Podcasts about The Wrecking Crew

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Best podcasts about The Wrecking Crew

Latest podcast episodes about The Wrecking Crew

The Commute with Carlson
November 10, 2022 show

The Commute with Carlson

Play Episode Listen Later Nov 10, 2022 112:11


Hour 1 -- looking for upside in the Republicans lackluster mid-term election performance, looking more likely that Georgia US Senate race will determine control of the US Senate, what the late arriving ballots say about Republican candidates, the continuing saga about ranked choice voting in Seattle and Alaska, GUEST: Yakima ER doctor, Raul Garcia M.D. , tells KVI that conservatives "have to stand up and say 'its not OK'" when schools are closed for COVID and ferries don't run on time because too many WA voters are showing they're accepting these governmental failures, why one party rule doesn't work (and why WA is suffering from this), new gun control law red tape is colliding with under-staffed police and sheriff's offices in Oregon. Hour 2 -- the over-looked musical history (and impressive resume) of guitarist Tommy Tedesco (part of The Wrecking Crew), shooting murder at Seattle high school revives questions about why Seattle cut-off its program for on-campus police officers (SROs), the status of the two 14-year-olds now charged with the shooting murder of a classmate on campus at Ingraham HS, Seattle Ingraham HS teacher makes bizarre gun control post as murderous shooting plays out on campus, KVI's John Carlson is challenged to read a Gov. Jay Inslee press release about why Inslee's attending the latest international climate change conference in Egypt, MSNBC co-host suggests John Fetterman could be Presidential timber and fellow panelist giggles at the suggestion, Hour 3 -- US Senate status as more election returns trickle in and why the Georgia election will likely decide majority control, three things Donald Trump has done this week that are hurting future chances for Republicans, the incomprehensible Trump attack(s) on Ron DeSantis, MSNBC guest complains about Georgia voter suppression as record amount of voters and African-American voters cast their ballots, Seattle's favorite socialist--Kshama Sawant--wants Amazon to pay for free abortions, a KVI caller sparks a longer conversation about Trump's possible negative impact on the 2024 election, the co-founder and guitarist of Alabama passed away at age 73 at home with family by his side (no cause of death given).

Watching Classic Movies
Talking the Anna May Wong Quarter and The Trailblazing Star's Legacy with Author Paula Yoo

Watching Classic Movies

Play Episode Listen Later Nov 2, 2022 36:40


My guest, Paula Yoo is a screenwriter, producer, violinist and author of several books for young readers including the gorgeous picture book Shining Star: The Anna May Wong Story, with illustrations by Lin Wang. We talked about the significance of the new quarter featuring Wong, the first Asian American to be on US currency, her difficult, but fruitful career as a movie actress and how her story relates to the challenges we face as a society today. Learn more about Paula Yoo's books on her official site The official US Mint page for the Anna May Wong Quarter Films discussed: Picadilly (1929) The Toll of the Sea (1922) Other recommended films featuring Anna May Wong: Drifting (1923) The Thief of Bagdad (1924) Shanghai Express (1932) A Study in Scarlet (1933) Dangerous to Know (1938) Lady from Chungking (1942) Watching Classic Movies Reels featuring Asian American stars from Classic Hollywood: Nancy Kwan in The Wrecking Crew (1968) Nancy Kwan in The Wild Affair (1965) Anna May Wong in Shanghai Express (1932) Toshia Mori in Blondie Johnson (1933) Reiko Sato and James Shigeta in Flower Drum Song (1961) The show is available on Spotify, PocketCasts, Breaker, Stitcher, Anchor, Google, Radio Public, and YouTube. Watching Classic Movies podcast is also available on Apple Podcasts! If you are enjoying the show, please give it a 5-star review and share it with your friends. Like the podcast? Want to hear more frequent episodes? Subscriptions are as low as 99 cents a month, click on the Support button here. --- Support this podcast: https://anchor.fm/k-cruver/support

The Vinyl Guide
Ep362: Leland Sklar - The Immediate Family

The Vinyl Guide

Play Episode Listen Later Oct 31, 2022 77:13


Leland Sklar has played on thousands of sessions and hundreds of hit records - from Phil Collins, to Jackson Browne, to David Bowie to Toto and more. Today Leland, along with film director Denny Tedesco, talk records, music stories and the new film "The Immediate Family". Topics include: Leland is punctual Does Leland have a record collection? Denny's dad Tommy didn't listen to music at home Leland's ability to listen for enjoyment The best acoustic hall Leland has played The acoustics of Carnegie Hall Leland's preference for touring or studio work Finding time w all members of The Immediate Family The impacts of The Immediate Family film Going from a sideman to main focus with The Immediate Family Leland's experience with original The Wrecking Crew How Leland got into being a studio musician Backing musicians getting their names on records was a gamechanger The Wrecking Crew's names were not on records What tours or sessions was Leland offered that he regrettably turned down Studio sessions vs recordings from home and sending in tracks What are some of the tougher situations Leland gets hired for? Any songs or albums that Leland would like to revisit? Hearing recordings he was on but didn't recognize Frustrations of the music business Memories with Frank Zappa How many Beatles has Leland worked with? Memories with John Entwistle Experiences with Jazz legends What bass players get up to when they're not playing Memories with Eddie Van Halen Memories with Billy Thorpe Memories of recording Billy Cobham Spectrum How to see The Immediate Family documentary film Interview wrap up See The Immediate Family Trailer / get screening tickets here Extended, High-resolution & Commercial Free version AND VIDEO of this interview available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8 Follow our Podcast: https://linktr.ee/vinylguide Facebook: www.Facebook.com/VinylGuide Instagram: www.Instagram.com/VinylGuide Support our show: www.Patreon.com/VinylGuide If you like records, just starting a collection or are an uber-nerd with a house-full of vinyl, this is the podcast for you. Nate Goyer is The Vinyl Guide and discusses all things music and record-related

Rock & Roll Nightmares
Waddy Wachtel: Immediate Family, Stevie Nicks, & Werewolves of London

Rock & Roll Nightmares

Play Episode Listen Later Oct 27, 2022 58:14


Staci and cohost Andy Garrison talk to guitarist, songwriter, producer, and session-man Waddy Wachtel, who is known for lending his talents to artists including Kim Carnes, Linda Ronstadt, The Rolling Stones, Keith Richards, Warren Zevon, and, most notably, Stevie Nicks. Waddy talks about working with those superstars and more, including giving us the scoop on the upcoming documentary, "Immediate Family" directed by Denny Tedesco, who did the amazing documentary on the Wrecking Crew. Also, Staci and Andy talk about their collaboration on the audiobook, “Rock & Roll Nightmares: True Stories, Vol 1” and share an excerpt about Pink Floyd's Syd Barrett.

A History Of Rock Music in Five Hundred Songs
Episode 156: “I Was Made to Love Her” by Stevie Wonder

