Podcast appearances and mentions of William Bell

Arrancamos con Hiromi y sus aventuras con Sonicwonder y un par de novedades de Thee Sacred Soul y de The Baker Brothers. El resto… explorando canciones de géneros diversos. De Elvis Presley a Randy Newman o Patti LaBelle; de Nancy Sinatra a William Bell, A.J. Croce - el hijo de Jim -, Orleans o Santiago Auserón. Y que no falten los saxos de Patxi Pascual.DISCO 1 HIROMI Out There (Strolling’) (ft. SONICWONDER)DISCO 2 THEE SACRED SOUL We Don’t Have To Be AloneDISCO 3 THE BAKER BROTHERS & HANNAH WILLIAMS SunriseDISCO 4 WILLIAM BELL Poison in The WellDISCO 5 RANDY NEWMAN Take Me BackDISCO 6 PATTI LABELLE Delliver The Funk DISCO 7 A.J. CROCE The Heart That Makes Me WholeDISCO 8 RUPERT HOLMES Partners In CrimeDISCO 9 ORLEANS Everybody Needs Some MusicDISCO 10 ELVIS PRESLEY Suspicious MindDISCO 11 PATXI PASCUAL Los Buenos DíasDISCO 12 SANTIAGO AUSERÓN & ORQUESTA SINFÓNICA DE LA REGIÓN DE MURCIA La Mala FamaDISCO 13 NANCY SINATRA These Boots Are For WalkingEscuchar audio

Ben Bell, a third-generation title industry leader, shares how technology, automation, and strategic growth are reshaping the business. From his family's legacy in title to owning multiple agencies, he discusses tech adoption challenges, eClosings, and why modernization is key to staying competitive. Tune in to discover how automation can streamline operations and drive long-term success. What you'll learn from this episode Key advancements in title technology, from manual HUDs to AI-driven solutions Biggest barriers to tech adoption in title and how to overcome them How automation improves efficiency, reduces costs, and enhances customer experience The role of offshore talent in optimizing title operations and profitability What title agencies need to know about RESPA compliance in Florida Resources mentioned in this episode Qualia A Land Remembered by Patrick D. Smith | Paperback, Hardcover, and Kindle     About Ben BellBenjamin Bell has been a licensed title agent since 2010 and is the third generation title in the Bell Family. His grandfather William Bell was the founder of Bell Title Co, a still very large and successful title company today in Michigan. His father founded Landtech Data Corporation, a title insurance closing software, which is still used by 1000s of title companies nationwide today. Benjamin attended the University of Mississippi and Florida Atlantic University before jumping into the title business in 2010. His years of family title experience and personal title experience make him a major asset in managing the entire closing from A-Z for our team.     Connect with Ben Website: Bell Land Title LinkedIn: Benjamin Bell     Connect With UsLove what you're hearing? Don't miss an episode! Follow us on our social media channels and stay connected. Explore more on our website: www.alltechnational.com/podcast Stay updated with our newsletter: www.mochoumil.com Follow Mo on LinkedIn: Mo Choumil

Birmingham, Alabama — also known as The Magic City — is a major part of my story. I lived there for nearly 11 years, from January 2013 until December 2023; my husband is from there and I met my husband there; and, living there from age 26 to 37, it was part of my formative years as an adult. During my time in Birmingham, I worked in communications at the economic development organization the Birmingham Business Alliance, where I had the opportunity to meet Birmingham's mayor, Randall Woodfin, on a number of occasions. Sometimes those in office are one way in front of the cameras and a completely different person when the cameras are off; Mayor Woodfin was always kind, gracious, generous, and a genuinely good person — the real deal — even if it was just the two of us in a room. Mayor Woodfin won election as mayor in 2017 in a bit of a David and Goliath type victory over longtime Birmingham political mainstay William Bell; he has been in office ever since. Now, on January 21, he is coming out with a memoir, aptly titled Son of Birmingham: A Memoir, about his life, leadership, and, fascinatingly, his love of Outkast. As I tell Mayor Woodfin in this episode, we all deserve someone that loves us as much as he loves Outkast. Mayor Woodfin truly is a son of Birmingham and, having been in office since 2017, has seen the city through some difficult times, not the least of which is COVID-19. In this episode he talks about the modern day Birmingham and what the public still gets wrong about it; about being the youngest mayor in Birmingham's modern history; what it was like to win the mayoral election over seven years ago; some of the toughest situations he's faced in office; about answering the call to serve; and about his life as a husband and father now. A native of Birmingham, Mayor Woodfin attended Morehouse College and then returned to Birmingham, working at City Hall in jobs for the mayor and the City Council and for the Jefferson County Committee on Economic Opportunity. He attended the Cumberland School of Law at Samford University and, after obtaining his law degree, took on a job in the City of Birmingham Law Department. Outside of his work as an assistant city attorney, he was a political organizer, working on campaigns at the local, state, and federal level. After serving on the Birmingham Board of Education, he ran for mayor and is now in his second term in office, seeking a third in 2025. He was also a featured speaker at the 2020 Democratic National Convention. I will always, always have such an affinity for Birmingham, and for Mayor Woodfin, too. Son of Birmingham: A Memoir by Mayor Randall Woodfin

HERE WE GO MY SHOW FOR 09-JAN-2025 WITH A MIXED BAG OF OLD CLASSICS INCLUDING ( THE BAND AKA, WAYNE HENDERSON, NEW JERSEY CONNECTION, BOBBY WOMACK, PHIL HURRT, GLEN JONES, THE BLACKBYRDS  ) AND MANY MORE ALSO SOME TOP NEW TRACKS FROM ( CROSSROADS ft CLER, JESSIE LAINE POWELL, EVERET ) WE ALSO HAVE THE CONNOISSEURS CORNER ( THIS WEEK WE HAVE KIM WATERS AND SPYRO GYRA) AND WE HAVE THE BACK TO BACK CLASSICS BY A CLASSIC ARTIST (THIS WEEK WE HAVE TWO TRACKS FROM DEXTER WANSEL ) THEN WE HAVE THREE TRACKS DUG OUT FROM THE GARAGE FROM ( THE FOUR TOPS, JUDY CLAY & WILLIAM BELL, JR WALKER & THE ALL STARS) FINNISHING OF WITH A COUPLE OF SLOW TRACKS AND MUCH MUCH MORE SIT BACK WITH A GLASS OF SOMETHING AND ENJOY OR DOWNLOAD FOR LATER

Hoy en La Gran Travesía os dejamos un programa dedicado al sello Stax Records, con Sam and Dave, Isaac Hayes, Staple Singers, Carla Thomas, Albert King, Otis Redding, Booker T and the M.G´s, The Mar-Keys, William Bell, Wilson Pickett, Eddie Floyd, Rufus Thomas...y muchos más. También recordaros que ya podéis comprar La gran travesía del rock, un libro interactivo que además contará con 15 programas de radio complementarios, a modo de ficción sonora... con muchas sorpresas y voces conocidas... https://www.ivoox.com/gran-travesia-del-rock-capitulos-del-libro_bk_list_10998115_1.html Jimi y Janis, dos periodistas musicales, vienen de 2027, un mundo distópico y delirante donde el reguetón tiene (casi) todo el poder... pero ellos dos, deciden alistarse al GLP para viajar en el tiempo, salvar el rock, rescatar sus archivos ocultos y combatir la dictadura troyana del FPR. ✨ El libro ya está en diversas webs https://npqeditores.com/producto/la-gran-travesia-del-rock/ ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además podéis acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Jose Angel Tremiño, Marco Landeta Vacas, Oscar García Muñoz, Raquel Parrondo, Javier Gonzar, Eva Arenas, Poncho C, Nacho, Javito, Alberto, Tei, Pilar Escudero, Utxi 73, Blas, Moy, Juan Antonio, Dani Pérez, Santi Oliva, Vicente DC,, Leticia, JBSabe, Huini Juarez, Flor, Melomanic, Noni, Arturo Soriano, Gemma Codina, Raquel Jiménez, Francisco Quintana, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, María Arán, Joaquín, Horns Up, Victor Bravo, Fonune, Eulogiko, Francisco González, Marcos Paris, Vlado 74, Daniel A, Redneckman, Elliott SF, Guillermo Gutierrez, Sementalex, Jesús Miguel, Miguel Angel Torres, Suibne, Javifer, Matías Ruiz Molina, Noyatan, Estefanía, Iván Menéndez, Niksisley y a los mecenas anónimos.

We hope that you will stowaway with us on the Fringe train as we discuss this unique episode of Fringe - unique in that Anna Torv is not playing Olivia Dunham or an Olivia Dunham alternate but rather the man behind the curtain himself - William Bell (or Bellivia or Spolive as you prefer). We also finally get to meet the Blueverse version of Lincoln Lee (or Special Agent Hottie as you prefer), and we discuss what we like and maybe don't like as much on rewatch. The post S3E17 Stowaway appeared first on Golden Spiral Media- Entertainment Podcasts, Technology Podcasts & More.

We hope that you will stowaway with us on the Fringe train as we discuss this unique episode of Fringe - unique in that Anna Torv is not playing Olivia Dunham or an Olivia Dunham alternate but rather the man behind the curtain himself - William Bell (or Bellivia or Spolive as you prefer). We also finally get to meet the Blueverse version of Lincoln Lee (or Special Agent Hottie as you prefer), and we discuss what we like and maybe don't like as much on rewatch. You'll also hear some great feedback as always from feedbackers like Geoff (xforce11), Eric (or Eric from Pennsylvania as you prefer), Anna (not Torv), Erin, and Patty from Canadia! Join us next time when we return to the Redverse and catch up with Foelivia's pregnancy in “Bloodline”! Links Mentioned: The Fringe Podcast Episode 0335 - "Stowaway" The Fringe Podcast Episode 0336 - Feedback for "Stowaway" Stream Arabian Fringe by Chris Vessey Fringe Connections - "Stowaway" (3.17) Fringe Matters - "Fringe - 'Stowaway' (3.17)" The Fringemunks - "Epis. 3.17: Stowaway" Fringe Playlist by Chris Connect with Us: Golden Spiral Media Community Portal Golden Spiral Media's Twitter Page The Fringe Podcast Rewatch's Instagram Page Listener Feedback Webpage Join Our Live Show! Season 3 Guest Host Sign Up

**Music Mick's Mick's Vibez Show Replay On Trax FM & Rendell Radio. This Week Mick & The Mixvibez Show Gave Us 70's & 80's Grooves/Dance Classics From Earth Wind & Fire, Eighties Ladies, Donald Byrd, Alex Puddu Feat Simone Miller, Affinity, Twenty Nine Feat Lenny White, UK Players, Vesta Williams, William Bell, Boiling Point, GQ, Carol Lloyd, Rah Band & More. #originalpirates #soulmusic #boogiefunk #soulmusic #disco Catch The Music Mick's Mixvibez Show Every Saturday From 4PM UK Time On Trax FM & Rendell Radio Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

Playwright Lloyd Suh and actor Keiko Agena discuss “The Chinese Lady,” which is on stage at the Alliance Theatre through October 17. H Johnson stops by for the latest edition of “H Johnson's Jazz Moment” with the story behind The Ink Spots. William Bell enters the National R&B Hall of Fame and Catfight! band members Katy Graves, Jennifer Leavey, and Stacy Kerber detail (cat)FIGHT! FOR YOUR RIGHTS. The benefit concert is on Saturday, October 5, at Eyedrum Art and Music Gallery.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

**Kev White's White House Show Replay On traxfm.org. This Week Kev Gave Us Boogie, Dance & Pop Classics, (& Tunes You Have Not Heard In Years) From China Crisis, Hue & Cry, Nick Heyward, Go West, Ten City, Simple Minds, William Bell, Candi Staton, Eric Clapton, The Spinners, Clodagh Rodgers, Thin Lizzy, Sweet, Electric Light Orchestra & More #originalpirates #danceclassics #70smusic #80smusic #party #boogie #disco Catch Kev White's The White House Show Every Thursday From 7PM UK Time The Station: traxfm.org Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

Amy Helm has released 4 solo records, 4 with her band Ollabelle, and appeared on 8 of her father Levon Helm's records, as well as records by artists as diverse as Rosanne Cash, William Bell, Tracy Bonham, Trans-Siberian Orchestra, and a handful of her stepfather Donald Fagan's solo and late Steely Dan records. We talk with Amy about taking care of yourself like an athlete, leaving your family behind to tour for long stretches of time, and music cooperatives, and many of the lessons Levon instilled in her, from being a blue collar worker-type musician to constantly trying to better yourself, your craft, and your knowledge.Get more access and support this show by subscribing to our Patreon, right here.Links:Amy HelmOlabelleEp 57 Larry Campbell + Teresa WilliamsEp 73 Edwin McCainLevon HelmSteely DanRick DankoLevon Helm StudiosEp 12 Leyla McCallaLevon's Midnight RambleClick here to watch this conversation on YouTube.Social Media:The Other 22 Hours InstagramThe Other 22 Hours TikTokMichaela Anne InstagramAaron Shafer-Haiss InstagramAll music written, performed, and produced by Aaron Shafer-Haiss. Become a subscribing member on our Patreon to gain more inside access including exclusive content, workshops, the chance to have your questions answered by our upcoming guests, and more.

