Podcasts about you make me feel like a natural woman

Welcome back to the Rick's Rambles Podcast! This week, we're diving into some fascinating facts about one of America's most misunderstood wildlife species—the possum! These resilient little creatures have some surprising traits, and we'll uncover the truth behind their reputation. In our good news story, spring is in the air, and with it comes a season of renewal! I'll be sharing five simple, actionable tips to help you embrace the circle of life and make the most of this refreshing time of year. Next up, in our Story Behind the Song segment, we're talking about "(You Make Me Feel Like) A Natural Woman." Made famous by the legendary Aretha Franklin, do you know who actually wrote this hit? You'll find out! And, as always, we'll wrap up with the quirky and fun holidays of the week—because who doesn't love a reason to celebrate? Don't forget to subscribe, share, and leave a review if you enjoy the podcast! Thanks for rambling with me.

Aretha Franklin, the legendary “Queen of Soul,” was born on this day, March 25, 1942, in Memphis, Tennessee. Known for her powerful voice and unforgettable hits like “Respect,” “Think,” and “(You Make Me Feel Like) A Natural Woman,” Franklin became a global icon and a trailblazer in both music and civil rights. Her remarkable career spanned over six decades, earning her 18 Grammy Awards and the distinction of being the first woman inducted into the Rock and Roll Hall of Fame in 1987. She passed away on August 16, 2018, at the age of 76, leaving behind a legacy that continues to inspire artists and fans around the world. Happy heavenly birthday to the legendary Aretha Franklin. Learn more about your ad choices. Visit megaphone.fm/adchoices

We aimed the airgun of enquiry at this week's rock and roll side-stall and dislodged the following coconuts …   … sports star, Rhodes scholar, bohemian: why Kris Kristofferson was a whole new breed of American hero.   … the letter his parents wrote disowning him. … how he invented the crossover hit. … echoes of his life in Five Easy Pieces. … Fellini's La Strada and the story of ‘Me And Bobby McGee'. …. ‘(You Make Me Feel Like) A Natural Woman' and other songs written to order. … why the past is the age before mobile phones. … Joni Mitchell, James Taylor, Leonard Cohen, Carly Simon: the kiss and tell school of songwriting. … why Tracey Thorn misses the age of the autograph. … who'd be famous in the 21st Century? … “What do you think about when you're playing the drums?” Cameron Crowe's lost 1983 time capsule. … in a lift with Ken Barlow. Plus birthday guest Paul Cook and the furthest you've ever travelled for a gig.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

We aimed the airgun of enquiry at this week's rock and roll side-stall and dislodged the following coconuts …   … sports star, Rhodes scholar, bohemian: why Kris Kristofferson was a whole new breed of American hero.   … the letter his parents wrote disowning him. … how he invented the crossover hit. … echoes of his life in Five Easy Pieces. … Fellini's La Strada and the story of ‘Me And Bobby McGee'. …. ‘(You Make Me Feel Like) A Natural Woman' and other songs written to order. … why the past is the age before mobile phones. … Joni Mitchell, James Taylor, Leonard Cohen, Carly Simon: the kiss and tell school of songwriting. … why Tracey Thorn misses the age of the autograph. … who'd be famous in the 21st Century? … “What do you think about when you're playing the drums?” Cameron Crowe's lost 1983 time capsule. … in a lift with Ken Barlow. Plus birthday guest Paul Cook and the furthest you've ever travelled for a gig.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

We aimed the airgun of enquiry at this week's rock and roll side-stall and dislodged the following coconuts …   … sports star, Rhodes scholar, bohemian: why Kris Kristofferson was a whole new breed of American hero.   … the letter his parents wrote disowning him. … how he invented the crossover hit. … echoes of his life in Five Easy Pieces. … Fellini's La Strada and the story of ‘Me And Bobby McGee'. …. ‘(You Make Me Feel Like) A Natural Woman' and other songs written to order. … why the past is the age before mobile phones. … Joni Mitchell, James Taylor, Leonard Cohen, Carly Simon: the kiss and tell school of songwriting. … why Tracey Thorn misses the age of the autograph. … who'd be famous in the 21st Century? … “What do you think about when you're playing the drums?” Cameron Crowe's lost 1983 time capsule. … in a lift with Ken Barlow. Plus birthday guest Paul Cook and the furthest you've ever travelled for a gig.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Tapestry by Carole King, released in 1971, is a landmark singer-songwriter album that captures the essence of 1970s folk-pop. Known for its deeply personal lyrics and soulful melodies, the album blends introspection with universal themes of love, loss, and resilience. Featuring iconic tracks like "It's Too Late," "I Feel the Earth Move," and "(You Make Me Feel Like) A Natural Woman," Tapestry became a cultural touchstone, showcasing King's exceptional songwriting talent and her ability to convey raw emotion. It remains one of the best-selling albums of all time and a defining work in the singer-songwriter genre.Listen to the album on SpotifyListen to the album on Apple MusicWhat did you think of this album? Send us a text! Support the showFollow us on InstagramContact: polyphonicpressmusic@gmail.comDISCLAIMER: Due to copyright restrictions, we are unable to play pieces of the songs we cover in these episodes. Playing clips of songs are unfortunately prohibitively expensive to obtain the proper licensing. We strongly encourage you to listen to the album along with us on your preferred format to enhance the listening experience.