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Oct 25, 2022


Episode one hundred and fifty-six of A History of Rock Music in Five Hundred Songs looks at “I Was Made to Love Her", the early career of Stevie Wonder, and the Detroit riots of 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Groovin'" by the Young Rascals. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud playlist of all the recordings excerpted in this episode. The best value way to get all of Stevie Wonder's early singles is this MP3 collection, which has the original mono single mixes of fifty-five tracks for a very reasonable price. For those who prefer physical media, this is a decent single-CD collection of his early work at a very low price indeed. As well as the general Motown information listed below, I've also referred to Signed, Sealed, and Delivered: The Soulful Journey of Stevie Wonder by Mark Ribowsky, which rather astonishingly is the only full-length biography of Wonder, to Higher Ground: Stevie Wonder, Aretha Franklin, Curtis Mayfield, and the Rise and Fall of American Soul by Craig Werner, and to Detroit 67: The Year That Changed Soul by Stuart Cosgrove. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. Standing in the Shadows of Motown: The Life and Music of Legendary Bassist James Jamerson by "Dr Licks" is a mixture of a short biography of the great bass player, and tablature of his most impressive bass parts. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode deals with disability and racism, and also deals from the very beginning with sex work and domestic violence. It also has some discussion of police violence and sexual assault. As always I will try to deal with those subjects as non-judgementally and sensitively as possible, but if you worry that anything about those subjects might disturb you, please check the transcript. Calvin Judkins was not a good man. Lula Mae Hardaway thought at first he might be, when he took her in, with her infant son whose father had left before the boy was born. He was someone who seemed, when he played the piano, to be deeply sensitive and emotional, and he even did the decent thing and married her when he got her pregnant. She thought she could save him, even though he was a street hustler and not even very good at it, and thirty years older than her -- she was only nineteen, he was nearly fifty. But she soon discovered that he wasn't interested in being saved, and instead he was interested in hurting her. He became physically and financially abusive, and started pimping her out. Lula would eventually realise that Calvin Judkins was no good, but not until she got pregnant again, shortly after the birth of her second son. Her third son was born premature -- different sources give different numbers for how premature, with some saying four months and others six weeks -- and while he apparently went by Stevland Judkins throughout his early childhood, the name on his birth certificate was apparently Stevland Morris, Lula having decided not to give another child the surname of her abuser, though nobody has ever properly explained where she got the surname "Morris" from. Little Stevland was put in an incubator with an oxygen mask, which saved the tiny child's life but destroyed his sight, giving him a condition called retinopathy of prematurity -- a condition which nowadays can be prevented and cured, but in 1951 was just an unavoidable consequence for some portion of premature babies. Shortly after the family moved from Saginaw to Detroit, Lula kicked Calvin out, and he would remain only a peripheral figure in his children's lives, but one thing he did do was notice young Stevland's interest in music, and on his increasingly infrequent visits to his wife and kids -- visits that usually ended with violence -- he would bring along toy instruments for the young child to play, like a harmonica and a set of bongos. Stevie was a real prodigy, and by the time he was nine he had a collection of real musical instruments, because everyone could see that the kid was something special. A neighbour who owned a piano gave it to Stevie when she moved out and couldn't take it with her. A local Lions Club gave him a drum kit at a party they organised for local blind children, and a barber gave him a chromatic harmonica after seeing him play his toy one. Stevie gave his first professional performance when he was eight. His mother had taken him to a picnic in the park, and there was a band playing, and the little boy got as close to the stage as he could and started dancing wildly. The MC of the show asked the child who he was, and he said "My name is Stevie, and I can sing and play drums", so of course they got the cute kid up on stage behind the drum kit while the band played Johnny Ace's "Pledging My Love": [Excerpt: Johnny Ace, "Pledging My Love"] He did well enough that they paid him seventy-five cents -- an enormous amount for a small child at that time -- though he was disappointed afterwards that they hadn't played something faster that would really allow him to show off his drumming skills. After that he would perform semi-regularly at small events, and always ask to be paid in quarters rather than paper money, because he liked the sound of the coins -- one of his party tricks was to be able to tell one coin from another by the sound of them hitting a table. Soon he formed a duo with a neighbourhood friend, John Glover, who was a couple of years older and could play guitar while Stevie sang and played harmonica and bongos. The two were friends, and both accomplished musicians for their age, but that wasn't the only reason Stevie latched on to Glover. Even as young as he was, he knew that Motown was soon going to be the place to be in Detroit if you were a musician, and Glover had an in -- his cousin was Ronnie White of the Miracles. Stevie and John performed as a duo everywhere they could and honed their act, performing particularly at the talent shows which were such an incubator of Black musical talent at the time, and they also at this point seem to have got the attention of Clarence Paul, but it was White who brought the duo to Motown. Stevie and John first played for White and Bobby Rodgers, another of the Miracles, then when they were impressed they took them through the several layers of Motown people who would have to sign off on signing a new act. First they were taken to see Brian Holland, who was a rising star within Motown as "Please Mr. Postman" was just entering the charts. They impressed him with a performance of the Miracles song "Bad Girl": [Excerpt: The Miracles, "Bad Girl"] After that, Stevie and John went to see Mickey Stevenson, who was at first sceptical, thinking that a kid so young -- Stevie was only eleven at the time -- must be some kind of novelty act rather than a serious musician. He said later "It was like, what's next, the singing mouse?" But Stevenson was won over by the child's talent. Normally, Stevenson had the power to sign whoever he liked to the label, but given the extra legal complications involved in signing someone under-age, he had to get Berry Gordy's permission. Gordy didn't even like signing teenagers because of all the extra paperwork that would be involved, and he certainly wasn't interested in signing pre-teens. But he came down to the studio to see what Stevie could do, and was amazed, not by his singing -- Gordy didn't think much of that -- but by his instrumental ability. First Stevie played harmonica and bongos as proficiently as an adult professional, and then he made his way around the studio playing on every other instrument in the place -- often only a few notes, but competent on them all. Gordy decided to sign the duo -- and the initial contract was for an act named "Steve and John" -- but it was soon decided to separate them. Glover would be allowed to hang around Motown while he was finishing school, and there would be a place for him when he finished -- he later became a staff songwriter, working on tracks for the Four Tops and the Miracles among others, and he would even later write a number one hit, "You Don't Have to be a Star (to be in My Show)" for Marilyn McCoo and Billy Davis Jr -- but they were going to make Stevie a star right now. The man put in charge of that was Clarence Paul. Paul, under his birth name of Clarence Pauling, had started his career in the "5" Royales, a vocal group he formed with his brother Lowman Pauling that had been signed to Apollo Records by Ralph Bass, and later to King Records. Paul seems to have been on at least some of the earliest recordings by the group, so is likely on their first single, "Give Me One More Chance": [Excerpt: The "5" Royales, "Give Me One More Chance"] But Paul was drafted to go and fight in the Korean War, and so wasn't part of the group's string of hit singles, mostly written by his brother Lowman, like "Think", which later became better known in James Brown's cover version, or "Dedicated to the One I Love", later covered by the Shirelles, but in its original version dominated by Lowman's stinging guitar playing: [Excerpt: The "5" Royales, "Dedicated to the One I Love"] After being discharged, Clarence had shortened his name to Clarence Paul, and had started recording for all the usual R&B labels like Roulette and Federal, with little success: [Excerpt: Clarence Paul, "I'm Gonna Love You, Love You Til I Die"] He'd also co-written "I Need Your Lovin'", which had been an R&B hit for Roy Hamilton: [Excerpt: Roy Hamilton, "I Need Your Lovin'"] Paul had recently come to work for Motown – one of the things Berry Gordy did to try to make his label more attractive was to hire the relatives of R&B stars on other labels, in the hopes of getting them to switch to Motown – and he was the new man on the team, not given any of the important work to do. He was working with acts like Henry Lumpkin and the Valladiers, and had also been the producer of "Mind Over Matter", the single the Temptations had released as The Pirates in a desperate attempt to get a hit: [Excerpt: The Pirates, "Mind Over Matter"] Paul was the person you turned to when no-one else was interested, and who would come up with bizarre ideas. A year or so after the time period we're talking about, it was him who produced an album of country music for the Supremes, before they'd had a hit, and came up with "The Man With the Rock and Roll Banjo Band" for them: [Excerpt: The Supremes, "The Man With The Rock and Roll Banjo Band"] So, Paul was the perfect person to give a child -- by this time twelve years old -- who had the triple novelties of being a multi-instrumentalist, a child, and blind. Stevie started spending all his time around the Motown studios, partly because he was eager to learn everything about making records and partly because his home life wasn't particularly great and he wanted to be somewhere else. He earned the affection and irritation, in equal measure, of people at Motown both for his habit of wandering into the middle of sessions because he couldn't see the light that showed that the studio was in use, and for his practical joking. He was a great mimic, and would do things like phoning one of the engineers and imitating Berry Gordy's voice, telling the engineer that Stevie would be coming down, and to give him studio equipment to take home. He'd also astonish women by complimenting them, in detail, on their dresses, having been told in advance what they looked like by an accomplice. But other "jokes" were less welcome -- he would regularly sexually assault women working at Motown, grabbing their breasts or buttocks and then claiming it was an accident because he couldn't see what he was doing. Most of the women he molested still speak of him fondly, and say everybody loved him, and this may even be the case -- and certainly I don't think any of us should be judged too harshly for what we did when we were twelve -- but this kind of thing led to a certain amount of pressure to make Stevie's career worth the extra effort he was causing everyone at Motown. Because Berry Gordy was not impressed with Stevie's vocals, the decision was made to promote him as a jazz instrumentalist, and so Clarence Paul insisted that his first release be an album, rather than doing what everyone would normally do and only put out an album after a hit single. Paul reasoned that there was no way on Earth they were going to be able to get a hit single with a jazz instrumental by a twelve-year-old kid, and eventually persuaded Gordy of the wisdom of this idea. So they started work on The Jazz Soul of Little Stevie, released under his new stagename of Little Stevie Wonder, supposedly a name given to him after Berry Gordy said "That kid's a wonder!", though Mickey Stevenson always said that the name came from a brainstorming session between him and Clarence Paul. The album featured Stevie on harmonica, piano, and organ on different tracks, but on the opening track, "Fingertips", he's playing the bongos that give the track its name: [Excerpt: Little Stevie Wonder, "Fingertips (studio version)"] The composition of that track is credited to Paul and the arranger Hank Cosby, but Beans Bowles, who played flute on the track, always claimed that he came up with the melody, and it seems quite likely to me that most of the tracks on the album were created more or less as jam sessions -- though Wonder's contributions were all overdubbed later. The album sat in the can for several months -- Berry Gordy was not at all sure of its commercial potential. Instead, he told Paul to go in another direction -- focusing on Wonder's blindness, he decided that what they needed to do was create an association in listeners' minds with Ray Charles, who at this point was at the peak of his commercial power. So back into the studio went Wonder and Paul, to record an album made up almost entirely of Ray Charles covers, titled Tribute to Uncle Ray. (Some sources have the Ray Charles tribute album recorded first -- and given Motown's lax record-keeping at this time it may be impossible to know for sure -- but this is the way round that Mark Ribowsky's biography of Wonder has it). But at Motown's regular quality control meeting it was decided that there wasn't a single on the album, and you didn't release an album like that without having a hit single first. By this point, Clarence Paul was convinced that Berry Gordy was just looking for excuses not to do anything with Wonder -- and there may have been a grain of truth to that. There's some evidence that Gordy was worried that the kid wouldn't be able to sing once his voice broke, and was scared of having another Frankie Lymon on his hands. But the decision was made that rather than put out either of those albums, they would put out a single. The A-side was a song called "I Call it Pretty Music But the Old People Call it the Blues, Part 1", which very much played on Wonder's image as a loveable naive kid: [Excerpt: Little Stevie Wonder, "I Call it Pretty Music But the Old People Call it the Blues, Part 1"] The B-side, meanwhile, was part two -- a slowed-down, near instrumental, version of the song, reframed as an actual blues, and as a showcase for Wonder's harmonica playing rather than his vocals. The single wasn't a hit, but it made number 101 on the Billboard charts, just missing the Hot One Hundred, which for the debut single of a new artist wasn't too bad, especially for Motown at this point in time, when most of its releases were flopping. That was good enough that Gordy authorised the release of the two albums that they had in the can. The next single, "Little Water Boy", was a rather baffling duet with Clarence Paul, which did nothing at all on the charts. [Excerpt: Clarence Paul and Little Stevie Wonder, "Little Water Boy"] After this came another flop single, written by Brian Holland, Lamont Dozier, and Janie Bradford, before the record that finally broke Little Stevie Wonder out into the mainstream in a big way. While Wonder hadn't had a hit yet, he was sent out on the first Motortown Revue tour, along with almost every other act on the label. Because he hadn't had a hit, he was supposed to only play one song per show, but nobody had told him how long that song should be. He had quickly become a great live performer, and the audiences were excited to watch him, so when he went into extended harmonica solos rather than quickly finishing the song, the audience would be with him. Clarence Paul, who came along on the tour, would have to motion to the onstage bandleader to stop the music, but the bandleader would know that the audiences were with Stevie, and so would just keep the song going as long as Stevie was playing. Often Paul would have to go on to the stage and shout in Wonder's ear to stop playing -- and often Wonder would ignore him, and have to be physically dragged off stage by Paul, still playing, causing the audience to boo Paul for stopping him from playing. Wonder would complain off-stage that the audience had been enjoying it, and didn't seem to get it into his head that he wasn't the star of the show, that the audiences *were* enjoying him, but were *there* to see the Miracles and Mary Wells and the Marvelettes and Marvin Gaye. This made all the acts who had to go on after him, and who were running late as a result, furious at him -- especially since one aspect of Wonder's blindness was that his circadian rhythms weren't regulated by sunlight in the same way that the sighted members of the tour's were. He would often wake up the entire tour bus by playing his harmonica at two or three in the morning, while they were all trying to sleep. Soon Berry Gordy insisted that Clarence Paul be on stage with Wonder throughout his performance, ready to drag him off stage, so that he wouldn't have to come out onto the stage to do it. But one of the first times he had done this had been on one of the very first Motortown Revue shows, before any of his records had come out. There he'd done a performance of "Fingertips", playing the flute part on harmonica rather than only playing bongos throughout as he had on the studio version -- leaving the percussion to Marvin Gaye, who was playing drums for Wonder's set: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] But he'd extended the song with a little bit of call-and-response vocalising: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] After the long performance ended, Clarence Paul dragged Wonder off-stage and the MC asked the audience to give him a round of applause -- but then Stevie came running back on and carried on playing: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] By this point, though, the musicians had started to change over -- Mary Wells, who was on after Wonder, was using different musicians from his, and some of her players were already on stage. You can hear Joe Swift, who was playing bass for Wells, asking what key he was meant to be playing in: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] Eventually, after six and a half minutes, they got Wonder off stage, but that performance became the two sides of Wonder's next single, with "Fingertips Part 2", the part with the ad lib singing and the false ending, rather than the instrumental part one, being labelled as the side the DJs should play. When it was released, the song started a slow climb up the charts, and by August 1963, three months after it came out, it was at number one -- only the second ever Motown number one, and the first ever live single to get there. Not only that, but Motown released a live album -- Recorded Live, the Twelve-Year-Old Genius (though as many people point out he was thirteen when it was released -- he was twelve when it was recorded though) and that made number one on the albums chart, becoming the first Motown album ever to do so. They followed up "Fingertips" with a similar sounding track, "Workout, Stevie, Workout", which made number thirty-three. After that, his albums -- though not yet his singles -- started to be released as by "Stevie Wonder" with no "Little" -- he'd had a bit of a growth spurt and his voice was breaking, and so marketing him as a child prodigy was not going to work much longer and they needed to transition him into a star with adult potential. In the Motown of 1963 that meant cutting an album of standards, because the belief at the time in Motown was that the future for their entertainers was doing show tunes at the Copacabana. But for some reason the audience who had wanted an R&B harmonica instrumental with call-and-response improvised gospel-influenced yelling was not in the mood for a thirteen year old singing "Put on a Happy Face" and "When You Wish Upon a Star", and especially not when the instrumental tracks were recorded in a key that suited him at age twelve but not thirteen, so he was clearly straining. "Fingertips" being a massive hit also meant Stevie was now near the top of the bill on the Motortown Revue when it went on its second tour. But this actually put him in a precarious position. When he had been down at the bottom of the bill and unknown, nobody expected anything from him, and he was following other minor acts, so when he was surprisingly good the audiences went wild. Now, near the top of the bill, he had to go on after Marvin Gaye, and he was not nearly so impressive in that context. The audiences were polite enough, but not in the raptures he was used to. Although Stevie could still beat Gaye in some circumstances. At Motown staff parties, Berry Gordy would always have a contest where he'd pit two artists against each other to see who could win the crowd over, something he thought instilled a fun and useful competitive spirit in his artists. They'd alternate songs, two songs each, and Gordy would decide on the winner based on audience response. For the 1963 Motown Christmas party, it was Stevie versus Marvin. Wonder went first, with "Workout, Stevie, Workout", and was apparently impressive, but then Gaye topped him with a version of "Hitch-Hike". So Stevie had to top that, and apparently did, with a hugely extended version of "I Call it Pretty Music", reworked in the Ray Charles style he'd used for "Fingertips". So Marvin Gaye had to top that with the final song of the contest, and he did, performing "Stubborn Kind of Fellow": [Excerpt: Marvin Gaye, "Stubborn Kind of Fellow"] And he was great. So great, it turned the crowd against him. They started booing, and someone in the audience shouted "Marvin, you should be ashamed of yourself, taking advantage of a little blind kid!" The crowd got so hostile Berry Gordy had to stop the performance and end the party early. He never had another contest like that again. There were other problems, as well. Wonder had been assigned a tutor, a young man named Ted Hull, who began to take serious control over his life. Hull was legally blind, so could teach Wonder using Braille, but unlike Wonder had some sight -- enough that he was even able to get a drivers' license and a co-pilot license for planes. Hull was put in loco parentis on most of Stevie's tours, and soon became basically inseparable from him, but this caused a lot of problems, not least because Hull was a conservative white man, while almost everyone else at Motown was Black, and Stevie was socially liberal and on the side of the civil rights and anti-Vietnam movements. Hull started to collaborate on songwriting with Wonder, which most people at Motown were OK with but which now seems like a serious conflict of interest, and he also started calling himself Stevie's "manager" -- which did *not* impress the people at Motown, who had their own conflict of interest because with Stevie, like with all their artists, they were his management company and agents as well as his record label and publishers. Motown grudgingly tolerated Hull, though, mostly because he was someone they could pass Lula Mae Hardaway to to deal with her complaints. Stevie's mother was not very impressed with the way that Motown were handling her son, and would make her opinion known to anyone who would listen. Hull and Hardaway did not get on at all, but he could be relied on to save the Gordy family members from having to deal with her. Wonder was sent over to Europe for Christmas 1963, to perform shows at the Paris Olympia and do some British media appearances. But both his mother and Hull had come along, and their clear dislike for each other was making him stressed. He started to get pains in his throat whenever he sang -- pains which everyone assumed were a stress reaction to the unhealthy atmosphere that happened whenever Hull and his mother were in the same room together, but which later turned out to be throat nodules that required surgery. Because of this, his singing was generally not up to standard, which meant he was moved to a less prominent place on the bill, which in turn led to his mother accusing the Gordy family of being against him and trying to stop him becoming a star. Wonder started to take her side and believe that Motown were conspiring against him, and at one point he even "accidentally" dropped a bottle of wine on Ted Hull's foot, breaking one of his toes, because he saw Hull as part of the enemy that was Motown. Before leaving for those shows, he had recorded the album he later considered the worst of his career. While he was now just plain Stevie on albums, he wasn't for his single releases, or in his first film appearance, where he was still Little Stevie Wonder. Berry Gordy was already trying to get a foot in the door in Hollywood -- by the end of the decade Motown would be moving from Detroit to LA -- and his first real connections there were with American International Pictures, the low-budget film-makers who have come up a lot in connection with the LA scene. AIP were the producers of the successful low-budget series of beach party films, which combined appearances by teen heartthrobs Frankie Avalon and Annette Funicello in swimsuits with cameo appearances by old film stars fallen on hard times, and with musical performances by bands like the Bobby Fuller Four. There would be a couple of Motown connections to these films -- most notably, the Supremes would do the theme tune for Dr. Goldfoot and the Bikini Machine -- but Muscle Beach Party was to be the first. Most of the music for Muscle Beach Party was written by Brian Wilson, Roger Christian, and Gary Usher, as one might expect for a film about surfing, and was performed by Dick Dale and the Del-Tones, the film's major musical guests, with Annette, Frankie, and Donna Loren [pron Lorren] adding vocals, on songs like "Muscle Bustle": [Excerpt: Donna Loren with Dick Dale and the Del-Tones, "Muscle Bustle"] The film followed the formula in every way -- it also had a cameo appearance by Peter Lorre, his last film appearance before his death, and it featured Little Stevie Wonder playing one of the few songs not written by the surf and car writers, a piece of nothing called "Happy Street". Stevie also featured in the follow-up, Bikini Beach, which came out a little under four months later, again doing a single number, "Happy Feelin'". To cash in on his appearances in these films, and having tried releasing albums of Little Stevie as jazz multi-instrumentalist, Ray Charles tribute act, live soulman and Andy Williams-style crooner, they now decided to see if they could sell him as a surf singer. Or at least, as Motown's idea of a surf singer, which meant a lot of songs about the beach and the sea -- mostly old standards like "Red Sails in the Sunset" and "Ebb Tide" -- backed by rather schlocky Wrecking Crew arrangements. And this is as good a place as any to take on one of the bits of disinformation that goes around about Motown. I've addressed this before, but it's worth repeating here in slightly more detail. Carol Kaye, one of the go-to Wrecking Crew bass players, is a known credit thief, and claims to have played on hundreds of records she didn't -- claims which too many people take seriously because she is a genuine pioneer and was for a long time undercredited on many records she *did* play on. In particular, she claims to have played on almost all the classic Motown hits that James Jamerson of the Funk Brothers played on, like the title track for this episode, and she claims this despite evidence including notarised statements from everyone involved in the records, the release of session recordings that show producers talking to the Funk Brothers, and most importantly the evidence of the recordings themselves, which have all the characteristics of the Detroit studio and sound like the Funk Brothers playing, and have absolutely nothing in common, sonically, with the records the Wrecking Crew played on at Gold Star, Western, and other LA studios. The Wrecking Crew *did* play on a lot of Motown records, but with a handful of exceptions, mostly by Brenda Holloway, the records they played on were quickie knock-off album tracks and potboiler albums made to tie in with film or TV work -- soundtracks to TV specials the acts did, and that kind of thing. And in this case, the Wrecking Crew played on the entire Stevie at the Beach album, including the last single to be released as by "Little Stevie Wonder", "Castles in the Sand", which was arranged by Jack Nitzsche: [Excerpt: Little Stevie Wonder, "Castles in the Sand"] Apparently the idea of surfin' Stevie didn't catch on any more than that of swingin' Stevie had earlier. Indeed, throughout 1964 and 65 Motown seem to have had less than no idea what they were doing with Stevie Wonder, and