Punisher: Jigsaw Puzzle, Vikings in America, Ruby Rose, Superman Drops the American Way, Dave Forgets The News, Frank and the Void

Signal of Doom: A Comic Book Podcast

Play Episode Listen Later Oct 23, 2021 174:22


BUCKLE IN GANG! It's a WILD ONE! We talk Punisher: Jigsaw Puzzle, as Frank tries to fill the void, Vikings REACHED America, Ruby Rose is a HOT TOPIC, Superman drops the American Way (and we have thoughts!), Dave forgets everything including his own news items, Michael Caine is only half retired, and World War Hulk is RUMORED! This is a hot one, so SADDLE UP! Weekly Comics Clear #1 Catwoman: Lonely City #1 Flashback Friday Brave and the Bold #192 Superman #53 TRADE OF THE WEEK Punisher: Jigsaw Puzzle Remember, for more exclusive content, you can sign up to the Signal of Doom Patreon! Please support the show on Patreon! Every dollar helps the show! https://www.patreon.com/SignalofDoom Follow us on Twitter: @signalofdoom Dredd or Dead: @OrDredd Legion Outpost: @legionoutpost Follow Dave on Twitter: @redlantern2051

Lets Go Blues Radio - St. Louis Blues Hockey Podcast
Se10, Ep6: Wins, Goals, Assists and Headbutts

Lets Go Blues Radio - St. Louis Blues Hockey Podcast

Play Episode Listen Later Oct 20, 2021 83:27


RockinThatIDLife.com - For 10% OFF, Text Dustin at 636-393-8745 & tell him "Lets Go Blues sent me!" CenterIceBrewery.com - St. Louis' hockey-themed brewery! Join our Discord Server! www.LetsGoBlues.com/discord Beers of the Show Follow us on the UnTapped Beer App cprice12 jponder94 billybluenote33 Today in Blues History Game #1 vs Colorado & the disallowed goal Game #2, a Wild One vs Arizona lots of goals Buchnevich's headbutt on Crouse & the suspension Neighbours impresses Kyrou is off to a great start Justin Faulk picks up where he left off last season Rapid Fire NHL Tidbits & MORE!

Dan Barreiro
Wild Win a Wild One! Craig Kilborn Previews Wolves Season - Bumper to Bumper 10/20 Hour One

Dan Barreiro

Play Episode Listen Later Oct 20, 2021 49:36


Dan Barreiro opens the show reviewing the Wild win last night before Craig Kilborn joins for an extended Wolves and NBA Preview. Craiggers was money as usual!

The Roar: A Carolina Panthers Podcast
The Monday After: Panthers lose a wild one in OT to the Vikings--a full breakdown

The Roar: A Carolina Panthers Podcast

Play Episode Listen Later Oct 19, 2021 82:32


Following an impressive 3-0 start, the Panthers have now dropped three straight games. Carolina's latest heartbreaker, a 34-28 OT loss to the Vikings, was one helluva wild game. Plenty of layers to peel back, and we're here for you. Let's discuss. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Sports Day Tampa Bay
Bucs Improve To 5-1 After A 28-22 Win Over Eagles & Lightning Win Wild One In Detroit

Sports Day Tampa Bay

Play Episode Listen Later Oct 15, 2021 29:06


Rick Stroud and Steve Versnick on the Buccaneers 28-22 win in Philadelphia on Thursday night as they improve to 5-1 and now have 10 days until their next game. Leonard Fournette ran hard while Antonio Brown had 9 catches and the defense shut down Jalen Hurts for most of the game. Plus the Lightning pick up their first win of the year in a crazy 7-6 OT win in Detroit. See acast.com/privacy for privacy and opt-out information.

Sports News Minute with Larry Brown
Red Sox win wild one on ground rule double, Bills get revenge on Chiefs

Sports News Minute with Larry Brown

Play Episode Listen Later Oct 11, 2021 3:07


No Need For Apologies The Podcast
Episode #173 Xia Anderson: Onlyfans Rage Quit

No Need For Apologies The Podcast

Play Episode Listen Later Oct 10, 2021 82:16


This week Xia Anderson joins the boys in studio to discuss exposing hot nerds, the psychology of rage quitting, Dog the bounty hunter's expeditions. They reveal why Hawaii is so damn horny, discover Mario Kart was made for family fights, compare Madden to the McRib, and question who is the tuba for?? All while detailing Xia playing twitch on molly, her most provocative exploits on onlyfans, getting subscriber requests for booty hole gummy bears, her gramma's sexual deviancies, her dad dating her classmate, Derek getting a freestyle from Black Thought, meeting Busta Rhymes and smoking weed with Kanye West himself! I know we say this every week, but this a WILD ONE you don't wanna miss! “NNFA” is a GAS DIGITAL PRODUCTION watch HD and FIRST @ https://gasdigitalnetwork.com/NNFAComedians Dave Temple and Derek Gaines are two Opinionated, Argumentative, Best Friends who love getting their points across; even if they're entirely wrong. Listen to these two goofballs discuss various topics ranging from Pop Culture to what's going on in their personal life and break them down in an unapologetic fashion. Follow the Squad:Dave TempleInstagram- https://www.instagram.com/imdavetemple/Website- https://www.davetemplecomedy.com/Derek GainesInstagram- https://rb.gy/3okmfe Twitter- https://rb.gy/ovoex8 (Producer)Dylan NegriInstagram- https://rb.gy/cxqtac Twitter- https://rb.gy/rg4jj9 Don't forget to subscribe to our channel and to GaS Digital. The newest 15 episodes are always free, but if you want access to all the archives, watch live, chat live, access to the forums, and get the show five (5!) days before it comes out everywhere else—you can subscribe now at https://gasdigitalnetwork.com and use the code NNFA to save 15% on the entire network.#noneedforapologies #NNFA #derekgaines #davetempleDave Temple and Derek Gaines Are both Rising comedy stars who call NEW YORK home. You may have seen Derek on THE LAST OG or MTV”S “BROKE ASS GAME SHOW” or as Theodore in WILL & GRACE. The pair have both respectively been featured on COMEDY CENTRAL, TBS, NETFLIX, CBS, FOX, MTV, LAST COMIC STANDING and THE TONIGHT SHOW WITH JIMMY FALLON. Also Catch Derek Gaines in the New PETE DAVIDSON movie “THE KING OF STATEN ISLAND” Out Now!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

GirlChatSports
Ep 253: FB & IG go down, Rush Green TNF, Dodgers WC & Rugby to the MMA w/guest Michelle “The Wild One” Montague.

GirlChatSports

Play Episode Listen Later Oct 7, 2021 83:34


The ladies are joined by Amateur MMA Champ, Michelle “The Wild One” Montague on the show. Michelle talks about her journey from Rugby to eventually MMA, after viewing YouTube videos back in 2015 or Ronda Rousey. Michelle shares about the pandemic restrictions still being faced in her home, New Zealand and the shares the struggle its been to return home through their “lottery”. However Michelle continues to train and has her sights set on the World Championships this winter. Mo & Mel multi-task this episode with the LV Aces playing during the show in game 4 of the WNBA Semifinals, eventually winning to push a game 5 this Friday. Mo's Dodgers were also playing in the NL Wild Card and boy what an ending to that game. Mel is happy over her Seahawks win over the 49rs, but with a short week, the team has a tuff match for Thursday Night Football with another Divisional opponent. Mo breaks down how her Raiders did not show up for their MNF matchup vs the LA Chargers and is ready for her Birthday Football Sunday, watching the Raiders take on the Chicago Bears for her first game inside Allegiant Stadium! Oh and on top of all that, Facebook & Instagram gave the world a reality check of what its like without them, Bubba Wallace made NASCAR history & Russell Wilson gets his 100th win & is the fastest to do it! You can find Michelle Montague here: https://www.wildonemma.com/ Instagram: @thewildonemma We are #LIVE on Facebook LIVE each Wednesday through the GirlChatSports YouTube & Facebook & Twitter pages. Miss the LIVE show? Don't worry we can also be found on your favorite podcast app through our LinkTree link https://linktr.ee/girlchatsports and on 24/7 AM Radio Network Wednesday at 7pm PT/10pm ET. GirlChatSports is always looking for businesses or products to partner up with, send us an email, let's connect! We can't wait to hear from you! #Subscribe #Listen #Follow #Like & #Share Reach out to us on Social Media (Instagram & Twitter) or email GirlChatSports@gmail.com to give us your feedback and any topics you would like to have addressed. --- Support this podcast: https://anchor.fm/girlchatsports/support

MeepleCore podcast
MeepleCore Podcast Episode 142 - Origins 2021, Witchstone, Anno 1800, Mystic Paths, and much more!

MeepleCore podcast

Play Episode Listen Later Oct 6, 2021 66:11


Host Tim Jennette (Metal Meeple) talks about the board games: Witchstone (published by R&R Games) Anno 1800 (published by KOSMOS) Mystic Paths (published by R&R Games) Tim recaps and shares his experiences at Origins 2021... ...and much more! Other games and topics briefly discussed: Reality Shift, For Glory, Iberian Gauge, The Adventures of Robin Hood, Magic Mountain, Wild One, GDEX, Knights of the Hound Table Castlevanian on iOS Please don't forget to subscribe and leave a review! Follow us on social media, and email us your questions!

No Need For Apologies The Podcast
Episode #171 Maddy Smith: White Girl Wasted

No Need For Apologies The Podcast

Play Episode Listen Later Sep 26, 2021 69:46


They discuss the gentrification of black ass, sending food back at restaurants, burning bridges at Walmart, ghosting weddings, Bruno Mars's deceptive lyrics, Nick Cannon's secret dressing room, and Maddie's blackout turned NNFA! All while theorizing about the odd origin of Tupperware, and establishing a new universal signal for needing help. I know we say this every week, but this a WILD ONE you don't wanna miss!Comedians Dave Temple and Derek Gaines are two Opinionated, Argumentative, Best Friends who love getting their points across; even if they're entirely wrong. Listen to these two goofballs discuss various topics ranging from Pop Culture to what's going on in their personal life and break them down in an unapologetic fashion. Follow the Squad:Dave TempleInstagram- https://www.instagram.com/imdavetemple/Website- https://www.davetemplecomedy.com/Derek GainesInstagram- https://rb.gy/3okmfe Twitter- https://rb.gy/ovoex8 (Producer)Dylan NegriInstagram- https://rb.gy/cxqtac Twitter- https://rb.gy/rg4jj9 Don't forget to subscribe to our channel and to GaS Digital. The newest 15 episodes are always free, but if you want access to all the archives, watch live, chat live, access to the forums, and get the show five (5!) days before it comes out everywhere else—you can subscribe now at https://gasdigitalnetwork.com and use the code NNFA to save 15% on the entire network.#noneedforapologies #NNFA #derekgaines #davetempleDave Temple and Derek Gaines Are both Rising comedy stars who call NEW YORK home. You may have seen Derek on THE LAST OG or MTV”S “BROKE ASS GAME SHOW” or as Theodore in WILL & GRACE. The pair have both respectively been featured on COMEDY CENTRAL, TBS, NETFLIX, CBS, FOX, MTV, LAST COMIC STANDING and THE TONIGHT SHOW WITH JIMMY FALLON. Also Catch Derek Gaines in the New PETE DAVIDSON movie “THE KING OF STATEN ISLAND” Out Now!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Signal of Doom: A Comic Book Podcast
#234: Superman: Secret Origin, Party Thor, Michael Keaton, Tomar Re, It Helps if you Read the Stories Dave

Signal of Doom: A Comic Book Podcast

Play Episode Listen Later Sep 25, 2021 226:05


ADAM THE COMPUTER and RICH join Dave for this week's instalment of Signal of Doom! This is a WILD ONE, shots are FIRED! Superman: Secret Origin is up for DEEP DISCUSSION, we have PARTY THOR in What If, Dave is confused by the END, Tomar Re is the Green Lantern of Krypton, and Dave loves it, and nobody else does! Come DEEP into the Bronze age and then wash it down with Geoff Johns and Gary Frank BRILLANCE! Flashback Friday Superman #257 (Tomar Re backup) Superman #287 Superman #300 Superman/Batman Annual #2 TRADE OF THE WEEK Superman: Secret Origin

Pick Six NFL Podcast
Week 2 NFL Recap & Reaction: Ravens finally edge Chiefs, Titans win wild one over Seahawks + plenty of quarterback injuries (Football 9/20)

Pick Six NFL Podcast

Play Episode Listen Later Sep 20, 2021 97:36


Will Brinson, Ryan Wilson and John Breech recap all the action from Week 2 in the NFL including Lamar Jackson and the Ravens finally emerging victorious against the Chiefs, a wild overtime victory for the Titans over the Seahawks plus injuries to Carson Wentz, Andy Dalton, Tyrod Taylor, Tua Tagovailoa and more. (3:45) Ravens-Chiefs (13:00) Titans-Seahawks (21:30) Rams-Colts (26:15) Cardinals-Vikings (36:00) Cowboys-Chargers (43:00) 49ers-Eagles (48:15) Raiders-Steelers (55:00) Browns-Texans (58:15) Bears-Bengals (1:06:00) Bucs-Falcons (1:11:00) Panthers-Saints (1:17:00) Bills-Dolphins (1:21:00) Patriots-Jets (1:24:45) Broncos-Jaguars (1:29:45) Winners & Losers 'Pick Six' is available on Apple Podcasts, Spotify, Stitcher, Google Podcasts, Castbox and wherever else you listen to podcasts.  You can listen to Pick Six on your smart speakers! Simply say "Alexa, play the latest episode of the Pick Six NFL podcast" or "Hey Google, play the latest episode of the Pick Six NFL podcast." Follow the Pick Six team on Twitter: @picksixpod, @willbrinson, @ryanwilsonCBS, @johnbreech, @E_DeBerardinis Visit the Pick Six YouTube channel: https://www.youtube.com/picksix Check out the Pick Six Instagram page https://www.instagram.com/picksixpod/?hl=en Read the Pick Six newsletter here: https://www.cbssports.com/newsletters/picksix/ Join our Facebook group https://www.facebook.com/groups/758548147935545/ For more NFL coverage from CBS Sports, visit https://www.cbssports.com/nfl/ To hear more from the CBS Sports Podcast Network, visit https://www.cbssports.com/podcasts/ Learn more about your ad choices. Visit megaphone.fm/adchoices

USF Bulls Unlimited Unloaded
Women's Soccer Wins Wild One vs. ECU, 3-2 in OT - Highlights, Schilte-Brown/Dennis/Nasello postgame

USF Bulls Unlimited Unloaded

Play Episode Listen Later Sep 17, 2021 12:57


Women's Soccer Wins Wild One vs. ECU, 3-2 in OT - Highlights, Schilte-Brown/Dennis/Nasello postgame by USF

SportsRage Late Night
9/17 Hour 1: Washington wins a wild one and more...