Winter, spring, summer, or fall... all you have to do is call, and Strong Songs will be there with an in-depth analysis of one of the most influential songwriters of the 20th century.This episode takes a deep dive into Carole King's ever enduring, much-covered tribute to friendship, "You've Got a Friend." What starts in Laurel Canyon in the early 70s spread outward to the world, thanks to King's revolutionary 1971 album Tapestry. 50 years later, those songs are still with us, and "You've Got a Friend" remains one of the most meaningful tributes to simple, platonic love. Written by: Carole KingAlbum: Tapestry (1971)Listen/Buy: Apple Music | Amazon | SpotifyALSO FEATURED/DISCUSSED:"I Feel The Earth Move" and "So Far Away," both by Carole King, and "It's Too Late" by King with lyrics by Toni Stern, from Tapestry, 1971"You've Got a Friend" as recorded by James Taylor on Mud Slide Slim and the Blue Horizon, 1971"You've Got a Friend" as recorded by Roberta Flack and Donny Hathaway on Roberta Flack & Donny Hathaway, 1972"Precious Lord, Take My Hand/You've Got a Friend" as recorded by Aretha Franklin on Amazing Grace, 1972"(You Make Me Feel Like) A Natural Woman" by Carole King and Gerry Goffen as recorded by Aretha Franklin, 1967Harvey Kubernik's exceptional chronicling of Tapestry's place in the broader 1970s music scene:  https://www.musicconnection.com/kubernik-carole-king-tapestry-50th-anniversary/Kubernik's book on Laurel Canyon: https://www.goodreads.com/en/book/show/6464198-canyon-of-dreams"You've Got a Friend" as recorded by Donny Hathaway on Live, 1972OUTRO SOLOIST: Charles McNealCharles McNeal is a killin' Oakland-based sax player who plays all over the bay area. He's also a master jazz transcriber, and has chronicled tons of great solos. You can find him playing out in a variety of bands and settings; the best way to keep up with his music is to subscribe to his YouTube channel or follow him on Instagram @charlesonsax2 - https://www.instagram.com/charlesonsax2----LINKS-----RECAST RECOMMENDATION: Nickel Creek, "Celebrants"SUPPORT STRONG SONGS!Paypal | Patreon.com/StrongsongsMERCH STOREstore.strongsongspodcast.comSOCIAL MEDIAIG: @Kirk_Hamilton | Threads: @Kirk_HamiltonNEWSLETTERnewsletter.kirkhamilton.comJOIN THE DISCORDhttps://discord.gg/GCvKqAM8SmSTRONG SONGS PLAYLISTSSpotify | Apple Music | YouTube MusicSHOW ARTTom Deja, Bossman Graphics--------------------JULY 2024 WHOLE-NOTE PATRONSRobyn MetcalfeBrian TempletCesarBob TuckerCorpus FriskyBen BarronCatherine WarnerDamon