POPULARITY
6 episodes with Without Your Love
3 episodes with Without Your Love
2 episodes with Without Your Love
2 episodes with Without Your Love
2 episodes with Without Your Love
2 episodes with Without Your Love
Curated by DJ Robbie Duncan, this week's ElecSoul mix explores soulful, spiritual house and jazz-infused grooves. Episode #220 delivers uplifting rhythms and reflective energy, setting the perfect tone for the year ahead. Opening with the bright and breezy vibes of Werkha's "In Sunny G," the mix flows into the timeless Teddy Douglas Love Break Remix of Spencer Morales' "Without Your Love." Alton Miller's heartfelt "Hang On" and Subsonique's "After All" create moments of introspection and connection. Tracklists for all shows www.djrobbieduncan.com/elecsoul YouTube video of show https://youtu.be/Io4NdDwNtqk?feature=shared Two great nights of music coming up this February that I'm really excited to be part of. On 20th February, I'll be opening the night at Deya Brewery in Cheltenham, headlined by the legendary Todd Edwards. It's going to be a brilliant evening of soulful house and garage. Then on 28th February, I'll be playing at Heart 'N' Soul in Stroud—an evening of music, dancing, and good vibes, all in support of Sunflowers Suicide Support. Two different nights, both full of great music and energy. Hope to see some of you there. ELECSOUL IS A WEEKLY PODCAST HOSTED BY DJ ROBBIE DUNCAN, A PASSIONATE SELECTOR KNOWN FOR HIS SEAMLESS BLENDING OF GENRES AND DEEP KNOWLEDGE OF GLOBAL BLACK MUSIC. RUNNING SINCE 2020, THE SHOW EXPLORES JAZZ, SOUL, FUTURE R&B, AND SOULFUL HOUSE, OFFERING LISTENERS A JOURNEY THROUGH TIMELESS SOUNDS AND CUTTING-EDGE ELECTRONIC MUSIC. BASED IN STROUD, A TOWN RENOWNED FOR ITS CREATIVE COMMUNITY, DJ ROBBIE DUNCAN BRINGS HIS EXPERTISE AND LOVE FOR MUSIC TO EVERY EPISODE, CELEBRATING THE RICHNESS AND DIVERSITY OF THE MUSIC SCENE. ELECSOUL IS RELEASED WEEKLY ON SOUNDCLOUD & APPLE PODCASTS.
Jenn presents another Time Capsule, this time focused on some of the artists from this year's Austin City Limits Music Festival.https://open.spotify.com/playlist/5IfxWtVIxFhb12GdpkjliA?si=2dc8b5b0c5f940d21. Pink Pony Club by Chappell Roan (@chappellroan)2. The Door by Teddy Swims ( @teddyswims)3. Without Your Love by The Paper Kites (@thepaperkites)4. Let The Light In by Bob Schneider (@bob_schneider_music)
Welcome back to shoptalkpodcast EP399! J and Dame are back for another week of foolishness. The duo opens up about their week, with Dame sharing amusing anecdotes about his oldest daughter navigating the world of teenagehood, while J spills the beans on some exciting photoshoots and video gigs. In this episode, the fellas explore the world of "Apple Music Replay," revealing and comparing their most-played songs, favorite artists, and top albums of 2023. Taking a nostalgic trip, they rewind 30 years to 1993, reminiscing about the timeless rap and R&B tracks that defined that remarkable year in music. The conversation heats up as the duo delves into current events, tackling topics like Diddy and the latest allegations surrounding him, the dynamic duo of Rick Ross and Meek Mill, and the legendary collaboration between Lil Wayne and Andre 3000. As always, expect a great episode filled with engaging discussions and the trademark foolishness that Shoptalk Podcast is known for. To cap it off, don't miss the Music Pick of the week – "Without Your Love" by Tristian Knight. Tune in for another exceptional episode! ❶ Youtube ☞ YouTube.com/jjohnson313 ❷ Website ☞ www.shoptalkpod.com ❸ Book some time ☞ www.shoptalkpodcastudio.com ❹ Facebook ☞ https://m.facebook.com/ShoptalkPod/ Follow @jjohnson313 on Instagram and Twitter Follow @dame___313 on Instagram and Twitter Follow Shoptalkpodcast on Instagram and Twitter --- Support this podcast: https://podcasters.spotify.com/pod/show/shoptalkpodcast/support
Please subscribe!
Ah, Nelson. For that brief period of time you were the shining lights of pop glam rock with your third generation musical pedigree and your insanely perfect long blonde hair. But then the world caught a whiff of Teen Spirit and the tide turned against you (while Beavis and Butthead sniggered at your video). We're here to celebrate Nelson's incredible first single and to switch the needle from guilty to guilt-free for this pleasure. We cover their blessed (and cursed) beginnings, discuss why the term friend zone needs to be permanently retired from daily use, seek redemption for our own unjustified hatred of pretty people, and give you a dynamite mixtape for your future listening enjoyment. Thank you for joining us (and reading this far into the show notes); we're not sure we'd be able to make it through without your love and affection! Links: Music Video Mixtape You can find us on Instagram, Facebook, Twitter, and our website. You can email us at BandFGuiltFree@gmail.com, too. Feel free to rate and review us wherever you listen! Here is our Spotify playlist featuring every song we've featured. Our theme music is by the incredibly talented Ian McGlynn.
Nick Busbee's Funk School Radio 1. Cash Cow (feat. Quest) – The 9th Legend 2. Five Minutes Of Funk - Whodini 3. Friends – Junie Morrison (Dayton, Ohio) 4. El Passo - Cameo 5. You Keep Me Coming Back – Brothers Johnson 6. Addicted To You (Club Mix) - Levert 7. Certified True (12” Remix) – The Bar-Kays 8. Hangin' Out – SLAVE (Dayton, Ohio) 9. Watching You (Fearless Leader Remix) – SLAVE(Dayton, Ohio) 10. Without Your Love (12” Version) – Steve Arrington (Dayton, Ohio) 11. Swoop (I'm Yours) (12” Version) – Dazz Band 12. Little Red Corvette (Dance Mix) - Prince 13. No Diggity (Remix) {Explicit} - Blackstreet 14. C.R.E.A.M. (Bonus Radio Mix) – Wu Tang Clan 15. Wind Me Up – Bootsy Collins 16. Live Medley: Let's Take It To The Stage/Mothership Connection/Baby Pussy {Explicit} – P Funk All Stars 17. Love Light In Flight (12” Remix) – Stevie Wonder Funk School Radio Podcast is now available on all Apple and Amazon Alexa compatible devices. "Siri open Funk School Radio Podcast!" "Alexa open Funk School Radio Podcast!" Thanks for giving Funk a chance!
Learn more about your ad choices. Visit megaphone.fm/adchoices
With Rick Astley and "Never Gonna Give You Up" riding high around the world, two singles were released in an attempt to capitalise on that success. The first was a duet between O'chi Brown and Rick that was plucked from her previous album. "Learning To Live (Without You Love)" was issued by Magnet Records in a clear attempt to cash in on Rick's popularity. We hear from O'chi about the duet and her move out of the record industry in the late '80s. The second was Rick's own follow-up: "Whenever You Need Somebody", which happened to be a remake of a song originally recorded by... O'chi Brown. Mike Stock and Pete Hammond discuss working on that track, which became another global hit for Rick. On the topic of follow-ups, Mandy Smith's second single, "Positive Reaction", was a change in direction for her. Session singer Suzanne Rhatigan joins us to talk about how her vocals were used to bolster's Mandy's performance, with the two voices blended in the mix. And we look at soundtrack single "Turn It Up" by Michael Davidson, who had an interesting path to being signed by Madonna's record label.
Release Date: 20/11/2021 Labe: 24 Karat Recordings Following on from his release with Katrina D, Danny Styles teams up with another member of the Doy family, the younger sibling, Shane Doy. Shane is a talented multi-instrumentalist from Hull, UK and shows his talents here on the guitar and bass. Danny's keyboards, drum programming and sampling skills shine in this track and we think you'll agree this release sees the versatile DnB artist and Dj step outside of the box. 24 Karat Recordings: SC @24karatrecordings FB https://www.facebook.com/24KaratRecordings TW https://twitter.com/Recordings24
AG Thomas – “The 1,2” (ReelSoul Vocal) [ABB Records] Spencer Morales, Randy Roberts, DJ Spen, Thommy Davis – “Without Your Love” (DJ Spen & Thommy Davis Mix) [Quantize Recordings] T.Markakis, Elliotte Williams-N’Dure – “You Got The Love” (Extended Mix) [Glasgow Underground] Ricky Morrison, Brian Lucas – “Uplifted” (Unreleased Vocal Dub) [unquantize] Fiorious, Harry Romero – […] The post Funk and Disorderly 26th Sep 2021 appeared first on SSRadio.
Roger Daltrey CBE is an English singer, songwriter, actor and film producer. He is a co-founder and the lead singer of the rock band the Who.Daltrey's hit songs with the Who include "My Generation", "Pinball Wizard", "Won't Get Fooled Again", "Baba O'Riley" and "You Better You Bet". He began his solo career in 1973, while still a member of the Who. Since then he has released ten solo studio albums, five compilation albums, and one live album. His solo hits include "Giving It All Away", "Walking the Dog", "Written on the Wind", "Free Me", "Without Your Love" and "Under a Raging Moon".Planet Rock listeners voted Roger as rock's fifth-greatest voice in 2009, and he was ranked number 61 on Rolling Stone's list of the 100 greatest singers of all time in 2010.The music for the podcast is Twiggy's version of "Waterloo Sunset" by the Kinks and can be found on Apple Music at this link https://music.apple.com/gb/album/romantically-yours/693460953If you’ve enjoyed listening to “Tea With Twiggy” please give take a moment to give us a lovely 5 STAR rating on Apple Podcasts. It really helps other people to find the show. If you haven’t done so already please subscribe to this podcast so you auto-magically get the next episodes for free and do tell all your friends and family about it too. If you want to connect with me I’d love to hear from you.You can find me on Twitter @TwiggyOr you can find me on Instagram @TwiggyLawsonMy thanks go to all the people that have helped this podcast happen:● Many thanks to James Carrol and all the team at Northbank Talent Management● Thanks to all the team at Stripped Media including Ben Williams, who edits the show, my producer Kobi Omenaka and Executive Producers Tom Whalley and Dave CorkeryIf you want to know more about this podcast and other produced by Stripped Media please visit www.Stripped.media or email Producers@Stripped.Media to find out! See acast.com/privacy for privacy and opt-out information.
