Podcast appearances and mentions of Willie Mitchell

Remenem els arxius del segell Fania, un far de la m

El Larchmont Casino estaba ubicado en Boston Post Road, justo en las afueras de la ciudad. Para financiar la empresa, todos los músicos sufrieron un recorte en su sueldo y tuvieron que vivir del dinero del alquiler y la comida durante un tiempo. Con José Manuel Corrales.

Our guest this week, Chicago singer-songwriter/guitarist Nikki O'Neill, moved around a lot as a child. A LOT. But no matter what life threw at her, Al Green's 1972 landmark soul/R&B release 'Let's Stay Together' always felt like home.  "Whether times are good or bad, happy or sad - let's stay together..." Songs discussed in this episode: Let's Stay Together - Roberta Flack; Newcomer Blues, Drive, Square One - Nikki O'Neill; Take Me To The River, Let's Stay Together - Al Green; Let's Stay Together - Tina Turner; La-La For You, So You're Leaving, What Is This Feeling - Al Green; I Wish The Sun Could Shine On Me - Nikki O'Neill; Give Me That Old Time Religion - Famous Ward Singers; Old Time Lovin' - Al Green; I've Never Found A Girl (To Love Me Like You Do) - Eddie Floyd; I've Never Found A Girl - Al Green; How Can You Mend A Broken Heart - Bee Gees; How Can You Mend A Broken Heart, Judy, Ain't No Fun To Me - Al Green; Live Like You've Just Begun - Nikki O'Neill

Viajamos 60 años atrás en el tiempo en busca de singles que alcanzaron su puesto más alto en el Billboard Hot 100 en enero de 1965.(Foto del podcast por R. McPhedran; Petula Clark con el disco de oro por “Downtown”, 1965)Playlist;(sintonía) LEE MORGAN “The sidewinder part 1” (top 81)PETULA CLARK “Downtown” (top 1)SHIRLEY ELLIS “The name game” (top 3)MARTHA and THE VANDELLAS “Wild one” (top 3)THE MARVELETTES “Too many fish in the sea” (top 25)MARVIN GAYE “How sweet it is to be loved by you” (top 6)MARY WELLS “Use your head” (top 34)THE LARKS “The jerk” (top 7)THE CONTOURS “Can you jerk like me” (top 47)JAMES BROWN and THE FAMOUS FLAMES “Have mercy baby” (top 92)BROOK BENTON “Do it right” (top 67)JOE TEX “Hold what you got” (top 5)THE IMPRESSIONS “Amen” (top 7)RAY CHARLES “Makin’ whoope” (top 46)WILLIE MITCHELL “Percolatin’” (top 85)CANDY and THE KISSES “The 81” (top 51)THE EXCITERS “I want you to be my boy” (top 98)CHAD and JEREMY “Willow weep for me” (top 15)Escuchar audio

Seleccionamos canciones que alcanzaron su puesto más alto en el Billboard Hot 100 en octubre de 1964. En este mes de hace 60 años los ingleses Manfred Mann consiguen un número 1. Pero es la escudería Motown la que saca pecho frente la invasión británica y coloca un buen puñado de bandas en la zona alta de las listas, con mención especial para The Supremes que comenzaban a consolidar su reinado de éxitos.(Foto del podcast; The Temptations)Playlist;(sintonía) BILLY STRANGE “The James Bond heme” (top 58)MANFRED MANN “Do wah diddy diddy” (top 1)THE SUPREMES “Baby love” (top 1)MARTHA and THE VANDELLAS “Dancing in the street” (top 2)FOUR TOPS “Baby I need your lovin” (top 11)THE TEMPTATIONS “Girl (why you wanna make me blue)” (top 26)SANDY NELSON “Teen beat 65” (top 44)THE BEACH BOYS “When I grow up to be a man” (top 9)THE HONDELLS “Little Honda” (top 9)JAN and DEAN “Ride the wild surf” (top 16)WILLIE MITCHELL “20-75” (top 31)THE BLENDELLS “La la la la la” (top 62)CHAD and JEREMY “A summer song” (top 7)THE BEATLES “Matchbox” (top 17)BILLYJ KRAMER and THE DAKOTAS “From a window” (top 23)DON COVAY and THE GOODTIMERS “Mercy mercy” (top 35)THE IMPRESSIONS “You must belive me” (top 15)THE KINGSMEN “Death of an angel” (top 42)DEL SHANNON “Do you want to dance” (top 43)THE JELLY BEANS “Baby be mine” (top 51)Escuchar audio

Whether times are good or bad, happy or sad, Diallo & LUXXURY are here to comfort you by breaking down one of the most memorable R&B songs of all time. On this episode, the guys discuss how Al Green wrote the “Let's Stay Together” so quickly, why producer WIllie Mitchell's influenced Green's singing style, and share Green's sweet, isolated falsetto vocals.

Our guest in this Rhythms podcast is Boo Mitchell, the son of legendary Memphis producer Willie Mitchell, whose Royal Studios featured the incredible Hi Rhythm Section playing behind a myriad of hits from the likes of Al Green, Ann Peebles and many more. Boo has his own formidable career working with many high profile musicians at Royal and producing the acclaimed 2014 documentary Take Me to the River, celebrating the intergenerational and interracial musical influence of Memphis, in the face of pervasive discrimination and segregation. There is also a New Orleans version and in this podcast Boo reveals plans for another documentary in an overseas location.  Boo Mitchell is bringing some of the remaining Hi Rhythm Section members to Blues on Broadbeach this weekend (May 16-19)with guest vocalists Lina Beach and Jerome Chism. Boo will also be showing Take Me To The River and taking about the documentary.   

Karen Dillard Brown and Michelle Isom are special guests for today's intro. They visited the studio to discuss the upcoming Kitchen & The Cross benefit at Neil's Music Room on March 24th. Kitchen & The Gross raises funds to help feed the homeless. Last year, they raised enough money to make 10,000 meals.   Our featured guest is legendary bassist Davy Dave Smith. After our Josheen Moisturizer shenanigans, we dig deep into Dave's history as a Memphis bass player both on stage and in the studio. He has worked with such acts as Kris Kristofferson and Rita Coolidge, Jonny Lang, Buddy Guy, John Mayall, Cat Power, Leo Kottke, Luther Allison, Al Green, Willie Mitchell, Steve Cropper, Kenny Wayne Shepherd, Scotty Moore, Dj Fontana, Rufus Thomas, Wilson Pickett, Ike Turner, BB King, and others.   Currently, Dave works with The Deb Jam Band and Landslide: A Memphis Tribute to Fleetwood Mac   Davy Dave Snith FB https://www.facebook.com/davythekid

# Al Green take me to the river # one of the greatest artists ever # singer songwriter producer, musician # classic production with Willie Mitchell and the memphis sound musicians # respect and appreciate --- Support this podcast: https://podcasters.spotify.com/pod/show/mr-maxxx/support

It's a whole lotta soul and old school R&B tonight on Punks in Parkas! Hear soulful tracks by the likes of Paolo Nutini, Roger and the Gypsies, Willie Mitchell and more!Tune into new broadcasts of Punks In Parkas, Every Monday from Midday – 1 PM EST / 5 - 6 PM GMTFor more info visit: https://thefaceradio.com/punks-in-parkas//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.

It's a whole lotta soul and old school R&B tonight on Punks in Parkas!Hear soulful tracks by the likes of Paolo Nutini, Roger and the Gypsies, Willie Mitchell and more!

Author: The Best Song Ever (The Week)"A Nickel And A Nail" by O.V. WrightThe greatest soul song, by the greatest soul singer, you never heard. Here's the story of O.V. Wright and the Memphis soul maestro who gave him his moment of pop song greatness by harkening back to Gospel roots.You can hear "A Nickel And A Nail" along with other songs by Willie Mitchell and the Memphis Horns here .This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5409105/advertisement

-"Miguel Ángel Julián, "Soul Teller", es un excelente cantante y compositor, que lleva más de 30 años trabajando en el mundo de la música y actuando en escenarios de varios países. Pionero del "Soul" en nuestro país con su banda "The Cool Jerks", es el único artista español que grabó con el legendario productor norteamericano Willie Mitchell en su estudio de Memphis y su dominio del inglés le ha llevado a vivir en Londres estos últimos años. Desde la capital británica, Miguel Ángel desarrolla su trabajo artístico por diferentes países europeos y ahora viene a nuestro país para realizar varios conciertos, incluida una actuación, que se espera sea memorable en la plaza mayor de Salamanca el 13 de Septiembre. Aprovechamos la ocasión para hablar con Miguel Ángel Julián, "Soul Teller", de estos últimos años, de su trabajo actual y de sus próximos proyectos." -"La organización de defensa de los animales "Anima Naturalis", ha realizado una profunda investigación sobre las fiestas populares con toros en nuestro país. Ha sido un trabajo arduo, complejo y lleno de obstáculos pues muchos ayuntamientos y comunidades no aplican una política de transparencia sobre el uso de fondos públicos. Como resultado de esa investigación, la organización destaca que más de 1800 municipios organizan cada año algún tipo de fiesta popular con toros y se destinan al menos 42 millones de euros anuales para esas fiestas. Y esa cifra puede ser el doble o más, pues, aunque la Ley exige transparencia en el destino del dinero público que hace cada ayuntamiento, sólo el 47% de los ayuntamientos contactados por la organización, respondió cumpliendo los plazos determinados por la Ley 19/2013. Muchos de los ciudadanos de esos municipios no conocen las partidas que dedican sus ayuntamientos a este tipo de actos y muchos de ellos preferirían que se dedicaran a otros fines. Hablamos de todas estas cuestiones con Aída Gascón, portavoz de "Anima Naturalis", Escuchar audio

The runoff election for the District Three Public Service Commissioner will take place tomorrow, where voters will choose between 18-year incumbent Lambert Boissiere III and environmental activist Davante Lewis. The Times-Picayune | New Orleans Advocate's editorial director and columnist Stephanie Grace and WRKF's Paul Braun tell voters what they need to know before they hit the polls. The quarterfinals of the 2022 FIFA World Cup starts today, and New Orleanians are packing sports bars to watch. But there's one bar whose soccer culture is outmatched, attracting fans from around the world. Louisiana Considered's Managing Producer Alana Schreiber brings us this story from Finn McCool's Irish Pub in Midcity. Each week, American Routes brings you Shortcuts, a sneak peek at our upcoming show. This week, Nick Spitzer speaks with Don Bryant, who started out with Willie Mitchell at Hi Records in Memphis and transformed into an old school singer and prolific songwriter.  Today's episode of Louisiana Considered was hosted by Patrick Madden. Our managing producer is Alana Schreiber and our digital editor is Katelyn Umholtz. Our engineers are Garrett Pittman and Aubry Procell. You can listen to Louisiana Considered Monday through Friday at 12:00 and 7:30 pm. It's available on Spotify, Google Play, and wherever you get your podcasts.  Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to. Louisiana Considered is made possible with support from our listeners. Thank you!See omnystudio.com/listener for privacy information.

#Al Green full of fire # one of the greatest artists ever # classic Memphis sound soul# singer, songwriter musician producer # producer Willie Mitchell respect and Rip # classic song and vocals --- Support this podcast: https://anchor.fm/mr-maxxx/support

I am joined by Willie Mitchell. Willie is the owner of Tofino Resort + Marina, a high-end boutique hotel with adventure in its DNA. He spent 16 years playing hockey as an NHL defenseman and his career peak came with the LA Kings, where he was part of the club's two Stanley Cup-winning rosters in 2012 and 2014 , he retired in 2016 and took on an entirely different challenge when he and two partners purchased a motel and marina in the small Vancouver Island resort municipality of Tofino. In this episode Willie talks about his safe haven and his connection with nature, finding his identity, the realities of being in the NHL, learning about business as he went, being known as “Willie Mitchell the hockey player” and feeling like he was more than that, insecurities of not being a great student, and reaching that “high” with the Stanley cup. He also talks about his business and what he learned from being in the hospitality industry. Follow @wellnowwhatpodcast

Label: Hi 2075Year: 1964Condition: M-Last Price: $30.00. Not currently available for sale.This amazing instrumental doesn't get enough attention outside of the (relatively) small club of knowledgeable soul music fans around the world. Even within that group, a lot of folks probably think of Willie Mitchell primarily for his work with Al Green and other artists in the early 1970's at Hi in Memphis. Never knowing that he also produced a string of seminal instrumental soul records every bit as influential as those of better-known Memphis acts like the Bar-Kays or Booker T & the MG's. This is probably his very best of the best. And don't think all the goodness is on the A side, either... this one's bright 'n' lively B side is hugely popular with Northern Soul clubs. Note: This beautiful copy comes in a vintage Hi Records factory sleeve. It grades very close to Mint in appearance (Labels, Vinyl) and has powerful, pristine Mint sound.

Host J.D. Reager revisits his conversation with a Memphis music icon, the late Howard Grimes. They discuss Mr. Grimes' early career as a drummer in the '50s, his work with fellow legends such as Rufus & Carla Thomas, William Bell, Al Green, Ann Peebles, O.V. Wright and Willie Mitchell, writing his autobiography Timekeeper, and how Memphis music has evolved over the years. This conversation originally ran on the Back to the Light podcast in June of 2021, and was re-aired in this form on WYXR 91.7 FM radio on June 20, 2022.

Former Vancouver Canuck and “West Coast Express” line member Brendan Morrison joins Sekeres & Price for an extended interview. Reflecting on his early days growing up in Pitt Meadows, British Columbia playing street hockey in his cul-de-sac. His development as a player into his draft year and his time spent with the Canucks. Now retired from the NHL, Brendan spends his time hosting his firing and adventure show "Reel West Coast." Former Vancouver Canucks forward, Brendan Morrison, joined Matt and Blake for our latest holiday special programming. Started off talking about playoff hockey. Says they are the best games to play in. Talked about going up against Mike Smith, who played for the Coyotes, as a Blackhawk. In the battle of Alberta, he is going for the Flames, having played there for awhile. Talked about growing up in Pitt Meadows. Doesn’t exactly remember the first time he was on the ice but he was 5 years old. Took to the game right away. Road hockey was a huge part of his life growing up. From an early age, he was always a guy that put up numbers. Not saying it was easy but that was his job. He just went out and played and that was the outcome. Talked about why he went the Jr. A and college route. Talked about being added to the Portland Winterhawks protected list. He was pretty intent on going to school, though. Talked about his time in Michigan. Was there the same time the Fab 5 were there. Knew that he needed to get bigger and stronger and 4 years at school gave him that time. Talked about the players he played with. It was never a rebuild but a reload, every year. Talked about “The Michigan”. He was on the ice when it happened. Talked about being drafted by the New Jersey Devils. Talked about him getting drafted right on the nose where Bobby Mac had him going. Talked about the Devils development system at the time. Admits he may have been a little impatient with how they brought him along. His time in the minors was good for his development in hindsight. Talked about meeting Willie Mitchell. Talked about the story of him getting called up to his first NHL game. Talked about his first year with the Canucks. Talked about playing on the West Coast Express. Talked about playing with Todd Bertuzzi. He was the best power forward in the game. A total package. When he played a bruising, finishing his checks style, he created room. They all thought the game very similarly. At the same time, they all brought something different. Talked about what would have been had they gotten past the Minnesota Wild in 03. Talked about the Bertuzzi - Moore incident. Says he looks back and it was the perfect storm. If it was a close game, none of this happens. Nothing was meant to happen the way it did. It was horrendous for everyone. Talked about his final year with the Canucks. BMo really believed that he would retire a Canuck. Didn’t end up that way. Talked about how the deal with Anaheim came together. Had a tough year that year. Says it was the first time he dreaded going to the rink. Still thought he was coming back to Vancouver for 10-11. Told the story about training camp. Was totally blindsided by not making the team after coming in on a PTO. Said he never got a call from from Gillis or Gilman. Got a call from Henning. Said they wanted to get younger and bigger. Was pissed off. Knew the team had a legit chance to win and couple be used as a complimentary piece. It’s over with now. Flames gave him a call. The next day, he signed in CAL. Talked about Reel West Coast. Wants to show off the adventure that fishing is. Not only reeling in the fish but the culture, the scenery. He has been all over the place. It’s been a great success. Talked about who the better fisherman between him and Willie Mitchell.See omnystudio.com/listener for privacy information.

Former Vancouver Canuck and “West Coast Express” line member Brendan Morrison joins Sekeres & Price for an extended interview. Reflecting on his early days growing up in Pitt Meadows, British Columbia playing street hockey in his cul-de-sac. His development as a player into his draft year and his time spent with the Canucks. Now retired from the NHL, Brendan spends his time hosting his firing and adventure show "Reel West Coast." Former Vancouver Canucks forward, Brendan Morrison, joined Matt and Blake for our latest holiday special programming. Started off talking about playoff hockey. Says they are the best games to play in. Talked about going up against Mike Smith, who played for the Coyotes, as a Blackhawk. In the battle of Alberta, he is going for the Flames, having played there for awhile. Talked about growing up in Pitt Meadows. Doesn’t exactly remember the first time he was on the ice but he was 5 years old. Took to the game right away. Road hockey was a huge part of his life growing up. From an early age, he was always a guy that put up numbers. Not saying it was easy but that was his job. He just went out and played and that was the outcome. Talked about why he went the Jr. A and college route. Talked about being added to the Portland Winterhawks protected list. He was pretty intent on going to school, though. Talked about his time in Michigan. Was there the same time the Fab 5 were there. Knew that he needed to get bigger and stronger and 4 years at school gave him that time. Talked about the players he played with. It was never a rebuild but a reload, every year. Talked about “The Michigan”. He was on the ice when it happened. Talked about being drafted by the New Jersey Devils. Talked about him getting drafted right on the nose where Bobby Mac had him going. Talked about the Devils development system at the time. Admits he may have been a little impatient with how they brought him along. His time in the minors was good for his development in hindsight. Talked about meeting Willie Mitchell. Talked about the story of him getting called up to his first NHL game. Talked about his first year with the Canucks. Talked about playing on the West Coast Express. Talked about playing with Todd Bertuzzi. He was the best power forward in the game. A total package. When he played a bruising, finishing his checks style, he created room. They all thought the game very similarly. At the same time, they all brought something different. Talked about what would have been had they gotten past the Minnesota Wild in 03. Talked about the Bertuzzi - Moore incident. Says he looks back and it was the perfect storm. If it was a close game, none of this happens. Nothing was meant to happen the way it did. It was horrendous for everyone. Talked about his final year with the Canucks. BMo really believed that he would retire a Canuck. Didn’t end up that way. Talked about how the deal with Anaheim came together. Had a tough year that year. Says it was the first time he dreaded going to the rink. Still thought he was coming back to Vancouver for 10-11. Told the story about training camp. Was totally blindsided by not making the team after coming in on a PTO. Said he never got a call from from Gillis or Gilman. Got a call from Henning. Said they wanted to get younger and bigger. Was pissed off. Knew the team had a legit chance to win and couple be used as a complimentary piece. It’s over with now. Flames gave him a call. The next day, he signed in CAL. Talked about Reel West Coast. Wants to show off the adventure that fishing is. Not only reeling in the fish but the culture, the scenery. He has been all over the place. It’s been a great success. Talked about who the better fisherman between him and Willie Mitchell.See omnystudio.com/listener for privacy information.