he himself refers to all his recordings from this period as an embarrassment, saving particular scorn for the second single from Stevie at the Beach, "Hey Harmonica Man", possibly because that, unlike most of his other singles around this point, was a minor hit, reaching number twenty-nine on the charts. Motown were still pushing Wonder hard -- he even got an appearance on the Ed Sullivan Show in May 1964, only the second Motown act to appear on it after the Marvelettes -- but Wonder was getting more and more unhappy with the decisions they were making. He loathed the Stevie at the Beach album -- the records he'd made earlier, while patchy and not things he'd chosen, were at least in some way related to his musical interests. He *did* love jazz, and he *did* love Ray Charles, and he *did* love old standards, and the records were made by his friend Clarence Paul and with the studio musicians he'd grown to know in Detroit. But Stevie at the Beach was something that was imposed on Clarence Paul from above, it was cut with unfamiliar musicians, Stevie thought the films he was appearing in were embarrassing, and he wasn't even having much commercial success, which was the whole point of these compromises. He started to get more rebellious against Paul in the studio, though many of these decisions weren't made by Paul, and he would complain to anyone who would listen that if he was just allowed to do the music he wanted to sing, the way he wanted to sing it, he would have more hits. But for nine months he did basically no singing other than that Ed Sullivan Show appearance -- he had to recover from the operation to remove the throat nodules. When he did return to the studio, the first single he cut remained unreleased, and while some stuff from the archives was released between the start of 1964 and March 1965, the first single he recorded and released after the throat nodules, "Kiss Me Baby", which came out in March, was a complete flop. That single was released to coincide with the first Motown tour of Europe, which we looked at in the episode on "Stop! In the Name of Love", and which was mostly set up to promote the Supremes, but which also featured Martha and the Vandellas, the Miracles, and the Temptations. Even though Stevie had not had a major hit in eighteen months by this point, he was still brought along on the tour, the only solo artist to be included -- at this point Gordy thought that solo artists looked outdated compared to vocal groups, in a world dominated by bands, and so other solo artists like Marvin Gaye weren't invited. This was a sign that Gordy was happier with Stevie than his recent lack of chart success might suggest. One of the main reasons that Gordy had been in two minds about him was that he'd had no idea if Wonder would still be able to sing well after his voice broke. But now, as he was about to turn fifteen, his adult voice had more or less stabilised, and Gordy knew that he was capable of having a long career, if they just gave him the proper material. But for now his job on the tour was to do his couple of hits, smile, and be on the lower rungs of the ladder. But even that was still a prominent place to be given the scaled-down nature of this bill compared to the Motortown Revues. While the tour was in England, for example, Dusty Springfield presented a TV special focusing on all the acts on the tour, and while the Supremes were the main stars, Stevie got to do two songs, and also took part in the finale, a version of "Mickey's Monkey" led by Smokey Robinson but with all the performers joining in, with Wonder getting a harmonica solo: [Excerpt: Smokey Robinson and the Motown acts, "Mickey's Monkey"] Sadly, there was one aspect of the trip to the UK that was extremely upsetting for Wonder. Almost all the media attention he got -- which was relatively little, as he wasn't a Supreme -- was about his blindness, and one reporter in particular convinced him that there was an operation he could have to restore his sight, but that Motown were preventing him from finding out about it in order to keep his gimmick going. He was devastated about this, and then further devastated when Ted Hull finally convinced him that it wasn't true, and that he'd been lied to. Meanwhile other newspapers were reporting that he *could* see, and that he was just feigning blindness to boost his record sales. After the tour, a live recording of Wonder singing the blues standard "High Heeled Sneakers" was released as a single, and barely made the R&B top thirty, and didn't hit the top forty on the pop charts. Stevie's initial contract with Motown was going to expire in the middle of 1966, so there was a year to get him back to a point where he was having the kind of hits that other Motown acts were regularly getting at this point. Otherwise, it looked like his career might end by the time he was sixteen. The B-side to "High Heeled Sneakers" was another duet with Clarence Paul, who dominates the vocal sound for much of it -- a version of Willie Nelson's country classic "Funny How Time Slips Away": [Excerpt: Stevie Wonder and Clarence Paul, "Funny How Time Slips Away"] There are a few of these duet records scattered through Wonder's early career -- we'll hear another one a little later -- and they're mostly dismissed as Paul trying to muscle his way into a revival of his own recording career as an artist, and there may be some truth in that. But they're also a natural extension of the way the two of them worked in the studio. Motown didn't have the facilities to give Wonder Braille lyric sheets, and Paul didn't trust him to be able to remember the lyrics, so often when they made a record, Paul would be just off-mic, reciting the lyrics to Wonder fractionally ahead of him singing them. So it was more or less natural that this dynamic would leak out onto records, but not everyone saw it that way. But at the same time, there has been some suggestion that Paul was among those manoeuvring to get rid of Wonder from Motown as soon as his contract was finished -- despite the fact that Wonder was the only act Paul had worked on any big hits for. Either way, Paul and Wonder were starting to chafe at working with each other in the studio, and while Paul remained his on-stage musical director, the opportunity to work on Wonder's singles for what would surely be his last few months at Motown was given to Hank Cosby and Sylvia Moy. Cosby was a saxophone player and staff songwriter who had been working with Wonder and Paul for years -- he'd co-written "Fingertips" and several other tracks -- while Moy was a staff songwriter who was working as an apprentice to Cosby. Basically, at this point, nobody else wanted the job of writing for Wonder, and as Moy was having no luck getting songs cut by any other artists and her career was looking about as dead as Wonder's, they started working together. Wonder was, at this point, full of musical ideas but with absolutely no discipline. He's said in interviews that at this point he was writing a hundred and fifty songs a month, but these were often not full songs -- they were fragments, hooks, or a single verse, or a few lines, which he would pass on to Moy, who would turn his ideas into structured songs that fit the Motown hit template, usually with the assistance of Cosby. Then Cosby would come up with an arrangement, and would co-produce with Mickey Stevenson. The first song they came up with in this manner was a sign of how Wonder was looking outside the world of Motown to the rock music that was starting to dominate the US charts -- but which was itself inspired by Motown music. We heard in the last episode on the Rolling Stones how "Nowhere to Run" by the Vandellas: [Excerpt: Martha and the Vandellas, "Nowhere to Run"] had inspired the Stones' "Satisfaction": [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] And Wonder in turn was inspired by "Satisfaction" to come up with his own song -- though again, much of the work making it into an actual finished song was done by Sylvia Moy. They took the four-on-the-floor beat and basic melody of "Satisfaction" and brought it back to Motown, where those things had originated -- though they hadn't originated with Stevie, and this was his first record to sound like a Motown record in the way we think of those things. As a sign of how, despite the way these stories are usually told, the histories of rock and soul were completely and complexly intertwined, that four-on-the-floor beat itself was a conscious attempt by Holland, Dozier, and Holland to appeal to white listeners -- on the grounds that while Black people generally clapped on the backbeat, white people didn't, and so having a four-on-the-floor beat wouldn't throw them off. So Cosby, Moy, and Wonder, in trying to come up with a "Satisfaction" soundalike were Black Motown writers trying to copy a white rock band trying to copy Black Motown writers trying to appeal to a white rock audience. Wonder came up with the basic chorus hook, which was based around a lot of current slang terms he was fond of: [Excerpt: Stevie Wonder, "Uptight"] Then Moy, with some assistance from Cosby, filled it out into a full song. Lyrically, it was as close to social comment as Motown had come at this point -- Wonder was, like many of his peers in soul music, interested in the power of popular music to make political statements, and he would become a much more political artist in the next few years, but at this point it's still couched in the acceptable boy-meets-girl romantic love song that Motown specialised in. But in 1965 a story about a boy from the wrong side of the tracks dating a rich girl inevitably raised the idea that the boy and girl might be of different races -- a subject that was very, very, controversial in the mid-sixties. [Excerpt: Stevie Wonder, "Uptight"] "Uptight" made number three on the pop charts and number one on the R&B charts, and saved Stevie Wonder's career. And this is where, for all that I've criticised Motown in this episode, their strategy paid off. Mickey Stevenson talked a lot about how in the early sixties Motown didn't give up on artists -- if someone had potential but was not yet having hits or finding the right approach, they would keep putting out singles in a holding pattern, trying different things and seeing what would work, rather than toss them aside. It had already worked for the Temptations and the Supremes, and now it had worked for Stevie Wonder. He would be the last beneficiary of this policy -- soon things would change, and Motown would become increasingly focused on trying to get the maximum returns out of a small number of stars, rather than building careers for a range of artists -- but it paid off brilliantly for Wonder. "Uptight" was such a reinvention of Wonder's career, sound, and image that many of his fans consider it the real start of his career -- everything before it only counting as prologue. The follow-up, "Nothing's Too Good For My Baby", was an "Uptight" soundalike, and as with Motown soundalike follow-ups in general, it didn't do quite as well, but it still made the top twenty on the pop chart and got to number four on the R&B chart. Stevie Wonder was now safe at Motown, and so he was going to do something no other Motown act had ever done before -- he was going to record a protest song and release it as a single. For about a year he'd been ending his shows with a version of Bob Dylan's "Blowin' in the Wind", sung as a duet with Clarence Paul, who was still his on stage bandleader even though the two weren't working together in the studio as much. Wonder brought that into the studio, and recorded it with Paul back as the producer, and as his duet partner. Berry Gordy wasn't happy with the choice of single, but Wonder pushed, and Gordy knew that Wonder was on a winning streak and gave in, and so "Blowin' in the Wind" became Stevie Wonder's next single: [Excerpt: Stevie Wonder and Clarence Paul, "Blowin' in the Wind"] "Blowin' in the Wind" made the top ten, and number one on the R&B charts, and convinced Gordy that there was some commercial potential in going after the socially aware market, and over the next few years Motown would start putting out more and more political records. Because Motown convention was to have the producer of a hit record produce the next hit for that artist, and keep doing so until they had a flop, Paul was given the opportunity to produce the next single. "A Place in the Sun" was another ambiguously socially-aware song, co-written by the only white writer on Motown staff, Ron Miller, who happened to live in the same building as Stevie's tutor-cum-manager Ted Hull. "A Place in the Sun" was a pleasant enough song, inspired by "A Change is Gonna Come", but with a more watered-down, generic, message of hope, but the record was lifted by Stevie's voice, and again made the top ten. This meant that Paul and Miller, and Miller's writing partner Bryan Mills, got to work on his next  two singles -- his 1966 Christmas song "Someday at Christmas", which made number twenty-four, and the ballad "Travellin' Man" which made thirty-two. The downward trajectory with Paul meant that Wonder was soon working with other producers again. Harvey Fuqua and Johnny Bristol cut another Miller and Mills song with him, "Yester-Me, Yester-You, Yesterday": [Excerpt: Stevie Wonder, "Yester-Me, Yester-You, Yesterday"] But that was left in the can, as not good enough to release, and Stevie was soon back working with Cosby. The two of them had come up with an instrumental together in late 1966, but had not been able to come up with any words for it, so they played it for Smokey Robinson, who said their instrumental sounded like circus music, and wrote lyrics about a clown: [Excerpt: The Miracles, "The Tears of a Clown"] The Miracles cut that as album filler, but it was released three years later as a single and became the Miracles' only number one hit with Smokey Robinson as lead singer. So Wonder and Cosby definitely still had their commercial touch, even if their renewed collaboration with Moy, who they started working with again, took a while to find a hit. To start with, Wonder returned to the idea of taking inspiration from a hit by a white British group, as he had with "Uptight". This time it was the Beatles, and the track "Michelle", from the Rubber Soul album: [Excerpt: The Beatles, "Michelle"] Wonder took the idea of a song with some French lyrics, and a melody with some similarities to the Beatles song, and came up with "My Cherie Amour", which Cosby and Moy finished off. [Excerpt: Stevie Wonder, "My Cherie Amour"] Gordy wouldn't allow that to be released, saying it was too close to "Michelle" and people would think it was a rip-off, and it stayed in the vaults for several years. Cosby also produced a version of a song Ron Miller had written with Orlando Murden, "For Once in My Life", which pretty much every other Motown act was recording versions of -- the Four Tops, the Temptations, Billy Eckstine, Martha and the Vandellas and Barbra McNair all cut versions of it in 1967, and Gordy wouldn't let Wonder's version be put out either. So they had to return to the drawing board. But in truth, Stevie Wonder was not the biggest thing worrying Berry Gordy at this point. He was dealing with problems in the Supremes, which we'll look at in a future episode -- they were about to get rid of Florence Ballard, and thus possibly destroy one of the biggest acts in the world, but Gordy thought that if they *didn't* get rid of her they would be destroying themselves even more certainly. Not only that, but Gordy was in the midst of a secret affair with Diana Ross, Holland, Dozier, and Holland were getting restless about their contracts, and his producers kept bringing him unlistenable garbage that would never be a hit. Like Norman Whitfield, insisting that this track he'd cut with Marvin Gaye, "I Heard it Through the Grapevine", should be a single. Gordy had put his foot down about that one too, just like he had about "My Cherie Amour", and wouldn't allow it to be released. Meanwhile, many of the smaller acts on the label were starting to feel like they were being ignored by Gordy, and had formed what amounted to a union, having regular meetings at Clarence Paul's house to discuss how they could pressure the label to put the same effort into their careers as into those of the big stars. And the Funk Brothers, the musicians who played on all of Motown's hits, were also getting restless -- they contributed to the arrangements, and they did more for the sound of the records than half the credited producers; why weren't they getting production credits and royalties? Harvey Fuqua had divorced Gordy's sister Gwen, and so became persona non grata at the label and was in the process of leaving Motown, and so was Mickey Stevenson, Gordy's second in command, because Gordy wouldn't give him any stock in the company. And Detroit itself was on edge. The crime rate in the city had started to go up, but even worse, the *perception* of crime was going up. The Detroit News had been running a campaign to whip up fear, which it called its Secret Witness campaign, and running constant headlines about rapes, murders, and muggings. These in turn had led to increased calls for more funds for the police, calls which inevitably contained a strong racial element and at least implicitly linked the perceived rise in crime to the ongoing Civil Rights movement. At this point the police in Detroit were ninety-three percent white, even though Detroit's population was over thirty percent Black. The Mayor and Police Commissioner were trying to bring in some modest reforms, but they weren't going anywhere near fast enough for the Black population who felt harassed and attacked by the police, but were still going too fast for the white people who were being whipped up into a state of terror about supposedly soft-on-crime policies, and for the police who felt under siege and betrayed by the politicians. And this wasn't the only problem affecting the city, and especially affecting Black people. Redlining and underfunded housing projects meant that the large Black population was being crammed into smaller and smaller spaces with fewer local amenities. A few Black people who were lucky enough to become rich -- many of them associated with Motown -- were able to move into majority-white areas, but that was just leading to white flight, and to an increase in racial tensions. The police were on edge after the murder of George Overman Jr, the son of a policeman, and though they arrested the killers that was just another sign that they weren't being shown enough respect. They started organising "blu flu"s -- the police weren't allowed to strike, so they'd claim en masse that they were off sick, as a protest against the supposed soft-on-crime administration. Meanwhile John Sinclair was organising "love-ins", gatherings of hippies at which new bands like the MC5 played, which were being invaded by gangs of bikers who were there to beat up the hippies. And the Detroit auto industry was on its knees -- working conditions had got bad enough that the mostly Black workforce organised a series of wildcat strikes. All in all, Detroit was looking less and less like somewhere that Berry Gordy wanted to stay, and the small LA subsidiary of Motown was rapidly becoming, in his head if nowhere else, the more important part of the company, and its future. He was starting to think that maybe he should leave all these ungrateful people behind in their dangerous city, and move the parts of the operation that actually mattered out to Hollywood. Stevie Wonder was, of course, one of the parts that mattered, but the pressure was on in 1967 to come up with a hit as big as his records from 1965 and early 66, before he'd been sidetracked down the ballad route. The song that was eventually released was one on which Stevie's mother, Lula Mae Hardaway, had a co-writing credit: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] "I Was Made to Love Her" was inspired by Wonder's first love, a girl from the same housing projects as him, and he talked about the song being special to him because it was true, saying it "kind of speaks of my first love to a girl named Angie, who was a very beautiful woman... Actually, she was my third girlfriend but my first love. I used to call Angie up and, like, we would talk and say, 'I love you, I love you,' and we'd talk and we'd both go to sleep on the phone. And this was like from Detroit to California, right? You know, mother said, 'Boy, what you doing - get off the phone!' Boy, I tell you, it was ridiculous." But while it was inspired by her, like with many of the songs from this period, much of the lyric came from Moy -- her mother grew up in Arkansas, and that's why the lyric started "I was born in Little Rock", as *her* inspiration came from stories told by her parents. But truth be told, the lyrics weren't particularly detailed or impressive, just a standard story of young love. Rather what mattered in the record was the music. The song was structured differently from many Motown records, including most of Wonder's earlier ones. Most Motown records had a huge amount of dynamic variation, and a clear demarcation between verse and chorus. Even a record like "Dancing in the Street", which took most of its power from the tension and release caused by spending most of the track on one chord, had the release that came with the line "All we need is music", and could be clearly subdivided into different sections. "I Was Made to Love Her" wasn't like that. There was a tiny section which functioned as a middle eight -- and which cover versions like the one by the Beach Boys later that year tend to cut out, because it disrupts the song's flow: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] But other than that, the song has no verse or chorus, no distinct sections, it's just a series of lyrical couplets over the same four chords, repeating over and over, an incessant groove that could really go on indefinitely: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] This is as close as Motown had come at this point to the new genre of funk, of records that were just staying with one groove throughout. It wasn't a funk record, not yet -- it was still a pop-soul record, But what made it extraordinary was the bass line, and this is why I had to emphasise earlier that this was a record by the Funk Brothers, not the Wrecking Crew, no matter how much some Crew members may claim otherwise. As on most of Cosby's sessions, James Jamerson was given free reign to come up with his own part with little guidance, and what he came up with is extraordinary. This was at a time when rock and pop basslines were becoming a little more mobile, thanks to the influence of Jamerson in Detroit, Brian Wilson in LA, and Paul McCartney in London.  But for the most part, even those bass parts had been fairly straightforward technically -- often inventive, but usually just crotchets and quavers, still keeping rhythm along with the drums rather than in dialogue with them, roaming free rhythmically. Jamerson had started to change his approach, inspired by the change in studio equipment. Motown had upgraded to eight-track recording in 1965, and once he'd become aware of the possibilities, and of the greater prominence that his bass parts could have if they were recorded on their own track, Jamerson had become a much busier player. Jamerson was a jazz musician by inclination, and so would have been very aware of John Coltrane's legendary "sheets of sound", in which Coltrane would play fast arpeggios and scales, in clusters of five and seven notes, usually in semiquaver runs (though sometimes in even smaller fractions -- his solo in Miles Davis' "Straight, No Chaser" is mostly semiquavers but has a short passage in hemidemisemiquavers): [Excerpt: Miles Davis, "Straight, No Chaser"] Jamerson started to adapt the "sheets of sound" style to bass playing, treating the bass almost as a jazz solo instrument -- though unlike Coltrane he was also very, very concerned with creating something that people could tap their feet to. Much like James Brown, Jamerson was taking jazz techniques and repurposing them for dance music. The most notable example of that up to this point had been in the Four Tops' "Bernadette", where there are a few scuffling semiquaver runs thrown in, and which is a much more fluid part than most of his playing previously: [Excerpt: The Four Tops, "Bernadette"] But on "Bernadette", Jamerson had been limited by Holland, Dozier, and Holland, who liked him to improvise but around a framework they created. Cosby, on the other hand, because he had been a Funk Brother himself, was much more aware of the musicians' improvisational abilities, and would largely give them a free hand. This led to a truly remarkable bass part on "I Was Made to Love Her", which is somewhat buried in the single mix, but Marcus Miller did an isolated recreation of the part for the accompanying CD to a book on Jamerson, Standing in the Shadows of Motown, and listening to that you can hear just how inventive it is: [Excerpt: Marcus Miller, "I Was Made to Love Her"] This was exciting stuff -- though much less so for the touring musicians who went on the road with the Motown revues while Jamerson largely stayed in Detroit recording. Jamerson's family would later talk about him coming home grumbling because complaints from the touring musicians had been brought to him, and he'd been asked to play less difficult parts so they'd find it easier to replicate them on stage. "I Was Made to Love Her" wouldn't exist without Stevie Wonder, Hank Cosby, Sylvia Moy, or Lula Mae Hardaway, but it's James Jamerson's record through and through: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] It went to number two on the charts, sat between "Light My Fire" at number one, and "All You Need is Love" at number three, with the Beatles song soon to overtake it and make number one itself. But within a few weeks of "I Was Made to Love Her" reaching its chart peak, things in Detroit would change irrevocably. On the 23rd of July, the police busted an illegal drinking den. They thought they were only going to get about twenty-five people there, but there turned out to be a big party on. They tried to arrest seventy-four people, but their wagon wouldn't fit them all in so they had to call reinforcements and make the arrestees wait around til more wagons arrived. A crowd of hundreds gathered while they were waiting. Someone threw a brick at a squad car window, a rumour went round that the police had bayonetted someone, and soon the city was in flames. Riots lasted for days, with people burning down and looting businesses, but what really made the situation bad was the police's overreaction. They basically started shooting at young Black men, using them as target practice, and later claiming they were snipers, arsonists, and looters -- but there were cases like the Algiers Motel incident, where the police raided a motel where several Black men, including the members of the soul group The Dramatics, were hiding out along with a few white women. The police sexually assaulted the women, and then killed three of the men for associating with white women, in what was described as a "lynching with bullets". The policemen in question were later acquitted of all charges. The National Guard were called in, as were Federal troops -- the 82nd Airborne Division, and the 101st Airborne from Clarksville, the division in which Jimi Hendrix had recently served. After four days of rioting, one of the bloodiest riots in US history was at an end, with forty-three people dead (of whom thirty-three were Black and only one was a policeman). Official counts had 1,189 people injured, and over 7,200 arrests, almost all of them of Black people. A lot of the histories written later say that Black-owned businesses were spared during the riots, but that wasn't really the case. For example, Joe's Record Shop, owned by Joe Von Battle, who had put out the first records by C.L. Franklin and his daughter Aretha, was burned down, destroying not only the stock of records for sale but the master tapes of hundreds of recordings of Black artists, many of them unreleased and so now lost forever. John Lee Hooker, one of the artists whose music Von Battle had released, soon put out a song, "The Motor City is Burning", about the events: [Excerpt: John Lee Hooker, "The Motor City is Burning"] But one business that did remain unburned was Motown, with the Hitsville studio going untouched by flames and unlooted. Motown legend has this being down to the rioters showing respect for the studio that had done so much for Detroit, but it seems likely to have just been luck. Although Motown wasn't completely unscathed -- a National Guard tank fired a shell through the building, leaving a gigantic hole, which Berry Gordy saw as soon as he got back from a business trip he'd been on during the rioting. That was what made Berry Gordy decide once and for all that things needed to change. Motown owned a whole row of houses near the studio, which they used as additional office space and for everything other than the core business of making records. Gordy immediately started to sell them, and move the admin work into temporary rented space. He hadn't announced it yet, and it would be a few years before the move was complete, but from that moment on, the die was cast. Motown was going to leave Detroit and move to Hollywood.