WhiteKaya WoodallJay SwartzMiriam JoyRushDaniel Hannon-BarryChristopher MillerJamie WhiteChristopher McConnellDavid MascettiJoe LaskaKen HirshMelanie AndrichJenness GardnerPaul DelaneyDave SharpeSami SamhuriJeremy DawsonAccessViolationAndre BremerDave FloreyJULY 2024 HALF-NOTE PATRONSAshleySeattleTransAndNonbinary ChoralEnsembleKevin MarceloMatt CSamantha CoatesJamesMark NadasdiJeffDan CutterJoseph RomeroOl ParkerJohn BerryDanielle KrizMichael YorkClint McElroyMordok's Vape PenInmar GivoniMichael SingerMerv AdrianJoe GalloLauren KnottsDave KolasHenry MindlinMonica St. AngeloStephen WolkwitzSuzanneRand LeShayMaxeric spMatthew JonesThomasAnthony MentzJames McMurryEthan Laserbrianjohanpeter@outlook.comChris RemoMatt SchoenthalAaron WilsonDent EarlCarlos LernerMisty HaisfieldAbraham BenrubiChris KotarbaCallum WebbLynda MacNeilDick MorganBen SteinSusan GreenGrettir AsmundarsonSean MurphyAlan BroughRandal VegterGo Birds!Robert Granatdave malloyNick GallowayHeather Jjohn halpinPeter HardingDavidJohn BaumanMartín SalíasStu BakerSteve MartinoDr Arthur A GrayCarolinaGary PierceMatt BaxterLuigi BocciaE Margaret WartonCharles McGeeCatherine ClauseEthan BaumanKenIsWearingAHatJordan BlockAaron WadeJeff UlmDavid FutterJamieDeebsPortland Eye CareRichard SneddonCliff WhitlockJanice BerryDoreen CarlsonDavid McDarbyWendy GilchristElliot RosenLisa TurnerPaul WayperMiles FormanBruno GaetaKenneth JungAdam StofskyZak RemerRishi SahayJeffrey BeanJason ReitmanAilie FraserRob TsukNATALIE MISTILISJosh SingerAmy Lynn ThornsenAdam WKelli BrockingtonVictoria Yumino caposselaSteve PaquinDavid JoskeBernard KhooRobert HeuerDavid NoahGeraldine ButlerMadeleine MaderJason PrattAbbie BergDoug BelewDermot CrowleyAchint SrivastavaRyan RairighMichael BermanLinda DuffyBonnie PrinsenLiz SegerEoin de BurcaKevin PotterM Shane BordersDallas HockleyJason GerryNell MorseNathan GouwensLauren ReayEric PrestemonCookies250Damian BradyAngela LivingstoneDiane HughesMichael CasnerLowell MeyerStephen TsoneffJoshua HillGeoff GoldenPascal RuegerRandy SouzaClare HolbertonDiane TurnerTom ColemanDhu WikMelmaniacEric HelmJonathan DanielsMichael FlahertyCaro Fieldmichael bochnerNaomi WatsonDavid CushmanAlexanderChris KGavin DoigSam FennTanner MortonAJ SchusterJennifer BushDavid StroudBrad CallahanAmanda FurlottiAndrew BakerAndrew FairL.B. MorseBill ThorntonBrian AmoebasBrett DouvilleJeffrey OlsonMatt BetzelNate from KalamazooMelanie StiversRichard TollerAlexander PolsonEarl LozadaJustin McElroyArjun SharmaJames JohnsonKevin MorrellColin Hodo