Welcome back to the Truth About Recording And Mixing.  In this episode we talk to Scott Bomar of Electrophonic Recording and now the studio manager at Sam Phillips in Memphis TN. Scott came up in Memphis with the band Impala and has had a long career in both recording and creating music for film. His current band the Bo Keys is a collaboration with many Memphis greats past and present. He has worked at Doug Easley Recording, Ardent, Royal, Sam Phillips and continues to carry on the proud tradition of Memphis music making.   The Truth About Recording And Mixing is brought to you by the Fretboard Journal from Crackle & Pop! Studio in Ballard Washington and is supported by Izotope. Get 10% off any Izotope product by going to their website and using the code FRET10 on checkout.   Topics in this episode:   01:20 - The Fretboard Journal announces their Fretboard Summit Aug 25-27 at the Old Town School of Folk Music in Chicago this summer. The Truth About Recording and Mixing will be there! 02:20 - Send us your questions for Mark Greenberg, manager of the Wilco Loft! 03:05 - Listener question from Jeff in Ohio. 04:50 - Welcome Scott Bomar - what's happening now. Moving Electraphonic into the Sam Phillips Recording building and taking on being studio manager there. 08:15 - Scott's path coming up in bands and in studios. His band Impala, working at Doug Easley, recording with Roland Janes at Sam Phillips. 19:20 - More on the history and the setup at Sam Phillips Recording. 26:40 - Forming the Bo Keys and working with Willie Mitchell at Royal Studios. Become assistant engineer under Willie at Royal. Assisting on Al Green's “comeback albums”. 31:55 - The next chapters at Sam Phillips recording. Keeping the huge collection of incredible equipment maintained and available to the studios clients. 37:55 - the history of Electraphonic Recording. 43:45 - Recording strings at Royal Studios 45:45 - Scott's tips for recording drums & horns. Working with Howard Grimes. 49:50 - Working with singer and writer Don Bryant. 61:05 - Upcoming projects - a solo record in the works. 62:44 - Getting into making music for film, Hustle & Flow and what that led to. 75:55 - Why Spectra Sonics? Scott's experiences and the console that will now be installed at Sam Phillips. 88:55 - Impala recording at Conrad Uno's Egg Studio. 93:26 - Thanks everyone! And a special request for submissions.   Gear Mentioned:   RCA 77s, Neumann U47, U48, Neumann Lathe, Universal Audio 176, Universal Audio 101 preamps, Scully, Spectra Sonics, Electrodyne, Studer, Pultec EQ.   

Al Green is often referred to as ‘The Last of the Great Soul Singers'. In the 1970s the masterpieces he released, like ‘Let's stay together' and ‘Tired of being alone', were in part due to record producer and vocal mentor Willie Mitchell, who signed him to his label Hi Records. Mitchell's influence stretches from the Rolling Stones, Talking Heads, Wu-Tang Clan, to Kanye West. Back then, Green enjoyed seven consecutive million-seller hits. But slap-bang in the middle of his success, he was ‘born again', brought on after his girlfriend, Mary Woodson White, poured a load of grits (boiled cornmeal) over him, causing severe burns before committing suicide. She was furious he wouldn't marry her despite the fact that she was already married. By '76, Green had become a Reverend, and in '78, when his commercial success faded, he started recording Gospel music for which he won eight Grammys over a period of a decade. In 1988, he returned to his soul roots and alongside Annie Lennox, recorded ‘Put a little love in your heart'. A year later he released ‘The message is Love' with Arthur Baker. By the time I met Reverend Al Green at the Full Gospel Tabernacle in '93 for an MTV News at Night special on Memphis, he had released the widely underrated album, ‘Don't Look Back', which featured the song ‘Love is a beautiful thing'. He played and sang for us. That particular song starts with the words ‘This is what I believe' and towards the end references his greatest hits. When I asked him about his own influences, he cited Elvis Presley. He told me that Elvis was the forerunner, not only for him but for all others of his era. Green had bought all Elvis's music and told me that he had met him in the urinal of a Beale Street club in Memphis, where they instantly bonded. Later, in an often repeated quote, he has said he would have shaken Elvis's hand but it just didn't seem appropriate at the time! See acast.com/privacy for privacy and opt-out information.

Moving is never “fun” but along the way (if you're lucky) you find little treasures. During our latest move, I found boxes and cases with interviews. It got me to thinking – where is that Solomon Burke Interview? We had talked at the Edmonton Folk Festival several years earlier and in 2010 when he was releasing a new album Nothing's Impossible. Produced by Willie Mitchell in Memphis. Same Studio, producer, musicians as Rev Al Green! We had a great chat and off he went – passing away weeks later as he passed through Amsterdam's airport. I simply couldn't find the heart to go back and listen to the interview. Every time I heard the first words I started to tear up. So. I walked away from the interview thinking the day will come when I can deal with it. Well, today's the day. Solomon Burke was asked in an interview “are you a gospel/church singer or a blues singer?”..Solomon's reply was “I'm a soul singer” He was the first artist to use the phrase. The man was a preacher, singer, writer, mortician!  When it came to the music business he was not to be messed with. If you get a chance check out his life story. It's a wild ride.   Solomon Burke by-the-numbers Performed 55 years. 38 studio albums. 17 record labels. Grammy winner. Rock and Roll Hall of Fame. 17 million albums sold.  In 2008 was #89 of Rolling Stone Magazine's 100 greatest singers of all time. AND Father of 21 children and Grandfather of 90 Grandkids.  

Kicked out of his childhood home by his religious father for the hideous crime of listening to Jackie Wilson, Al Green was hustling in a bordello when he was discovered by the bandleader Willie Mitchell. He went on to be inaccurately described as the Last of The Great Soul Singers, and defined the Memphis soul sound of the early seventies with the ten steamy hot slabs of utilitarian jamming that comprise this Greatest Hits. It's generally regarded as one of the best ‘best of' records in the history of recorded music. It's also the 456th Greatest Album of All Time, according to Rolling Stone magazine's 2020 list. This week, Christopher Macarthur-Boyd and Liam Withnail listened to it, and now they're going to talk about it. Featuring cool comments and white-hot takes on everything from the drumming of Al Jackson Jr., the pavlovian response of all Scottish comedians to ‘Reet Petite' by Jackie Wilson, porridge-based bath attacks, and the non-goodness of religious music, to the accusation that Al Green once shoved his secretary through a glass door. All that plus Quizzz, Secret Posho, and Tattoo Woohoo/Tattoo Boohoo, on this week's episode of Enjoy An Album. Enjoy!

Making a Scene Presents an Interview with Mississippi McDonaldMacDonald knows that tradition. He's been to Al Green's church and heard him preach. He's been to Willie Mitchell's Royal Studios in Memphis, where the great records on the Hi Label were recorded. He's seen Jerry Lee Lewis kick over his piano stool. He's met B.B. King and Pinetop Perkins, Otis Clay and Sam Moore. Big Joe Turner told him to listen to Albert King. In 2008, he was a prime mover in finally getting a stone for the previously unmarked grave of soul legend O.V. Wright.

The Memphis titan of the tenor sax has played and recorded with artists including Al Green, Alex Chilton, Tony Bennett, Mavis Staples, Mose Allison, Screamin’ Jay Hawkins and Jerry Lee Lewis. A fixture on sessions at Ardent Recording and Sam Phillips Studios, and with famed producers Willie Mitchell and Jim Dickinson, he covers the waterfront from jazz to R&B, soul, and rock’n’roll. Jim shines on any stage he finds himself on. Tonight he sits in on a set with the Troubled Men. Topics include ditch digging, losses, Manny for Mayor, prequels, a resignation, NFL culture, family ties, a school band, a Huey’s residency, Doug Garrison, Jerry Lawler, Stan Getz, Eddie Harris, Jim Terry, Stax, the Memphis Horns, Leon Russell, Berklee College of Music, Sid Selvidge, Fred Ford, Nokie Taylor, the Antenna Club, Doug Easley, the Del Fuegos, the Replacements, Duck Dunn, Randy Haspel, band sandwiches, Levon Helm, Joe Mulherin, Austin City Limits, a Clinton inauguration, Garth Hudson, Brenda Lee, Chuck Berry, Ike Turner, and much more. Intro music: Styler/Coman Break music: “Shut Your Mouth When You Sneeze” by Screamin’ Jay Hawkins featuring Jim Spake Outro music: “River of Jive” by Charlie Wood featuring Jim Spake Support the podcast here. Join the Patreon page here. Shop for Troubled Men’s Wear here. Subscribe, review, and rate (5 stars) on Apple Podcasts, Spotify, or any podcast source. Follow on social media, share with friends, and spread the Troubled Word. Troubled Men Podcast Facebook Troubled Men Podacst Instagram Jim Spake Homepage Jim Spake Facebook

Willie Mitchell interview at 20:00 Kelly McClintock of Hockey Saskatchewan at 1:40:00 --- Send in a voice message: https://anchor.fm/monday-nooner/message

-"Miguel Ángel Julián, "SOUL TELLER", lleva más de 30 años componiendo y cantando Soul, Rock, Blues y otros géneros nobles. Con sus más de 10 discos y cientos de conciertos tanto en nuestro país, como fuera de nuestras fronteras, Miguel Ángel, ha compartido escenario con grandes de la música internacional, como Bonnie Tyler, Percy Sledge, Paul Carrack ó Solomon Burke, entre muchos otros. Ahora nos presenta nuevos temas, grabados entre Madrid y Memphis . Por un lado, en Memphis ("ROYAL STUDIOS") ha contado con la producción de Lawrence "BOO" Mitchell, hijo del legendario Willie Mitchell, con el que también grabó Miguel Ángel hace años. Lawrence ha ganado un Grammy, por su trabajo como productor e ingeniero en el disco "Uptown Funk" de Bruno Mars. Y, por otro lado, en Madrid ha contado con los buenos oficios de su gran amigo, el productor Kike Eizaguirre. El resultado es extraordinario y nos encontramos con todo un himno en defensa de nuestro malherido planeta Tierra, "BE-BAH-BAH" (Save the Planet) y otros temas excitantes como "Paranoia" y "Please Dónt Die", entre otros. Hablamos con Miguel Ángel Julián, "SOUL TELLER", de estas nuevas canciones y de sus próximos conciertos." -"Nazaret Castro y Laura Villadiego son dos experimentadas periodistas, con amplia experiencia internacional en diferentes medios escritos. Buenas conocedoras de la realidad social y económica de muchos países productores de materias primas nos presentan ahora el libro "Carro de Combate"-Consumir es un acto político- (Editorial Clave Intelectual). Es un excelente trabajo de investigación sobre los impactos que, a nivel económico, medioambiental y de salud tienen muchos y muy diferentes productos, como el aceite de palma, el cacao, el café, la carne y los productos textiles y de electrónica, entre otros. Una constante recorre el libro: las enormes diferencias de precio que hay entre lo que se paga a los productores y el precio final que pagamos los consumidores. Por el medio se enriquecen los distribuidores con amplísimos márgenes de beneficio. Además, en muchos casos, se producen prácticas de oligopolio; muy pocas empresas controlan la producción y distribución de diferentes productos y las trabajadoras y trabajadores en esos países viven en condiciones durísimas. También se han encontrado on situaciones de trabajo infantil y el capítulo del Medio Ambiente es, también, muy importante en este este libro-guía de investigación. Hablamos con las dos autoras." Escuchar audio

Today's guest is a man who doesn't believe in having bad days. He grew up facing many challenges and making his fair share of mistakes, but he has grown and overcome through his own WINNING decisions and with the help of not “role models,” but, as he calls them, REAL models. This man is Willie Mitchell. He has been winning and leading in his local community for more than 30 years, and has been serving on his city's Board Of Education since 1992. This episode is full of winning wisdom. Thank you for listening to this episode. I hope it contributes to your next winning decision. *Credit: intro track is "Warriors" by Bizzle (God Over Money)* God Over Money Records | Music, Apparel, & Lifestyle Music during Ad Sponsor: Butterfly Woke by Jeris (c) copyright 2020 Licensed under a Creative Commons Attribution (3.0) license. http://dig.ccmixter.org/files/VJ_Memes/61357 Ft: airtone --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Chad Cromwell was born in Paducah, Kentucky, on June 14th, 1957. When he was three years old his family moved to Memphis, Tennessee, where he grew up. He started playing drums at the age of eight, wearing headphones as he played along to records in an upstairs room of his parents' home. By the age of twelve he was playing in garage bands in the local neighborhood. Among Chad's early influences were drummer Al Jackson and the artists of Stax Records, and artists such as Al Green on Willie Mitchell's Memphis based label, Hi Records. Jim Stewart, founder of Stax Records, along with Bobby Manuel, started a production company called The Daily Planet after the sale of Stax. Chad "hung out" and subsequently worked for The Daily Planet and learned more about rhythm and recording than anywhere else thus far. In fact, Jim and Bobby were key influences on Chad's style of drumming. In 1975, upon graduating high school, Chad flew to London to join two Memphians who already had gigs. Dave Cochran was playing bass for Chris Spedding, and Robert Johnson (not the legendary) was playing with Jon Entwhistle in Ox. Robert had been offered a record deal with Elton John's label, Rocket Records, and called fellow Memphian, Chad, along with David Cochran to record as Lash LaRue. Chad also got an "education" with Larry Raspberry & The Highsteppers, a very high powered rhythm and blues band. This was his first extensive touring band (piled into the back of a van, pulling a trailer).   *******SUBSCRIBE/RATE/REVIEW!!! www.richredmond.com/listen The Rich Redmond Show is sponsored by: Big Dot Lighting - Commercial LED Lighting Specialists and Bruce Cline Home Loans & Mortgage Refinance | Movement Mortgage www.musiciansmortgage.com Through associations with a recording studio in Memphis, Chad caught an ear on the West Coast. He started playing with legendary guitarist Joe Walsh in 1986, a collaboration which produced two albums, Got Any Gum? and Ordinary Average Guy, and resulted in multiple US and worldwide tours. The following year, 1987, Chad got the call to record with one of the world's most prolific songwriters, Neil Young. These sessions became Neil Young & The Bluenotes. After touring to promote this record, and producing MTV's 'Video of the Year,' "This Note's For You," Neil's interest circled back to 3-piece Rock & Roll which led to the New York and San Francisco recording sessions that ultimately became the album Freedom. In 1990, Chad moved to Nashville, got married and started a family. Richard Bennett and Tony Brown were among the first producers to call in Chad for sessions in Nashville. Richard and Tony have been extremely helpful in helping Chad to create a very successful recording career. Formal recognition from his peers came in 1996 when Chad was nominated for the Nashville Music Awards as Chad's career has seen him in the studio and on stage/TV/touring with an impressive list of major recording artists. In addition to those already mentioned, Chad has worked with Willie Nelson, Jackson Browne, Boz Scaggs, Wynonna, Bonnie Raitt and Peter Frampton. Chad recorded and toured with Mark Knopfler for the ten years. His playing can be heard on each and every solo recording of Knopfler's including his most recent Shangri La. During the Summer of 2006, Chad toured with Crosby, Stills,Nash and Young. Chad performed on Neil Young's Heart of Gold Movie directed by Johnathan Demme. Chad spent 2006 recording and touring with Neil Young and CSNY's "Freedom of Speech Tour". Chad also recorded tracks featured on a new box set release These Days by acclaimed country music star Vince Gill. Some Things That Came Up:  -Playing live versus recording -Lightning in a bottle -Hearing the nuances of the players across multiple artists -Ed Sullivan show inspired Chad -Meeting his wife via Joe Walsh -Eddie Izzard, "Death or Cake” bit -Playing for Joe the very first time without a rehearsal -Nashville celebs are just regular people, except the ones who aren't -Chad's encounter with Sting -Getting into Film and TV composition  -Thick skin and persevering through the storms and fires of life  -Rollin Stone “Unknown Legends” piece  -A+R for Craviotto drums with Sam Bacco -Getting Little Richard's autograph  -The best martini in LA   Socials:  @chad.cromwell The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits!   Rich can also be seen in several films and TV shows and has also written an Amazon Best-Selling book, "CRASH! Course for Success: 5 Ways to Supercharge Your Personal and Professional Life" currently available at:   https://www.amazon.com/CRASH-Course-Success-Supercharge-Professional/dp/B07YTCG5DS/ref=sr_1_1?keywords=crash+redmond&qid=1576602865&sr=8-1   One Book: Three Ways to consume....Physical (delivered to your front door, Digital (download to your kindle, ipad or e-reader), or Audio (read to you by me on your device...on the go)!   Buy Rich's exact gear at www.lessonsquad.com/rich-redmond   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jimmccarthyvoiceovers.com

Host J.D. Reager talks to legendary Memphis soul musician Howard Grimes about coming up as a drummer in the '50s, working with fellow legends such as Rufus & Carla Thomas, William Bell, Al Green, Ann Peebles, O.V. Wright and Willie Mitchell, writing his new autobiography Timekeeper, and how Memphis music has evolved over the years. J.D. also spins two songs featuring Mr. Grimes on drums: Don Bryant's "A Nickel and a Nail," and Hi Rhythm's "Superstar." --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Fan favorite and two-time Stanley Cup winner Willie Mitchell drops by the pod. DB and The Mayor talk Eichel, Frozen Fury and NHLPA Players Poll.Learn more about your ad choices. Visit podcastchoices.com/adchoicesYou can find us on X/Twitter at @kingsofthepod

Fan favorite and two-time Stanley Cup winner Willie Mitchell drops by the pod. DB and The Mayor talk Eichel, Frozen Fury and NHLPA Players Poll.