christmas tv love music women california history black europe earth hollywood man uk england fall change british french western detroit mayors blues wind run sun vietnam standing tribute miracles beatles straight beach dancing cd arkansas monkeys boy tears federal official rolling stones burning shadows pirates holland sand workout stones shortly morris supreme bob dylan dedicated billboard djs sunsets riots civil rights paul mccartney satisfaction mills signed temptations aretha franklin stevie wonder my life jimi hendrix james brown motown beach boys national guard cosby hull stevenson marvin gaye sealed someday willie nelson miles davis glover little rock roulette mixcloud ray charles diana ross tilt korean war castles airborne rock music brian wilson john coltrane supremes postman braille motor city gold star mind over matter grapevine smokey robinson airborne divisions gordy curtis mayfield licks copacabana redlining coltrane blowin clarksville saginaw wrecking crew all you need gonna come aip john lee hooker groovin dozier detroit news dusty springfield andy williams four tops fingertips police commissioners peter lorre ed sullivan show mc5 berry gordy dick dale one i love lions club marcus miller happy face rubber soul hardaway lyrically light my fire no chaser moy american soul dramatics vandellas i heard lamont dozier uptight ron miller shirelles john glover annette funicello royales lowman hitchhike frankie avalon mary wells dave thompson johnny ace john sinclair record shop marvelettes jamerson travellin funk brothers carol kaye frankie lymon brian holland young rascals nelson george billy eckstine jazz soul uncle ray roger christian king records ebb tide james jamerson motown sound when you wish upon how sweet it is bryan mills hitsville my show american international pictures i was made to be loved marilyn mccoo bobby fuller four little stevie wonder lorren i call where did our love go stuart cosgrove algiers motel billy davis jr bikini machine del tones bikini beach joe swift craig werner red sails donna loren muscle beach party mickey stevenson paris olympia scott b bomar tilt araiza
Critical Encounters - A Marvel Champions Podcast
Critical Encounters - Issue 140 - Where Are They Now? - The Wrecking Crew