Stone Foundation, Neil Sheasby y Neil Jones, están de gira or España con toda la banda sin escatimar esfuerzos ni instrumentos. Y hacen ul alto en el camino para asistir a nuestro estudio Música 4 para nuestra entrevista y una actuación de tres temas. Conocimos a este grupo británico gracias a Paul Weller que les ha apadrinado y apoyado en varias ocasiones. Nos encantan sus dúos y los que hacen con Melba Moore, Bettye LaVette, Kathryn Williams, William Bell, etc.  DISCO 1 SOUND FOUNDATION & MELBA MOORE Now That You Want Me Back (ESCA) DISCO 2 MELBA MOORE Do You really Want My Love (Cara 1 Corte 1) DISCO 3 RANDALL BRAMBLETT Come On (ESCA) DISCO 4 STONE FOUNDATION Fix You up (ESCA) DISCO 5 STONE FOUNDATION Next Time Around (EVERYBODY, ANYONE - 5) DISCO 6 STONE FOUNDATION & PAUL WELLER Back In The Game (STREET RITUALS - 1) DISCO 7 STONE FOUNDATION & BETTYE LAVETTE Seasons Of Change (9) DISCO 8 STONE FOUNDATION Everything and All I Want (ESCA) DISCO 9 STONE FOUNDATION & KATHRYN WILLIAMS Don’t Walk Away (EVERYBODY, ANYONE - 9)Escuchar audio

**The Groove Doctors Friday Drive Time Show Replay On traxfm.org. This Week The Groove Doctor Featured 80's Grooves/Rare Groove/Contemporary Soul From Paul Laurence. 52nd Street. Niteshade Uk. Jean Carn. Midnight Star. William Bell. Willie Hutch. Carol Dionne. Total Contrast & More . The Groove Doctors Drive Time Show Live Friday's At 5PM UK Time The Station: traxfm.org #originalpirates #soulmusic #boogie #80ssoul #RareGrooves Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : facebook.com/profile.php?id=10...100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

Sycamore Bones joins the podcast and we al try to out-delight each other.   Listen and follow Sycamore Bones at these places https://sycamorebones.com/home https://www.facebook.com/sycamorebones/ https://instagram.com/sycamorebones?igshid=YmMyMTA2M2Y=   Thanks to Chris Milam for the closing song National Tour Dates: chrismilam.com/live EPK: chrismilmam.com/epk | "The Letter" live at the Levitt Shell On Spotify National Tour Teaser   Subscribe to the podcast - https://podcasts.apple.com/us/podcast/wnc-original-music/id1378776313 https://www.iheart.com/podcast/wnc-original-music-31067964/ https://open.spotify.com/show/3Rx8uNDtBXzcrmA6vHiph4   Follow on Social Media https://www.facebook.com/wncoriginalmusic https://www.wncoriginalmusic.com https://www.instagram.com/wnc_original_music/   All music used by permission   Sycamore Bones has spent the better part of a decade playing their brand of Folk, bluegrass and country. The band began with just an upright bass, acoustic guitar, and 3 part harmony. They have recently progressed to a 5 piece band featuring keys, electric guitar, fiddle, and drums. The band is led by its two primary songwriters and frontmen, Cory Kinal (acoustic guitar) and Andrew Massey (electric guitar, keys). Their new album “Someone Who Knows” puts on display the same lyrically sensitivity fans have enjoyed from the duo backed by a broader soundscape reminiscent of bands like the Old 97's, REM, and Wilco.   “Invites—and earns—the Paul Simon comparisons,” raves American Songwriter about Chris Milam, the acclaimed singer-songwriter from Memphis, Tennessee. Milam's first two albums—Kids These Days and Meanwhile—earned him widespread critical acclaim. Years of dogged, grassroots touring earned him a dedicated fanbase across the US & UK. Collaborations and co-bills with Stax legend William Bell, Valerie June, Amanda Shires, Cory Branan, Garrison Starr, and more earned Milam's reputation as an ascendent artist to watch. Now, Chris Milam is set to release his third album, Orchid South: a kinetic, slyly subversive rock record inspired by the music and events of his adolescence. These eleven portraits of teenage life draw a direct line from the tumult, thrill, depression, and anger of youth to the chaos of the present.    

HERE WE GO MY SHOW FOR 20-JUNE-2024 WITH A MIXED BAG OF OLD CLASSICS INCLUDING ( DEBRA LAWS, ARCHIE BELL AND THE DRELLS, KENI STEVENS, MARVIN GAY, TANIA MARIA, LISA STANSFIELD, CAVIAR) AND MANY MORE ALSO SOME TOP NEW TRACKS FROM (  PRO UNO, SHAUN LABELLE, MATHER, GEORGIE B & THE GROOVE ASSOCIATION  ) WE ALSO HAVE THE CONNOISSEURS CORNER ( THIS WEEK WE HAVE FREDDIE HUBBARD AND BRIAN SIMPSON ) AND WE HAVE THE BACK TO BACK CLASSICS BY A CLASSIC ARTIST (THIS WEEK WE HAVE TWO TRACKS FROM ANGELA BOFILL WHO WE SADLY LOST LAST WEEK ) THEN WE HAVE THREE TRACKS DUG OUT FROM THE GARAGE FROM (JUDY CLAY & WILLIAM BELL, CARLA THOMAS AND THE DRIFTERS ) FINNISHING OF WITH A COUPLE OF SLOW TRACKS AND MUCH MUCH MORE SIT BACK WITH A GLASS OF SOMETHING AND ENJOY OR DOWNLOAD FOR LATER

A night to drinking, and maybe some careless words, lead to a murder in Habersham County.  The murder would face justice one dark night in his cell.  Also, another tale of whiskey leading to violence in Habersham.   The Moving Through Georgia book is available on Amazon.   But they are dead - A look at mourning and notable burials in Northeast Georgia  

Label: Stax 212Year: 1967Condition: M-Price: $20.00Here's a beautiful copy of this must-have Deep Soul ballad. Note: This copy comes in a vintage Atlantic-Atco Records factory sleeve. It grades close to Mint across the board (Labels, Vinyl, Audio). (This scan is a representative image from our archives; this copy does not have a drillhole.)

William Bell is a soul legend who scored an early hit for Memphis's Stax Records with 1961's “You Don't Miss Your Water” and wrote and sang such much-covered classics as “I Forgot To Be Your Lover,” “Everybody Loves a Winner” and “Every Day Will Be Like a Holiday.” He and Booker T. Jones co-wrote Albert King's “Born Under a Bad Sign,” and Bell vividly recalls the story behind that one. He also recounts his friendship with Otis Redding and how Redding's death, followed by Martin Luther King, Jr.'s assassination, affected him, Memphis and beyond. At age 84, Bell continues to make music, releasing the Grammy-winning album This Is Where I Live in 2017 and One Day Closer to Home last year. His voice and writing—as well as his wit and memory—remain impressively strong.

In this detailed episode, Emma Kenny delves into the dark chapter of New Zealand's history involving William Bell, the perpetrator of the infamous RSA (Returned and Services' Association) Murders. We explore the tragic day that led to the loss of Wayne Johnson, Mary Hobson, and William Absolum, whose lives were brutally ended in an act of senseless violence. This analysis goes beyond the headlines, examining the events that unfolded at the RSA club, Bell's subsequent capture, and the trial that gripped a nation. As we honor the victims and their families, we also discuss the broader implications for society and the justice system's response to such heinous crimes. Subscribe to join us in a respectful remembrance of the lives lost and in seeking a deeper understanding of the factors that lead to such devastating acts.

Episode 276: John Leventhal is one of the quiet achievers of American roots music going back more than 30 years. Early on as a guitar player in his native New York City, he connected with Jim Lauderdale and Shawn Colvin, co-writing and producing their debut albums. He met his wife Rosanne Cash as they worked on the pivotal album The Wheel (see Episode 269). He's produced some epic albums since then for William Bell, Sarah Jarosz, and others, winning numerous Grammy and Americana awards in the process. At last, he lent his guitar and studio skills to making the solo debut album Rumble Strip. Rosanne is there for some duo vocals, but otherwise it's warm and tuneful instrumentals that foreground some of the lovely textures and grooves that have been behind so many albums we've loved. This all made for a fascinating conversation.

Jordi Mena (guitarrista de Bunbury y Los Santos Inocentes) es el invitado de hoy. Charlamos sobre el disco 'Transformer' de Lou Reed.   En el episodio de hoy comentamos las tres canciones siguientes del disco: «Perfect Day», «Hangin' ‘Round» y «Walk on the Wild Side». Y por el camino nos encontramos con Andy Warhol, MC-5, T. Rex, David Bowie, Duran Duran, Suede, William Bell, The Black Keys, Albert Pla y ‘Trainspotting'.   Más información en discoprestado.com Comentarios y mensajes de voz (máximo 1 minuto): discoprestado@proton.me 'Disco prestado' en Instagram: @discoprestadopodcast 'Disco prestado' en Facebook: @discoprestadopodcast 'Disco prestado' en YouTube: @discoprestadopodcast   ¡Salud y buena música!   Marc Aliana marcaliana.com

Founder/CEO of Henry Repeating Arms Anthony Imperato & William Bell, firearms expert and retired law enforcement officer, are here to discuss Henry Repeating's new collection of officially licensed U.S. Border Patrol 100th Anniversary Tribute Edition rifles and the ongoing crisis at the border. See omnystudio.com/listener for privacy information.

Andy's eclectic mix is in full swing this week - he opens with a cracker with Lee Austin's funky take on Tutti Frutti, we get soulful with Jackie Ross, William Bell and Patrice Holloway - celebrate the birthdays of Billy Ocean (twice), Edwin Starr and Richie Havens - there are new ones from Wonder 45 and The Tibbs, cheeky ones from Blondie, Moloko and The Arctic Monkeys and the three Northern Soul Stonkers do just that!! Get on itTune into new broadcasts of Groovy Soul, LIVE, Sunday 12 - 2 PM EST / 5 - 7 PM GMT.For more info and tracklisting, visit :https://thefaceradio.com/groovy-soul//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Larry And Lorrie Collins - "Interview from July 4, 2009" William Bell - "Interview from July 4, 2009" William Bell And Judy Clay - "Private Number" https://www.wfmu.org/playlists/shows/135720

John Leventhal returns to go in-depth on his first solo album, Rumble Strip. We discuss his process of composing, recording, and the gear he used to create the 16 poignant tracks on the album. Leventhal also discusses his signature acoustic guitar tones that utilize both the natural "acoustic" sound, plus an "electric" sound hole pickup run-through effects and a tube amplifier. He also weighs in on the 30th-anniversary re-release of The Wheel, his first collaboration with his wife, noted singer-songwriter, Rosanne Cash. John is a multi-Grammy Award-winning producer and musician. A short list of Leventhal's collaborators includes Marc Cohn, Shawn Colvin, Rosanne Cash, William Bell, and Sarah Jarosz. Rumble Strip - Release Date January 26th, 2024 https://music.apple.com/us/album/rumble-strip/1713810040

John Leventhal returns to go in-depth on his first solo album, Rumble Strip. We discuss his process of composing, recording, and the gear he used to create the 16 poignant tracks on the album. Leventhal also discusses his signature acoustic guitar tones that utilize both the natural "acoustic" sound, plus an "electric" sound hole pickup run-through effects and a tube amplifier. He also weighs in on the 30th-anniversary re-release of The Wheel, his first collaboration with his wife, noted singer-songwriter, Rosanne Cash.John is a multi-Grammy Award-winning producer and musician. A short list of Leventhal's collaborators includes Marc Cohn, Shawn Colvin, Rosanne Cash, William Bell, and Sarah Jarosz. Rumble Strip - Release Date January 26th, 2024https://music.apple.com/us/album/rumble-strip/1713810040To Support the Channel:Patreon  https://www.patreon.com/AskZacTip jar:  https://paypal.me/AskZacVenmo @AskZac  Or check out my store for merch  - https://my-store-be0243.creator-spring.com/#askzac #johnleventhal #rosannecashSupport the show

SUMMARYIn this very special holiday episode of Songcraft, we're taking it back to Christmas at Stax, featuring conversations with some of the luminaries of the storied Memphis label that dominated Southern soul music in the 1960s and 70s. You'll hear from Deanie Parker, William Bell, and Carla Thomas as we celebrate the season and close the book on another year at Songcraft. PART ONEPaul and Scott reflect on 2023, talk Grammy nominations, and tease upcoming episodes for 2024.PART TWOInterview segments with Deanie Parker, William Bell, and Carla Thomas about their original holiday songs and what Christmas was like at Stax Records in the glory days. 

