Podcasts about wonderin

M

Las valijas de Neil Young parecen no tener fondo. Tras los desbordantes “Neil Young Archives” lanzados en los últimos años el canadiense sigue rescatando material de tiempos pretéritos. “Oceanside, Countryside” fue grabado en 1977 y guardado en un cajón. Nueve de sus diez canciones se reutilizaron, retocaron o regrabaron en álbumes posteriores, pero ahora, ese “disco perdido”, ve por fin la luz tal y cómo fue concebido. Algo similar ocurre con “Early daze”, grabado en 1969 con Crazy Horse, todas sus canciones han ido apareciendo en otras obras de Young, aunque aquí tenemos por primera vez las tomas primigenias.Playlist;(sintonía) NEIL YOUNG “Vampire blues (live)” (Coastal; The Soundtrack, 2025; grabado en directo en 2023)NEIL YOUNG “Sail away” (Oceanside, Countryside)NEIL YOUNG “Human highway” (Oceanside, Countryside)NEIL YOUNG “It might have been” (Oceanside, Countryside)NEIL YOUNG “The old homestead” (Oceanside, Countryside)NEIL YOUNG “Goin’ back” (Oceanside, Countryside)NEIL YOUNG “Come on baby let’s go downtown” (Early daze)NEIL YOUNG “Winterlong” (Early daze)NEIL YOUNG “Everybody’s alone” (Early daze)NEIL YOUNG “Wonderin’” (Early daze)NEIL YOUNG “Look at all the things” (Early daze)NEIL YOUNG “Down by the river” (Early daze)Escuchar audio

Dan Hoard discusses the team's ambitious offseason goals with NFL analyst and content creator Joe Goodberry. But first, punter Ryan Rehkow joins Dan to look back at his record-setting rookie year.See omnystudio.com/listener for privacy information.

Reconnecting with Nature: Charlotte's Biophilic Retreat Offers Healing and WonderIn a secluded corner of the Welsh countryside, internationally renowned singer-songwriter Charlotte has created a sanctuary that blends the power of nature, music, and design. The Dreaming, her newly opened retreat centre, is a testament to her lifelong passion for the restorative qualities of the natural world.Nestled in the Elan Valley, surrounded by cascading waterfalls and ancient forests, The Dreaming is a place where visitors are invited to shed the trappings of modern life and immerse themselves in the rhythms of the land.Charlotte's journey to this point has been shaped by a growing awareness of the disconnect between humans and nature, a disconnect she believes is at the root of many of society's ills. "Nature keeps us in balance," she explains. "When we separate ourselves from it, we become way out of balance in every way possible."At The Dreaming, Charlotte has created a space that aims to rekindle that essential connection. Through a blend of biophilic design, holistic practices, and the power of music, she hopes to guide visitors on a transformative journey of self-discovery and healing."It's about an opening," Charlotte says of the experiences people have at the retreat. "Almost everybody that comes here, experiences some form of opening, whatever the walls that we build around ourselves and our hearts, they just start to loosen a little bit."The Dreaming's architectural design is a testament to this philosophy. Crafted with natural materials and a keen eye for integrating the outdoors, the spaces are imbued with a sense of warmth and wonder. From the cozy "Cwtch" room, with its plush sofa and rustic charm, to the mystical "Mystic" suite, with its vibrant saris and ancient-inspired decor, each space is designed to evoke a different facet of the natural world.But it's not just the environment that captivates. The Dreaming's programs, led by Charlotte and a team of skilled practitioners, are designed to immerse visitors in the rhythms of nature. Dawn chanting, dark sky immersions, and communal music-making are just a few of the offerings that aim to reconnect people with their innate sense of wonder and creativity."I think that the land does the majority of the work," Charlotte says. "I feel like when people leave, they leave with a sense of awe, wonder, the mysteries, the magic."For Charlotte, this magic is not limited to the confines of The Dreaming. She believes that the power of nature-based healing is accessible to everyone, no matter where they live. "You can go to a beach, you can go to a forest, you can go to a river, wherever you are most drawn."The Dreaming, then, is not just a retreat centre, but a model for a new way of living in harmony with the natural world. By tapping into the deep well of wisdom and healing that resides in the land, Charlotte hopes to inspire a broader cultural shift, one that recognizes the vital role of nature in our individual and collective well-being."I've watched people really connect with joy for the first time in years," Charlotte says. "Another thing that I try and instil when I'm here is that this it doesn't have to be in this place, and it doesn't have to be facilitated by very clever, very learned, very spiritual people - you can go and do this wherever you are, wherever you are."As the world grapples with the mounting challenges of climate change and social disconnection, The Dreaming stands as a beacon of hope, a place where the ancient wisdom of the land is honoured and the power of human creativity is unleashed. For those who venture here, the experience is nothing short of transformative – a reminder that the path to healing and wholeness lies not in the pursuit of material wealth or status, but in the simple act of reconnecting with the natural world that sustains us all.Have you got a copy of the Journal? You can now subscribe to the digital edition or purchase a copy directly from us at the journalofbiophilicdesign.com or Amazon. If you like our podcast and would like to support us in some way, you can buy us a coffee if you'd like to, thank you xWatch the Biophilic Design Conference on demand here www.biophilicdesignconference.com Credits: with thanks to George Harvey Audio Production for the calming biophilic soundscape that backs all our podcasts. Did you know our podcast is also on Audible, Amazon Music, Spotify, iTunes, YouTube, Stitcher, vurbl, podbay, podtail, and most if not all the RSS feeds?Facebook https://www.facebook.com/journalofbiophilicdesign/Twitter https://twitter.com/JofBiophilicDsnLinkedIn. https://www.linkedin.com/company/journalofbiophilicdesign/Instagram https://www.instagram.com/journalofbiophilicdesign

Think BBQ's bad for your health? And what if we told you it doesn't have to be? Actually, barbecue CAN be a big part of your healthy diet. And let me tell ya, it's tasty – I promise!But there are a few things you oughta know before you get to grillin'.So tune in to our latest podcast episode, where we'll share the secrets of healthy barbecue. We're gonna show you how to enjoy your favorite dishes without guilt. It's healthy, it's tasty, and it's easy to make! If you join Wes and me, we'll show you how the right seasonings and a smart choice of rubs can really cut down the calories in your BBQ without losing the fantastic flavor you love.We'll walk you through picking out the best low-sodium, low-sugar rubs, understanding the benefits of different kinds of salt, and smartly managing calories.Tune in and pick up a tip or two about swapping McDonald's fast food for healthier BBQ options - a switch that can help you trim down and boost your health.Some of these tricks helped me drop 30 pounds.Wonderin' how?Check out this episode to find out!Key Takeaways:Intro (00:00)Is healthy BBQ possible? (01:33)Different types of salt and their qualities (03:32)Clean eating seasonings (05:15)Weight loss and lifestyle changes (06:47)Recap (08:15)Additional Resources:Share this podcast with someone on social media!Visit Kosmo's website here.Check out Kosmo's YouTube channel. Connect with Kosmo:Instagram: @kosmosqFacebook: @kosmosqTikTok: @kosmos_q--Follow the podcast on Apple, Spotify, Google Podcast, Stitcher, or anywhere else you listen to your podcasts.If you haven't already, please rate and review the podcast on Apple Podcasts!

I'm wondering if you will enjoy our discussion of this deep diamond “Wonderin'”. Neil Young BNL At Woodstock

Get full access to The Lizard Review at thelizardreview.substack.com/subscribe

In this festive episode of "Plastic Surgery 90210," we delve into the unique challenges and joys of undergoing plastic surgery during the holiday season. Dr. Katzen and Ariel discuss the nuances of scheduling procedures in the winter, balancing recovery with holiday celebrations, and ensuring optimal healing despite the busy season. We share tips on managing post-surgery care amidst winter weather. Tune in for an enlightening blend of medical insight and heartwarming holiday spirit, tailored for those considering or undergoing plastic surgery as the year draws near.

Karen Wright Marsh explores one of the lessons from her new book, Wake Up To Wonder: 22 Invitations to Amazement in the Everyday, with her daughter, Nan Marsh. They relive their 165 km pilgrimage along the Camino de Santiago. Of the thousands who walk this path each year, some take to the Camino out of prayerful devotion, others to work through a personal loss, discern new purpose, or meet the challenge of a rigorous trek.  Listen now to discover why Nan and Karen decided to walk all the way to Santiago de Compostela in northwestern Spain – and what they discovered along the way.ABOUT NAN MARSHNan Marsh studied poetry at the University of Virginia and lives in Richmond, Virginia, where she works as the office manager of Cincinnati Montessori Secondary Education Program and savors long walks through Richmond's beautiful Museum District.ABOUT KAREN'S NEW BOOKWake Up To Wonder: 22 Invitations to Amazement in the Everyday is the new book by Karen Wright Marsh. In Wake Up to Wonder, Karen introduces us to 22 faithful yet oh-so-human Christians from across centuries and cultures. Inspired by their example, she offers playful, simple practices that bring deeper meaning and purpose to everyday life -- a collage of spiritual and personal experiments anyone can do.  Wake up to wonder and discover that a life of spiritual depth, amazement, and connection is within reach, today and every day.Visit https://karenwrightmarsh.com/wake-up-to-wonderIn her chapter “Keep On Walking,” Karen tells the story of Margery Kempe (1375-1438) and her obsession with walking – and how it inspired her own walk across Spain.Support the show

Wonderin' ‘bout a coupla things I've noticed.

This episode is also available as a blog post: https://elicitunveiling.com/2023/03/11/just-wonderin/

Voilà un épisode qui est tout à la fois glaçant par certains aspects et franchement joussif par bien d'autres. J'espère qu'il vous plaira autant à l'écoute qu'il m'a plus à le réaliser. A-wop-bop-a-loo-bop A-lop-Bam-BOOM! Cpt Diligaf Little Richard, “Lucille ” Louis Jordan, “Caldonia” Billy Wright, “Married Woman's Boogie” Little Richard, “Every Hour” Billy Wright, “Every Evening” Esquerita: “Believe Me When I Say Rock And Roll Is Here To Stay” Little Richard and the Tempo Toppers with the Deuces of Rhythm: “Ain't That Good News” Little Richard with Johnny Otis and his Orchestra, “Little Richard's Boogie” Little Richard, “Wonderin'” Huey “Piano” Smith, “The Rockin' Pneumonia and the Boogie-Woogie Flu” Little RIchard, “Directly From My Heart to You” Little Richard, “Tutti Frutti”, just the opening phrase Dinah Washington, “Blowtop Blues” Pat Boone, “Tutti Frutti” Little Richard, “Long Tall Sally” Pat Boone, “Long Tall Sally”

On this episode of Talkin' Flock, Jeremy and Rob bring in Brandon Mays from USL League One Review to answer the big question: WTF Happened?!? Back-to-back losses vs. Fuego and Tormenta Out of the playoffs, officially What went wrong this season? What positives can we take away? What happens next? Previewing the home finale vs. Richmond More! -- Don't forget to subscribe, rate, review, and follow us on Twitter @TalkinFlock!

When you have a hyper realist silicone penis laying around, a slightly anal retentive new guy, mixed with a studio full of guys whose sole purpose on a Thursday morning is to bust your balls...what do you get? Two words. Boop Snoot.Wonderin' what I mean? Just give a listen!!