SportsRage Late Night

Play Episode Listen Later Sep 17, 2021 46:18


Gabe Morency recaps the Washington win over the Giants. Gabe explains why the Giants under season total is a good bet.

Ferrall Coast to Coast
9/14 Hour 2: Rick Horrow, Joe Lisi, Raiders Win Wild One, & More

Ferrall Coast to Coast

Play Episode Listen Later Sep 15, 2021 46:09


Ferrall talks about the Raiders OT win, Lamar Jackson bothered by fumbles, Petyon & Eli Manning's great debut in the booth, Broncos not getting ahead of themselves, Mike Vrabel calls out Julio Jones, Matt Nagy standing by Andy Dalton, Nick Sirianni wants underdog mentality for Eagles, LaFleur says uncertain offseason not to blame, Raheem Mostert done for the season, Giants first team to clinch playoff spot, Vladimir Guerrero Jr. hits #45, USC fires Clay Helton, Michigan's run first offense, John Wall won't return to Houston, Nuggets extend Aaron Gordon, NBA players won't be required to get vaccine, and more! Plus Rick Horrow is on in his weekly spot, and Joe Lisi is talking all things College Football!

On The Wine Road Podcast
Groove Wines

On The Wine Road Podcast

Play Episode Listen Later Sep 12, 2021 21:27


In this podcast you'll meet Nate Miles, who with is partner Matt Nagy, created Groove Wines. It's a thoughtful, stylish brand that believes in transparency. If you prefer wines that are made with little intervention; if you're concerned about the environment, preferring less impactful alternatives, then you'll want to hear about Groove Wines. These intriguing varietals and blends feature names like Joyride, The Daydreamer, The Wild One and The Raconteur. What's more, they're ready for home or on the go! As they suggest...Find Your Groove.

The Chris & Sandy Show
The Chris & Sandy Show With Music Legend Bobby Rydell

The Chris & Sandy Show

Play Episode Listen Later Sep 8, 2021 54:34


We had a great conversation with Rock & Roll Music Legend Bobby Rydell on The Chris & Sandy Show. WOW is all I can say! This was a surreal moment. We talked about so many things from family, music, health, sacrifices, he told some amazing stories through his journey to a whole lot more! His life story is unbelievable!Born Robert Ridarelli on April 26, 1942, in South Philadelphia, Bobby Rydell showed his musical ability at an early age, playing drums professionally at the age of 9. He appeared on Dick Clark's American Bandstand in 1959, and went on to sell more than 25 million records during his career. His most popular hits include "Kissin' Time," "Wild One" and "Volare." In 2012, he underwent a double organ transplant, and was back performing six months later.In June 1959, Rydell was just 17 when he recorded "Kissin' Time," which became a hit across the country thanks to the airplay given to the song by Dick Clark on TV's American Bandstand. His biggest hit, "Wild One," was released early in 1960. Hits "Swingin' School" and "Volare" soon followed.In the early '60s, Rydell showed his acting and comedic skills when he appeared on The Perry Como Show, The Red Skelton Hour, The Jack Benny Show, The Ed Sullivan Show, The Joey Bishop Show, Shindig, Hullabaloo and as a regular on The Milton Berle Show. At 19, Rydell was the youngest headliner to play the Copacabana in New York. He had a dramatic role in an episode of the TV series Combat in 1964—an episode that became one of the highest rated of the series.In 1963, he starred in the movie version of the Broadway hit Bye Bye Birdie, playing Ann-Margret's longsuffering boyfriend Hugo Peabody. His career was put on hold in 1964 when he joined a local unit of the National Guard in Philadelphia. He served with the Guard for several years.Later, he signed with different record labels in hopes of gaining the same success that he found earlier in his career, but he was never able to match his early achievements#BobbyRydell #RocknRoll #MusicLegend

FAR OUT: Adventures in Unconventional Living
FAR OUT #140 ~ Yosemite 2021 Recap: Consciousness Expanding Journeys into Wilderness Medicine

FAR OUT: Adventures in Unconventional Living

Play Episode Listen Later Sep 8, 2021 109:40


Listen and explore:What it feels like to be back at work after a two-year hiatusWilderness medicine: the universal healing quality of natureThe necessity of faith as a facilitator in group workBeing in a business partnership: the second most intimate relationship in our livesWhy Kelly and Alasdair lead these trips despite the long hours, low pay, risks and challenges"Oh my God, this is my job!"Wilderness medicine as one, long psychedelic journeyWhat people experienced on these trips that's missing in most people's everyday livesWhat's the most effective way to market a small business with integrity?Alasdair responds to the question "How do I change my life?"Mentioned on this episode:Alasdair and Kelly's company: Wild WithinWild Within's upcoming Guatemala trip FAR OUT #117 ~ This is NOT the FAR OUT Couple w/ Kelly Margerum and Lou RedmondFAR OUT #126 ~ Exploring Ayahuasca: Shamanic Dietas - When Soul is Present, Nature is AliveFAR OUT #72 ~ Don't Ask 'Why Me?' ask 'For What?' with Mayan Entrepreneur Anita Cortez ChacConnect with us:Website: www.thefarout.lifeEmail us at info@thefarout.lifeAlasdair @ www.alasdairplambeck.comSupport this podcast:Discount link to purchase organic, raw ceremonial-grade cacao locally sourced in Guatemala (a portion of proceeds support this podcast)Become a patron at: https://www.patreon.com/thefaroutcoupleMake one-time donation with PayPal (our account is aplambeck22@gmail.com)Leave a review on iTunes!Share this episode with a friend! :DCredits:Photo credit: Courtney Warden (@courtney_yeah)Intro music: "Complicate ya" by Otis McDonaldOutro music: "Running with wise fools" written & performed by Krackatoa (www.krackatoa.com)

Happy Hour with Lucy & Nikki
Wild One Turned Wild Mum ft. Brooke Evers

Happy Hour with Lucy & Nikki

Play Episode Listen Later Sep 5, 2021 69:15


Hey Punters, today we bring back the stunning M.I.L.F herself, Brooke Evers. We share some very open and honest bants about what it's REALLY like becoming a new mum and how to juggle it all. Breakdown of this episode - What's changed since the last time she was on the pod- Having children changes everything- Falling pregnant- Fertility testing- Pregnancy journey- First outing with a newborn- Stigma around breastfeeding- Life after the birth- Life online as a new mum- Parenthood- Biggest adjustments- COVID and how it continues to effect her- Friends with babies- Best years of her life- Another baby?- What's next- Queenie q's- Words of wisdom CREDITS:Hosts: Lucy Jackson @Lucykatejackson & Nikki Westcott @nikkiwestcottt @wethe_wildonesGuests: Brooke Evers @brookeeversThis podcast is part of The Spin Studio network @thespinstudionetworkExecutive Producer: Courtney Mangan @courtneymanganTechnical Producer: Adam Gauder @adamgauderTo shop Jagger & Stone visit http://www.jaggerandstone.com

Ramble by the River
Call the S.W.A.T. Team, We've Got A Wild One with Devannon Hubert

Ramble by the River

Play Episode Listen Later Aug 21, 2021 121:52


Devannon Hubert is the host of Sex, Drugs, and Jesus, a podcast that highlights taboo concepts and the people that enjoy them. He joined me on Ramble by the River to discuss his life as a gay man, his experience of being excommunicated from his church, his time in the military, his rise to prominence in the black-market drug trade; his HIV diagnosis; and his eventual arrest by SWAT team. We covered a lot of ground over two hours and kept coming back to ideas about how to practice acceptance and tolerance in a world that sometimes feels so hostile and unforgiving that selfless love feels impossible. We covered hypnosis, drug abuse, religion, romance, social manipulation, oppression, hate, love, and podcasting. Devannon brings his irreverent and hilarious sense of humor to these heavy topics and the result is something magical. I really like this episode. I think it shows how two people can appear to be quite different on the surface, but deep down we all share so much in common. I had a great time making this thing and I hope you enjoy listening to it. If you want to support the show... Go to the all new Ramble by the River Patreon. Thank you so much for being part of the Ram-fam, Jeff Topics/Keywords: podcasting; starting a podcast; Podmatch.com; Alex Sanfilipo; matchmaker.fm; Descript.com; audio editing, audio production; podcast community building; church; LBGTQ; children's church; community service; volunteering to serve; gay-affirming church; The Golden Compass; Nicole Kidman; The Matrix; mass-deception; hypnotherapy; stage hypnosis; highly-suggest-able state; critical thought; executive control; willful suspension of disbelief; personality types; LSD-assisted hypnotherapy; psilocybin; Triumph of the Will; Adolf Hitler; Hitler Youth; propaganda; evangelical church; evangelists; Don't Ask Don't Tell; gay in the military; The Village People; homosexuality conversion; conversion therapy; gold-star gay; dreams; dreaming; dream-interpretation; Sigmund Freud; dream symbols; prophetic dreams; supernatural abilities; premonitions, deja vu; collective unconscious; Carl G. Jung; Buddhists; religious diversity; philosophical autonomy; drunkenness; sobriety; abstinence; wine; alcohol; addiction; Alcoholics Anonymous, 12-step programs; environmental correlates of addiction; Dr. Carl Hart; Columbia University; Drug Use For Grown-ups; relapse; harm-reduction strategy; Sex and Love Addicts Anonymous; heroin injection sites; needle exchange; morality; psychoactive substances; methamphetamine; cocaine; sugar; Christianity; Jesus Christ; free will; women's right to choose; abortion; The Bible; Love; apostle Paul; House of Cards; Book of Acts; Joel Olstein, Joyce Meyers; John the Baptist, social isolation; idolatry; wealth; Sex, Drugs, and Jesus: A memoir of Self-destruction and Resurrection; HIV; AIDS; Hepatitis B; drug dealers; selling meth; trauma; PTSD; SWAT; Houston, TX; trap house; bug chasers; HIV treatments; Truvada; Magic Johnson; Mary J. Blige; Chik-fil-A; Donald J. Trump. Guest Links: Devannon Hubert -Podcast: Sex, Drugs, and Jesus -Book (Coming soon): Sex, Drugs, and Jesus: A Memoir of Self-Destruction and Resuection Connect: Facebook: https://www.facebook.com/SexDrugsAndJesus/ (https://www.facebook.com/SexDrugsAndJesus/) Twitter: https://twitter.com/TabooTopix (https://twitter.com/TabooTopix) LinkedIn: https://www.linkedin.com/in/devannon (https://www.linkedin.com/in/devannon) Websites: www.sexdrugsandjesus.com Ramble by the River Links: Business inquiries/guest booking: Ramblebytheriver@gmail.com Website: (For episode catalogue): https://my.captivate.fm/Ramblebytheriver.captivate.fm (Ramblebytheriver.captivate.fm) (Podcast main page): RamblebytheRiver.com Facebook: https://www.facebook.com/jeff.nesbitt.9619 (https://www.facebook.com/jeff.nesbitt.9619) Instagram: https://instagram.com/ramblebytheriver?r=nametag (@ramblebytheriver) Twitter: @RambleRiverPod Youtube:...