Merriam-Webster's Word of the Day for October 7, 2023 is: portentous • por-TEN-tuss • adjective Portentous is a formal and literary term that describes something that gives a sign or warning that something (and usually something bad or unpleasant) is going to happen. It can also describe the pompous attitude or behavior of someone who is trying to seem important, serious, or impressive. // Edgar Allan Poe's stories are filled with portentous foreshadowing. // The author's portentous speech was long and tedious and peppered with anecdotes about brushes with fame. See the entry > Examples: “Let me begin with the rainstorm. My Much Better Half and I are having our kitchen and downstairs guest bathroom remodeled. ‘Don't expect smooth sailing,' we were forewarned. This proved a portentous metaphor because returning from my daily run I opened the front door and found myself in need of a boat. While I was out, a worker clogged and broke the toilet … and it runneth over continuously for an hour or more.” — Woody Woodburn, Ventura County (California) Star, 11 Aug. 2023 Did you know? “If it wasn't for bad luck / You know I wouldn't have no luck at all.” So sang Albert King on the 1967 song “Born Under a Bad Sign,” written by Booker T. Jones (of Booker T. and the MG's) and soul singer William Bell. He may have been singing about the ominous portent of being born during an unfavorable astrological alignment, but the classic tune became a standard of the blues. Portents are also at the heart of the adjective portentous, which describes things forewarning future events—usually events of the bad luck variety. Both portent and portentous come from the Latin noun portentum, meaning “omen or sign.” Since entering English in the 15th century, portentous has picked up additional senses, including “grave, solemn, significant” (as in “burdened with making portentous decisions”), which was added to our dictionary in 1934. It's more recently moved into less estimable semantic territory, describing both the pompous and the excessive.

We are pleased to welcome Emily Learmont to discuss the legacy of William Bell Scott and the Scottish connections with Pre-Raphaelitism. Today, the Scottish Colletion of the National Galleries of Scotland reopens with Bell Scotts 'King's Quair' screen going on display for the first time since 1968. Emily tells us the fascinating story of this incredible object. See the 'King's Quair' screen here: https://www.nationalgalleries.org/art-and-artists/60859   Emily's book is available here: https://shop.nationalgalleries.org/all-products/william-bell-scotts-screen-a-pre-raphaelite-romance-paperback/   For more information and to subscribe to the Pre-Raphaelite Society, please visit www.pre-raphaelitesociety.org    All donations towards the maintenance of this podcast are gratefully received: https://gofund.me/60a58f68 

Featuring Bay Area legends Amendola vs. Blades; a fresh joint from throwback vocalist Samara Joy; bassist/composer Todd Sickafoose's latest masterpiece; a symbiotic new duo record from masters Will Bernard and Beth Custer; Toronto super-artist Mingjia; accordion and trumpet magic courtesy of Eric Vloeimans and Will Holshauser; and three icons of soul music: William Bell, Parliament and Prince.

SUMMARYStax Records legend Deanie Parker talks about writing songs for Otis Redding, Albert King, William Bell, and Carla Thomas, dives deep on what made the Stax environment so special, and shines a light on the recently-released box sets of forgotten Stax songwriter demos. PART ONEScott and Paul discuss the wild story behind the monumental box set Written in Their Soul: The Stax Songwriter Demos.PART TWOOur in-depth interview with Deanie ParkerABOUT DEANIE PARKERWhile still in high school, Deanie Parker won a Memphis talent contest and an audition for Jim Stewart at Stax Records. He signed her and released her debut single, on the Volt label, in 1963. The self-penned “My Imaginary Guy” became a regional hit, but the life of a touring artist was not for Parker. She became the first Black employee at Stax's Satellite Record Shop before joining the label staff as the company's first publicist in 1964. Learning on the job while studying journalism at Memphis State, Parker eventually became the company's Vice President of Public Affairs. One of the first female publicists in the music industry, she worked closely with Isaac Hayes, Booker T & the MG's, Rufus and Carla Thomas, Johnnie Taylor, Albert King, and others. Wearing many hats at Stax, Deanie continued to write songs with colleagues such as Steve Cropper, Booker T. Jones, Eddie Floyd, Bettye Crutcher, Mack Rice, Mable John, and Homer Banks, with whom she penned the soul classic “Ain't That a Lot of Love.” The list of Stax artists who recorded her songs includes Otis Redding, Carla Thomas, William Bell, Sam & Dave, The Staple Singers, and more. Her other writing skills were put to use penning liner notes for classic albums such as Sam & Dave's Hold On, I'm Comin', Albert King's Born Under a Bad Sign, Otis Redding's Live in Europe, and Shirley Brown's Woman to Woman. From 1987 through 1995, Deanie served as the Assistant Director of the Memphis in May International Festival. A tireless champion of the Stax legacy, she became the first President and CEO of Soulsville, the nonprofit organization established to build and manage the Stax Museum of American Soul Music, Stax Music Academy, and the Soulsville Charter School. She was appointed to the Tennessee Arts Commission in 2004 and, in 2009, was awarded two Emmy awards for the I Am a Man documentary short, for which she was an executive producer and the title song composer. The list of artists outside the Stax family who've covered Deanie Parker's songs includes The Rolling Stones, Elvis Costello, Darlene Love, Taj Mahal, Three Dog Night, The Flying Burrito Brothers, The Band, New York Dolls, Simply Red, Hall & Oates, and many others. She is a co-producer and co-liner notes writer of the seven-CD collection Written in Their Soul: The Stax Songwriter Demos, and was recently announced as a 2023 inductee into the Memphis Music Hall of Fame. 

On the show this week is William Bell, an incredible vocalist and legendary soul songwriter from Memphis. William was the first male artist signed to Stax Records in the early 60's and it's an honor to have him join me today to talk about his experiences. He grew up singing in church but quickly moved to the vibrant nightclub scene on Beale Street in Memphis where he worked with his vocal group The Del Rios at many of the venues there. He was first signed to Stax Records in the early 60's, primarily as a songwriter, but also as an artist. Other Stax artists at the time included Otis Redding, Carla Thomas, Booker T and the MG's, Sam and Dave, and The Staple Singers. William wrote one of the label's first hits with “You Don't Miss Your Water” in 1961, and had several other releases and hits but his tenure at Stax was truncated in the mid-60's when he enlisted in the army. When he returned to Memphis and the Stax world, he wrote more classic soul tunes like “Everybody Loves A Winner” and ”Any Other Way”, as well as the blues mega-hit “Born Under A Bad Sign”, which he tailored directly for Albert King (including whispering the lyrics in his ear as King sang the song for his record). That song has also been covered by Cream, Jimi Hendrix and Etta James, among many others.Bell's successes continued through the 70's and 80's writing and recording more hit soul tunes, and having songs covered by artists like Eric Clapton, Lou Rawls, Rod Stewart, and Billy Idol.In 2017 William collaborated with the incredible producer and guitarist John Leventhal to make his album “This Is Where I Live” which brought him in front of a new audience and won him a Grammy award. That killer album was followed by 2023's “One Day Closer To Home”. We'll be hearing lots more from William Bell in the years to come, so make sure you check his dates at williambellmusic.com and go so him live!Be sure to listen to the Accompanying Songs Playlist which contains some of the artist's work, plus many of the songs we discuss on the show:Playlist on Spotify / Playlist on Apple MusicIf you enjoyed this episode, please consider supporting the show with a donation or Patreon subscriptionThe show's website can be found at www.makersandshakerspodcast.comYour fearless host, Steve Dawson can be found at www.stevedawson.ca Become a member at https://plus.acast.com/s/mmasspodcast. Hosted on Acast. See acast.com/privacy for more information.

Record Producer - Songwriter - Entertainer - Business Man  In a distinguished career as a singer, songwriter and producer, William Bell has come to define the essence of “soul.” Born in Memphis but based in Atlanta since 1970, William Bell was one of the pioneers of the classic Stax/Volt sound, joining such other illustrious musical forces at that label as Otis Redding, Sam and Dave, Isaac Hayes, Booker T. & the MG's, Albert King, Eddie Floyd, Carla and Rufus Thomas, The Staple Singers and the Bar-Kays, among others. William released his first full-length album in 1967, the classic The Soul of a Bell, which included the Top 20 hit single, “Everybody Loves a Winner.” That same year, blues great Albert King recorded what came to be his signature tune, “Born Under a Bad Sign,” also written by Bell, which has since become one of the most-recorded blues songs. 

To Support the Channel:https://www.patreon.com/AskZacTip jar:  https://paypal.me/AskZacVenmo @AskZac  Or check out my store for merch  - www.askzac.comSpotlight on the greatest unknown Memphis guitarist, Clarence Nelson. He was a major influence in both style and tone on Steve Cropper, Reggie Young, and Chips Moman. Clarence was an African-American guitarist who worked with bandleader, Ben Branch, and from there influenced the younger players that saw him live, or watched him in the studio on early Stax, American, and Hi/Royal sessions. Nelson also toured with both James Carr and William Bell in the 60s and 70s. He should be credited as an early adopter of the Telecaster in Memphis, and how he paved the way for others with his funky low string licks, and stuttering bends. Much thanks to Red Kelly's excellent detective work on Clarence which can be found here. http://souldetective.com/case8part1.htmlAlso, check out my interview with Reggie Young where we discuss Clarence Nelson later in the video   • Reggie Young | Tr...  Michael Ross mentioned Clarence in his piece on Reggiehttps://www.premierguitar.com/artists...Gear Used:1957 Fender Esquire with an added vintage neck pickup. Restoration and aging on the body by Dan "Danocaster" Strain. Rewind of bridge pickup by Ron Ellis.Strings: D'Addario NYXL 10-46 Amazon affiliate link https://amzn.to/3uD1WnZPick:D'Andrea Medium-HeavyAmp:2021 Fender Vibro Champ Reverb Effects used:amp verb#askzac #guitartech #telecasterSupport the show

The following is an audio version of the debate which occurred Friday, June, 23 2023, between "Zadok Ben Israel" and William Bell on the subject of the resurrection. The issues at stake were the timing and nature of the resurrection. Zadok contended that the resurrection is yet in our future and involves physical bodies rising from literal graves. Bell contended the resurrection was spiritual, i.e. from sin-death, occurring between the time of Pentecost Acts 2 and consummated in 70AD when the temple and city of Jerusalem fell. The duration of the discussion is about 2hrs and 20 minutes. Due to audio issues, some editing was done for volume only. No context or arguments were edited.

Momentum can be deferred, but it must always be paid back in full, and, after the last two episodes of the season, this episode certainly pays it back! We finally get one of the big season finale cliffhangers resolved - what Olivia and William Bell talked about in the Redverse - and also get a plethora of burning questions answered. It all comes to a head (see what we did there?) when our hero is broken and defeated and the bad guys have seemingly won. The post S2E3 Momentum Deferred appeared first on Golden Spiral Media- Entertainment Podcasts, Technology Podcasts & More.