#Al Green let's stay together# one of the greatest singer,songwriter and musician ever# Willie Mitchell and the Memphis sound# classic song and vocals# Respect --- Support this podcast: https://anchor.fm/mr-maxxx/support

Willie Mitchell is known for his past career as a professional hockey player and is a two time stanley cup winner and now co-owns Tofino Lodge and Marina. Chase and Sheldon chat with Willie about growing up on the west coast, how he used fishing as an outlet to stay grounded in his hockey career, struggling with concussions, salmon sandwiches, day trip tuna, healing a concussion on the water, adventures with the stanley cup, cuddy camping, chasing swordfish, mental health, salmon fishing and conservation, fatherhood, helicopters, how he connects to the world around him and also connects to the people around him plus much more.    Tofino Resort and Marina  https://tofinoresortandmarina.com/   Willie's Instagram https://www.instagram.com/willie_mitch33/?hl=en     Thanks To: Pitbarrel Coookers https://pitbarrelcooker.com/ Woolove https://wool.love/ Citizen Canvas https://citizencanvas.ca/ Leatherman Tools https://www.leatherman.com/home Catch And Cook Coatings https://www.catchandcook.net/  

The guys are joined by former NHL defenceman, and 2x Stanley Cup Champion, WILLIE MITCHELL.Willie chats about his days in the SJHL, what it was like playing under Darryl Sutter, his most memorable moments from his pro career, and even his appearance on Hell's Kitchen.He also chats about what he's been up to in retirement including running his resort in Tofino, and his love for the outdoors.Siggy, Ribsy, and Krispy also chat about LeBron's flopping, the Oilers getting swept, Brooks Keopka's hatred for Bryson DeChambeau, and learner's drivers.LET'S GET WEIRD!!!

Kenny Rogers – “Tulsa Turnaround” Isaac Hayes – “Breakthrough” Joe WIlliams with Thad Jones and The Joe Lewis Orchestra – “Get Out My Life Woman” Allen Toussaint – “Get Out My Life Woman” Willie Mitchell – “Groovin'” Southside Movement – “Save The World” Geoff Love and his Orchestra – “Three Days Of The Condor” Les […] The post The Penthouse Funk Sessions 9th May 2021 appeared first on SSRadio.

Shane figured out how to play "Mary Had a Little Lamb" at age three. Too tiny to actually reach the piano keys, he picked out the notes by reaching up and feeling for them with his fingertips. Thus began his lifetime of music. He's created music hand in hand with legends of the recording industry, ranging from Elvis Presley and Paul McCartney to Arif Mardin and Ahmet Ertegun. His diversity as a player, arranger, producer and composer is amazing: pop to classical, jazz to R & B, country to alternative, appearing in one form or another on many thousands of recordings. Born in Huntington WV, Shane began formal classical piano training with Edith Sweeney before reaching his fourth birthday and moved to Portsmouth, Ohio when he was 7. There he continued piano studies in the years to follow with his adored teacher, Dorothy Knost. With her guidance, he began winning the coveted "Guild" piano competition awards year after year. At age twelve, while beginning junior high school, he met the inspirational Ralph Harrison, the McKinley Junior High School Band Director. Ralph asked Shane to join the school's orchestra and the big-band swing band. He also studied and performed choral music with another wonderful teacher and friend, Charles Varney, and with Bob McCoy at Portsmouth High School. Shane also began playing with many local musicians and bands in the Tri-State area. His family moved back to Huntington for his senior year, where he attended Huntington High School and enrolled at Marshall University, where he studied with Mary Shepp Mann. At the end of his freshman year, he left Huntington to "...travel and play music!...". He eventually moved to Dallas TX and soon enrolled in the jazz program at North Texas State University. By age nineteen, he was working in Dallas music production houses and studios, playing piano and organ two to three days a week on everything from film scores and records to radio libraries and jingles. He withdrew from NTSU and, seeking work as a studio musician, moved to Memphis. Within just a few weeks, he was blessed by reuniting with the legendary Jim Stewart of Stax Records and began working as a staff pianist/keyboardist in the Stax Rhythm Section. He also worked as a session pianist at Pepper/Tanner and with producers Al Jackson Jr., Willie Mitchell and Chips Moman. In 1971, Chips asked Shane to join the American Studios Rhythm Section as a staff pianist, where he worked with music icons such as Arif Mardin and many others. Learn more about creating financial and emotional freedom at www.freedomhacknow.com In 1972, Shane was in such demand as a pianist/session keyboardist from his work in Dallas and Memphis that he moved to Nashville. Word of his talent and abilities spread rapidly and he was soon working constantly. In 1974, he was contacted by Paul McCartney and performed on the "Junior's Farm/Sally G" sessions. Subsequently, Shane was called to play on several tracks on Elvis Presley's "Promised Land" album. Presley was so impressed with Shane's keyboard work that he personally requested Shane accompany him as pianist on the forthcoming '76 tour. His studio career continued at lightning speed, as he performed on and arranged hundreds of records for major artists. He also became an early explorer of synthesis and digital recording, purchasing a Mini-Moog in 1971 and purchasing his first digital audio recording system in 1981. In the late 80's, Shane had the great fortune of meeting legendary record mogul Ahmet Ertegun. Ahmet realized Shane's abilities and versatility and recruited him as a staff producer. He worked closely with Ahmet and with many of Atlantic's artists until April 2001, when he started his own independent production company. He returned to Nashville, TN in 2004 and continues to reside there. Shane currently performs live with Lynda Carter and is a member of the Musician's Hall Of Fame. As a producer/arranger, he's been twice nominated for a Grammy and received two Dove awards and one Cleo award. Shane is able to enrich any project he's part of, and he continues to be one of the most sought after talents in the industry.   Break free from whats holding you back from creating financial and emotional freedom! www.freedomhacknow.com    

This week in anguish: - Tristan had five teensy, manageable little talking points, and Ardella claimed to have nothing at all to say. The Canucks who aren't injured are hibernating. This one clocks in at one second under 90 minutes.  - We better-get-to-know another Tyler (Graovac) and another Travis (Boyd), but the real prize is the Växjö Laker we met along the way. - We're sorry, Tim Peel, but this story is really about Colin Campbell's emails, the dynamic trio of Tony Gallagher, Jason Botchford, and Willie Mitchell, and the eternally contemptible sportswriters of New England circa 2011. - This week's One Timers include digging into Andy Van Hellemond's debit card situation, a historic night for three members of the Ontario Reign, and washing our hands once and for all of Rasmus Andersson.   Thanks for listening! This episode supports the Hockey4Youth foundation and HerosHockey.    

Frédéric Chopin, Justin Bieber, Kesha, Willie Mitchell, Glenn Miller, Roger Daltrey, Mike d'Abo, Jerry Fisher, Harry Belafonte und Norman Connors feiern heute Geburtstag. Was aber haben Etta James, Ann Peebles, Das EFX, Al Green und die Stereophonics damit zu tun? «Pop Routes» klärt auf! Tune in!