No Need For Apologies The Podcast
Episode #165 Vadge Vagina w/Lube Popovich

No Need For Apologies The Podcast

Play Episode Listen Later Aug 15, 2021 72:03


Compound Media's Lubi Popovich joins Derek Gaines and Dave Temple as they stop her from Cheddar Bobbing herself and turn that frown upside down! From discussing how body types influence romance, selling weed to Riley Reid, Kevin Hart's checkered past, and what goes down in Montenegro, narratives are being changed. All while exploring topics like vadge badges, cum cards, hood ministers, the horniness of theatre kids, the game of peg suey and many more! I know we say this every week, but this a WILD ONE you don't wanna miss.“NNFA” is a GAS DIGITAL PRODUCTION watch HD and FIRST @ https://gasdigitalnetwork.com/NNFACheck out our Sponsors:YODELTA: https://yodelta.com/ USE CODE: GASRock Auto: https://www.rockauto.com/ Follow the Squad:Dave TempleInstagram- https://www.instagram.com/imdavetemple/Website- https://www.davetemplecomedy.com/Derek GainesInstagram- https://rb.gy/3okmfe Twitter- https://rb.gy/ovoex8 (Producer)Dylan NegriInstagram- https://rb.gy/cxqtac Twitter- https://rb.gy/rg4jj9 Don't forget to subscribe to our channel and to GaS Digital. The newest 15 episodes are always free, but if you want access to all the archives, watch live, chat live, access to the forums, and get the show five (5!) days before it comes out everywhere else—you can subscribe now at https://gasdigitalnetwork.com and use the code NNFA to save 15% on the entire network.#LubiPopovich #Compound #Riley Reid #Kevin HartDave Temple and Derek Gaines Are both Rising comedy stars who call NEW YORK home. You may have seen Derek on THE LAST OG or MTV”S “BROKE ASS GAME SHOW” or as Theodore in WILL & GRACE. The pair have both respectively been featured on COMEDY CENTRAL, TBS, NETFLIX, CBS, FOX, MTV, LAST COMIC STANDING and THE TONIGHT SHOW WITH JIMMY FALLON. Also Catch Derek Gaines in the New PETE DAVIDSON movie “THE KING OF STATEN See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It's Only Rock And Roll Podcast
Ep. 32 - Suzi Quatro

It's Only Rock And Roll Podcast

Play Episode Listen Later Aug 15, 2021 74:54


On this episode of The It's Only Rock And Roll Podcast, rock's first celebrated female bass-playing frontwoman, SUZI QUATRO talks about leaving behind her native Detroit (as well as her resentful, former band-mate sisters) to achieve super-stardom across the pond with mega-hits like “Can The Can”, “The Wild One”, and “Devil Gate Drive”. And after a handful of cameo appearances on Happy Days as fictional rocker 'Leather Tuscadero', found belated success at home with her 1978 Billboard Top 5 hit “Stumblin' In”. ---------------------------- ● Visit the Official Suzi Quatro Website: www.suziquatro.com ● Click to order Suzi's new album “The Devil In Me” Visit the 'It's Only Rock And Roll PODCAST' online at: ° Homepage – www.ItsOnlyRockAndRollPodcast.com ° Facebook – facebook.com/ItsOnlyRockAndRollPodcast/ ° YouTube - https://www.youtube.com/channel/UCCFB7uJ3dg4IKSxsNny9Jiw/videos ° Audea.io - https://audea.io/channel?id=1gPaMupFVsX ° Instagram - @itsonlyrockandrollpodcast Be sure to check out our all-new OFFICIAL IORR PODCAST STORE!

Locked On Yankees - Daily Podcast On The New York Yankees

On today's episode of Locked On Yankees, Stacey discusses Monday's wild game in Kansas City, previews tonight's matchup and wonders who to pull for, the Rays or the Sox. The game in Kansas City was weird and not for good reasons but Stacey believes if this game had taken place in the first half, the Yankees would have lost it. This is a different team in the second half for many reasons and they're fighting against a lot of factors (injuries, COVID, etc) to play as well as they have been playing since July 4. Stacey also previews Tuesday's matchup between Nestor Cortes and Daniel Lynch and wonders who to root for: The Rays or the Sox? Spoiler alert: It's the meteor. Support Us By Supporting Our Sponsors! Built Bar Built Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKED15,” and you'll get 15% off your next order. BetOnline AG There is only 1 place that has you covered and 1 place we trust. Betonline.ag! Sign up today for a free account at betonline.ag and use that promocode: LOCKEDON for your 50% welcome bonus. Rock Auto Amazing selection. Reliably low prices. All the parts your car will ever need. Visit RockAuto.com and tell them Locked On sent you. StatHero StatHero, the FIRST Ever Daily Fantasy Sportsbook that gives the PLAYER the ADVANTAGE. Go to StatHero.com/LockedOn for 300% back on your first play. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Ian Talks Comedy
Bobby Rydell

Ian Talks Comedy

Play Episode Listen Later Jul 23, 2021 46:31


Bobby Rydell joined me to talk about being from Philadelphia; Kissin' Time; Wild One; reaction videos; Perry Como; his and the other Golden Boys of Bandstands affect on women; The Ed Sullivan Show; A World without Love; Bye, Bye, Birdie; Australia; impressions; George Burns; Sammy Davis Jr.; Michael Buble; My Way; The Great American Songbook; Buddy Rich; Dick Clark; touring after COVID; his near death experience; and singing Happy Mothers Day to You to my mom. Note - Unfortunately, Mr. Rydell's mike cut in and out during the beginning and end of the interview. For his tour dates visit www.bobbyrydell.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Humpty & Canty
DCR Hour 1: Mets win a wild one

Humpty & Canty

Play Episode Listen Later Jul 20, 2021 52:16


The Mets slugged their way to a win over the Reds, but are there more negatives to be taken from the game than positives? Plus, Dave yells at one of our bosses.

Sounds From Seaver Way
Highlights: Mets win a wild one in Cinci

Sounds From Seaver Way

Play Episode Listen Later Jul 20, 2021 15:30


The Mets homered 7 times and survived 4 errors on a wild Monday night in Cincinnati, beating the Reds 15-11 in 11 innings. See omnystudio.com/listener for privacy information.

Spirit, Totem, & Power Animals with Bernadette King
LIFE'S A BEACH - Pick a Card Tarot Reading - Sat. June 19, 2021

Spirit, Totem, & Power Animals with Bernadette King

Play Episode Listen Later Jun 19, 2021 20:57


Your sense of self is worth protecting, Wild One. That's why, today, Dolphin as a Spirit, Totem, and Power Animal and the Knight of Cups from the Rider Waite Smith Tarot Deck arrive to tell you that it's okay to have fun! If you've been feeling down or if you've lost touch with your sense of joy, these Guides will show you the way.    TAROT CARD MEANINGS The Knight of Cups is a messenger, and his message is one of replenishment and joy. It is said that the Knight of Cups is the most feminine of the knights in the tarot. That's because the contents of his cup have the power to restore life to even the most inhospitable terrain. The landscape through which he rides on the Knight of Cups tarot card is barren, although a river runs right through it. Only in the distance can you see a few clusters of rugged trees.   SPIRIT ANIMAL MEANINGS In the Animal Spirit World Dolphin is like the honorable friend and ally who always loves you and makes you smile. Playfulness is natural to Dolphin. If you are gasping for air, Dolphin lifts you and your spirits above those tumultuous waves with compassion. This creature never impugns your ability to swim. They just know you sometimes need a life preserver, particularly in matters of the heart.   What do the playful Dolphin and the Knight of Cups have in store for your Saturday pick a card tarot reading? Watch the video to find out!   0:00-0:44 Intro 0:45-0:56 Dolphin Spirit Animal Meanings 0:57-1:33 Indigo Third Eye Ajna Chakra Correspondence 1:34-9:33 Knight of Cups Rider Waite Smith Tarot Meanings 9:34-21:00 Dolphin Spirit Animal Meanings   Buy your Ark Animal Tarot & Oracle Deck now! https://whatismyspiritanimal.com/product/the-ark-animal-tarot-oracle-deck/ JOIN the WILD PACK on the FREE FORUMS: https://wildpackwisdom.com/forums/ Book a reading with Bernadette: https://whatismyspiritanimal.com/product/shamanic-spirit-animal-reading/ More about Knight of Cups: https://www.buildingbeautifulsouls.com/tarot-card-meanings/minor-arcana/suit-cups/knight-of-cups-tarot/ More about Dolphin Spirit Animal: https://whatismyspiritanimal.com/spirit-totem-power-animal-meanings/mammals/dolphin-symbolism-meaning/ https://whatismyspiritanimal.com What Is My Spirit Animal is dedicated to helping people connect with and learn from their animal spirit guides. What Is My Spirit Animal can show you how to find your spirit animal, understand your totem animal, and tap into the energy of your power animal. Try our spirit animal meditation and take our spirit animal quiz! Find hundreds of spirit animal meanings as well as your Native American Zodiac Sign! *Disclaimer* By reading, watching, and consuming (in any way) content (videos, readings, lives, et all) originating from Building Beautiful Souls, Inc. its holdings and/or agents (WhatisMySpiritAnimal.com, BuildingBeautifulSouls.com, WitchesandWitchcraft.com, GatheringofMystics.com, WildPackWisdom.com) you agree all material contained therein is metaphysical and spiritual in nature and for entertainment purposes only. #PickaCard #DailyTarotReading #SpiritAnimal

Toma uno
Toma Uno - Prefiero estar contigo - 05/06/21

Toma uno

Play Episode Listen Later Jun 5, 2021 59:00


TOMA UNO se abre hoy con Southerland, un dúo debutante formado por Matt Chase y Chris Rogers, con “Boot Up”, la canción que da título a su Ep de debut. Un formato que reduce el gasto y permite distintas pruebas para intentar recuperar la imagen de autenticidad perdida por parte de la industria de Nashville. American Aquarium se ha inclinado por mirar a esa década de los 90 en Nashville que nos dejó canciones inolvidables. Un buen puñado de ellas forman ahora parte de Slappers, Bangers & Certified Twangers, Vol. 1, como es el caso de “Wild One”, que resultó ser el primer single de Faith Hill, ahora prácticamente irreconocible. El sonido de Michigan Rattlers tiene muchos puntos de encuentro con American Aquarium, al igual que nos hace recordar a Lucero. Es un cuarteto que empezó como grupo de folk en su etapa de high school, pero cuyo horizonte sonoro se amplió con toques de country rock. Sus canciones son tan honestas como “That Kind of Life”, arropadas por sonidos de una naturalidad extrema. A pesar del tiempo pasado desde que Micky & The Motorcars publicaron su último disco, las emisoras tejanas persisten en radiar sus canciones y “Rodeo Girl”, que compusieron los hermanos Micky y Gary Braun, se ha convertido en una de las más pinchadas en las emisoras tejanas. Es un tema de amor de los que alivian por su naturalidad. Siguiendo en Texas, “tres caballeros” veteranos del Lone Star State como The Flatlanders han coleccionado hasta 15 canciones entre temas nuevas y clásicos del calibre de “Sittin’ On Top Of The World”, que los Mississippi Sheiks grabaron en 1930 y ha sido versionada cientos de veces. Queremos insistir en el nuevo Ep del irlandés Danny Burns, Hurricane, en el que ha incluido seis canciones grabadas con la ayuda de excelentes amigos invitados como Steve Earle, con el que ha resucitado "Mercenary Song", que escuchamos hace 40 años en un documental tan indispensable como Heartworn Highways. Uno de los momentos más intensos del nuevo trabajo de Blackberry Smoke es "Lonesome for a Livin’", donde se ha reunido con Jamey Johnson por primera vez desde que versionaron "Yesterday’s Wine" junto a George Jones como tema de bonificación de su segundo álbum, A Little Piece of Dixie de 2009. Para grabar The Waylon Sessions, Shannon McNally contó con la ayuda fundamental de músicos experimentados e invitados ilustres como Rodney Crowell, Buddy Miller y Lukas Nelson. Pero en un proyecto así era imprescindible la presencia de Jessi Colter, viuda de Waylon Jennings. Desde que Rounder firmó en 2019 a Sierra Ferrell hemos estado esperando el lanzamiento de su álbum, que definitivamente verá la luz a finales del mes de agosto con el título de Long Time Coming. Si hablamos de música de raíces, esta es una de las muestras más valiosas de lo que significa ese término. Su disco se abre con su carta de amor al mar en “The Sea”, una canción que infunde toques de vitalidad e intriga a partes iguales. No la perdáis de vista. También Molly Tuttle es una de esas mujeres que sabes que te siempre te va a sorprender. Su nuevo EP es una continuación de las 10 canciones que editó el pasado año. El álbum …but i’d rather be with you, too. Ha contado con invitados especiales como Nathaniel Rateliff para cantar juntos de forma inesperada un tema como “Stop Draggin ’My Heart Around”, un clásico que recordaremos siempre por Tom Petty y Stevie Nicks. Bob Dylan cumplió 80 años y a lo largo de todo el mundo ha habido las más diversas celebraciones. Una de las más entrañables fue Dylan is eighty de la revista Exile SH (Subterranean Homesick) Magazine, donde intervinieron nuestros buenos amigos de la Bantastic Fand con formación de cuarteto para rememorar “Every Grain of Sand”, una canción que en los últimos tiempos viene siendo especialmente recurrente. Y hoy para emplazarnos a nuestra cita de mañana queremos recordar el medio siglo que cumple la publicación del single "You've Got A Friend" por parte de James Taylor, lo que nos permite felicitar a nuestro gran amigo Álvaro, una de esas personas por las que siempre hay que dar gracias. Si no existieran, habría que inventarlas. Escuchar audio

Daily | Conversations
Windom wins wild one at Terre Haute, Lucas Show-Me 100 weekend on tap | Daily 5-27-2021

Daily | Conversations

Play Episode Listen Later May 27, 2021 9:50


It was a wild night at Terre Haute last night between a big crash for Brady Bacon and late race fireworks between Justin Grant and Chris Windom. We've got that, plus what to watch tonight with the Lucas Oil Late Model Dirt Series and USAC Silver Crown cars, news from FloRacing and Barshinger Racing, and more.