Critical Encounters - A Marvel Champions Podcast

Play Episode Listen Later Oct 25, 2022 44:11


Welcome to Issue 140 of Critical Encounters, a podcast about Marvel Champions, a Living Card Game by Fantasy Flight Games. Here we take a good look at that most critical piece of the game, the Encounter Sets. We'll discuss those poorly understood characters, unfairly labeled Villains, and their various plans to shape humanity and benefit the planet, as well as those so-called heroes intent on thwarting them. In this Reunion Issue we get the Wrecking Crew back together again to learn about new projects, and to take a look at their modular set. You can find us on Discord as: Vardaen, bigfomlof, and WanderingTook (and SpiderMana, Brave, FunkyMonkeyMonk and TheChap) Email us at: criticalencounterspod@gmail.com Follow us on Facebook at: https://www.facebook.com/criticalencounterspod/ Subscribe to our YouTube Channel: https://www.youtube.com/channel/UCg-r6-EooHoJGa1RRsH7i3w You can also find our Discord Channel on the Marvel Champions Monthly Discord Server.  Wrecker - “You're just dead mean waitin' to be tenderized!” Thunderball - “Bring it on! It's wrecking time!” Bulldozer - “Nothing stands in the path of the Bulldozer!” Piledriver - “These fists were made for crushin'...and that's just what they'll do.”

Rock N Roll Pantheon
AllMusicMovies: "Denny Tedesco on his new rock doc"

Rock N Roll Pantheon

Play Episode Listen Later Oct 25, 2022 10:07


Denny Tedesco, the director of “The Wrecking Crew” joins us again to chat about his brand new rock documentary. “The Immediate Family” follows the work and lives of The Section, the legendary band of 1970s session musicians who were featured on some of the most iconic singer/songwriter recordings of the era.

Rock N Roll Pantheon
AllMusicMovies: "The Wrecking Crew" with Denny Tedesco”

Rock N Roll Pantheon

Play Episode Listen Later Oct 19, 2022 38:26


You may not know the musician's names, but The Wrecking Crew was a group of studio musicians in Los Angeles in the 1960s who played on hits for the Beach Boys, Frank Sinatra, Nancy Sinatra, Sonny and Cher, The Monkees, Mamas and Papas, Herb Alpert and who were Phil Spector's "Wall of Sound." Director Denny Tedesco, son of guitarist Tommy Tedesco, talks to us about these unsung stars who played on so many records that everyone knows by heart. Tune in to hear more about these amazing, funny, and charming men and women who defined rock'n'roll in Los Angeles in the '60s and '70s.

Deep Dive: An AllMusicBooks Podcast
AllMusicMovies: "Denny Tedesco on his new rock doc"

Deep Dive: An AllMusicBooks Podcast

Play Episode Listen Later Oct 18, 2022 10:07


Denny Tedesco, the director of “The Wrecking Crew” joins us again to chat about his brand new rock documentary. “The Immediate Family” follows the work and lives of The Section, the legendary band of 1970s session musicians who were featured on some of the most iconic singer/songwriter recordings of the era.

The Imbalanced History of Rock and Roll
The Magic Of Muscle Shoals

The Imbalanced History of Rock and Roll

Play Episode Listen Later Oct 17, 2022 51:59 Very Popular


From the Tennessee River mud that flows through The Shoals, to the studios, to the records, and the world, helped to forge that Muscle Shoals Sound, created by The Swampers. They were rural Alabama's answer to The Wrecking Crew and became bigger than most big city studio players, achieving so much, without leaving home. Well, there were a few trips to record in places like New York, and opening for The Beatles, when the situation required it. Those will be discussed, as well as the growth of a recording empire that was truly unique. From Rick Hall and Fame Studios forming, to the Swampers getting their nickname, their own place, and making amazing records, Markus & Ray wade through it all, and deliver a Shotgun 5 Faves of this amazing music!We have fantastic sponsors of our podcast, please visit their web sites, and support those who make the show go:Boldfoot Socks   https://boldfoot.comCrooked Eye Brewery   https://crookedeyebrewery.com/Don't forget that you can find all of our episodes, on-demand, for free right here on our web site: https://imbalancedhistory.com/     

Rock N Roll Pantheon
Imbalanced History: The Magic Of Muscle Shoals

Rock N Roll Pantheon

Play Episode Listen Later Oct 17, 2022 51:59


From the Tennessee River mud that flows through The Shoals, to the studios, to the records, and the world, helped to forge that Muscle Shoals Sound, created by The Swampers. They were rural Alabama's answer to The Wrecking Crew and became bigger than most big city studio players, achieving so much, without leaving home. Well, there were a few trips to record in places like New York, and opening for The Beatles, when the situation required it. Those will be discussed, as well as the growth of a recording empire that was truly unique. From Rick Hall and Fame Studios forming, to the Swampers getting their nickname, their own place, and making amazing records, Markus & Ray wade through it all, and deliver a Shotgun 5 Faves of this amazing music!We have fantastic sponsors of our podcast, please visit their web sites, and support those who make the show go:Boldfoot Socks   https://boldfoot.comCrooked Eye Brewery   https://crookedeyebrewery.com/Don't forget that you can find all of our episodes, on-demand, for free right here on our web site: https://imbalancedhistory.com/     

Call Out Culture
Call Out Culture Presents: Ask Alaska Too the Askening

Call Out Culture

Play Episode Listen Later Oct 15, 2022 20:22


Welcome to the second episode of Ask Alaska, a podcast where I answer your questions about life and offer advice. Today we discuss going against the norms, the 3-2 NY Jets, Wrecking Crew, Megadeth, PM Dawn, Kanye West and more. For early access and exclusive episodes please support our patreon page: And as always, for early access to episodes and exclusive contact, support our Patreon: https://www.patreon.com/calloutculturepodcast --- Support this podcast: https://anchor.fm/calloutculture/support

Deep Dive: An AllMusicBooks Podcast
AllMusicMovies: "The Wrecking Crew" with Denny Tedesco

Deep Dive: An AllMusicBooks Podcast

Play Episode Listen Later Oct 13, 2022 38:26


You may not know the musician's names, but The Wrecking Crew was a group of studio musicians in Los Angeles in the 1960s who played on hits for the Beach Boys, Frank Sinatra, Nancy Sinatra, Sonny and Cher, The Monkees, Mamas and Papas, Herb Alpert and who were Phil Spector's "Wall of Sound." Director Denny Tedesco, son of guitarist Tommy Tedesco, talks to us about these unsung stars who played on so many records that everyone knows by heart. Tune in to hear more about these amazing, funny, and charming men and women who defined rock'n'roll in Los Angeles in the '60s and '70s.

LIVIN THE GOOD LIFE SHOW
Deana Martin, American Singer } Daughter to Dean Martin

LIVIN THE GOOD LIFE SHOW

Play Episode Listen Later Oct 7, 2022 13:22


Deana Martin was born in Manhattan to Dean Martin and his first wife, Elizabeth Anne "Betty" McDonald. She moved to Beverly Hills, California, with her family by the age of one. She later went to live with her father and his second wife, Jeanne Biegger. During her childhood, it was not unusual for his Rat Packfriends, Frank Sinatra and Sammy Davis Jr., to visit. Being around them persuaded her to pursue a career in entertainment.Martin trained professionally at the Dartington College of Arts in the United Kingdom.[3] Her theatrical credits include Romeo and Juliet, The Taming of the Shrew, Hamlet, and A Taste of Honey.[4] She co-starred in the National Broadway tour of Neil Simon's play Star Spangled Girl with George Hamilton and Jimmy Boyd. Other starring roles include Wait Until Dark, 6 Rms Riv Vu, A Shot in the Dark, and The Tunnel of Love. She made her major motion picture debut in Young Billy Young with Robert Mitchum, David Carradine, and Angie Dickinson. This debut led to starring roles in the films Strangers at Sunrise with George Montgomery and A Voice in the Night with Vito Scotti.She made her television debut in 1966 on The Dean Martin Show.  She was a frequent guest, performing in musical and comedy numbers with a wide array of entertainers, including Frank Sinatra.She also appeared on A&E Biography, Access Hollywood, CBS Sunday Morning, Country Music Television, E! Entertainment Television, Entertainment Tonight, Larry King Live, Live with Regis & Kelly, Sky Italia, The Bonnie Hunt Show, The Dating Game (where she chose Steve Martinas her date),[11] The Monkees, The Today Show, The Tony Danza Show, The Big Breakfast, and Bruce Forsyth On Vegas. For four seasons she hosted The Deana Martin Show.Since 2021 Martin has hosted Dean and Deana Martin's Nightcap on WABC-770 AM in New York.Martin began her recording career with producer Lee Hazlewood at Reprise Records. The recordings included her country music hit "Girl of the Month Club" while she was a teenager. Other tunes were "When He Remembers Me", "Baby I See You", and "The Bottom of My Mind", all recorded during the 1960s. Musicians from the Wrecking Crew, including Glen Campbell, played on these recordings.Memories Are Made of This was released in 2006. She covered some of her father's hit songs, including the title cut and "Everybody Loves Somebody", "That's Amore", "Just Bummin' Around", and "For Your Love" written by her mother Betty Martin. She also sang a duet with her father's former comedy partner Jerry Lewis on "Time After Time." The album was produced by her husband John Griffeth and reached the iTunes Top 10 chart, where it remained for 40 weeks throughout 2006 and 2007.By 2008, after her tour, she was ready to record again. She went into the studio at Capitol Records with the same personnel to record Volare, released in 2009. It debuted at number seven on the Billboard magazine Heat Seek chart, reached No. 22 on the magazine's Jazz Albums Chart, and appeared in the iTunes Top 10 chart.The song "Volare" peaked at No. 40 in Billboard magazine. Martin was back in the studio working on Destination Moon (2013). Her fourth album includes "Break It to Me Gently", "I Love Being Here With You", and "Beyond the Sea" and four new songs: "Read Between the Lines", "Where Did You Learn to Love Like That", "Paradise", and "Stuck in a Dream with Me". She sang a duet with her father on the Cole Porter song "True Love". Swing Street was released in 2016. She talked to Doug Miles about the album on his show

The Reader Copy Podcast
She-Hulk: Attorney at Law Episode 7 - The Reader Copy Recap

The Reader Copy Podcast

Play Episode Listen Later Oct 3, 2022 19:58


This week Chris and Daniel recap episode 7 of She-Hulk. This episode is titled "The Retreat". Summary: Walters goes on several dates with Josh, but he disappears and seemingly ghosts her after they sleep together. While anticipating a text from him, she receives a call from Blonsky's parole officer Chuck Donelan, who informs her that the inhibitor that stops Blonsky from turning into Abomination is broken and that he wants her to accompany him to Blonsky's meditation retreat to check on him. When the officer leaves, Man-Bull and El Águila accidentally destroy her car, forcing her to stay there until it can be towed away. Despite the retreat lacking internet and cell coverage, Walters continues to nervously await a response from Josh. She attends a group therapy session with Blonsky, Man-Bull, El Águila, Porcupine, Saracen, and Wrecker of the Wrecking Crew, where she is convinced to delete Josh's contact information and let go of her feelings towards him. It is revealed that three days earlier, Josh secretly cloned Jen's phone and stole a sample of her blood on behalf of "HulkKing" after sleeping with her. Visit us online: https://thereadercopypodcast.libsyn.com/ (Check out The Reader Copy Podcast website) Our iTunes page: https://goo.gl/MikhDd (Listen to more episodes) Even More Stuff: https://goo.gl/4iDTXn (Check out our Instagram) https://goo.gl/cVFw7r (Follow us on Twitter) https://goo.gl/RsnXc1 (Like us on Facebook) Show music provided by http://www.morgandavidking.com/ (MDK - Hyper Beam)

TV Podcast Industries
She-Hulk Episode 7 "The Retreat" Podcast from TV Podcast Industries

TV Podcast Industries

Play Episode Listen Later Sep 29, 2022 48:54


The whole team are back sitting around in a circle to chat about She-Hulk Attorney At Law Episode 7 "The Retreat" in spoiler filled detail in our latest podcast. She-Hulk Attorney At Law Episode 7 "The Retreat" Synopsis She-Hulk Character co-created by: Stan Lee, Jack Kirby ,John Buscema Executive Producers - Kevin Feige, Louis D'Esposito, Victoria Alonso, Brad Winderbaum, Jessica Gao, Kat Coiro Head Writer: Kat Coiro Episode Written by: Zeb Wells Episode directed by: Anu Valia Jennifer Walters is on cloud nine after three dates with Josh, but when she wakes up he's no longer at her apartment. After sending him a morning text, no reply comes and Jen becomes increasingly worried and glued to her phone. Still anticipating a text from him - has he died, is he in a ditch, does he have a dental appointment, wedding, funeral - she receives a call from Emil Blonsky's parole officer. He informs her that the inhibitor that stops Blonsky from turning into Abomination is broken and that she has to go to his meditation retreat to check on him. Arriving at the retreat, Emil Blonsky welcomes her and they fix his malfunctioning inhibitor, but as she is leaving two clients, Man-Bull and El Águila, who are working out resentments accidentally destroy her car, forcing her to stay at the retreat until it can be towed away. The retreat lacks wifi and mobile coverage, which makes Jen fret even further as she continues to nervously await a response from Josh. But when she finds the one bar of mobile coverage, it is in the group therapy lodge and she becomes embroiled in a group therapy session with Blonsky, Man-Bull, El Águila, Porcupine, Saracen and surprisingly her former mugger Wrecker, of the Wrecking Crew. After Jen is placed in the calming chair to stop her from hulking out at Wrecker, she opens up to the group where she is given the possibility that Josh has ghosted her and is convinced to delete his contact information and let go of her feelings towards him. As Walters leaves the retreat, a flashback shows that after she and Josh slept together, he secretly cloned her phone and stole a sample of her blood for the "HulkKing". She-Hulk Attorney At Law Episode 7 Cast Tatiana Maslany as Jennifer Walters/She-HulkTim Roth as Emil BlonskyGinger Gonzaga as Nikki RamosTrevor Salter as Josh MillerNathan Hurd as Man-BullJoseph Castillo-Midyett as El AguilaTerrence Clowe as SaracenJordan Aaron Ford as Porcupine A Return to Defending As we are returning to the Marvel TV universe we are using the format of our former Marvel podcast, Defenders TV Podcast. We discuss: - Our Top 3 Points (or Case Notes) of the episode - Whether we each Defend the episode or not - Notes, Quotes and comic references The She-Hulk Bar Exam During each podcast we'll ask a question about each episode in our She-Hulk Bar Exam. You can send in your answers each week to feedback@tvpodcastindustries.com At the end of the nine episode series the listeners with the most correct answers will be in with the chance of getting their hands on some She-Hulk goodies. All questions will be updated on: https://www.tvpodcastindustries.com Question 7: What is the name of Emil Blonsky's wellness retreat? Feedback for Ms. Marvel Once you've watched the episodes you can email us to feedback@tvpodcastindustries.com, you can message us @TVPodIndustries on Twitter or join our Facebook group at https://facebook.com/groups/tvpodcastindustries and share your thoughts in our spoiler posts for each episode. Follow us and Subscribe to the Podcast If you want to keep up with us and all of our podcasts, please subscribe to the podcast over at https://tvpodcastindustries.com. Where we will continue to podcast about multiple TV shows we hope you'll love. Next time on TV Podcast Industries Thanks for joining us for our She-Hulk Attorney At Law Episode 7 "The Retreat" podcast.