Sintonía: "Blackjack" - Ray Charles "Mary Ann" - "It Should Have Been Me" - "Night Time Is The Right Time" - "Lonely Avenue" - "Honey, Honey" - "That´s Enough" - "I´m Movin´ On" - "What Would I Do Without You?" - "Don´t You Know?" - "This Little Girl Of Mine" - "Swanee River Rock" - "Greenbacks" - "Rockhouse Pts. 1&2" - "Feelin´ Sad" - Ain´t That Love?" - "I´m Wonderin´ And Wonderin´" Todas las canciones cantadas e interpretadas al piano por Ray Charles Escuchar audio

BOOTS & SADDLE - February 1, 2022 1. Stop Feeling Sorry - Dick Damron (Single - 1963) | Starday Sessions - 1961 & 1963) 2. Folsom Prison Blues - Johnny Cash (At Folsom Prison - 1968) 3. Busted - Johnny Cash (At Folsom Prison - 1968) 4. Highway 87 - Corb Lund (Songs My Friends Wrote - 2022) 5. Crying Blues - Shaela Miller (Big Hair Small City - 2021) 6. Access to Joy - Skinny Dyck (Get To Know Lonesome - 2020) 7. Drive Day - Scott Nolan (Montgomery Eldorado - 2011) 8. Wake Up - Robbie Brass & Red Wine (Lonely Lady - 1981) 9. Frisky Fingers - The Stanley County Cut-Ups (The Stanley County Cut-Ups EP - 2021) 10. Hello Heartache - Scotty Campbell (Smokin' and Drinkin' - 2008) 11. It's All Over - Fern Dauth (Fern Dauth Of Country Music Hall - 1967) 12. I Wouldn't Take a Million Dollars for a Single Maple Leaf - Roy Payne (Goofy Newfie - 1969) 13. White Silver Sands [instrumental] - Roy Penney (Twistin' The Pick - 1965) 14. Handsome Ghost - Andrina Turenne w/ Damon Mitchell (We Still Gotta Lotta Livin' To Do - 2020) 15. Stop Your World - Diane Merritt (Angel Of My Dreams) 16. Lucky Crow - Vince Andrushko (Almost Home - 2009) 17. Let You Down - Romi Mayes (Devil on Both Shoulders - 2015) 18. ‘Cause I'm a Travelin' Man - Ray St. Germain (My Many Moods - 2003) 19. Listening to Keith Whitley - Lawrence Maxwell (Ballad of Miles - 2022) 20. The Simple Man - The Denim Daddies (Single - 2022) 21. Lefties - Gordie Tentrees (Mean Old World - 2021) 22. Running Away - Lester Slade (Burnt Out Lightning - 2022) 23. Trying to Survive - Mike Lynch (Songs from the Tub [Part 1] - 2021) 24. Poet and the Poor Boy - Trevor Tchir (Sun & Moon - 2021) 25. Let's Go All The Way - Shirley Mae Carr And The Blue Valley Boys (Let's Go All The Way) 26. Give Me 40 Acres - Dick Nolan (Truck Driving Man - 1964) 27. Before the Next Teardrop Falls - Lucille Starr (Lonely Street (Expanded Edition) - 1969) 28. No One Will Ever Know - Bill Long (My Favorite Songs) 29. Match Box - Eastwind (Eastwind - 1974) 30. You Win Again [instrumental] - Jeff Bradshaw & Dave Hamilton (Swingin' Country Dance Toons - 2003) 31. Wonderin' If Willie - Marie Bottrell (The Star - 1980)

If you'd like your song to be considered as a feature on a future Video Content Challenge episode, email your song and lyrics to info@daredevilproduction.com and put Video Content Challenge or VCC in the subject line.  You can connect with Brooklyn Blackmore here:Instagram: @BrooklynBlackmoreFacebook: @BrooklynBlackmoreTwitter: @BrooklynbmusicYouTube: Brooklyn BlackmoreWebsite: https://www.brooklynblackmore.ca/ Instantly improve your online promotion efforts & strategies by understanding how to Honor The Digital Platform. Download Johnny's free document, Whoever Owns The Traffic, Rules The Road, and watch your audience grow right away. Go to GiftFromJohnny.com and tell him where to send it.  Sometimes it's hard for artists to "see the forest through the trees". Some one-on-one help to customize a promotion strategy will make the needle move and grow your audience. Schedule a consultation with Johnny by emailing info@daredevilproduction.com and putting CONSULTATION in the subject line. Get Brent's free ebook, Think Like A Pro Songwriter, by going to GiftFromBrent.com and telling him where to send it.If you'd like help preparing or repairing your song or prefer to do a song title challenge privately with Brent, go to SongwritingPro.com/coaching and  schedule your session today. "Missin' The Moon" LYRICS:You said you never been to the country I said let's take a ride You said you never would'a done this If she was by your side And you keep going on about Wonderin' what she's doing now Doesn't even cross your mind Stars are falling left and right And that could be us tonight  CHORUS: So I send a wish, drop a hint This could be it, but you don't have a clue There's a million signs way up high Just look at this view This night couldn't be more perfect Look, I'm right in front of you We've got a whole sky full of stars But here you are Just missin' the moon Missin' the, missin' the moon Missin' the, missin' the moon  I'm always giving you a shoulder She's always saying goodbye Can't you admit that it's over ‘N let us have our time to shine 'Cuz you keep going on about Hoping you can work it out Doesn't even cross your mind Stars are falling left and right That could be us tonight  CHORUS: This night couldn't be more perfect Look, I'm right in front of you We've got a whole sky full of stars But here you are Just missin' the moon Wanna shake you till you wake up Till you finally see the truth It's us that's written in the stars But here you are Just missin' the moon Missin' the, missin' the moon Missin' the, missin' the moon Missin' the, missin' the moon Missin' the, missin' the moon

Baby girl, I can't imagine what it's like for youI got you pregnant now inside there is a life in youI know you wonderin' if this gon make me think bout wifin' youLike if you had my first child would I spend my whole life witchuNow I aint tryna pick a fight with you, I'm tryna talkNow I aint tryna spend the night with youI'm kinda lost seeI've been giving it some thought lately and, franklyI'm feelin' like we aint ready and it's, hold up nowLet me finishThink about it baby me and you we still kids, ourselfHow we gon raise a kid by ourself?Handle biz by ourselfA nigga barely over 20, where the hell we gon live?Where am I gon get that moneyI refuse to bring my boy or my girl in this worldWhen I aint got shit to give 'emAnd I'm not with them n-ggas who be knocking girls up and skate outGirl, you gotta think bout how the options weigh outWha'ts the way out?And I ain't too proud to tell ya that I cry sometimesI cry sometimes about itAnd girl I know it hurt but if this world was perfectThen we could make it work but I doubt itAnd I aint too proud to tell ya that I cry sometimesI cry sometimes about itAnd girl I know it hurt but if this world was perfectThen we could make it work but I doubt itShe said nigga you got some nerveTo come up to me talkin' bout abortionThis my body nigga so don't think you finna force shitSee I knew that this is how you act, so typicalSaid you love me, oh, but now you flipping like reciprocalsIt figures though, I should've known that you was just another niggaNo different from them other niggasWho be claiming that they love you just to get up in them drawsKnowing all the right things to sayI let you hit it raw mothaf-ckerNow I'm pregnant you don't wanna get involved muthaf-ckerTryna take away a life, is you God mothaf-cker?I don't think soThis a new life up in my stomachRegardless if I'm your wifeThis new life here I'mma love itI'm aint budging, I'll do this by my muthaf-cking selfSee my momma raised me without no muthaf-cking help from a manBut I still don't understand how you could say thatDid you forget all those conversations that we had way backBout your father and you told me that you hate that niggaTalkin' bout he a coward and you so glad that you aint that niggaCause he left your mamma when she had you and he aint shitHere you go doin' the same shitYou aint shit nigga!And I ain't too proud to tell ya that I cry sometimesI cry sometimes about itAnd boy that shit hurt, and ain't nobody perfectStill we can make it work, but you doubt itAnd I aint too proud to tell ya that I cry sometimesI cry sometimes about itAnd boy that shit hurt, and ain't nobody perfectStill we can make it work, but I doubt itThey say everything happens for a reasonAnd people change like the seasonsThey grow apart she wanted him to show his heart and say he loved herHe spoke the magic words and on the same day he f-cked herNow she wide openShe put a ring up on his finger if she couldBut he loved her cause the p-ssy goodBut she aint no wife thoughUh oh, she tellin' him she missed her period like typo'sHe panicking, froze up like a mannikinA life grows inside her now he asking "is it even mine"What if this bitch aint even pregnant dawgCould she be lying?She be crying cause he acting distantLike ever since I told you this nigga you acting differentAnd all his niggas saying man these hoes be trapping niggasPlaying with niggas emotions like they some action figuresSwear they get pregnant for collateralIt's like extortion, man if that bitch really pregnantTell her get an abortionUh, but what about your seed nigga?(What about your seed nigga?)And I ain't too proud to tell ya that I cry sometimesI cry sometimes about itAnd I aint too proud to tell ya that I cry sometimesI cry sometimes about it

BOOTS & SADDLE - August 17, 2021 The Northern Report Podcast Takeover! 1. Cows Around - Corb Lund (Cabin Fever - 2012) 2. Hopeless Romantic - Bobby Dove (Hopeless Romantic - 2021) 3. Waiting, Wanting, Hoping - The Divorcees (From Labour to Refreshment - 2016) 4. Motorhome - Mariel Buckley (Motorhome - 2014) 5. 11 Yellow Roses - Scott MacKay (Stupid Cupid - 2021) 6. My Home, My Heart - Little Miss Higgins (My Home, My Heart - 2017) 7. I Ain't Sad & Lonely No More (I'm Just Sad) - Mike T. Kerr (Guitar Rags & Country Ballads - 2018) 8. Luther Played The Boogie - Redd Volkaert (Dressed In Black: A Tribute To Johnny Cash - 2002) 9.  Touch Me With Your Mind - Carroll Baker (Mem'ries Of Home - 1971) 10. Old Soldier - Jerry Leger & The Situation (Some Folks Know - 2012) 11. Shooting Star - Russell deCarle (Under The Big Big Sky - 2010) 12. Wonderin' If Willie - Marie Bottrell (The Star - 1980) 13. Miss You - Slow Leaves (Shelf Life - 2020) 14. Near Mrs. - Scotty Campbell (Smokin' and Drinkin' - 2008) 15. Virginia - Brent Williams (I Wish You Were With Me Tonight  - 1978) 16. Dead Cow Hill - Little Miss Higgins (Bison Ranch Recording Sessions - 2013) 17. For the Good Times - Cindi Cain (Single - 1988) 18. Poor Man - Shaela Miller (Big Hair Small City - 2021) 19. Waiting For My Hanging - Al Hooper (Waiting For My Hanging) 20. Spanish Fly (All the Tequila's Gone) - Jolie Blue & The Habaneros (Picante - 2021) 21. Leavin' On Your Mind - Joyce Smith (Single - 1962) 22. About Your Love - Slow Leaves (Single - 2021) 23. Wrong Kind of Girl - Jerry Leger (Traveling Grey - 2010) 24. Can I Come Too? - Scotty Campbell (Damned If I Recall - 1999) 25. Horse Soldier, Horse Soldier - Corb Lund (Horse Soldier! Horse Soldier! - 2007) 26. I Know How I'd Feel - Redd Volkaert (Reddhead - 2008) 27. Precious Time - The Divorcees (Four Chapters - 2012)

 | Shoestrings | 03:32  | Ray, Goodman & Brown | You Can't Help But Fall In Love  | 03:05  | Contributors Of Soul | Better Man  | 03:42  | George Pettus | More To Love  | 04:18  | T.S. Monk | So Lonely  | 03:01  | Perfections | I'll Never Love Again  | 02:50  | The 5 Stepping Stars   | So Free  | 03:14  | Keni Myles | What A Woman Really Means  | 02:50  | Donny Hathaway | In My Opinion  | 02:36  | The Vandals  | In My Opinion Part II  | 04:00  | The Vandals | Old Love  | 02:02  | The Intruders | Together  | 02:56  | The Intruders | I'm Your Lover  | 03:37  | Ronnie McNeir | Stay A Little While  | 05:24  | Gerald Alston | Don't Fight The Feeling  | 04:43  | Enchantment | Let's Straighten It Out  | 05:10  | Latimore | My Baby  | 03:12  | Limitations | Without You Tonight  | 04:31  | The Fabulous Waller Family | The Whole Town's Laughing At Me  | 04:27  | Teddy Pendergrass | Pressure  | 03:33  | Kenny Lattimore | Mama I Miss You  | 02:51  | The Moments | Let Me Love You Again  | 03:28  | The Summits | Is There Someone  | 02:42  | Ebon-Nees | Wonderin'  | 03:47  | Soccorro | Too Late  | 05:02  | Soccorro | At The Crossroads  | 03:07  | The Notations | On The Inside  | 04:03  | Mary Jane Girls | Slow Motion  | 04:04  | The Dells | Those Were The Best Days Of My Life  | 03:12  | The Modulations | Welcome To My World  | 04:34  | Delegation | I Cry (feat. Regina Belle)  | 04:23  | Mr David | Down Three Dark Streets  | 05:01  | Trammps

Down Home Cajun Music- Nathan Abshire: KAJUN Records Part 2On this episode we round out the second part of Nathan's recordings for JD Miller's KAJUN label. Along with the issued sides, we include a couple of unissued recordings from the sessions. The recordings showcase Nathan's new band he had assembled consisting of Dewey Balfa, Junior Benoit, Thomas Langley, Will Kegley, Cleveland Deshotels, Darius LeBlanc and Robert Betrand.1. Chere Petite Blonde (KAJUN 508) 19632.Hey Mom (KAJUN 508) 19633.Jolie Catin (KAJUN 509) 19634.Pinegrove Stomp (KAJUN 509) 19635.Le Veuve de Basile (KAJUN 510) 19646.Wonderin' (KAJUN 510) 19647.La Valse De Theo (unissued recording)8. French Two Step (unissued recording)9. Frog Leg Two Step (unissued recording)10. Lyons Point Waltz (unissued recording)11. Nathan's Two Step  (unissued recording)