Momentum can be deferred, but it must always be paid back in full, and, after the last two episodes of the season, this episode certainly pays it back! We finally get one of the big season finale cliffhangers resolved - what Olivia and William Bell talked about in the Redverse - and also get a plethora of burning questions answered. It all comes to a head (see what we did there?) when our hero is broken and defeated and the bad guys have seemingly won. This is such a HUGE episode of the Fringe mythology, and we share both audio feedback and written feedback from several listeners who share their thoughts about it, including Rory, Geoff (xforce11), Francleigh, Patty from Canadia, Eric from Pennsylvania, ShelkyBean, and Erin! If you would like to contribute feedback to the podcast and/or would like to sign up to be a co-host for a season 2 episode, hit us up! Links Mentioned: Stream Fringe Theme (NES Redux) by DjjD Fringe Connections - "Momentum Deferred" W.H. Auden - "Night Mail" Fringe Matters - "Fringe - 'Momentum Deferred' (2.04)" The Fringemunks - "Epis. 2.04: Momentum Deferred"   Connect with Us: Golden Spiral Media Community Portal Golden Spiral Media's Twitter Page The Fringe Podcast Rewatch's Instagram Page Listener Feedback Webpage  

To Support the Channel:Tip jar:  https://paypal.me/AskZacOr check out my store at  - www.askzac.comIn the Daniel Lanois autobiography, Soul Mining, Lanois tells of using Bill Lawrence soundhole pickups, a trick he learned from U2's The Edge. After reading, I was reminded of an interview I did with John Leventhal for Vintage Guitar Magazine back in 2017. When interviewing John, he spoke of his live electric setup, and that of his acoustic, that was a bit more complex than most as he used both an internal transducer going to a DI box, and a soundhole pickup through effects into a guitar amp. In this episode of Ask Zac, I talk about how to use the "Leventhal" dual-pickup setup, and what it has to offer.My June 2017 Vintage Guitar Magazine print interview with John Leventhalhttps://www.vintageguitar.com/32017/j...My Truetone Lounge Video interview with Leventhal   • John Leventhal | ...  Clip of JL using the dual-pickup system with R&B great, William Bell   • William Bell - "T...  Gear used:Waterloo WL-14 Ladder Braced guitarD'Addario EJ26 Phosphor Bronze Custom Light Acoustic Strings80's Bill Lawrence soundhole pickupMedium Gauge pickEffects:Boss Volume PedalMirage CompressorBoss TR-2 TremoloLine 6 Echo ParkTruetone CS6 power supply https://amzn.to/38S9rZKAmp:1965 Deluxe Reverb with Celestion Vintage 30 Speaker #askzac #guitartech #telecasterSupport the show

** PLEASE SUBSCRIBE ** Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music's foremost masters of the groove. Become a TRUTH IN RHYTHM Member through YouTube or at https://www.patreon.com/truthinrhythm. Featured in TIR Episode 282 (Part 2 of 2): Funk, soul, rock and blues guitarist-singer-songwriter Leroy Emmanuel, an original member of The Counts and a longtime featured player with Bohannon. The Counts charted three albums between 1971-1975, and he appeared on more than 20 Bohannon albums.  Other credits include William Bell, the Clark Sisters, the Crowd Pleasers, Z.Z. Hill, LMT Connection and recordings and extensive touring under his own name. And he is still at it!  RECORDED JANUARY 2023 LEGAL NOTICE: All video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400

** PLEASE SUBSCRIBE ** Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music's foremost masters of the groove. Become a TRUTH IN RHYTHM Member through YouTube or at https://www.patreon.com/truthinrhythm. Featured in TIR Episode 282 (Part 1 of 2): Funk, soul, rock and blues guitarist-singer-songwriter Leroy Emmanuel, an original member of The Counts and a longtime featured player with Bohannon. The Counts charted three albums between 1971-1975, and he appeared on more than 20 Bohannon albums.  Other credits include William Bell, the Clark Sisters, the Crowd Pleasers, Z.Z. Hill, LMT Connection and recordings and extensive touring under his own name. And he is still at it!  RECORDED JANUARY 2023 LEGAL NOTICE: All video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400

Join Dave and Wayne for genre television show news, a glimpse into what the hosts are currently watching, and commentary and analysis of the Fox series Fringe. This week on the SciFi TV Rewatch podcast we discuss Olivia's meeting with William Bell in the alternate universe and whether she possesses the ability to recognize those that don't belong in the prime universe. Does Walter make a big mistake in not taking Rebecca up on her offer? In our What We're Watching segment, Wayne returns to the Star Trek universe and Picard, while Dave checks out the Prime Video series Daisy Jones and the Six starring Riley Keough.  In Listener Feedback, Fred from the Netherlands wonders how Olivia will proceed now that she's met William Bell in the alternate universe. Susanne checks in from Germany and relates some of her professional experiences in the legal world. Remember to join the genre television and film discussion on the SciFi TV Rewatch Facebook group for the latest genre television show news and podcast releases. Episode Grade: A