Episode 105 of A History of Rock Music in Five Hundred Songs looks at "Green Onions", and how a company started by a Western Swing fiddle player ended up making the most important soul records of the sixties. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on "He's So Fine" by the Chiffons. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources I used three main books when creating this episode. Two were histories of Stax -- 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 more general overview of soul music made in Tennessee and Alabama in the sixties, but is useful as it's less likely to take statements about racial attitudes entirely at face value. This is a good cheap compilation of Booker T and the MGs' music. If the Erwin Records tracks here interest you, they're all available on this compilation. The Complete Stax-Volt Singles vol. 1: 1959-1968 is a nine-CD box set containing much of the rest of the music in this episode. It's out of print physically, but the MP3 edition, while pricey, is worth it. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   And now we come to the end of the backfilling portion of the story. Since "Telstar" we've been looking at records from 1962 that came out just before "Love Me Do" -- we've essentially been in an extended flashback. This is the last of those flashback episodes, and from next week on we're moving forward into 1963. Today we're going to look at a record by a group of musicians who would be as important to the development of music in the 1960s as any, and at the early years of Stax Records, a label that would become as important as Chess, Motown, or Sun. Today, we're looking at "Green Onions" by Booker T. and the MGs, and how a white country fiddle player accidentally kickstarted the most important label in soul music: [Excerpt: Booker T. and the MGs, "Green Onions"] Our story starts in Memphis, with Jim Stewart, a part-time fiddle player. Stewart was in a Western Swing band, and was hugely influenced by Bob Wills, but he wasn't making any real money from music. Instead, he was working a day job at a bank. But he was still interested in music, and wanted to be involved in the industry. One of the gigs he'd had was in the house band at a venue where Elvis sometimes played in his early years, and he'd seen how Elvis had gone from an obscure local boy all the way to the biggest star in the world. He knew he couldn't do that himself, but he was irresistibly attracted to any field where that was *possible*. He found his way into the industry, and into music history as a result of a tip from his barber. The barber in question, Erwin Ellis, was another country fiddle player, but he owned his own record label, Erwin Records. Erwin Records was a tiny label -- it was so tiny that its first release, by Ellis himself, seems not to exist anywhere. Even on compilations of Erwin Records material, it's not present, which is a shame, as it would be interesting from a historical perspective to hear Ellis' own playing. But while Ellis was unsuccessful both as a fiddle player and as a record company owner, he did manage to release a handful of rockabilly classics on Erwin Records, like Hoyt Jackson's "Enie Meanie Minie Moe": [Excerpt: Hoyt Jackson, "Enie Meanie Minie Moe"] and "Boppin' Wig Wam Willie" by Ray Scott, who had written "Flyin' Saucers Rock & Roll" for Billy Lee Riley, and who was backed by Riley's Little Green Men on this single: [Excerpt: Ray Scott, "Boppin' Wig Wam WIllie"] Ellis' label wasn't hugely successful, but he made some decent money from it, and he explained the realities of the music industry to Stewart as Stewart was sat in his barber's chair. He told Stewart that you didn't make money from the records themselves -- small labels didn't sell much -- but that he was making some good money from the songs. The formula for success in the music business, Ellis explained, was that when you got a new artist through the door, you told them they could only record originals, not cover versions -- and then you made sure they signed the publishing over to you. If you sold a record, you were just selling a bit of plastic, and you'd already paid to make the bit of plastic. There was no real money in that. But if you owned the song, every time that record was played on the radio, you got a bit of money with no extra outlay -- and if you owned enough songs, then some of them might get covered by a big star, and then you'd get some real money. Hoyt Jackson, Ellis' biggest act, hadn't had any hits himself, but he'd written "It's A Little More Like Heaven (Where You Are)": [Excerpt: Hoyt Jackson, "It's A Little More Like Heaven (Where You Are)"] Hank Locklin had recorded a cover version of it, which had gone to number three on the country charts: [Excerpt: Hank Locklin "It's a Little More Like Heaven"] And Johnny Cash had rewritten it a bit, as "You're the Nearest Thing to Heaven", and had also had a top five country hit with it: [Excerpt: Johnny Cash, "You're the Nearest Thing to Heaven"] Ellis explained to Stewart that he was still getting cheques every few months because he owned the publishing for this song that someone else had written and brought to him. If you owned the publishing for a song that became a hit, then you had a steady source of income without having to lift a finger. And people would just give you the publishing on their songs if you agreed to put a record of them out. For someone like Stewart, who worked in a bank and knew a little bit about finance, that sounded just about perfect. He pulled together a singing DJ, a piano player, and a rhythm guitarist he knew, and they pooled their savings and raised a thousand dollars to put out a record. Stewart wrote a song -- the only song he'd ever write -- Fred Byler, the DJ, sang it, and they hired Ellis and his tape recorder to record it in Jim's wife's uncle's garage. They came up with the name Satellite Records for their label -- nobody liked it, but they couldn't think of anything better, and satellites were in the news with the recent launch of Sputnik. "Blue Roses" by Fred Byler, came out to pretty much no sales or airplay: [Excerpt: Fred Byler, "Blue Roses"] The next record was more interesting -- "Boppin' High School Baby" by Don Willis is a prime slice of Memphis rockabilly, though one with so much slapback echo that even Joe Meek might have said "hang on, isn't that a bit much?": [Excerpt: Don Willis, "Boppin' High School Baby"] That also didn't sell -- Stewart and his partners knew nothing about the music business. They didn't know how to get the records distributed to shops, and they had no money left. And then Erwin Ellis moved away and took his tape recorder with him, and Stewart's wife's uncle wanted to use his garage again and so wouldn't let them record there any more. It looked like that would be the end of Satellite Records. But then three things changed everything for Jim Stewart, and for music history. The first of these was that Stewart's new barber was also interested in music -- he had a daughter who he thought could sing, and he had a large storage space he wasn't using, in Brunswick on the outskirts of the city. If they'd record his daughter, they could use the storage space as a studio. The second was Chips Moman. Chips was a teenage guitarist who had been playing a friend's guitar at a drugstore in Memphis, just hanging around after work, when Warren Smith walked in. Smith was a Sun Records rockabilly artist, who'd had a minor hit with "Rock and Roll Ruby": [Excerpt: Warren Smith, "Rock and Roll Ruby"] Smith liked Moman's playing, and offered him a job -- Moman's initial response was "doing what?" Moman had joined Smith's band on guitar, then played with Johnny and Dorsey Burnette. He went with the Burnettes to California, where he was a session player for a time -- though I've never been able to find a list of any of the records he played on, just people saying he played at Gold Star Studios. He'd then joined Gene Vincent's Blue Caps, before being in an accident which had led him to come back to Memphis. He'd played guitar on the Don Willis session, and he'd essentially produced it, applying some of the techniques he'd learned in Californian studios. He was young, he was eager to make records, and he knew what he was doing. And the third event was that Stewart managed to persuade his sister, Estelle Axton, to buy out his business partners. Estelle was a naturally business-minded person who also had a yearning to do something involving music, and had been doing things in little ways. For example, the people where she worked all liked music but found they were too busy to go to the record shop -- so Estelle would make a list of records they liked, go to one of the wholesalers that distributed music to record shops, buy records there for seventy-six cents, and sell them to her colleagues for a dollar. Estelle persuaded her husband, against his better judgement, to remortgage their house, and she used the money to buy recording equipment. Moman helped them set it up in the barber's storage space, and Satellite Records started up again, restarting their numbering as if from scratch with what they were now considering their first real release -- a song that Moman had co-written, sung by a black vocal group, the Vel-Tones: [Excerpt: The Vel-Tones, "Fool in Love"] The record was pretty much in the style of the white pop semi-doo-wop that was charting at the time, but the singers were black, and so it had to be promoted as R&B, and Jim Stewart made visits to Black DJs like Al Bell and Rufus Thomas, and managed to get the record some airplay. It was popular enough that the record got picked up for distribution by Mercury, and actually brought Satellite a small profit. But the label still wasn't doing well, and they were finding it difficult to persuade musicians to trek all the way out to Brunswick. And the studio space was bad in other ways -- it was right near a train track, and the noise of the trains would disrupt the sessions. And while it was free, at some point they would actually have to make a record featuring Stewart's barber's daughter, which nobody actually fancied doing.  So they decided to move studios again, and in doing so they were inspired by another Memphis record label. Hi Records had started around the same time as Satellite, and it had had a few big hits, most notably "Smokie (Part 2)" by the Bill Black Combo, the group that Elvis' former bass player had formed when Elvis had joined the army: [Excerpt: Bill Black Combo: "Smokie (Part 2)"] For their studio, Hi used an old cinema -- a lot of cinemas were closing down in the late fifties, due to the combination of television and the drive-in making indoor cinemas less appealing, and because white flight to the suburbs meant that people with money no longer lived in walking distance of cinemas the way they used to. The Satellite team found an old cinema on East McLemore Avenue, much closer to the centre of Memphis and easier for musicians to get to. That cinema had stopped showing films a year or two earlier, and there'd been a brief period where it had been used for country music performances, but the area was becoming increasingly Black, as white people moved away, and while plenty of Black people liked country music, they weren't exactly welcomed to the performances in segregated 1950s Memphis, and so the building was abandoned, and available cheap. Meanwhile, Estelle's son Charles was trying to get into the music business, too. Before I go any further in talking about him, I should say that I've had to depart from my normal policy when talking about him. Normally, I refer to people by the name they chose to go by, but in his case he was known by a nickname which was harmless in that time and place, but later became an extremely offensive racist slur in the UK, used against people of Pakistani descent. The word didn't have those connotations in the US at the time, and he died before its use as a slur became widely known over there, but I'm just going to call him Charles. And speaking of words which might be considered racial slurs, the band that Charles joined -- an all-white group who loved to play R&B -- was called the Royal Spades. This was supposedly because of their love of playing cards, but there's more than a suspicion that the racial connotations of the term were used deliberately, and that these white teenage boys were giggling at their naughty racial transgressiveness. The group had originally just been a guitar/bass/drum band, but Charles Axton had approached them and suggested they should get a horn section, offering his services as a tenor player. They'd laughed when he told them he'd only been playing a couple of weeks, but once he explained that his mother and uncle owned a record label, he was in the group, and they'd expanded to have a full horn section. The group was led by guitarist Steve Cropper and also included his friend, the bass player Duck Dunn, and Cropper and Charles Axton helped with the refurbishing of the cinema into a recording studio. The cinema had another advantage, too -- as well as the auditorium, which became the studio, it had a lobby and concession stand. Estelle Axton turned that into a record shop, which she ran herself -- with Cropper often helping out behind the counter. She instituted a policy that, unlike other record shops, people could hang around all day listening to music, without necessarily buying anything. She also brought in a loyalty card scheme -- buy nine records and get a tenth record for free -- which allowed her to track what individual customers were buying. She soon became so knowledgeable about what was selling to the Black teenagers of the area that she boasted that if you came into the shop with twenty dollars, she'd have sold you nineteen dollars' worth of records before you left -- she'd leave you with a dollar so you could pay for your transport home, to make sure you could come back with more money. By having a record shop in the record studio itself, they knew what was selling and could make more music that sounded like that. By having a crowd around all day listening to music, they could put the new recordings on and gauge the response before pressing a single copy. Satellite Records suddenly had a market research department. And they soon had an ally in getting them airplay. Rufus Thomas was the most important man in Black entertainment in Memphis. He was a popular DJ and comedian, he was the compere at almost every chitlin' circuit show in the area, and he was also a popular singer. He'd been the one to record the first hit on Sun Records, "Bear Cat", the answer record to "Hound Dog" we talked about way back in episode fifteen: [Excerpt: Rufus Thomas, "Bear Cat"] Rufus Thomas knew Jim Stewart from when Stewart had been promoting the Vel-Tones single, and so he came into the newly opened studio and suggested he cut a few tracks. If you've got a record label, and a DJ wants to make a record with you, that's a godsend -- you're guaranteed airplay, not only for that record, but for a few of your others. And if that DJ also happens to be a genuine talent who'd made hit records before, you jump at the chance. Thomas also brought in his daughter, Carla, who happened to have an astonishing voice.  For the first session in the new studio, they recorded a song Rufus had written, "'Cause I Love You", with a few musicians that he knew, including a bass player called Wilbur Steinberg, and with Steve Cropper sitting in on guitar and Chips Moman producing. Also in the studio was David Porter, a teenager who sang in a band with Bob Tally, the trumpet player on the session -- Porter was skipping school so he could be in a real recording studio, even though he wasn't going to be singing on the session. When they started playing the song, Tally decided that it would sound good with a baritone sax on it. Nobody in the studio played saxophone, but then Porter remembered one of his classmates at Booker T Washington High School. This classmate was also called Booker T. -- Booker T. Jones -- and he could play everything. He played oboe, sax, trombone, double bass, guitar, and keyboards, and played them all to a professional standard. Porter popped over to the school, walked into the classroom Jones was in, told the teacher that another teacher wanted to see Jones, pulled him out of the class, and told him he was going to make a record. They borrowed a baritone sax from the school's music room, went back to the studio, and Jones played on "'Cause I Love You" by Rufus and Carla Thomas: [Excerpt: Rufus and Carla Thomas, "'Cause I Love You"] "'Cause I Love You" became a local hit, and soon Jim Stewart got a call from Jerry Wexler at Atlantic, offering to start distributing it, and any future records by Rufus and Carla Thomas. Stewart didn't really know anything about the business, but when Wexler explained to Stewart that he was the producer of "What'd I Say" by Ray Charles, Stewart knew that was someone he needed to work with -- he'd recently had a sort of Damascene conversion after hearing that record, and was now fully committed to his company's new R&B style. For a five thousand dollar advance, Atlantic ended up with the rights to press and distribute all future masters from Satellite. The next single from the label was a Carla Thomas solo record, "Gee Whizz, Look at His Eyes". For that session, they booked in some string players, and Bob Tally was meant to write an arrangement for them. However, he didn't turn up to the session, and when Stewart went round to his house to find him, he discovered that Tally hadn't written the arrangement, and had been up all night playing at a gig and was in no fit state to write one. Stewart had to make the string players play from a head arrangement -- something string players normally never do -- and ended up giving them directions like "just play donuts!", meaning semibreves or whole notes, which are drawn as ovals with a hole in the middle, like a donut. Despite this, "Gee Whizz" went to number five on the R&B charts and ten on the pop charts. Satellite Records had a real hit: [Excerpt: Carla Thomas, "Gee Whizz, Look at His Eyes"] Satellite were starting to build up a whole team of people they could call on. Steve Cropper was working in the record shop, so he was available whenever they needed a guitar part playing or a second keyboard adding. David Porter was working at Big Star, the grocery store across the road, and he turned out to be a talented songwriter and backing vocalist. And of course there was the band that Cropper and Charles Axton were in, which had now been renamed to the Mar-Keys, a pun on "marquis" as in the noble title, and "keys" as in keyboards, as Estelle Axton thought -- entirely correctly -- that their original name was inappropriate. They also had a pool of Black session players they could call on, mostly older people who'd been brought to them by Rufus Thomas, and there were always eager teenagers turning up wanting to do anything they could in order to make a record. It was the Mar-Keys who finally gave Satellite the distinctive sound they were looking for. Or, at least, it was under the Mar-Keys' name that the record was released. An instrumental, "Last Night", was recorded at several sessions run by Moman, often with different lineups of musicians. The Mar-Keys at this point consisted of Steve Cropper, Duck Dunn, Charles Axton, Wayne Jackson, Terry Johnson, Smoochy Smith, and Don Nix, but the lineup on the finished recording had Smith on keyboards, Axton on sax and Jackson on trumpet, with some sources saying that Cropper provided the second keyboard part while others say he only played on outtakes, not on the final version. The other four musicians were Black session players -- Lewie Steinberg, Wilbur's brother, on bass, Gilbert Caples and Floyd Newman on saxes, and Curtis Green on drums. Floyd Newman also did the spoken "Ooh, last night!" that punctuated the record: [Excerpt: The Mar-Keys, "Last Night"] Jim Stewart and Chips Moman were both convinced that would be a flop, as was Jerry Wexler when he heard it. But Estelle Axton believed in its potential -- and also believed in her son, who Stewart had little time for. Jim Stewart didn't want his useless nephew's band on his label at all if he could help it, but Estelle Axton wanted her son to have a hit. She got a test pressing to a DJ, who started playing it, and people started coming into the shop asking for the record. Eventually, Stewart gave in to his sister's pressure, and agreed to release the record. There was only one problem -- when they pulled the tape out, they found that the first section of the track had somehow been erased. They had to hunt through the rubbish, looking through discarded bits of tape, until they found another take of the song that had a usable beginning they could splice in. They did a very good job -- I *think* I can hear the splice, but if it's where I think it is, it's about the cleanest editing job on analogue tape I've ever heard. If I'm right, the edit comes right in the middle of this passage: [Excerpt: The Mar-Keys, "Last Night"] Did you hear it? The song's authorship has been debated over the years, because the horn part and the keyboard part were written separately. Caples and Newman, the session sax players, had come up with the horn part, and so always said they should get solo composition credit. Smoochy Smith had separately written the keyboard part, which came from something he'd been working on on his own, so he got credit too. Chips Moman had suggested combining the keyboard and horn lines, and so he got songwriting credit as well. And Charles Axton didn't contribute anything to the song other than playing on the record, but because his family owned the record label, he got credit as well. The record became a big hit, and there are a couple of hypotheses as to why. Steve Cropper always argued that it was because you could dance the Twist to it, and so it rode the Twist craze, while others have pointed out that at one point in the record they leave a gap instead of saying "Ooh last night" as they do the rest of the way through. That gap allowed DJs to do the interjection themselves, which encouraged them to play it a lot. It made number three on the pop charts and number two on the R&B charts, and it led to Satellite Records coming to the attention of another label, also called Satellite, in California, who offered to sell the Memphis label the rights to use the name. Jim Stewart had never liked Satellite as a name anyway, and so they quickly reissued the record with a new label, named after the first letters of Jim Stewart and Estelle Axton's surnames. Stax Records was born. The Mar-Keys immediately hit the road to promote the single -- which brought resentment from the Black session players, some of whom claim that during the session it hadn't even been intended as a Mar-Keys record, and who were annoyed that even though the record was primarily their work they weren't getting the recognition and a bunch of white boys were.  Cropper soon got tired of the tour, quit the group and came back to Memphis -- he was annoyed partly because the other band members, being teenage boys, many of them away from home for the first time, acted like wild animals, and partly because Cropper and Charles Axton both believed themselves to be the band's leader and that the other should obey them. Cropper went back to working in the record shop, and playing on sessions at Stax. The second Mar-Keys single was recorded by the studio musicians while the group were out on tour -- the first they even knew about it was when they saw it in the shop: [Excerpt: The Mar-Keys, "The Morning After"] That was much less successful, but the label was still interested in making instrumentals. They started a subsidiary label, Volt -- if you put records out with two different label names, it was more likely that radio stations would play more of your records, because it wouldn't seem like they were playing one label too much -- and the first single on it was an instrumental that Chips Moman wrote, "Burnt Biscuits", by a group consisting of Moman, Rufus Thomas' son Mavell, Lewie Steinberg, and Howard Grimes: [Excerpt: The Triumphs, "Burnt Biscuits"] That wasn't a hit, though Moman thought it had the potential to become as big as "Last Night". It was released under the name "the Triumphs", after the sports car Moman drove. Shortly after that, Moman produced what would be the last classic record he'd make for Stax, when he produced "You Don't Miss Your Water" by a new singer, William Bell, who had previously been one of the backing vocalists on "Gee Whiz". That track had Mavell Thomas on piano, Lewie Steinberg on bass, Ron Capone on drums, and Booker T. Jones on organ -- by this point Booker T. was being called on a lot to play keyboards, as Floyd Newman recommended him as a reliable piano player in the hopes that if Jones was on keyboards, he wouldn't be playing baritone sax, so Newman would get more of those gigs: [Excerpt: William Bell, "You Don't Miss Your Water"] That was a great record, one of the defining records of the new country-soul genre along with Arthur Alexander's records, but it would be the last thing Moman would do at Stax. He'd not been getting on with Estelle Axton, and he also claims that he had been promised a third of the company, but Jim Stewart changed his mind and refused to cut him in. Everyone has a different story about what happened, but the upshot was that Moman left the company, went to Nashville for a while, and then founded his own studio, American, in another part of Memphis. Moman would become responsible for writing and producing a whole string of soul, country, and rock classics, and I'm sure we'll be hearing more from him in the next couple of years. After Moman left, the label floundered a little bit for a few months. Jim Stewart and Steve Cropper split the production duties that Moman had had between them. Stewart had already produced several records for Carla Thomas, and Cropper was a great musician who had been spending every second he could learning how to make records, so they could cope, but they released a mixture of really good soul records that failed to hit the charts, and truly dire novelty country songs like "The Three Dogwoods" by Nick Charles, a song from the perspective of the tree that became the cross on which Jesus was crucified: [Excerpt: Nick Charles, "The Three Dogwoods"] That was co-written by Cropper, which shows that even the man who co-wrote "In the Midnight Hour", "Dock of the Bay" and "Knock on Wood" had his off days. The record that would prove Stax to be capable of doing great things without Chips Moman came about by accident. Stax was still not exclusively a soul label, and it was cutting the odd country and rockabilly record, and one of the people who was going to use the studio was Billy Lee Riley. You might remember Riley from a year ago, when we looked at his "Flyin' Saucers Rock 'n' Roll": [Excerpt: Billy Lee Riley and the Little Green Men, "Flyin' Saucers Rock 'n' Roll"] Riley was running his own label at the time, and doing various bits of session work and singing for other people. No-one's quite sure what he was using the studio for in early 1962 -- some say he was cutting a jingle, some say he cut a few actual tracks but that they were awful, and others that he turned up too drunk to record. Either way, the session ended early, and the musicians were at a loose end. The musicians on this session were three of the regular Stax musicians -- Steve Cropper, who had just turned twenty, on guitar, Booker T. Jones, who was still a teenager, on organ, and Lewie Steinberg, a decade older than either, on bass. The fourth musician was Al Jackson, who like Steinberg was an older Black man who had cut his teeth playing jazz and R&B throughout the fifties. Booker had played with Jackson in Willie Mitchell's band, and had insisted to everyone at Stax that they needed to get this man in, as he was the best drummer Jones had ever heard. Jackson was making money from gigging, and didn't want to waste his time playing sessions, which he thought would not be as lucrative as his regular gigs with Willie Mitchell. Eventually, Stax agreed to take him on on a salary, rather than just paying him one-off session fees, and so he became the first musician employed by Stax as a full-time player -- Cropper was already on salary, but that was for his production work and his work at the record shop. As the session had ended rather disappointingly, the four were noodling on some blues as they had nothing better to do. Jim Stewart clicked on the talkback from the control room to tell them to go home, but then heard what they were playing, and told them to start it again so he could get it down on tape: [Excerpt: Booker T and the MGs, "Behave Yourself"] Stewart was happy with that track, but singles needed two sides, and so they needed to come up with something else. Cropper remembered a little musical lick he'd heard on the radio one day when he'd been driving with Booker -- they'd both been fascinated by that lick, but neither could remember anything else about the song (and to this day no-one's figured out what the song they'd heard was). They started noodling around with that lick, and shaped it into a twelve-bar instrumental: [Excerpt: Booker T. and the MGs, "Green Onions"] That was even better than the other track, and they needed a funky name to go with such a funky track. Lewie Steinberg thought that onions were the funkiest thing he could think of, and so the track became "Green Onions". As the last instrumental they'd released with food as a title, "Burnt Biscuits", had been by the Triumphs, they thought the group name should be another sports car name, and so it came out as by Booker T and the MGs. (They later said that MG stood either for Memphis Group or for Mixed Group, because they had both Black and white members, but the original idea was definitely the car – they just didn't want to have a trademark lawsuit on their hands). "Green Onions" went to number one on the R&B charts and number three on the pop charts, and became the biggest thing Stax had ever recorded. That core group became the Stax house band, playing on every session from that point on. If they recorded an instrumental on their own, it went out as by Booker T and the MGs. If they recorded an instrumental with horn players, it went out as by the Mar-Keys, and they also played backing all the singers who came through the door of Stax, and there would be a lot of them over the next few years. There were a couple of changes -- Booker T actually went off to university soon after recording "Green Onions", so for a couple of years he could only play on weekends and during holidays -- on weekdays, the studio used another keyboard player, again suggested by Floyd Newman, who had hired a young man for his bar band when the young man could only play piano with one hand, just because he seemed to have a feel for the music. Luckily, Isaac Hayes had soon learned to play with both hands, and he fit right in while Booker was away at university. The other change came a couple of years later, when after the MGs had had a few hits, Lewie Steinberg was replaced by Duck Dunn. Steinberg always claimed that the main reason he was dropped from the MGs was because he was Black and Steve Cropper wanted another white man. Cropper has always said it was because Duck Dunn had a harder-edged style that fit their music better than Steinberg's looser feel, but also that Dunn had been his best friend for years and he wanted to play more with him. The two Black members of the MGs have never commented publicly, as far as I can tell, on the change. But whether with Jones or Hayes, Steinberg or Dunn, the MGs would be the foundation of Stax's records for the rest of the sixties, as well as producing a string of instrumental hits. And it was those instrumental hits that led to the arrival of the person who would make Stax a legendary label. Joe Galkin, a record promoter to whom Jim Stewart owed a favour, was managing a local guitarist, Johnny Jenkins, and brought him into the studio to see if Stax could get him an instrumental hit, since they'd had a few of those. Jenkins did eventually release a single on Stax, but it wasn't particularly special, and didn't have any success: [Excerpt: Johnny Jenkins, "Spunky"] The day of Jenkins' first session was a flop, they'd not been able to get anything decent recorded, and the musicians started to pack up. But Galkin had made a deal with the singer in Jenkins' band -- if he'd drive Jenkins to the studio, since Jenkins couldn't drive, he'd try to get a record cut with him as well. Nobody was interested, but Galkin wore Jim Stewart down and he agreed to listen to this person who he just thought of as Johnny Jenkins' driver. After hearing him, Steve Cropper ran out to get Lewie Steinberg, who was packing his bass away, and tell him to bring it back into the studio. Cropper played piano, Jenkins stayed on guitar, and Booker, Al, and Lewie played their normal instruments. Jim Stewart wasn't particularly impressed with the results, but he owed Galkin a favour, so he released the record, a fun but unoriginal Little Richard soundalike: [Excerpt: Otis Redding, "Hey Hey Baby"] But soon DJs flipped the record, and it was the B-side that became the hit: [Excerpt: Otis Redding, "These Arms of Mine"] Otis Redding would never again be thought of as just Johnny Jenkins' driver, and Stax Records was about to hit the big time.  