The Hake Report, Wednesday, March 3, 2021: Mitt got a black eye. Ex-CIA's Brennan is "embarrassed" to be a "white male." Chris Wray and Dems dramatize the Capitol riot. Still unclear about Capitol Police Officer Brian Sicknick's death. John Sullivan was disowned by BLM grifters. GREAT CALLS, THANKS ALL! Also check out Hake News from today. CALLERS Samuel from Sweden will talk about Vikings for March on The Cross Stream Sunday. Dennis from Maryland — I think he calls then DEMON-crats… Al gets hung up on and banned for starting right off complaining about Nick. Earl from Michigan still pushes lies about the Capitol riot, BLM, a silly old story about Steve Scalise. Tammy from Wisconsin seems a little inappropriate for James's taste today. Call again, though! Steven from Mississippi — another great call, thank you! Maze from Dayton, OH is a real mess today, giving out insincere apologies, etc. Craig from Illinois explains how Earl and others are a mess! I'm blanking on his name, a USA teen, discusses AFPAC and the vague smear "white nationalism." Blaze n' Hawg from Dayton, OH calls out a fellow YouTube live chat moderator to be less emotional. TIME STAMPS 0:00 Wed, Mar 3, 2021 1:09 Bright Lights quietly plays 5:25 Hey, guys! 6:27 Mitt Romney shiner 14:33 Super Chats 16:14 John Brennan 20:58 Brian Sicknick 25:58 Samuel in Sweden 29:43 Dennis in MD 40:29 Al is banned 41:58 Civil Rights RIP 42:52 Neera Tanden 50:01 Earl in MI 1:02:38 Without Your Love, Bright Lights 1:07:26 Capitol riot lies 1:19:46 John Earle Sullivan 1:24:26 Tammy in WI 1:29:17 Steven in MS 1:32:34 Bobby in TX 1:38:17 Maze, Dayton, OH 1:44:36 Craig in IL 1:48:44 Kivster in USA 1:56:52 More Super Chats 1:57:31 Blaze'n Hawgs, Dayton, OH 2:02:18 Thanks, all! HAKE LINKS VIDEO ARCHIVE: Facebook | Periscope/Twitter | YouTube | Audio podcast links below LIVE VIDEO: Trovo | DLive | Periscope | Facebook | YouTube* | Twitch* PODCAST: Apple | Podcast Addict | Castbox | Stitcher | Spotify | Amazon | PodBean | Google SUPPORT: SubscribeStar | Patreon | Teespring | SUPER CHAT: Streamlabs | Trovo Call in! 888-775-3773, live Monday through Friday 9 AM (Los Angeles) https://thehakereport.com/show Also see Hake News from JLP's show today. *NOTE: YouTube and Twitch have both censored James's content on their platforms lately, over fake "Community Guidelines" violations. BLOG POST: https://www.thehakereport.com/blog/2021/3/3/030321-wed-mitt-brennan-wray-and-capitol-hype
The Hake Report, Friday, February 19, 2021: James talks about the phoniness in politics, and then gets to calls. Thanks for all the great advice on fixing my beta back! And thanks to JLP and Nick for filling in for Hake News and The Hake Report all week. Also check out Hake News from today. CALLERS Bobby from Texas elaborates on cops' power abuse, and a system Michael Malice proposes. Samuel from Sweden recommends PraiseMoves for full body stretching, a Christian-friendly yoga alternative. Earl from Michigan argues with Hake about media coverage of a black undercover cop beaten by white cops. Robert from Kansas says the police institution is evil, Texas storm a test run, and gives great advice for one's back. Ben from Maryland, 17-year-old Hispanic theist ex-Christian anarcho-capitalist, feels parental pressure to go to college, but he'd rather work. T from Alabama is really nasty and tries to make jabs at JLP, from whose show he's banned, and gets hung up on. Jason from Bakersfield, CA talks about the Civil Rights movement and MLK's failed legacy. Jesse from California gives a tip about Gene Sharp who wrote how to conduct revolutions for evil. Rick from Hampton, VA debunks the notion that voter suppression is a real issue for black Americans. TIME STAMPS 0:00 Back! Fri, Feb 19, 2021 1:32 Reading Reddit, Wikipedia 5:27 RIP Rush Limbaugh 9:24 Ted Cruz and phonies 13:41 More on the fake world 25:33 Bobby in TX 36:11 Samuel in Sweden 40:06 Super Chats, Beta Back 42:40 Earl in MI 52:52 Robert in KS 1:00:47 Without Your Love, Bright Lights 1:02:41 EIP Network, etc 1:05:12 Ben in Maryland 1:14:55 Woodrow Wilson Guthrie 1:22:36 Lynching history 1:36:07 T in AL 1:42:15 Jason, Bakersfield, CA 1:52:17 Jesse in CA 1:56:29 Rick, Hampton, VA 2:00:34 Thanks, all! HAKE LINKS VIDEO ARCHIVE: Facebook | Periscope Part 1 / Part 2 | Twitter Part 1 / Part 2 | YouTube | Audio podcast links below LIVE VIDEO: Trovo | DLive | Periscope | Facebook | YouTube* | Twitch* PODCAST: Apple | Podcast Addict | Castbox | Stitcher | Spotify | Amazon | PodBean | Google SUPPORT: SubscribeStar | Patreon | Teespring | SUPER CHAT: Streamlabs | Trovo Call in! 888-775-3773, live Monday through Friday 9 AM (Los Angeles) https://thehakereport.com/show Also see Hake News from JLP's show today. *NOTE: YouTube and Twitch have both censored James's content on their platforms lately, over fake "Community Guidelines" violations. BLOG POST: https://www.thehakereport.com/blog/2021/2/19/021921-fri-beta-backs-back-calls-and-lynching-stories
The Hake Report, Monday, February 8, 2021: (RIP, Cheryl! Check out Church yesterday.) Black History Month forced on students. Biden promotes the LGBT agenda around the world. Great calls! (Also check out Hake News from today.) CALLERS Brian from Florida is Cuban, but American, and wants integrity in our elections. Good call! Jesse from California called the BLM Utah headquarters; he remarks on their crazy voice mail message. Richard from Charlotte, NC is a local preacher standing up against all the immorality locally. Donning Armour from California feels Christians can get kooky; he's pro-mask, but anti-lockdown. BGTG from Los Angeles, CA says the prior caller is extremist or moderate depending on the times. Tony from California acts like he didn't know that George Floyd had OD levels of fentanyl, but smears Kyle! Lucas from Alhambra, CA is an anti-mask activist; he says the right are more peaceful and accepting by far. Chris from Texas, 29, asks why we believe in God when there's "no evidence." Very brief call at the end! TIME STAMPS 0:00 Mon, Feb 2, 2021 0:41 Cheryl, NFL 2:30 NFL are anti-good 6:02 Mormons for BLM? 10:27 Black History opt out 17:54 LGBT therapist parent 23:29 BLM Utah persists 33:10 Brian in FL 45:39 Jesse in CA 51:49 Earl in MI 1:01:34 Without Your Love, Bright Lights 1:03:29 Biden for LGBT 1:11:21 Richard, Charlotte, NC 1:18:56 Donning Armour, CA 1:37:50 BGTG, Los Angeles, CA 1:42:38 Lucas, Alhambra, CA 1:48:53 Tony in CA 1:54:49 Dana in SD 1:57:41 Chris in TX 2:01:41 Thanks, all! HAKE LINKS VIDEO ARCHIVE: Facebook | Periscope/Twitter | YouTube | Audio podcast links below LIVE VIDEO: Trovo | DLive | Periscope | Facebook | YouTube* | Twitch* PODCAST: Apple | Podcast Addict | Castbox | Stitcher | Spotify | Amazon | PodBean | Google SUPPORT: SubscribeStar | Patreon | Teespring | SUPER CHAT: Streamlabs | Trovo Call in! 888-775-3773, live Monday through Friday 9 AM (Los Angeles) https://thehakereport.com/show Also see Hake News from JLP's show today. *NOTE: YouTube and Twitch have both censored James's content on their platforms lately, over fake "Community Guidelines" violations. BLOG POST: https://www.thehakereport.com/blog/2021/2/8/020821-mon-bhm-pushed-by-lgbt-lgbt-pushed-by-biden-masks-yn
The Hake Report, Thursday, February 4, 2021 – Great calls about the cultural attack against truth, and that wild 9-year-old girl pepper-sprayed by police in Rochester. Also some Hake News topics... FROM HAKE NEWS: (Briefly…) More refugees about to be pouring in! Discriminatory de facto Affirmative Action gets the green light. Asians are divided. ALSO: Kyle Rittenhouse being politically persecuted, now they're going after him for not doxxing himself for Antifa to follow-through with their threats. NOTE: I forgot to get into the stories of "MeToo movement" women and gays spreading accusations again. (But maybe that's just as well! It's gross.) Check out Hake News from today. CALLERS Samuel from Sweden got a YouTube takedown and community guidelines warning. Next one's a strike! Earl from Michigan starts out calling someone a sissy, tries to argue about it, and gets hung up on by JLP. Killian from Boston, MA may get a job soon! He got shafted by the union at a prior job. He's knowledgeable. Art from Ohio goes off about the 9-year-old pepper-sprayed by police, and what a mess the community is. Stephanie from Manhattan, NY is an anti-masker heated after being banned from Trader Joes for "racism." Kenny from Idaho would love for JLP to be back on Newsmax TV or even shortwave radio. Ruth from GA makes some interesting points and says we're all slaves. Mandla in South Africa talks unions, Texas, and unjust self-defense laws Rick from Hampton, VA also has a great call. TIME STAMPS 0:00 Thu, Feb 4, 2021 0:44 Hate, MeToo, Kyle 3:35 Biden against America 12:36 Samuel in Sweden 23:50 Earl in MI 28:01 Killian, Boston, MA 39:16 Kyle smeared 44:56 Art in OH 53:07 Stephanie, Manhattan, NY 59:36 Without Your Love, Bright Lights 1:02:42 Easy going? 1:05:41 Kenny in ID 1:11:02 Ruth in GA 1:21:53 Mandla in South Africa 1:37:12 Umair Haque 1:41:47 Imani Gandy 1:47:07 MMA crusher 1:49:55 Rick, Hampton, VA 1:56:54 (Super) Chats 1:58:35 Thanks, all! HAKE LINKS VIDEO ARCHIVE: Facebook | Periscope/Twitter | YouTube | Audio podcast links below LIVE VIDEO: Trovo | DLive | Periscope | Facebook | YouTube* | Twitch* PODCAST: Apple | Podcast Addict | Castbox | Stitcher | Spotify | Amazon | PodBean | Google … SUPPORT: SubscribeStar | Patreon | Teespring | SUPER CHAT: Streamlabs | DLive Call in! 888-775-3773, live Monday through Friday 9 AM (Los Angeles) https://thehakereport.com/show Also see Hake News from JLP's show today. *NOTE: YouTube and Twitch have both censored James's content on their platforms lately, over fake "Community Guidelines" violations. BLOG POST: https://www.thehakereport.com/blog/2021/2/4/020421-thu-calls-conservatives-censored-banned-prosecuted
The Hake Report, Monday, January 25, 2021 NYT woman got fired. How about the rest of the media? I say Rand Paul is still a RINO, even if he's arguing for election integrity. Reddit: Man divorced suspicious wife. (Reminds me of BLM.) Worse RINOs and Democrats running their mouths. Also check out Hake News from today. CALLERS Howard from North Carolina touches on climate change. Jong from California is done with RINOs. Josh from Georgia said the weakness of men and families highlighted in Hake's call with Holly last week shows what's going on with the weakness of politicians. Keith from IL asks if drug dealers, phony politicians and preachers are also sellouts! Good question! Maze from Dayton, OH thinks Trump being married or divorced three times means he can't be strong now. Chris from Inglewood, CA brings up Biden reversing Trump's policy on LGBTQIA agenda in the military. Rick from Hampton, VA talks about Biden halting work on the Keystone Pipeline. TIME STAMPS 0:00 Mon, Jan 25, 2021 0:38 NYT, Rand Paul, etc. 4:36 Anti-USA media 25:15 RINO Rand Paul? 27:57 Howard in NC 34:27 Jong in CA 44:04 2nd Impeachment 49:58 Josh in GA 59:26 Without Your Love, Bright Lights 1:03:29 Keith in IL 1:08:34 Reddit relationship lesson 1:19:14 Maze, Dayton, OH 1:28:21 Chris, Inglewood, CA 1:36:12 Art in OH 1:47:19 Trovo Super Chats? 1:49:35 WHO, Dems 1:58:17 Rick, Hampton, VA 2:01:56 Thanks, all! HAKE LINKS VIDEO ARCHIVE: Facebook | Periscope/Twitter | YouTube | Audio podcast links below LIVE VIDEO: Trovo | DLive | Periscope | Facebook | YouTube* | Twitch* PODCAST: Apple | Podcast Addict | Castbox | Stitcher | Spotify | Amazon | PodBean | Google … SUPPORT: SubscribeStar | Patreon | Teespring | SUPER CHAT: Streamlabs | DLive Call in! 888-775-3773, live Monday through Friday 9 AM (Los Angeles) https://thehakereport.com/show Also see Hake News from JLP's show today. *NOTE: YouTube and Twitch have both censored James's content on their platforms lately, over fake "Community Guidelines" violations. BLOG POST: https://www.thehakereport.com/blog/2021/1/25/012521-mon-biden-fan-media-reddit-relationship-lessons
The Hake Report, Tuesday, January 19, 2021 Trump ban explanation explains a lot: Twitter staff have dirty minds. Jack Dorsey's Twitter thread on Trump ban is evil. I didn't know Trump tweeted from POTUS and it was deleted in minutes! HAKE GETS A CALL FROM HOLLY. Women's March pink hats represent ending pregnancies — violent! Dehumanizing. Jan 6: A pro-Trump guy yelled at riot police (just standing there) to call for backup. Sleeping Giants: Bed Bath and Beyond ditched MyPillow. Mike Lindell told RSBN. I forgot that President Trump got quote-unquote "impeached"..."again"! Also check out Hake News from today. CALLERS Isaac from Bakersfield, CA, 19, talks at-length about brainwashing and intimidation by the mainstream. Holly from New Jersey said she wants to marry Hake! Hake is waiting and seeing. Earl from Michigan accuses Hake of supporting evil! Samuel from Sweden brings some sanity regarding the Covid hysteria. Mark from San Diego, CA talks about marriage and family life. It's not what you think! Art from Ohio says we need to vet Holly to make sure she's not a liberal. Mike from Alabama — his daughter has a mixed black son whose father's family is allegedly nuts! TIME STAMPS 0:00 Trovo! Tue, Jan 19, 2021 0:43 Trump, Twitter, Capitol Riot 4:23 Et tu, Macaulay Culkin? 10:03 Twitter are liberal phonies 20:08 Passionate MAGA patriot 29:44 Isaac, Bakersfield, CA 49:19 Libs don't DO anything 53:23 Holly in NJ 1:03:37 Without Your Love, Bright Lights 1:06:38 Earl in MI 1:15:12 Samuel in Sweden 1:24:46 Mark in S.D., CA 1:32:37 Art in OH 1:39:18 Super Chats 1:40:19 More re: Trump/Twitter 1:48:49 Mike in AL 1:59:47 Thanks, all! HAKE LINKS VIDEO ARCHIVE: Facebook | Periscope/Twitter | YouTube | Audio podcast links below LIVE VIDEO: Trovo | DLive | Periscope | Facebook | YouTube* | Twitch* PODCAST: Apple | Podcast Addict | Castbox | Stitcher | Spotify | Amazon | PodBean | Google … SUPPORT: SubscribeStar | Patreon | Teespring | SUPER CHAT: Streamlabs | DLive Call in! 888-775-3773, live Monday through Friday 9 AM (Los Angeles) https://thehakereport.com/show Also see Hake News from JLP's show today. *NOTE: YouTube and Twitch have both censored James's content on their platforms lately, over fake "Community Guidelines" violations. BLOG POST: https://www.thehakereport.com/blog/2021/1/19/011921-tue-girl-proposes-to-hake-twitter-and-other-libs