Novedades españolas e internacionales. Otro avance del próximo disco primaveral de Myles Sanko. Taylor Swift se ha doctorado definitivamente como enorme compositora con el segundo disco grabado en 2020: “Evermore” contando con las colaboraciones de Bon Iver y de The National. Esther Zecco nos sorprende con el avance de su nuevo disco cuya portada es un homenaje al primer disco en solitario de Stephen Stills. Más canciones nuevas para el nuevo año de Judit Neddermann, Barry Gibb con Jason Isbell, Mon Band, Dope Lemon, Arena Arega … y The New Raemon en asociación con David. Cordero y Marc Clos. Y volviendo al origen, en concierto…. Funambulista. DISCO 1 AREMA AREGA I saw you in the wind ( Instrumental) (CRASH - 9) DISCO 2 MAGGIE ROGERS Celadon & Gold (MAGGIE ROGERS - 8) DISCO 3 ESTHER ZECCO No tienes tanto frío (CRASH - 10) DISCO 4 NEIL YOUNG Wonderin’ (13) DISCO 5 TAYLOR SWIFT Dorothea (8) DISCO 6 RON SEXSMITH Spring Of The following Year (1) DISCO 7 THE NEW RAEMON, DAVID CORDERO & MARC CLOS Corre Caballo Viejo (CRASH - 16) DISCO 8 FUNAMBULISTA Éramos Reyes (3) DISCO 9 BARRY GIBB & Jason Isbell Words Of a Fool (CRASH - 19) DISCO 10 GREG COPELAND & INARA GEORGE I’ll Be Your Sunny day (1) DISCO 11 MON BAND La mejor versión de mí (CRASH - 12) Grandes ARTISTAS  DISCO 12 AREMA AREGA I saw you in the wind (MAGGIE ROGERS - 7) DISCO 13 VÍCTOR MARTÍN Aguántame (CRASH - 15) Escuchar audio

Ayer llegó la noticia de que el productor y compositor Phil Spector había muerto por causas naturales el sábado en el hospital de la prisión donde se encontraba confinado desde 2008. Spector derivó la música pop y el rock and roll a grandes orquestaciones con ese sonido grandioso que se dio en llamar “Wall Of Sound”. Hizo éxitos como “Be My Baby” para The Ronettes o “Unchained Melody” para The Righteous Brothers, produjo álbumes históricos como “Let It Be” de The Beatles “Imagine” de John Lennon”, “Death Of A Ladies Man” de Leonard Cohen. Su última producción fue para el grupo Starsailor “silence is Easy” en 2003. DISCO 1 THE BEATLES The Long And Winding Road (1967/70CD 2 - 14) DISCO 2 THE BEATLES The Long And Winding Road (LET IT BE NAKED - 4)  DISCO 3 THE CRYSTALS Da Doo Ron Ron (MAGGIE ROGERS - 1) 1963 DISCO 4 THE RONETTES Be My baby (MAGGIE ROGERS - 2) 1963 DISCO 5 THE RIGHTEOUS BROTHERS You’ve Lost That Loving Feeling (1) 1965 DISCO 6 THE RIGHTEOUS BROTHERS Unchained Melody (3) 1965 DISCO 7 IKE & TINA TURNER River Deep- Mountain High (2) 1966 DISCO 8 GEORGE HARRISON My Sweet Lord (CD 1 - 2) 1970 DISCO 9 BOB DYLAN Blowin' In The Wind (CONCERT FOR BANGLA DESH CD 2 - 55) 1971 DISCO 10 JOHN LENNON Imagine (CD 1 - 2) 1971 DISCO 11 YOKO ONO Nobody Sees Me Like You Do (Cara 1 Corte 4) 1981 DISCO 12 RAMONES Do You Remember Rock & Roll Radio? (CD 1 - 29) 1980 DISCO 13 LEONARD COHEN True Love Leaves No Traces (MAGGIE ROGERS - 3) 1977 DISCO 14 NEIL YOUNG Wonderin’ (Alternate)(14) Escuchar audio

Neil Young nació en Toronto, de la provincia canadiense de Ontario, el 12 de noviembre de 1945, hace 75 años. Una razón más que suficiente como para que hoy celebremos su cumpleaños número 75 y dediquemos el tiempo de TOMA UNO a escuchar algunas de sus canciones que no suelen ser habituales cuando hablamos de su figura. la de un artista cuya infancia fue especialmente dura, sobreviviendo a la diabetes, polio, epilepsia y teniendo que sufrir el divorcio de sus padres. En 1960, se trasladó con su madre a Winnipeg, en la provincia de Manitoba, y la música pasó a ser su principal refugio. Aprendió a tocar el ukulele, pasó a la guitarra y comenzó a tocar por distintas bandas de la zona. El resto es historia… No serán muchos los que pongan en tela de juicio que Neil Young posee un talento excepcional. Su carrera se inició como miembro de los Squires en la ciudad canadiense de Winnipeg, durante 1963. A partir de entonces, la historia nos ha dejado sus aportaciones a Buffalo Springfield, su unión con David Crosby, Stephen Stills y Graham Nash, y ahí están sus innumerables grabaciones en solitario. A sus películas y documentales hay que añadir también esa continua ampliación de fronteras artísticas. “Get Back To The Country”, uno de los 10 cortes que conformaron oficialmente el álbum Old Ways, una puesta al día de la country music al comienzo de la década de los 80. Para aquel trabajo invitó a Waylon Jennings, ya que sus voces armonizaban bien y contó con nombres tan señalados como los de Lynn Anderson, Gail Davies y, como no, Willie Nelson. Con él cantó a dúo en "Are There Any More Real Cowboys?". Los International Harvesters estaban compuestos en un principio por Ben Keith, Anthony Crawford, Rufus Thibodeaux, Spooner Oldham, Tim Drummond, Karl T. Himmel, Larry Cragg y Joel Bernstein. La segunda formación incorporó a Hargus Pig Robbins, Joe Allen, Matraca Berg y Tracy Nelson. Eran los mejores acompañantes para interpretar aquellos temas en dos giras excepcionales. La apertura en 1985 de aquel álbum nos dejaba una mirada al pasado con “The Wayward Wind”. Neil Young compartió protagonismo vocal con Denise Draper, mientras, entre los invitados, Waylon estaba a la guitarra eléctrica, Bela Fleck se encargaba del banjo y Hargus “Pig” Robbins se sentó al piano. Gogi Grant la convirtió en 1956 en todo un éxito en Estados Unidos, mientras Tex Ritter la popularizaba en Gran Bretaña. Cinco años más tarde, en el 61, la versión de Gogi Grant fue reeditada y Patsy Cline realizó la suya propia para el álbum Patsy Cline Showcase, uno de sus discos fundamentales. El próximo día 25 de este mes de noviembre se cumplirán 44 años de la celebración del histórico concierto de The Band The Last Waltz en el Winterland de San Francisco, California. Entre los invitados estuvo Neil Young que, entre otros temas, realizó esta versión de “Four Strong Winds”, uno de los grandes clásicos de la música folk canadiense que había sido la canción de cierre de su disco del 78 Comes A Time. Sus creadores, Ian & Sylvia, fueron la quinta esencia del folk de aquel país junto a su buen amigo Gordon Lightfoot. Ian Tyson y Sylvia Fricker se encontraron en 1960 y empezaron a actuar juntos muy pronto. Un par de años después aquel “Four Strong Winds” dio título a su Lp de debut. Los impenitentes seguidores de Neil Young saben bien las dificultades para seguir la carrera del canadiense, aunque la edición de sus archivos nos va aclarando un montón de lagunas. En el caso de Oceanside-Countryside, sabemos que tiene que ver con su paso en 1977 por los Triad Studios de Fort Lauderdale, Florida. Quería hacer un disco muy sencillo y personal que terminó convirtiéndose en grabaciones repartidas por hasta seis estudios y dos continentes recogidas en las 10 canciones publicadas en el álbum Comes A Time, que se llamaba en principio Give To The Wind. “Human Highway” abría la segunda cara de Comes A Time, siendo también el título de una película co-dirigida por el propio Young bajo el seudónimo de Bernard Shakey en 1982 y protagonizada por él mismo junto a Dennis Hopper, Dean Stockwell, Russ Tamblyn e incluso miembros de Devo, la banda de Ohio. Hoy hemos oído la versión que realizaron juntos Neil Young y sus viejos compañeros Crosby, Stills & Nash en 1974 para el que iba a ser un nuevo álbum como cuarteto que nunca llegó a completarse. Para celebrar que el pasado 31 de agosto se cumplieron 50 años de la publicación del clásico After the Gold Rush, considerado de forma unánime como una obra maestra del rock, a primeros de diciembre verá la luz una edición especial con los 11 cortes originales más dos versiones de "Wonderin’", un tema descartado en el disco original. La primera versión de las ahora incluidas fue grabada en Topanga, California, en marzo de aquel 1970 y la segunda es una grabación inédita realizada en el Sunset Sound de Hollywood en agosto de 1969 con Danny Whitten, Billy Talbot y Ralph Molina. Es decir, Crazy Horse. Aquellos que tengan en casa el álbum de 1983 Everybody’s Rockin’ recordarán la inclusión de este tema e incluso su publicación en single, pero es evidente la diferencia entre la concepción original que ahora conocemos y aquella en la que le acompañaban los llamados Shocking Pinks. La edición en vinilo que celebra el medio siglo de After the Gold Rush saldrá a la venta a mitad de marzo de 2021 e incluirá “Wonderin’” en un 7”. Neil Young presentaba a sus amigos de los The Stray Gators en directo en febrero de 1973 en Tuscaloosa, Alabama. Eran Tim Drummond, Kenny Buttrey, Jack Nitzsche y Ben Keith. Aquella gira que sirvió de apoyo a la publicación del álbum Harvest no fue nada satisfactoria para el artista canadiense. Había despedido a Danny Whitten y este murió inmediatamente. Pero, tras el enorme éxito de aquel disco, tenía que defenderlo ante grandes audiencias. El resultado fue Time Fades Away, un álbum de malos recuerdos que estuvo sin editarse en CD durante décadas. Pero quedaron muchos momentos guardados en los archivos de conciertos de aquella gira, como el de Tuscaloosa en el que interpretaron la canción que dio título a su álbum más reconocido, Harvest. "Homefires" se grabó en 1974 y Neil Young la ha interpretado en varias ocasiones en directo, incluyendo su gira en solitario de hace un par de años. Sin embargo, nunca se había publicado oficialmente hasta ahora, formando parte del segundo volumen de su Neil Young Archives. El legendario artista fue distinguido como Personaje del Año en la gala del vigésimo aniversario de MusiCares, que se celebró el 29 de Enero de 2010. El cantante y compositor fue premiado en reconocimiento de la influencia de sus logros artísticos, así como su trabajo filantrópico, que ha incluido muchas actividades caritativas a lo largo de los años. Neil Young tenía previsto publicar Homegrown en 1974, dos años después de Harvest, pero lo dejó guardado por el impacto emocional de su ruptura con su novia de entonces. Es evidente que el álbum es un puente entre Harvest y Comes A Time. Se debía haber publicado entre On The Beach y Zuma, pero finalmente apareció Tonight’s The Night, grabado con anterioridad. Dentro de aquella depresión provocada por sus problemas sentimentales, "Try" tiene algún rasgo de optimismo. Es una de las canciones inéditas del proyecto. Además de la voz y la acústica de Neil Young, en la grabación de este corte estaban Levon Helm a la batería, Ben Keith en el steel guitar, Tim Drummond al bajo y Emmylou Harris en las armonías vocales. Las sorpresas han sido habituales a lo largo de la extensa trayectoria de Neil Young. Así llegó hasta nosotros "Long May You Run", la canción que abría y daba nombre al álbum conjunto de Neil Young y Stephen Stills en 1976, un proyecto que los dos músicos anhelaban desde su encuentro en Buffalo Springfield. La inconsistencia mostrada por el canadiense terminó con aquella reunión. Neil Young abandonó la gira en la que la pareja estaba inmersa y se despidió de su compañero mediante un telegrama. En 1993, Neil Young decidió participar en la serie Unplugged de la cadena MTV. Se lo tomó tan en serio que tuvieron que hacer dos sets porque no estaba nada contento con los resultados. Para la promoción de aquello se utilizó esta versión editada de “Long May You Run”, una especie de elegía al primer coche que tuvo Neil Young, un Buick Roadmaster de 1948 que había sido coche fúnebre. El disco salió al mercado esta pasada primavera, 46 años después de que empezara a grabar canciones en aquel mes de junio del 74 y no dejará de hacerlo hasta enero del año siguiente, pasando por estudios de Nashville, en Tennesee, Redwood City y Los Ángeles, en California, en incluso en Londres. "Pocahontas" es un tema de Neil Young que escuchamos en 1979 en su álbum Rust Never Sleeps, aunque el artista canadiense había grabado una versión anterior a mitad de aquella década para el disco que tenía planeado bajo el título de Chrome Dreams, que nunca llegó a editarse. Y esa es la que hoy hemos rescatado. Es posible que el poema de Hart Crane The Bridge de 1930, que tenía a la princesa Pocahontas como eje central, fuera la inspiración para aquella canción que describe fundamentalmente la masacre de una tribu india por parte de colonos europeos. En 1992, el canadiense Neil Young tituló Haverst Moon a su vigésimo primer álbum, que era una especie de secuela de su popularísimo Harvest de 20 años antes. La canción “Harvest Moon” es una perfecta banda sonora para el comienzo del otoño y, aunque pueda parecer que la percusión está realizada con las características escobillas, en realidad fue el barrido de una escoba el utilizado por el batería Tim Drummond. Hoy, en el programa hemos escuchado la versión corte, muy poco conocida. Neil Young estuvo de gira buena parte de los años 84 y 85 con su banda de acompañamiento más cercana a la tradición musical, los International Harvesters, interpretando los temas de Old Ways, que tardó tres años en editarse. El álbum Re-ac-tor se había editado en el 1981 con el apoyo de Crazy Horse, siendo un disco en el que aquellas poderosas guitarras que habían caracterizado su sonido en la década anterior parecían acercarse a las nuevas bandas de la llamada “new wave”. Sin embargo, “Southern Pacific”, que abría la segunda cara de aquel controvertido Lp, sí continuaba la senda abierta con el irrepetible Rust Never Sleeps. Cuando el músico canadiense apareció en los escenarios junto a los International Harvesters, la canción gozó de toda una brisa campera y un menor encasillamiento que el que se escuchaba en el original. Escuchar audio