Episode 105 of A History of Rock Music in Five Hundred Songs looks at “Green Onions”, and how a company started by a Western Swing fiddle player ended up making the most important soul records of the sixties. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “He’s So Fine” by the Chiffons. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources I used three main books when creating this episode. Two were histories of Stax — 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 more general overview of soul music made in Tennessee and Alabama in the sixties, but is useful as it’s less likely to take statements about racial attitudes entirely at face value. This is a good cheap compilation of Booker T and the MGs’ music. If the Erwin Records tracks here interest you, they’re all available on this compilation. The Complete Stax-Volt Singles vol. 1: 1959-1968 is a nine-CD box set containing much of the rest of the music in this episode. It’s out of print physically, but the MP3 edition, while pricey, is worth it. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   And now we come to the end of the backfilling portion of the story. Since “Telstar” we’ve been looking at records from 1962 that came out just before “Love Me Do” — we’ve essentially been in an extended flashback. This is the last of those flashback episodes, and from next week on we’re moving forward into 1963. Today we’re going to look at a record by a group of musicians who would be as important to the development of music in the 1960s as any, and at the early years of Stax Records, a label that would become as important as Chess, Motown, or Sun. Today, we’re looking at “Green Onions” by Booker T. and the MGs, and how a white country fiddle player accidentally kickstarted the most important label in soul music: [Excerpt: Booker T. and the MGs, “Green Onions”] Our story starts in Memphis, with Jim Stewart, a part-time fiddle player. Stewart was in a Western Swing band, and was hugely influenced by Bob Wills, but he wasn’t making any real money from music. Instead, he was working a day job at a bank. But he was still interested in music, and wanted to be involved in the industry. One of the gigs he’d had was in the house band at a venue where Elvis sometimes played in his early years, and he’d seen how Elvis had gone from an obscure local boy all the way to the biggest star in the world. He knew he couldn’t do that himself, but he was irresistibly attracted to any field where that was *possible*. He found his way into the industry, and into music history as a result of a tip from his barber. The barber in question, Erwin Ellis, was another country fiddle player, but he owned his own record label, Erwin Records. Erwin Records was a tiny label — it was so tiny that its first release, by Ellis himself, seems not to exist anywhere. Even on compilations of Erwin Records material, it’s not present, which is a shame, as it would be interesting from a historical perspective to hear Ellis’ own playing. But while Ellis was unsuccessful both as a fiddle player and as a record company owner, he did manage to release a handful of rockabilly classics on Erwin Records, like Hoyt Jackson’s “Enie Meanie Minie Moe”: [Excerpt: Hoyt Jackson, “Enie Meanie Minie Moe”] and “Boppin’ Wig Wam Willie” by Ray Scott, who had written “Flyin’ Saucers Rock & Roll” for Billy Lee Riley, and who was backed by Riley’s Little Green Men on this single: [Excerpt: Ray Scott, “Boppin’ Wig Wam WIllie”] Ellis’ label wasn’t hugely successful, but he made some decent money from it, and he explained the realities of the music industry to Stewart as Stewart was sat in his barber’s chair. He told Stewart that you didn’t make money from the records themselves — small labels didn’t sell much — but that he was making some good money from the songs. The formula for success in the music business, Ellis explained, was that when you got a new artist through the door, you told them they could only record originals, not cover versions — and then you made sure they signed the publishing over to you. If you sold a record, you were just selling a bit of plastic, and you’d already paid to make the bit of plastic. There was no real money in that. But if you owned the song, every time that record was played on the radio, you got a bit of money with no extra outlay — and if you owned enough songs, then some of them might get covered by a big star, and then you’d get some real money. Hoyt Jackson, Ellis’ biggest act, hadn’t had any hits himself, but he’d written “It’s A Little More Like Heaven (Where You Are)”: [Excerpt: Hoyt Jackson, “It’s A Little More Like Heaven (Where You Are)”] Hank Locklin had recorded a cover version of it, which had gone to number three on the country charts: [Excerpt: Hank Locklin “It’s a Little More Like Heaven”] And Johnny Cash had rewritten it a bit, as “You’re the Nearest Thing to Heaven”, and had also had a top five country hit with it: [Excerpt: Johnny Cash, “You’re the Nearest Thing to Heaven”] Ellis explained to Stewart that he was still getting cheques every few months because he owned the publishing for this song that someone else had written and brought to him. If you owned the publishing for a song that became a hit, then you had a steady source of income without having to lift a finger. And people would just give you the publishing on their songs if you agreed to put a record of them out. For someone like Stewart, who worked in a bank and knew a little bit about finance, that sounded just about perfect. He pulled together a singing DJ, a piano player, and a rhythm guitarist he knew, and they pooled their savings and raised a thousand dollars to put out a record. Stewart wrote a song — the only song he’d ever write — Fred Byler, the DJ, sang it, and they hired Ellis and his tape recorder to record it in Jim’s wife’s uncle’s garage. They came up with the name Satellite Records for their label — nobody liked it, but they couldn’t think of anything better, and satellites were in the news with the recent launch of Sputnik. “Blue Roses” by Fred Byler, came out to pretty much no sales or airplay: [Excerpt: Fred Byler, “Blue Roses”] The next record was more interesting — “Boppin’ High School Baby” by Don Willis is a prime slice of Memphis rockabilly, though one with so much slapback echo that even Joe Meek might have said “hang on, isn’t that a bit much?”: [Excerpt: Don Willis, “Boppin’ High School Baby”] That also didn’t sell — Stewart and his partners knew nothing about the music business. They didn’t know how to get the records distributed to shops, and they had no money left. And then Erwin Ellis moved away and took his tape recorder with him, and Stewart’s wife’s uncle wanted to use his garage again and so wouldn’t let them record there any more. It looked like that would be the end of Satellite Records. But then three things changed everything for Jim Stewart, and for music history. The first of these was that Stewart’s new barber was also interested in music — he had a daughter who he thought could sing, and he had a large storage space he wasn’t using, in Brunswick on the outskirts of the city. If they’d record his daughter, they could use the storage space as a studio. The second was Chips Moman. Chips was a teenage guitarist who had been playing a friend’s guitar at a drugstore in Memphis, just hanging around after work, when Warren Smith walked in. Smith was a Sun Records rockabilly artist, who’d had a minor hit with “Rock and Roll Ruby”: [Excerpt: Warren Smith, “Rock and Roll Ruby”] Smith liked Moman’s playing, and offered him a job — Moman’s initial response was “doing what?” Moman had joined Smith’s band on guitar, then played with Johnny and Dorsey Burnette. He went with the Burnettes to California, where he was a session player for a time — though I’ve never been able to find a list of any of the records he played on, just people saying he played at Gold Star Studios. He’d then joined Gene Vincent’s Blue Caps, before being in an accident which had led him to come back to Memphis. He’d played guitar on the Don Willis session, and he’d essentially produced it, applying some of the techniques he’d learned in Californian studios. He was young, he was eager to make records, and he knew what he was doing. And the third event was that Stewart managed to persuade his sister, Estelle Axton, to buy out his business partners. Estelle was a naturally business-minded person who also had a yearning to do something involving music, and had been doing things in little ways. For example, the people where she worked all liked music but found they were too busy to go to the record shop — so Estelle would make a list of records they liked, go to one of the wholesalers that distributed music to record shops, buy records there for seventy-six cents, and sell them to her colleagues for a dollar. Estelle persuaded her husband, against his better judgement, to remortgage their house, and she used the money to buy recording equipment. Moman helped them set it up in the barber’s storage space, and Satellite Records started up again, restarting their numbering as if from scratch with what they were now considering their first real release — a song that Moman had co-written, sung by a black vocal group, the Vel-Tones: [Excerpt: The Vel-Tones, “Fool in Love”] The record was pretty much in the style of the white pop semi-doo-wop that was charting at the time, but the singers were black, and so it had to be promoted as R&B, and Jim Stewart made visits to Black DJs like Al Bell and Rufus Thomas, and managed to get the record some airplay. It was popular enough that the record got picked up for distribution by Mercury, and actually brought Satellite a small profit. But the label still wasn’t doing well, and they were finding it difficult to persuade musicians to trek all the way out to Brunswick. And the studio space was bad in other ways — it was right near a train track, and the noise of the trains would disrupt the sessions. And while it was free, at some point they would actually have to make a record featuring Stewart’s barber’s daughter, which nobody actually fancied doing.  So they decided to move studios again, and in doing so they were inspired by another Memphis record label. Hi Records had started around the same time as Satellite, and it had had a few big hits, most notably “Smokie (Part 2)” by the Bill Black Combo, the group that Elvis’ former bass player had formed when Elvis had joined the army: [Excerpt: Bill Black Combo: “Smokie (Part 2)”] For their studio, Hi used an old cinema — a lot of cinemas were closing down in the late fifties, due to the combination of television and the drive-in making indoor cinemas less appealing, and because white flight to the suburbs meant that people with money no longer lived in walking distance of cinemas the way they used to. The Satellite team found an old cinema on East McLemore Avenue, much closer to the centre of Memphis and easier for musicians to get to. That cinema had stopped showing films a year or two earlier, and there’d been a brief period where it had been used for country music performances, but the area was becoming increasingly Black, as white people moved away, and while plenty of Black people liked country music, they weren’t exactly welcomed to the performances in segregated 1950s Memphis, and so the building was abandoned, and available cheap. Meanwhile, Estelle’s son Charles was trying to get into the music business, too. Before I go any further in talking about him, I should say that I’ve had to depart from my normal policy when talking about him. Normally, I refer to people by the name they chose to go by, but in his case he was known by a nickname which was harmless in that time and place, but later became an extremely offensive racist slur in the UK, used against people of Pakistani descent. The word didn’t have those connotations in the US at the time, and he died before its use as a slur became widely known over there, but I’m just going to call him Charles. And speaking of words which might be considered racial slurs, the band that Charles joined — an all-white group who loved to play R&B — was called the Royal Spades. This was supposedly because of their love of playing cards, but there’s more than a suspicion that the racial connotations of the term were used deliberately, and that these white teenage boys were giggling at their naughty racial transgressiveness. The group had originally just been a guitar/bass/drum band, but Charles Axton had approached them and suggested they should get a horn section, offering his services as a tenor player. They’d laughed when he told them he’d only been playing a couple of weeks, but once he explained that his mother and uncle owned a record label, he was in the group, and they’d expanded to have a full horn section. The group was led by guitarist Steve Cropper and also included his friend, the bass player Duck Dunn, and Cropper and Charles Axton helped with the refurbishing of the cinema into a recording studio. The cinema had another advantage, too — as well as the auditorium, which became the studio, it had a lobby and concession stand. Estelle Axton turned that into a record shop, which she ran herself — with Cropper often helping out behind the counter. She instituted a policy that, unlike other record shops, people could hang around all day listening to music, without necessarily buying anything. She also brought in a loyalty card scheme — buy nine records and get a tenth record for free — which allowed her to track what individual customers were buying. She soon became so knowledgeable about what was selling to the Black teenagers of the area that she boasted that if you came into the shop with twenty dollars, she’d have sold you nineteen dollars’ worth of records before you left — she’d leave you with a dollar so you could pay for your transport home, to make sure you could come back with more money. By having a record shop in the record studio itself, they knew what was selling and could make more music that sounded like that. By having a crowd around all day listening to music, they could put the new recordings on and gauge the response before pressing a single copy. Satellite Records suddenly had a market research department. And they soon had an ally in getting them airplay. Rufus Thomas was the most important man in Black entertainment in Memphis. He was a popular DJ and comedian, he was the compere at almost every chitlin’ circuit show in the area, and he was also a popular singer. He’d been the one to record the first hit on Sun Records, “Bear Cat”, the answer record to “Hound Dog” we talked about way back in episode fifteen: [Excerpt: Rufus Thomas, “Bear Cat”] Rufus Thomas knew Jim Stewart from when Stewart had been promoting the Vel-Tones single, and so he came into the newly opened studio and suggested he cut a few tracks. If you’ve got a record label, and a DJ wants to make a record with you, that’s a godsend — you’re guaranteed airplay, not only for that record, but for a few of your others. And if that DJ also happens to be a genuine talent who’d made hit records before, you jump at the chance. Thomas also brought in his daughter, Carla, who happened to have an astonishing voice.  For the first session in the new studio, they recorded a song Rufus had written, “‘Cause I Love You”, with a few musicians that he knew, including a bass player called Wilbur Steinberg, and with Steve Cropper sitting in on guitar and Chips Moman producing. Also in the studio was David Porter, a teenager who sang in a band with Bob Tally, the trumpet player on the session — Porter was skipping school so he could be in a real recording studio, even though he wasn’t going to be singing on the session. When they started playing the song, Tally decided that it would sound good with a baritone sax on it. Nobody in the studio played saxophone, but then Porter remembered one of his classmates at Booker T Washington High School. This classmate was also called Booker T. — Booker T. Jones — and he could play everything. He played oboe, sax, trombone, double bass, guitar, and keyboards, and played them all to a professional standard. Porter popped over to the school, walked into the classroom Jones was in, told the teacher that another teacher wanted to see Jones, pulled him out of the class, and told him he was going to make a record. They borrowed a baritone sax from the school’s music room, went back to the studio, and Jones played on “‘Cause I Love You” by Rufus and Carla Thomas: [Excerpt: Rufus and Carla Thomas, “‘Cause I Love You”] “‘Cause I Love You” became a local hit, and soon Jim Stewart got a call from Jerry Wexler at Atlantic, offering to start distributing it, and any future records by Rufus and Carla Thomas. Stewart didn’t really know anything about the business, but when Wexler explained to Stewart that he was the producer of “What’d I Say” by Ray Charles, Stewart knew that was someone he needed to work with — he’d recently had a sort of Damascene conversion after hearing that record, and was now fully committed to his company’s new R&B style. For a five thousand dollar advance, Atlantic ended up with the rights to press and distribute all future masters from Satellite. The next single from the label was a Carla Thomas solo record, “Gee Whizz, Look at His Eyes”. For that session, they booked in some string players, and Bob Tally was meant to write an arrangement for them. However, he didn’t turn up to the session, and when Stewart went round to his house to find him, he discovered that Tally hadn’t written the arrangement, and had been up all night playing at a gig and was in no fit state to write one. Stewart had to make the string players play from a head arrangement — something string players normally never do — and ended up giving them directions like “just play donuts!”, meaning semibreves or whole notes, which are drawn as ovals with a hole in the middle, like a donut. Despite this, “Gee Whizz” went to number five on the R&B charts and ten on the pop charts. Satellite Records had a real hit: [Excerpt: Carla Thomas, “Gee Whizz, Look at His Eyes”] Satellite were starting to build up a whole team of people they could call on. Steve Cropper was working in the record shop, so he was available whenever they needed a guitar part playing or a second keyboard adding. David Porter was working at Big Star, the grocery store across the road, and he turned out to be a talented songwriter and backing vocalist. And of course there was the band that Cropper and Charles Axton were in, which had now been renamed to the Mar-Keys, a pun on “marquis” as in the noble title, and “keys” as in keyboards, as Estelle Axton thought — entirely correctly — that their original name was inappropriate. They also had a pool of Black session players they could call on, mostly older people who’d been brought to them by Rufus Thomas, and there were always eager teenagers turning up wanting to do anything they could in order to make a record. It was the Mar-Keys who finally gave Satellite the distinctive sound they were looking for. Or, at least, it was under the Mar-Keys’ name that the record was released. An instrumental, “Last Night”, was recorded at several sessions run by Moman, often with different lineups of musicians. The Mar-Keys at this point consisted of Steve Cropper, Duck Dunn, Charles Axton, Wayne Jackson, Terry Johnson, Smoochy Smith, and Don Nix, but the lineup on the finished recording had Smith on keyboards, Axton on sax and Jackson on trumpet, with some sources saying that Cropper provided the second keyboard part while others say he only played on outtakes, not on the final version. The other four musicians were Black session players — Lewie Steinberg, Wilbur’s brother, on bass, Gilbert Caples and Floyd Newman on saxes, and Curtis Green on drums. Floyd Newman also did the spoken “Ooh, last night!” that punctuated the record: [Excerpt: The Mar-Keys, “Last Night”] Jim Stewart and Chips Moman were both convinced that would be a flop, as was Jerry Wexler when he heard it. But Estelle Axton believed in its potential — and also believed in her son, who Stewart had little time for. Jim Stewart didn’t want his useless nephew’s band on his label at all if he could help it, but Estelle Axton wanted her son to have a hit. She got a test pressing to a DJ, who started playing it, and people started coming into the shop asking for the record. Eventually, Stewart gave in to his sister’s pressure, and agreed to release the record. There was only one problem — when they pulled the tape out, they found that the first section of the track had somehow been erased. They had to hunt through the rubbish, looking through discarded bits of tape, until they found another take of the song that had a usable beginning they could splice in. They did a very good job — I *think* I can hear the splice, but if it’s where I think it is, it’s about the cleanest editing job on analogue tape I’ve ever heard. If I’m right, the edit comes right in the middle of this passage: [Excerpt: The Mar-Keys, “Last Night”] Did you hear it? The song’s authorship has been debated over the years, because the horn part and the keyboard part were written separately. Caples and Newman, the session sax players, had come up with the horn part, and so always said they should get solo composition credit. Smoochy Smith had separately written the keyboard part, which came from something he’d been working on on his own, so he got credit too. Chips Moman had suggested combining the keyboard and horn lines, and so he got songwriting credit as well. And Charles Axton didn’t contribute anything to the song other than playing on the record, but because his family owned the record label, he got credit as well. The record became a big hit, and there are a couple of hypotheses as to why. Steve Cropper always argued that it was because you could dance the Twist to it, and so it rode the Twist craze, while others have pointed out that at one point in the record they leave a gap instead of saying “Ooh last night” as they do the rest of the way through. That gap allowed DJs to do the interjection themselves, which encouraged them to play it a lot. It made number three on the pop charts and number two on the R&B charts, and it led to Satellite Records coming to the attention of another label, also called Satellite, in California, who offered to sell the Memphis label the rights to use the name. Jim Stewart had never liked Satellite as a name anyway, and so they quickly reissued the record with a new label, named after the first letters of Jim Stewart and Estelle Axton’s surnames. Stax Records was born. The Mar-Keys immediately hit the road to promote the single — which brought resentment from the Black session players, some of whom claim that during the session it hadn’t even been intended as a Mar-Keys record, and who were annoyed that even though the record was primarily their work they weren’t getting the recognition and a bunch of white boys were.  Cropper soon got tired of the tour, quit the group and came back to Memphis — he was annoyed partly because the other band members, being teenage boys, many of them away from home for the first time, acted like wild animals, and partly because Cropper and Charles Axton both believed themselves to be the band’s leader and that the other should obey them. Cropper went back to working in the record shop, and playing on sessions at Stax. The second Mar-Keys single was recorded by the studio musicians while the group were out on tour — the first they even knew about it was when they saw it in the shop: [Excerpt: The Mar-Keys, “The Morning After”] That was much less successful, but the label was still interested in making instrumentals. They started a subsidiary label, Volt — if you put records out with two different label names, it was more likely that radio stations would play more of your records, because it wouldn’t seem like they were playing one label too much — and the first single on it was an instrumental that Chips Moman wrote, “Burnt Biscuits”, by a group consisting of Moman, Rufus Thomas’ son Mavell, Lewie Steinberg, and Howard Grimes: [Excerpt: The Triumphs, “Burnt Biscuits”] That wasn’t a hit, though Moman thought it had the potential to become as big as “Last Night”. It was released under the name “the Triumphs”, after the sports car Moman drove. Shortly after that, Moman produced what would be the last classic record he’d make for Stax, when he produced “You Don’t Miss Your Water” by a new singer, William Bell, who had previously been one of the backing vocalists on “Gee Whiz”. That track had Mavell Thomas on piano, Lewie Steinberg on bass, Ron Capone on drums, and Booker T. Jones on organ — by this point Booker T. was being called on a lot to play keyboards, as Floyd Newman recommended him as a reliable piano player in the hopes that if Jones was on keyboards, he wouldn’t be playing baritone sax, so Newman would get more of those gigs: [Excerpt: William Bell, “You Don’t Miss Your Water”] That was a great record, one of the defining records of the new country-soul genre along with Arthur Alexander’s records, but it would be the last thing Moman would do at Stax. He’d not been getting on with Estelle Axton, and he also claims that he had been promised a third of the company, but Jim Stewart changed his mind and refused to cut him in. Everyone has a different story about what happened, but the upshot was that Moman left the company, went to Nashville for a while, and then founded his own studio, American, in another part of Memphis. Moman would become responsible for writing and producing a whole string of soul, country, and rock classics, and I’m sure we’ll be hearing more from him in the next couple of years. After Moman left, the label floundered a little bit for a few months. Jim Stewart and Steve Cropper split the production duties that Moman had had between them. Stewart had already produced several records for Carla Thomas, and Cropper was a great musician who had been spending every second he could learning how to make records, so they could cope, but they released a mixture of really good soul records that failed to hit the charts, and truly dire novelty country songs like “The Three Dogwoods” by Nick Charles, a song from the perspective of the tree that became the cross on which Jesus was crucified: [Excerpt: Nick Charles, “The Three Dogwoods”] That was co-written by Cropper, which shows that even the man who co-wrote “In the Midnight Hour”, “Dock of the Bay” and “Knock on Wood” had his off days. The record that would prove Stax to be capable of doing great things without Chips Moman came about by accident. Stax was still not exclusively a soul label, and it was cutting the odd country and rockabilly record, and one of the people who was going to use the studio was Billy Lee Riley. You might remember Riley from a year ago, when we looked at his “Flyin’ Saucers Rock ‘n’ Roll”: [Excerpt: Billy Lee Riley and the Little Green Men, “Flyin’ Saucers Rock ‘n’ Roll”] Riley was running his own label at the time, and doing various bits of session work and singing for other people. No-one’s quite sure what he was using the studio for in early 1962 — some say he was cutting a jingle, some say he cut a few actual tracks but that they were awful, and others that he turned up too drunk to record. Either way, the session ended early, and the musicians were at a loose end. The musicians on this session were three of the regular Stax musicians — Steve Cropper, who had just turned twenty, on guitar, Booker T. Jones, who was still a teenager, on organ, and Lewie Steinberg, a decade older than either, on bass. The fourth musician was Al Jackson, who like Steinberg was an older Black man who had cut his teeth playing jazz and R&B throughout the fifties. Booker had played with Jackson in Willie Mitchell’s band, and had insisted to everyone at Stax that they needed to get this man in, as he was the best drummer Jones had ever heard. Jackson was making money from gigging, and didn’t want to waste his time playing sessions, which he thought would not be as lucrative as his regular gigs with Willie Mitchell. Eventually, Stax agreed to take him on on a salary, rather than just paying him one-off session fees, and so he became the first musician employed by Stax as a full-time player — Cropper was already on salary, but that was for his production work and his work at the record shop. As the session had ended rather disappointingly, the four were noodling on some blues as they had nothing better to do. Jim Stewart clicked on the talkback from the control room to tell them to go home, but then heard what they were playing, and told them to start it again so he could get it down on tape: [Excerpt: Booker T and the MGs, “Behave Yourself”] Stewart was happy with that track, but singles needed two sides, and so they needed to come up with something else. Cropper remembered a little musical lick he’d heard on the radio one day when he’d been driving with Booker — they’d both been fascinated by that lick, but neither could remember anything else about the song (and to this day no-one’s figured out what the song they’d heard was). They started noodling around with that lick, and shaped it into a twelve-bar instrumental: [Excerpt: Booker T. and the MGs, “Green Onions”] That was even better than the other track, and they needed a funky name to go with such a funky track. Lewie Steinberg thought that onions were the funkiest thing he could think of, and so the track became “Green Onions”. As the last instrumental they’d released with food as a title, “Burnt Biscuits”, had been by the Triumphs, they thought the group name should be another sports car name, and so it came out as by Booker T and the MGs. (They later said that MG stood either for Memphis Group or for Mixed Group, because they had both Black and white members, but the original idea was definitely the car – they just didn’t want to have a trademark lawsuit on their hands). “Green Onions” went to number one on the R&B charts and number three on the pop charts, and became the biggest thing Stax had ever recorded. That core group became the Stax house band, playing on every session from that point on. If they recorded an instrumental on their own, it went out as by Booker T and the MGs. If they recorded an instrumental with horn players, it went out as by the Mar-Keys, and they also played backing all the singers who came through the door of Stax, and there would be a lot of them over the next few years. There were a couple of changes — Booker T actually went off to university soon after recording “Green Onions”, so for a couple of years he could only play on weekends and during holidays — on weekdays, the studio used another keyboard player, again suggested by Floyd Newman, who had hired a young man for his bar band when the young man could only play piano with one hand, just because he seemed to have a feel for the music. Luckily, Isaac Hayes had soon learned to play with both hands, and he fit right in while Booker was away at university. The other change came a couple of years later, when after the MGs had had a few hits, Lewie Steinberg was replaced by Duck Dunn. Steinberg always claimed that the main reason he was dropped from the MGs was because he was Black and Steve Cropper wanted another white man. Cropper has always said it was because Duck Dunn had a harder-edged style that fit their music better than Steinberg’s looser feel, but also that Dunn had been his best friend for years and he wanted to play more with him. The two Black members of the MGs have never commented publicly, as far as I can tell, on the change. But whether with Jones or Hayes, Steinberg or Dunn, the MGs would be the foundation of Stax’s records for the rest of the sixties, as well as producing a string of instrumental hits. And it was those instrumental hits that led to the arrival of the person who would make Stax a legendary label. Joe Galkin, a record promoter to whom Jim Stewart owed a favour, was managing a local guitarist, Johnny Jenkins, and brought him into the studio to see if Stax could get him an instrumental hit, since they’d had a few of those. Jenkins did eventually release a single on Stax, but it wasn’t particularly special, and didn’t have any success: [Excerpt: Johnny Jenkins, “Spunky”] The day of Jenkins’ first session was a flop, they’d not been able to get anything decent recorded, and the musicians started to pack up. But Galkin had made a deal with the singer in Jenkins’ band — if he’d drive Jenkins to the studio, since Jenkins couldn’t drive, he’d try to get a record cut with him as well. Nobody was interested, but Galkin wore Jim Stewart down and he agreed to listen to this person who he just thought of as Johnny Jenkins’ driver. After hearing him, Steve Cropper ran out to get Lewie Steinberg, who was packing his bass away, and tell him to bring it back into the studio. Cropper played piano, Jenkins stayed on guitar, and Booker, Al, and Lewie played their normal instruments. Jim Stewart wasn’t particularly impressed with the results, but he owed Galkin a favour, so he released the record, a fun but unoriginal Little Richard soundalike: [Excerpt: Otis Redding, “Hey Hey Baby”] But soon DJs flipped the record, and it was the B-side that became the hit: [Excerpt: Otis Redding, “These Arms of Mine”] Otis Redding would never again be thought of as just Johnny Jenkins’ driver, and Stax Records was about to hit the big time.  