The Daily Quiz - Music Today's Questions: Question 1: Which American rock band released the studio album 'Mother's Milk'? Question 2: Which song begins with the lyrics: "Just a small town girl, living in a lonely world."? Question 3: Which British recording artist released the album 'Hounds of Love'? Question 4: Which song begins with the lyrics: "Is this the real life? Is this just fantasy?"? Question 5: Which singer had a 1967 hit with "You Make Me Feel Like A Natural Woman"? Question 6: Which song begins with the lyrics: "Now this is the story all about how ; My life got flipped, turned upside down..."? Question 7: Which American rock band released the album 'Morrison Hotel'? Question 8: Which American singer released the album 'Dangerous'? Question 9: Which British–American rock band led by Paul McCartney released the album 'Band on the Run'? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

It's been more than 50 years since Carole King's Tapestry was released to critical and cultural acclaim, and the record is still as impressive today as it was then. Hosts Jim DeRogatis and Greg Kot revisit their classic album dissection of Carole King's Tapestry.--Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops--Featured Songs:Carole King, "It's Too Late," Tapestry, Ode, 1971The Shirelles, "Will You Love Me Tomorrow," Tonight's the Night, Scepter, 1960Little Eva, "The Loco-motion," The Loco-motion (Single), Dimension 1000, 1962Bobby Vee, "Take Good Care of My Baby," Take Good Care of My Baby, Liberty, 1961The Monkees, "Pleasant Valley Sunday," Pisces, Aquarius, Capricorn & Jones Ltd., Colgems, 1967Carole King, "It Might As Well Rain Until September," It Might As Well Rain Until September (Single), Dimension, 1962The City, "Now That Everything's Been Said," Now That Everything's Been Said, Ode, 1968Carole King, "No Easy Way Down," Writer, Ode, 1970Carole King, "Beautiful," Tapestry, Ode, 1971Carole King, "I Feel the Earth Move," Tapestry, Ode, 1971Carole King, "You've Got a Friend," Tapestry, Ode, 1971Carole King, "Tapestry," Tapestry, Ode, 1971Carole King, "(You Make Me Feel Like) A Natural Woman," Tapestry, Ode, 1971Carole King and Louise Gioffin, "Where You Lead," Our Little Corner of the World: Music From Gilmore Girls, Rhino, 2002Carole King, "Where You Lead," Tapestry, Ode, 1971Carole King, "So Far Away," Tapestry, Ode, 1971Carole King, "Will You Love Me Tomorrow," Tapestry, Ode, 1971Carole King, "Way Over Yonder," Tapestry, Ode, 1971Carole King, "Home Again," Tapestry, Ode, 1971Carole King, "Smackwater Jack," Tapestry, Ode, 1971James Taylor, "You've Got a Friend," Mud Slide Slim and the Blue Horizon, Warner Bros., 1971Carole King and James Taylor, "You've Got a Friend," Live At The Troubadour, Syzygy, 2010Liz Phair, "Divorce Song (Girly-Sound Version)," The Girly-Sound Tapes, Matador, 2018Lauryn Hill, "Everything Is Everything," The Miseducation of Lauryn Hill, Columbia, 1998Tori Amos, "Cornflake Girl," Under the Pink, Atlantic, 1994Caroline Rose, "Do You Think We'll Last Forever?," Superstar, New West, 2020See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We immersed ourselves with the timeless melodies and heartfelt lyrics of Carole King, one of the greatest female singer-songwriters of all time, with a career spanning six decades. See omnystudio.com/listener for privacy information.

Lady Sings The Blues CD1:Norah Jones “Don't Know Why”Aretha Franklin “(You Make Me Feel) Like A Natural Woman”Dusty Springfield “The Look Of Love”Etta James “I Just Wanna Make Love To You”Ella Fitzgerald “Night & Day”Billie Holiday “That Ole Devil Called Love”Dinah Washington “Mad About You”Nancy Wilson “All Night Long”June Christy “Something Cool”Sarah Vaughan “Misty”Erma Franklin “Piece Of My Heart”Bobbie Gentry “Son Of A Preacherman”Julie London “Cry Me A River”Dinah Shore & André Previn “My Funny Valentine”Ella Fitzgerald “Summertime”Nina Simone “I Loves You Porgy”Escuchar audio

Happy New Year from The Hamlin Avenue Boyz. What a year it has been. No matter how you view it; the Boyz are just gonna stay present and keep moving and not spend too much time lamenting over any woulda, coulda, or shoulda moments. Personal or Universal. Here's hoping all of you reading this now are transitioning to the new year in a peaceful place. Thank you for pointing your ears in this direction now and then and for all your communications to the show. And we do mean 'all'. We encourage you (if the feeling arises) to send the Boyz your comments, questions, or hypotheticals. Send a shout-out to The Hamlin Avenue Boyz: JustRollTape@mail.com This episode offers highlights of some of the more 'interesting' communications The Hamlin Avenue Boyz have received. Vince Hamlin Edward Hamlin TRACKS: 1. Hamlin Avenue Boyz Mail Bag MUSIC COMPOSITION / PERFORMANCE CREDITS: 1a. "Shaman's Dream & Rara Avis" > Samadhi 2005 / Samadhi 2005 1b. "(You Make Me Feel Like) A Natural Woman" > Goffen, King, Wexler 1967 / Aretha Franklin 1967 1c. "One Way Out" > Dixon, Williamson 1951 / Sonny Boy Williamson 1965 RECORDING ENGINEERS / BOARD OPERATORS: Richard Goesinya D.E.B. Cooper Cravin' Evin Morehead B. MyKockinher PRODUCERS: T. Rosedale A. Hicky B. N. Dover RECORDING STUDIO CONSULTING: J. Herer DogWalker NON ALCOHOLIC CART ATTENDANTS: S. Peters Anita Hardon Sharon Sipsome CATERING: Wonder Burger The Cannibal Cafe High Fructose Corn Syrup TRANSPORTATION: Harley Davidson Jeep Ram --- Send in a voice message: https://podcasters.spotify.com/pod/show/edward-hamlin/message