Daily | Conversations
Windom wins wild one at Terre Haute, Lucas Show-Me 100 weekend on tap | Daily 5-27-2021

Daily | Conversations

Play Episode Listen Later May 27, 2021 9:50


It was a wild night at Terre Haute last night between a big crash for Brady Bacon and late race fireworks between Justin Grant and Chris Windom. We've got that, plus what to watch tonight with the Lucas Oil Late Model Dirt Series and USAC Silver Crown cars, news from FloRacing and Barshinger Racing, and more.

Locked On Brewers- Daily Podcast On The Milwaukee Brewers
Offense Breaks Out, Bullpen Holds on In Wild One

Locked On Brewers- Daily Podcast On The Milwaukee Brewers

Play Episode Listen Later May 17, 2021 30:57


The Milwaukee Brewers held on to avoid getting swept by the Atlanta Braves over the weekend. Jake and Vinny recap all the aciton. Support Us By Supporting Our Sponsors! Built Bar Built Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKED15,” and you’ll get 15% off your next order. BetOnline AG There is only 1 place that has you covered and 1 place we trust. Betonline.ag! Sign up today for a free account at betonline.ag and use that promocode: LOCKEDON for your 50% welcome bonus. Rock Auto Amazing selection. Reliably low prices. All the parts your car will ever need. Visit RockAuto.com and tell them Locked On sent you. Wealthfront To get your first $5,000 managed for FREE, for life, go to wealthfront.com/LockedOnMLB Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Sean Salisbury Show
In Da Club Friday, Astros Win A "Wild" One, Best And Worst BBQ Cities

The Sean Salisbury Show

Play Episode Listen Later May 14, 2021 157:52


On this In Da Club Friday, the Astros win a "wild" one off a wild pitch to beat the Rangers 4-3. With the team now 40 games into the season, we break down what we think could hold the Astros back from winning it all and also, what could propel them to winning it all. Also, Trip Advisor released a list of the best and worst BBQ cities in American and. well, it's not good. Find out which cities made the list and more on today's episode of The Sean Salisbury Show.

MLB Morning
The braves play a wild one!

MLB Morning

Play Episode Listen Later May 9, 2021 5:27


hi hi hi happy mothers day --- Send in a voice message: https://anchor.fm/mlbmorning/message

Someone Gets Me Podcast
Perseverance and Legacy with Bobby Rydell

Someone Gets Me Podcast

Play Episode Listen Later May 4, 2021 30:25


A life well-lived is worth far more than a long-lived life. In this episode of Someone Gets Me, listen to the tale of America's Teen Idol Singing Sensation and 1950s Rock and Roll Icon Bobby Rydell. He captured the nation's hearts through his sheer talent and music spanning multiple decades and generations.  At the age of 77, Bobby shares the battles he lost, won, and discovered his life purpose and meaning after decades of alcohol abuse and a liver and kidney transplant surgery that saved his life.  Key Points in this episode:  ✔️ Listen to Bobby's fascinating account as a teen idol selling over 25 million records to becoming an actor and comedian and working with the 20th show business industry giants, and leaving a legacy. ✔️ Considered as one of Frank Sinatra's favorite singers, Bobby Rydell gives this piece of advice to starting musicians; "nurture your craft and just keep working at it because you never know who's in the audience." ✔️ In this day and age, where people have difficulty with delayed gratification, patience and perseverance are key qualities that Bobby believes are essential to succeed in this industry.  ✔️ Bobby's second shot at life is focused on doing things that matter, and that is to do what he loves most: to be able to sing, perform and make people laugh. Get in touch with Bobby Rydell https://www.bobbyrydell.com/ Bobby authored his best-selling autobiography, BOBBY RYDELL: TEEN IDOL ON THE ROCKS – A Tale of Second Chances. He hopes to once again perform live and entertain audiences with his biggest hits (Wild One, Volare, and Sway & Forget Him). Connect with Dianne A. Allen You have a vision inside to create something bigger than you. What you need are a community and a mentor. The 6-month Visionary Leader Program will move you forward. You will grow, transform and connect. http://bit.ly/DianneAAllen Join our Facebook Group Someone Gets Me Follow Dianne on Facebook: Dianne A. Allen Email: dianne@visionsapplied.com Dianne's Mentoring Services: msdianneallen.com Be sure to take a second and subscribe to the show and share it with anyone you think will benefit. Until next time, remember the world needs your special gift, so let your light shine!

Cincinnati Reds Podcast
5/2/21 Reds-Cubs Game Recap

Cincinnati Reds Podcast

Play Episode Listen Later May 2, 2021 16:21


Reds Beat the Cubs in a Wild One 13-12

Hagerty's Daily Driver
You can buy a real "Wild One" RC car

Hagerty's Daily Driver

Play Episode Listen Later Apr 29, 2021 5:45


A 1,300-hp BMW rumor, a Tamiya RC toy becomes a real car, and the best-selling $100,000 vehicle in Q1 is from Cadillac. Plus, Throwback Thursday starring the Evinrude Rooney Lakester.

Fun Ideas Podcast
Episode 114: Fun Ideas Podcast #114 - Bobby Rydell

Fun Ideas Podcast

Play Episode Listen Later Apr 27, 2021 49:53


It's a very special episode where I get to interview the man known for such hits as "Wild One", "Volare" and "Swingin' School", plus a starring role in Bye Bye Birdie. Here he is, Bobby Rydell. Plus, the usual news from Fun Ideas.

Locked On Mariners - Daily Podcast On the Seattle Mariners

Generally when a team records only three base hits, they don't win. And they generally don't score seven runs. But that's what the Mariners did on Thursday, taking advantage of several bases on balls issued by Red Sox pitching, and also a key error in the 8th inning. D.C. talks about this strange game, and also sets you up for the upcoming three weekend games in Boston. There was an even more bizarre game on Wednesday between the Twins and Athletics in Oakland. D.C. speaks about the end of that game, then offers an update on the rest of the American League. Learn more about your ad choices. Visit podcastchoices.com/adchoices

BitcoinMeister- Bitcoin, Cryptocurrency, Altcoins
The 1 Bitcoin show- BTC dominance drop, Ethereum flippening fundamentals & FUD! Capital Gains THEFT! Dogecoin noise! Q&A!

BitcoinMeister- Bitcoin, Cryptocurrency, Altcoins

Play Episode Listen Later Apr 23, 2021 58:45


Welcome to the 1 Bitcoin Show! President Biden wants to rip off long-term BTC holders that play in the fiat world! Ethereum and BTC can both do well, but be prepared for all sorts of "scary" Ethereum news. ETF chatter, Stop worshiping China, Dogecoin pumps Robinhood altcoins, strong hands have been through BTC dominance drops before (not a big deal), Trillion Dollar marketcap, Wyoming, BS environmental FUD, MUCH MORE! This was a WILD ONE! Recorded in Nashville, TN! TikTok- https://www.tiktok.com/@coinbeastmedia/video/6953346711792176390 Watch the show here- https://www.youtube.com/watch?v=IhPQtuDc0lk Follow Adam on Twitter- https://twitter.com/TechBalt Adam's Parler- https://parler.com/profile/BitcoinMeister All of the BitcoinMeister videos are here at- http://DisruptMeister.com Financially support the podcast here- https://anchor.fm/bitcoinmeister/support BOOKMARK SPORTSMEISTER.com DISRUPTMEISTER.com & TECHBALT.com --- Support this podcast: https://anchor.fm/bitcoinmeister/support

Gridiron Garage
54 - This Was A Wild One

Gridiron Garage

Play Episode Listen Later Apr 15, 2021 52:45


This was a wild one! Subscribe to the Youtube! https://linktr.ee/GridironGarage --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/gridiron-garage/support

Abundant Encounters
Call of the Wild One

Abundant Encounters

Play Episode Listen Later Apr 11, 2021 27:53


This is Episode 9 of 16 from Season 11. In this episode, I'm reading chapter 9 from 1st Corinthians for meditative encounters with God! We are praying and hoping this will help you experience the living word of God. Music Credit Artist = Kurtis Parks Song = Behold the King and licensed through soundstripe https://app.soundstripe.com/songs/12613 We use scripture from The Passion Translation®. Copyright © 2017, 2018 by Passion & Fire Ministries, Inc. Used by permission. All rights reserved. www.ThePassionTranslation.com. From the New King James Version®. Copyright © 1982 by Thomas Nelson. Used by permission. All rights reserved. We also use THE MESSAGE, copyright © 1993, 2002, 2018 by Eugene H. Peterson. Used by permission of NavPress. All rights reserved. Represented by Tyndale House Publishers, a Division of Tyndale House Ministries. We mostly use, Du Toit, Francois. Mirror Bible. Hermanus, South Africa : Mirror Word Publishing, [2012], 2012. https://www.mirrorword.net/ and they have an app you should download for either apple, google play, android or kindle Called "Mirror Bible". You can find out more here: https://app.mirrorword.net/dropins/mirror/General/homePage Join and share your encounter experiences on our facebook group at https://www.facebook.com/groups/abundantencounters --- Send in a voice message: https://anchor.fm/abundantencounters/message

Legion Podcasts
S15: E4: Cool As Ice

Legion Podcasts

Play Episode Listen Later Apr 2, 2021 127:28


Yo yo, it’s Vanilla Ice in his big screen debut, Cool As Ice! It’s part The Wild One, part crime drama, and all very confusing. Thrill to the Dad from Family Ties and chill to Vanilla Ice trying to portray human emotions. You may find yourself sympathizing with Ice in the intro, but we’ll put a quick end to that. Jump in for one of the worst movies we’ve ever covered! Thanks for listening and be sure to subscribe on Apple Podcasts, Spotify, Stitcher, Pandora, iHeartRadio, Podchaser, Google Podcasts, and on Android here. Catch up with all the old episodes right here!

Pick Six Movies
S15: E4: Cool As Ice

Pick Six Movies

Play Episode Listen Later Apr 2, 2021 127:28


Yo yo, it’s Vanilla Ice in his big screen debut, Cool As Ice! It’s part The Wild One, part crime drama, and all very confusing. Thrill to the Dad from Family Ties and chill to Vanilla Ice trying to portray human emotions. You may find yourself sympathizing with Ice in the intro, but we’ll put a quick end to that. Jump in for one of the worst movies we’ve ever covered! Thanks for listening and be sure to subscribe on Apple Podcasts, Spotify, Stitcher, Pandora, iHeartRadio, Podchaser, Google Podcasts, and on Android here. Catch up with all the old episodes right here!

Legion Podcasts
S15: E4: Cool As Ice

Legion Podcasts

Play Episode Listen Later Apr 2, 2021 127:28


Yo yo, it’s Vanilla Ice in his big screen debut, Cool As Ice! It’s part The Wild One, part crime drama, and all very confusing. Thrill to the Dad from Family Ties and chill to Vanilla Ice trying to portray human emotions. You may find yourself sympathizing with Ice in the intro, but we’ll put a quick end to that. Jump in for one of the worst movies we’ve ever covered! Thanks for listening and be sure to subscribe on Apple Podcasts, Spotify, Stitcher, Pandora, iHeartRadio, Podchaser, Google Podcasts, and on Android here. Catch up with all the old episodes right here!

Something Wild
Something Wild: One Year Later

Something Wild

Play Episode Listen Later Mar 12, 2021 3:45


About this time one year ago life in New Hampshire and across the world changed drastically. In this week's Something Wild, we re-visit musings from Dave Anderson in how to find solace in nature-- even during the most stressful of times.

SKOR North Hockey
Kaapo Kähkönen is the No. 1 goalie for Minnesota Wild – ONE TIMER

SKOR North Hockey

Play Episode Listen Later Mar 9, 2021 23:01


Judd and Declan breakdown Kaapo Kähkönen shutout over the Las Vegas Golden Knights and the boys wonder if he’s done enough to solidify his status as the Minnesota Wild’s No. 1 goalie.

Mackey & Judd w/ Ramie
Kaapo Kähkönen is the No. 1 goalie for Minnesota Wild – ONE TIMER

Mackey & Judd w/ Ramie

Play Episode Listen Later Mar 9, 2021 23:01


Judd and Declan breakdown Kaapo Kähkönen shutout over the Las Vegas Golden Knights and the boys wonder if he’s done enough to solidify his status as the Minnesota Wild’s No. 1 goalie.