Welches Gemüse unterhält sich auf einem Backblech kulinarisch erhellend mit einem Hokkaido Kürbis? Natali (Blond) liebt es perfekte Aromen-Kombinationen zu finden - sowohl in der Küche, als auch bei Ihren Gästen. Sie bereitet Blanche (Rot) das Lieblingsrezept ihrer Blogleser für Hokkaido Kürbis zu. Dabei beichtet ihr Rot, dass sie nicht immer sofort mit der Wahl ihrer Sitznachbarn bei Einladungen von Blond begeistert war. Warum? Hört rein und lernt dabei wie die Süßkartoffel, kulinarisch begeistert, den Hokkaido auf Natalis Backblech entertaint. Passend singt dazu Blanche in dieser Folge: "Let's Stay Together"- Text und Musik von Al Green, Willie Mitchell, Al Jackson Jr. "Let me entertain you"- Text und Musik von Guy Chambers and Robbie Williams

Host Sarah Avampato is joined by Harrison Lee of Locked On Jets as we rifle through our jersey collections. What's the weirdest jerseys we have? The white whale that's always escaped our grasp? Any regrettable purchases lingering in your past? Or are you someone with the jersey curse, where you buy one and the player immediately gets traded? Plus, talk turns to Willie Mitchell, for reasons.Support Us By Supporting Our Sponsors! Rock AutoAmazing selection. Reliably low prices. All the parts your car will ever need. Visit RockAuto.com and tell them Locked On sent you.Built BarBuilt Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKEDON,” and you'll get 20% off your next order.BuiltGoVisit BuiltGO.com and use promo code “LOCKED,” and you'll get 20% off your next order. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Host Sarah Avampato is joined by Harrison Lee of Locked On Jets as we rifle through our jersey collections. What's the weirdest jerseys we have? The white whale that's always escaped our grasp? Any regrettable purchases lingering in your past? Or are you someone with the jersey curse, where you buy one and the player immediately gets traded? Plus, talk turns to Willie Mitchell, for reasons. Support Us By Supporting Our Sponsors!  Rock Auto Amazing selection. Reliably low prices. All the parts your car will ever need. Visit RockAuto.com and tell them Locked On sent you. Built Bar Built Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKEDON,” and you’ll get 20% off your next order. BuiltGo Visit BuiltGO.com and use promo code “LOCKED,” and you’ll get 20% off your next order. Learn more about your ad choices. Visit podcastchoices.com/adchoices

¿El cambio de hora… Luz más amarilla? ¿Lunes tormentoso? ¿Malestar estomacal? Poner música a tus lunes. Olvidemos las palabras. Escuchemos orquestas, guitarras, pianos, banjos, sintes, flautas y saxofones… Algunas de estas melodías te sonarán, otras te embargarán y otras te animarán el momento. Músicas de Alan Parsons, Alexander Desplat, Bohannon, Camel, Esquivel, Alison Brown, Peter White, Mike Oldfield o Acoustic Alchemy. DISCO 1 THE ALAN PARSONS PROJECT I Wouldn’t Want Be Like You (Cd 2 - 6) DISCO 2 THE MIGHTY MOCAMBOS Theme From Beverly Hills Cop (DEREK - 17) DISCO 3 MIKE OLDFIELD Sailing (CD 2- 1) DISCO 4 BOHANNON The Pimp Walk (Cara 1 Corte 3) DISCO 5  ACOUSTIC ALCHEMY Mr. Chow (5) DISCO 6 PETER WHITE Promenade (1) DISCO 7 EARL KLUGH Stay Gold (Cara 1 Corte último) DISCO 8 TUCK & PATTI Europa (Cara 2 Corte 1) DISCO 9 CAMEL The Snow Goose (6) DISCO 10 ALISON BROWN Stuff Happens (7) DISCO 11 ESQUIVEL Watchmacallit (7) DISCO 12 WILLIE MITCHELL Black Fox (Cara 1 Corte 3) DISCO 13 ALEXANDER DESPLAT Welcome To Suburbicon (DEREK - 13) DISCO 14 ANTONIO LIZANA Me cambiaron los tiempos (5) Escuchar audio

ep 187 - “Together” vs “Groovin'”. The Intruders con “Together” del 1967, hanno lasciato il segno con il loro beat oltre che in produzioni americane anche in quelle nostrane, campionato da Neffa nel 1996, seguito da Fritz Da Cat… “Groovin'” nella versione di Willie Mitchell, è quel sample che fa per forza muovere il capo a tempo, grazie anche ai featurin' di Wu-Tang Clan, Mos Def e Notoruoius B.I.G…

Can you imagine growing up surrounded by legendary music greats? Well my guest for episode 129, Oona Mitchell Bean, is the granddaughter of the iconic Willie Mitchell of Hi Records who released records with likes of Al Green, O.V. Wright, Ann Peebles and many more. Oona, along with her brother Boo Mitchell, continues the family's third generation as influential music makers and producers. Oona gravitated towards the business side of music helping her grandfather secure deals while becoming an expert at copywriting and publishing. Her personal growth also developed alongside famed producer David Gest as his assistant in the states and managing European tours with artists such as Peabo Bryson, Denise Williams and Melba Moore. In addition, Oona worked for free for fifteen years as a volunteer learning the ins and outs of festival planning. Through hard work and determination, she began planning festivals on her own merit such as MEMPHO Fest and the Memphis Springboard Festival. Oona spread her wings and started internet radio station Royal Radio where she promotes local artists and business as well as live streams. In this episode you will hear some of the challenges Oona has faced as a double minority in the music business. She also shares quite a few stories with her many travels around the world promoting Memphis music. We touch on the importance of mental health awareness sharing our thoughts on the recent Kanye West updates. This topic segued into a discussion on how important it is to say “NO” in this industry when folks are beating down your door in need of a piece of you. Lastly, Oona speaks on her work with the exclusive Grammy's club dating back to 2008 where she is currently a board member for the local Memphis chapter.

Can you imagine growing up surrounded by legendary music greats? Well my guest for episode 129, Oona Mitchell Bean, is the granddaughter of the iconic Willie Mitchell of Hi Records who released records with likes of Al Green, O.V. Wright, Ann Peebles and many more. Oona, along with her brother Boo Mitchell, continues the family's third generation as influential music makers and producers.Oona gravitated towards the business side of music helping her grandfather secure deals while becoming an expert at copywriting and publishing. Her personal growth also developed alongside famed producer David Gest as his assistant in the states and managing European tours with artists such as Peabo Bryson, Denise Williams and Melba Moore. In addition, Oona worked for free for fifteen years as a volunteer learning the ins and outs of festival planning. Through hard work and determination, she began planning festivals on her own merit such as MEMPHO Fest and the Memphis Springboard Festival. Oona spread her wings and started internet radio station Royal Radio where she promotes local artists and business as well as live streams. In this episode you will hear some of the challenges Oona has faced as a double minority in the music business. She also shares quite a few stories with her many travels around the world promoting Memphis music. We touch on the importance of mental health awareness sharing our thoughts on the recent Kanye West updates. This topic segued into a discussion on how important it is to say “NO” in this industry when folks are beating down your door in need of a piece of you. Lastly, Oona speaks on her work with the exclusive Grammy's club dating back to 2008 where she is currently a board member for the local Memphis chapter.

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′0″ No Distraction (Khruangbin Remix) by Beck (Fonograf Records) 1′0″ White Gloves by Khruangbin on The Universe Smiles Upon You (Night Time Stories) 4′2″ Summer by Sinkane on Oracolo (Lewis Recordings) 6′25″ Go Back by Tony Allen, Damon Albarn on Film of Life (Jazz Village) 9′8″ Look by Sebastien Tellier on Sexuality (Record Makers) 13′34″ Ghost of Kodoku (Tycho remix) by Tycho (Sony Music) 17′19″ No Stress by Tycho on Weather (Mom+Pop) 19′24″ Curls by Bibio (Warp Records) 22′53″ Strange Froot (feat. Ambré) by TOKiMONSTA (Young Art Records) 25′8″ Jump Hi by LION BABE, Childish Gambino on Begin (LION BABE LLC) 26′51″ Summertime by DJ Jazzy Jeff & The Fresh Prince on Homebase (Zoomba) 30′38″ Dear Summer by Memphis Bleak (feat. Jay-Z) on 534 (Roc-A-Fella) 39′16″ Morning Sunrise by Weldon Irvine on The Sisters (Nature Sounds) 41′37″ EARFQUAKE by Tyler, the Creator on IGOR (Columbia Records) 43′26″ Look Easy by Kaytranada (RCA Records) 46′34″ Communication (Feat. DRAM) by Arin Ray on Platinum Fire (Interscope) 49′1″ The Sweetest Taboo by Sade on Promise (Sony) 50′39″ Getting There From Here (with Todd Edwards) by Poolside (Pacific Standard Records) 54′20″ African Tribal Orchestra by - (African Tribal Orchestra) 57′54″ Anybody by Burna Boy on African Giant (Atlantic) 58′49″ Keys to the City by Mr. Eazi on Life is Eazi Vol. 2 (Banku Music) 62′39″ International Badman Killa by Runtown on Tradition (Soundgod Music) 64′25″ Girls Dem Sugar by Beenie Man on Art and Life (Virgin Records) 65′34″ Who Am I by Beenie Man on Many Moods of Moses (VP Music Group) 67′54″ Nike Air (Hands in the Air) by Mr. Vegas on Heads High (Greensleaves) 70′35″ Summer Breeze by The Isley Brothers on Love Songs (Sony Music) 74′20″ Groovin' by Willie Mitchell on Solid Soul (Fat Possum Records) 80′2″ Liquid Swords (feat. RZA) by GZA/Genius on Liquid Swords (Loud) 81′39″ Jacaranda by Luiz Bonfá on Jacaranda (Ranwood) 86′6″ A Day in the Life by Gabor Szabo, The California Dreamers on Wind, Sky and Diamonds (UMG) 88′22″ Let's Pretend That It's Summer by Brian Jonestown Massacre on Strung Out in Heaven (TVT) 91′9″ Dream World (acoustic version) by The Growlers on Single (Beach Goth Records) 94′44″ Willie and Nillie by Chuck Prophet on Love Doesn't Come From the Barrel of a Gun (Yep Roc Records) 100′37″ Summertime Thing by Chuck Prophet on No Other Love (New West Records) 102′6″ Summertime by Girls on Album (Fantasy Trashcan) 110′3″ Tuesday Night by Fast Times on Single (War Chant Recordings) The next Tender Knob Radio is on Sunday, September 6th at 6:00 pm. Check out the full archives on the website.

Boo Mitchell carries on the legacy of his father, Willie Mitchell, as a producer of chart-topping record hits. One of Boo Mitchell’s proudest achievements was taking home the “Record of the Year” Grammy in 2016—the first time in the history of the Grammy Awards that a Memphis-made record garnered the award. Boo’s father is remembered and revered as a pioneer of the Memphis Soul sound. A partnership between Al Green and Willie Mitchell created their first home-run hit in 1971, followed by a number-one hit every year for the next four years.

Dan and Randip debate the merits of offering Chris Tanev a multi-year contract extension. Also on the show: Willie Mitchell (00:26) for Cup Champ Convos, Marc Dos Santons (00:52) on the MLS Is Back Tournament and Jeff Marek (1:34) on the NHL. The views and opinions expressed in this podcast are those of the hosts […]

Sintonía: "Cool" - Cal Tjader "Hip Soul" - Shirley Scott; "Green Onions" - Tom & Jerry; "Willie Jean" - Jimmy Drew; "Just a Little Bit" - Rosco Gordon; "Cool Turkey" - James Booker; "Work Song" - Tommy Hunt; "Night Train" - King Curtis; "My Book" - Bruce Cloud; "I´m Gonna Go Fishin´" - Peggy Lee; "Fever" - Eddie Cooley; "Watch Your Step" - Bobby Parker; "Crawl (Part 1)" - Willie Mitchell; "You Came Along Way from St. Louise" - Etta Jones; "Take Five" - Carmen McRae & Dave Brubeck; "The Search Goes On" - Trini Lopez; "One Mint Julep" - Sarah Vaughan; "Baby Lou" - Jimmy Drew; "36-22-36" - Bobby Bland; "Teasin´" - Jon Thomas; "La La La La La" - The Blendells Escuchar audio

Former Wild defenseman Willie Mitchell remembers the 2003 playoffs, his time in Minnesota, his career and much more.