Next week Autumn, Mackenzie continue their chronological exploration of the Rodgers and Hammerstein canon with friend of the podcast Lynn Slotkin. Together they head to New England to attend a real nice clam bake and to talk all about the high controversial and challenging musical Carousel! Throughout the episode they debate complex character of Billy Bigelow, the role the community around Billy played in his actions and they try to figure out how you can tackle and perform the complicated song "What's the Use of Wonderin". All this and more coming next Friday on the podcast! Don't forget to leave us a review and share your thoughts on this episode on our social media pages. Follow the links below to reach our pages. Facebook Instagram Twitter Patreon

La Fresh dedicada a la Santísima con el Michael Jackson más Off The Wall: demos, canciones antiguas y nuevas seleccionadas junto a un gran conocedor de su figura, el autor de Volviendo a Neverland, Pablo Rodriguez (Fei). Playlist: 1. Who's Lovin' You 2. I Wanna Be Where You Are 3. I Don't Know Why I Love You 4. Rockin' Robin 5. Music And Me 6. Walk Right Now (RMX Nick) 7. Wonderin' Who (RMX Nick) 8. Working Day And Night 9. Off The Wall 10. She's Out Of My Life 11. Billie Jean 12. I'm So Blue 13. Lovin' You 14. Liberian Girl 15. Al Capone 16. Who Is It 17. Tabloid Junkie Escuchar audio

The gang gets philosophical in this precursor to episode 5 as they ponder the often asked question: "Do their bros stroke it at the same time as them?" You know, almost like a "Wonderin' if they're starin' at the same Moon as me" kinda deal. Too bad it's the pre-show and nothing matters.

The podcast that is asking the big questions about Wonder Woman 1984.Plus also predicts the entire (possibly sexist) 1984 soundtrack of the DC blockbuster.