A History Of Rock Music in Five Hundred Songs
Episode 154: “Happy Together” by the Turtles

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Sep 21, 2022


Episode one hundred and fifty-four of A History of Rock Music in Five Hundred Songs is the last of our four-part mini-series on LA sunshine pop and folk-rock in summer 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Baby, Now That I've Found You" by the Foundations. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There is no Mixcloud this week, because there were too many Turtles songs in the episode. There's relatively little information available about the Turtles compared to other bands of their era, and so apart from the sources on the general LA scene referenced in all these podcasts, the information here comes from a small number of sources. This DVD is a decent short documentary on the band's career. Howard Kaylan's autobiography, Shell Shocked: My Life with the Turtles, Flo and Eddie, and Frank Zappa, Etc.,  is a fun read, if inevitably biased towards his own viewpoint. Jim Pons' Hard Core Love: Sex, Football, and Rock and Roll in the Kingdom of God is much less fun, being as it is largely organised around how his life led up to his latter-day religious beliefs, but is the only other book I'm aware of with a substantial amount of coverage of the Turtles. There are many compilations of the Turtles' material available, of which All The Singles is by far and away the best. The box set of all their albums with bonus tracks is now out of print on CD, but can still be bought as MP3s. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've spent a lot of time recently in the LA of summer 1967, at the point where the sunshine pop sound that was created when the surf harmonies of the Beach Boys collided with folk rock was at its apex, right before fashions changed and tight sunny pop songs with harmonies from LA became yesterday's news, and extended blues-rock improvisations from San Francisco became the latest in thing. This episode is the last part of this four-episode sequence, and is going to be shorter than those others. In many ways this one is a bridge between this sequence and next episode, where we travel back to London, because we're saying goodbye for a while to the LA scene, and when we do return to LA it will be, for the most part, to look at music that's a lot less sunshine and a lot more shadow. So this is a brief fade-out while we sing ba-ba-ba, a three-minute pop-song of an episode, a last bit of sunshine pop before we return to longer, more complicated, stories  in two weeks' time, at which point the sun will firmly set. Like many musicians associated with LA, Howard Kaylan was born elsewhere and migrated there as a child, and he seems to have regarded his move from upstate New York to LA as essentially a move to Disneyland itself. That impression can only have been made stronger by the fact that soon after his family moved there he got his first childhood girlfriend -- who happened to be a Mouseketeer on the TV. And TV was how young Howard filtered most of his perceptions -- particularly TV comedy. By the age of fourteen he was the president of the Soupy Sales Fan Club, and he was also obsessed with the works of Ernie Kovacs, Sid Caesar, and the great satirist and parodist Stan Freberg: [Excerpt: Stan Freberg, "St. George and the Dragonet"] Second only to his love of comedy, though, was his love of music, and it was on the trip from New York to LA that he saw a show that would eventually change his life. Along the way, his family had gone to Las Vegas, and while there they had seen Louis Prima and Keeley Smith do their nightclub act. Prima is someone I would have liked to do a full podcast episode on when I was covering the fifties, and who I did do a Patreon bonus episode on. He's now probably best known for doing the voice of King Louis in the Jungle Book: [Excerpt: Louis Prima, "I Wanna Be Like You (the Monkey Song)"] But he was also a jump blues musician who made some very good records in a similar style to Louis Jordan, like "Jump, Jive, an' Wail" [Excerpt: Louis Prima, "Jump, Jive, an' Wail"] But like Jordan, Prima dealt at least as much in comedy as in music -- usually comedy involving stereotypes about his Italian-American ethnic origins. At the time young Howard Kaylan saw him, he was working a double act with his then-wife Keeley Smith. The act would consist of Smith trying to sing a song straight, while Prima would clown around, interject, and act like a fool, as Smith grew more and more exasperated, and would eventually start contemptuously mocking Prima. [Excerpt: Louis Prima and Keeley Smith, "Embraceable You/I've Got It Bad and That Ain't Good"] This is of course a fairly standard double-act format, as anyone who has suffered through an episode of The Little and Large Show will be all too painfully aware, but Prima and Smith did it better than most, and to young Howard Kaylan, this was the greatest entertainment imaginable. But while comedy was the closest thing to Kaylan's heart, music was a close second. He was a regular listener to Art Laboe's radio show, and in a brief period as a teenage shoplifter he obtained records like Ray Charles' album Genius + Soul = Jazz: [Excerpt: Ray Charles, "One Mint Julep"] and the single "Tossin' and Turnin'" by Bobby Lewis: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] "Tossin' and Turnin'" made a deep impression on Kaylan, because of the saxophone solo, which was actually a saxophone duet. On the record, baritone sax player Frank Henry played a solo, and it was doubled by the great tenor sax player King Curtis, who was just playing a mouthpiece rather than a full instrument, making a high-pitched squeaking sound: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] Curtis was of course also responsible for another great saxophone part a couple of years earlier, on a record that Kaylan loved because it combined comedy and rock and roll, "Yakety Yak": [Excerpt: The Coasters, "Yakety Yak"] Those two saxophone parts inspired Kaylan to become a rock and roller. He was already learning the clarinet and playing part time in an amateur Dixieland band, and it was easy enough to switch to saxophone, which has the same fingering. Within a matter of weeks of starting to play sax, he was invited to join a band called the Nightriders, who consisted of Chuck Portz on bass, Al Nichol on guitar, and Glen Wilson on drums. The Nightriders became locally popular, and would perform sets largely made up of Johnny and the Hurricanes and Ventures material. While he was becoming a budding King Curtis, Kaylan was still a schoolkid, and one of the classes he found most enjoyable was choir class. There was another kid in choir who Kaylan got on with, and one day that kid, Mark Volman came up to him, and had a conversation that Kaylan would recollect decades later in his autobiography: “So I hear you're in a rock 'n' roll band.” “Yep.” “Um, do you think I could join it?” “Well, what do you do?” “Nothing.” “Nothing?” “Nope.” “Sounds good to me. I'll ask Al.” Volman initially became the group's roadie and occasional tambourine player, and would also get on stage to sing a bit during their very occasional vocal numbers, but was mostly "in the band" in name only at first -- he didn't get a share of the group's money, but he was allowed to say he was in the group because that meant that his friends would come to the Nightriders' shows, and he was popular among the surfing crowd. Eventually, Volman's father started to complain that his son wasn't getting any money from being in the band, while the rest of the group were, and they explained to him that Volman was just carrying the instruments while they were all playing them. Volman's father said "if Mark plays an instrument, will you give him equal shares?" and they said that that was fair, so Volman got an alto sax to play along with Kaylan's tenor. Volman had also been taking clarinet lessons, and the two soon became a tight horn section for the group, which went through a few lineup changes and soon settled on a lineup of Volman and Kaylan on saxes, Nichol on lead guitar, Jim Tucker on rhythm guitar, Portz on bass, and Don Murray on drums. That new lineup became known as the Crossfires, presumably after the Johnny and the Hurricanes song of the same name: [Excerpt: Johnny and the Hurricanes, "Crossfire"] Volman and Kaylan worked out choreographed dance steps to do while playing their saxes, and the group even developed a group of obsessive fans who called themselves the Chunky Club, named after one of the group's originals: [Excerpt: The Crossfires, "Chunky"] At this point the group were pretty much only playing instrumentals, though they would do occasional vocals on R&B songs like "Money" or their version of Don and Dewey's "Justine", songs which required more enthusiasm than vocal ability. But their first single, released on a tiny label, was another surf instrumental, a song called "Dr. Jekyll and Mr. Hyde": [Excerpt: The Crossfires, "Dr. Jekyll and Mr Hyde"] The group became popular enough locally that they became the house band at the Revelaire Club in Redondo Beach. There as well as playing their own sets, they would also be the backing band for any touring acts that came through without their own band, quickly gaining the kind of performing ability that comes from having to learn a new artist's entire repertoire in a few days and be able to perform it with them live with little or no rehearsal. They backed artists like the Coasters, the Drifters, Bobby Vee, the Rivingtons, and dozens of other major acts, and as part of that Volman and Kaylan would, on songs that required backing vocals, sing harmonies rather than playing saxophone. And that harmony-singing ability became important when the British Invasion happened, and suddenly people didn't want to hear surf instrumentals, but vocals along the lines of the new British groups. The Crossfires' next attempt at a single was another original, this one an attempt at sounding like one of their favourite new British groups, the Kinks: [Excerpt: The Crossfires, "One Potato, Two Potato"] This change to vocals necessitated a change in the group dynamic. Volman and Kaylan ditched the saxophones, and discovered that between them they made one great frontman. The two have never been excessively close on a personal level, but both have always known that the other has qualities they needed. Frank Zappa would later rather dismissively say "I regard Howard as a fine singer, and Mark as a great tambourine player and fat person", and it's definitely true that Kaylan is one of the truly great vocalists to come out of the LA scene in this period, while Volman is merely a good harmony singer, not anything particularly special -- though he *is* a good harmony singer -- but it undersells Volman's contribution. There's a reason the two men performed together for nearly sixty years. Kaylan is a great singer, but also by nature rather reserved, and he always looked uncomfortable on stage, as well as, frankly, not exactly looking like a rock star (Kaylan describes himself not inaccurately as looking like a potato several times in his autobiography). Volman, on the other hand, is a merely good singer, but he has a naturally outgoing personality, and while he's also not the most conventionally good-looking of people he has a *memorable* appearance in a way that Kaylan doesn't. Volman could do all the normal frontman stuff, the stuff that makes a show an actual show -- the jokes, the dancing, the between-song patter, the getting the crowd going, while Kaylan could concentrate on the singing. They started doing a variation on the routine that had so enthralled Howard Kaylan when he'd seen Louis Prima and Keeley Smith do it as a child. Kaylan would stand more or less stock still, looking rather awkward, but singing like an angel, while Volman would dance around, clown, act the fool, and generally do everything he could to disrupt the performance -- short of actually disrupting it in reality. It worked, and Volman became one of that small but illustrious group of people -- the band member who makes the least contribution to the sound of the music but the biggest contribution to the feel of the band itself, and without whom they wouldn't be the same. After "One Potato, Two Potato" was a flop, the Crossfires were signed to their third label. This label, White Whale, was just starting out, and the Crossfires were to become their only real hit act. Or rather, the Turtles were. The owners of White Whale knew that they didn't have much promotional budget and that their label was not a known quantity -- it was a tiny label with no track record. But they thought of a way they could turn that to their advantage. Everyone knew that the Beatles, before Capitol had picked up their contracts, had had their records released on a bunch of obscure labels like Swan and Tollie. People *might* look for records on tiny independent labels if they thought it might be another British act who were unknown in the US but could be as good as the Beatles. So they chose a name for the group that they thought sounded as English as possible -- an animal name that started with "the", and ended in "les", just like the Beatles. The group, all teenagers at the time, were desperate enough that they agreed to change their name, and from that point on they became the Turtles. In order to try and jump on as many bandwagons as possible, the label wanted to position them as a folk-rock band, so their first single under the Turtles name was a cover of a Bob Dylan song, from Another Side of Bob Dylan: [Excerpt: Bob Dylan, "It Ain't Me Babe"] That song's hit potential had already been seen by Johnny Cash, who'd had a country hit with it a few months before. But the Turtles took the song in a different direction, inspired by Kaylan's *other* great influence, along with Prima and Smith. Kaylan was a big fan of the Zombies, one of the more interesting of the British Invasion groups, and particularly of their singer Colin Blunstone. Kaylan imitated Blunstone on the group's hit single, "She's Not There", on which Blunstone sang in a breathy, hushed, voice on the verses: [Excerpt: The Zombies, "She's Not There"] before the song went into a more stomping chorus on which Blunstone sang in a fuller voice: [Excerpt: The Zombies, "She's Not There"] Kaylan did this on the Turtles' version of "It Ain't Me Babe", starting off with a quiet verse: [Excerpt: The Turtles, "It Ain't Me Babe"] Before, like the Zombies, going into a foursquare, more uptempo, louder chorus: [Excerpt: The Turtles, "It Ain't Me Babe"] The single became a national top ten hit, and even sort of got the approval of Bob Dylan. On the group's first national tour, Dylan was at one club show, which they ended with "It Ain't Me Babe", and after the show the group were introduced to the great songwriter, who was somewhat the worse for wear. Dylan said “Hey, that was a great song you just played, man. That should be your single", and then passed out into his food. With the group's first single becoming a top ten hit, Volman and Kaylan got themselves a house in Laurel Canyon, which was not yet the rock star Mecca it was soon to become, but which was starting to get a few interesting residents. They would soon count Henry Diltz of the Modern Folk Quartet, Danny Hutton, and Frank Zappa among their neighbours. Soon Richie Furay would move in with them, and the house would be used by the future members of the Buffalo Springfield as their rehearsal space. The Turtles were rapidly becoming part of the in crowd. But they needed a follow-up single, and so Bones Howe, who was producing their records, brought in P.F. Sloan to play them a few of his new songs. They liked "Eve of Destruction" enough to earmark it as a possible album track, but they didn't think they would do it justice, and so it was passed on to Barry McGuire. But Sloan did have something for them -- a pseudo-protest song called "Let Me Be" that was very clearly patterned after their version of "It Ain't Me Babe", and which was just rebellious enough to make them seem a little bit daring, but which was far more teenage angst than political manifesto: [Excerpt: The Turtles, "Let Me Be"] That did relatively well, making the top thirty -- well enough for the group to rush out an album which was padded out with some sloppy cover versions of other Dylan songs, a version of "Eve of Destruction", and a few originals written by Kaylan. But the group weren't happy with the idea of being protest singers. They were a bunch of young men who were more motivated by having a good time than by politics, and they didn't think that it made sense for them to be posing as angry politicised rebels. Not only that, but there was a significant drop-off between "It Ain't Me Babe" and "Let Me Be". They needed to do better. They got the clue for their new direction while they were in New York. There they saw their friends in the Mothers of Invention playing their legendary residency at the Garrick Theatre, but they also saw a new band, the Lovin' Spoonful, who were playing music that was clearly related to the music the Turtles were doing -- full of harmonies and melody, and inspired by folk music -- but with no sense of rebelliousness at all. They called it "Good Time Music": [Excerpt: The Lovin' Spoonful, "Good Time Music"] As soon as they got back to LA, they told Bones Howe and the executives at White Whale that they weren't going to be a folk-rock group any more, they were going to be "good time music", just like the Lovin' Spoonful. They were expecting some resistance, but they were told that that was fine, and that PF Sloan had some good time music songs too. "You Baby" made the top twenty: [Excerpt: The Turtles, "You Baby"] The Turtles were important enough in the hierarchy of LA stars that Kaylan and Tucker were even invited by David Crosby to meet the Beatles at Derek Taylor's house when they were in LA on their last tour -- this may be the same day that the Beatles met Brian and Carl Wilson, as I talked about in the episode on "All You Need is Love", though Howard Kaylan describes this as being a party and that sounded like more of an intimate gathering. If it was that day, there was nearly a third Beach Boy there. The Turtles knew David Marks, the Beach Boys' former rhythm guitarist, because they'd played a lot in Inglewood where he'd grown up, and Marks asked if he could tag along with Kaylan and Tucker to meet the Beatles. They agreed, and drove up to the house, and actually saw George Harrison through the window, but that was as close as they got to the Beatles that day. There was a heavy police presence around the house because it was known that the Beatles were there, and one of the police officers asked them to drive back and park somewhere else and walk up, because there had been complaints from neighbours about the number of cars around. They were about to do just that, when Marks started yelling obscenities and making pig noises at the police, so they were all arrested, and the police claimed to find a single cannabis seed in the car. Charges were dropped, but now Kaylan was on the police's radar, and so he moved out of the Laurel Canyon home to avoid bringing police attention to Buffalo Springfield, so that Neil Young and Bruce Palmer wouldn't get deported. But generally the group were doing well. But there was a problem. And that problem was their record label. They rushed out another album to cash in on the success of "You Baby", one that was done so quickly that it had "Let Me Be" on it again, just as the previous album had, and which included a version of the old standard "All My Trials", with the songwriting credited to the two owners of White Whale records. And they pumped out a lot of singles. A LOT of singles, ranging from a song written for them by new songwriter Warren Zevon, to cover versions of Frank Sinatra's "It Was a Very Good Year" and the old standard "We'll Meet Again". Of the five singles after "You Baby", the one that charted highest was a song actually written by a couple of the band members. But for some reason a song with verses in 5/4 time and choruses in 6/4 with lyrics like "killing the living and living to kill, the grim reaper of love thrives on pain" didn't appeal to the group's good-time music pop audience and only reached number eighty-one: [Excerpt: The Turtles, "Grim Reaper of Love"] The group started falling apart. Don Murray became convinced that  the rest of the band were conspiring against him and wanted him out, so he walked out of the group in the middle of a rehearsal for a TV show. They got Joel Larson of the Grass Roots -- the group who had a number of hits with Sloan and Barri songs -- to sub for a few gigs before getting in a permanent replacement, Johnny Barbata, who came to them on the recommendation of Gene Clark, and who was one of the best drummers on the scene -- someone who was not only a great drummer but a great showman, who would twirl his drumsticks between his fingers with every beat, and who would regularly engage in drum battles with Buddy Rich. By the time they hit their fifth flop single in a row, they lost their bass player as well -- Chuck Portz decided he was going to quit music and become a fisherman instead. They replaced him with Chip Douglas of the Modern Folk Quartet. Then they very nearly lost their singers. Volman and Kaylan both got their draft notices at the same time, and it seemed likely they would end up having to go and fight in the Vietnam war. Kaylan was distraught, but his mother told him "Speak to your cousin Herb". Cousin Herb was Herb Cohen, the manager of the Mothers of Invention and numerous other LA acts, including the Modern Folk Quartet, and Kaylan only vaguely knew him at this time, but he agreed to meet up with them, and told them “Stop worrying! I got Zappa out, I got Tim Buckley out, and I'll get you out.” Cohen told Volman and Kaylan to not wash for a week before their induction, to take every drug of every different kind they could find right before going in, to deliberately disobey every order, to fail the logic tests, and to sexually proposition the male officers dealing with the induction. They followed his orders to the letter, and got marked as 4-F, unfit for service. They still needed a hit though, and eventually they found something by going back to their good-time music idea. It was a song from the Koppelman-Rubin publishing company -- the same company that did the Lovin Spoonful's management and production. The song in question was by Alan Gordon and Gary Bonner, two former members of a group called the Magicians, who had had a minor success with a single called "An Invitation to Cry": [Excerpt: The Magicians, "An Invitation to Cry"] The Magicians had split up, and Bonner and Gordon were trying to make a go of things as professional songwriters, but had had little success to this point. The song on the demo had been passed over by everyone, and the demo was not at all impressive, just a scratchy acetate with Bonner singing off-key and playing acoustic rhythm guitar and Gordon slapping his knees to provide rhythm, but the group heard something in it. They played the song live for months, refining the arrangement, before taking it into the studio. There are arguments to this day as to who deserves the credit for the sound on "Happy Together" -- Chip Douglas apparently did the bulk of the arrangement work while they were on tour, but the group's new producer, Joe Wissert, a former staff engineer for Cameo-Parkway, also claimed credit for much of it. Either way, "Happy Together" is a small masterpiece of dynamics. The song is structured much like the songs that had made the Turtles' name, with the old Zombies idea of the soft verse and much louder chorus: [Excerpt: The Turtles, "Happy Together"] But the track is really made by the tiny details of the arrangement, the way instruments and vocal parts come in and out as the track builds up, dies down, and builds again. If you listen to the isolated tracks, there are fantastic touches like the juxtaposition of the bassoon and oboe (which I think is played on a mellotron): [Excerpt: The Turtles, "Happy Together", isolated tracks] And a similar level of care and attention was put into the vocal arrangement by Douglas, with some parts just Kaylan singing solo, other parts having Volman double him, and of course the famous "bah bah bah" massed vocals: [Excerpt: The Turtles, "Happy Together", isolated vocals] At the end of the track, thinking he was probably going to do another take, Kaylan decided to fool around and sing "How is the weather?", which Bonner and Gordon had jokingly done on the demo. But the group loved it, and insisted that was the take they were going to use: [Excerpt: The Turtles, "Happy Together"] "Happy Together" knocked "Penny Lane" by the Beatles off the number one spot in the US, but by that point the group had already had another lineup change. The Monkees had decided they wanted to make records without the hit factory that had been overseeing them, and had asked Chip Douglas if he wanted to produce their first recordings as a self-contained band. Given that the Monkees were the biggest thing in the American music industry at the time, Douglas had agreed, and so the group needed their third bass player in a year. The one they went for was Jim Pons. Pons had seen the Beatles play at the Hollywood Bowl in 1964, and decided he wanted to become a pop star. The next day he'd been in a car crash, which had paid out enough insurance money that he was able to buy two guitars, a bass, drums, and amps, and use them to start his own band. That band was originally called The Rockwells, but quickly changed their name to the Leaves, and became a regular fixture at Ciro's on Sunset Strip, first as customers, then after beating Love in the auditions, as the new resident band when the Byrds left. For a while the Leaves had occasionally had guest vocals from a singer called Richard Marin, but Pons eventually decided to get rid of him, because, as he put it "I wanted us to look like The Beatles. There were no Mexicans in The Beatles". He is at pains in his autobiography to assure us that he's not a bigot, and that Marin understood. I'm sure he did. Marin went on to be better known as Cheech Marin of Cheech and Chong. The Leaves were signed by Pat Boone to his production company, and through that company they got signed to Mira Records. Their first single, produced by Nik Venet, had been a version of "Love Minus Zero (No Limit)", a song by Bob Dylan: [Excerpt: The Leaves, "Love Minus Zero (No Limit)"] That had become a local hit, though not a national one, and the Leaves had become one of the biggest bands on the Sunset Strip scene, hanging out with all the other bands. They had become friendly with the Doors before the Doors got a record deal, and Pat Boone had even asked for an introduction, as he was thinking of signing them, but unfortunately when he met Jim Morrison, Morrison had drunk a lot of vodka, and given that Morrison was an obnoxious drunk Boone had second thoughts, and so the world missed out on the chance of a collaboration between the Doors and Pat Boone. Their second single was "Hey Joe" -- as was their third and fourth, as we discussed in that episode: [Excerpt: The Leaves, "Hey Joe"] Their third version of "Hey Joe" had become a top forty hit, but they didn't have a follow-up, and their second album, All The Good That's Happening, while it's a good album, sold poorly. Various band members quit or fell out, and when Johnny Barbata knocked on Jim Pons' door it was an easy decision to quit and join a band that had a current number one hit. When Pons joined, the group had already recorded the Happy Together album. That album included the follow-up to "Happy Together", another Bonner and Gordon song, "She'd Rather Be With Me": [Excerpt: The Turtles, "She'd Rather Be With Me"] None of the group were tremendously impressed with that song, but it did very well, becoming the group's second-biggest hit in the US, reaching number three, and actually becoming a bigger hit than "Happy Together" in parts of Europe. Before "Happy Together" the group hadn't really made much impact outside the US. In the UK, their early singles had been released by Pye, the smallish label that had the Kinks and Donovan, but which didn't have much promotional budget, and they'd sunk without trace. For "You Baby" they'd switched to Immediate, the indie label that Andrew Oldham had set up, and it had done a little better but still not charted. But from "Happy Together" they were on Decca, a much bigger label, and "Happy Together" had made number twelve in the charts in the UK, and "She'd Rather Be With Me" reached number four. So the new lineup of the group went on a UK tour. As soon as they got to the hotel, they found they had a message from Graham Nash of the Hollies, saying he would like to meet up with them. They all went round to Nash's house, and found Donovan was also there, and Nash played them a tape he'd just been given of Sgt Pepper, which wouldn't come out for a few more days. At this point they were living every dream a bunch of Anglophile American musicians could possibly have. Jim Tucker mentioned that he would love to meet the Beatles, and Nash suggested they do just that. On their way out the door, Donovan said to them, "beware of Lennon". It was when they got to the Speakeasy club that the first faux-pas of the evening happened. Nash introduced them to Justin Hayward and John Lodge of the Moody Blues, and Volman said how much he loved their record "Go Now": [Excerpt: The Moody Blues, "Go Now"] The problem was that Hayward and Lodge had joined the group after that record had come out, to replace its lead singer Denny Laine. Oh well, they were still going to meet the Beatles, right? They got to the table where John, Paul, and Ringo were sat, at a tense moment -- Paul was having a row with Jane Asher, who stormed out just as the Turtles were getting there. But at first, everything seemed to go well. The Beatles all expressed their admiration for "Happy Together" and sang the "ba ba ba" parts at them, and Paul and Kaylan bonded over their shared love for "Justine" by Don and Dewey, a song which the Crossfires had performed in their club sets, and started singing it together: [Excerpt: Don and Dewey, "Justine"] But John Lennon was often a mean drunk, and he noticed that Jim Tucker seemed to be the weak link in the group, and soon started bullying him, mocking his clothes, his name, and everything he said. This devastated Tucker, who had idolised Lennon up to that point, and blurted out "I'm sorry I ever met you", to which Lennon just responded "You never did, son, you never did". The group walked out, hurt and confused -- and according to Kaylan in his autobiography, Tucker was so demoralised by Lennon's abuse that he quit music forever shortly afterwards, though Tucker says that this wasn't the reason he quit. From their return to LA on, the Turtles would be down to just a five-piece band. After leaving the club, the group went off in different directions, but then Kaylan (and this is according to Kaylan's autobiography, there are no other sources for this) was approached by Brian Jones, asking for his autograph because he loved the Turtles so much. Jones introduced Kaylan to the friend he was with, Jimi Hendrix, and they went out for dinner, but Jones soon disappeared with a girl he'd met. and left Kaylan and Hendrix alone. They were drinking a lot -- more than Kaylan was used to -- and he was tired, and the omelette that Hendrix had ordered for Kaylan was creamier than he was expecting... and Kaylan capped what had been a night full of unimaginable highs and lows by vomiting all over Jimi Hendrix's expensive red velvet suit. Rather amazingly after all this, the Moody Blues, the Beatles, and Hendrix, all showed up to the Turtles' London gig and apparently enjoyed it. After "She'd Rather Be With Me", the next single to be released wasn't really a proper single, it was a theme song they'd been asked to record for a dire sex comedy titled "Guide for the Married Man", and is mostly notable for being composed by John Williams, the man who would later go on to compose the music for Star Wars. That didn't chart, but the group followed it with two more top twenty hits written by Bonner and Gordon, "You Know What I Mean" and "She's My Girl". But then the group decided that Bonner and Gordon weren't giving them their best material, and started turning down their submissions, like a song called "Celebrity Ball" which they thought had no commercial potential, at least until the song was picked up by their friends Three Dog Night, retitled "Celebrate", and made the top twenty: [Excerpt: Three Dog Night, "Celebrate"] Instead, the group decided to start recording more of their own material. They were worried that in the fast-changing rock world bands that did other songwriters' material were losing credibility. But "Sound Asleep", their first effort in this new plan, only made number forty-seven on the charts. Clearly they needed a different plan. They called in their old bass player Chip Douglas, who was now an experienced hitmaker as a producer. He called in *his* friend Harry Nilsson, who wrote "The Story of Rock & Roll" for the group, but that didn't do much better, only making number forty-eight. But the group persevered, starting work on a new album produced by Douglas, The Turtles Present The Battle of the Bands, the conceit of which was that every track would be presented as being by a different band. So there were tracks by  Chief Kamanawanalea and his Royal Macadamia Nuts,  Fats Mallard and the Bluegrass Fireball, The Atomic Enchilada, and so on, all done in the styles suggested by those band names. There was even a track by "The Cross Fires": [Excerpt: The Cross Fires, "Surfer Dan"] It was the first time the group had conceived of an album as a piece, and nine of the twelve tracks were originals by the band -- there was a track written by their friend Bill Martin, and the opening track, by "The US Teens Featuring Raoul", was co-written by Chip Douglas and Harry Nilsson. But for the most part the songs were written by the band members themselves, and jointly credited to all of them. This was the democratic decision, but one that Howard Kaylan would later regret, because of the song for which the band name was just "Howie, Mark, Johnny, Jim & Al". Where all the other songs were parodies of other types of music, that one was, as the name suggests, a parody of the Turtles themselves. It was written by Kaylan in disgust at the record label, who kept pestering the group to "give us another 'Happy Together'". Kaylan got more and more angry at this badgering, and eventually thought "OK, you want another 'Happy Together'? I'll give you another 'Happy Together'" and in a few minutes wrote a song that was intended as an utterly vicious parody of that kind of song, with lyrics that nobody could possibly take seriously, and with music that was just mocking the whole structure of "Happy Together" specifically. He played it to the rest of the group, expecting them to fall about laughing, but instead they all insisted it was the group's next single. "Elenore" went to number six on the charts, becoming their biggest hit since "She'd Rather Be With Me": [Excerpt: The Turtles, "Elenore"] And because everything was credited to the group, Kaylan's songwriting royalties were split five ways. For the follow-up, they chose the one actual cover version on the album. "You Showed Me" is a song that Roger McGuinn and Gene Clark had written together in the very early days of the Byrds, and they'd recorded it as a jangly folk-rock tune in 1964: [Excerpt: The Byrds, "You Showed Me"] They'd never released that track, but Gene Clark had performed it solo after leaving the Byrds, and Douglas had been in Clark's band at the time, and liked the song. He played it for the Turtles, but when he played it for them the only instrument he had to hand was a pump organ with one of its bellows broken. Because of this, he had to play it slowly, and while he kept insisting that the song needed to be faster, the group were equally insistent that what he was playing them was the big ballad hit they wanted, and they recorded it at that tempo. "You Showed Me" became the Turtles' final top ten hit: [Excerpt: The Turtles, "You Showed Me"] But once again there were problems in the group. Johnny Barbata was the greatest drummer any of them had ever played with, but he didn't fit as a personality -- he didn't like hanging round with the rest of them when not on stage, and while there were no hard feelings, it was clear he could get a gig with pretty much anyone and didn't need to play with a group he wasn't entirely happy in. By mutual agreement, he left to go and play with Crosby, Stills, Nash, and Young, and was replaced by John Seiter from Spanky and Our Gang -- a good drummer, but not the best of the best like Barbata had been. On top of this, there were a whole host of legal problems to deal with. The Turtles were the only big act on White Whale records, though White Whale did put out some other records. For example, they'd released the single "Desdemona" by John's Children in the US: [Excerpt: John's Children, "Desdemona"] The group, being the Anglophiles they were, had loved that record, and were also among the very small number of Americans to like the music made by John's Children's guitarist's new folk duo, Tyrannosaurus Rex: [Excerpt: Tyrannosaurus Rex, "Debora"] When Tyrannosaurus Rex supported the Turtles, indeed, Volman and Kaylan became very close to Marc Bolan, and told him that the next time they were in England they'd have to get together, maybe even record together. That would happen not that many years later, with results we'll be getting to in... episode 201, by my current calculations. But John's Children hadn't had a hit, and indeed nobody on White Whale other than the Turtles had. So White Whale desperately wanted to stop the Turtles having any independence, and to make sure they continued to be their hit factory. They worked with the group's roadie, Dave Krambeck, to undermine the group's faith in their manager, Bill Utley, who supported the group in their desire for independence. Soon, Krambeck and White Whale had ousted Utley, and Krambeck had paid Utley fifty thousand dollars for their management contract, with the promise of another two hundred thousand later. That fifty thousand dollars had been taken by Krambeck as an advance against the Turtles' royalties, so they were really buying themselves out. Except that Krambeck then sold the management contract on to a New York management firm, without telling the group. He then embezzled as much of the group's ready cash as he could and ran off to Mexico, without paying Utley his two hundred thousand dollars. The Turtles were out of money, and they were being sued by Utley because he hadn't had the money he should have had, and by the big New York firm, because  since the Turtles hadn't known they were now legally their managers they were in breach of contract. They needed money quickly, and so they signed with another big management company, this one co-owned by Bill Cosby, in the belief that Cosby's star power might be able to get them some better bookings. It did -- one of the group's first gigs after signing with the new company was at the White House. It turned out they were Tricia Nixon's favourite group, and so they and the Temptations were booked at her request for a White House party. The group at first refused to play for a President they rightly thought of as a monster, but their managers insisted. That destroyed their reputation among the cool antiestablishment youth, of course, but it did start getting them well-paid corporate gigs. Right up until the point where Kaylan became sick at his own hypocrisy at playing these events, drank too much of the complimentary champagne at an event for the president of US Steel, went into a drunken rant about how sick the audience made him, and then about how his bandmates were a bunch of sellouts, threw his mic into a swimming pool, and quit while still on stage. He was out of the band for two months, during which time they worked on new material without him, before they made up and decided to work on a new album. This new album, though, was going to be more democratic. As well as being all original material, they weren't having any of this nonsense about the lead singer singing lead. This time, whoever wrote the song was going to sing lead, so Kaylan only ended up singing lead on six of the twelve songs on what turned out to be their final album, Turtle Soup. They wanted a truly great producer for the new album, and they all made lists of who they might call. The lists included a few big names like George Martin and Phil Spector, but one name kept turning up -- Ray Davies. As we'll hear in the next episode, the Kinks had been making some astonishing music since "You Really Got Me", but most of it had not been heard in the US. But the Turtles all loved the Kinks' 1968 album The Kinks Are The Village Green Preservation Society, which they considered the best album ever made: [Excerpt: The Kinks, "Animal Farm"] They got in touch with Davies, and he agreed to produce the album -- the first time he did any serious outside production work -- and eventually they were able to persuade White Whale, who had no idea who he was, to allow him to produce it. The resulting album is by far the group's strongest album-length work, though there were problems -- Davies' original mix of the album was dominated by the orchestral parts written by Wrecking Crew musician Ray Pohlman, while the group thought that their own instruments should be more audible, since they were trying to prove that they were a proper band. They remixed it themselves, annoying Davies, though reissues since the eighties have reverted to a mix closer to Davies' intentions. Some of the music, like Pons' "Dance This Dance With Me", perhaps has the group trying a little *too* hard to sound like the Kinks: [Excerpt: The Turtles, "Dance This Dance With Me"] But on the other hand, Kaylan's "You Don't Have to Walk in the Rain" is the group's last great pop single, and has one of the best lines of any single from the sixties -- "I look at your face, I love you anyway": [Excerpt: The Turtles, "You Don't Have to Walk in the Rain"] But the album produced no hits, and the group were getting more and more problems from their label. White Whale tried to get Volman and Kaylan to go to Memphis without the other band members to record with Chips Moman, but they refused -- the Turtles were a band, and they were proud of not having session players play their parts on the records. Instead, they started work with Jerry Yester producing on a new album, to be called Shell Shock. They did, though bow to pressure and record a terrible country track called "Who Would Ever Think That I Would Marry Margaret" backed by session players, at White Whale's insistence, but managed to persuade the label not to release it. They audited White Whale and discovered that in the first six months of 1969 alone -- a period where they hadn't sold that many records -- they'd been underpaid by a staggering six hundred and fifty thousand dollars. They sued the label for several million, and in retaliation, the label locked them out of the recording studio, locking their equipment in there. They basically begged White Whale to let them record one last great single, one last throw of the dice. Jim Pons had, for years, known a keyboard player named Bob Harris, and had recently got to know Harris' wife, Judee Sill. Sill had a troubled life -- she was a heroin addict, and had at times turned to streetwalking to earn money, and had spent time in prison for armed robbery -- but she was also an astonishing songwriter, whose music was as inspired by Bach as by any pop or folk composer. Sill had been signed to Blimp, the Turtles' new production and publishing company, and Pons was co-producing some tracks on her first album, with Graham Nash producing others. Pons thought one song from that album, "Lady-O", would be perfect for the Turtles: [Excerpt: Judee Sill, "Lady-O"] (music continues under) The Turtles stuck closely to Sill's vision of the song. So closely that you haven't noticed that before I started talking, we'd already switched from Sill's record to the Turtles' version. [Excerpt: The Turtles, "Lady-O"] That track, with Sill on guitar backing Kaylan, Volman, and Nichol's vocals, was the last Turtles single to be released while the band were together. Despite “Lady O” being as gorgeous a melody as has ever been produced in the rock world, it sank without trace, as did a single from the Shell Shock sessions released under a pseudonym, The Dedications. White Whale followed that up, to the group's disgust, with "Who Would Ever Think That I Would Marry Margaret?", and then started putting out whatever they had in the vaults, trying to get the last few pennies, even releasing their 1965 album track version of "Eve of Destruction" as if it were a new single. The band were even more disgusted when they discovered that, thanks to the flurry of suits and countersuits, they not only could no longer perform as the Turtles, but White Whale were laying legal claim to their own names. They couldn't perform under those names -- Howard Kaylan, Mark Volman, and the rest were the intellectual property of White Whale, according to the lawyers. The group split up, and Kaylan and Volman did some session work, including singing on a demo for a couple of new songwriters: [Excerpt: Steely Dan, "Everyone's Gone to the Movies"] When that demo got the songwriters a contract, one of them actually phoned up to see if Kaylan wanted a permanent job in their new band, but they didn't want Volman as well, so Kaylan refused, and Steely Dan had to do without him. Volman and Kaylan were despondent, washed-up, has-been ex-rock stars. But when they went to see a gig by their old friend Frank Zappa, it turned out that he was looking for exactly that. Of course, they couldn't use their own names, but the story of the Phlorescent Leech and Eddie is a story for another time...