A blast from the past as we catch up with former Wild defenseman Willie Mitchell

This episode will focus on playing the original songs of iconic samples that you would recognize from popular hip hop tracks. Here is the list of songs in order, as well as the rap tracks they were sampled in. Click on the track title to be linked to the song on Youtube.1. "Walk on the Wild Side" by Lou Reed    Sampled on "Can I Kick It?" by A Tribe Called Quest2. "Summer in the City" by Quincy Jones    Sampled on "Passing Me By" by The Pharcyde3. "Thank You God" by Darondo    Sampled on "Wrestlemania 20" by Westside Gunn ft. Anderson Paak4. "Is There Any Love?" by Trevor Dandy    Sampled on "Is There Any Love?" by Kid Cudi ft. Wale5. "Groovin'" by Willie Mitchell    Sampled on "Liquid Swords" by GZA ft. RZA6. "I Can't Stand the Rain" by Ann Peebles    Sampled on "The Rain (Supa Dupa Fly)" by Missy Elliot7. "Why Can't We Live Together?" by Timmy Thomas    Sampled on "Hotline Bling" by Drake8. "Juicy Fruit" by Mtume    Sampled on "Juicy" by The Notorious B.I.G.9. "I Got The..." by Labi Siffre     Sampled on "My Name Is" by Eminem10. "The Boss" by James Brown    Sampled on "Get Down" by Nas11. "Way Star" by Rubba    Sampled on "Thuggin'" by Freddie Gibbs12. "The Worst Band in the World" by 10cc    Sampled on "Workinonit" by J DillaIntro song: Bossa Nova by Chaz X

Stephanie and T-Shaw speak with the descendants of Royal Studios Founder, Willie Mitchell, Oona & Lawrence "Boo" Mitchell. Today Royal Studios has moved well beyond Blues Music and R&B, under the leadership of Oona & Boo, Royal Studios has become a highly respected entity in the music business.  Just ask Bruno Mars, Snoop Dogg and many of today's pop music artists.  Enjoy this education on one of the greatest and most renowned studios in history!

Le 19 décembre, et en marge de la sortie de la compilation Shaolin Soul Plays Motown, on a fêté toute la journée à l’antenne les 60 ans du label Motown. Le journaliste et écrivain Olivier Cachin, qui… See acast.com/privacy for privacy and opt-out information.

Native Memphian, Lawrence "Boo" Mitchell, was surrounded by music growing up in South Memphis. Boo is the son of legendary Hi Records and Al Green producer, Willie Mitchell. After graduating from Christian Brothers High School, he formed a rap group called the M-Team in 1988. Years later he worked as manager and talent coordinator for his family's club, "Willie Mitchell's Rhythm and Blues Club" located on Memphis's historic Beale street. As you can imagine, countless celebrities frequented the club during this time and Boo shares quite a few stories from this era in his life. We also discuss the dynamic of Memphis Music and how many artists are seeking that "vintage recording sound" from Royal Studios. Being a Grammy Award winning - engineer, producer, and composer, Boo walks me through the night he picked up the Grammy for "Record of the Year" for his work on the Mark Ronson/Bruno Mars hit "Uptown Funk." We also talk about the upcoming Mempho Music Festival which kicks off October 19th at Shelby Farms.

Everybody knows Jason Priestley. Beverly Hills 90210, the series he starred in for 10 years, is still running all over the world. This interview was done on Willie Mitchell’s fishing boat off Tofino alongside Naomi Priestley and their kids Ava and Dash. Terry talks to Jason about wine, the 90210 reboot, and his series Private Eyes.

Willie Mitchell played with Roberto Luongo for six seasons and says his job was to help protect Luongo while Luongo’s job was to bail Willie out when he made a mistake.

Guests include Willie Mitchell.

Born in Memphis, spending summer months with his great aunt and uncle in a small west Texas town, while being raised in Washington, DC, Clarence Greenwood aka Citizen Cope (https://citizencope.com/welcome) grew up influenced by the production techniques of George Martin, Dr. Dre and Willie Mitchell while listening to everything from Willie Nelson, to John Lennon, Bob Marley, Outkast and A TribeCalled Quest.Cope has since built a decades-long career in the music industry on trusting his gut and following his muse, putting out albums under major labels, writing songs that've been recorded by the likes of Carlos Santana, Sheryl Crow and others and eventually, taking back control to publish under his own label. And if his new album, ‘Heroin And Helicopters,’ is any indication, his instincts are sharper now than ever before.We explore this powerful journey in today's conversation. And, as with all of our special episodes this month, we end this deep-conversation with a moving, in-studio acoustic performance from his new album. Citizen Cope is on tour right now, so be sure to check out his latest album and maybe even see him at a show near you (https://citizencope.com/tour).Check out our offerings & partners: Honeybook: Right now, HoneyBook (https://www.honeybook.com/) is offering our listeners 50% off your first year with promo code GOODLIFE

This show is packed with Willie Mitchell-era Al. A perfect hour of music. 

El auditorio Kultur Leioa recibe este viernes, 8 de febrero, a Soul Teller, el actual proyecto de Miguel Ángel Julián, toda una referencia en la escena del soul. Para la ocasión apuesta por el formato acústico, a voz y piano, ingredientes más que suficientes para hacer del show una verdadera fiesta. Será constante su interacción con el público, que le acompañará -asegura- desde la segunda canción. El repertorio está formado por clásicos del soul y joyas propias; no en vano tiene registradas más de 200 canciones. Con momentos también para la improvisación con la que poner "a prueba" al polivalente pianista Lorenzo Moya. No hay que olvidar que, hablar de Miguel Ángel Julián es hablar del artista que, hace una década, se convertía en el primer músico español en grabar un disco producido por Willie Mitchell, el descubridor de Al Green y productor de leyendas como Elvis Presley, Aretha Franklin o Rod Stewart. Una entrevista de Iratxe Celis.

El auditorio Kultur Leioa recibe este viernes, 8 de febrero, a Soul Teller, el actual proyecto de Miguel Ángel Julián, toda una referencia en la escena del soul. Para la ocasión apuesta por el formato acústico, a voz y piano, ingredientes más que suficientes para hacer del show una verdadera fiesta. Será constante su interacción con el público, que le acompañará -asegura- desde la segunda canción. El repertorio está formado por clásicos del soul y joyas propias; no en vano tiene registradas más de 200 canciones. Con momentos también para la improvisación con la que poner "a prueba" al polivalente pianista Lorenzo Moya. No hay que olvidar que, hablar de Miguel Ángel Julián es hablar del artista que, hace una década, se convertía en el primer músico español en grabar un disco producido por Willie Mitchell, el descubridor de Al Green y productor de leyendas como Elvis Presley, Aretha Franklin o Rod Stewart. Una entrevista de Iratxe Celis.

Recorded on 16th of September, 2018 at Le Mellotron, Paris. Tracks from Booker T. & The M.G.'s, Apple And The Three Oranges, Young-Holt Unlimited, Jim Sullivan, Willie Mitchell and the Desert River Band, Witch, Orchestre Poly-Rythmo de Cotonou & more.

In this episode, I get to chat with Willie about his journey coparenting while in college. We discuss: -making the decision to co-parent for the betterment of the child -his schedule and getting his school work done -his support system -the transition from seeing his son everyday to three days a week -his biggest challenge as a new dad -having his father as a role model -his family's disappointment of him having a child without being married -why faith is important -what self care looks like for him -being a dad vs. being a father -working two jobs to provide and more AND MORE Take a moment to answer the survey here: https://goo.gl/forms/lTQEdDDAANCcnauV2 Connect with Willie on Instagram: https://www.instagram.com/bsn_mitchell/ Connect with me on Instagram: https://www.instagram.com/singleblackmotherhood/ Like us on Facebook: https://www.facebook.com/singleblackmotherhood/ Visit the site: https://www.singleblackmotherhood.com Learn about The Single Moms Cruise: For more information on the Single Moms Cruise, visit: https://www.singleblackmotherhood.com/single-moms-cruise

Topics: Shirley Anita Chisholm, H. Rap Brown, Diana Ross, Al Green, Superfly, Sanford & Son, & Fat Albert. (Bonus Artist: hidingtobefound)   1.    1972 - A Transitional Year, New Directions, Politics and Pimpin   2.    News snapshots   3.    Nixon wins reelection   4.    Watergate: 5 dudes arrested for breaking into the DNC headquarters   5.    Vietnam War: year 17 of 19   6.    Deaths: 641 down from 2357 in 1971   7.    June29 - SCOTUS rules death penalty unconstitutional   8.    Economic snapshots   9.    Black unemployment is 9.9%. highest since great depression.   10.    31% black families headed by women   11.    Minimum wage:    12.    Sports snapshots   13.    Super Bowl: Dallas def. Miami   14.    World Series: Oakland A's def. Cincinnati (4-3)   15.    NBA Championship: LA Lakers def. New York   16.    Science snapshots   17.    CAT scanning, compact disks, electronic mail, and Prozac are developed.   18.    Apollo XVII, the last manned moon landing to date   19.    Entertainment snapshots   20.    Time Inc. drops HBO, the first pay cable network.   21.    Atari breaks out Pong, the first arcade video game. (home version in 1974)   22.    Women dominate the Grammy Awards, grabbing the big 4. Carole King won Record, Album and Song of the Year, while Carly Simon won Best New Artist.   23.    Music (top selling albums): #3. Fragile by Yes, #2. American Pie by Don McLean, #1. Harvest by Neil Young / just an fyi, #13. Led Zeppelin IV   24.    Movies (top grossing): #3. What's up Doc, #2. The Poseidon Adventure, #1. The Godfather   25.    Television: #3. Hawaii Five-O, #2. Sanford and Son*, #1. All in the Family   26.    Black snapshots   27.    Mahalia Jackson and Jackie Robinson pass away   28.    NYC graffiti breaks out. it's one of the 4 pillars of hip-hop   29.    MJ (@14) goes solo: hits w/ Ben   30.    Cicely Tyson (@48) stars in Sounder: Box office hit. Proving that the black audience will take, a non 'super black' exploitation movie seriously.   31.    QUESTION: What pops out for you?   32.    Socio-political (1st major shift to a new direction, political power)   33.    Shirley Anita Chisholm, (@ 47): politician, educator, and author of "Unbought and Unbossed! -1970 autobiographies.   34.    in 1972, she became the first black person EVER to run for POTUS AND the first woman to run for the Democrats.   35.    Already, in 1968, she was the first black woman elected to Congress.   36.    Her campaign was underfunded, dismissed as a symbolic, & basically ignored by the power structure.   37.    And she was not instantly a heroine for black people.   38.    Of course, black male colleagues showed little love: "When I ran for the Congress, when I ran for president, I met more discrimination as a woman than for being black. Men are men.... They think I am trying to take power from them. The black man must step     39.    forward, but that doesn't mean the black woman must step back."   40.    QUESTION: Is this the real reason more black women haven't run? (only other black woman was Carol Moseley Braun from Il in 2004)   41.    About her legacy, she said, “I want to be remembered as a woman … who dared to be a catalyst of change.” (Obama?)   42.    Famous Quotes:   43.    "Tremendous amounts of talent are lost to our society just because that talent wears a skirt."   44.    "The emotional, sexual, and psychological stereotyping of females begins when the doctor says, 'It's a girl'."   45.    "In the end, anti-black, anti-female, and all forms of discrimination are equivalent to the same thing - anti-humanism."   46.    Conclusion: In our lifetime we saw THE MOST successful path for black advancement. Politics. Only 36 years from Shirley to Obama.   47.    Shirley Chisholm was an underappreciated legend and icon.   48.    Other Comments?   49.    Meanwhile...the Black Power Movement is falling apart! (2nd major shift)   50.    1971-1972 the Panthers split into different camps. Huey vs Eldrigdge   51.    They went "Hatfield vs McCoy" and started retaliatory assassinations.   52.    H. Rap Brown (@ 29), is the latest high-profile BPM figure to fall.   53.    Others include: Angela Davis, Assata Shakur, Elaine Brown, Eldridge Cleaver, Fred Hampton, Huey P. Newton, Stokely Carmichael, and Bobby Seale   54.    H Rap Brown sentenced for an attack on a New York City bar?!?!   55.    Currently serving a life sentence for murder after shooting of two Sheriff's deputies in 2000.   56.    He was known for taking over SNCC after Stokely and his autobiography, Die Nigger Die!   57.    Probably most famous for saying, "violence is as American as cherry pie” -and- "If America don't come around, we're gonna burn it down."   58.    QUESTION: Was the decline of the BPM more internal (reliance on the gun and violence), external (black people lost interest) -OR- did black people choose to go the "integration" route?   59.    Conclusion: The BPM had a great message: Pride, Self-reliance, and education. But, I think they were too extreme.   60.    Other Comments:   61.    Music: 1972 Top Singles   #1 Roberta Flack    The First Time Ever I Saw Your Face #2 Gilbert O’Sullivan    Alone Again (Naturally) #3 Don McLean    American Pie #4 Nilsson    Without You #5 Sammy Davis Jr.    Candy Man #6 Joe Tex    I Gotcha #7 Bill Withers    Lean On Me #8 Mac Davis    Baby Don’t Get Hooked On Me #9 Melanie    Brand New Key #10 Wayne Newton    Daddy Dont You Walk So Fast #11 Al Green    Let’s Stay Together #12 Looking Glass    Brandy (You’re A Fine Girl) #13 Chi-Lites    Oh Girl #14 Gallery    Nice To Be With You #15 Chuck Berry    My Ding-A-Ling #16 Luther Ingram    If Loving You Is Wrong I Don’t Want To Be Right #17 Neil Young    Heart Of Gold #18 Stylistics    Betcha By Golly, Wow #19 Staple Singers    I’ll Take You There #20 Michael Jackson    Ben #21 Robert John    The Lion Sleeps Tonight #22 Billy Preston    Outa-space #23 War    Slippin’ Into Darkness #24 Hollies    Long Cool Woman (In A Black Dress) #25 Mouth and MacNeal    How Do You Do #26 Neil Diamond    Song Sung Blue #27 America    A Horse With No Name #28 Hot Butter    Popcorn #29 Main Ingredient    Everybody Plays The Fool #30 Climax    Precious And Few   62.    Vote: Best Single, __________________________________   63.    1972 Albums   64.    Jan - There's a Riot Going' On - Sly & the Family Stone   65.    Jan - Black Moses - Isaac Hayes   66.    Mar - Solid Rock - The Temptations   67.    Mar - Let's Stay Together - Al Green   68.    May - First Take - Roberta Flack   69.    Jun - A Lonely Man - The Chi-Lites   70.    Jul - Still Bill - Bill Withers   71.    Oct - Super Fly Soundtrack - Curtis Mayfield   72.    Nov - All Directions - The Temptations   73.    Dec - I'm Still In Love With You - Al Green   74.    Vote: Best Album, __________________________________   75.    Key Artist - Diana Ross (@28): Singer, songwriter, actress, and record producer. Born and raised in Detroit.   76.    Became famous as the lead singer the Supremes, the best charting girl group in history. With twelve number-one hit singles. ("Where Did Our Love Go", "Baby Love", "Come See About Me", "Stop! In the Name of Love", "You Can't Hurry Love", "You Keep Me     77.    Hangin' On", "Love Child", and "Someday We'll Be Together", etc...)   78.    The movie dream girls was inspired by the group   79.    She also did a few big films: Lady Sings the Blues, Mahogany, The Wiz, etc...   80.    Question: Here's my problem with The Boss. Mary Wilson was the heart and soul of the Supremes. Florence Ballard was the best singer. Diana was what?   81.    Conclusion: The Supremes were deliberately glamorous, because Gordy wanted all of Motown to be crossover artists. Beyonce has real game, I'm not convinced Diana wasn't just hyped up.    82.    Other Comments:   83.    Key Artist - Al Green (@26): singer, songwriter and record produce. Born in AR, grew up in Michigan, discovered in Memphis.   84.    Kicked out of the house when his very religious daddy caught him listening to Jackie Wilson.   85.    Quote: "I also listened to Mahalia Jackson, all the great gospel singers. But the most important music to me was those hip-shaking’ boys: Wilson Pickett and Elvis Presley. I just loved Elvis Presley. Whatever he got, I went out and bought."   86.    Started out in 1967, flashed in 1971 with the album, "Al Green Gets Next to You", PEAKED in 1972 with 2 albums - "Let's Stay Together" & "I'm Still in Love with You", and capped 1973 with the lp "Call Me", a critically acclaimed "Masterpiece!"   87.    Basically, everything we love about Al was dropped in that 3-year window.   88.    1974 he was born again   89.    Soon after that his "girlfriend" dumped boiling grits on him in the bathtub before shooting and killing herself. (with his gun!?)   90.    By 1976, he was ready to go gospel.   91.    His longtime producer, Willie Mitchell (the guy who discovered him and crafted his music), passed on doing gospel music. (Bounced check story)   92.    1977, he dropped "The Belle Album", his 12th. Rolling Stone magazine said, "We may someday look back on The Belle Album as Al Green’s best"   93.    Question: Just an observation really. This is the 3rd major shift in 1972. Al didn't make political or activist music. Some said he was the last great "Soul Man". In 1971 Marvin asked, what's going on. During 1972, in the middle of war protests, Watergate, an     94.    election, civil rights protests, the Panthers shooting up the streets, Al Green made LOVE ok again.   95.    Other Comments:   96.    Vote: Key Artists, ________________________________   97.    Movies   98.    Lady Sings the Blues: Based on Lady Sings the Blues by Billie Holiday   99.    Starring: Diana Ross (@28), Billy Dee Williams (@35), Richard Pryor (@32)   100.    Blacula: important because it was a successful black horror film   101.    Buck and the Preacher: important for casting blacks as leads in a western and was the first film Sidney Poitier directed   102.    Super Fly: 4th Major shift (The streets are talking)   103.    Priest is done with the clothes, the cars, the drugs, the money, and the white women.   104.    But, his partner, Eddie isn’t.   105.    Quote (Eddie talking to Priest): "You're gonna give all this up? 8-Track Stereo, color T.V. in every room, and can snort a half a piece of dope everyday? That's the American Dream, nigga! Well, ain't it? Ain't it?"   106.    Curtis Mayfield (@30) wrote and produced the AMAZING soundtrack.   107.    Starring: Ron O’Neal (@35), Carl Lee (@46), Sheila Frazier (@24)   108.    At the time of its release, lots of black folks didn't like what Super Fly was representing.   109.    Quote from the Hollywood NAACP branch: “we must insist that our children are not exposed to a steady diet of so-called black movies that glorify black males as pimps, dope pushers, gangsters, and super males.”   110.    The filmmakers (White producer / black director) say they wanted to show the negative and empty aspects of the drug subculture.   111.    Regardless, Super Fly landed BIG TIME with the "post-Civil Rights" generation.   112.    They thought Eddie spoke the gospel.   113.    Quote (Eddie talking to Priest): " I know it's a rotten game, but it's the only one The Man left us to play. That's the stone, cold truth."   114.    Question: Ultimately, what is the legacy of Superfly?   115.    Conclusion: I really enjoyed the movie. However, it blatantly dismissed the BPM, and spoke directly to the criminal elements in the black community. This movie, along with the "Urban" writers, Donald Goines and Iceberg Slim, helped spawn a generation     116.    of criminals. That can't be a good thing.   117.    Other comments:   118.    Vote: Key movie, ____________________________________   119.    Television   120.    Jan - Sanford and Son debuts on NBC (6 seasons)   121.    Groundbreaking: 1st "Black" cast sit-com on the air...at least 2yrs before: That's My Mama ('74), Good Times ('74), The Jeffersons ('75), and What's Happening!!('76)   122.    Theme music by Quincy Jones (@39)   123.    Starring: Redd Foxx (@50), and Demond Wilson (@26)   124.    Foxx was born in St. Louis, raised in Chicago, and ran the streets with pre-Muslim Malcolm X back in the day.   125.    He came up performing raunchy comedy and developed a cult following in the 50's and 60's.   126.    In 1970 he flashed in the comedy movie "Cotton Comes to Harlem" and the producer of All in the Family hit him up.   127.    Question: Is Lamont crazy? Quote: "MLK left black people hooked on economic dependence and Sanford and Son taught entrepreneurship"   128.    Conclusion: Undeniably funny. Redd had the respect and help from some of the best young comics in the business, black and white. Classic!   129.    Other Comments:   130.    Sep - Fat Albert and the Cosby Kids (8 seasons)   131.    Fat Albert first popped up in 1967 during Cosby's stand-up comedy routine "Buck Buck,"   132.    Starring: Bill Cosby (@35)   133.    Born and raised in Philly. High school drop-out. Got his G.E.D. and went to Temple Univ. on a scholarship. While bartending, he discovered his comedy talent.   134.    He dropped out of college and mastered crossover comedy in the early sixties.   135.    In 1965 he broke out in the hit tv series I-Spy and by 1970 he was America's top Black comic.   136.    He went back to college in 1970 and got involved with PBS and the Electric Company.   137.    During this time, he cooked up "Fat Albert and the Cosby Kids"   138.    It was based on his childhood friends and every show had an educational lesson in it.   139.    A lot of times the crew would end the show playing a song in the neighborhood junkyard.   140.    Question: Frankly, did the sex scandal undermine his whole career?   141.    Conclusion: I used to really like Bill.   142.    Other comments:   143.    Vote: Television, ___________________________________   144.    Vote: 1972 Biggest Shadow, __________________________