Episode thirty-four of A History of Rock Music in Five Hundred Songs looks at "Tutti Frutti" by Little Richard, and at the rather more family-unfriendly subject the song was originally about. Click the full post to read liner notes, links to more information, and a transcript of the episode. (Apologies that this one is a day late -- health problems kept me from getting the edit finished). Also, a reminder for those who didn't see the previous post -- my patreon backers are now getting ten-minute mini-episodes every week, and the first one is up, and I guested on Jaffa Cake Jukebox this week, talking about the UK top twenty for January 18 1957. ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. Most of the information used here comes from The Life and Times of Little Richard: The Authorised Biography by Charles White, which is to all intents and purposes Richard's autobiography, as much of the text is in his own words. A warning for those who might be considering buying this though -- it contains descriptions of his abuse as a child, and is also full of internalised homo- bi- and trans-phobia. This collection contains everything Richard recorded before 1962, from his early blues singles through to his gospel albums from after he temporarily gave up rock and roll for the church. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There are a handful of musicians in the history of rock music who seem like true originals. You can always trace their influences, of course, but when you come across one of them, no matter how clearly you can see who they were copying and who they were inspired by, you still just respond to them as something new under the sun. And of all the classic musicians of rock and roll, probably nobody epitomises that more than Little Richard. Nobody before him sounded like he did, and while many later tried -- everyone from Captain Beefheart to Paul McCartney -- nobody ever quite sounded like him later. And there are good reasons for that, because Little Richard was -- and still is -- someone who is quite unlike anyone else. [Excerpt: Little Richard, "Tutti Frutti", just the opening phrase] This episode will be the first time we see queer culture becoming a major part of the rock and roll story -- we've dealt with possibly-LGBT people before, of course, with Big Mama Thornton and Sister Rosetta Tharpe, and with Johnny Ray in the Patreon-only episode about him, but this is the first time that an expression of sexuality has become part and parcel of the music itself, to the extent that we have to discuss it. And here, again, I have to point out that I am going to get things very wrong when I'm talking about Little Richard. I am a cis straight white man in Britain in the twenty-first century. Little Richard is a queer black man from the USA, and we're talking about the middle of the twentieth century. I'm fairly familiar with current British LGBT+ culture, but even that is as an outsider. I am trying, always, to be completely fair and to never say anything that harms a marginalised group, but if I do so inadvertantly, I apologise. When I say he's queer, I'm using the word not in its sense as a slur, but in the sense of an umbrella term for someone whose sexuality and gender identity are too complex to reduce to a single label, because he has at various times defined himself as gay, but he has also had relationships with women, and because from reading his autobiography there are so many passages where he talks about wishing he had been born a woman that it may well be that had he been born fifty years later he would have defined himself as a bisexual trans woman rather than a gay man. I will still, though, use "he" and "him" pronouns for him in this and future episodes, because those are the pronouns he uses himself. Here we're again going to see something we saw with Rosetta Tharpe, but on a much grander scale -- the pull between the secular and the divine. You see, as well as being some variety of queer, Little Richard is also a very, very, religious man, and a believer in a specific variety of fundamentalist Christianity that believes that any kind of sexuality or gender identity other than monogamous cis heterosexual is evil and sinful and the work of the Devil. He believes this very deeply and has at many times tried to live his life by this, and does so now. I, to put it as mildly as possible, disagree. But to understand the man and his music at all, you have to at least understand that this is the case. He has swung wildly between being almost the literal embodiment of the phrase "sex and drugs and rock and roll" and being a preacher who claims that homosexuality, bisexuality, and being trans are all works of the literal Devil -- several times he's gone from one to the other. As of 2017, and the last public interview I've seen with him, he has once again renounced rock and roll and same-sex relationships. I hope that he's happy in his current situation. But at the time we're talking about, he was a young person, and very much engaged in those things. [Excerpt: Little Richard, "Tutti Frutti", just the opening phrase] Richard Penniman was the third of twelve children, born to parents who had met at a Pentecostal holiness meeting when they were thirteen and married when they were fourteen. Of all the children, Richard was the one who was most likely to cause trouble. He had a habit of playing practical jokes involving his own faeces -- wrapping them up and giving them as presents to old ladies, or putting them in jars in the pantry for his mother to find. But he was also bullied terribly as a child, because he was disabled. One of his legs was significantly shorter than the other, his head was disproportionately large, and his eyes were different sizes. He was also subjected to homophobic abuse from a very early age, because the gait with which he walked because of his legs was vaguely mincing. At the age of fourteen, he decided to leave school and become a performer. He started out by touring with a snake-oil salesman. Snake oil is a traditional Chinese medicine, about which there have been claims made for centuries, and those claims might well be true. But snake oil in the US was usually a mixture of turpentine, tallow, camphor, and capsaicin. It wasn't much different to Vicks' VaporRub and similar substances, but it was sold as a cure-all for serious illnesses. Snake-oil salesmen would travel from town to town selling their placebo, and they would have entertainers performing with them in order to draw crowds. The young Richard Penniman travelled with "Doc Hudson", and would sing the one non-religious song he knew, "Caldonia" by Louis Jordan: [Excerpt: Louis Jordan, "Caldonia"] The yelps and hiccups in Jordan's vocals on that song would become a massive part of Richard's own vocal style. Richard soon left the medicine show, and started touring with a band, B. Brown and his orchestra, and it was while he was touring with that band that he grew his hair into the huge pompadour that would later become a trademark, and he also got the name "Little Richard". However, all the musicians in the band were older than him, so he moved on again to another touring show, and another, and another. In many of these shows, he would perform as a female impersonator, which started when one of the women in one of the shows took sick and Richard had to quickly cover for her by putting on her costume, but soon he was performing in shows that were mostly drag acts, performing to a largely gay crowd. It was while he was performing in these shows that he met the first of his two biggest influences. Billy Wright, like Richard, had been a female impersonator for a while too. Like Richard, he had a pompadour haircut, and he was a fairly major blues star in the period from 1949 through 1951, being one of the first blues singers to sing with gospel-inspired mannerisms: [Excerpt: Billy Wright, "Married Woman's Boogie"] 5) Richard became something of a Billy Wright wannabe, and started incorporating parts of Wright's style into his performances. He also learned that Wright was using makeup on stage -- Pancake 31 -- and started applying that same makeup to his own skin, something he would continue to do throughout his performing career. Wright introduced Richard to Zenas Sears, who was one of the many white DJs all across America who were starting to become successful by playing black music and speaking in approximations of African-American Vernacular English -- people like Alan Freed and Dewey Phillips. Sears had connections with RCA Records, and impressed by Richard's talent, he got them to sign him. Richard's first single was called "Every Hour", and was very much a Billy Wright imitation: [Excerpt: Little Richard, "Every Hour"] It was so close to Wright's style, in fact, that Wright soon recorded his own knock-off of Richard's song, "Every Evening". [Excerpt: Billy Wright, "Every Evening"] At this point Richard was solely a singer -- he hadn't yet started to play an instrument to accompany himself. That changed when he met Esquerita. Esquerita was apparently born Stephen Quincey Reeder, but he was known to everyone as "Eskew" Reeder, after his initials, and that then became Esquerita, partly as a pun on the word "excreta". Esquerita was another gay black R&B singer with a massive pompadour and a moustache. If Little Richard at this stage looked like a caricature of Billy Wright, Esquerita looked like a caricature of Little Richard. His hair was even bigger, he was even more flamboyant, and when he sang, he screamed even louder. And Esquerita also played the piano. Richard -- who has never been unwilling to acknowledge the immense debt he owed to his inspirations -- has said for years that Esquerita was the person who taught him how to play the piano, and that not only was his piano-playing style a copy of Esquerita's, Esquerita was better. It's hard to tell for sure exactly how much influence Esquerita actually had on Richard's piano playing, because Esquerita himself didn't make any records until after Richard did, at which point he was signed to his own record deal to be basically a Little Richard clone, but the records he did make certainly show a remarkable resemblance to Richard's later style: [Excerpt: Esquerita: "Believe Me When I Say Rock And Roll Is Here To Stay"] Richard soon learned to play piano, and he was seen by Johnny Otis, who was impressed. Otis said: "I see this outrageous person, good-looking and very effeminate, with a big pompadour. He started singing and he was so good. I loved it. He reminded me of Dinah Washington. He did a few things, then he got on the floor. I think he even did a split, though I could be wrong about that. I remember it as being just beautiful, bizarre, and exotic, and when he got through he remarked, “This is Little Richard, King of the Blues,” and then he added, “And the Queen, too!” I knew I liked him then." Otis recommended Richard to Don Robey, of Peacock Records, and Robey signed Richard and his band the Tempo Toppers. In early 1953, with none of his recordings for RCA having done anything, Little Richard and the Tempo Toppers went into the studio with another group, the Deuces of Rhythm, to record four tracks, issued as two singles: [Excerpt: Little Richard and the Tempo Toppers with the Deuces of Rhythm: "Ain't That Good News"] None of these singles had any success, and Richard was *not* getting on very well at all with Don Robey. Robey was not the most respectful of people, and Richard let everyone know how badly he thought Robey treated his artists. Robey responded by beating Richard up so badly that he got a hernia which hurt for years and necessitated an operation. Richard would record one more session for Peacock, at the end of the year, when Don Robey gave him to Johnny Otis to handle. Otis took his own band into the studio with Richard, and the four songs they recorded at that session went unreleased at the time, but included a version of "Directly From My Heart To You", a song Richard would soon rerecord, and another song called "Little Richard's Boogie": [Excerpt: Little Richard with Johnny Otis and his Orchestra, "Little Richard's Boogie"] Nobody was very happy with the recordings, and Richard was dropped by Peacock. He was also, around the same time, made to move away from Macon, Georgia, where he lived, after being arrested for "lewd conduct" -- what amounted to consensual voyeurism. And the Tempo Toppers had split up. Richard had been dumped by two record labels, his father had died recently, he had no band, and he wasn't allowed to live in his home town any more. Things seemed pretty low. But before he'd moved away, Richard had met Lloyd Price, and Price had suggested that Richard send a demo tape in to Specialty Records, Price's label. The tape lay unlistened at Specialty for months, and it was only because of Richard's constant pestering for them to listen to it that Bumps Blackwell, who was then in charge of A&R at Specialty, eventually got round to listening to it. This was an enormous piece of good fortune, in a way that neither of them fully realised at the time. Blackwell had been a longtime friend and colleague of Ray Charles. When Charles' gospel-influenced new sound had started making waves on the charts, Art Rupe, Specialty's owner, had asked Blackwell to find him a gospel-sounding R&B singer of his own to compete with Ray Charles. Blackwell listened to the tape, which contained two songs, one of which was an early version of "Wonderin'", and he could tell this was someone with as much gospel in his voice as Ray Charles had: [Excerpt: Little Richard, "Wonderin'"] Blackwell and Rupe made an agreement with Don Robey to buy out his contract for six hundred dollars -- one gets the impression that Robey would have paid *them* six hundred dollars to get rid of Richard had they asked him. They knew that Richard liked the music of Fats Domino, and so they decided to hold their first session at Cosimo Matassa's studio, where Domino recorded, and with the same session musicians that Domino used. Blackwell also brought in two great New Orleans piano players, Huey "Piano" Smith and James Booker, both of whom were players in the same style as Domino. You can hear Smith, for example, on his hit "The Rockin' Pneumonia and the Boogie-Woogie Flu" from a couple of years later: [Excerpt: Huey "Piano" Smith, "The Rockin' Pneumonia and the Boogie-Woogie Flu"] All of these people were veterans of sessions either for Domino or for artists who had worked in Domino's style, like Lloyd Price or Smiley Lewis. The only difference here was that it would be Bumps Blackwell who did the arrangement and production, rather than Dave Bartholomew like on Domino's records. However, the session didn't go well at all. Blackwell had heard that Richard was an astounding live act, but he was just doing nothing in the studio. As Blackwell later put it "If you look like Tarzan and sound like Mickey Mouse it just doesn’t work out." They did record some usable material -- "Wonderin'", which we heard before, came out OK, and they recorded "I'm Just a Lonely, Lonely, Guy" by a young songwriter called Dorothy LaBostrie, which seemed to go OK. They also cut a decent version of "Directly From My Heart to You", a song which Richard had previously recorded with Johnny Otis: [Excerpt: Little RIchard, "Directly From My Heart to You"] So they had a couple of usable songs, but usable was about all you could say for them. They didn't have anything that would make an impact, nothing that would live up to Richard's potential. So Blackwell called a break, and they headed off to get themselves something to eat, at the Dew Drop Inn. And something happened there that would change Little RIchard's career forever. The Dew Drop Inn had a piano, and it had an audience that Little Richard could show off in front of. He went over to the piano, started hammering the keys, and screamed out: [Excerpt: Little Richard, "Tutti Frutti", just the opening phrase] On hearing Richard sing the song he performed then, Bumps Blackwell knew two things pretty much instantly. The first was that that song would definitely be a hit if he could get it released. And the second was that there was no way on Earth that he could possibly put it out. "Tutti Frutti" started as a song that Richard sang more or less as a joke. There is a whole undercurrent of R&B in the fifties which has very, very, sexually explicit lyrics, and I wish I was able to play some of those songs on this podcast without getting it dumped into the adult-only section on iTunes, because some of them are wonderful, and others are hilarious. "Tutti Frutti" in its original form was part of this undercurrent, and had lyrics that were clearly not broadcastable -- "A wop bop a loo mop, a good goddam/Tutti Frutti, good booty/If it don't fit, don't force it, you can grease it, make it easy". But Bumps Blackwell thought that there was *something* that could be made into a hit there. Handily, they had a songwriter on hand. Dorothy LaBostrie was a young woman he knew who had been trying to write songs, but who didn't understand that songs had to have different melodies -- all her lyrics were written to the melody of the same song, Dinah Washington's "Blowtop Blues": [Excerpt: Dinah Washington, "Blowtop Blues"] But her lyrics had showed promise, and so Blackwell had agreed to record one of her songs, "I'm Just a Lonely Lonely Guy", with Richard. LaBostrie had been hanging round the studio to see how her song sounded when it was recorded, so Blackwell asked her to do a last-minute rewrite on “Tutti Frutti”, in the hope of getting something salvageable out of what had been a depressing session. But there was still a problem -- Richard, not normally a man overly known for his modesty, became embarrassed at singing his song to the young woman. Blackwell explained to him that he really didn't have much choice, and Richard eventually agreed to sing it to her -- but only if he was turned to face the wall, so he couldn't see this innocent-looking young woman's face. (I should note here that both Richard and LaBostrie have told different stories about this over the years -- both have claimed on several occasions that they were the sole author of the song and that the other didn't deserve any credit at all. But this is the story as it was told by others who were there.) LaBostrie's new lyrics were rudimentary at best. "I got a girl named Sue, she knows just what to do". But they fit the metre, they weren't about anal sex, and so they were going to be the new lyrics. The session was running late at this point, and when LaBostrie had the lyrics finished there was only fifteen minutes to go. It didn't matter that the lyrics were trite. What mattered was that they got a track cut to salvage the session. Blackwell didn't have time to teach the piano players the song, so he got Richard to play the piano himself. They cut the finished track in three takes, and Blackwell went back to California happy he at last had a hit: [Excerpt: Little Richard, "Tutti Frutti"] "Tutti Frutti" was, indeed, a massive hit. It went to number twenty-one on the pop charts. But... you know what comes next. There was an inept white cover version, this time by Pat Boone. [excerpt: Pat Boone, "Tutti Frutti"] Now, notice that there, Boone changes the lyrics. In Richard's version, after all, he seems interested in both Sue and Daisy. A good Christian boy like Pat Boone couldn't be heard singing about such immorality. That one-line change (and a couple of other spot changes to individual words to make things into full sentences) seems to be why a songwriter called Joe Lubin is also credited for the song. Getting a third of a song like "Tutti Frutti" for that little work sounds like a pretty good deal, at least for Lubin, if not for Richard. Another way in which Richard got less than he deserved was that the publishing was owned by a company owned by Art Rupe. That company licensed the song to Specialty Records for half the normal mechanical licensing rate -- normally a publishing company would charge two cents per record pressed for their songs, but instead Specialty only had to pay one cent. This sort of cross-collateralisation was common with independent labels at the time, but it still rankled to Richard when he figured it out. Not that he was thinking about contracts at all at this point. He was becoming a huge star, and that meant he had to *break* a lot of contracts. He'd got concert bookings for several months ahead, but those bookings were in second-rate clubs, and he had to be in Hollywood to promote his new record and build a new career. But he also didn't want to get a reputation for missing gigs. There was only one thing to do -- hire an impostor to be Little Richard at these low-class gigs. So while Richard went off to promote his record, another young singer from Georgia with a pompadour and a gospel feel was being introduced with the phrase “Ladies and gentlemen—the hardest-working man in showbusiness today—Little Richard!” When James Brown went back to performing under his own name, he kept that introduction... Meanwhile, Richard was working on his second hit record. He and Blackwell decided that this record should be louder, faster, and more raucous than "Tutti Frutti" had been. If Pat Boone wanted to cover this one, he'd have to work a lot harder than he had previously. The basis for "Long Tall Sally" came from a scrap of lyric written by a teenage girl. Enotris Johnson had written a single verse of lyric on a scrap of paper, and had walked many miles to New Orleans to show the lyric to a DJ named Honey Chile. (Bumps Blackwell describes her as having walked from Opelousas, Mississippi, but there's no such place -- Johnson appears to have lived in Bogalusa, Louisiana). Johnson wanted to make enough money to pay for hospital for her sick aunt -- the "Aunt Mary" in the song, and thought that Little Richard might sing the song and get her the money. What she had was only a few lines, but Honey Chile had taken Johnson on as a charity project, and Blackwell didn't want to disappoint such an influential figure, so he and Richard hammered something together: [Excerpt: Little Richard, "Long Tall Sally"] The song, about a "John" who "jumps back in the alley" when he sees his wife coming while he's engaged in activities of an unspecified nature with "Sally", who is long, tall, and bald, once again stays just on the broadcastable side of the line, while implying sex of a non-heteronormative variety, possibly with a sex worker. Despite this, and despite the attempts to make the song uncoverably raucous, Pat Boone still sold a million copies with his cover version: [Excerpt: Pat Boone, "Long Tall Sally"] So Little Richard had managed to get that good clean-cut wholesome Christian white boy Pat Boone singing songs which gave him a lot more to worry about than whether he was singing "Ain't" rather than "Isn't". But he was also becoming a big star himself -- and he was getting an ego to go along with it. And he was starting to worry whether he should be making this devil music at all. When we next look at Little Richard, we'll see just how the combination of self-doubt and ego led to his greatest successes and to the collapse of his career.  