Episode 163 of A History of Rock Music in Five Hundred Songs looks at “(Sittin' on) The Dock of the Bay", Stax Records, and the short, tragic, life of Otis Redding. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Soul Man" by Sam and Dave. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Redding, even if I split into multiple parts. The main resource I used for the biographical details of Redding was Dreams to Remember: Otis Redding, Stax Records, and the Transformation of Southern Soul by Mark Ribowsky. Ribowsky is usually a very good, reliable, writer, but in this case there are a couple of lapses in editing which make it not a book I can wholeheartedly recommend, but the research on the biographical details of Redding seems to be the best. Information about Stax comes primarily from two books: Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. There are two Original Album Series box sets which between them contain all the albums Redding released in his life plus his first few posthumous albums, for a low price. Volume 1, volume 2. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode ends with a description of a plane crash, which some people may find upsetting. There's also a mention of gun violence. In 2019 the film Summer of Soul came out. If you're unfamiliar with this film, it's a documentary of an event, the Harlem Cultural Festival, which gets called the "Black Woodstock" because it took place in the summer of 1969, overlapping the weekend that Woodstock happened. That event was a series of weekend free concerts in New York, performed by many of the greatest acts in Black music at that time -- people like Stevie Wonder, David Ruffin, Mahalia Jackson, B.B. King, the Staple Singers, Sly and the Family Stone, Nina Simone, and the Fifth Dimension. One thing that that film did was to throw into sharp relief a lot of the performances we've seen over the years by legends of white rock music of the same time. If you watch the film of Woodstock, or the earlier Monterey Pop festival, it's apparent that a lot of the musicians are quite sloppy. This is easy to dismiss as being a product of the situation -- they're playing outdoor venues, with no opportunity to soundcheck, using primitive PA systems, and often without monitors. Anyone would sound a bit sloppy in that situation, right? That is until you listen to the performances on the Summer of Soul soundtrack. The performers on those shows are playing in the same kind of circumstances, and in the case of Woodstock literally at the same time, so it's a fair comparison, and there really is no comparison. Whatever you think of the quality of the *music* (and some of my very favourite artists played at Monterey and Woodstock), the *musicianship* is orders of magnitude better at the Harlem Cultural Festival [Excerpt: Gladys Knight and the Pips “I Heard it Through the Grapevine (live)”] And of course there's a reason for this. Most of the people who played at those big hippie festivals had not had the same experiences as the Black musicians. The Black players were mostly veterans of the chitlin' circuit, where you had to play multiple shows a day, in front of demanding crowds who wanted their money's worth, and who wanted you to be able to play and also put on a show at the same time. When you're playing for crowds of working people who have spent a significant proportion of their money to go to the show, and on a bill with a dozen other acts who are competing for that audience's attention, you are going to get good or stop working. The guitar bands at Woodstock and Monterey, though, hadn't had the same kind of pressure. Their audiences were much more forgiving, much more willing to go with the musicians, view themselves as part of a community with them. And they had to play far fewer shows than the chitlin' circuit veterans, so they simply didn't develop the same chops before becoming famous (the best of them did after fame, of course). And so it's no surprise that while a lot of bands became more famous as a result of the Monterey Pop Festival, only three really became breakout stars in America as a direct result of it. One of those was the Who, who were already the third or fourth biggest band in the UK by that point, either just behind or just ahead of the Kinks, and so the surprise is more that it took them that long to become big in America. But the other two were themselves veterans of the chitlin' circuit. If you buy the Criterion Collection Blu-Ray of Monterey Pop, you get two extra discs along with the disc with the film of the full festival on it -- the only two performances that were thought worth turning into their own short mini-films. One of them is Jimi Hendrix's performance, and we will talk about that in a future episode. The other is titled Shake! Otis at Monterey: [Excerpt: Otis Redding, "Shake! (live at Monterey Pop Festival)"] Otis Redding came from Macon, Georgia, the home town of Little Richard, who became one of his biggest early influences, and like Richard he was torn in his early years between religion and secular music -- though in most other ways he was very different from Richard, and in particular he came from a much more supportive family. While his father, Otis senior, was a deacon in the church, and didn't approve much of blues, R&B, or jazz music or listen to it himself, he didn't prevent his son from listening to it, so young Otis grew up listening to records by Richard -- of whom he later said "If it hadn't been for Little Richard I would not be here... Richard has soul too. My present music has a lot of him in it" -- and another favourite, Clyde McPhatter: [Excerpt: Billy Ward and the Dominoes, "Have Mercy Baby"] Indeed, it's unclear exactly how much Otis senior *did* disapprove of those supposedly-sinful kinds of music. The biography I used as a source for this, and which says that Otis senior wouldn't listen to blues or jazz music at all, also quotes his son as saying that when he was a child his mother and father used to play him "a calypso song out then called 'Run Joe'" That will of course be this one: [Excerpt: Louis Jordan, "Run Joe"] I find it hard to reconcile the idea of someone who refused to listen to the blues or jazz listening to Louis Jordan, but then people are complex. Whatever Otis senior's feelings about secular music, he recognised from a very early age that his son had a special talent, and encouraged him to become a gospel singer. And at the same time he was listening to Little Richard, young Otis was also listening to gospel singers. One particular influence was a blind street singer, Reverend Pearly Brown: [Excerpt: Reverend Pearly Brown, "Ninety Nine and a Half Won't Do"] Redding was someone who cared deeply about his father's opinion, and it might well have been that he would eventually have become a gospel performer, because he started his career with a foot in both camps. What seems to have made the difference is that when he was sixteen, his father came down with tuberculosis. Even a few years earlier this would have been a terminal diagnosis, but thankfully by this point antibiotics had been invented, and the deacon eventually recovered. But it did mean that Otis junior had to become the family breadwinner while his father was sick, and so he turned decisively towards the kind of music that could make more money. He'd already started performing secular music. He'd joined a band led by Gladys Williams, who was the first female bandleader in the area. Williams sadly doesn't seem to have recorded anything -- discogs has a listing of a funk single by a Gladys Williams on a tiny label which may or may not be the same person, but in general she avoided recording studios, only wanting to play live -- but she was a very influential figure in Georgia music. According to her former trumpeter Newton Collier, who later went on to play with Redding and others, she trained both Fats Gonder and Lewis Hamlin, who went on to join the lineup of James Brown's band that made Live at the Apollo, and Collier says that Hamlin's arrangements for that album, and the way the band would segue from one track to another, were all things he'd been taught by Miss Gladys. Redding sang with Gladys Williams for a while, and she took him under her wing, trained him, and became his de facto first manager. She got him to perform at local talent shows, where he won fifteen weeks in a row, before he got banned from performing to give everyone else a chance. At all of these shows, the song he performed was one that Miss Gladys had rehearsed with him, Little Richard's "Heeby Jeebies": [Excerpt: Little Richard, "Heeby Jeebies"] At this time, Redding's repertoire was largely made up of songs by the two greats of fifties Georgia R&B -- Little Richard and James Brown -- plus some by his other idol Sam Cooke, and those singers would remain his greatest influences throughout his career. After his stint with Williams, Redding went on to join another band, Pat T Cake and the Mighty Panthers, whose guitarist Johnny Jenkins would be a major presence in his life for several years. The Mighty Panthers were soon giving Redding top billing, and advertising gigs as featuring Otis "Rockin' Robin" Redding -- presumably that was another song in his live repertoire. By this time Redding was sounding enough like Little Richard that when Richard's old backing band, The Upsetters, were looking for a new singer after Richard quit rock and roll for the ministry, they took Redding on as their vocalist for a tour. Once that tour had ended, Redding returned home to find that Johnny Jenkins had quit the Mighty Panthers and formed a new band, the Pinetoppers. Redding joined that band, who were managed by a white teenager named Phil Walden, who soon became Redding's personal manager as well. Walden and Redding developed a very strong bond, to the extent that Walden, who was studying at university, spent all his tuition money promoting Redding and almost got kicked out. When Redding found this out, he actually went round to everyone he knew and got loans from everyone until he had enough to pay for Walden's tuition -- much of it paid in coins. They had a strong enough bond that Walden would remain his manager for the rest of Redding's life, and even when Walden had to do two years in the Army in Germany, he managed Redding long-distance, with his brother looking after things at home. But of course, there wasn't much of a music industry in Georgia, and so with Walden's blessing and support, he moved to LA in 1960 to try to become a star. Just before he left, his girlfriend Zelma told him she was pregnant. He assured her that he was only going to be away for a few months, and that he would be back in time for the birth, and that he intended to come back to Georgia rich and marry her. Her response was "Sure you is". In LA, Redding met up with a local record producer, James "Jimmy Mack" McEachin, who would later go on to become an actor, appearing in several films with Clint Eastwood. McEachin produced a session for Redding at Gold Star studios, with arrangements by Rene Hall and using several of the musicians who later became the Wrecking Crew. "She's All Right", the first single that came from that session, was intended to sound as much like Jackie Wilson as possible, and was released under the name of The Shooters, the vocal group who provided the backing vocals: [Excerpt: The Shooters, "She's All Right"] "She's All Right" was released on Trans World, a small label owned by Morris Bernstein, who also owned Finer Arts records (and "She's All Right" seems to have been released on both labels). Neither of Bernstein's labels had any great success -- the biggest record they put out was a single by the Hollywood Argyles that came out after they'd stopped having hits -- and they didn't have any connection to the R&B market. Redding and McEachin couldn't find any R&B labels that wanted to pick up their recordings, and so Redding did return to Georgia and marry Zelma a few days before the birth of their son Dexter. Back in Georgia, he hooked up again with the Pinetoppers, and he and Jenkins started trying local record labels, attempting to get records put out by either of them. Redding was the first, and Otis Redding and the Pinetoppers put out a single, "Shout Bamalama", a slight reworking of a song that he'd recorded as "Gamma Lamma" for McEachin, which was obviously heavily influenced by Little Richard: [Excerpt: Otis Redding and the Pinetoppers, "Shout Bamalama"] That single was produced by a local record company owner, Bobby Smith, who signed Redding to a contract which Redding didn't read, but which turned out to be a management contract as well as a record contract. This would later be a problem, as Redding didn't have an actual contract with Phil Walden -- one thing that comes up time and again in stories about music in the Deep South at this time is people operating on handshake deals and presuming good faith on the part of each other. There was a problem with the record which nobody had foreseen though -- Redding was the first Black artist signed to Smith's label, which was called Confederate Records, and its logo was the Southern Cross. Now Smith, by all accounts, was less personally racist than most white men in Georgia at the time, and hadn't intended that as any kind of statement of white supremacy -- he'd just used a popular local symbol, without thinking through the implications. But as the phrase goes, intent isn't magic, and while Smith didn't intend it as racist, rather unsurprisingly Black DJs and record shops didn't see things in the same light. Smith was told by several DJs that they wouldn't play the record while it was on that label, and he started up a new subsidiary label, Orbit, and put the record out on that label. Redding and Smith continued collaborating, and there were plans for Redding to put out a second single on Orbit. That single was going to be "These Arms of Mine", a song Redding had originally given to another Confederate artist, a rockabilly performer called Buddy Leach (who doesn't seem to be the same Buddy Leach as the Democratic politician from Louisiana, or the saxophone player with George Thorogood and the Destroyers). Leach had recorded it as a B-side, with the slightly altered title "These Arms Are Mine". Sadly I can't provide an excerpt of that, as the record is so rare that even websites I've found by rockabilly collectors who are trying to get everything on Confederate Records haven't managed to get hold of copies. Meanwhile, Johnny Jenkins had been recording on another label, Tifco, and had put out a single called "Pinetop": [Excerpt: Johnny Jenkins and the Pinetoppers, "Pinetop"] That record had attracted the attention of Joe Galkin. Galkin was a semi-independent record promoter, who had worked for Atlantic in New York before moving back to his home town of Macon. Galkin had proved himself as a promoter by being responsible for the massive amounts of airplay given to Solomon Burke's "Just Out of Reach (of My Two Open Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (of My Two Open Arms)"] After that, Jerry Wexler had given Galkin fifty dollars a week and an expense account, and Galkin would drive to all the Black radio stations in the South and pitch Atlantic's records to them. But Galkin also had his own record label, Gerald Records, and when he went to those stations and heard them playing something from a smaller label, he would quickly negotiate with that smaller label, buy the master and the artist's contract, and put the record out on Gerald Records -- and then he would sell the track and the artist on to Atlantic, taking ten percent of the record's future earnings and a finder's fee. This is what happened with Johnny Jenkins' single, which was reissued on Gerald and then on Atlantic. Galkin signed Jenkins to a contract -- another of those contracts which also made him Jenkins' manager, and indeed the manager of the Pinetops. Jenkins' record ended up selling about twenty-five thousand records, but when Galkin saw the Pinetoppers performing live, he realised that Otis Redding was the real star. Since he had a contract with Jenkins, he came to an agreement with Walden, who was still Jenkins' manager as well as Redding's -- Walden would get fifty percent of Jenkins' publishing and they would be co-managers of Jenkins. But Galkin had plans for Redding, which he didn't tell anyone about, not even Redding himself. The one person he did tell was Jerry Wexler, who he phoned up and asked for two thousand dollars, explaining that he wanted to record Jenkins' follow-up single at Stax, and he also wanted to bring along a singer he'd discovered, who sang with Jenkins' band. Wexler agreed -- Atlantic had recently started distributing Stax's records on a handshake deal of much the same kind that Redding had with Walden. As far as everyone else was concerned, though, the session was just for Johnny Jenkins, the known quantity who'd already released a single for Atlantic. Otis Redding, meanwhile, was having to work a lot of odd jobs to feed his rapidly growing family, and one of those jobs was to work as Johnny Jenkins' driver, as Jenkins didn't have a driving license. So Galkin suggested that, given that Memphis was quite a long drive, Redding should drive Galkin and Jenkins to Stax, and carry the equipment for them. Bobby Smith, who still thought of himself as Redding's manager, was eager to help his friend's bandmate with his big break (and to help Galkin, in the hope that maybe Atlantic would start distributing Confederate too), and so he lent Redding the company station wagon to drive them to the session.The other Pinetoppers wouldn't be going -- Jenkins was going to be backed by Booker T and the MGs, the normal Stax backing band. Phil Walden, though, had told Redding that he should try to take the opportunity to get himself heard by Stax, and he pestered the musicians as they recorded Jenkins' "Spunky": [Excerpt: Johnny Jenkins, "Spunky"] Cropper later remembered “During the session, Al Jackson says to me, ‘The big tall guy that was driving Johnny, he's been bugging me to death, wanting me to hear him sing,' Al said, ‘Would you take some time and get this guy off of my back and listen to him?' And I said, ‘After the session I'll try to do it,' and then I just forgot about it.” What Redding didn't know, though Walden might have, is that Galkin had planned all along to get Redding to record while he was there. Galkin claimed to be Redding's manager, and told Jim Stewart, the co-owner of Stax who acted as main engineer and supervising producer on the sessions at this point, that Wexler had only funded the session on the basis that Redding would also get a shot at recording. Stewart was unimpressed -- Jenkins' session had not gone well, and it had taken them more than two hours to get two tracks down, but Galkin offered Stewart a trade -- Galkin, as Redding's manager, would take half of Stax's mechanical royalties for the records (which wouldn't be much) but in turn would give Stewart half the publishing on Redding's songs. That was enough to make Stewart interested, but by this point Booker T. Jones had already left the studio, so Steve Cropper moved to the piano for the forty minutes that was left of the session, with Jenkins remaining on guitar, and they tried to get two sides of a single cut. The first track they cut was "Hey Hey Baby", which didn't impress Stewart much -- he simply said that the world didn't need another Little Richard -- and so with time running out they cut another track, the ballad Redding had already given to Buddy Leach. He asked Cropper, who didn't play piano well, to play "church chords", by which he meant triplets, and Cropper said "he started singing ‘These Arms of Mine' and I know my hair lifted about three inches and I couldn't believe this guy's voice": [Excerpt: Otis Redding, "These Arms of Mine"] That was more impressive, though Stewart carefully feigned disinterest. Stewart and Galkin put together a contract which signed Redding to Stax -- though they put the single out on the less-important Volt subsidiary, as they did for much of Redding's subsequent output -- and gave Galkin and Stewart fifty percent each of the publishing rights to Redding's songs. Redding signed it, not even realising he was signing a proper contract rather than just one for a single record, because he was just used to signing whatever bit of paper was put in front of him at the time. This one was slightly different though, because Redding had had his twenty-first birthday since the last time he'd signed a contract, and so Galkin assumed that that meant all his other contracts were invalid -- not realising that Redding's contract with Bobby Smith had been countersigned by Redding's mother, and so was also legal. Walden also didn't realise that, but *did* realise that Galkin representing himself as Redding's manager to Stax might be a problem, so he quickly got Redding to sign a proper contract, formalising the handshake basis they'd been operating on up to that point. Walden was at this point in the middle of his Army service, but got the signature while he was home on leave. Walden then signed a deal with Galkin, giving Walden half of Galkin's fifty percent cut of Redding's publishing in return for Galkin getting a share of Walden's management proceeds. By this point everyone was on the same page -- Otis Redding was going to be a big star, and he became everyone's prime focus. Johnny Jenkins remained signed to Walden's agency -- which quickly grew to represent almost every big soul star that wasn't signed to Motown -- but he was regarded as a footnote. His record came out eventually on Volt, almost two years later, but he didn't release another record until 1968. Jenkins did, though, go on to have some influence. In 1970 he was given the opportunity to sing lead on an album backed by Duane Allman and the members of the Muscle Shoals studio band, many of whom went on to form the Allman Brothers Band. That record contained a cover of Dr. John's "I Walk on Guilded Splinters" which was later sampled by Beck for "Loser", the Wu-Tang Clan for "Gun Will Go" and Oasis for their hit "Go Let it Out": [Excerpt: Johnny Jenkins, "I Walk on Guilded Splinters"] Jenkins would play guitar on several future Otis Redding sessions, but would hold a grudge against Redding for the rest of his life for taking the stardom he thought was rightfully his, and would be one of the few people to have anything negative to say about Redding after his early death. When Bobby Smith heard about the release of "These Arms of Mine", he was furious, as his contract with Redding *was* in fact legally valid, and he'd been intending to get Redding to record the song himself. However, he realised that Stax could call on the resources of Atlantic Records, and Joe Galkin also hinted that if he played nice Atlantic might start distributing Confederate, too. Smith signed away all his rights to Redding -- again, thinking that he was only signing away the rights to a single record and song, and not reading the contract closely enough. In this case, Smith only had one working eye, and that wasn't good enough to see clearly -- he had to hold paper right up to his face to read anything on it -- and he simply couldn't read the small print on the contract, and so signed over Otis Redding's management, record contract, and publishing, for a flat seven hundred dollars. Now everything was legally -- if perhaps not ethically -- in the clear. Phil Walden was Otis Redding's manager, Stax was his record label, Joe Galkin got a cut off the top, and Walden, Galkin, and Jim Stewart all shared Redding's publishing. Although, to make it a hit, one more thing had to happen, and one more person had to get a cut of the song: [Excerpt: Otis Redding, "These Arms of Mine"] That sound was becoming out of fashion among Black listeners at the time. It was considered passe, and even though the Stax musicians loved the record, Jim Stewart didn't, and put it out not because he believed in Otis Redding, but because he believed in Joe Galkin. As Stewart later said “The Black radio stations were getting out of that Black country sound, we put it out to appease and please Joe.” For the most part DJs ignored the record, despite Galkin pushing it -- it was released in October 1962, that month which we have already pinpointed as the start of the sixties, and came out at the same time as a couple of other Stax releases, and the one they were really pushing was Carla Thomas' "I'll Bring it Home to You", an answer record to Sam Cooke's "Bring it On Home to Me": [Excerpt: Carla Thomas, "I'll Bring it Home to You"] "These Arms of Mine" wasn't even released as the A-side -- that was "Hey Hey Baby" -- until John R came along. John R was a Nashville DJ, and in fact he was the reason that Bobby Smith even knew that Redding had signed to Stax. R had heard Buddy Leach's version of the song, and called Smith, who was a friend of his, to tell him that his record had been covered, and that was the first Smith had heard of the matter. But R also called Jim Stewart at Stax, and told him that he was promoting the wrong side, and that if they started promoting "These Arms of Mine", R would play the record on his radio show, which could be heard in twenty-eight states. And, as a gesture of thanks for this suggestion -- and definitely not as payola, which would be very illegal -- Stewart gave R his share of the publishing rights to the song, which eventually made the top twenty on the R&B charts, and slipped into the lower end of the Hot One Hundred. "These Arms of Mine" was actually recorded at a turning point for Stax as an organisation. By the time it was released, Booker T Jones had left Memphis to go to university in Indiana to study music, with his tuition being paid for by his share of the royalties for "Green Onions", which hit the charts around the same time as Redding's first session: [Excerpt: Booker T. and the MGs, "Green Onions"] Most of Stax's most important sessions were recorded at weekends -- Jim Stewart still had a day job as a bank manager at this point, and he supervised the records that were likely to be hits -- so Jones could often commute back to the studio for session work, and could play sessions during his holidays. The rest of the time, other people would cover the piano parts, often Cropper, who played piano on Redding's next sessions, with Jenkins once again on guitar. As "These Arms of Mine" didn't start to become a hit until March, Redding didn't go into the studio again until June, when he cut the follow-up, "That's What My Heart Needs", with the MGs, Jenkins, and the horn section of the Mar-Keys. That made number twenty-seven on the Cashbox R&B chart -- this was in the period when Billboard had stopped having one. The follow-up, "Pain in My Heart", was cut in September and did even better, making number eleven on the Cashbox R&B chart: [Excerpt: Otis Redding, "Pain in My Heart"] It did well enough in fact that the Rolling Stones cut a cover version of the track: [Excerpt: The Rolling Stones, "Pain in My Heart"] Though Redding didn't get the songwriting royalties -- by that point Allen Toussaint had noticed how closely it resembled a song he'd written for Irma Thomas, "Ruler of My Heart": [Excerpt: Irma Thomas, "Ruler of My Heart"] And so the writing credit was changed to be Naomi Neville, one of the pseudonyms Toussaint used. By this point Redding was getting steady work, and becoming a popular live act. He'd put together his own band, and had asked Jenkins to join, but Jenkins didn't want to play second fiddle to him, and refused, and soon stopped being invited to the recording sessions as well. Indeed, Redding was *eager* to get as many of his old friends working with him as he could. For his second and third sessions, as well as bringing Jenkins, he'd brought along a whole gang of musicians from his touring show, and persuaded Stax to put out records by them, too. At those sessions, as well as Redding's singles, they also cut records by his valet (which was the term R&B performers in those years used for what we'd now call a gofer or roadie) Oscar Mack: [Excerpt: Oscar Mack, "Don't Be Afraid of Love"] For Eddie Kirkland, the guitarist in his touring band, who had previously played with John Lee Hooker and whose single was released under the name "Eddie Kirk": [Excerpt: Eddie Kirk, "The Hawg, Part 1"] And Bobby Marchan, a singer and female impersonator from New Orleans who had had some massive hits a few years earlier both on his own and as the singer with Huey "Piano" Smith and the Clowns, but had ended up in Macon without a record deal and been taken under Redding's wing: [Excerpt: Bobby Marchan, "What Can I Do?"] Redding would continue, throughout his life, to be someone who tried to build musical careers for his friends, though none of those singles was successful. The changes in Stax continued. In late autumn 1963, Atlantic got worried by the lack of new product coming from Stax. Carla Thomas had had a couple of R&B hits, and they were expecting a new single, but every time Jerry Wexler phoned Stax asking where the new single was, he was told it would be coming soon but the equipment was broken. After a couple of weeks of this, Wexler decided something fishy was going on, and sent Tom Dowd, his genius engineer, down to Stax to investigate. Dowd found when he got there that the equipment *was* broken, and had been for weeks, and was a simple fix. When Dowd spoke to Stewart, though, he discovered that they didn't know where to source replacement parts from. Dowd phoned his assistant in New York, and told him to go to the electronics shop and get the parts he needed. Then, as there were no next-day courier services at that time, Dowd's assistant went to the airport, found a flight attendant who was flying to Memphis, and gave her the parts and twenty-five dollars, with a promise of twenty-five more if she gave them to Dowd at the other end. The next morning, Dowd had the equipment fixed, and everyone involved became convinced that Dowd was a miracle worker, especially after he showed Steve Cropper some rudimentary tape-manipulation techniques that Cropper had never encountered before. Dowd had to wait around in Memphis for his flight, so he went to play golf with the musicians for a bit, and then they thought they might as well pop back to the studio and test the equipment out. When they did, Rufus Thomas -- Carla Thomas' father, who had also had a number of hits himself on Stax and Sun -- popped his head round the door to see if the equipment was working now. They told him it was, and he said he had a song if they were up for a spot of recording. They were, and so when Dowd flew back that night, he was able to tell Wexler not only that the next Carla Thomas single would soon be on its way, but that he had the tapes of a big hit single with him right there: [Excerpt: Rufus Thomas, "Walking the Dog"] "Walking the Dog" was a sensation. Jim Stewart later said “I remember our first order out of Chicago. I was in New York in Jerry Wexler's office at the time and Paul Glass, who was our distributor in Chicago, called in an order for sixty-five thousand records. I said to Jerry, ‘Do you mean sixty-five hundred?' And he said, ‘Hell no, he wants sixty-five thousand.' That was the first order! He believed in the record so much that we ended up selling about two hundred thousand in Chicago alone.” The record made the top ten on the pop charts, but that wasn't the biggest thing that Dowd had taken away from the session. He came back raving to Wexler about the way they made records in Memphis, and how different it was from the New York way. In New York, there was a strict separation between the people in the control room and the musicians in the studio, the musicians were playing from written charts, and everyone had a job and did just that job. In Memphis, the musicians were making up the arrangements as they went, and everyone was producing or engineering all at the same time. Dowd, as someone