Kat and Moose Podcast
Baha and the Wild One

Kat and Moose Podcast

Play Episode Listen Later Feb 22, 2021 46:36


We get a visit from Grandma Moose who shares a nerve-racking pet peeve and reflect on our recent interview with Julianna Zobrist. Moose shares about our new Facebook Group and a self-induced torture chamber. We revisit a hot debate about a comment about the Bible and learn about Moose's nickname. Producer Sara educates us on sobriety and Moose reminds us how important grace is.Support the show (https://www.patreon.com/katandmoose)

A History Of Rock Music in Five Hundred Songs
Episode 111: "Heat Wave" by Martha and the Vandellas

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Jan 20, 2021 44:51


Episode one hundred and eleven of A History of Rock Music in Five Hundred Songs looks at "Heat Wave" by Martha and the Vandellas, and the beginnings of Holland-Dozier-Holland. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "My Boyfriend's Back" by the Angels. 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/ ----more----   Resources As usual, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.  For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown.  To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown, including Martha and the Vandellas. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Girl Groups by John Clemente contains potted biographies of many groups of the era, including Martha and the Vandellas. And Dancing in the Street: Confessions of a Motown Diva  by Martha Reeves and Mark Bego is Reeves' autobiography. And this three-CD set contains all the Vandellas' Motown singles, along with a bunch of rarities.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to take a look at the career of one of the great girl groups to come out of Motown, and at the early work of the songwriting team that went on to be arguably the most important people in the definition of the Motown Sound. We're going to look at "Heatwave" by Martha and the Vandellas, and the beginning of the career of Holland, Dozier, and Holland: [Excerpt: Martha and the Vandellas, "Heatwave"] By the time she started recording for Motown, Martha Reeves had already spent several years in groups around Detroit, with little success. Her singing career had started in a group called The Fascinations, which she had formed with another singer, who is variously named in different sources as Shirley Lawson and Shirley Walker. She'd quickly left that group, but after she left them, the Fascinations went on to make a string of minor hit records with Curtis Mayfield: [Excerpt: The Fascinations, "Girls Are Out To Get You"] But it wasn't just her professional experience, such as it was, that Reeves credited for her success -- she had also been a soloist in her high school choir, and from her accounts her real training came from her High School music teacher, Abraham Silver. In her autobiography she talks about hanging around in the park singing with other people who had been taught by the same teacher -- Mary Wilson and Florence Ballard, who would go on to form the Supremes, Bobby Rogers and Claudette Robinson, who were founder members of the Miracles, and Little Joe Harris, who would later become lead singer of the minor Motown act The Undisputed Truth. She'd eventually joined another group, the Del-Phis, with three other singers -- Gloria Williams (or Williamson -- sources vary as to what her actual surname was -- it might be that Williamson was her birth name and Williams a stage name), Annette Beard, and Rosalind Ashford. The group found out early on that they didn't particularly get on with each other as people -- their personalities were all too different -- but their voices blended well and they worked well on stage. Williams or Williamson was the leader and lead singer at this point, and the rest of the DelPhis acted as her backing group. They started performing at the amateur nights and talent contests that were such a big part of the way that Black talent got known at that time, and developed a rivalry with two other groups -- The Primes, who would later go on to be the Temptations, and The Primettes, who had named themselves after the Primes, but later became the Supremes. Those three groups more or less took it in turns to win the talent contests, and before long the Del-Phis had been signed to Checkmate Records, one of several subsidiaries of Chess, where they released one single, with Gloria on lead: [Excerpt: The Del-Phis, "I'll Let You Know"] The group also sang backing vocals on various other records at that time, like Mike Hanks' "When True Love Comes to Be": [Excerpt: Mike Hanks, "When True Love Comes to Be"] Depending on who you believe, Martha may not be on that record at all -- the Del-Phis apparently had some lineup fluctuations, with members coming and going, though the story of who was in the group when seems to be told more on the basis of who wants credit for what at any particular time than on what the truth is. No matter who was in the group, though, they never had more than local success. While the Del-Phis were trying and failing to become big stars as a group, Martha also started performing solo, as Martha LaVelle. Only a couple of days after her first solo performance, Mickey Stevenson saw her perform and gave her his card, telling her to pop down to Hitsville for an audition as he thought she had talent. But when she did turn up, Stevenson was annoyed at her, over a misunderstanding that turned out to be his fault. She had just come straight to the studio, assuming she could audition any time, and Stevenson hadn't explained to her that they had one day a month where they ran auditions -- he'd expected her to call him on the number on the card, not just come down. Stevenson was busy that day, and left the office, telling Martha on his way out the door that he'd be back in a bit, and to answer the phone if it rang, leaving her alone in the office. She started answering the phone, calling herself the "A&R secretary", taking messages, and sorting out problems. She was asked to come back the next day, and worked there three weeks for no pay before getting herself put on a salary as Stevenson's secretary. Once her foot was in the door at Motown, she also started helping out on sessions, as almost all the staff there did, adding backing vocals, handclaps, or footstomps for a five-dollar-per-session bonus.  One of her jobs as Stevenson's secretary was to phone and book session musicians and singers,  and for one session the Andantes, Motown's normal female backing vocal group, were unavailable. Martha got the idea to call the rest of the DelPhis -- who seem like they might even have been split up at this point, depending on which source you read -- and see if they wanted to do the job instead. They had to audition for Berry Gordy, but Gordy was perfectly happy with them and signed them to Motown. Their role was mostly to be backing vocalists, but the plan was that they would also cut a few singles themselves as well.  But Gordy didn't want to sign them as the Del-Phis -- he didn't know what the details of their contract with Checkmate were, and who actually owned the name. So they needed a new name. At first they went with the Dominettes, but that was soon changed, before they ever made a record What happened is a matter of some dispute, because this seems to be the moment that Martha Reeves took over the group -- it may be that the fact that she was the one booking them for the sessions and so in charge of whether they got paid or not changed the power dynamics of the band -- and so different people give different accounts depending on who they want to seem most important. But the generally accepted story is that Martha suggested a name based on the street she lived on, Van Dyke Street, and Della Reese, Martha's favourite singer, who had hits like "Don't You Know?": [Excerpt: Della Reese, "Don't You Know?"] The group became Martha and the Vandellas -- although Rosalind Ashford, who says that the group name was not Martha's work, also says that the group weren't "Martha and the Vandellas" to start with, but just the Vandellas, and this might be the case, as at this point Gloria rather than Martha was still the lead singer. The newly-named Vandellas were quickly put to work, mostly working on records that Mickey Stevenson produced. The first record they sang on was not credited either to the Vandellas *or* to Martha and the Vandellas, being instead credited to Saundra Mallett and the Vandellas – Mallett was a minor Motown singer who they were backing for this one record. The song was one written by Berry Gordy, as an attempt at a "Loco-Motion" clone, and was called "Camel Walk": [Excerpt: Saundra Mallett and the Vandellas, "Camel Walk"] More famously, there was the record that everyone talks about as being the first one to feature the Vandellas, even though it came out after "Camel Walk", one we've already talked about before, Marvin Gaye's "Stubborn Kind of Fellow": [Excerpt: Marvin Gaye, "Stubborn Kind of Fellow"] That became Gaye's breakout hit, and as well as singing in the studio for other artists and trying to make their own records, the Vandellas were now also Marvin Gaye's backing vocalists, and at shows like the Motortown Revue shows, as well as performing their own sets, the Vandellas would sing with Gaye as well. While they were not yet themselves stars, they had a foot on the ladder, and through working with Marvin they got to perform with all sorts of other people -- Martha was particularly impressed by the Beach Boys, who performed on the same bill as them in Detroit, and she developed a lifelong crush on Mike Love. But while the Vandellas were Motown's go-to backing vocalists in 1962, they still wanted to make their own records. They did make one record with Gloria singing lead, "You’ll Never Cherish A Love So True (‘Til You Lose It)": [Excerpt: The Vells, "You’ll Never Cherish A Love So True (‘Til You Lose It)"] But that was released not as by the Vandellas, but by the Vells, because by the time it was released, the Vandellas had more or less by accident become definitively MARTHA and the Vandellas. The session that changed everything came about because Martha was still working as Mickey Stevenson's secretary. Stevenson was producing a record for Mary Wells, and he had a problem. Stevenson had recently instituted a new system for his recordings at Motown. Up to this point, they'd been making records with everyone in the studio at the same time -- all the musicians, the lead singer, the backing vocalists, and so on. But that became increasingly difficult when the label's stars were on tour all the time, and it also meant that if the singer flubbed a note a good bass take would also be wrecked, or vice versa. It just wasn't efficient. So, taking advantage of the ability to multitrack, Stevenson had started doing things differently. Now backing tracks would be recorded by the Funk Brothers in the studio whenever a writer-producer had something for them to record, and then the singer would come in later and overdub their vocals when it was convenient to do that. That also had other advantages -- if a singer turned out not to be right for the song, they could record another singer doing it instead, and they could reuse backing tracks, so if a song was a hit for, say, the Miracles, the Marvelettes could then use the same backing track for a cover version of it to fill out an album. But there was a problem with this system, and that problem was the Musicians' Union. The union had a rule that if musicians were cutting a track that was intended to have a vocal, the vocalist *must* be present at the session -- like a lot of historical union rules, this seems faintly ridiculous today, but no doubt there were good reasons for it at the time.  Motown, like most labels, were perfectly happy to break the union rules on occasion, but there was always the possibility of a surprise union inspection, and one turned up while Mickey Stevenson was cutting "I'll Have to Let Him Go". Mary Wells wasn't there, and knowing that his secretary could sing, Stevenson grabbed her and got her to go into the studio and sing the song while the musicians played. Martha decided to give the song everything she had, and Stevenson was impressed enough that he decided to give the song to her, rather than Wells, and at the same session that the Vandellas recorded the songs with Gloria on lead, they recorded new vocals to the backing track that Stevenson had recorded that day: [Excerpt: Martha and the Vandellas, "I'll Have to Let Him Go"] That was released under the Martha and the Vandellas name, and around this point Gloria left the group. Some have suggested that this was because she didn't like Martha becoming the leader, while others have said that it's just that she had a good job working for the city, and didn't want to put that at risk by becoming a full-time singer. Either way, a week after the Vandellas record came out, Motown released "You’ll Never Cherish A Love So True (‘Til You Lose It)" under the name The Vells.  Neither single had any chart success, but that wouldn't be true for the next one, which wouldn't be released for another five months. But when it was finally released, it would be regarded as the beginning of the "Motown Sound". Before that record, Motown had released many extraordinary records, and we've looked at some of them. But after it, it began a domination of the American charts that would last the rest of the decade; a domination caused in large part by the team of Holland, Dozier, and Holland. We've heard a little from the Holland brothers and Lamont Dozier, separately, in previous episodes looking at Motown, but this is the point at which they go from being minor players within the Motown organisation to being the single most important team for the label's future commercial success, so we should take a proper look at them now. Eddie Holland started working with Berry Gordy years before the start of Motown -- he was a singer who was known for having a similar sounding voice to that of Jackie Wilson, and Gordy had taken him on first as a soundalike demo singer, recording songs written for Wilson so Wilson could hear how they would sound in his voice, and later trying to mould him into a Wilson clone, starting with Holland's first single, "You": [Excerpt: Eddie Holland, "You"] Holland quickly found that he didn't enjoy performing on stage -- he loved singing, but he didn't like the actual experience of being on stage. However, he continued doing it, in the belief that one should not just quit a job until a better opportunity comes along. Before becoming a professional singer, Holland had sung in street-corner doo-wop groups with his younger brother Brian. Brian, unlike Eddie, didn't have a particularly great voice, but what he did have was a great musical mind -- he could instantly figure out all the harmony parts for the whole group, and had a massive talent for arrangement. Eddie spent much of his early time working with Gordy trying to get Gordy to take his little brother seriously -- at the time,  Brian Holland was still in his early teens, and Gordy refused to believe he could be as talented as Eddie said. Eventually, though, Gordy listened to Brian and took him under his wing, pairing him with Janie Bradford to add music to Bradford's lyrics, and also teaching him to engineer. One of Brian Holland's first engineering jobs was for a song recorded by Eddie, written as a jingle for a wine company but released as a single under the name "Briant Holland" -- meaning it has often over the years been assumed to be Brian singing lead: [Excerpt: Briant Holland, "(Where's the Joy) in Nature Boy?"] When Motown started up, Brian had become a staffer -- indeed, he has later claimed that he was the very first person employed by Motown as a permanent staff member. While Eddie was out on the road performing, Brian was  writing, producing, and singing backing vocals on many, many records. We've already heard how he was the co-writer and producer on "Please Mr. Postman" by the Marvelettes: [Excerpt: The Marvelettes, "Please Mr. Postman"] That had obviously been a massive hit, and Motown's first number one, but Brian was still definitely just one of the Motown team, and not as important a part of it as Berry Gordy, Smokey Robinson, or Mickey Stevenson. Meanwhile, Eddie finally had a minor hit of his own, with "Jamie", a song co-written by Barrett Strong and Mickey Stevenson, and originally recorded by Strong -- when Strong left the label, they took the backing track intended for him and had Holland record new vocals over it. [Excerpt: Eddie Holland, "Jamie"] That made the top