Episode thirty-four of A History of Rock Music in Five Hundred Songs looks at “Tutti Frutti” by Little Richard, and at the rather more family-unfriendly subject the song was originally about. Click the full post to read liner notes, links to more information, and a transcript of the episode. (Apologies that this one is a day late — health problems kept me from getting the edit finished). Also, a reminder for those who didn’t see the previous post — my patreon backers are now getting ten-minute mini-episodes every week, and the first one is up, and I guested on Jaffa Cake Jukebox this week, talking about the UK top twenty for January 18 1957. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Most of the information used here comes from The Life and Times of Little Richard: The Authorised Biography by Charles White, which is to all intents and purposes Richard’s autobiography, as much of the text is in his own words. A warning for those who might be considering buying this though — it contains descriptions of his abuse as a child, and is also full of internalised homo- bi- and trans-phobia. This collection contains everything Richard recorded before 1962, from his early blues singles through to his gospel albums from after he temporarily gave up rock and roll for the church. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There are a handful of musicians in the history of rock music who seem like true originals. You can always trace their influences, of course, but when you come across one of them, no matter how clearly you can see who they were copying and who they were inspired by, you still just respond to them as something new under the sun. And of all the classic musicians of rock and roll, probably nobody epitomises that more than Little Richard. Nobody before him sounded like he did, and while many later tried — everyone from Captain Beefheart to Paul McCartney — nobody ever quite sounded like him later. And there are good reasons for that, because Little Richard was — and still is — someone who is quite unlike anyone else. [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] This episode will be the first time we see queer culture becoming a major part of the rock and roll story — we’ve dealt with possibly-LGBT people before, of course, with Big Mama Thornton and Sister Rosetta Tharpe, and with Johnny Ray in the Patreon-only episode about him, but this is the first time that an expression of sexuality has become part and parcel of the music itself, to the extent that we have to discuss it. And here, again, I have to point out that I am going to get things very wrong when I’m talking about Little Richard. I am a cis straight white man in Britain in the twenty-first century. Little Richard is a queer black man from the USA, and we’re talking about the middle of the twentieth century. I’m fairly familiar with current British LGBT+ culture, but even that is as an outsider. I am trying, always, to be completely fair and to never say anything that harms a marginalised group, but if I do so inadvertantly, I apologise. When I say he’s queer, I’m using the word not in its sense as a slur, but in the sense of an umbrella term for someone whose sexuality and gender identity are too complex to reduce to a single label, because he has at various times defined himself as gay, but he has also had relationships with women, and because from reading his autobiography there are so many passages where he talks about wishing he had been born a woman that it may well be that had he been born fifty years later he would have defined himself as a bisexual trans woman rather than a gay man. I will still, though, use “he” and “him” pronouns for him in this and future episodes, because those are the pronouns he uses himself. Here we’re again going to see something we saw with Rosetta Tharpe, but on a much grander scale — the pull between the secular and the divine. You see, as well as being some variety of queer, Little Richard is also a very, very, religious man, and a believer in a specific variety of fundamentalist Christianity that believes that any kind of sexuality or gender identity other than monogamous cis heterosexual is evil and sinful and the work of the Devil. He believes this very deeply and has at many times tried to live his life by this, and does so now. I, to put it as mildly as possible, disagree. But to understand the man and his music at all, you have to at least understand that this is the case. He has swung wildly between being almost the literal embodiment of the phrase “sex and drugs and rock and roll” and being a preacher who claims that homosexuality, bisexuality, and being trans are all works of the literal Devil — several times he’s gone from one to the other. As of 2017, and the last public interview I’ve seen with him, he has once again renounced rock and roll and same-sex relationships. I hope that he’s happy in his current situation. But at the time we’re talking about, he was a young person, and very much engaged in those things. [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] Richard Penniman was the third of twelve children, born to parents who had met at a Pentecostal holiness meeting when they were thirteen and married when they were fourteen. Of all the children, Richard was the one who was most likely to cause trouble. He had a habit of playing practical jokes involving his own faeces — wrapping them up and giving them as presents to old ladies, or putting them in jars in the pantry for his mother to find. But he was also bullied terribly as a child, because he was disabled. One of his legs was significantly shorter than the other, his head was disproportionately large, and his eyes were different sizes. He was also subjected to homophobic abuse from a very early age, because the gait with which he walked because of his legs was vaguely mincing. At the age of fourteen, he decided to leave school and become a performer. He started out by touring with a snake-oil salesman. Snake oil is a traditional Chinese medicine, about which there have been claims made for centuries, and those claims might well be true. But snake oil in the US was usually a mixture of turpentine, tallow, camphor, and capsaicin. It wasn’t much different to Vicks’ VaporRub and similar substances, but it was sold as a cure-all for serious illnesses. Snake-oil salesmen would travel from town to town selling their placebo, and they would have entertainers performing with them in order to draw crowds. The young Richard Penniman travelled with “Doc Hudson”, and would sing the one non-religious song he knew, “Caldonia” by Louis Jordan: [Excerpt: Louis Jordan, “Caldonia”] The yelps and hiccups in Jordan’s vocals on that song would become a massive part of Richard’s own vocal style. Richard soon left the medicine show, and started touring with a band, B. Brown and his orchestra, and it was while he was touring with that band that he grew his hair into the huge pompadour that would later become a trademark, and he also got the name “Little Richard”. However, all the musicians in the band were older than him, so he moved on again to another touring show, and another, and another. In many of these shows, he would perform as a female impersonator, which started when one of the women in one of the shows took sick and Richard had to quickly cover for her by putting on her costume, but soon he was performing in shows that were mostly drag acts, performing to a largely gay crowd. It was while he was performing in these shows that he met the first of his two biggest influences. Billy Wright, like Richard, had been a female impersonator for a while too. Like Richard, he had a pompadour haircut, and he was a fairly major blues star in the period from 1949 through 1951, being one of the first blues singers to sing with gospel-inspired mannerisms: [Excerpt: Billy Wright, “Married Woman’s Boogie”] 5) Richard became something of a Billy Wright wannabe, and started incorporating parts of Wright’s style into his performances. He also learned that Wright was using makeup on stage — Pancake 31 — and started applying that same makeup to his own skin, something he would continue to do throughout his performing career. Wright introduced Richard to Zenas Sears, who was one of the many white DJs all across America who were starting to become successful by playing black music and speaking in approximations of African-American Vernacular English — people like Alan Freed and Dewey Phillips. Sears had connections with RCA Records, and impressed by Richard’s talent, he got them to sign him. Richard’s first single was called “Every Hour”, and was very much a Billy Wright imitation: [Excerpt: Little Richard, “Every Hour”] It was so close to Wright’s style, in fact, that Wright soon recorded his own knock-off of Richard’s song, “Every Evening”. [Excerpt: Billy Wright, “Every Evening”] At this point Richard was solely a singer — he hadn’t yet started to play an instrument to accompany himself. That changed when he met Esquerita. Esquerita was apparently born Stephen Quincey Reeder, but he was known to everyone as “Eskew” Reeder, after his initials, and that then became Esquerita, partly as a pun on the word “excreta”. Esquerita was another gay black R&B singer with a massive pompadour and a moustache. If Little Richard at this stage looked like a caricature of Billy Wright, Esquerita looked like a caricature of Little Richard. His hair was even bigger, he was even more flamboyant, and when he sang, he screamed even louder. And Esquerita also played the piano. Richard — who has never been unwilling to acknowledge the immense debt he owed to his inspirations — has said for years that Esquerita was the person who taught him how to play the piano, and that not only was his piano-playing style a copy of Esquerita’s, Esquerita was better. It’s hard to tell for sure exactly how much influence Esquerita actually had on Richard’s piano playing, because Esquerita himself didn’t make any records until after Richard did, at which point he was signed to his own record deal to be basically a Little Richard clone, but the records he did make certainly show a remarkable resemblance to Richard’s later style: [Excerpt: Esquerita: “Believe Me When I Say Rock And Roll Is Here To Stay”] Richard soon learned to play piano, and he was seen by Johnny Otis, who was impressed. Otis said: “I see this outrageous person, good-looking and very effeminate, with a big pompadour. He started singing and he was so good. I loved it. He reminded me of Dinah Washington. He did a few things, then he got on the floor. I think he even did a split, though I could be wrong about that. I remember it as being just beautiful, bizarre, and exotic, and when he got through he remarked, “This is Little Richard, King of the Blues,” and then he added, “And the Queen, too!” I knew I liked him then.” Otis recommended Richard to Don Robey, of Peacock Records, and Robey signed Richard and his band the Tempo Toppers. In early 1953, with none of his recordings for RCA having done anything, Little Richard and the Tempo Toppers went into the studio with another group, the Deuces of Rhythm, to record four tracks, issued as two singles: [Excerpt: Little Richard and the Tempo Toppers with the Deuces of Rhythm: “Ain’t That Good News”] None of these singles had any success, and Richard was *not* getting on very well at all with Don Robey. Robey was not the most respectful of people, and Richard let everyone know how badly he thought Robey treated his artists. Robey responded by beating Richard up so badly that he got a hernia which hurt for years and necessitated an operation. Richard would record one more session for Peacock, at the end of the year, when Don Robey gave him to Johnny Otis to handle. Otis took his own band into the studio with Richard, and the four songs they recorded at that session went unreleased at the time, but included a version of “Directly From My Heart To You”, a song Richard would soon rerecord, and another song called “Little Richard’s Boogie”: [Excerpt: Little Richard with Johnny Otis and his Orchestra, “Little Richard’s Boogie”] Nobody was very happy with the recordings, and Richard was dropped by Peacock. He was also, around the same time, made to move away from Macon, Georgia, where he lived, after being arrested for “lewd conduct” — what amounted to consensual voyeurism. And the Tempo Toppers had split up. Richard had been dumped by two record labels, his father had died recently, he had no band, and he wasn’t allowed to live in his home town any more. Things seemed pretty low. But before he’d moved away, Richard had met Lloyd Price, and Price had suggested that Richard send a demo tape in to Specialty Records, Price’s label. The tape lay unlistened at Specialty for months, and it was only because of Richard’s constant pestering for them to listen to it that Bumps Blackwell, who was then in charge of A&R at Specialty, eventually got round to listening to it. This was an enormous piece of good fortune, in a way that neither of them fully realised at the time. Blackwell had been a longtime friend and colleague of Ray Charles. When Charles’ gospel-influenced new sound had started making waves on the charts, Art Rupe, Specialty’s owner, had asked Blackwell to find him a gospel-sounding R&B singer of his own to compete with Ray Charles. Blackwell listened to the tape, which contained two songs, one of which was an early version of “Wonderin'”, and he could tell this was someone with as much gospel in his voice as Ray Charles had: [Excerpt: Little Richard, “Wonderin'”] Blackwell and Rupe made an agreement with Don Robey to buy out his contract for six hundred dollars — one gets the impression that Robey would have paid *them* six hundred dollars to get rid of Richard had they asked him. They knew that Richard liked the music of Fats Domino, and so they decided to hold their first session at Cosimo Matassa’s studio, where Domino recorded, and with the same session musicians that Domino used. Blackwell also brought in two great New Orleans piano players, Huey “Piano” Smith and James Booker, both of whom were players in the same style as Domino. You can hear Smith, for example, on his hit “The Rockin’ Pneumonia and the Boogie-Woogie Flu” from a couple of years later: [Excerpt: Huey “Piano” Smith, “The Rockin’ Pneumonia and the Boogie-Woogie Flu”] All of these people were veterans of sessions either for Domino or for artists who had worked in Domino’s style, like Lloyd Price or Smiley Lewis. The only difference here was that it would be Bumps Blackwell who did the arrangement and production, rather than Dave Bartholomew like on Domino’s records. However, the session didn’t go well at all. Blackwell had heard that Richard was an astounding live act, but he was just doing nothing in the studio. As Blackwell later put it “If you look like Tarzan and sound like Mickey Mouse it just doesn’t work out.” They did record some usable material — “Wonderin'”, which we heard before, came out OK, and they recorded “I’m Just a Lonely, Lonely, Guy” by a young songwriter called Dorothy LaBostrie, which seemed to go OK. They also cut a decent version of “Directly From My Heart to You”, a song which Richard had previously recorded with Johnny Otis: [Excerpt: Little RIchard, “Directly From My Heart to You”] So they had a couple of usable songs, but usable was about all you could say for them. They didn’t have anything that would make an impact, nothing that would live up to Richard’s potential. So Blackwell called a break, and they headed off to get themselves something to eat, at the Dew Drop Inn. And something happened there that would change Little RIchard’s career forever. The Dew Drop Inn had a piano, and it had an audience that Little Richard could show off in front of. He went over to the piano, started hammering the keys, and screamed out: [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] On hearing Richard sing the song he performed then, Bumps Blackwell knew two things pretty much instantly. The first was that that song would definitely be a hit if he could get it released. And the second was that there was no way on Earth that he could possibly put it out. “Tutti Frutti” started as a song that Richard sang more or less as a joke. There is a whole undercurrent of R&B in the fifties which has very, very, sexually explicit lyrics, and I wish I was able to play some of those songs on this podcast without getting it dumped into the adult-only section on iTunes, because some of them are wonderful, and others are hilarious. “Tutti Frutti” in its original form was part of this undercurrent, and had lyrics that were clearly not broadcastable — “A wop bop a loo mop, a good goddam/Tutti Frutti, good booty/If it don’t fit, don’t force it, you can grease it, make it easy”. But Bumps Blackwell thought that there was *something* that could be made into a hit there. Handily, they had a songwriter on hand. Dorothy LaBostrie was a young woman he knew who had been trying to write songs, but who didn’t understand that songs had to have different melodies — all her lyrics were written to the melody of the same song, Dinah Washington’s “Blowtop Blues”: [Excerpt: Dinah Washington, “Blowtop Blues”] But her lyrics had showed promise, and so Blackwell had agreed to record one of her songs, “I’m Just a Lonely Lonely Guy”, with Richard. LaBostrie had been hanging round the studio to see how her song sounded when it was recorded, so Blackwell asked her to do a last-minute rewrite on “Tutti Frutti”, in the hope of getting something salvageable out of what had been a depressing session. But there was still a problem — Richard, not normally a man overly known for his modesty, became embarrassed at singing his song to the young woman. Blackwell explained to him that he really didn’t have much choice, and Richard eventually agreed to sing it to her — but only if he was turned to face the wall, so he couldn’t see this innocent-looking young woman’s face. (I should note here that both Richard and LaBostrie have told different stories about this over the years — both have claimed on several occasions that they were the sole author of the song and that the other didn’t deserve any credit at all. But this is the story as it was told by others who were there.) LaBostrie’s new lyrics were rudimentary at best. “I got a girl named Sue, she knows just what to do”. But they fit the metre, they weren’t about anal sex, and so they were going to be the new lyrics. The session was running late at this point, and when LaBostrie had the lyrics finished there was only fifteen minutes to go. It didn’t matter that the lyrics were trite. What mattered was that they got a track cut to salvage the session. Blackwell didn’t have time to teach the piano players the song, so he got Richard to play the piano himself. They cut the finished track in three takes, and Blackwell went back to California happy he at last had a hit: [Excerpt: Little Richard, “Tutti Frutti”] “Tutti Frutti” was, indeed, a massive hit. It went to number twenty-one on the pop charts. But… you know what comes next. There was an inept white cover version, this time by Pat Boone. [excerpt: Pat Boone, “Tutti Frutti”] Now, notice that there, Boone changes the lyrics. In Richard’s version, after all, he seems interested in both Sue and Daisy. A good Christian boy like Pat Boone couldn’t be heard singing about such immorality. That one-line change (and a couple of other spot changes to individual words to make things into full sentences) seems to be why a songwriter called Joe Lubin is also credited for the song. Getting a third of a song like “Tutti Frutti” for that little work sounds like a pretty good deal, at least for Lubin, if not for Richard. Another way in which Richard got less than he deserved was that the publishing was owned by a company owned by Art Rupe. That company licensed the song to Specialty Records for half the normal mechanical licensing rate — normally a publishing company would charge two cents per record pressed for their songs, but instead Specialty only had to pay one cent. This sort of cross-collateralisation was common with independent labels at the time, but it still rankled to Richard when he figured it out. Not that he was thinking about contracts at all at this point. He was becoming a huge star, and that meant he had to *break* a lot of contracts. He’d got concert bookings for several months ahead, but those bookings were in second-rate clubs, and he had to be in Hollywood to promote his new record and build a new career. But he also didn’t want to get a reputation for missing gigs. There was only one thing to do — hire an impostor to be Little Richard at these low-class gigs. So while Richard went off to promote his record, another young singer from Georgia with a pompadour and a gospel feel was being introduced with the phrase “Ladies and gentlemen—the hardest-working man in showbusiness today—Little Richard!” When James Brown went back to performing under his own name, he kept that introduction… Meanwhile, Richard was working on his second hit record. He and Blackwell decided that this record should be louder, faster, and more raucous than “Tutti Frutti” had been. If Pat Boone wanted to cover this one, he’d have to work a lot harder than he had previously. The basis for “Long Tall Sally” came from a scrap of lyric written by a teenage girl. Enotris Johnson had written a single verse of lyric on a scrap of paper, and had walked many miles to New Orleans to show the lyric to a DJ named Honey Chile. (Bumps Blackwell describes her as having walked from Opelousas, Mississippi, but there’s no such place — Johnson appears to have lived in Bogalusa, Louisiana). Johnson wanted to make enough money to pay for hospital for her sick aunt — the “Aunt Mary” in the song, and thought that Little Richard might sing the song and get her the money. What she had was only a few lines, but Honey Chile had taken Johnson on as a charity project, and Blackwell didn’t want to disappoint such an influential figure, so he and Richard hammered something together: [Excerpt: Little Richard, “Long Tall Sally”] The song, about a “John” who “jumps back in the alley” when he sees his wife coming while he’s engaged in activities of an unspecified nature with “Sally”, who is long, tall, and bald, once again stays just on the broadcastable side of the line, while implying sex of a non-heteronormative variety, possibly with a sex worker. Despite this, and despite the attempts to make the song uncoverably raucous, Pat Boone still sold a million copies with his cover version: [Excerpt: Pat Boone, “Long Tall Sally”] So Little Richard had managed to get that good clean-cut wholesome Christian white boy Pat Boone singing songs which gave him a lot more to worry about than whether he was singing “Ain’t” rather than “Isn’t”. But he was also becoming a big star himself — and he was getting an ego to go along with it. And he was starting to worry whether he should be making this devil music at all. When we next look at Little Richard, we’ll see just how the combination of self-doubt and ego led to his greatest successes and to the collapse of his career.  