tv love american new york history money president children english europe babies uk rock las vegas england guide star wars americans mexico british san francisco young football walk story speak white house zombies celebrate mexican kingdom of god vietnam rain harris jump mothers beatles cd hurricanes invitation capitol doors rock and roll foundations disneyland destruction turtles bob dylan bands bill cosby magicians invention bach frank sinatra morrison prima temptations neil young ventures charges davies johnny cash swan jimi hendrix john williams beach boys lodge herb cosby grassroots mecca t rex kinks jekyll george harrison lovin mixcloud hayward ray charles tilt howie frank zappa chong dewey ringo jim morrison monkees steely dan italian americans speakeasy stills rock music grim reaper bonner inglewood ciro hollywood bowl phil spector sunset strip zappa cheech byrds british invasion jive drifters spoonful brian jones sill george martin david crosby pons barri moody blues my girl warren zevon wrecking crew all you need laurel canyon coasters harry nilsson blimps mp3s married man spanky sgt pepper hollies penny lane redondo beach happy together three dog night pat boone decca buffalo springfield cheech marin graham nash dedications buddy rich shellshock white whale marc bolan dixieland utley ray davies bob harris louis prima tim buckley not there another side bill martin mouseketeers turnin louis jordan bobby vee pye kaylan roger mcguinn sid caesar colin blunstone king louis derek taylor lovin spoonful us steel jim tucker king curtis turtle soup denny laine alan gordon gene clark carl wilson barry mcguire john lodge nightriders jane asher judee sill our gang justin hayward david marks one potato you really got me tossin let me be found you anglophiles don murray garrick theatre herb cohen this dvd henry diltz ernie kovacs lady o chips moman very good year volman howard kaylan andrew oldham blunstone you know what i mean i wanna be like you me babe mark volman tollie flo and eddie all my trials tilt araiza
Ear and Loathing
Episode 25: Madonna, Blackmore's Night, Big Blue Wrecking Crew

Ear and Loathing

Play Episode Listen Later Sep 8, 2022 129:48


In this episode of Ear and Loathing, your hosts Aaron, Damon and George (The Gitmo Bros), along with guest Andy Levy, talk about Aaron's unfunky aunt, Rick "Stormy" Monday, Helen Dell's fat funk, and Andy Levy's Silkwood shower. In the Torture Chamber segment, Aaron, Damon and George compete for meaningless points by making Andy listen to his most hated songs. Will Andy survive the Torture Chamber long enough to play a round of Brockeets? Tune in and find out!  Songs featured in this episode: "Four Winds" (Blackmore's Night), "We Are the Champions" (Big Blue Wrecking Crew), "American Life" (Madonna)

The Front Row Network
MCU HQ - She-Hulk Episode 3 Breakdown

The Front Row Network

Play Episode Listen Later Sep 7, 2022 31:50


The next episode of MCU HQ features the return of Jacqueline before she departs for D23. Jen is thrown through a loop when footage of Blonsky fighting in the Macau fight pit leaks to the press. Blonsky explains that he didn't escape but was rather escorted to the fight club by the Sorcerer Supreme himself, Wong. Can Jen devise a strategy to explain this to the parole board while also helping Pug defend former colleague Dennis in a defrauding case against a light elf? Does Meghan Thee Stallion have super powers?! Who are the Wrecking Crew working for?!?!?!. Let's break it all down! FEATURING: Jeremy Goeckner, Philip Orona & Jacqueline Keysear __________________________________________ FIND US ON NPR ILLINOIS! https://www.nprillinois.org/programs/front-row-network FIND US ON FACEBOOK – https://www.facebook.com/thefrontrownetwork/ FIND US ON TWITTER – https://twitter.com/FrontRowReviewz __________________________________________ Please enjoy this episode of MCU HQ and as always, we'll see you in the front row!

3 Hokages
Twerk Heard Around The World

3 Hokages

Play Episode Listen Later Sep 6, 2022 83:23


It's troll hunting season as we dig into the Internet trolls as we discuss the response to She-Hulk's twerking and having people of color featured in recent high fantasy shows like Lord of the Rings - Ring of Power and House of Dragons.

A Bite Of
She-Hulk 3: The People vs. Emil Blonsky | Marvel

A Bite Of

Play Episode Listen Later Sep 5, 2022 56:49


Derek and Noah take A Bite Of She-Hulk: Attorney at Law Episode 3: The People vs. Emil Blonsky! Jen brings in witnesses for Abominations parole hearing, Dennis is tricked by a shape-shifting light elf from New Asgard, and The Wrecking Crew has a new project! So many surprises, so little twerking!____________Thanks for listening to A Bite Of don't forget to rate and subscribe! Still want more? Check out the links below and connect with us!!INSTAGRAM: instagram.com/abiteofpod FACEBOOK: facebook.com/abiteofpodTWITTER: twitter.com/ABiteOfPodTWITCH: twitch.tv/abiteofYOUTUBE: youtube.com/channelWEBSITE:  abiteofpod.comMERCH: abiteofpod.bigcartel.comDISCORD: https://discord.com/invite Support the show

Legends of S.H.I.E.L.D.: An Unofficial Marvel Agents Of S.H.I.E.L.D. Fan Podcast
She-Hulk S1E3 "The People vs. Emil Blonsky" Review (A Marvel Comic Universe Podcast) LoS441

Legends of S.H.I.E.L.D.: An Unofficial Marvel Agents Of S.H.I.E.L.D. Fan Podcast

Play Episode Listen Later Sep 5, 2022 58:36


The Legends Of S.H.I.E.L.D. Agent Lauren, Agent Michelle, Agent Chris, Special Counsel Anthony, and Producer of the show Director SP discuss the 2022 Marvel Studios Disney+ She-Hulk Series third episode “The People vs. Emil Blonsky.” The Team debriefs you with a Legends Of S.H.I.E.L.D. exclusive episode synopsis, a look at the episode's creative team, a legal dissection of Emil Blonsky's parole hearing, how Abomination was a “model prisoner with seven prison pen pal fiancés (or did the credit comic boards debunk that?), Won's cameo, why Jennifer Walters is herself in many scenes, Abomination's MCU future, the in-show media commentary, Mallory Book's minimal role through episode three, She-Hulk: Attorney At Law's familiar use of cameos, The in-show mainstream media, The Wrecking Crew, and the persistent show CGI controversy. The Team also discusses the top Marvel Studios news stories over the past week including the new MCU Timeline Keeper position, The Heavy Price Disney paid for the X-Men The Animated Series theme song, the Clandestines fates in Ms Marvel, and several other Marvel Studios stories of the week. The team welcome some much needed feedback on obtaining Orphan Black. And stay tuned after the credits for a few bonus audio scenes.   THIS TIME ON LEGENDS OF S.H.I.E.L.D.:   She-Hulk: Attorney At Law Disney+ Episode 3 “The People vs. Emil Blonsky” Weekly Marvel News The New MCU Timeline Keeper Position The X-Men The Animated Series Theme Heavy Price Ms Marvel's Clandestine's Fate Audience Feedback Where To Obtain Orphan Black For Free   SHE-HULK: ATTORNEY AT LAW “THE PEOPLE VS. EMIL BLONSKY” S1E3 [4:04]   She-Hulk: Attorney At Law episode 3 Premiered on Disney+ - Thursday September 1st, 2022   S1E3 “The People vs. Emil Blonsky”   Directed By: Kat Coiro https://www.imdb.com/name/nm0192478/?ref_=ttfc_fc_dr1#director 30 Directing Credits starting in 2007 1x Brooklyn Nine-Nine 4xIt's Always Sunny in Philadelphia  1xModern Family 2xDead To Me 2022 Film Marry Me 6 x She-Hulk: Attorney At Law (9 Episode series)   Episode Writer: Francesca Gailes https://www.imdb.com/name/nm3597491/?ref_=tt_ov_wr  8 writing credits starting in 2011 6x The Enemy: The N in Me 1x On My Block (10x Staff writer) 1x The Tick Punky Brewster (2021) - 9x story editor 1x She-Hulk Attorney At Law   Episode Writer: Jacqueline Gailes https://www.imdb.com/name/nm6537189/?ref_=tt_ov_wr  3 writing credits starting in 2019 The Enemy: The N in Me - 6x Production Assistant On My Block (10x Staff writer) Punky Brewster (2021) - 9x executive story editor 1x She-Hulk Attorney At Law   Jessica Gao is the She-Hulk Showrunner https://www.imdb.com/name/nm2005299/?ref_=ttfc_fc_wr1#producer 7 Production Credits Starting In 2017 8 x Take My Wife 10 x Corporate Easter Sunday 9 x She Hulk: Attorney At Law   She-Hulk: Attorney At Law Main Cast Tatiana Maslany as Jennifer Walters / She-Hulk - Lauren Mark Ruffalo as Bruce Banner / Smart Hulk Chris Ginger Gonzaga as Nikki Ramos Jameela Jamil as Titania - Anthony Josh Segarra as Augustus "Pug" Pugliese Jon Bass as Todd Renée Elise Goldsberry as Mallory Book: - Lauren Tim Roth as Emil Blonsky / Abomination Benedict Wong as Wong Charlie Cox as Matt Murdock / Daredevil Source: https://www.imdb.com/title/tt10857160/fullcredits/?ref_=tt_cl_sm             MARVEL STUDIOS WEEKLY NEWS [44:01]   MCU – MARVEL STUDIOS   Kevin Feige Wants to Prevent 1 Thing With Marvel VFX https://thedirect.com/article/kevin-feige-marvel-vfx-exclusive https://www.cbr.com/marvel-kevin-feige-avoid-confusion-vfx-mcu/ In an interview with The Direct, Ms. Marvel VFX supervisor Kevin Yuille said that Feige specifically provided direction that led to the development of the visual style of the Clandestine's Veil in the series. "[Kevin Feige] inserts his creative ideas into everything," Yuille said. "So, he and Victoria Alonso, they're the masterminds of the MCU, so of course, there were definitely notes. I don't want to get into specifics, but that definitely influenced the look of the Clandestine's Veil and some of the decisions in that scene in order to tell a story."   Marvel Studios Has Hired an Official MCU Timeline Keeper https://thedirect.com/article/marvel-studios-mcu-timeline-official-exclusive https://www.cbr.com/she-hulk-jessica-gao-timeline-keeper-mcu/ She-Hulk: Attorney at Law head writer and producer Jessica Gao told The Direct that Marvel Studios has someone whose job it is to maintain continuity within MCU projects and ensure a cohesive timeline. Gao mentioned this when asked about where She-Hulk falls in the MCU timeline, saying, "It's definitely after– post-Endgame. There actually is a Marvel person whose job it is to trace the timeline of everything. And we checked with him a lot about where the timing is. And so it's like... the show is a few years after Endgame."   Marvel's Hailee Steinfeld Returning In Multiple MCU Projects https://thedirect.com/article/hailee-steinfeld-mcu-marvel-return-projects As reported by The Direct, the Hawkeye actor is expected to return after being included in an article on the official Disney Latino website about Marvel superheroes you need to know before seeing Phase 5 of the MCU. The now-deleted list included the following entry on the Marvel archer: "Kate Bishop, a character played by actress Hailee Steinfeld, was introduced to the public in the Hawkeye series and is one of the members of the Young Avengers in the comics. An admirer of Clint Barton / Hawkeye (Jeremy Renner), the young woman decides to follow in his footsteps. Besides being an archer, Kate is also an excellent fighter, with knowledge of different martial arts, as well as being an excellent fencer."   Florence Pugh's Black Widow Will Reportedly Lead the MCU's Thunderbolts https://www.cbr.com/florence-pugh-yelena-black-widow-lead-thunderbolts-mcu/ During a recent appearance on Matthew Belloni's The Town podcast, Justin Kroll of Deadline discussed Marvel Studios' Thunderbolts, describing the upcoming film as a Pugh-led spinoff. "[Florence Pugh] has got the Marvel superhero that's already got a spin-off," Kroll said. "Upcoming for her, actually, on that character is this Thunderbolts film, which is basically Marvel's Suicide Squad. Hopefully, it has better results. But the concept is it'd be her leading the team of like Wyatt Russell's [John Walker], Daniel Bruhl's [Zemo], those anti-heroes that aren't exactly good but aren't exactly bad. So there's that. And people seem to like the Yelena character."   DISNEY+   Echo Star Confirms the MCU Series Has Wrapped Filming https://www.cbr.com/echo-alaqua-cox-confirms-filming-wrap-marvel-mcu/   Ben Kingsley to Reprise Trevor Slattery Role in Marvel Studios' Wonder Man Series at Disney+ https://variety.com/2022/tv/news/ben-kingsley-trevor-slattery-wonder-man-marvel-disney-plus-1235338010/ https://www.cbr.com/trevor-slattery-ben-kingsley-cast-wonder-man-mcu/ While details on Marvel's small screen take on the classic character Simon Williams, a.k.a. Wonder Man, have been scarce since the initial reports of its development this past June, the series can now point to its first cast member; a familiar one at that. Indeed, Variety has reported that Kingsley will reprise his role as Trevor Slattery on the upcoming Wonder Man television series, although the nature of the character's involvement on the show remains a mystery. Regardless, the series will mark a third run for the esteemed Academy Award-winning actor, having played the picaresque part in 2013's Iron Man 3, and, after a long hiatus, in 2021's Shang-Chi and the Legend of the Ten Rings.   ‘She-Hulk' Star Ginger Gonzaga Sold Her Own Clothes to the Show's Costume Department https://www.hollywoodreporter.com/tv/tv-features/she-hulk-ginger-gonzaga-nikki-ramos-tatiana-maslany-1235208253/ https://www.cbr.com/marvel-paid-she-hulk-ginger-gonzaga-personal-clothes/ Gonzaga, who plays Nikki Ramos on the Marvel Cinematic Universe series, told The Hollywood Reporter about how her performance in the series was impacted by wardrobe. "I didn't feel comfortable as Nikki unless she was wearing something a little defiant or something that she shouldn't be wearing at work or something that's a little too high fashion and really racks up her credit cards," she said, crediting She-Hulk costume designer Ann Foley for her willingness to collaborate with her. The actor's input on Nikki's fashion choices was so influential that the studio began buying Gonzaga's personal clothes from her for use in the show. "I lost a lot of [my] wardrobe on this job, but they paid me for it," Gonzaga said with a laugh.   Disney+ Confirms Loki Season 2's Rating https://thedirect.com/article/loki-season-2-rating-disney https://www.cbr.com/loki-season-2-expected-tv-rating/ According to The Direct, Loki Season 2 has been rated TV-14, which is the same rating Season 1 received back in 2021. The second season of What If...? also landed a TV-14 rating. Almost all of Marvel Studios' Disney+ series have been rated TV-14, essentially PG-13 for television, except for Ms. Marvel and I Am Groot, which received TV-PG ratings since they were aimed at younger audiences. Marvel is expected to debut its first TV-MA show with the animated series Marvel Zombies.   Marvel Paid a 'Heavy Price' to Use X-Men: TAS' Iconic Theme Song for the Reboot https://www.cbr.com/marvel-paid-heavy-price-x-men-tas-theme-song/ During an appearance at the Steel City Con in Pennsylvania, X-Men '97 consultant Eric Lewald revealed Disney and Marvel Studios paid a "heavy price" for the rights and had to jump through a number of hurdles. "[The X-Men: The Animated Series theme song] wasn't a done deal necessarily when they were producing the new show," Lewald said. "The rights were all over the place. I think a secondary person had the rights to the music, so it was a negotiation for them. Obviously, you can't do the new show without that song... But the guy selling it knew the same thing, so I'm sure it was a heavy price."   Will Ms. Marvel's Clandestines Return? VFX Artist Shares the Answer https://thedirect.com/article/ms-marvel-clandestines-return-exclusive https://www.cbr.com/ms-marvel-did-clandestine-villains-survive-revealed-mcu-disney-plus/ In an interview with The Direct, Ms. Marvel's VFX Supervisor Kevin Yuille revealed that the Clandestines are 100% dead and that the VFX team worked hard to make sure that the Veil scene made it look like they were dying instead of going back to their world. "As far as the crystalizing, that's another thing that had gone through so many versions. There was this decision that, for storytelling, they didn't want them to look like they were going back to their world," he revealed. "So, if we broke them up like hard light and they break up and they turn into these pretty little dots, it almost looks like 'They made it! Oh, they're home!' So they're like 'No! We gotta make sure they look dead!' It's tough to do a shot like that, and you worry about looking cartoon-y, but that was for storytelling, to say absolutely, 100%, they did not make it."   FEEDBACK [50:15]     New Message From Your Podcast Page - "Legends of S.H.I.E.L.D.: A Marvel Studios TV & Film Fan Podcast"   From: Rosemarie Ferri   Message:   Try your public library for the DVD's. I found them at my library.     OUTRO AND BONUS AUDIO [53:57]   We would love to hear back from you! Call the voicemail line at 1-844-THE-BUS1 or 844-843-2871.                    Join Legends Of S.H.I.E.L.D. next time as the Agents discuss the Disney+ Marvel Studios series Ms. Marvel episode 4. You can listen in live when we record Saturday Mornings at 10:00 AM Eastern Time at on YouTube or Twitch. Contact Info: Please see http://www.legendsofshield.com for all of our contact information or call our voicemail line at 1-844-THE-BUS1 or 844-843-2871   Legends Of S.H.I.E.L.D. Is a Proud Member Of The GonnaGeek Network (gonnageek.com).   This podcast was recorded on Saturday September 3rd, 2022.   Standby for your S.H.I.E.L.D. debriefing ---   Audio and Video Production by SP Rupert of GonnaGeek.com.