with more technical ability than anyone at Stax, and who was also a trained musician who could make musical suggestions, was soon regularly commuting down to Memphis to be part of the production team, and Jerry Wexler was soon going down to record with other Atlantic artists there, as we heard about in the episode on "Midnight Hour". Shortly after Dowd's first visit to Memphis, another key member of the Stax team entered the picture. Right at the end of 1963, Floyd Newman recorded a track called "Frog Stomp", on which he used his own band rather than the MGs and Mar-Keys: [Excerpt: Floyd Newman, "Frog Stomp"] The piano player and co-writer on that track was a young man named Isaac Hayes, who had been trying to get work at Stax for some time. He'd started out as a singer, and had made a record, "Laura, We're On Our Last Go-Round", at American Sound, the studio run by the former Stax engineer and musician Chips Moman: [Excerpt: Isaac Hayes, "Laura, We're On Our Last Go-Round"] But that hadn't been a success, and Hayes had continued working a day job at a slaughterhouse -- and would continue doing so for much of the next few years, even after he started working at Stax (it's truly amazing how many of the people involved in Stax were making music as what we would now call a side-hustle). Hayes had become a piano player as a way of getting a little extra money -- he'd been offered a job as a fill-in when someone else had pulled out at the last minute on a gig on New Year's Eve, and took it even though he couldn't actually play piano, and spent his first show desperately vamping with two fingers, and was just lucky the audience was too drunk to care. But he had a remarkable facility for the instrument, and while unlike Booker T Jones he would never gain a great deal of technical knowledge, and was embarrassed for the rest of his life by both his playing ability and his lack of theory knowledge, he was as great as they come at soul, at playing with feel, and at inventing new harmonies on the fly. They still didn't have a musician at Stax that could replace Booker T, who was still off at university, so Isaac Hayes was taken on as a second session keyboard player, to cover for Jones when Jones was in Indiana -- though Hayes himself also had to work his own sessions around his dayjob, so didn't end up playing on "In the Midnight Hour", for example, because he was at the slaughterhouse. The first recording session that Hayes played on as a session player was an Otis Redding single, either his fourth single for Stax, "Come to Me", or his fifth, "Security": [Excerpt: Otis Redding, "Security"] "Security" is usually pointed to by fans as the point at which Redding really comes into his own, and started directing the musicians more. There's a distinct difference, in particular, in the interplay between Cropper's guitar, the Mar-Keys' horns, and Redding's voice. Where previously the horns had tended to play mostly pads, just holding chords under Redding's voice, now they were starting to do answering phrases. Jim Stewart always said that the only reason Stax used a horn section at all was because he'd been unable to find a decent group of backing vocalists, and the function the horns played on most of the early Stax recordings was somewhat similar to the one that the Jordanaires had played for Elvis, or the Picks for Buddy Holly, basically doing "oooh" sounds to fatten out the sound, plus the odd sax solo or simple riff. The way Redding used the horns, though, was more like the way Ray Charles used the Raelettes, or the interplay of a doo-wop vocal group, with call and response, interjections, and asides. He also did something in "Security" that would become a hallmark of records made at Stax -- instead of a solo, the instrumental break is played by the horns as an ensemble: [Excerpt: Otis Redding, "Security"] According to Wayne Jackson, the Mar-Keys' trumpeter, Redding was the one who had the idea of doing these horn ensemble sections, and the musicians liked them enough that they continued doing them on all the future sessions, no matter who with. The last Stax single of 1964 took the "Security" sound and refined it, and became the template for every big Stax hit to follow. "Mr. Pitiful" was the first collaboration between Redding and Steve Cropper, and was primarily Cropper's idea. Cropper later remembered “There was a disc jockey here named Moohah. He started calling Otis ‘Mr. Pitiful' 'cause he sounded so pitiful singing his ballads. So I said, ‘Great idea for a song!' I got the idea for writing about it in the shower. I was on my way down to pick up Otis. I got down there and I was humming it in the car. I said, ‘Hey, what do you think about this?' We just wrote the song on the way to the studio, just slapping our hands on our legs. We wrote it in about ten minutes, went in, showed it to the guys, he hummed a horn line, boom—we had it. When Jim Stewart walked in we had it all worked up. Two or three cuts later, there it was.” [Excerpt: Otis Redding, "Mr. Pitiful"] Cropper would often note later that Redding would never write about himself, but that Cropper would put details of Redding's life and persona into the songs, from "Mr. Pitiful" right up to their final collaboration, in which Cropper came up with lines about leaving home in Georgia. "Mr Pitiful" went to number ten on the R&B chart and peaked at number forty-one on the hot one hundred, and its B-side, "That's How Strong My Love Is", also made the R&B top twenty. Cropper and Redding soon settled into a fruitful writing partnership, to the extent that Cropper even kept a guitar permanently tuned to an open chord so that Redding could use it. Redding couldn't play the guitar, but liked to use one as a songwriting tool. When a guitar is tuned in standard tuning, you have to be able to make chord shapes to play it, because the sound of the open strings is a discord: [demonstrates] But you can tune a guitar so all the strings are the notes of a single chord, so they sound good together even when you don't make a chord shape: [demonstrates open-E tuning] With one of these open tunings, you can play chords with just a single finger barring a fret, and so they're very popular with, for example, slide guitarists who use a metal slide to play, or someone like Dolly Parton who has such long fingernails it's difficult to form chord shapes. Someone like Parton is of course an accomplished player, but open tunings also mean that someone who can't play well can just put their finger down on a fret and have it be a chord, so you can write songs just by running one finger up and down the fretboard: [demonstrates] So Redding could write, and even play acoustic rhythm guitar on some songs, which he did quite a lot in later years, without ever learning how to make chords. Now, there's a downside to this -- which is why standard tuning is still standard. If you tune to an open major chord, you can play major chords easily but minor chords become far more difficult. Handily, that wasn't a problem at Stax, because according to Isaac Hayes, Jim Stewart banned minor chords from being played at Stax. Hayes said “We'd play a chord in a session, and Jim would say, ‘I don't want to hear that chord.' Jim's ears were just tuned into one, four, and five. I mean, just simple changes. He said they were the breadwinners. He didn't like minor chords. Marvell and I always would try to put that pretty stuff in there. Jim didn't like that. We'd bump heads about that stuff. Me and Marvell fought all the time that. Booker wanted change as well. As time progressed, I was able to sneak a few in.” Of course, minor chords weren't *completely* banned from Stax, and some did sneak through, but even ballads would often have only major chords -- like Redding's next single, "I've Been Loving You Too Long". That track had its origins with Jerry Butler, the singer who had been lead vocalist of the Impressions before starting a solo career and having success with tracks like "For Your Precious Love": [Excerpt: Jerry Butler, "For Your Precious Love"] Redding liked that song, and covered it himself on his second album, and he had become friendly with Butler. Butler had half-written a song, and played it for Redding, who told him he'd like to fiddle with it, see what he could do. Butler forgot about the conversation, until he got a phone call from Redding, telling him that he'd recorded the song. Butler was confused, and also a little upset -- he'd been planning to finish the song himself, and record it. But then Redding played him the track, and Butler decided that doing so would be pointless -- it was Redding's song now: [Excerpt: Otis Redding, "I've Been Loving You Too Long"] "I've Been Loving You Too Long" became Redding's first really big hit, making number two on the R&B chart and twenty-one on the Hot One Hundred. It was soon being covered by the Rolling Stones and Ike & Tina Turner, and while Redding was still not really known to the white pop market, he was quickly becoming one of the biggest stars on the R&B scene. His record sales were still not matching his live performances -- he would always make far more money from appearances than from records -- but he was by now the performer that every other soul singer wanted to copy. "I've Been Loving You Too Long" came out just after Redding's second album, The Great Otis Redding Sings Soul Ballads, which happened to be the first album released on Volt Records. Before that, while Stax and Volt had released the singles, they'd licensed all the album tracks to Atlantic's Atco subsidiary, which had released the small number of albums put out by Stax artists. But times were changing and the LP market was becoming bigger. And more importantly, the *stereo* LP market was becoming bigger. Singles were still only released in mono, and would be for the next few years, but the album market had a substantial number of audiophiles, and they wanted stereo. This was a problem for Stax, because they only had a mono tape recorder, and they were scared of changing anything about their setup in case it destroyed their sound. Tom Dowd, who had been recording in eight track for years, was appalled by the technical limitations at the McLemore Ave studio, but eventually managed to get Jim Stewart, who despite -- or possibly because of -- being a white country musician was the most concerned that they keep their Black soul sound, to agree to a compromise. They would keep everything hooked up exactly the same -- the same primitive mixers, the same mono tape recorder -- and Stax would continue doing their mixes for mono, and all their singles would come directly off that mono tape. But at the same time, they would *also* have a two-track tape recorder plugged in to the mixer, with half the channels going on one track and half on the other. So while they were making the mix, they'd *also* be getting a stereo dump of that mix. The limitations of the situation meant that they might end up with drums and vocals in one channel and everything else in the other -- although as the musicians cut everything together in the studio, which had a lot of natural echo, leakage meant there was a *bit* of everything on every track -- but it would still be stereo. Redding's next album, Otis Blue, was recorded on this new equipment, with Dowd travelling down from New York to operate it. Dowd was so keen on making the album stereo that during that session, they rerecorded Redding's two most recent singles, "I've Been Loving You Too Long" and "Respect" (which hadn't yet come out but was in the process of being released) in soundalike versions so there would be stereo versions of the songs on the album -- so the stereo and mono versions of Otis Blue actually have different performances of those songs on them. It shows how intense the work rate was at Stax -- and how good they were at their jobs -- that apart from the opening track "Ole Man Trouble", which had already been recorded as a B-side, all of Otis Blue, which is often considered the greatest soul album in history, was recorded in a twenty-eight hour period, and it would have been shorter but there was a four-hour break in the middle, from 10PM to 2AM, so that the musicians on the session could play their regular local club gigs. And then after the album was finished, Otis left the session to perform a gig that evening. Tom Dowd, in particular, was astonished by the way Redding took charge in the studio, and how even though he had no technical musical knowledge, he would direct the musicians. Dowd called Redding a genius and told Phil Walden that the only two other artists he'd worked with who had as much ability in the studio were Bobby Darin and Ray Charles. Other than those singles and "Ole Man Trouble", Otis Blue was made up entirely of cover versions. There were three versions of songs by Sam Cooke, who had died just a few months earlier, and whose death had hit Redding hard -- for all that he styled himself on Little Richard vocally, he was also in awe of Cooke as a singer and stage presence. There were also covers of songs by The Temptations, William Bell, and B.B. King. And there was also an odd choice -- Steve Cropper suggested that Redding cut a cover of a song by a white band that was in the charts at the time: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] Redding had never heard the song before -- he was not paying attention to the white pop scene at the time, just to his competition on the R&B charts -- but he was interested in doing it. Cropper sat by the turntable, scribbling down what he thought the lyrics Jagger was singing were, and they cut the track. Redding starts out more or less singing the right words: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] But quickly ends up just ad-libbing random exclamations in the same way that he would in many of his live performances: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] Otis Blue made number one on the R&B album chart, and also made number six on the UK album chart -- Redding, like many soul artists, was far more popular in the UK than in the US. It only made number seventy-five on the pop album charts in the US, but it did a remarkable thing as far as Stax was concerned -- it *stayed* in the lower reaches of the charts, and on the R&B album charts, for a long time. Redding had become what is known as a "catalogue artist", something that was almost unknown in rock and soul music at this time, but which was just starting to appear. Up to 1965, the interlinked genres that we now think of as rock and roll, rock, pop, blues, R&B, and soul, had all operated on the basis that singles were where the money was, and that singles should be treated like periodicals -- they go on the shelves, stay there for a few weeks, get replaced by the new thing, and nobody's interested any more. This had contributed to the explosive rate of change in pop music between about 1954 and 1968. You'd package old singles up into albums, and stick some filler tracks on there as a way of making a tiny bit of money from tracks which weren't good enough to release as singles, but that was just squeezing the last few drops of juice out of the orange, it wasn't really where the money was. The only exceptions were those artists like Ray Charles who crossed over into the jazz and adult pop markets. But in general, your record sales in the first few weeks and months *were* your record sales. But by the mid-sixties, as album sales started to take off more, things started to change. And Otis Redding was one of the first artists to really benefit from that. He wasn't having huge hit singles, and his albums weren't making the pop top forty, but they *kept selling*. Redding wouldn't have an album make the top forty in his lifetime, but they sold consistently, and everything from Otis Blue onward sold two hundred thousand or so copies -- a massive number in the much smaller album market of the time. These sales gave Redding some leverage. His contract with Stax was coming to an end in a few months, and he was getting offers from other companies. As part of his contract renegotiation, he got Jim Stewart -- who like so many people in this story including Redding himself liked to operate on handshake deals and assumptions of good faith on the part of everyone else, and who prided himself on being totally fair and not driving hard bargains -- to rework his publishing deal. Now Redding's music was going to be published by Redwal Music -- named after Redding and Phil Walden -- which was owned as a four-way split between Redding, Walden, Stewart, and Joe Galkin. Redding also got the right as part of his contract negotiations to record other artists using Stax's facilities and musicians. He set up his own label, Jotis Records -- a portmanteau of Joe and Otis, for Joe Galkin and himself, and put out records by Arthur Conley: [Excerpt: Arthur Conley, "Who's Fooling Who?"] Loretta Williams [Excerpt: Loretta Williams, "I'm Missing You"] and Billy Young [Excerpt: Billy Young, "The Sloopy"] None of these was a success, but it was another example of how Redding was trying to use his success to boost others. There were other changes going on at Stax as well. The company was becoming more tightly integrated with Atlantic Records -- Tom Dowd had started engineering more sessions, Jerry Wexler was turning up all the time, and they were starting to make records for Atlantic, as we discussed in the episode on "In the Midnight Hour". Atlantic were also loaning Stax Sam and Dave, who were contracted to Atlantic but treated as Stax artists, and whose hits were written by the new Stax songwriting team of Isaac Hayes and David Porter: [Excerpt: Sam and Dave, "Soul Man"] Redding was not hugely impressed by Sam and Dave, once saying in an interview "When I first heard the Righteous Brothers, I thought they were colored. I think they sing better than Sam and Dave", but they were having more and bigger chart hits than him, though they didn't have the same level of album sales. Also, by now Booker T and the MGs had a new bass player. Donald "Duck" Dunn had always been the "other" bass player at Stax, ever since he'd started with the Mar-Keys, and he'd played on many of Redding's recordings, as had Lewie Steinberg, the original bass player with the MGs. But in early 1965, the Stax studio musicians had cut a record originally intending it to be a Mar-Keys record, but decided to put it out as by Booker T and the MGs, even though Booker T wasn't there at the time -- Isaac Hayes played keyboards on the track: [Excerpt: Booker T and the MGs, "Boot-Leg"] Booker T Jones would always have a place at Stax, and would soon be back full time as he finished his degree, but from that point on Duck Dunn, not Lewie Steinberg, was the bass player for the MGs. Another change in 1965 was that Stax got serious about promotion. Up to this point, they'd just relied on Atlantic to promote their records, but obviously Atlantic put more effort into promoting records on which it made all the money than ones it just distributed. But as part of the deal to make records with Sam and Dave and Wilson Pickett, Atlantic had finally put their arrangement with Stax on a contractual footing, rather than their previous handshake deal, and they'd agreed to pay half the salary of a publicity person for Stax. Stax brought in Al Bell, who made a huge impression. Bell had been a DJ in Memphis, who had gone off to work with Martin Luther King for a while, before leaving after a year because, as he put it "I was not about passive resistance. I was about economic development, economic empowerment.” He'd returned to DJing, first in Memphis, then in Washington DC, where he'd been one of the biggest boosters of Stax records in the area. While he was in Washington, he'd also started making records himself. He'd produced several singles for Grover Mitchell on Decca: [Excerpt: Grover Mitchell, "Midnight Tears"] Those records were supervised by Milt Gabler, the same Milt Gabler who produced Louis Jordan's records and "Rock Around the Clock", and Bell co-produced them with Eddie Floyd, who wrote that song, and Chester Simmons, formerly of the Moonglows, and the three of them started their own label, Safice, which had put out a few records by Floyd and others, on the same kind of deal with Atlantic that Stax had: [Excerpt: Eddie Floyd, "Make Up Your Mind"] Floyd would himself soon become a staff songwriter at Stax. As with almost every decision at Stax, the decision to hire Bell was a cause of disagreement between Jim Stewart and his sister Estelle Axton, the "Ax" in Stax, who wasn't as involved in the day-to-day studio operations as her brother, but who was often regarded by the musicians as at least as important to the spirit of the label, and who tended to disagree with her brother on pretty much everything. Stewart didn't want to hire Bell, but according to Cropper “Estelle and I said, ‘Hey, we need somebody that can liaison between the disc jockeys and he's the man to do it. Atlantic's going into a radio station with six Atlantic records and one Stax record. We're not getting our due.' We knew that. We needed more promotion and he had all the pull with all those disc jockeys. He knew E. Rodney Jones and all the big cats, the Montagues and so on. He knew every one of them.” Many people at Stax will say that the label didn't even really start until Bell joined -- and he became so important to the label that he would eventually take it over from Stewart and Axton. Bell came in every day and immediately started phoning DJs, all day every day, starting in the morning with the drivetime East Coast DJs, and working his way across the US, ending up at midnight phoning the evening DJs in California. Booker T Jones said of him “He had energy like Otis Redding, except he wasn't a singer. He had the same type of energy. He'd come in the room, pull up his shoulders and that energy would start. He would start talking about the music business or what was going on and he energized everywhere he was. He was our Otis for promotion. It was the same type of energy charisma.” Meanwhile, of course, Redding was constantly releasing singles. Two more singles were released from Otis Blue -- his versions of "My Girl" and "Satisfaction", and he also released "I Can't Turn You Loose", which was originally the B-side to "Just One More Day" but ended up charting higher than its original A-side. It's around this time that Redding did something which seems completely out of character, but which really must be mentioned given that with very few exceptions everyone in his life talks about him as some kind of saint. One of Redding's friends was beaten up, and Redding, the friend, and another friend drove to the assailant's house and started shooting through the windows, starting a gun battle in which Redding got grazed. His friend got convicted of attempted murder, and got two years' probation, while Redding himself didn't face any criminal charges but did get sued by the victims, and settled out of court for a few hundred dollars. By this point Redding was becoming hugely rich from his concert appearances and album sales, but he still hadn't had a top twenty pop hit. He needed to break the white market. And so in April 1966, Redding went to LA, to play the Sunset Strip: [Excerpt: Otis Redding, "Respect (live at the Whisky A-Go-Go)"] Redding's performance at the Whisky A-Go-Go, a venue which otherwise hosted bands like the Doors, the Byrds, the Mothers of Invention, and Love, was his first real interaction with the white rock scene, part of a process that had started with his recording of "Satisfaction". The three-day residency got rave reviews, though the plans to release a live album of the shows were scuppered when Jim Stewart listened back to the tapes and decided that Redding's horn players were often out of tune. But almost everyone on the LA scene came out to see the shows, and Redding blew them away. According to one biography of Redding I used, it was seeing how Redding tuned his guitar that inspired the guitarist from the support band, the Rising Sons, to start playing in the same tuning -- though I can't believe for a moment that Ry Cooder, one of the greatest slide guitarists of his generation, didn't already know about open tunings. But Redding definitely impressed that band -- Taj Mahal, their lead singer, later said it was "one of the most amazing performances I'd ever seen". Also at the gigs was Bob Dylan, who played Redding a song he'd just recorded but not yet released: [Excerpt: Bob Dylan, "Just Like a Woman"] Redding agreed that the song sounded perfect for him, and said he would record it. He apparently made some attempts at rehearsing it at least, but never ended up recording it. He thought the first verse and chorus were great, but had problems with the second verse: [Excerpt: Bob Dylan, "Just Like a Woman"] Those lyrics were just too abstract for him to find a way to connect with them emotionally, and as a result he found himself completely unable to sing them. But like his recording of "Satisfaction", this was another clue to him that he should start paying more attention to what was going on in the white music industry, and that there might be things he could incorporate into his own style. As a result of the LA gigs, Bill Graham booked Redding for the Fillmore in San Francisco. Redding was at first cautious, thinking this might be a step too far, and that he wouldn't go down well with the hippie crowd, but Graham persuaded him, saying that whenever he asked any of the people who the San Francisco crowds most loved -- Jerry Garcia or Paul Butterfield or Mike Bloomfield -- who *they* most wanted to see play there, they all said Otis Redding. Redding reluctantly agreed, but before he took a trip to San Francisco, there was somewhere even further out for him to go. Redding was about to head to England but before he did there was another album to make, and this one would see even more of a push for the white market, though still trying to keep everything soulful. As well as Redding originals, including "Fa-Fa-Fa-Fa (Sad Song)", another song in the mould of "Mr. Pitiful", there was another cover of a contemporary hit by a guitar band -- this time a version of the Beatles' "Day Tripper" -- and two covers of old standards; the country song "Tennessee Waltz", which had recently been covered by Sam Cooke, and a song made famous by Bing Crosby, "Try a Little Tenderness". That song almost certainly came to mind because it had recently been used in the film Dr. Strangelove, but it had also been covered relatively recently by two soul greats, Aretha Franklin: [Excerpt: Aretha Franklin, "Try a Little Tenderness"] And Sam Cooke: [Excerpt: Sam Cooke, "Live Medley: I Love You For Sentimental Reasons/Try a Little Tenderness/You Send Me"] This version had horn parts arranged by Isaac Hayes, who by this point had been elevated to be considered one of the "Big Six" at Stax records -- Hayes, his songwriting partner David Porter, Steve Cropper, Duck Dunn, Booker T. Jones, and Al Jackson, were all given special status at the company, and treated as co-producers on every record -- all the records were now credited as produced by "staff", but it was the Big Six who split the royalties. Hayes came up with a horn part that was inspired by Sam Cooke's "A Change is Gonna Come", and which dominated the early part of the track: [Excerpt: Otis Redding, "Try a Little Tenderness"] Then the band came in, slowly at first: [Excerpt: Otis Redding, "Try a Little Tenderness"] But Al Jackson surprised them when they ran through the track by deciding that after the main song had been played, he'd kick the track into double-time, and give Redding a chance to stretch out and do his trademark grunts and "got-ta"s. The single version faded out shortly after that, but the version on the album kept going for an extra thirty seconds: [Excerpt: Otis Redding, "Try a Little Tenderness"] As Booker T. Jones said “Al came up with the idea of breaking up the rhythm, and Otis just took that and ran with it. He really got excited once he found out what Al was going to do on the drums. He realized how he could finish the song. That he could start it like a ballad and finish it full of emotion. That's how a lot of our arrangements would come together. Somebody would come up with something totally outrageous.” And it would have lasted longer but Jim Stewart pushed the faders down, realising the track was an uncommercial length even as it was. Live, the track could often stretch out to seven minutes or longer, as Redding drove the crowd into a frenzy, and it soon became one of the highlights of his live set, and a signature song for him: [Excerpt: Otis Redding, "Try a Little Tenderness (live in London)"] In September 1966, Redding went on his first tour outside the US. His records had all done much better in the UK than they had in America, and they were huge favourites of everyone on the Mod scene, and when he arrived in the UK he had a limo sent by Brian Epstein to meet him at the airport. The tour was an odd one, with multiple London shows, shows in a couple of big cities like Manchester and Bristol, and shows in smallish towns in Hampshire and Lincolnshire. Apparently the shows outside London weren't particularly well attended, but the London shows were all packed to overflowing. Redding also got his own episode of Ready! Steady! Go!, on which he performed solo as well as with guest stars Eric Burdon and Chris Farlowe: [Excerpt: Otis Redding, Chris Farlowe and Eric Burdon, "Shake/Land of a Thousand Dances"] After the UK tour, he went on a short tour of the Eastern US with Sam and Dave as his support act, and then headed west to the Fillmore for his three day residency there, introducing him to the San Francisco music scene. His first night at the venue was supported by the Grateful Dead, the second by Johnny Talbot and De Thangs and the third by Country Joe and the Fish, but there was no question that it was Otis Redding that everyone was coming to see. Janis Joplin turned up at the Fillmore every day at 3PM, to make sure she could be right at the front for Redding's shows that night, and Bill Graham said, decades later, "By far, Otis Redding was the single most extraordinary talent I had ever seen. There was no comparison. Then or now." However, after the Fillmore gigs, for the first time ever he started missing shows. The Sentinel, a Black newspaper in LA, reported a few days later "Otis Redding, the rock singer, failed to make many friends here the other day when he was slated to appear on the Christmas Eve show[...] Failed to draw well, and Redding reportedly would not go on." The Sentinel seem to think that Redding was just being a diva, but it's likely that this was the first sign of a problem that would change everything about his career -- he was developing vocal polyps that were making singing painful. It's notable though that the Sentinel refers to Redding as a "rock" singer, and shows again how different genres appeared in the mid-sixties to how they appear today. In that light, it's interesting to look at a quote from Redding from a few months later -- "Everybody thinks that all songs by colored people are rhythm and blues, but that's not true. Johnny Taylor, Muddy Waters, and B.B. King are blues singers. James Brown is not a blues singer. He has a rock and roll beat and he can sing slow pop songs. My own songs "Respect" and "Mr Pitiful" aren't blues songs. I'm speaking in terms of the beat and structure of the music. A blues is a song that goes twelve bars all the way through. Most of my songs are soul songs." So in Redding's eyes, neither he nor James Brown were R&B -- he was soul, which was a different thing from R&B, while Brown was rock and roll and pop, not soul, but journalists thought that Redding was rock. But while the lines between these things were far less distinct than they are today, and Redding was trying to cross over to the white audience, he knew what genre he was in, and celebrated that in a song he wrote with his friend Art