Candypants Radio - Bringing the freshest house vibes, from the worlds leading lifestyle party brand, every week. Icona Pop & SOFI TUKKER - SpaLoveStyle Records - Loving Arms & Dj Marlon - Never Look Back (Extended Mix)James Hype ft. HARLEE - Afraid (Extended Mix) - THE CROSSThe Ian Carey Project - Get ShakyDMNDS - Memories (Extended Edit)SUD & Viva La Panda - Toca's Miracle (Extended Mix) [One Seven Music]Shakedown - At NightTakis - From The Start (feat. Veronica) (Extended Mix) [Armada Music]Chocolate Puma - It Ain't Right (feat. Colonel Red) [Extended Club Mix]Harris & Hurr - Your Body (Original Mix) - D_VISIONLayo & Bushwhacka Vs Julie McKnight - Finally Love Story (Wants Vs Willow Edit)Marc Volt - Can't You See (Extended Mix)Oliver Heldens ft. Kiko Bun 'Break This Habit' (Extended Mix) - HELDEEP RECORDSLove Regenerator X Steve Lacy ‘live Without Your Love' (MK Remix)Bingo Players, Felguk, Fafaq - Devotion (2020 Remix) [Extended Mix]Weiss - Feel My NeedsFarley 'Jackmaster' Funk & Jessie Saunders - Love Can't Turn Around (Original Mix)
Mod, R&B, Beat, Garage, Northern Soul , Popcorn, Soul and SO MUCH more. Get into an hour of the best music available online. FACEBOOK: facebook.com/ontargetpodcast INSTAGRAM: instagram.com/modmarty TWITTER: twitter.com/modmarty ----------------------------------------------- The Playlist Is: “Come On Do The Jerk” The Miracles - Tamla “Ride” Dee Dee Sharp - Cameo "Sweet Tater Pie” Dee Dee Sharp - Atlantic “Can't Get Next To You” Mongo Santamaria - Atlantic “Everybody Needs Love” Chuck Jackson - Quality “I Like Your Style” Paul Dino - Entré I Like It Like That Chris Kenner - Regency “I Don't Want To See You Again” Force Five - United Artists “I'll Keep You Satisfied” Mike Redway - Arc “Wise Guys” Shirley Matthews & The Big Town Girls - Tamarac “My Weakness Is You” Edwin Starr - Tamla-Motown “New Babe (Since I Found You)” Invictas - Rama Rama “Nobody But Me” The Isley Brothers - Wand “Soul Galore” Jackie Wilson - Brunswick “Crazy Me” The Jet Stream - Smash “Without Your Love” The Jones Brothers - Bell “Ball And Chain” The Great Scotts - Triumph “Why Pick On Me” The Standells - Tower “Bust Out” The Busters - Reo “Red Sail In The Sunset” Bobby Powell - Jewell “You Can't Get Away From It” Johnnie Taylor - Stax “Funky Lady (pt. I)” Soul East - King
Check out episode 80 of The Glory in Our Stories featuring local artist, Nigel Lawrence! Nigel Lawrence recently released a single titled "Without Your Love", streaming on all major music platforms! --- Send in a voice message: https://anchor.fm/calvin-w-pennywell-jr/message Support this podcast: https://anchor.fm/calvin-w-pennywell-jr/support
Orlando's up-and-coming Diamond Dixie talk about the self-titled debut and the followup "Reckless" plus their singles "Without Your Love" and "Limitless" and find out how they got started along with upcoming plans for 2020! Join the sister duo of Gabriella & Bianca LeDuc for this great episode and check out their website at www.diamonddixie.com ! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/themikewagnershow/message Support this podcast: https://anchor.fm/themikewagnershow/support
Orlando's up-and-coming Diamond Dixie talk about the self-titled debut and the followup "Reckless" plus their singles "Without Your Love" and "Limitless" and find out how they got started along with upcoming plans for 2020! Join the sister duo of Gabriella & Bianca LeDuc for this great episode and check out their website at www.diamonddixie.com !
This week, Greg gives full, spoiler-free reviews of Animal Crossing: New Horizons on Nintendo Switch & Twin Breaker: a Sacred Symbols Adventure on PS4 & Vita. On top of that, Nintendo decided to shadow drop a mini Direct! We break down the entire 25 minute presentation. The Mandalorian made some huge castings for season two & we give our impressions of Tom Segura's new stand up special, Ball Hog. Greg reviews an upcoming album from House & Home called Find Sense. Feel Love. Make Light. out April 17. Jake Fine released another new single "Without Your Love" & you should go listen to it now! Sam's CGC Spotlight this week is definitely a grail book for him to own & get to talk about; you won't want to miss this one! VISIT THE WE PODCAST & WE KNOW THINGS MERCH STORE: https://shop.spreadshirt.com/WePodcastAndWeKnowThings SUPPORT US ON PATREON: www.Patreon.com/WePodSquad FOLLOW US ON INSTAGRAM: www.Instagram.com/Wepodcastandweknowthings LIKE US ON FACEBOOK: www.Facebook.com/WePodcastAndWeKnowThings OUTRO MUSIC PROVIDED BY: Jake Fine FOLLOW JAKE & HIS AMAZING MUSIC ON INSTAGRAM: https://www.instagram.com/jfinemusic/ LIKE JAKE ON FACEBOOK: https://www.facebook.com/JakeFineMusic/
Another episode of funky, pumping house. Hope you enjoy, please feel free to leave reviews, comments. Track listing: 1) Without Your Love (extended Mix) – Junior Sanchez 2) Heal Me (Original Mix) – Dennis Quin 3) Fallen (feat. Hayley May) [Just Kiddin Remix] (Extended Mix) – Joel Corey, Hayley May 4) Je Ne Sais Quoi feat. Tesz Millan (Telusa & Tijssen Remix) – Da Funk Junkies 5) Deeper feat. Carla Moore (Original Mix) – Sultan + Shepard, Carla Moore 6) You & Me (Extended Mix) – Futuristic Polar Bears 7) Found a Way (Extended Mix) – White Chocolate 8) The House of God (The Cube Guys Extended Remix) – D.H.S. 9) Wild Girl (Original Mix) – David Tort, DJ Ruff 10) Belong (Extended Version) – Matt Nash 11) Something In Our Life feat. Niki Darling (Original Mix) – Niki Darling, Maxinne 12) American Dream (Extended Mix) – Sultan + Shepard 13) Highway (Spada Extended Mix) – Filatov & Karas 14) Anthem (Extended Mix) - EDX
I can't live without your love. “没有你，也就没有我”，这样的情感关系，想必会给在关系的双方都带来很大的压力。 为什么有的人一谈恋爱，就会忘记自我、忘记世界，全心全意地依附在另一个人身上呢？ 「Just Breathe 深呼吸」每周给你带来最实用的减压知识，心理咨询服务网站https://coc.care/
Кристофер «Крис» Уиллис — американский певец, автор-исполнитель и продюсер получивший наибольшую известность благодаря исполнению вокальных партий в композициях диджея Дэвида Гетты. Вокал Уиллиса звучит в синглах Гетты «Love Don’t Let Me Go», «Love Is Gone», «Gettin' Over You», «Tomorrow Can Wait», «Everytime We Touch» Music by DJ Groove Lyrics & VOCAL by Chris Willis ℗ 2019 DJ Groove
Кристофер «Крис» Уиллис — американский певец, автор-исполнитель и продюсер получивший наибольшую известность благодаря исполнению вокальных партий в композициях диджея Дэвида Гетты. Вокал Уиллиса звучит в синглах Гетты «Love Don’t Let Me Go», «Love Is Gone», «Gettin' Over You», «Tomorrow Can Wait», «Everytime We Touch» Music by DJ Groove Lyrics & VOCAL by Chris Willis ℗ 2019 DJ Groove
Just over two years ago I was flat on my back in a London hospital recovering from my second back operation in two weeks. The care I received from all the staff at the NHS was amazing and I’m really grateful to them. I’m also grateful as this period of down time allowed me to reflect on my life and what really matters to me. Aside from my family who are top of the list, it also dawned on me as I listened to radio shows, Audible books and podcasts, that I too had a creative spark deep inside that id never really explored before. So with the help and guidance of my good friend and mentor Mark Asquith of Podcast Websites (http://www.podcastwebsites.com) ), I was able to design and create from scratch Your London Legacy Podcast. Your London Legacy is totally different as we meet and chat with some of the most wonderfully gifted and diverse Londoners, you are ever likely to come across, but that you would not necessarily have heard of. They are not necessarily famous, though some are. They are not seeking the limelight of fame and fortune, though many deserve just that. These are the Londoners that make our beautiful city tick and Your London Legacy provides an insight into their lives, through the deep personal stories they share. These are Londoners of all ages, creeds, culture, religion, income and interest. All are welcome to share their story and their love of London every Monday. When I launched the podcast in June 2018 I had no idea where it would take me. But we are now closing in on 60 episodes, and the show is being listened to and enjoyed all around the world. From London , to New York, Hong Kong, to the British Virgin Islands, Brazil, India and Jamaica. I am humbled and amazed that there has been interest in what we are doing from such far flung places, but it fills me with gratitude every day. However creating Your London Legacy takes up a good deal of my time and resources, from researching the amazing guests, taking time out of my working day to meet the guest and record the show. The audio editing which I outsource so you get the very best quality sound however you listen, the website hosting, the equipment, on and on. I absolutely love creating Your London Legacy, and the feedback and testimonials are awesome but as it grows so it consumes more and more resources. So I’ve joined forces with Patreon, a really cool place where you can show your love and support from as little as $2 per month as a Silver Londoner right up to $300 pm where you get ‘Crown Jewels’ level. Each level of subscription opens up a host of exclusive extra goodies, events, bonus shows and sponsorship opportunities only available via Patreon. I do hope you will continue to support what we are doing here and I am so grateful for whatever you feel able to give so head over to www.patreon.com/yourlondonlegacy (http://www.patreon.com/yourlondonlegacy) Support this podcast
Episode forty-three of A History of Rock Music in Five Hundred Songs looks at “I Gotta Know” by Wanda Jackson, and the links between rockabilly and the Bakersfield Sound. 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 “Bacon Fat” by Andre Williams. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. My main source for this episode is Wanda Jackson’s autobiography, Every Night is Saturday Night. I also made reference to the website Women in Rock & Roll’s First Wave, and I am very likely to reference that again in future episodes on Wanda Jackson and others. I mentioned the podcast Cocaine and Rhinestones, and its episode on “Okie From Muskogee”. Several other episodes of that podcast touch tangentially on people mentioned in this episode too — the two-parter on Buck Owens and Don Rich, the episode on Ralph Mooney, and the episodes on Ralph Mooney and the Louvin Brothers all either deal with musicians who played on Wanda’s records, with Ken Nelson, or both. Generally I think most people who enjoy this podcast will enjoy that one as well. And this compilation collects most of Jackson’s important early work. Errata I say Jackson’s career spans more than the time this podcast covers. I meant in length of time – this podcast covers sixty-two years, and Jackson’s career so far has lasted seventy-one – but the ambiguity could suggest that this podcast doesn’t cover anything prior to 1948. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we’re going to talk about someone whose career as a live performer spans more than the time that this podcast covers. Wanda Jackson started performing in 1948, and she finally retired from live performance in March 2019, though she has an album coming out later this year. She is only the second performer we’ve dealt with who is still alive and working, and she has the longest career of any of them. Wanda Jackson is, simply, the queen of rockabilly, and she’s a towering figure in the genre. Jackson was born in Oklahoma, but as this was the tail-end of the great depression, she and her family migrated to California when she was small, as stragglers in the great migration that permanently changed California. The migration of the Okies in the 1930s is a huge topic, and one that I don’t have the space to explain in this podcast — if you’re interested in it, I’d recommend as a starting point listening to the episode of the great country music podcast Cocaine & Rhinestones on “Okie From Muskogee”, which I’ll link in the show notes. The very, very, shortened version is that bad advice as to best farming practices created an environmental disaster on an almost apocalyptic scale across the whole middle of America, right at the point that the country was also going through the worst economic disaster in its history. As entire states became almost uninhabitable, three and a half million people moved from the Great Plains to elsewhere in the US, and a large number of them moved to California, where no matter what state they actually came from they became known as “Okies”. But the thing to understand about the Okies for this purpose is that they were a despised underclass — and as we’ve seen throughout this series, members of despised underclasses often created the most exciting and innovative music. The music the Okies who moved to California made was far more raucous than the country music that was popular in the Eastern states, and it had a huge admixture of blues and boogie woogie in it. Records like Jack Guthrie’s “Oakie Boogie”, for example, a clear precursor of rockabilly: [Excerpt: Jack Guthrie, “Oakie Boogie”] We talked way back in episode three about Western Swing and the distinction in the thirties and forties between country music and western music. The “Western” in that music came from the wild west, but it also referred to the west coast and the migrants from the Dust Bowl. Of the two biggest names in Western Swing, one, Bob Wills, was from Texas but moved to Oklahoma, while the other, Spade Cooley, was from Oklahoma but moved to California. It was the Western Swing that was being made by Dust Bowl migrants in California in the 1940s that, when it made its way eastwards to Tennessee, transmuted itself into rockabilly. And that is the music that young Wanda Jackson was listening to when she was tiny. Her father, who she absolutely adored, was a fan of Bob Wills, Spade Cooley, and Tex Williams, as well as of Jimmie Rodgers’ hillbilly music and the blues. They lived in Greenfield, a town a few miles away from Bakersfield, where her father worked, and if any of you know anything at all about country music that will tell you a lot in itself. Bakersfield would become, in the 1950s, the place where musicians like Buck Owens, Merle Haggard, and Wynn Stewart, most of them from Dust Bowl migrant families themselves, developed a tough form of honky-tonk country and western that was influenced by hillbilly boogie and Western Swing. Wanda Jackson spent the formative years of her childhood in the same musical and social environment as those musicians, and while she and her family moved back to Oklahoma a few years later, she had already been exposed to that style of music. At the time, when anyone went out to dance, it was to live music, and since her parents couldn’t afford babysitters, when they went out, as they did most weekends, they took Wanda with them, so between the ages of five and ten she seems to have seen almost every great Western band of the forties. Her first favourite as a kid was Spade Cooley, who was, along with Bob Wills, considered the greatest Western Swing bandleader of all. However, this podcast has a policy of not playing Cooley’s records (the balance of musical importance to outright evil is tipped too far in his case, and I advise you not to look for details as to why), so I won’t play an excerpt of him here, as I normally would. The other artist she loved though was a sibling group called The Maddox Brothers and Rose, who were a group that bridged the gap between Western Swing and the newer Bakersfield Sound: [Excerpt: The Maddox Brothers and Rose, “George’s Playhouse Boogie”] The Maddox Brothers and Rose were also poor migrants who’d moved to California, though in their case they’d travelled just *before* the inrush of Okies rather than at the tail end of it. They’re another of those groups who are often given the credit for having made the first rock and roll record, although as we’ve often discussed that’s a largely meaningless claim. They were, however, one of the big influences both on the Bakersfield Sound and on the music that became rockabilly. Wanda loved the Maddox Brothers and Rose, and in particular she loved their stage presence — the shiny costumes they wore, and the feistiness of Rose, in particular. She decided before she was even in school that she wanted to be “a girl singer”, as she put it, just like Rose Maddox. When she was six, her father bought her a guitar from the Sears Roebuck catalogue and started teaching her chords. He played a little guitar and fiddle, and the two of them would play together every night. They’d sit together and try to work out the chords for songs they knew from the radio or records, and Wanda’s mother would write down the chords in a notebook for them. She also taught herself to yodel, since that was something that all the country and western singers at the time would do, and had done ever since the days of Jimmie Rodgers in the late twenties and early thirties. The record she copied to learn to yodel was “Chime Bells” by Elton Britt, “Country Music’s Yodelling Cowboy Crooner”: [Excerpt: Elton Britt, “Chime Bells”] By the time she was in her early teens, she was regularly performing for her friends at parties, and her friends dared her to audition for a local radio show that played country music and had a local talent section. Her friends all went with her to the station, and she played Jimmie Rodgers’ “Blue Yodel #6” for the DJ who ran the show. [Excerpt: Jimmie Rodgers, “Blue Yodel #6”] To her shock, but not the shock of her friends, the DJ loved her sound, and gave her a regular spot on the local talent section of his show, which in turn led to her getting her own fifteen-minute radio show, in which she would sing popular country hits of the time period. One of the people whose songs she would perform on a regular basis was Hank Thompson. Thompson was a honky-tonk singer who performed a pared-down version of the Bob Wills style of Western Swing. Thompson’s music was using the same rhythms and instrumentation as Wills, but with much more focus on the vocals and the song than on instrumental solos. Thonpson’s music was one of several precursors to the music that became rockabilly, though he was most successful with mid-tempo ballads like “The Wild Side of Life”: [Excerpt: Hank Thompson, “The Wild Side of Life”] Thompson, like Wanda, lived in Oklahoma, and he happened to be driving one day and hear her show on the radio. He phoned her up at the station and asked her if she would come and perform with his band that Saturday night. When she told him she’d have to ask her mother, he laughed at first — he hadn’t realised she was only fourteen, because her voice made her sound so much older. At this time, it was normal for bands that toured to have multiple featured singers and to perform in a revue style, rather than to have a single lead vocalist — there were basically two types of tour that happened: package tours featuring multiple different acts doing their own things, and revues, where one main act would introduce several featured guests to join them on stage. Johnny Otis and James Brown, for example, both ran revue shows at various points, and Hank Thompson’s show seems also to have been in this style. Jackson had never played with a band before, and by her own account she wasn’t very good when she guested with Thompson’s band for the first time. But Thompson had faith in her. He couldn’t take her on the road, because she was still so young she had to go to school, but every time he played Oklahoma he’d invite her to do a few numbers with his band, mentoring her and teaching her on stage how to perform with other musicians. Thompson also invited Jackson to appear on his local TV show, which led to her getting a TV show of her own in the Oklahoma area, and she became part of a loose group of locally-popular musicians, including the future homophobic campaigner against human rights Anita Bryant. While she was still in high school, Thompson recorded demos of her singing and took them to his producer, Ken Nelson, at Capitol Records. Nelson liked her voice, but when he found out she was under eighteen he decided to pass on recording her, just due to the legal complications and the fact that she’d not yet finished school. Instead, Jackson was signed to Decca Records, where she cut her first recordings with members of Thompson’s band. Her first single was a duet with another featured singer from Thompson’s band, Billy Gray. Thompson, who was running the session, basically forced Jackson to sing it against her objections. She didn’t have a problem with the song itself, but she didn’t want to make her name from a duet, rather than as a solo artist. [Excerpt: Billy Gray and Wanda Jackson, “You Can’t Have My Love”] She might not have been happy with the recording at first, but she was feeling better about it by the time she started her senior year in High School with a top ten country single. Her followups were less successful, and she became unhappy with the way her career was going. In particular she was horrified when she first played the Grand Ole Opry. She was told she couldn’t go onstage in the dress she was wearing, because her shoulders were uncovered and that was obscene — at this time, Jackson was basically the only country singer in the business who was trying to look glamorous rather than like a farmgirl — and then, when she did get on stage, wearing a jacket, she was mocked by a couple of the comedy acts, who stood behind her making fun of her throughout her entire set. Clearly the country establishment wasn’t going to get along with her at all. But then she left school, and became a full-time musician, and she made a decision which would have an enormous effect on her. Her father was her manager, but if she was going to get more gigs and perform as a solo artist rather than just doing the occasional show with Hank Thompson, she needed a booking agent, and neither she nor her father had an idea how to get one. So they did what seemed like the most obvious thing to them, and bought a copy of Billboard and started looking through the ads. They eventually found an ad from a booking agent named Bob Neal, in Memphis, and phoned him up, explaining that Wanda was a recording artist for Decca records. Neal had heard her records, which had been locally popular in Memphis, and was particularly looking for a girl singer to fill out the bill on a tour he was promoting with a new young singer he managed, named Elvis Presley. Backstage after her support slot on the first show of the tour, she and her father heard a terrible screaming coming from the auditorium. They thought at first that there must have been a fire, and Wanda’s father went out to investigate, telling her not to come with him. He came back a minute later telling her, “You’ve got to come see this”. The screaming was, of course, at Elvis, and immediately Wanda knew that he was not any ordinary country singer. The two of them started dating, and Elvis even gave Wanda his ring, which is still in her possession, and while they eventually drifted apart, he had a profound influence on her. Her father was not impressed with Elvis’ performance, saying “That boy’s got to get his show in order… He’s all over the stage messin’ around. And he’s got to stop slurrin’ his words, too.” Wanda, on the other hand, was incredibly impressed with him, and as the two of them toured — on a bill which also included Bob Neal’s other big act of the time, Johnny Cash — he would teach her how to be more of a rock and roller like him. In particular, he taught her to strum the acoustic guitar with a single strum, rather than to hit each string individually, which was the style of country players at the time. Meanwhile, her recording career was flagging — she hadn’t had another hit with any of her solo recordings, and she was starting to wonder if Decca was the right place for her. She did, though, have a hit as a songwriter, with a song called “Without Your Love”, which she’d written for Bobby Lord, a singer who appeared with her on the radio show Ozark Jubilee. [Excerpt: Bobby Lord, “Without Your Love”] That song had gone to the top ten in the country charts, and turned out to be Lord’s only hit single. But while she could come up with a hit for him, she wasn’t having hits herself, and she decided that she wanted to leave Decca. Her contract was up, and while they did have the option to extend it for another year and were initially interested in exercising the option, Decca agreed to let her go. Meanwhile, Wanda was also thinking about what kind of music she wanted to make in the future. Elvis had convinced her that she should move into rockabilly, but she didn’t know how to do it. She talked about this to Thelma Blackmon, the mother of one of her schoolfriends, who had written a couple of songs for her previously, and Blackmon came back with a song called “I Gotta Know”, which Jackson decided would be perfect to restart her career. At this point Hank Thompson went to Ken Nelson, and told him that that underage singer he’d liked was no longer underage, and would he be interested in signing her? He definitely was interested, and he took her into the Capitol tower to record with a group of session musicians who