Visit our new Podcast/Audio portal at http://dittytvradio.com for 24/7 audio music entertainment and our complete catalog of on demand podcasts. Scott Bomar, founder and owner of Electraphonic Recording, sits down with Mark Edgar Stuart to talk about how he got into recording, his mentors like Willie Mitchell and Doug Easley, and his involvement in making soundtracks for Hollywood movies.

Willie Mitchell says going into the BC Hockey Hall of Fame is a great honour, but one he shares with the community of Port McNeill and the volunteers who helped make his dream come true

Famed producer, musician, and arranger Willie Mitchell became involved with Royal Studios (and the associated Hi Records) in Memphis, Tennessee, in the early ‘60s. He took more control of the studio operations as time went on and, in the early ‘70s, his collaboration with singer Al Green led to millions of albums sold, all of which cemented Willie’s reputation as a producer of note. These days his son, Lawrence “Boo” Mitchell, a musician, songwriter, engineer, and producer in his own right, runs Royal Studios and co-owns Royal Records. He keeps the legacy alive, while also looking to the future. Boo’s produced and/or engineered a wide range of acts including Melissa Etheridge, Solomon Burke, Al Green, Cody Chesnutt, Rod Stewart, John Mayer, Snoop Dogg, Bobby Rush, William Bell, Keb Mo, Terrence Howard, and Boz Scaggs. I met up with Boo one evening at Royal Studios (currently celebrating their 60th year) in the back control room to discuss his life in the studio. Enjoy! Disclaimer: This audio recording was not originally tracked with the intent of using for a podcast. It was recorded solely for transcription for our print interview (see issue #120). Please forgive any balance issues, background sounds, and lack of clarity. Sponsored by Burl Audio https://burlaudio.com

via https://sonospherepodcast.com/2017/09/29/sixty-soulful-years-the-story-of-royal-studios/This month Sonosphere teams up with the Rock ‘n’ Soul Museum and the Memphis Musicology podcast to bring you 60 years of Royal Studios. We visit with co-owner and music producer Boo Mitchell on a tour of Royal Studios in South Memphis.Royal turns 60 this year and in this episode we’ll reminisce with singer/songwriter Don Bryant on writing hit songs and singing with Willie Mitchell’s band; legendary recording artist Ann Peebles and the magical night behind her hit “I Can’t Stand the Rain;” Memphis musician Scott Bomar on Willie Mitchell’s legacy as teacher, producer and engineer of so many classic hits; and Amber Hamilton with the Memphis Music Initiative and the partnership they have with Royal to pass on its legacy to the future talent.Come celebrate with Boo and the Mitchell family at the Levitt Shell on October 14th featuring local, regional and national artists and November 18th for the grand finale event at the Orpheum. For more information visit royalstudios.com

Last week I spent about a week in Memphis, Tennessee capturing Sun Studios, Graceland, Stax and of course the legendary Beale Street. On the last day of the assignment, we wrapped shooting at around 1am and I had the opportunity kick with it Lawrence "Boo" Mitchell in a parking outside of a spot called Beauty Shop. It’s crazy because about an hour before meeting Boo, I was talking to my friend Jay about the podcast and he immediately started talking about how I should get Boo on show. He said he’d set it up and in my mind, I thought this would take month to make happen. Meaning I’d catch Boo when I was back in the city because I had to fly out in on the morning. Shortly after that conversation, guess who walks through the door? Yup you guessed it, Boo. I told the story to Boo and he said, “We call that Memphis serendipity”. In this episode we talk about the early days of Royal Studios, wearing the hat of a producer, the false feel, putting love in the cooking, Uptown Funk, and much more. I’m outta here, enjoy the talk. (You can listen and subscribe to the podcast on Apple Podcasts, Subscribe on Android, iHeart Radio, Mixcloud, TuneIn, Stitcher, PodBean, PlayerFM, Google Play or listen via the media player above.) Stay Up to Date with Lawrence "Boo" Mitchell Royal Studios Links To The Stuff They Talk About Orange Mound  Robert Reed Church Beale Street Historic District Sharecropping B.B. King 1070 WDIA - The Heart & Soul of Memphis Elvis Presley  Willie Mitchell  Al Green Memphis Soul The Blues  Soul  Rhythm and Blues Stax Records The Mar-Keys The Jackson KC and Sunshine  The Doobie Brothers The Temptations Ike & Tina Turner John Mayer  Rod Steward  Buddy Guy  ProTools  Ann Peebles Melissa Etheridge Paul Rodgers Mark Ronson Jeff Bhasker Lana Del Rey Trombone Shorty Sharon Jones & the Dap-Kings Steve Jordan  Willie Weeks  Bruno Mars  Uptown Funk  Mystikal Philip Lawrence  Mehanata (Bulgarian Bar)   This episode is sponsored by Gorilla Coffee.

Om 21:00 uur Beatrice van der Poel met een nieuwe aflevering van Just Bee Radio. Buddy Guy, Soul II Soul, Rufus Thomas, Primal Scream, Mac Demarco, Bram Vermeulen en Willie Mitchell.

Panthers D Willie Mitchell chats with Scott Burnside about Florida's winning streak, their top ranked defense, strong goalkeeping and flying under the radar. Plus, what it's like playing with Aaron Eklbad and Jaromir Jagr.

Join the LA Kings Road Talk Radio Crew with Hipcheck, OC Hockey Legend Matt Sellwood, LA Kings Superfan Augie & Sexy Steve Soeffner as well talk all things Los Angeles Kings hockey as our beloved Kings take on the Florida Panthers in the fourth game of our five game road swing. Kings are looking to keep the road mojo going strong and potentially make it a Sunshine State Sweep against old friend and all around good guy Willie Mitchell. Remember, when it happens on the road-we will be here to talk about it all season long on the radio show you have come to know and love- the legendary LA Kings Road Talk Radio.

Singer/songwriter and musician from Roy Orbitron (royorbitron.org) joins Bill and Brian to talk about Al Green's I'm Still in Love with You (1972, Hi). Recorded at the hieght of his fame and creative output with producer Willie Mitchell, with this album Al Green found a comfort zone for his sweetly soulful music. Filled mostly with love songs and ballads, the album gently helps its listeners as they make their way through a romantic eveing. Brian, Bill, and Conor talk about their personal experiences finding this music, the simple intricacies of the production, Al Green's unique voice, Al's alluring pose on the back cover, how underrated Al Green is amongst the soul giants, and (of course) a track by track review of the album!

Willie Mitchell gets his first of the season and gives the Cats a 1-0 lead.

Same old LA Kings doing the same old things. After a heart-warming banner ceremony to celebrate being the 2014 Stanley Cup Champions one final time, the Kings got off to a lackluster start to their season. Chanelle and Diane wallow in the good and the annoying, and then take time to show love to former Kings-related players around the league, including Panthers captain Willie Mitchell and Toronto Maple Leafs rookie Brandon Kozun.

We're closing in on a month since the LA Kings became the 2014 Stanley Cup Champions. Since then, the NHL Entry Draft has come and gone. Teams have also snatched up free agents. Chanelle and Diane check in on a hot desert day to talk losing Willie Mitchell and Linden Vey, signing Marian Gaborik and Matt Greene, and reveal how the Kings scored on the New York Rangers one more time. Plus, with the playoffs over, they have more time to praise great moves by other teams and laugh at the Washington Capitals.

 Born and raised in Memphis, Jozzy grew up immersed in music. With her mother a part of Willie Mitchell's famed Hi Records, her mom was a solo recording artist herself, and had cuts on Hi including "Love What You're Doing to Me." Regrettably, Jozzy's older brother, an aspiring rapper, was sent to prison when she was 5, leaving a sudden void in her life. That void became a source of inspiration though, as she found many of his cassettes, including early favorites "Drain You" by Nirvana and "Man Cry" by Scarface. The siblings continued to communicate regularly during his incarceration, with Jozzy's brother, John, encouraging his sister to explore her love of different styles of music in her own original manner.       Summer of last year, Jozzy left her home town of Memphis and moved to Miami Florida to partner with TIMBALAND's PROTEGE, WIZZ DUMB and his DUMB DRUMBS productions. The experience allowed her to write for different styles and perspectives as she worked on songs for multi-platinum selling Indonesian artist Agnez Monica, as well as more established American singers like Cher and Michael Bolton. Jozzy and WIZZ'S new projects dropping next year include KANYE WEST's G.O.O.D music artist TEYANA TAYLORr, dancing with the stars MARK BALLAS, and is collabing with TIMBALAND on JENNIFER LOPEZ new project. In a year's top MISSY ELLIOTT reached out to the songwriter and admired something that Jozzy said she didn't expect for her to like. HER TONE!.

No Lifts, New Pics Thanks Kevin, Tired, Hitting The Mirror, The Poking, Rachel Mystery Continues, Dry Ice Package, Jon And M&Ms, Ball Talk, Joffrey, Russell Wilson, Snow Bowl, 49ers Troll, You're A Mean Jerry Jones, World Of Crazy, Florida Man, Alligator For Beer, Homemade Gun, Santa Claus, Willie Mitchell, Age Quiz

We hash out whether the Kings have gotten better or worse since their struggles in the first two games, question why Jake Muzzin was the only play Darryl Sutter called out, confirm that we’re among Kings fans dreaming to see Bobby Ryan on the LA team, and explain how Willie Mitchell predicted the team’s biggest challenge this season even before the home opener. Plus, details on what it was like to suffer Jon Quick’s goalie gaffe live and up close and our review of Jarret Stoll doing yoga on “Kings Weekly.” This was recorded Friday night, so we woefully didn’t get to include Luongo bailing Quick out with a goalie goal of his own. “5 Minute Major Headlines” from around the league: Peter Laviolette gets his pink slip. Zach Bogosian’s thankful for Jon Quick’s mistake. Joe Thornton turns all of hockey twitter into penis jokes on Tomas Hertl’s behalf. Credit: Willie Mitchell pregame audio — KingsVision

Today's show goes in so many different directions, it's hard to even know where to start.The 2011-12 LA Kings were a tight-knit group of guys, no doubt. However, they were also an eclectic mix of personalities. You had the grizzled vet in Willie Mitchell, the new guy in Mike Richards, the ultra-reserved goalie in Jonathan Quick and so on. There was also Drew Doughty. He's given us so many great quotes over the last few seasons it would be hard to narrow things down to a best-of type list - although declaring his hatred for the Canucks as 'definitely a 10' and saying 'We hate every single guy on that team!' was certainly some good stuff. Today, he's back. Doughty joins on the MayorsManor show for an absolutely incredible journey. He sells out several of his teammates, reveals something GM Dean Lombardi talked to him about at draft time in 2008, professes his love for all things London...and, of course, weighs in on the recent Toronto Blue Jays managerial change. Here's a few other topics we'll touch on... - Criticism of his off-season conditioning - Training with the OHL's London Knights - Wayne Simmonds - Is he thinking about signing a deal to play in Europe if the lockout continues? - Trading in Trevor Lewis for a new best friend - Cowboy hats - When he might be coming back to LA - Brad Doty - Seeing his name on the Stanley Cup - What he wants to do to Matt Greene and why - Which Kings player isn't isn't as smart as he thinks he is - Why Kings fans love Bobby Ryan - LA Kings trivia - His current hatred level for the Canucks...and the Coyotes - Twitter questions from fans (his fear of birds, fighting Joe Thornton and more) - He answers Colin Fraser's question about spooning with Lewis - And if that's not enough, Quick interrupts the show with a question of his own for Doughty! As always, the Kings 2008 first round draft pick really brought his A-game today. You probably want to listen a few times... NOW AVAILABLE ON iTUNES

This is no doubt all of the fun we're missing at E3 2012 this year.  Don't worry though, we'll have loads of impressions, insight, and details about the hottest releasing video games from the show next week.  For now?  Enjoy a cat mosh pit.  Also wanted to give a quick thanks and shout-out to my good buddy Brookman (DJ Brillo) for hooking us up with some new intro music to kick off the show.  You can check him out in his side project "Willie Mitchell and the Devil's Pickle".  Thanks man.On today's Twisted Gamer Radio:- Trivia: Black Man Or White Man Crime?- New Segment: Just Let It Go!- Quick Hits- Fucked Up News:  Dear Abby Question Is Just Wrong- Sound Clip Corner: Shirtless Man Plays "Fields Of Gold" and Drunken Animated VoicemailContact Us:Listen right now! Subscribe via iTunes, rate us over there, and leave us a comment. You can also listen over at Stitcher.com through assorted smart phones and tablets on the go. Just download the Stitcher app!E-mail us news, topics, comments or questions to: Twisted Gamer RadioCall in and be heard on-air:  (469) 248-5668  (POOT)The Distorted Gamer Blog

The MayorsManor podcast is back for the 2011-12 NHL season and this edition isn't going to need much of an intro.Prior to the LA Kings departing for their season opening trip to Europe for the NHL Premiere series, we caught up with various players to talk about the experience in front of them.All of your favorite Kings are included, like - Drew Doughty, Matt Greene, Jack Johnson, Anze Kopitar, Willie Mitchell, Dustin Penner, Rob Scuderi, Jarret Stoll, Kevin Westgarth and more. Even the new guys are get involved - Simon Gagne, Ethan Moreau and Mike Richards! We play a slightly twisted game of word association, find out who will be the best dressed and worst dressed player on the trip, plus take a few guesses on who will be the most annoying person on the plane ride over.Get to know a whole new side of this year's LA Kings team...Audio player available here.note: this podcast will be available on itunes later todayThe Mayor www.twitter.com/MayorNHL www.facebook.com/MayorsManor

More audio previewing tonights game this time from behind enemy lines as we catch up with Anze Kopitar and Willie Mitchell.

Solomon Burke was one of the greatest soul singers of all time. Sadly, he passed away in 2010 at the age of 70. Icon Fetch had a chance to talk with Solomon earlier in 2010 about his latest CD, “Nothing’s Impossible,” which was helmed by legendary producer Willie Mitchell. We hear some of that chat, along with artists paying tribute to the "King of Rock n' Soul." Paying respects are music journalist and musician Ted Drowzdowski, blues musicians Teeny Tucker and Peter Parcek, rocker Peter Case, and author Elijah Wald.

He is the King of Rock and Soul, Mr. Solomon Burke, and he’s just released his latest CD, “Nothing’s Impossible.” We’ll talk to Solomon about recording the new record with legendary producer Willie Mitchell, who weeks after wrapping up the sessions, passed away of heart failure. Mitchell was responsible for most of Al Green’s big hits and lends that same style to Burke’s disc.Solomon had a great string of R&B hits in the mid-60’s, but is probably best known for “Everybody Needs Somebody to Love,” a song covered by the Rolling Stones and featured prominently in the Blues Brothers movie. Burke’s other film credits include working alongside Dennis Quaid in “The Big Easy.” He won a Grammy in 2002 for his album “Don’t Give Up On Me.” Also on the show is Robert Rodriguez, author of “Fab Four FAQ 2.0“. He talks to Icon Fetch about his new Beatles book, covering the solo years 1970-1980. Robert’s interview is at the end of our show with Solomon Burke.

This week features a chat with Willie Mitchell talking about the chemistry on this year's team.

Canucks D Willie Mitchell talks about a 6-2 win by Vancouver over the Wild