Episode thirty-four of A History of Rock Music in Five Hundred Songs looks at “Tutti Frutti” by Little Richard, and at the rather more family-unfriendly subject the song was originally about. Click the full post to read liner notes, links to more information, and a transcript of the episode. (Apologies that this one is a day late — health problems kept me from getting the edit finished). Also, a reminder for those who didn’t see the previous post — my patreon backers are now getting ten-minute mini-episodes every week, and the first one is up, and I guested on Jaffa Cake Jukebox this week, talking about the UK top twenty for January 18 1957. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Most of the information used here comes from The Life and Times of Little Richard: The Authorised Biography by Charles White, which is to all intents and purposes Richard’s autobiography, as much of the text is in his own words. A warning for those who might be considering buying this though — it contains descriptions of his abuse as a child, and is also full of internalised homo- bi- and trans-phobia. This collection contains everything Richard recorded before 1962, from his early blues singles through to his gospel albums from after he temporarily gave up rock and roll for the church. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There are a handful of musicians in the history of rock music who seem like true originals. You can always trace their influences, of course, but when you come across one of them, no matter how clearly you can see who they were copying and who they were inspired by, you still just respond to them as something new under the sun. And of all the classic musicians of rock and roll, probably nobody epitomises that more than Little Richard. Nobody before him sounded like he did, and while many later tried — everyone from Captain Beefheart to Paul McCartney — nobody ever quite sounded like him later. And there are good reasons for that, because Little Richard was — and still is — someone who is quite unlike anyone else. [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] This episode will be the first time we see queer culture becoming a major part of the rock and roll story — we’ve dealt with possibly-LGBT people before, of course, with Big Mama Thornton and Sister Rosetta Tharpe, and with Johnny Ray in the Patreon-only episode about him, but this is the first time that an expression of sexuality has become part and parcel of the music itself, to the extent that we have to discuss it. And here, again, I have to point out that I am going to get things very wrong when I’m talking about Little Richard. I am a cis straight white man in Britain in the twenty-first century. Little Richard is a queer black man from the USA, and we’re talking about the middle of the twentieth century. I’m fairly familiar with current British LGBT+ culture, but even that is as an outsider. I am trying, always, to be completely fair and to never say anything that harms a marginalised group, but if I do so inadvertantly, I apologise. When I say he’s queer, I’m using the word not in its sense as a slur, but in the sense of an umbrella term for someone whose sexuality and gender identity are too complex to reduce to a single label, because he has at various times defined himself as gay, but he has also had relationships with women, and because from reading his autobiography there are so many passages where he talks about wishing he had been born a woman that it may well be that had he been born fifty years later he would have defined himself as a bisexual trans woman rather than a gay man. I will still, though, use “he” and “him” pronouns for him in this and future episodes, because those are the pronouns he uses himself. Here we’re again going to see something we saw with Rosetta Tharpe, but on a much grander scale — the pull between the secular and the divine. You see, as well as being some variety of queer, Little Richard is also a very, very, religious man, and a believer in a specific variety of fundamentalist Christianity that believes that any kind of sexuality or gender identity other than monogamous cis heterosexual is evil and sinful and the work of the Devil. He believes this very deeply and has at many times tried to live his life by this, and does so now. I, to put it as mildly as possible, disagree. But to understand the man and his music at all, you have to at least understand that this is the case. He has swung wildly between being almost the literal embodiment of the phrase “sex and drugs and rock and roll” and being a preacher who claims that homosexuality, bisexuality, and being trans are all works of the literal Devil — several times he’s gone from one to the other. As of 2017, and the last public interview I’ve seen with him, he has once again renounced rock and roll and same-sex relationships. I hope that he’s happy in his current situation. But at the time we’re talking about, he was a young person, and very much engaged in those things. [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] Richard Penniman was the third of twelve children, born to parents who had met at a Pentecostal holiness meeting when they were thirteen and married when they were fourteen. Of all the children, Richard was the one who was most likely to cause trouble. He had a habit of playing practical jokes involving his own faeces — wrapping them up and giving them as presents to old ladies, or putting them in jars in the pantry for his mother to find. But he was also bullied terribly as a child, because he was disabled. One of his legs was significantly shorter than the other, his head was disproportionately large, and his eyes were different sizes. He was also subjected to homophobic abuse from a very early age, because the gait with which he walked because of his legs was vaguely mincing. At the age of fourteen, he decided to leave school and become a performer. He started out by touring with a snake-oil salesman. Snake oil is a traditional Chinese medicine, about which there have been claims made for centuries, and those claims might well be true. But snake oil in the US was usually a mixture of turpentine, tallow, camphor, and capsaicin. It wasn’t much different to Vicks’ VaporRub and similar substances, but it was sold as a cure-all for serious illnesses. Snake-oil salesmen would travel from town to town selling their placebo, and they would have entertainers performing with them in order to draw crowds. The young Richard Penniman travelled with “Doc Hudson”, and would sing the one non-religious song he knew, “Caldonia” by Louis Jordan: [Excerpt: Louis Jordan, “Caldonia”] The yelps and hiccups in Jordan’s vocals on that song would become a massive part of Richard’s own vocal style. Richard soon left the medicine show, and started touring with a band, B. Brown and his orchestra, and it was while he was touring with that band that he grew his hair into the huge pompadour that would later become a trademark, and he also got the name “Little Richard”. However, all the musicians in the band were older than him, so he moved on again to another touring show, and another, and another. In many of these shows, he would perform as a female impersonator, which started when one of the women in one of the shows took sick and Richard had to quickly cover for her by putting on her costume, but soon he was performing in shows that were mostly drag acts, performing to a largely gay crowd. It was while he was performing in these shows that he met the first of his two biggest influences. Billy Wright, like Richard, had been a female impersonator for a while too. Like Richard, he had a pompadour haircut, and he was a fairly major blues star in the period from 1949 through 1951, being one of the first blues singers to sing with gospel-inspired mannerisms: [Excerpt: Billy Wright, “Married Woman’s Boogie”] 5) Richard became something of a Billy Wright wannabe, and started incorporating parts of Wright’s style into his performances. He also learned that Wright was using makeup on stage — Pancake 31 — and started applying that same makeup to his own skin, something he would continue to do throughout his performing career. Wright introduced Richard to Zenas Sears, who was one of the many white DJs all across America who were starting to become successful by playing black music and speaking in approximations of African-American Vernacular English — people like Alan Freed and Dewey Phillips. Sears had connections with RCA Records, and impressed by Richard’s talent, he got them to sign him. Richard’s first single was called “Every Hour”, and was very much a Billy Wright imitation: [Excerpt: Little Richard, “Every Hour”] It was so close to Wright’s style, in fact, that Wright soon recorded his own knock-off of Richard’s song, “Every Evening”. [Excerpt: Billy Wright, “Every Evening”] At this point Richard was solely a singer — he hadn’t yet started to play an instrument to accompany himself. That changed when he met Esquerita. Esquerita was apparently born Stephen Quincey Reeder, but he was known to everyone as “Eskew” Reeder, after his initials, and that then became Esquerita, partly as a pun on the word “excreta”. Esquerita was another gay black R&B singer with a massive pompadour and a moustache. If Little Richard at this stage looked like a caricature of Billy Wright, Esquerita looked like a caricature of Little Richard. His hair was even bigger, he was even more flamboyant, and when he sang, he screamed even louder. And Esquerita also played the piano. Richard — who has never been unwilling to acknowledge the immense debt he owed to his inspirations — has said for years that Esquerita was the person who taught him how to play the piano, and that not only was his piano-playing style a copy of Esquerita’s, Esquerita was better. It’s hard to tell for sure exactly how much influence Esquerita actually had on Richard’s piano playing, because Esquerita himself didn’t make any records until after Richard did, at which point he was signed to his own record deal to be basically a Little Richard clone, but the records he did make certainly show a remarkable resemblance to Richard’s later style: [Excerpt: Esquerita: “Believe Me When I Say Rock And Roll Is Here To Stay”] Richard soon learned to play piano, and he was seen by Johnny Otis, who was impressed. Otis said: “I see this outrageous person, good-looking and very effeminate, with a big pompadour. He started singing and he was so good. I loved it. He reminded me of Dinah Washington. He did a few things, then he got on the floor. I think he even did a split, though I could be wrong about that. I remember it as being just beautiful, bizarre, and exotic, and when he got through he remarked, “This is Little Richard, King of the Blues,” and then he added, “And the Queen, too!” I knew I liked him then.” Otis recommended Richard to Don Robey, of Peacock Records, and Robey signed Richard and his band the Tempo Toppers. In early 1953, with none of his recordings for RCA having done anything, Little Richard and the Tempo Toppers went into the studio with another group, the Deuces of Rhythm, to record four tracks, issued as two singles: [Excerpt: Little Richard and the Tempo Toppers with the Deuces of Rhythm: “Ain’t That Good News”] None of these singles had any success, and Richard was *not* getting on very well at all with Don Robey. Robey was not the most respectful of people, and Richard let everyone know how badly he thought Robey treated his artists. Robey responded by beating Richard up so badly that he got a hernia which hurt for years and necessitated an operation. Richard would record one more session for Peacock, at the end of the year, when Don Robey gave him to Johnny Otis to handle. Otis took his own band into the studio with Richard, and the four songs they recorded at that session went unreleased at the time, but included a version of “Directly From My Heart To You”, a song Richard would soon rerecord, and another song called “Little Richard’s Boogie”: [Excerpt: Little Richard with Johnny Otis and his Orchestra, “Little Richard’s Boogie”] Nobody was very happy with the recordings, and Richard was dropped by Peacock. He was also, around the same time, made to move away from Macon, Georgia, where he lived, after being arrested for “lewd conduct” — what amounted to consensual voyeurism. And the Tempo Toppers had split up. Richard had been dumped by two record labels, his father had died recently, he had no band, and he wasn’t allowed to live in his home town any more. Things seemed pretty low. But before he’d moved away, Richard had met Lloyd Price, and Price had suggested that Richard send a demo tape in to Specialty Records, Price’s label. The tape lay unlistened at Specialty for months, and it was only because of Richard’s constant pestering for them to listen to it that Bumps Blackwell, who was then in charge of A&R at Specialty, eventually got round to listening to it. This was an enormous piece of good fortune, in a way that neither of them fully realised at the time. Blackwell had been a longtime friend and colleague of Ray Charles. When Charles’ gospel-influenced new sound had started making waves on the charts, Art Rupe, Specialty’s owner, had asked Blackwell to find him a gospel-sounding R&B singer of his own to compete with Ray Charles. Blackwell listened to the tape, which contained two songs, one of which was an early version of “Wonderin'”, and he could tell this was someone with as much gospel in his voice as Ray Charles had: [Excerpt: Little Richard, “Wonderin'”] Blackwell and Rupe made an agreement with Don Robey to buy out his contract for six hundred dollars — one gets the impression that Robey would have paid *them* six hundred dollars to get rid of Richard had they asked him. They knew that Richard liked the music of Fats Domino, and so they decided to hold their first session at Cosimo Matassa’s studio, where Domino recorded, and with the same session musicians that Domino used. Blackwell also brought in two great New Orleans piano players, Huey “Piano” Smith and James Booker, both of whom were players in the same style as Domino. You can hear Smith, for example, on his hit “The Rockin’ Pneumonia and the Boogie-Woogie Flu” from a couple of years later: [Excerpt: Huey “Piano” Smith, “The Rockin’ Pneumonia and the Boogie-Woogie Flu”] All of these people were veterans of sessions either for Domino or for artists who had worked in Domino’s style, like Lloyd Price or Smiley Lewis. The only difference here was that it would be Bumps Blackwell who did the arrangement and production, rather than Dave Bartholomew like on Domino’s records. However, the session didn’t go well at all. Blackwell had heard that Richard was an astounding live act, but he was just doing nothing in the studio. As Blackwell later put it “If you look like Tarzan and sound like Mickey Mouse it just doesn’t work out.” They did record some usable material — “Wonderin'”, which we heard before, came out OK, and they recorded “I’m Just a Lonely, Lonely, Guy” by a young songwriter called Dorothy LaBostrie, which seemed to go OK. They also cut a decent version of “Directly From My Heart to You”, a song which Richard had previously recorded with Johnny Otis: [Excerpt: Little RIchard, “Directly From My Heart to You”] So they had a couple of usable songs, but usable was about all you could say for them. They didn’t have anything that would make an impact, nothing that would live up to Richard’s potential. So Blackwell called a break, and they headed off to get themselves something to eat, at the Dew Drop Inn. And something happened there that would change Little RIchard’s career forever. The Dew Drop Inn had a piano, and it had an audience that Little Richard could show off in front of. He went over to the piano, started hammering the keys, and screamed out: [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] On hearing Richard sing the song he performed then, Bumps Blackwell knew two things pretty much instantly. The first was that that song would definitely be a hit if he could get it released. And the second was that there was no way on Earth that he could possibly put it out. “Tutti Frutti” started as a song that Richard sang more or less as a joke. There is a whole undercurrent of R&B in the fifties which has very, very, sexually explicit lyrics, and I wish I was able to play some of those songs on this podcast without getting it dumped into the adult-only section on iTunes, because some of them are wonderful, and others are hilarious. “Tutti Frutti” in its original form was part of this undercurrent, and had lyrics that were clearly not broadcastable — “A wop bop a loo mop, a good goddam/Tutti Frutti, good booty/If it don’t fit, don’t force it, you can grease it, make it easy”. But Bumps Blackwell thought that there was *something* that could be made into a hit there. Handily, they had a songwriter on hand. Dorothy LaBostrie was a young woman he knew who had been trying to write songs, but who didn’t understand that songs had to have different melodies — all her lyrics were written to the melody of the same song, Dinah Washington’s “Blowtop Blues”: [Excerpt: Dinah Washington, “Blowtop Blues”] But her lyrics had showed promise, and so Blackwell had agreed to record one of her songs, “I’m Just a Lonely Lonely Guy”, with Richard. LaBostrie had been hanging round the studio to see how her song sounded when it was recorded, so Blackwell asked her to do a last-minute rewrite on “Tutti Frutti”, in the hope of getting something salvageable out of what had been a depressing session. But there was still a problem — Richard, not normally a man overly known for his modesty, became embarrassed at singing his song to the young woman. Blackwell explained to him that he really didn’t have much choice, and Richard eventually agreed to sing it to her — but only if he was turned to face the wall, so he couldn’t see this innocent-looking young woman’s face. (I should note here that both Richard and LaBostrie have told different stories about this over the years — both have claimed on several occasions that they were the sole author of the song and that the other didn’t deserve any credit at all. But this is the story as it was told by others who were there.) LaBostrie’s new lyrics were rudimentary at best. “I got a girl named Sue, she knows just what to do”. But they fit the metre, they weren’t about anal sex, and so they were going to be the new lyrics. The session was running late at this point, and when LaBostrie had the lyrics finished there was only fifteen minutes to go. It didn’t matter that the lyrics were trite. What mattered was that they got a track cut to salvage the session. Blackwell didn’t have time to teach the piano players the song, so he got Richard to play the piano himself. They cut the finished track in three takes, and Blackwell went back to California happy he at last had a hit: [Excerpt: Little Richard, “Tutti Frutti”] “Tutti Frutti” was, indeed, a massive hit. It went to number twenty-one on the pop charts. But… you know what comes next. There was an inept white cover version, this time by Pat Boone. [excerpt: Pat Boone, “Tutti Frutti”] Now, notice that there, Boone changes the lyrics. In Richard’s version, after all, he seems interested in both Sue and Daisy. A good Christian boy like Pat Boone couldn’t be heard singing about such immorality. That one-line change (and a couple of other spot changes to individual words to make things into full sentences) seems to be why a songwriter called Joe Lubin is also credited for the song. Getting a third of a song like “Tutti Frutti” for that little work sounds like a pretty good deal, at least for Lubin, if not for Richard. Another way in which Richard got less than he deserved was that the publishing was owned by a company owned by Art Rupe. That company licensed the song to Specialty Records for half the normal mechanical licensing rate — normally a publishing company would charge two cents per record pressed for their songs, but instead Specialty only had to pay one cent. This sort of cross-collateralisation was common with independent labels at the time, but it still rankled to Richard when he figured it out. Not that he was thinking about contracts at all at this point. He was becoming a huge star, and that meant he had to *break* a lot of contracts. He’d got concert bookings for several months ahead, but those bookings were in second-rate clubs, and he had to be in Hollywood to promote his new record and build a new career. But he also didn’t want to get a reputation for missing gigs. There was only one thing to do — hire an impostor to be Little Richard at these low-class gigs. So while Richard went off to promote his record, another young singer from Georgia with a pompadour and a gospel feel was being introduced with the phrase “Ladies and gentlemen—the hardest-working man in showbusiness today—Little Richard!” When James Brown went back to performing under his own name, he kept that introduction… Meanwhile, Richard was working on his second hit record. He and Blackwell decided that this record should be louder, faster, and more raucous than “Tutti Frutti” had been. If Pat Boone wanted to cover this one, he’d have to work a lot harder than he had previously. The basis for “Long Tall Sally” came from a scrap of lyric written by a teenage girl. Enotris Johnson had written a single verse of lyric on a scrap of paper, and had walked many miles to New Orleans to show the lyric to a DJ named Honey Chile. (Bumps Blackwell describes her as having walked from Opelousas, Mississippi, but there’s no such place — Johnson appears to have lived in Bogalusa, Louisiana). Johnson wanted to make enough money to pay for hospital for her sick aunt — the “Aunt Mary” in the song, and thought that Little Richard might sing the song and get her the money. What she had was only a few lines, but Honey Chile had taken Johnson on as a charity project, and Blackwell didn’t want to disappoint such an influential figure, so he and Richard hammered something together: [Excerpt: Little Richard, “Long Tall Sally”] The song, about a “John” who “jumps back in the alley” when he sees his wife coming while he’s engaged in activities of an unspecified nature with “Sally”, who is long, tall, and bald, once again stays just on the broadcastable side of the line, while implying sex of a non-heteronormative variety, possibly with a sex worker. Despite this, and despite the attempts to make the song uncoverably raucous, Pat Boone still sold a million copies with his cover version: [Excerpt: Pat Boone, “Long Tall Sally”] So Little Richard had managed to get that good clean-cut wholesome Christian white boy Pat Boone singing songs which gave him a lot more to worry about than whether he was singing “Ain’t” rather than “Isn’t”. But he was also becoming a big star himself — and he was getting an ego to go along with it. And he was starting to worry whether he should be making this devil music at all. When we next look at Little Richard, we’ll see just how the combination of self-doubt and ego led to his greatest successes and to the collapse of his career.  