thirty, which must have been galling at the time for Strong, who'd quit in part because he couldn't get a hit. But the crucial thing that lifted the Holland brothers from being just parts of the Motown machine to being the most important creative forces in the company was when Brian Holland became friendly with Anne Dozier, who worked at Motown packing records, and whose husband Lamont was a singer. Lamont Dozier had been around musical people all his life -- at Hutchins Junior High School, he was a couple of years below Marv Johnson, the first Motown star, he knew Freda Payne, and one of his classmates was Otis Williams, later of the Temptations. But it was another junior high classmate who, as he puts it, "lit a fire under me to take some steps to get my own music heard by the world", when one of his friends asked him if he felt like coming along to church to hear another classmate sing. Dozier had no idea this classmate sang, but he went along, and as it happens, we have some recordings of that classmate singing and playing piano around that time: [Excerpt: Aretha Franklin, "There Is a Fountain Filled With Blood"] That's fourteen-year-old Aretha Franklin, and as you can imagine, being classmates with someone who could perform like that caused Lamont Dozier to radically revise his ideas of what it was possible for him to do. He'd formed a doo-wop group called the Romeos, and they released their first single, with both sides written by Lamont, by the time he was sixteen: [Excerpt: The Romeos, "Gone Gone Get Away"] The Romeos' third single, "Fine Fine Fine", was picked up by Atlantic for distribution, and did well enough that Atlantic decided they wanted a follow-up, and wrote to them asking them to come into the studio. But Lamont Dozier, at sixteen, thought that he had some kind of negotiating power, and wrote back saying they weren't interested in just doing a single, they wanted to do an album. Jerry Wexler wrote back saying "fair enough, you're released from your contract", and the Romeos' brief career was over before it began. He joined the Voice Masters, the first group signed to Anna Records, and sang on records of theirs like "Hope and Pray", the very first record ever put out by a Gordy family label: [Excerpt: The Voice Masters, "Hope and Pray"] And he'd continued to sing with them, as well as working for Anna Records doing odd jobs like cleaning the floors. His first solo record on Anna, released under the name Lamont Anthony, featured Robert White on guitar, James Jamerson on bass, Harvey Fuqua on piano, and Marvin Gaye on drums, and was based on the comic character "Popeye": [Excerpt: Lamont Anthony, "Popeye the Sailor Man"] Unfortunately, just as that record was starting to take off, King Features Syndicate, the owners of Popeye, sent a cease and desist order. Dozier went back into the studio and recut the vocal, this time singing about Benny the Skinny Man, instead of Popeye the Sailor Man: [Excerpt: Lamont Anthony, "Benny the Skinny Man"] But without the hook of it being about Popeye, the song flopped. Dozier joined Motown when that became the dominant part of the Gordy family operation, and signed up as a songwriter and producer. Robert Batemen had just stopped working with Brian Holland as a production team, and when Anne Dozier suggested that Holland go and meet her husband who was just starting at Motown, Holland walked in to find Dozier working at the piano, writing a song but stuck for a middle section. Holland told him he had an idea, sat next to him at the piano, and came up with the bridge. The two instantly clicked musically -- they discovered that they almost had a musical telepathy, and Holland got Freddie Gorman, his lyricist partner at the time, to finish up the lyrics for the song while he and Dozier came up with more ideas. That song became a Marvelettes album track, "Forever", which a few years later would be put out as a B-side, and make the top thirty in its own right: [Excerpt: The Marvelettes, "Forever"] Holland and Dozier quickly became a strong musical team -- Dozier had a great aptitude for coming up with riffs and hooks, both lyrical and musical, and rhythmic ideas, while Brian Holland could come up with great melodies and interesting chord changes, though both could do both. In the studio Brian would work with the drummers, while Lamont would work with the keyboard players and discuss the bass parts with James Jamerson. Their only shortfall was lyrically. They could both write lyrics -- and Lamont would often come up with a good title or hook phrase -- but they were slow at doing it. For the lyrics, they mostly worked with Freddie Gorman, and sometimes got Janie Bradford in. These teams came up with some great records, like "Contract on Love", which sounds very like a Four Seasons pastiche but also points the way to Holland and Dozier's later sound: [Excerpt: Little Stevie Wonder, "Contract on Love"] Both Little Stevie Wonder and the backing vocalists on that, the Temptations, would do better things later, but that's still a solid record. Meanwhile, Eddie Holland had had a realisation that would change the course of Motown. "Jamie" had been a hit, but he received no royalties -- he'd had a run of flop singles, so he hadn't yet earned out the production costs on his records. His first royalty statement after his hit showed him still owing Motown money. He asked his brother, who got a royalty statement at the same time, if he was in the same boat, and Brian showed him the statement for several thousand dollars that he'd made from the songs he'd written. Eddie decided that he was in the wrong job. He didn't like performing anyway, and his brother was making serious money while he was working away earning nothing. He took nine months off from doing anything other than the bare contractual minimum, -- where before he would spend every moment at Hitsville, now he only turned up for his own sessions -- and spent that time teaching himself songwriting. He studied Smokey Robinson's writing, and he developed his own ideas about what needed to be in a lyric -- he didn't want any meaningless filler words, he wanted every word to matter. He also wanted to make sure that even if people misheard a line or two, they would be able to get the idea of the song from the other lines, so he came up with a technique he referred to as "repeat-fomation", where he would give the same piece of information two or three times, paraphrasing it.  When the next Marvelettes album, The Marvellous Marvelettes, was being finished up by Mickey Stevenson, Motown got nervous about the album, thinking it didn't have a strong enough single on it, and so Brian Holland and Dozier were asked to come up with a new Marvelettes single in a hurry. Freddie Gorman had more or less stopped songwriting by this point, as he was spending most of his time working as a postman, and so, in need of another writing partner, they called on Eddie, who had been writing with various people. The three of them wrote and produced "Locking Up My Heart", the first single to be released with the writing credit "Holland-Dozier-Holland": [Excerpt: The Marvelettes, "Locking Up My Heart"] That was a comparative flop for the Marvelettes, and the beginning of the downward slump we talked about for them in the episode on "Please Mr. Postman", but the second Holland-Dozier-Holland single, recorded ten days later, was a very different matter. That one was for Martha and the Vandellas, and became widely regarded as the start of Motown's true Golden Age -- so much so that Brian and Eddie Holland's autobiography is named after this, rather than after any of the bigger and more obvious hits they would later co-write. The introduction to "Come and Get These Memories" isn't particularly auspicious -- the Vandellas singing the chorus: [Excerpt: Martha and the Vandellas, "Come and Get These Memories"] Hearing all three of the Vandellas, all of whom have such strong, distinctive voices, sing together is if anything a bit much -- the Vandellas aren't a great harmony group in the way that some of the other Motown groups are, and they work best when everyone's singing an individual line rather than block harmonies. But then we're instantly into the sound that Holland, Dozier, and Holland -- really Brian Holland and Lamont Dozier, who took charge of the musical side of things, with Eddie concentrating on the lyrics -- would make their own. There's a lightly swung rhythm, but with a strong backbeat with handclaps and tambourine emphasising the two and four-- the same rhythmic combination that made so many of the very early rock and roll records we looked at in the first year of the podcast, but this time taken at a more sedate pace, a casual stroll rather than a sprint. There's the simple, chorded piano and guitar parts, both instruments often playing in unison and again just emphasising the rhythm rather than doing anything more complex. And there's James Jamerson's wonderful, loping bass part, doing the exact opposite of what the piano and guitar are doing. [Excerpt: Martha and the Vandellas, “Come and Get These Memories”] In almost every record in the rock and roll, soul, and R&B genres up to this point -- I say "almost every" because, as I've said many times before, there are always exceptions and there is never a first of anything -- the bass does one of two things: it either plods along just playing the root notes, or it plays a simple, repeated, ostinato figure throughout, acting as a backbone while the other instruments do more interesting things. James Jamerson is the first bass player outside the jazz and classical fields to prominently, repeatedly, do something very different -- he's got the guitars and piano holding down the rhythm so steadily that he doesn't need to. He plays melodies, largely improvised, that are jumping around and going somewhere different from where you'd expect.  "Come and Get These Memories" was largely written before Eddie's involvement, and the bulk of the lyric was Lamont Dozier's. He's said that in this instance he was inspired by country singers like Loretta Lynn, and the song's lyrical style, taking physical objects and using them as a metaphor for emotional states, certainly seems very country: [Excerpt: Martha and the Vandellas, "Come and Get These Memories"] "Come and Get These Memories" made number twenty-nine on the pop charts and number six on the R&B charts. Martha and the Vandellas were finally stars. As was the normal practice at Motown, when an artist had a hit, the writing and production team were given the chance to make the follow-up with them, and so the followup was another Holland/Dozier/Holland song, again from an idea by Lamont Dozier, as most of their collaborations with the Vandellas would be. "Heat Wave" is another leap forward, and is quite possibly the most exciting record that Motown had put out to this point. Where "Come and Get These Memories" established the Motown sound, this one establishes the Martha and the Vandellas sound, specifically, and the style that Holland, Dozier, and Holland would apply to many of their more uptempo productions for other artists. This is the subgenre of Motown that, when it was picked up by fans in the North of England, became known as Northern Soul -- the branch of Motown music that led directly to Disco, to Hi-NRG, to electropop, to the Stock-Aitken-Waterman hit factory of the eighties, to huge chunks of gay culture, and to almost all music made for dancing in whatever genre after this point. Where "Come and Get These Memories" is mid-tempo, "Heat Wave" races along. Where "Come and Get These Memories" swings, "Heat Wave" stomps. "Come and Get These Memories" has the drums swinging and the percussion accenting the backbeat, here the drums are accenting the backbeat while the tambourine is hitting every beat dead on, four/four. It's a rhythm which has something in common with some of the Four Seasons' contemporary hits, but it's less militaristic than those. While "Pistol" Allen's drumming starts out absolutely hard on the beat, he swings it more and more as the record goes on, trusting to the listener once that hard rhythm has been established, allowing him to lay back behind the beat just a little. This is where my background as a white English man, who has never played music for dancing -- when I tried to be a musician myself, it was jangly guitar pop I was playing -- limits me. I have a vocabulary for chords and for melodies, but when it comes to rhythms, at a certain point my vocabulary goes away, and all I can do is say "just... *listen*" It's music that makes you need to dance, and you can either hear that or you can't -- but of course, you can: [Excerpt: Martha and the Vandellas, "Heat Wave"] And Martha Reeves' voice is perfect for the song. Most female Motown singers were pop singers first and foremost -- some of them, many of them, *great* pop singers, but all with voices fundamentally suited to gentleness. Reeves was a belter. She has far more blues and gospel influence in her voice than many of the other Motown women, and she's showing it here. "Heat Wave" made the top ten, as did the follow-up, a "Heat Wave" soundalike called "Quicksand". But the two records after that, both still Holland/Dozier/Holland records, didn't even make the top forty, and Annette left, being replaced by Betty Kelly. The new lineup of the group were passed over to Mickey Stevenson, for a record that would become the one for which they are best remembered to this day. It wasn't as important a record in the development of the Motown sound as "Come and Get These Memories" or "Heat Wave", but "Dancing in the Street" was a masterpiece. Written by Stevenson, Marvin Gaye, and Ivy Joe Hunter, it features Gaye on drums, but the most prominent percussive sound is Hunter, who, depending on which account you read was either thrashing a steel chain against something until his hands bled, or hitting a tire iron.  And Martha's vocal is astonishing -- and has an edge to it. Apparently this was the second take, and she sounds a little annoyed because she absolutely nailed the vocal on the first take only to find that there'd been a problem recording it. [Excerpt: Martha Reeves and the Vandellas, "Dancing in the Street"] That went to number two in the charts, and would be the group's cultural and commercial high point. The song also gained some notoriety two years later when, in the wake of civil rights protests that were interpreted as rioting, the song was interpreted as being a call to riot -- it was assumed that instead of being about dancing it was actually about rioting, something the Rolling Stones would pick up on later when they released "Street Fighting Man", a song that owes more than a little to the Vandellas classic. The record after that, "Wild One", was so much of a "Dancing in the Streets" soundalike that I've seen claims that the backing track is an alternate take of the earlier song. It isn't, but it sounds like it could be. But the record after that saw them reunited with Holland/Dozier/Holland, who provided them with yet another great track, "Nowhere to Run": [Excerpt: Martha Reeves and the Vandellas, "Nowhere to Run"] For the next few years the group would release a string of classic hits, like "Jimmy Mack" and "Honey Chile", but the rise of the Supremes, who we'll talk about in a month, meant that like the Marvelettes before them the Vandellas became less important to Motown. When Motown moved from Detroit to LA in the early seventies, Martha was one of those who decided not to make the move with the label, and the group split up, though the original lineup occasionally reunited for big events, and made some recordings for Ian Levine's Motorcity label. Currently, there are two touring Vandellas groups. One, Martha Reeves and the Vandellas, consists of Martha and two of her sisters -- including Lois, who was a late-period member of the group before they split, replacing Betty in 1967. Meanwhile "The Original Vandellas" consist of Rosalind and Annette. Gloria died in 2000, but Martha and the Vandellas are one of the very few sixties hitmaking groups where all the members of their classic lineup are still alive and performing. Martha, Rosalind, Betty, Annette, and Lois were all also inducted into the Rock and Roll Hall of Fame in 1995, becoming only the second all-female group to be inducted.  The Vandellas were one of the greatest of the Motown acts, and one of the greatest of the girl groups, and their biggest hits stand up against anything that any of the other Motown acts were doing at the time. When you hear them now, even almost sixty years later, you're still hearing the sound they were in at the birth of, the sound of young America.  