There's more than one of everything, and that include our hosts this week. We have not two hosts talking about the climactic first season finale but once again we have three! This time, Chris and Darrell are joined by a voice that listeners of the original run of The Fringe Podcast will definitely recognize - the one and only Clint! In Fringe's first season finale, Olivia notices a connection between The Pattern incidents while Walter and Peter retrieve the only thing that can stop Jones from his ultimate plan. Everything comes to a head when a final confrontation with Jones (in this timeline anyway) leads Olivia to finally coming face-to-face with William Bell. We discuss our favorite moments from this finale, things that we noticed for the first time on this rewatch, and so much more. We also get feedback submissions from Geoff (xforce11), Michael London of Fringe Connections, Rory, and Patty from Canadia! If you would like to be part of the feedback section in the future, be sure to hit us up via one of the contact methods listed below. We would also love to have you as a co-host for a season 2 episode like Clint was here. Sign up to be a co-host by visiting the community portal!   Links Mentioned: Fringe Wiki - “There's More Than One of Everything" (1.20) Fringe Connections - “There's More Than One of Everything" Fringe Matters - "Fringe - 'There's More Than One of Everything' (1.20) - Season Finale" Stream Fringe theme piano edit by TgypT The Fringemunks - “Epis. 1.20: There's More Than One of Everything"   Connect with Us: Golden Spiral Media Community Portal Golden Spiral Media's Twitter Page The Fringe Podcast Rewatch's Instagram Page Listener Feedback Webpage  