he employed for as many of his West Coast sessions as possible, and who were at that point just beginning to create what later became the Bakersfield Sound. The musicians on that session were some of the best in the country music field — Jelly Sanders on fiddle, Joe Maphis on guitar, and the legendary Ralph Mooney on steel guitar, and they were perfect for recording what would become a big country hit. But “I Gotta Know” was both country and rock and roll. While the choruses are definitely country: [Excerpt: Wanda Jackson, “I Gotta Know”] the verses are firmly in the rock and roll genre: [Excerpt: Wanda Jackson, “I Gotta Know”] Now, I’m indebted to the website “Women in Rock & Roll’s First Wave”, which I’ll link in the shownotes, for this observation, but this kind of genre-mixing was very common particularly with women, and particularly with women who had previously had careers outside rock and roll and were trying to transition into it. While male performers in that situation would generally jump in head first and come up with an embarrassment like Perry Como’s version of “Ko Ko Mo”, female performers would do something rather different. They would, in fact, tend to do what Jackson did here, and combine the two genres, either by having a verse in one style and a chorus in the other, as Wanda does, or in other ways, as in for example Kay Starr’s “Rock and Roll Waltz”: [Excerpt: Kay Starr, “Rock and Roll Waltz”] Starr is a particularly good example here, because she’s doing what a lot of female performers were doing at the time, which is trying to lace the recording with enough irony and humour that it could be taken as either a record in the young persons’ style parodying the old persons’ music, or a record in the older style mocking the new styles. By sitting on the fence in this way and being ambiguous enough, the established stars could back down if this rock and roll music turned out to be just another temporary fad. Jackson isn’t quite doing that, but with her Elvis-style hiccups on the line “I gotta know, I gotta know”, she comes very close to parody, in a way that could easily be written off if the experiment had failed. The experiment didn’t fail, however, and “I Gotta Know” became Jackson’s biggest hit of the fifties, making its way to number fifteen on the country charts — rather oddly, given that she was clearly repositioning herself for the rockabilly market, it seemed to sell almost solely to the country market, and didn’t cross over the way that Carl Perkins or Gene Vincent did. Her next single could have been the one that cemented her reputation as the greatest female rockabilly star of all, had it not been for one simple mistake. The song “Hot Dog! That Made Him Mad!” had been a favourite in her stage act for years, and she would let out a tremendous growl on the title line when she got to it, which would always get audiences worked up. Unfortunately, she horrified Ken Nelson in the studio by taking a big drink of milk while all the session musicians were on a coffee break. She hadn’t realised what milk does to a singer’s throat, and when they came to record the song she couldn’t get her voice to do the growl that had always worked on stage. The result was still a good record, but it wasn’t the massive success it would otherwise have been: [Excerpt: Wanda Jackson, “Hot Dog! That Made Him Mad!”] After that failed, Ken Nelson floundered around for quite a while trying to find something else that could work for Jackson. She kept cutting rockabilly tracks, but they never quite had the power of her stage performances, and meanwhile Nelson was making mistakes in what material he brought in, just as he was doing at the same time with Gene Vincent. Just like with Vincent, whenever Wanda brought in her own material, or material she’d picked to cover by other people, it worked fine, but when Nelson brought in something it would go down like a lead balloon. Probably the worst example was a terrible attempt to capitalise on the current calypso craze, a song called “Don’a Wanna”, which was written by Boudleaux Bryant, one of the great songwriters of the fifties, but which wouldn’t have been his best effort even before it was given a racist accent at Nelson’s suggestion (and which Jackson cringed at doing even at the time, let alone sixty years later): [Excerpt: Wanda Jackson, “Don’a Wanna”] Much better was “Cool Love”, which Jackson co-wrote herself, with her friend Vicki Countryman, Thelma Blackmon’s daughter: [Excerpt: Wanda Jackson, “Cool Love”] That one is possibly too closely modelled after Elvis’ recent hits, right down to the backing vocals, but it features a great Buck Owens guitar solo, it’s fun, and Jackson is clearly engaged with the material. But just like all the other records since “I Wanna Know”, “Cool Love” did nothing on the charts — and indeed it wouldn’t be until 1960 that Jackson would reach the charts again in the USA. But when she did, it would be with recordings she’d made years earlier, during the time period we’re talking about now. And before she did, she would have her biggest success of all, and become the first rock and roll star about whom the cliche really was true — even though she was having no success in her home country, she was big in Japan. But that’s a story for a few weeks’ time…
Episode forty-three of A History of Rock Music in Five Hundred Songs looks at “I Gotta Know” by Wanda Jackson, and the links between rockabilly and the Bakersfield Sound. 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 “Bacon Fat” by Andre Williams. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. My main source for this episode is Wanda Jackson’s autobiography, Every Night is Saturday Night. I also made reference to the website Women in Rock & Roll’s First Wave, and I am very likely to reference that again in future episodes on Wanda Jackson and others. I mentioned the podcast Cocaine and Rhinestones, and its episode on “Okie From Muskogee”. Several other episodes of that podcast touch tangentially on people mentioned in this episode too — the two-parter on Buck Owens and Don Rich, the episode on Ralph Mooney, and the episodes on Ralph Mooney and the Louvin Brothers all either deal with musicians who played on Wanda’s records, with Ken Nelson, or both. Generally I think most people who enjoy this podcast will enjoy that one as well. And this compilation collects most of Jackson’s important early work. Errata I say Jackson’s career spans more than the time this podcast covers. I meant in length of time – this podcast covers sixty-two years, and Jackson’s career so far has lasted seventy-one – but the ambiguity could suggest that this podcast doesn’t cover anything prior to 1948. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we’re going to talk about someone whose career as a live performer spans more than the time that this podcast covers. Wanda Jackson started performing in 1948, and she finally retired from live performance in March 2019, though she has an album coming out later this year. She is only the second performer we’ve dealt with who is still alive and working, and she has the longest career of any of them. Wanda Jackson is, simply, the queen of rockabilly, and she’s a towering figure in the genre. Jackson was born in Oklahoma, but as this was the tail-end of the great depression, she and her family migrated to California when she was small, as stragglers in the great migration that permanently changed California. The migration of the Okies in the 1930s is a huge topic, and one that I don’t have the space to explain in this podcast — if you’re interested in it, I’d recommend as a starting point listening to the episode of the great country music podcast Cocaine & Rhinestones on “Okie From Muskogee”, which I’ll link in the show notes. The very, very, shortened version is that bad advice as to best farming practices created an environmental disaster on an almost apocalyptic scale across the whole middle of America, right at the point that the country was also going through the worst economic disaster in its history. As entire states became almost uninhabitable, three and a half million people moved from the Great Plains to elsewhere in the US, and a large number of them moved to California, where no matter what state they actually came from they became known as “Okies”. But the thing to understand about the Okies for this purpose is that they were a despised underclass — and as we’ve seen throughout this series, members of despised underclasses often created the most exciting and innovative music. The music the Okies who moved to California made was far more raucous than the country music that was popular in the Eastern states, and it had a huge admixture of blues and boogie woogie in it. Records like Jack Guthrie’s “Oakie Boogie”, for example, a clear precursor of rockabilly: [Excerpt: Jack Guthrie, “Oakie Boogie”] We talked way back in episode three about Western Swing and the distinction in the thirties and forties between country music and western music. The “Western” in that music came from the wild west, but it also referred to the west coast and the migrants from the Dust Bowl. Of the two biggest names in Western Swing, one, Bob Wills, was from Texas but moved to Oklahoma, while the other, Spade Cooley, was from Oklahoma but moved to California. It was the Western Swing that was being made by Dust Bowl migrants in California in the 1940s that, when it made its way eastwards to Tennessee, transmuted itself into rockabilly. And that is the music that young Wanda Jackson was listening to when she was tiny. Her father, who she absolutely adored, was a fan of Bob Wills, Spade Cooley, and Tex Williams, as well as of Jimmie Rodgers’ hillbilly music and the blues. They lived in Greenfield, a town a few miles away from Bakersfield, where her father worked, and if any of you know anything at all about country music that will tell you a lot in itself. Bakersfield would become, in the 1950s, the place where musicians like Buck Owens, Merle Haggard, and Wynn Stewart, most of them from Dust Bowl migrant families themselves, developed a tough form of honky-tonk country and western that was influenced by hillbilly boogie and Western Swing. Wanda Jackson spent the formative years of her childhood in the same musical and social environment as those musicians, and while she and her family moved back to Oklahoma a few years later, she had already been exposed to that style of music. At the time, when anyone went out to dance, it was to live music, and since her parents couldn’t afford babysitters, when they went out, as they did most weekends, they took Wanda with them, so between the ages of five and ten she seems to have seen almost every great Western band of the forties. Her first favourite as a kid was Spade Cooley, who was, along with Bob Wills, considered the greatest Western Swing bandleader of all. However, this podcast has a policy of not playing Cooley’s records (the balance of musical importance to outright evil is tipped too far in his case, and I advise you not to look for details as to why), so I won’t play an excerpt of him here, as I normally would. The other artist she loved though was a sibling group called The Maddox Brothers and Rose, who were a group that bridged the gap between Western Swing and the newer Bakersfield Sound: [Excerpt: The Maddox Brothers and Rose, “George’s Playhouse Boogie”] The Maddox Brothers and Rose were also poor migrants who’d moved to California, though in their case they’d travelled just *before* the inrush of Okies rather than at the tail end of it. They’re another of those groups who are often given the credit for having made the first rock and roll record, although as we’ve often discussed that’s a largely meaningless claim. They were, however, one of the big influences both on the Bakersfield Sound and on the music that became rockabilly. Wanda loved the Maddox Brothers and Rose, and in particular she loved their stage presence — the shiny costumes they wore, and the feistiness of Rose, in particular. She decided before she was even in school that she wanted to be “a girl singer”, as she put it, just like Rose Maddox. When she was six, her father bought her a guitar from the Sears Roebuck catalogue and started teaching her chords. He played a little guitar and fiddle, and the two of them would play together every night. They’d sit together and try to work out the chords for songs they knew from the radio or records, and Wanda’s mother would write down the chords in a notebook for them. She also taught herself to yodel, since that was something that all the country and western singers at the time would do, and had done ever since the days of Jimmie Rodgers in the late twenties and early thirties. The record she copied to learn to yodel was “Chime Bells” by Elton Britt, “Country Music’s Yodelling Cowboy Crooner”: [Excerpt: Elton Britt, “Chime Bells”] By the time she was in her early teens, she was regularly performing for her friends at parties, and her friends dared her to audition for a local radio show that played country music and had a local talent section. Her friends all went with her to the