A History Of Rock Music in Five Hundred Songs
Episode 111: “Heat Wave” by Martha and the Vandellas

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Jan 20, 2021


Episode one hundred and eleven of A History of Rock Music in Five Hundred Songs looks at “Heat Wave” by Martha and the Vandellas, and the beginnings of Holland-Dozier-Holland. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “My Boyfriend’s Back” by the Angels. 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/ —-more—-   Resources As usual, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.  For Motown-related information in this and other Motown episodes, I’ve used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown.  To Be Loved by Berry Gordy is Gordy’s own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown, including Martha and the Vandellas. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown’s thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier’s autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers’. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Girl Groups by John Clemente contains potted biographies of many groups of the era, including Martha and the Vandellas. And Dancing in the Street: Confessions of a Motown Diva  by Martha Reeves and Mark Bego is Reeves’ autobiography. And this three-CD set contains all the Vandellas’ Motown singles, along with a bunch of rarities.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we’re going to take a look at the career of one of the great girl groups to come out of Motown, and at the early work of the songwriting team that went on to be arguably the most important people in the definition of the Motown Sound. We’re going to look at “Heatwave” by Martha and the Vandellas, and the beginning of the career of Holland, Dozier, and Holland: [Excerpt: Martha and the Vandellas, “Heatwave”] By the time she started recording for Motown, Martha Reeves had already spent several years in groups around Detroit, with little success. Her singing career had started in a group called The Fascinations, which she had formed with another singer, who is variously named in different sources as Shirley Lawson and Shirley Walker. She’d quickly left that group, but after she left them, the Fascinations went on to make a string of minor hit records with Curtis Mayfield: [Excerpt: The Fascinations, “Girls Are Out To Get You”] But it wasn’t just her professional experience, such as it was, that Reeves credited for her success — she had also been a soloist in her high school choir, and from her accounts her real training came from her High School music teacher, Abraham Silver. In her autobiography she talks about hanging around in the park singing with other people who had been taught by the same teacher — Mary Wilson and Florence Ballard, who would go on to form the Supremes, Bobby Rogers and Claudette Robinson, who were founder members of the Miracles, and Little Joe Harris, who would later become lead singer of the minor Motown act The Undisputed Truth. She’d eventually joined another group, the Del-Phis, with three other singers — Gloria Williams (or Williamson — sources vary as to what her actual surname was — it might be that Williamson was her birth name and Williams a stage name), Annette Beard, and Rosalind Ashford. The group found out early on that they didn’t particularly get on with each other as people — their personalities were all too different — but their voices blended well and they worked well on stage. Williams or Williamson was the leader and lead singer at this point, and the rest of the DelPhis acted as her backing group. They started performing at the amateur nights and talent contests that were such a big part of the way that Black talent got known at that time, and developed a rivalry with two other groups — The Primes, who would later go on to be the Temptations, and The Primettes, who had named themselves after the Primes, but later became the Supremes. Those three groups more or less took it in turns to win the talent contests, and before long the Del-Phis had been signed to Checkmate Records, one of several subsidiaries of Chess, where they released one single, with Gloria on lead: [Excerpt: The Del-Phis, “I’ll Let You Know”] The group also sang backing vocals on various other records at that time, like Mike Hanks’ “When True Love Comes to Be”: [Excerpt: Mike Hanks, “When True Love Comes to Be”] Depending on who you believe, Martha may not be on that record at all — the Del-Phis apparently had some lineup fluctuations, with members coming and going, though the story of who was in the group when seems to be told more on the basis of who wants credit for what at any particular time than on what the truth is. No matter who was in the group, though, they never had more than local success. While the Del-Phis were trying and failing to become big stars as a group, Martha also started performing solo, as Martha LaVelle. Only a couple of days after her first solo performance, Mickey Stevenson saw her perform and gave her his card, telling her to pop down to Hitsville for an audition as he thought she had talent. But when she did turn up, Stevenson was annoyed at her, over a misunderstanding that turned out to be his fault. She had just come straight to the studio, assuming she could audition any time, and Stevenson hadn’t explained to her that they had one day a month where they ran auditions — he’d expected her to call him on the number on the card, not just come down. Stevenson was busy that day, and left the office, telling Martha on his way out the door that he’d be back in a bit, and to answer the phone if it rang, leaving her alone in the office. She started answering the phone, calling herself the “A&R secretary”, taking messages, and sorting out problems. She was asked to come back the next day, and worked there three weeks for no pay before getting herself put on a salary as Stevenson’s secretary. Once her foot was in the door at Motown, she also started helping out on sessions, as almost all the staff there did, adding backing vocals, handclaps, or footstomps for a five-dollar-per-session bonus.  One of her jobs as Stevenson’s secretary was to phone and book session musicians and singers,  and for one session the Andantes, Motown’s normal female backing vocal group, were unavailable. Martha got the idea to call the rest of the DelPhis — who seem like they might even have been split up at this point, depending on which source you read — and see if they wanted to do the job instead. They had to audition for Berry Gordy, but Gordy was perfectly happy with them and signed them to Motown. Their role was mostly to be backing vocalists, but the plan was that they would also cut a few singles themselves as well.  But Gordy didn’t want to sign them as the Del-Phis — he didn’t know what the details of their contract with Checkmate were, and who actually owned the name. So they needed a new name. At first they went with the Dominettes, but that was soon changed, before they ever made a record What happened is a matter of some dispute, because this seems to be the moment that Martha Reeves took over the group — it may be that the fact that she was the one booking them for the sessions and so in charge of whether they got paid or not changed the power dynamics of the band — and so different people give different accounts depending on who they want to seem most important. But the generally accepted story is that Martha suggested a name based on the street she lived on, Van Dyke Street, and Della Reese, Martha’s favourite singer, who had hits like “Don’t You Know?”: [Excerpt: Della Reese, “Don’t You Know?”] The group became Martha and the Vandellas — although Rosalind Ashford, who says that the group name was not Martha’s work, also says that the group weren’t “Martha and the Vandellas” to start with, but just the Vandellas, and this might be the case, as at this point Gloria rather than Martha was still the lead singer. The newly-named Vandellas were quickly put to work, mostly working on records that Mickey Stevenson produced. The first record they sang on was not credited either to the Vandellas *or* to Martha and the Vandellas, being instead credited to Saundra Mallett and the Vandellas – Mallett was a minor Motown singer who they were backing for this one record. The song was one written by Berry Gordy, as an attempt at a “Loco-Motion” clone, and was called “Camel Walk”: [Excerpt: Saundra Mallett and the Vandellas, “Camel Walk”] More famously, there was the record that everyone talks about as being the first one to feature the Vandellas, even though it came out after “Camel Walk”, one we’ve already talked about before, Marvin Gaye’s “Stubborn Kind of Fellow”: [Excerpt: Marvin Gaye, “Stubborn Kind of Fellow”] That became Gaye’s breakout hit, and as well as singing in the studio for other artists and trying to make their own records, the Vandellas were now also Marvin Gaye’s backing vocalists, and at shows like the Motortown Revue shows, as well as performing their own sets, the Vandellas would sing with Gaye as well. While they were not yet themselves stars, they had a foot on the ladder, and through working with Marvin they got to perform with all sorts of other people — Martha was particularly impressed by the Beach Boys, who performed on the same bill as them in Detroit, and she developed a lifelong crush on Mike Love. But while the Vandellas were Motown’s go-to backing vocalists in 1962, they still wanted to make their own records. They did make one record with Gloria singing lead, “You’ll Never Cherish A Love So True (‘Til You Lose It)”: [Excerpt: The Vells, “You’ll Never Cherish A Love So True (‘Til You Lose It)”] But that was released not as by the Vandellas, but by the Vells, because by the time it was released, the Vandellas had more or less by accident become definitively MARTHA and the Vandellas. The session that changed everything came about because Martha was still working as Mickey Stevenson’s secretary. Stevenson was producing a record for Mary Wells, and he had a problem. Stevenson had recently instituted a new system for his recordings at Motown. Up to this point, they’d been making records with everyone in the studio at the same time — all the musicians, the lead singer, the backing vocalists, and so on. But that became increasingly difficult when the label’s stars were on tour all the time, and it also meant that if the singer flubbed a note a good bass take would also be wrecked, or vice versa. It just wasn’t efficient. So, taking advantage of the ability to multitrack, Stevenson had started doing things differently. Now backing tracks would be recorded by the Funk Brothers in the studio whenever a writer-producer had something for them to record, and then the singer would come in later and overdub their vocals when it was convenient to do that. That also had other advantages — if a singer turned out not to be right for the song, they could record another singer doing it instead, and they could reuse backing tracks, so if a song was a hit for, say, the Miracles, the Marvelettes could then use the same backing track for a cover version of it to fill out an album. But there was a problem with this system, and that problem was the Musicians’ Union. The union had a rule that if musicians were cutting a track that was intended to have a vocal, the vocalist *must* be present at the session — like a lot of historical union rules, this seems faintly ridiculous today, but no doubt there were good reasons for it at the time.  Motown, like most labels, were perfectly happy to break the union rules on occasion, but there was always the possibility of a surprise union inspection, and one turned up while Mickey Stevenson was cutting “I’ll Have to Let Him Go”. Mary Wells wasn’t there, and knowing that his secretary could sing, Stevenson grabbed her and got her to go into the studio and sing the song while the musicians played. Martha decided to give the song everything she had, and Stevenson was impressed enough that he decided to give the song to her, rather than Wells, and at the same session that the Vandellas recorded the songs with Gloria on lead, they recorded new vocals to the backing track that Stevenson had recorded that day: [Excerpt: Martha and the Vandellas, “I’ll Have to Let Him Go”] That was released under the Martha and the Vandellas name, and around this point Gloria left the group. Some have suggested that this was because she didn’t like Martha becoming the leader, while others have said that it’s just that she had a good job working for the city, and didn’t want to put that at risk by becoming a full-time singer. Either way, a week after the Vandellas record came out, Motown released “You’ll Never Cherish A Love So True (‘Til You Lose It)” under the name The Vells.  Neither single had any chart success, but that wouldn’t be true for the next one, which wouldn’t be released for another five months. But when it was finally released, it would be regarded as the beginning of the “Motown Sound”. Before that record, Motown had released many extraordinary records, and we’ve looked at some of them. But after it, it began a domination of the American charts that would last the rest of the decade; a domination caused in large part by the team of Holland, Dozier, and Holland. We’ve heard a little from the Holland brothers and Lamont Dozier, separately, in previous episodes looking at Motown, but this is the point at which they go from being minor players within the Motown organisation to being the single most important team for the label’s future commercial success, so we should take a proper look at them now. Eddie Holland started working with Berry Gordy years before the start of Motown — he was a singer who was known for having a similar sounding voice to that of Jackie Wilson, and Gordy had taken him on first as a soundalike demo singer, recording songs written for Wilson so Wilson could hear how they would sound in his voice, and later trying to mould him into a Wilson clone, starting with Holland’s first single, “You”: [Excerpt: Eddie Holland, “You”] Holland quickly found that he didn’t enjoy performing on stage — he loved singing, but he didn’t like the actual experience of being on stage. However, he continued doing it, in the belief that one should not just quit a job until a better opportunity comes along. Before becoming a professional singer, Holland had sung in street-corner doo-wop groups with his younger brother Brian. Brian, unlike Eddie, didn’t have a particularly great voice, but what he did have was a great musical mind — he could instantly figure out all the harmony parts for the whole group, and had a massive talent for arrangement. Eddie spent much of his early time working with Gordy trying to get Gordy to take his little brother seriously — at the time,  Brian Holland was still in his early teens, and Gordy refused to believe he could be as talented as Eddie said. Eventually, though, Gordy listened to Brian and took him under his wing, pairing him with Janie Bradford to add music to Bradford’s lyrics, and also teaching him to engineer. One of Brian Holland’s first engineering jobs was for a song recorded by Eddie, written as a jingle for a wine company but released as a single under the name “Briant Holland” — meaning it has often over the years been assumed to be Brian singing lead: [Excerpt: Briant Holland, “(Where’s the Joy) in Nature Boy?”] When Motown started up, Brian had become a staffer — indeed, he has later claimed that he was the very first person employed by Motown as a permanent staff member. While Eddie was out on the road performing, Brian was  writing, producing, and singing backing vocals on many, many records. We’ve already heard how he was the co-writer and producer on “Please Mr. Postman” by the Marvelettes: [Excerpt: The Marvelettes, “Please Mr. Postman”] That had obviously been a massive hit, and Motown’s first number one, but Brian was still definitely just one of the Motown team, and not as important a part of it as Berry Gordy, Smokey Robinson, or Mickey Stevenson. Meanwhile, Eddie finally had a minor hit of his own, with “Jamie”, a song co-written by Barrett Strong and Mickey Stevenson, and originally recorded by Strong — when Strong left the label, they took the backing track intended for him and had Holland record new vocals over it. [Excerpt: Eddie Holland, “Jamie”] That made the top thirty, which must have been galling at the time for Strong, who’d quit in part because he couldn’t get a hit. But the crucial