The R&B classic singer and songwriter William Bell joins this week along with the genre-bending Alejandro Escovedo. Nick also discusses the value of connecting people struggling with mental illness to volunteer opportunities with Project Helping founder, Justin Kruger. That's all this week on eTown!   Visit our Youtube Channel to see artist interviews, live recordings, studio sessions, and more!   Be a part of the audience at our next recording: https://www.etown.org/etown-hall/all-events/

John Leventhal is a multiple Grammy Award-winning producer, guitarist and songwriter who has been steering the ship on many albums and musical projects over the last 40 years. John first came onto most people's radar when he produced Shawn Colvin's successful debut album “Steady On”. They collaborated again in 1996 on “A Few Small Repairs” which was a smash hit. Coming up in the New York live music scene, John also worked with Jim Lauderdale in those years and produced Jim's debut as well. A late bloomer to music and the electric guitar, John has developed a subtle yet complex and unmistakeable sound that has kept him working as a live musician and producer for artists like William Bell, Marc Cohn, Sara Jarosz, and Rodney Crowell. Leventhal has also produced a slew of successful and acclaimed albums with his wife of many years, Rosanne Cash. As a songwriter, he's penned songs for Tedeschi Trucks, Vince Gill, George Strait, Patty Loveless, and many more. John has (finally!) made his debut solo album which he is threatening to release sometime this year, called “Rumble Strip”. I've heard it, can vouch for its awesomeness, and we talk about it on the show, although you won't be able to hear it for some months yet! John is a bit elusive - he doesn't have a website, but watch for the new album, and he'll be out on tour with Rosanne Cash - you can find info on their dates at www.rosannecash.comListen to the accompanying playlist for this episode here, which features the artist's own music, plus many of the songs that were discussed during the show.This episode is brought to you by Izotope - check out their amazing recording software at: www.izotope.comThanks for your support, and your fearless host, Steve Dawson can be found at: www.stevedawson.ca

Support the podcast: patreon.com/thehemingwaylist War & Peace - Ander Louis Translation: Kindle and Amazon Print Host: @anderlouis

Tuba master Harvey Phillips founded the celebration in honor of his teacher William Bell who was born on Christmas Day, 1902. The first concert took place in 1974 in New York City. Over the decades, the fests spread to cities around the globe.

Lucas voters to decide on $30.1 million new school bond issue: https://www.richlandsource.com/news/elections/lucas-voters-to-decide-on-30-1-million-new-school-bond-issue/article_987c3c80-50b7-11ed-abf5-637e67fd733b.html Today – Voters in the Lucas Local School District will decide the fate of a $30.1 million bond issue on November 8th. If approved, the 37-year, 12-mill bond issue would cost taxpayers $420 per year for every $100,000 of property value.Support the show: https://www.sourcemembers.com/See omnystudio.com/listener for privacy information.

In this episode we welcome the very engaging Robert Gordon "all the way from" his hometown of Memphis and ask him to talk about the music of his city from Sun and Stax to Alex Chilton and Big Star.Robert tells us about his childhood, along with the blues epiphany that was watching Furry Lewis support the Rolling Stones on the Memphis leg of their 1975 U.S. tour. Moving on to Stax, we look back at a great 1988 interview Robert did with the Memphis Horns' Andrew Love and Wayne Jackson — and then forward to the Wattstax festival, staged in L.A. 50 years ago this summer.Clips from the week's new audio interview — Tony Scherman asking Billy Gibbons about Robert Johnson — afford us the perfect excuse not just to discuss ZZ Top and their imminent new album but to revisit our guest's exhaustive 1991 essay on the "plundering" of Delta blues legend Johnson's estate.Mark talks us through a selection of newly-added library pieces about Frankie Lymon, Alma Cogan, San Francisco's Trips festival, Syreeta, Gang of Four and Lester Bowie's Brass Fantasy. In the absence of a vacationing Jasper, Barney wraps things up with quotes from articles about rock scribe R(ichard) Meltzer, the Specials and — circling back to Stax — Booker T. Jones recalling co-writing Albert King's brooding 'Born Under a Bad Sign' with William Bell...Many thanks to special guest Robert Gordon; the 25th anniversary edition of It Came From Memphis is published by Third Man Books and available now. Visit his website at therobertgordon.com.Pieces discussed: The Memphis Horns, The plundering of Robert Johnson, It Came From Memphis, Wattstax, Wattstax, Wattstax, Billy Gibbons audio, Frankie Lymon, Andrew Loog Oldham, Syreeta, Punk magazine, XTC, Lester Bowie's Brass Fantasy, Alma Cogan, Trips Festival, Sly Stone, Gang of Four, Richard Meltzer, The Specials and Booker T. Jones.

Val and William Bell discuss the struggles the family faces emotionally and how Seans big brother never speaks about the loss of Sean. While Seans youngest daughter who was only months old at the time remembers unique things about him. Learn more about your ad choices. Visit megaphone.fm/adchoices