station, and she played Jimmie Rodgers’ “Blue Yodel #6” for the DJ who ran the show. [Excerpt: Jimmie Rodgers, “Blue Yodel #6”] To her shock, but not the shock of her friends, the DJ loved her sound, and gave her a regular spot on the local talent section of his show, which in turn led to her getting her own fifteen-minute radio show, in which she would sing popular country hits of the time period. One of the people whose songs she would perform on a regular basis was Hank Thompson. Thompson was a honky-tonk singer who performed a pared-down version of the Bob Wills style of Western Swing. Thompson’s music was using the same rhythms and instrumentation as Wills, but with much more focus on the vocals and the song than on instrumental solos. Thonpson’s music was one of several precursors to the music that became rockabilly, though he was most successful with mid-tempo ballads like “The Wild Side of Life”: [Excerpt: Hank Thompson, “The Wild Side of Life”] Thompson, like Wanda, lived in Oklahoma, and he happened to be driving one day and hear her show on the radio. He phoned her up at the station and asked her if she would come and perform with his band that Saturday night. When she told him she’d have to ask her mother, he laughed at first — he hadn’t realised she was only fourteen, because her voice made her sound so much older. At this time, it was normal for bands that toured to have multiple featured singers and to perform in a revue style, rather than to have a single lead vocalist — there were basically two types of tour that happened: package tours featuring multiple different acts doing their own things, and revues, where one main act would introduce several featured guests to join them on stage. Johnny Otis and James Brown, for example, both ran revue shows at various points, and Hank Thompson’s show seems also to have been in this style. Jackson had never played with a band before, and by her own account she wasn’t very good when she guested with Thompson’s band for the first time. But Thompson had faith in her. He couldn’t take her on the road, because she was still so young she had to go to school, but every time he played Oklahoma he’d invite her to do a few numbers with his band, mentoring her and teaching her on stage how to perform with other musicians. Thompson also invited Jackson to appear on his local TV show, which led to her getting a TV show of her own in the Oklahoma area, and she became part of a loose group of locally-popular musicians, including the future homophobic campaigner against human rights Anita Bryant. While she was still in high school, Thompson recorded demos of her singing and took them to his producer, Ken Nelson, at Capitol Records. Nelson liked her voice, but when he found out she was under eighteen he decided to pass on recording her, just due to the legal complications and the fact that she’d not yet finished school. Instead, Jackson was signed to Decca Records, where she cut her first recordings with members of Thompson’s band. Her first single was a duet with another featured singer from Thompson’s band, Billy Gray. Thompson, who was running the session, basically forced Jackson to sing it against her objections. She didn’t have a problem with the song itself, but she didn’t want to make her name from a duet, rather than as a solo artist. [Excerpt: Billy Gray and Wanda Jackson, “You Can’t Have My Love”] She might not have been happy with the recording at first, but she was feeling better about it by the time she started her senior year in High School with a top ten country single. Her followups were less successful, and she became unhappy with the way her career was going. In particular she was horrified when she first played the Grand Ole Opry. She was told she couldn’t go onstage in the dress she was wearing, because her shoulders were uncovered and that was obscene — at this time, Jackson was basically the only country singer in the business who was trying to look glamorous rather than like a farmgirl — and then, when she did get on stage, wearing a jacket, she was mocked by a couple of the comedy acts, who stood behind her making fun of her throughout her entire set. Clearly the country establishment wasn’t going to get along with her at all. But then she left school, and became a full-time musician, and she made a decision which would have an enormous effect on her. Her father was her manager, but if she was going to get more gigs and perform as a solo artist rather than just doing the occasional show with Hank Thompson, she needed a booking agent, and neither she nor her father had an idea how to get one. So they did what seemed like the most obvious thing to them, and bought a copy of Billboard and started looking through the ads. They eventually found an ad from a booking agent named Bob Neal, in Memphis, and phoned him up, explaining that Wanda was a recording artist for Decca records. Neal had heard her records, which had been locally popular in Memphis, and was particularly looking for a girl singer to fill out the bill on a tour he was promoting with a new young singer he managed, named Elvis Presley. Backstage after her support slot on the first show of the tour, she and her father heard a terrible screaming coming from the auditorium. They thought at first that there must have been a fire, and Wanda’s father went out to investigate, telling her not to come with him. He came back a minute later telling her, “You’ve got to come see this”. The screaming was, of course, at Elvis, and immediately Wanda knew that he was not any ordinary country singer. The two of them started dating, and Elvis even gave Wanda his ring, which is still in her possession, and while they eventually drifted apart, he had a profound influence on her. Her father was not impressed with Elvis’ performance, saying “That boy’s got to get his show in order… He’s all over the stage messin’ around. And he’s got to stop slurrin’ his words, too.” Wanda, on the other hand, was incredibly impressed with him, and as the two of them toured — on a bill which also included Bob Neal’s other big act of the time, Johnny Cash — he would teach her how to be more of a rock and roller like him. In particular, he taught her to strum the acoustic guitar with a single strum, rather than to hit each string individually, which was the style of country players at the time. Meanwhile, her recording career was flagging — she hadn’t had another hit with any of her solo recordings, and she was starting to wonder if Decca was the right place for her. She did, though, have a hit as a songwriter, with a song called “Without Your Love”, which she’d written for Bobby Lord, a singer who appeared with her on the radio show Ozark Jubilee. [Excerpt: Bobby Lord, “Without Your Love”] That song had gone to the top ten in the country charts, and turned out to be Lord’s only hit single. But while she could come up with a hit for him, she wasn’t having hits herself, and she decided that she wanted to leave Decca. Her contract was up, and while they did have the option to extend it for another year and were initially interested in exercising the option, Decca agreed to let her go. Meanwhile, Wanda was also thinking about what kind of music she wanted to make in the future. Elvis had convinced her that she should move into rockabilly, but she didn’t know how to do it. She talked about this to Thelma Blackmon, the mother of one of her schoolfriends, who had written a couple of songs for her previously, and Blackmon came back with a song called “I Gotta Know”, which Jackson decided would be perfect to restart her career. At this point Hank Thompson went to Ken Nelson, and told him that that underage singer he’d liked was no longer underage, and would he be interested in signing her? He definitely was interested, and he took her into the Capitol tower to record with a group of session musicians who he employed for as many of his West Coast sessions as possible, and who were at that point just beginning to create what later became the Bakersfield Sound. The musicians on that session were some of the best in the country music field — Jelly Sanders on fiddle, Joe Maphis on guitar, and the legendary Ralph Mooney on steel guitar, and they were perfect for recording what would become a big country hit. But “I Gotta Know” was both country and rock and roll. While the choruses are definitely country: [Excerpt: Wanda Jackson, “I Gotta Know”] the verses are firmly in the rock and roll genre: [Excerpt: Wanda Jackson, “I Gotta Know”] Now, I’m indebted to the website “Women in Rock & Roll’s First Wave”, which I’ll link in the shownotes, for this observation, but this kind of genre-mixing was very common particularly with women, and particularly with women who had previously had careers outside rock and roll and were trying to transition into it. While male performers in that situation would generally jump in head first and come up with an embarrassment like Perry Como’s version of “Ko Ko Mo”, female performers would do something rather different. They would, in fact, tend to do what Jackson did here, and combine the two genres, either by having a verse in one style and a chorus in the other, as Wanda does, or in other ways, as in for example Kay Starr’s “Rock and Roll Waltz”: [Excerpt: Kay Starr, “Rock and Roll Waltz”] Starr is a particularly good example here, because she’s doing what a lot of female performers were doing at the time, which is trying to lace the recording with enough irony and humour that it could be taken as either a record in the young persons’ style parodying the old persons’ music, or a record in the older style mocking the new styles. By sitting on the fence in this way and being ambiguous enough, the established stars could back down if this rock and roll music turned out to be just another temporary fad. Jackson isn’t quite doing that, but with her Elvis-style hiccups on the line “I gotta know, I gotta know”, she comes very close to parody, in a way that could easily be written off if the experiment had failed. The experiment didn’t fail, however, and “I Gotta Know” became Jackson’s biggest hit of the fifties, making its way to number fifteen on the country charts — rather oddly, given that she was clearly repositioning herself for the rockabilly market, it seemed to sell almost solely to the country market, and didn’t cross over the way that Carl Perkins or Gene Vincent did. Her next single could have been the one that cemented her reputation as the greatest female rockabilly star of all, had it not been for one simple mistake. The song “Hot Dog! That Made Him Mad!” had been a favourite in her stage act for years, and she would let out a tremendous growl on the title line when she got to it, which would always get audiences worked up. Unfortunately, she horrified Ken Nelson in the studio by taking a big drink of milk while all the session musicians were on a coffee break. She hadn’t realised what milk does to a singer’s throat, and when they came to record the song she couldn’t get her voice to do the growl that had always worked on stage. The result was still a good record, but it wasn’t the massive success it would otherwise have been: [Excerpt: Wanda Jackson, “Hot Dog! That Made Him Mad!”] After that failed, Ken Nelson floundered around for quite a while trying to find something else that could work for Jackson. She kept cutting rockabilly tracks, but they never quite had the power of her stage performances, and meanwhile Nelson was making mistakes in what material he brought in, just as he was doing at the same time with Gene Vincent. Just like with Vincent, whenever Wanda brought in her own material, or material she’d picked to cover by other people, it worked fine, but when Nelson brought in something it would go down like a lead balloon. Probably the worst example was a terrible attempt to capitalise on the current calypso craze, a song called “Don’a Wanna”, which was written by Boudleaux Bryant, one of the great songwriters of the fifties, but which wouldn’t have been his best effort even before it was given a racist accent at Nelson’s suggestion (and which Jackson cringed at doing even at the time, let alone sixty years later): [Excerpt: Wanda Jackson, “Don’a Wanna”] Much better was “Cool Love”, which Jackson co-wrote herself, with her friend Vicki Countryman, Thelma Blackmon’s daughter: [Excerpt: Wanda Jackson, “Cool Love”] That one is possibly too closely modelled after Elvis’ recent hits, right down to the backing vocals, but it features a great Buck Owens guitar solo, it’s fun, and Jackson is clearly engaged with the material. But just like all the other records since “I Wanna Know”, “Cool Love” did nothing on the charts — and indeed it wouldn’t be until 1960 that Jackson would reach the charts again in the USA. But when she did, it would be with recordings she’d made years earlier, during the time period we’re talking about now. And before she did, she would have her biggest success of all, and become the first rock and roll star about whom the cliche really was true — even though she was having no success in her home country, she was big in Japan. But that’s a story for a few weeks’ time…