thing that lifted the Holland brothers from being just parts of the Motown machine to being the most important creative forces in the company was when Brian Holland became friendly with Anne Dozier, who worked at Motown packing records, and whose husband Lamont was a singer. Lamont Dozier had been around musical people all his life — at Hutchins Junior High School, he was a couple of years below Marv Johnson, the first Motown star, he knew Freda Payne, and one of his classmates was Otis Williams, later of the Temptations. But it was another junior high classmate who, as he puts it, “lit a fire under me to take some steps to get my own music heard by the world”, when one of his friends asked him if he felt like coming along to church to hear another classmate sing. Dozier had no idea this classmate sang, but he went along, and as it happens, we have some recordings of that classmate singing and playing piano around that time: [Excerpt: Aretha Franklin, “There Is a Fountain Filled With Blood”] That’s fourteen-year-old Aretha Franklin, and as you can imagine, being classmates with someone who could perform like that caused Lamont Dozier to radically revise his ideas of what it was possible for him to do. He’d formed a doo-wop group called the Romeos, and they released their first single, with both sides written by Lamont, by the time he was sixteen: [Excerpt: The Romeos, “Gone Gone Get Away”] The Romeos’ third single, “Fine Fine Fine”, was picked up by Atlantic for distribution, and did well enough that Atlantic decided they wanted a follow-up, and wrote to them asking them to come into the studio. But Lamont Dozier, at sixteen, thought that he had some kind of negotiating power, and wrote back saying they weren’t interested in just doing a single, they wanted to do an album. Jerry Wexler wrote back saying “fair enough, you’re released from your contract”, and the Romeos’ brief career was over before it began. He joined the Voice Masters, the first group signed to Anna Records, and sang on records of theirs like “Hope and Pray”, the very first record ever put out by a Gordy family label: [Excerpt: The Voice Masters, “Hope and Pray”] And he’d continued to sing with them, as well as working for Anna Records doing odd jobs like cleaning the floors. His first solo record on Anna, released under the name Lamont Anthony, featured Robert White on guitar, James Jamerson on bass, Harvey Fuqua on piano, and Marvin Gaye on drums, and was based on the comic character “Popeye”: [Excerpt: Lamont Anthony, “Popeye the Sailor Man”] Unfortunately, just as that record was starting to take off, King Features Syndicate, the owners of Popeye, sent a cease and desist order. Dozier went back into the studio and recut the vocal, this time singing about Benny the Skinny Man, instead of Popeye the Sailor Man: [Excerpt: Lamont Anthony, “Benny the Skinny Man”] But without the hook of it being about Popeye, the song flopped. Dozier joined Motown when that became the dominant part of the Gordy family operation, and signed up as a songwriter and producer. Robert Batemen had just stopped working with Brian Holland as a production team, and when Anne Dozier suggested that Holland go and meet her husband who was just starting at Motown, Holland walked in to find Dozier working at the piano, writing a song but stuck for a middle section. Holland told him he had an idea, sat next to him at the piano, and came up with the bridge. The two instantly clicked musically — they discovered that they almost had a musical telepathy, and Holland got Freddie Gorman, his lyricist partner at the time, to finish up the lyrics for the song while he and Dozier came up with more ideas. That song became a Marvelettes album track, “Forever”, which a few years later would be put out as a B-side, and make the top thirty in its own right: [Excerpt: The Marvelettes, “Forever”] Holland and Dozier quickly became a strong musical team — Dozier had a great aptitude for coming up with riffs and hooks, both lyrical and musical, and rhythmic ideas, while Brian Holland could come up with great melodies and interesting chord changes, though both could do both. In the studio Brian would work with the drummers, while Lamont would work with the keyboard players and discuss the bass parts with James Jamerson. Their only shortfall was lyrically. They could both write lyrics — and Lamont would often come up with a good title or hook phrase — but they were slow at doing it. For the lyrics, they mostly worked with Freddie Gorman, and sometimes got Janie Bradford in. These teams came up with some great records, like “Contract on Love”, which sounds very like a Four Seasons pastiche but also points the way to Holland and Dozier’s later sound: [Excerpt: Little Stevie Wonder, “Contract on Love”] Both Little Stevie Wonder and the backing vocalists on that, the Temptations, would do better things later, but that’s still a solid record. Meanwhile, Eddie Holland had had a realisation that would change the course of Motown. “Jamie” had been a hit, but he received no royalties — he’d had a run of flop singles, so he hadn’t yet earned out the production costs on his records. His first royalty statement after his hit showed him still owing Motown money. He asked his brother, who got a royalty statement at the same time, if he was in the same boat, and Brian showed him the statement for several thousand dollars that he’d made from the songs he’d written. Eddie decided that he was in the wrong job. He didn’t like performing anyway, and his brother was making serious money while he was working away earning nothing. He took nine months off from doing anything other than the bare contractual minimum, — where before he would spend every moment at Hitsville, now he only turned up for his own sessions — and spent that time teaching himself songwriting. He studied Smokey Robinson’s writing, and he developed his own ideas about what needed to be in a lyric — he didn’t want any meaningless filler words, he wanted every word to matter. He also wanted to make sure that even if people misheard a line or two, they would be able to get the idea of the song from the other lines, so he came up with a technique he referred to as “repeat-fomation”, where he would give the same piece of information two or three times, paraphrasing it.  When the next Marvelettes album, The Marvellous Marvelettes, was being finished up by Mickey Stevenson, Motown got nervous about the album, thinking it didn’t have a strong enough single on it, and so Brian Holland and Dozier were asked to come up with a new Marvelettes single in a hurry. Freddie Gorman had more or less stopped songwriting by this point, as he was spending most of his time working as a postman, and so, in need of another writing partner, they called on Eddie, who had been writing with various people. The three of them wrote and produced “Locking Up My Heart”, the first single to be released with the writing credit “Holland-Dozier-Holland”: [Excerpt: The Marvelettes, “Locking Up My Heart”] That was a comparative flop for the Marvelettes, and the beginning of the downward slump we talked about for them in the episode on “Please Mr. Postman”, but the second Holland-Dozier-Holland single, recorded ten days later, was a very different matter. That one was for Martha and the Vandellas, and became widely regarded as the start of Motown’s true Golden Age — so much so that Brian and Eddie Holland’s autobiography is named after this, rather than after any of the bigger and more obvious hits they would later co-write. The introduction to “Come and Get These Memories” isn’t particularly auspicious — the Vandellas singing the chorus: [Excerpt: Martha and the Vandellas, “Come and Get These Memories”] Hearing all three of the Vandellas, all of whom have such strong, distinctive voices, sing together is if anything a bit much — the Vandellas aren’t a great harmony group in the way that some of the other Motown groups are, and they work best when everyone’s singing an individual line rather than block harmonies. But then we’re instantly into the sound that Holland, Dozier, and Holland — really Brian Holland and Lamont Dozier, who took charge of the musical side of things, with Eddie concentrating on the lyrics — would make their own. There’s a lightly swung rhythm, but with a strong backbeat with handclaps and tambourine emphasising the two and four– the same rhythmic combination that made so many of the very early rock and roll records we looked at in the first year of the podcast, but this time taken at a more sedate pace, a casual stroll rather than a sprint. There’s the simple, chorded piano and guitar parts, both instruments often playing in unison and again just emphasising the rhythm rather than doing anything more complex. And there’s James Jamerson’s wonderful, loping bass part, doing the exact opposite of what the piano and guitar are doing. [Excerpt: Martha and the Vandellas, “Come and Get These Memories”] In almost every record in the rock and roll, soul, and R&B genres up to this point — I say “almost every” because, as I’ve said many times before, there are always exceptions and there is never a first of anything — the bass does one of two things: it either plods along just playing the root notes, or it plays a simple, repeated, ostinato figure throughout, acting as a backbone while the other instruments do more interesting things. James Jamerson is the first bass player outside the jazz and classical fields to prominently, repeatedly, do something very different — he’s got the guitars and piano holding down the rhythm so steadily that he doesn’t need to. He plays melodies, largely improvised, that are jumping around and going somewhere different from where you’d expect.  “Come and Get These Memories” was largely written before Eddie’s involvement, and the bulk of the lyric was Lamont Dozier’s. He’s said that in this instance he was inspired by country singers like Loretta Lynn, and the song’s lyrical style, taking physical objects and using them as a metaphor for emotional states, certainly seems very country: [Excerpt: Martha and the Vandellas, “Come and Get These Memories”] “Come and Get These Memories” made number twenty-nine on the pop charts and number six on the R&B charts. Martha and the Vandellas were finally stars. As was the normal practice at Motown, when an artist had a hit, the writing and production team were given the chance to make the follow-up with them, and so the followup was another Holland/Dozier/Holland song, again from an idea by Lamont Dozier, as most of their collaborations with the Vandellas would be. “Heat Wave” is another leap forward, and is quite possibly the most exciting record that Motown had put out to this point. Where “Come and Get These Memories” established the Motown sound, this one establishes the Martha and the Vandellas sound, specifically, and the style that Holland, Dozier, and Holland would apply to many of their more uptempo productions for other artists. This is the subgenre of Motown that, when it was picked up by fans in the North of England, became known as Northern Soul — the branch of Motown music that led directly to Disco, to Hi-NRG, to electropop, to the Stock-Aitken-Waterman hit factory of the eighties, to huge chunks of gay culture, and to almost all music made for dancing in whatever genre after this point. Where “Come and Get These Memories” is mid-tempo, “Heat Wave” races along. Where “Come and Get These Memories” swings, “Heat Wave” stomps. “Come and Get These Memories” has the drums swinging and the percussion accenting the backbeat, here the drums are accenting the backbeat while the tambourine is hitting every beat dead on, four/four. It’s a rhythm which has something in common with some of the Four Seasons’ contemporary hits, but it’s less militaristic than those. While “Pistol” Allen’s drumming starts out absolutely hard on the beat, he swings it more and more as the record goes on, trusting to the listener once that hard rhythm has been established, allowing him to lay back behind the beat just a little. This is where my background as a white English man, who has never played music for dancing — when I tried to be a musician myself, it was jangly guitar pop I was playing — limits me. I have a vocabulary for chords and for melodies, but when it comes to rhythms, at a certain point my vocabulary goes away, and all I can do is say “just… *listen*” It’s music that makes you need to dance, and you can either hear that or you can’t — but of course, you can: [Excerpt: Martha and the Vandellas, “Heat Wave”] And Martha Reeves’ voice is perfect for the song. Most female Motown singers were pop singers first and foremost — some of them, many of them, *great* pop singers, but all with voices fundamentally suited to gentleness. Reeves was a belter. She has far more blues and gospel influence in her voice than many of the other Motown women, and she’s showing it here. “Heat Wave” made the top ten, as did the follow-up, a “Heat Wave” soundalike called “Quicksand”. But the two records after that, both still Holland/Dozier/Holland records, didn’t even make the top forty, and Annette left, being replaced by Betty Kelly. The new lineup of the group were passed over to Mickey Stevenson, for a record that would become the one for which they are best remembered to this day. It wasn’t as important a record in the development of the Motown sound as “Come and Get These Memories” or “Heat Wave”, but “Dancing in the Street” was a masterpiece. Written by Stevenson, Marvin Gaye, and Ivy Joe Hunter, it features Gaye on drums, but the most prominent percussive sound is Hunter, who, depending on which account you read was either thrashing a steel chain against something until his hands bled, or hitting a tire iron.  And Martha’s vocal is astonishing — and has an edge to it. Apparently this was the second take, and she sounds a little annoyed because she absolutely nailed the vocal on the first take only to find that there’d been a problem recording it. [Excerpt: Martha Reeves and the Vandellas, “Dancing in the Street”] That went to number two in the charts, and would be the group’s cultural and commercial high point. The song also gained some notoriety two years later when, in the wake of civil rights protests that were interpreted as rioting, the song was interpreted as being a call to riot — it was assumed that instead of being about dancing it was actually about rioting, something the Rolling Stones would pick up on later when they released “Street Fighting Man”, a song that owes more than a little to the Vandellas classic. The record after that, “Wild One”, was so much of a “Dancing in the Streets” soundalike that I’ve seen claims that the backing track is an alternate take of the earlier song. It isn’t, but it sounds like it could be. But the record after that saw them reunited with Holland/Dozier/Holland, who provided them with yet another great track, “Nowhere to Run”: [Excerpt: Martha Reeves and the Vandellas, “Nowhere to Run”] For the next few years the group would release a string of classic hits, like “Jimmy Mack” and “Honey Chile”, but the rise of the Supremes, who we’ll talk about in a month, meant that like the Marvelettes before them the Vandellas became less important to Motown. When Motown moved from Detroit to LA in the early seventies, Martha was one of those who decided not to make the move with the label, and the group split up, though the original lineup occasionally reunited for big events, and made some recordings for Ian Levine’s Motorcity label. Currently, there are two touring Vandellas groups. One, Martha Reeves and the Vandellas, consists of Martha and two of her sisters — including Lois, who was a late-period member of the group before they split, replacing Betty in 1967. Meanwhile “The Original Vandellas” consist of Rosalind and Annette. Gloria died in 2000, but Martha and the Vandellas are one of the very few sixties hitmaking groups where all the members of their classic lineup are still alive and performing. Martha, Rosalind, Betty, Annette, and Lois were all also inducted into the Rock and Roll Hall of Fame in 1995, becoming only the second all-female group to be inducted.  The Vandellas were one of the greatest of the Motown acts, and one of the greatest of the girl groups, and their biggest hits stand up against anything that any of the other Motown acts were doing at the time. When you hear them now, even almost sixty years later, you’re still hearing the sound they were in at the birth of, the sound of young America.