Actual vikings didn't really have horns on their helmets. It's just a myth that we all believe.

Actual vikings didn't really have horns on their helmets. It's just a myth that we all believe.

SLIM HARPO /ARTHUR WILLIAMS Playlist SLIM HARPO 1- Please don´t turn me down 2- What a dream 3- I´m a king bee 4- Rainin in my heart 5- Wonderin and worryn 6- I love the life I´m living ARTHUR WILLIAMS 1- Mother in law blues 2- Mean old world 3- Mama talk to your daugther 4- One room country shack 5- Ain´t goin back to east St. Louis 6- Goin to Memphis

SLIM HARPO /ARTHUR WILLIAMS Playlist SLIM HARPO 1- Please don´t turn me down 2- What a dream 3- I´m a king bee 4- Rainin in my heart 5- Wonderin and worryn 6- I love the life I´m living ARTHUR WILLIAMS 1- Mother in law blues 2- Mean old world 3- Mama talk to your daugther 4- One room country shack 5- Ain´t goin back to east St. Louis 6- Goin to Memphis

Lautapelioppaan uutuushylly uudistuu. Tällä kertaa ei porhalleta läpi tukevan pelikasan, vaan keskitytään pariin peliin. Teemana on kaupunginrakennus ja sen puitteissa esitellään Days of Wonderin uusi Quadropolis ja Tasty Minstrelin pieni korttipeli Flip City. Mukana myös Tuomo Pekkanen ja Lautapelioppaan uutiset. Tunnusmusiikki: Kevin MacLeod: Fretless (remix). incompetech.com, CC BY-SA

Cool song by Neil Young-Wonderin' From the 2010 archives

00:00:00 - Massimo Pigliucci returns to the show to talk about his new book, Answers for Aristotle. Part 1 of our interview barely scratches the surface for how science and philosophy (aka SciPhy) can help YOU answer some of life's biggest questions. 00:27:49 - In our estimation, one of the big questions of life is, "What are you drinking?" Kelly answers with a Cabernet Sauvignon. Ryan has a multivariate cocktail including some barrel-aged gin from Smooth Ambler, some homemade tonic water using a Sodastream and Jack Rudy tonic syrup, and, of course, a splash of lime. Jacob kicks back Hofbräu Dunkel. 00:35:06 - Jacob announces a new, and hopefully more scientific direction, for Trailer Trash Talk for 2013, beginning with Tom Cruise's latest scientifical sci-fi flick Oblivion. 00:49:56 - Part 2 of our interview with Massimo begins with Jacob getting us off topic on science philosophy and science literacy. Plus some of the specifics for finding your own eudaimonia. Make sure you read Ryan's review of the book and buy your own copy! Thanks again to Massimo for giving us some of his time and make sure to check out his own blog and podcast! 01:24:53 - PaleoPOWs are quite philosophical, in that the uninformed don't quite get the point, but trust us, it matters. Kelly kicks off with an iTunes review from Tzeros who assaults our comedy chops, but after giving us 5-stars we don't really care what the words are. Ryan is rapturous thanks to a donation from Cameron L. Thanks, Cameron! And Jacob closes us out with a Facebook comment via James C. regarding a Vonnegut misremembering, which Jacob deleted like a punk, so now James is in charge of Jacob's admin status. Take him down, James!   Thanks for listening and be sure to check out the Brachiolope Media Network for more great science podcasts!   Music for this week's show provided by: Feelin' Alright - Sweatshop Union Love is Like a Bottle of Gin - The Magnetic Fields Inside Out - Eve 6 Washin' + Wonderin' - Stroke 9