Episode forty-three of A History of Rock Music in Five Hundred Songs looks at "I Gotta Know" by Wanda Jackson, and the links between rockabilly and the Bakersfield Sound. 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 "Bacon Fat" by Andre Williams. ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. My main source for this episode is Wanda Jackson's autobiography, Every Night is Saturday Night. I also made reference to the website Women in Rock & Roll's First Wave, and I am very likely to reference that again in future episodes on Wanda Jackson and others. I mentioned the podcast Cocaine and Rhinestones, and its episode on "Okie From Muskogee". Several other episodes of that podcast touch tangentially on people mentioned in this episode too -- the two-parter on Buck Owens and Don Rich, the episode on Ralph Mooney, and the episodes on Ralph Mooney and the Louvin Brothers all either deal with musicians who played on Wanda's records, with Ken Nelson, or both. Generally I think most people who enjoy this podcast will enjoy that one as well. And this compilation collects most of Jackson's important early work. Errata I say Jackson's career spans more than the time this podcast covers. I meant in length of time – this podcast covers sixty-two years, and Jackson's career so far has lasted seventy-one – but the ambiguity could suggest that this podcast doesn't cover anything prior to 1948. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to talk about someone whose career as a live performer spans more than the time that this podcast covers. Wanda Jackson started performing in 1948, and she finally retired from live performance in March 2019, though she has an album coming out later this year. She is only the second performer we've dealt with who is still alive and working, and she has the longest career of any of them. Wanda Jackson is, simply, the queen of rockabilly, and she's a towering figure in the genre. Jackson was born in Oklahoma, but as this was the tail-end of the great depression, she and her family migrated to California when she was small, as stragglers in the great migration that permanently changed California. The migration of the Okies in the 1930s is a huge topic, and one that I don't have the space to explain in this podcast -- if you're interested in it, I'd recommend as a starting point listening to the episode of the great country music podcast Cocaine & Rhinestones on "Okie From Muskogee", which I'll link in the show notes. The very, very, shortened version is that bad advice as to best farming practices created an environmental disaster on an almost apocalyptic scale across the whole middle of America, right at the point that the country was also going through the worst economic disaster in its history. As entire states became almost uninhabitable, three and a half million people moved from the Great Plains to elsewhere in the US, and a large number of them moved to California, where no matter what state they actually came from they became known as "Okies". But the thing to understand about the Okies for this purpose is that they were a despised underclass -- and as we've seen throughout this series, members of despised underclasses often created the most exciting and innovative music. The music the Okies who moved to California made was far more raucous than the country music that was popular in the Eastern states, and it had a huge admixture of blues and boogie woogie in it. Records like Jack Guthrie's "Oakie Boogie", for example, a clear precursor of rockabilly: [Excerpt: Jack Guthrie, "Oakie Boogie"] We talked way back in episode three about Western Swing and the distinction in the thirties and forties between country music and western music. The "Western" in that music came from the wild west, but it also referred to the west coast and the migrants from the Dust Bowl. Of the two biggest names in Western Swing, one, Bob Wills, was from Texas but moved to Oklahoma, while the other, Spade Cooley, was from Oklahoma but moved to California. It was the Western Swing that was being made by Dust Bowl migrants in California in the 1940s that, when it made its way eastwards to Tennessee, transmuted itself into rockabilly. And that is the music that young Wanda Jackson was listening to when she was tiny. Her father, who she absolutely adored, was a fan of Bob Wills, Spade Cooley, and Tex Williams, as well as of Jimmie Rodgers' hillbilly music and the blues. They lived in Greenfield, a town a few miles away from Bakersfield, where her father worked, and if any of you know anything at all about country music that will tell you a lot in itself. Bakersfield would become, in the 1950s, the place where musicians like Buck Owens, Merle Haggard, and Wynn Stewart, most of them from Dust Bowl migrant families themselves, developed a tough form of honky-tonk country and western that was influenced by hillbilly boogie and Western Swing. Wanda Jackson spent the formative years of her childhood in the same musical and social environment as those musicians, and while she and her family moved back to Oklahoma a few years later, she had already been exposed to that style of music. At the time, when anyone went out to dance, it was to live music, and since her parents couldn't afford babysitters, when they went out, as they did most weekends, they took Wanda with them, so between the ages of five and ten she seems to have seen almost every great Western band of the forties. Her first favourite as a kid was Spade Cooley, who was, along with Bob Wills, considered the greatest Western Swing bandleader of all. However, this podcast has a policy of not playing Cooley's records (the balance of musical importance to outright evil is tipped too far in his case, and I advise you not to look for details as to why), so I won't play an excerpt of him here, as I normally would. The other artist she loved though was a sibling group called The Maddox Brothers and Rose, who were a group that bridged the gap between Western Swing and the newer Bakersfield Sound: [Excerpt: The Maddox Brothers and Rose, "George's Playhouse Boogie"] The Maddox Brothers and Rose were also poor migrants who'd moved to California, though in their case they'd travelled just *before* the inrush of Okies rather than at the tail end of it. They're another of those groups who are often given the credit for having made the first rock and roll record, although as we've often discussed that's a largely meaningless claim. They were, however, one of the big influences both on the Bakersfield Sound and on the music that became rockabilly. Wanda loved the Maddox Brothers and Rose, and in particular she loved their stage presence -- the shiny costumes they wore, and the feistiness of Rose, in particular. She decided before she was even in school that she wanted to be "a girl singer", as she put it, just like Rose Maddox. When she was six, her father bought her a guitar from the Sears Roebuck catalogue and started teaching her chords. He played a little guitar and fiddle, and the two of them would play together every night. They'd sit together and try to work out the chords for songs they knew from the radio or records, and Wanda's mother would write down the chords in a notebook for them. She also taught herself to yodel, since that was something that all the country and western singers at the time would do, and had done ever since the days of Jimmie Rodgers in the late twenties and early thirties. The record she copied to learn to yodel was "Chime Bells" by Elton Britt, "Country Music's Yodelling Cowboy Crooner": [Excerpt: Elton Britt, "Chime Bells"] By the time she was in her early teens, she was regularly performing for her friends at parties, and her friends dared her to audition for a local radio show that played country music and had a local talent section. Her friends all went with her to the station, and she played Jimmie Rodgers' "Blue Yodel #6" for the DJ who ran the show. [Excerpt: Jimmie Rodgers, "Blue Yodel #6"] To her shock, but not the shock of her friends, the DJ loved her sound, and gave her a regular spot on the local talent section of his show, which in turn led to her getting her own fifteen-minute radio show, in which she would sing popular country hits of the time period. One of the people whose songs she would perform on a regular basis was Hank Thompson. Thompson was a honky-tonk singer who performed a pared-down version of the Bob Wills style of Western Swing. Thompson's music was using the same rhythms and instrumentation as Wills, but with much more focus on the vocals and the song than on instrumental solos. Thonpson's music was one of several precursors to the music that became rockabilly, though he was most successful with mid-tempo ballads like "The Wild Side of Life": [Excerpt: Hank Thompson, "The Wild Side of Life"] Thompson, like Wanda, lived in Oklahoma, and he happened to be driving one day and hear her show on the radio. He phoned her up at the station and asked her if she would come and perform with his band that Saturday night. When she told him she'd have to ask her mother, he laughed at first -- he hadn't realised she was only fourteen, because her voice made her sound so much older. At this time, it was normal for bands that toured to have multiple featured singers and to perform in a revue style, rather than to have a single lead vocalist -- there were basically two types of tour that happened: package tours featuring multiple different acts doing their own things, and revues, where one main act would introduce several featured guests to join them on stage. Johnny Otis and James Brown, for example, both ran revue shows at various points, and Hank Thompson's show seems also to have been in this style. Jackson had never played with a band before, and by her own account she wasn't very good when she guested with Thompson's band for the first time. But Thompson had faith in her. He couldn't take her on the road, because she was still so young she had to go to school, but every time he played Oklahoma he'd invite her to do a few numbers with his band, mentoring her and teaching her on stage how to perform with other musicians. Thompson also invited Jackson to appear on his local TV show, which led to her getting a TV show of her own in the Oklahoma area, and she became part of a loose group of locally-popular musicians, including the future homophobic campaigner against human rights Anita Bryant. While she was still in high school, Thompson recorded demos of her singing and took them to his producer, Ken Nelson, at Capitol Records. Nelson liked her voice, but when he found out she was under eighteen he decided to pass on recording her, just due to the legal complications and the fact that she'd not yet finished school. Instead, Jackson was signed to Decca Records, where she cut her first recordings with members of Thompson's band. Her first single was a duet with another featured singer from Thompson's band, Billy Gray. Thompson, who was running the session, basically forced Jackson to sing it against her objections. She didn't have a problem with the song itself, but she didn't want to make her name from a duet, rather than as a solo artist. [Excerpt: Billy Gray and Wanda Jackson, "You Can't Have My Love"] She might not have been happy with the recording at first, but she was feeling better about it by the time she started her senior year in High School with a top ten country single. Her followups were less successful, and she became unhappy with the way her career was going. In particular she was horrified when she first played the Grand Ole Opry. She was told she couldn't go onstage in the dress she was wearing, because her shoulders were uncovered and that was obscene -- at this time, Jackson was basically the only country singer in the business who was trying to look glamorous rather than like a farmgirl -- and then, when she did get on stage, wearing a jacket, she was mocked by a couple of the comedy acts, who stood behind her making fun of her throughout her entire set. Clearly the country establishment wasn't going to get along with her at all. But then she left school, and became a full-time musician, and she made a decision which would have an enormous effect on her. Her father was her manager, but if she was going to get more gigs and perform as a solo artist rather than just doing the occasional show with Hank Thompson, she needed a booking agent, and neither she nor her father had an idea how to get one. So they did what seemed like the most obvious thing to them, and bought a copy of Billboard and started looking through the ads. They eventually found an ad from a booking agent named Bob Neal, in Memphis, and phoned him up, explaining that Wanda was a recording artist for Decca records. Neal had heard her records, which had been locally popular in Memphis, and was particularly looking for a girl singer to fill out the bill on a tour he was promoting with a new young singer he managed, named Elvis Presley. Backstage after her support slot on the first show of the tour, she and her father heard a terrible screaming coming from the auditorium. They thought at first that