Trainwreck Sports
NFL FUTURES FRENZY W MereKat & Steve Degenerate Danger Zone

Trainwreck Sports

Play Episode Listen Later Sep 5, 2022 98:27


NFL FUTURES FRENZY W MereKat & Steve Degenerate Danger Zone by The Wrecking Crew

The Republic of Football
The ROF Week 1 Recap: Triple OT at the Alamodome - Episode 218 (September 4, 2022)

The Republic of Football

Play Episode Listen Later Sep 4, 2022


Week 1 of the college football season is in the books, and overall, the state went 7-5 at the FBS level. Houston beats UTSA in triple overtime, SMU shows off their up tempo offense, and "The Wrecking Crew" is back.

Heroes in the Moment
SHE-HULK: ATTORNEY AT LAW: Ep. 3 Breakdown

Heroes in the Moment

Play Episode Listen Later Sep 3, 2022 21:38


Hey Heroes!In today's episode, we discuss the events of She-Hulk's 3rd episode! There's been a lot of controversy and crazy opinions regarding the gag credit scene, so we discuss it in detail! We also talk about Blonsky's release and whether he has something up his sleeve and our introduction to the Wrecking Crew. Will they get bigger? Will they get their powers? If so, how? You've come to the right place. Even though this episode was more of a filler, we think it could tie in huge down the road! If you enjoyed this episode, let us know by giving us a review and a download! We can better choose our topics if we know what y'all love! Heroes in the Moment is available on every major podcast platform. Feel free to check out all our previous episodes! We cover the universes of Marvel, DC, Star Wars, Harry Potter and more! All the movie and show reviews, trailer breakdowns, rumors and more delivered right to you! Shoot us a DM on Instagram to get your controversial opinion or question featured in the next episode! We'd love to hear from you! We love you all! Thanks for the support!-Michael and Nathan

New Rockstars Debrief
SHE-HULK: Secret SIEGE of NEW ASGARD Incoming?

New Rockstars Debrief

Play Episode Listen Later Sep 3, 2022 35:24


She-Hulk Episode 3 has Light Elves and the Wrecking Crew running amok! But is the MCU setting up for a siege on New Asgard? Runa the Light and The Wrecking Crew are pieces of Asgard folding into the rest of MCU Earth. But could GLK&H be secretly laying the seeds for America to attack New Asgard? MT, Whitney Van Lanningham, Tommy Bechtold and Jessica Clemons discuss! #SheHulk #Thor #MCU Check out our sweet, sweet merch! http://www.newrockstarsmerch.com

Let's Talk: Marvel Fan Theories
Episode 59: She-Hulk Episode Three Reactions

Let's Talk: Marvel Fan Theories

Play Episode Listen Later Sep 3, 2022 51:03


There's been a lot of talk about She-Hulk Episode Three, and we're wading into the waters in our latest episode. Click play to hear us talk about what we learned about the timeline and questions we have, that very entertaining B-plot, and some theories around new characters The Wrecking Crew. *SPOILER WARNING: PLEASE ONLY LISTEN TO THIS EPISODE ONCE YOU'VE WATCHED THE THIRD EPISODE OF SHE-HULK: ATTORNEY AT LAW* Twitter: @LetstalkMFT Blog Link: https://letstalkmarvelfantheories.wordpress.com/ Redbubble Link: https://www.redbubble.com/people/LTMFT/shop?asc=u Spotify Playlists: https://open.spotify.com/user/oyahi4qaf7im5odwn6gnuu0ab?si=d9f0e50cae0a461e (LetsTalkMFT) Podcast Music: Artist: Loyalty Freak Music Track: MAXI METAL --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Super Sideshow
She-Hulk – The People vs. Emil Blonsky (E3)

Super Sideshow

Play Episode Listen Later Sep 2, 2022 40:22


Has She-Hulk jumped the shark? Listen in for the answer to that and learn which gang jumped Jen at the end of the episode. Talk to us on Twitter! Show notes Jen's GLK/H law firm. Asgardian Light Elves cannot shape shift but some of them are triple-jointed! Getting powers by a mafia hit gone wrong is a callback to She-Hulk's origin story from the comics! The thugs that robbed an Asgardian construction worker and tried to get She-Hulk's blood are the Wrecking Crew from the comics! Who is the Wrecking Crew's boss? Could it be Samuel Sterns? (Played by Tim Blake Nelson in 2008's The Incredible Hulk) Mid-credits scene: Megan Thee Stallion becomes She-Hulk's client / She-Hulk twerks and thousands of visual effects artists cried. News you can abuse! Welcome to Wonder Man, Trevor Slattery. She-Hulk might be showing us some characters that we've never seen on the screen before.

Inside Marvel: An MCU Podcast
SHE-HULK EPISODE 3 REACTION! Wrecking Crew Explained! | Inside Marvel

Inside Marvel: An MCU Podcast

Play Episode Listen Later Sep 1, 2022 38:15 Very Popular


She-Hulk Episode 3 introduces the WRECKING CREW with a mystery boss! Why do they want She-Hulk's blood? Head to http://HelixSleep.com/insidemarvel for up to $200 off all mattress orders AND two free pillows! Welcome back to Inside Marvel, New Rockstars' She-Hulk aftershow, where we break down the biggest questions you had after watching each episode of Marvel's She-Hulk on Disney+! In this episode, Erik Voss, Jessica Clemons, and MT react to the Megan Thee Stallion cameo, discuss the Wrecking Crew, and speculate on which Marvel villain they could be working for: The Hood? The Leader? Kingpin? Check out our sweet, sweet merch! http://www.newrockstarsmerch.com

Star Wars Talk with Kristian Harloff: The Mandalorian Reviews
REJECT RECAP: She Hulk Episode 3 - "The People vs. Emil Blonsky" - REVIEW!!

Star Wars Talk with Kristian Harloff: The Mandalorian Reviews

Play Episode Listen Later Sep 1, 2022 32:58


FREE EMIL BLONSKY & ENTER WONG! & Thanks to GFUEL for sponsoring!! Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION to save 30% now thru Sept. 5th! She-Hulk Attorney At Law Episode 3 Reaction, Recap, Breakdown, & Spoiler Review Today as Wong is called to testify on behalf of Emil Blonsky (ABOMINATION), a Megan Thee Stallion cameo, Wrecking Crew, Shang-Chi & Doctor Strange Easter Eggs, & MORE #SheHulk #shehulkattorneyatlaw #Marvel #MCU #TheHulk #Avengers #Disney #DisneyPlus Become A Super Sexy Reject For Full-Length T.V. & Movie Reactions - INCLUDING SHE HULK WATCH ALONGS! https://www.patreon.com/thereelrejects Support The Channel By Checking Out Our High-Quality Merch: http://shopzeroedition.com/collections/reel-rejects-merch Learn more about your ad choices. Visit megaphone.fm/adchoices

A History Of Rock Music in Five Hundred Songs
Episode 152: “For What It’s Worth” by Buffalo Springfield

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Aug 30, 2022


Episode 152 of A History of Rock Music in Five Hundred Songs looks at “For What It's Worth”, and the short but eventful career of Buffalo Springfield. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "By the Time I Get to Phoenix" by Glen Campbell. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, there's a Mixcloud mix containing all the songs excerpted in the episode. This four-CD box set is the definitive collection of Buffalo Springfield's work, while if you want the mono version of the second album, the stereo version of the first, and the final album as released, but no demos or outtakes, you want this more recent box set. For What It's Worth: The Story of Buffalo Springfield by Richey Furay and John Einarson is obviously Furay's version of the story, but all the more interesting for that. For information on Steve Stills' early life I used Stephen Stills: Change Partners by David Roberts.  Information on both Stills and Young comes from Crosby, Stills, Nash, and Young by David Browne.  Jimmy McDonough's Shakey is the definitive biography of Neil Young, while Young's Waging Heavy Peace is his autobiography. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before we begin -- this episode deals with various disabilities. In particular, there are descriptions of epileptic seizures that come from non-medically-trained witnesses, many of whom took ableist attitudes towards the seizures. I don't know enough about epilepsy to know how accurate their descriptions and perceptions are, and I apologise if that means that by repeating some of their statements, I am inadvertently passing on myths about the condition. When I talk about this, I am talking about the after-the-fact recollections of musicians, none of them medically trained and many of them in altered states of consciousness, about events that had happened decades earlier. Please do not take anything said in a podcast about music history as being the last word on the causes or effects of epileptic seizures, rather than how those musicians remember them. Anyway, on with the show. One of the things you notice if you write about protest songs is that a lot of the time, the songs that people talk about as being important or impactful have aged very poorly. Even great songwriters like Bob Dylan or John Lennon, when writing material about the political events of the time, would write material they would later acknowledge was far from their best. Too often a song will be about a truly important event, and be powered by a real sense of outrage at injustice, but it will be overly specific, and then as soon as the immediate issue is no longer topical, the song is at best a curio. For example, the sentencing of the poet and rock band manager John Sinclair to ten years in prison for giving two joints to an undercover police officer was hugely controversial in the early seventies, but by the time John Lennon's song about it was released, Sinclair had been freed by the Supreme Court, and very, very few people would use the song as an example of why Lennon's songwriting still has lasting value: [Excerpt: John Lennon, "John Sinclair"] But there are exceptions, and those tend to be songs where rather than talking about specific headlines, the song is about the emotion that current events have caused. Ninety years on from its first success, for example, "Brother, Can You Spare a Dime?" still has resonance, because there are still people who are put out of work through no fault of their own, and even those of us who are lucky enough to be financially comfortable have the fear that all too soon it may end, and we may end up like Al begging on the streets: [Excerpt: Rudy Vallee, "Brother Can You Spare a Dime?"] And because of that emotional connection, sometimes the very best protest songs can take on new lives and new meanings, and connect with the way people feel about totally unrelated subjects. Take Buffalo Springfield's one hit. The actual subject of the song couldn't be any more trivial in the grand scheme of things -- a change in zoning regulations around the Sunset Strip that meant people under twenty-one couldn't go to the clubs after 10PM, and the subsequent reaction to that -- but because rather than talking about the specific incident, Steve Stills instead talked about the emotions that it called up, and just noted the fleeting images that he was left with, the song became adopted as an anthem by soldiers in Vietnam. Sometimes what a song says is nowhere near as important as how it says it. [Excerpt: Buffalo Springfield, "For What It's Worth"] Steve Stills seems almost to have been destined to be a musician, although the instrument he started on, the drums, was not the one for which he would become best known. According to Stills, though, he always had an aptitude for rhythm, to the extent that he learned to tapdance almost as soon as he had learned to walk. He started on drums aged eight or nine, after somebody gave him a set of drumsticks. After his parents got sick of him damaging the furniture by playing on every available surface, an actual drum kit followed, and that became his principal instrument, even after he learned to play the guitar at military school, as his roommate owned one. As a teenager, Stills developed an idiosyncratic taste in music, helped by the record collection of his friend Michael Garcia. He didn't particularly like most of the pop music of the time, but he was a big fan of pre-war country music, Motown, girl-group music -- he especially liked the Shirelles -- and Chess blues. He was also especially enamoured of the music of Jimmy Reed, a passion he would later share with his future bandmate Neil Young: [Excerpt: Jimmy Reed, "Baby, What You Want Me To Do?"] In his early teens, he became the drummer for a band called the Radars, and while he was drumming he studied their lead guitarist, Chuck Schwin.  He said later "There was a whole little bunch of us who were into kind of a combination of all the blues guys and others including Chet Atkins, Dick Dale, and Hank Marvin: a very weird cross-section of far-out guitar players." Stills taught himself to play like those guitarists, and in particular he taught himself how to emulate Atkins' Travis-picking style, and became remarkably proficient at it. There exists a recording of him, aged sixteen, singing one of his own songs and playing finger-picked guitar, and while the song is not exactly the strongest thing I've ever heard lyrically, it's clearly the work of someone who is already a confident performer: [Excerpt: Stephen Stills, "Travellin'"] But the main reason he switched to becoming a guitarist wasn't because of his admiration for Chet Atkins or Hank Marvin, but because he started driving and discovered that if you have to load a drum kit into your car and then drive it to rehearsals and gigs you either end up bashing up your car or bashing up the drum kit. As this is not a problem with guitars, Stills decided that he'd move on from the Radars, and join a band named the Continentals as their rhythm guitarist, playing with lead guitarist Don Felder. Stills was only in the Continentals for a few months though, before being