there must have been a fire, and Wanda's father went out to investigate, telling her not to come with him. He came back a minute later telling her, "You've got to come see this". The screaming was, of course, at Elvis, and immediately Wanda knew that he was not any ordinary country singer. The two of them started dating, and Elvis even gave Wanda his ring, which is still in her possession, and while they eventually drifted apart, he had a profound influence on her. Her father was not impressed with Elvis' performance, saying "That boy's got to get his show in order... He's all over the stage messin' around. And he's got to stop slurrin' his words, too." Wanda, on the other hand, was incredibly impressed with him, and as the two of them toured -- on a bill which also included Bob Neal's other big act of the time, Johnny Cash -- he would teach her how to be more of a rock and roller like him. In particular, he taught her to strum the acoustic guitar with a single strum, rather than to hit each string individually, which was the style of country players at the time. Meanwhile, her recording career was flagging -- she hadn't had another hit with any of her solo recordings, and she was starting to wonder if Decca was the right place for her. She did, though, have a hit as a songwriter, with a song called "Without Your Love", which she'd written for Bobby Lord, a singer who appeared with her on the radio show Ozark Jubilee. [Excerpt: Bobby Lord, "Without Your Love"] That song had gone to the top ten in the country charts, and turned out to be Lord's only hit single. But while she could come up with a hit for him, she wasn't having hits herself, and she decided that she wanted to leave Decca. Her contract was up, and while they did have the option to extend it for another year and were initially interested in exercising the option, Decca agreed to let her go. Meanwhile, Wanda was also thinking about what kind of music she wanted to make in the future. Elvis had convinced her that she should move into rockabilly, but she didn't know how to do it. She talked about this to Thelma Blackmon, the mother of one of her schoolfriends, who had written a couple of songs for her previously, and Blackmon came back with a song called "I Gotta Know", which Jackson decided would be perfect to restart her career. At this point Hank Thompson went to Ken Nelson, and told him that that underage singer he'd liked was no longer underage, and would he be interested in signing her? He definitely was interested, and he took her into the Capitol tower to record with a group of session musicians who he employed for as many of his West Coast sessions as possible, and who were at that point just beginning to create what later became the Bakersfield Sound. The musicians on that session were some of the best in the country music field -- Jelly Sanders on fiddle, Joe Maphis on guitar, and the legendary Ralph Mooney on steel guitar, and they were perfect for recording what would become a big country hit. But "I Gotta Know" was both country and rock and roll. While the choruses are definitely country: [Excerpt: Wanda Jackson, "I Gotta Know"] the verses are firmly in the rock and roll genre: [Excerpt: Wanda Jackson, "I Gotta Know"] Now, I'm indebted to the website "Women in Rock & Roll's First Wave", which I'll link in the shownotes, for this observation, but this kind of genre-mixing was very common particularly with women, and particularly with women who had previously had careers outside rock and roll and were trying to transition into it. While male performers in that situation would generally jump in head first and come up with an embarrassment like Perry Como's version of "Ko Ko Mo", female performers would do something rather different. They would, in fact, tend to do what Jackson did here, and combine the two genres, either by having a verse in one style and a chorus in the other, as Wanda does, or in other ways, as in for example Kay Starr's "Rock and Roll Waltz": [Excerpt: Kay Starr, "Rock and Roll Waltz"] Starr is a particularly good example here, because she's doing what a lot of female performers were doing at the time, which is trying to lace the recording with enough irony and humour that it could be taken as either a record in the young persons' style parodying the old persons' music, or a record in the older style mocking the new styles. By sitting on the fence in this way and being ambiguous enough, the established stars could back down if this rock and roll music turned out to be just another temporary fad. Jackson isn't quite doing that, but with her Elvis-style hiccups on the line "I gotta know, I gotta know", she comes very close to parody, in a way that could easily be written off if the experiment had failed. The experiment didn't fail, however, and "I Gotta Know" became Jackson's biggest hit of the fifties, making its way to number fifteen on the country charts -- rather oddly, given that she was clearly repositioning herself for the rockabilly market, it seemed to sell almost solely to the country market, and didn't cross over the way that Carl Perkins or Gene Vincent did. Her next single could have been the one that cemented her reputation as the greatest female rockabilly star of all, had it not been for one simple mistake. The song "Hot Dog! That Made Him Mad!" had been a favourite in her stage act for years, and she would let out a tremendous growl on the title line when she got to it, which would always get audiences worked up. Unfortunately, she horrified Ken Nelson in the studio by taking a big drink of milk while all the session musicians were on a coffee break. She hadn't realised what milk does to a singer's throat, and when they came to record the song she couldn't get her voice to do the growl that had always worked on stage. The result was still a good record, but it wasn't the massive success it would otherwise have been: [Excerpt: Wanda Jackson, "Hot Dog! That Made Him Mad!"] After that failed, Ken Nelson floundered around for quite a while trying to find something else that could work for Jackson. She kept cutting rockabilly tracks, but they never quite had the power of her stage performances, and meanwhile Nelson was making mistakes in what material he brought in, just as he was doing at the same time with Gene Vincent. Just like with Vincent, whenever Wanda brought in her own material, or material she'd picked to cover by other people, it worked fine, but when Nelson brought in something it would go down like a lead balloon. Probably the worst example was a terrible attempt to capitalise on the current calypso craze, a song called "Don'a Wanna", which was written by Boudleaux Bryant, one of the great songwriters of the fifties, but which wouldn't have been his best effort even before it was given a racist accent at Nelson's suggestion (and which Jackson cringed at doing even at the time, let alone sixty years later): [Excerpt: Wanda Jackson, "Don'a Wanna"] Much better was "Cool Love", which Jackson co-wrote herself, with her friend Vicki Countryman, Thelma Blackmon's daughter: [Excerpt: Wanda Jackson, "Cool Love"] That one is possibly too closely modelled after Elvis' recent hits, right down to the backing vocals, but it features a great Buck Owens guitar solo, it's fun, and Jackson is clearly engaged with the material. But just like all the other records since "I Wanna Know", "Cool Love" did nothing on the charts -- and indeed it wouldn't be until 1960 that Jackson would reach the charts again in the USA. But when she did, it would be with recordings she'd made years earlier, during the time period we're talking about now. And before she did, she would have her biggest success of all, and become the first rock and roll star about whom the cliche really was true -- even though she was having no success in her home country, she was big in Japan. But that's a story for a few weeks' time...
Empezamos platicando sobre los Savage Avengers con Conan, todas las series de Netflix/Marvel canceladas, la 3ra temporada de Daredevil, noticias del Joker de Jared Leto, la teoría del Joker de Joaquin Phoenix, Gotham City Sirens, Terminator: Dark Fate, la película animada de Batman & TMNT, Troy Baker, la nueva edición de #RolasPutonasPeroMatonas, Macho Man Randy Savage, Zest te vuelve a la vida y terminamos con los mejores solistas en la historia de la música! Escúchanos en: Spotify / iTunes / ivoox / stitcher Síguenos: Twitter/ Facebook/ Instagram: holamsupernova holamsupernova@gmail.com
Empezamos platicando sobre los Savage Avengers con Conan, todas las series de Netflix/Marvel canceladas, la 3ra temporada de Daredevil, noticias del Joker de Jared Leto, la teoría del Joker de Joaquin Phoenix, Gotham City Sirens, Terminator: Dark Fate, la película animada de Batman & TMNT, Troy Baker, la nueva edición de #RolasPutonasPeroMatonas, Macho Man Randy Savage, Zest te vuelve a la vida y terminamos con los mejores solistas en la historia de la música! Escúchanos en: Spotify / iTunes / ivoox / stitcher Síguenos: Twitter/ Facebook/ Instagram: holamsupernova holamsupernova@gmail.com
We Are Trash People recaps and reviews episodes of The Chris Gethard Show, the saddest, often most bizarre talk show in New York City. This week we review "The Third Episode Episode." This week's musical guest is No Jet Left! The track at the end of this episode is "Teen Atheist Dreamboat" from their album "Whippersnapper." For more, go to http://nojetleft.com or search for them on Spotify where you can hear their new single "Without Your Love." Subscribe to the show at: https://feeds.feedburner.com/WeAreTrashPeople
Jules Galli. What an inspiring example of talent, grace, vision, artistry, service, sensitivity, intelligence, gorgeousness–which, as stunning as he is, is far from just a handsome face... the rest of him ain't bad neither. Soulful, empathetic, passion-driven, he may truly, have it all. Opening the BROADcast with the title cut from his just dropped EP, Without Your Love, even just sitting there in a chair, Jules is riveting. Closing the show with his latest, The Beginning. Wow, just wow, can't wait till he records it. How does a 24 yr old French immigrant enmesh himself with the best of the LA music scene in just a few years? Be great. be gracious, play, play, play, and, connect. Like with our good friend Steve Postell, who produced a track, and opened the door to his joining the Tribe... LA's philanthropic musical creme de la creme who've raised loads of money for LA's homeless. Shot in the home Jules shares with his family, we got to visit with his lovely mother and celebrity chef father, who chefs for James Burrows, and Bruce Springsteen for two, and who received a text from Patti Scialfa while we were there, offering help to Jules. Nice. Wise way beyond his years, Jules is a rare treasure. More Jules, including his music and self-created merch art, http://www.julesgalli.com/merch/ If you have an opportunity to see Jules Live, please go. You're welcome. Thanks to Brian Chatton, Karen and Dennis Nadalin for the introduction. Jules Galli on The Road Taken, Celebrity Maps to Success Wed, 5/9/18, 7 pm PT/ 10 pm ET With Louise Palanker Live on the Facebook Full show replay here https://bit.ly/2ryZ615 All BROADcasts, as podcasts, also available on iTunes apple.co/2dj8ld3 Soundcloud http://bit.ly/2hktWoS Stitcher bit.ly/2h3R1fl tunein bit.ly/2gGeItj This week's BROADcast is brought to you by Rick Smolkeof Quik Impressions, the best printers, printing, the best people people-ing. quikimpressions.com And, Nicole Venables of Ruby Begonia Hair Studio Beauty and Products for tresses like the stars she coifs, and regular peoples, like me. I love my hair, and I loves Nicole. http://www.rubybegoniahairstudio.com/
Soul Minority "Feel Da Muzik" Aeroplane & Purple Disco Machine "Sambal" Nora En Pure "On The Beach" Enzo Sifferdi "Early Morning" Golden Summer "In The City" (Claptone Remix) Makito "The Message" Rafa Santos "Way Back" The Reign, Paramour, Marc Vedo "Closer" Deep Matter & RAI "Your Love" (AndMe. Remix) Dry & Bolinger "Without Your Love" (Studioheist Remix) Soul Divide "Underbelly" Soul Speech "Soul Speech" Lel'One "Check This Out" (Ian Cerrera Remix) Rick Marshall "Holding On" ATFC ft. Hanna Williams "No Victim Song" Time 65:11 07/31/16 Thanks for listening, downloading, sharing & commenting. Peace.
1.Tell me All About it2.Love Times Love 3.Don't Ask My Neighbor 4,Without Your Love 5.Lovelee Day 6.Just Like Love 7.Love Each Other... And Many More Hot Selections from DJ SWEET!!! Hope You Enjoy!!!! Look out for pt.2 Coming Soon!!!
At last!! After 8 months Phil and Paul have new Doctor Who to review in the shape of Asylum Of The Daleks! And with the new series, they introduce a new ratings system to the podcast (though how long this will last is anyones guess). What do they think of the series opener? Are the Daleks truly scary again or they just the same old easily beaten dustbins? And why does Phil bring Sir Digby Chicken Caesar into the conversation? Also, in this week news the tabloids get it wrong again and in Omega's Tat Corner the discussion turns into a question of width (ooer!).
© 2020-2025 Ivy Podcast Discovery LLC