Welcome to Funky Pearls Radio, where today we dive into the remarkable story of Aretha Franklin, the undisputed Queen of Soul. Born on March 25, 1942, in Memphis, Tennessee, Aretha's journey in music is a tale of extraordinary talent, resilience, and transformation. Raised in a musical environment by her father, Rev. C.L. Franklin, a renowned Baptist preacher, and her mother, Barbara Siggers, a gifted pianist, Aretha's upbringing was steeped in gospel music. Her father's connections with gospel greats like Mahalia Jackson and Clara Ward nurtured her talent from a young age. Aretha, along with her siblings Erma, Cecil, Carolyn, and half-brother Vaughn, was exposed to a world where music and faith intertwined. By the age of 12, Aretha's remarkable voice was already a standout in her father's church choir. Her early recordings, starting with 'Never Grow Old' in 1956, showcased her roots in gospel music, setting the stage for an illustrious career. In 1960, Aretha's journey took a significant turn when she auditioned for John Hammond of Columbia Records. Her first few albums with Columbia, including 'The Electrifying Aretha Franklin' and 'Laughing on the Outside', highlighted her versatility as a vocalist, though they didn't fully capture the soulful essence that would later define her music. The real turning point in Aretha's career came in 1967 when she moved to Atlantic Records. This change marked the beginning of a period that solidified her title as the Queen of Soul. Her first Atlantic album, 'I Never Loved a Man the Way I Love You', was a departure from her earlier work, embracing a rawer, more soulful sound. The album's success was followed by legendary hits like 'Respect', 'Chain of Fools', and '(You Make Me Feel Like) A Natural Woman'. Throughout the late '60s and '70s, Aretha's music resonated with themes of love, empowerment, and spirituality. Albums like 'Lady Soul' and 'Spirit in the Dark' showcased her extraordinary ability to convey deep emotion through her voice. Her live album, 'Aretha Live at Fillmore West', and the gospel-infused 'Amazing Grace' further demonstrated her range and influence. By the mid-70s, Aretha collaborated with artists like Curtis Mayfield, and her role in 'The Blues Brothers' film in the late '70s brought her talent to a wider audience. Her move to Arista Records in the '80s brought a fresh wave of success with albums like 'Jump to It' and 'Who's Zoomin' Who?', featuring hits produced by Luther Vandross and Narada Michael Walden. Throughout her career, Aretha's collaborations with other artists highlighted her versatility. Her duets with George Michael and Annie Lennox in the '80s were chart-topping successes. The '80s and '90s saw her continue to produce hits, with albums like 'Through the Storm' and 'A Rose Is Still a Rose' showcasing her ability to adapt to contemporary sounds while maintaining her soulful essence. In 2010, Aretha's health became a concern when she was diagnosed with pancreatic cancer. However, her spirit remained unbroken, and she continued to make music, including her final album, 'Aretha Franklin Sings The Great Diva Classics', in 2014. Aretha Franklin's impact on music and culture cannot be overstated. Her voice, often imitated but never duplicated, was a powerful instrument of expression. She used it not only to entertain but also to inspire and uplift. Her songs became anthems of empowerment and love, resonating with listeners worldwide. Aretha passed away on August 16, 2018, leaving behind a legacy that transcends generations. Her music continues to inspire and influence artists across various genres. As we remember her on Funky Pearls Radio, we celebrate a legend whose voice was a beacon of strength, soul, and authenticity in the music world.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Episode 168 of A History of Rock Music in Five Hundred Songs looks at “I Say a Little Prayer”, and the interaction of the sacred, political, and secular in Aretha Franklin's life and work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-five-minute bonus episode available, on "Abraham, Martin, and John" by Dion. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. Even splitting it into multiple parts would have required six or seven mixes. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. Information about Martin Luther King came from Martin Luther King: A Religious Life by Paul Harvey. I also referred to Burt Bacharach's autobiography Anyone Who Had a Heart, Carole King's autobiography A Natural Woman, and Soul Serenade: King Curtis and his Immortal Saxophone by Timothy R. Hoover. For information about Amazing Grace I also used Aaron Cohen's 33 1/3 book on the album. The film of the concerts is also definitely worth watching. And the Aretha Now album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick warning before I begin. This episode contains some moderate references to domestic abuse, death by cancer, racial violence, police violence, and political assassination. Anyone who might be upset by those subjects might want to check the transcript rather than listening to the episode. Also, as with the previous episode on Aretha Franklin, this episode presents something of a problem. Like many people in this narrative, Franklin's career was affected by personal troubles, which shaped many of her decisions. But where most of the subjects of the podcast have chosen to live their lives in public and share intimate details of every aspect of their personal lives, Franklin was an extremely private person, who chose to share only carefully sanitised versions of her life, and tried as far as possible to keep things to herself. This of course presents a dilemma for anyone who wants to tell her story -- because even though the information is out there in biographies, and even though she's dead, it's not right to disrespect someone's wish for a private life. I have therefore tried, wherever possible, to stay away from talk of her personal life except where it *absolutely* affects the work, or where other people involved have publicly shared their own stories, and even there I've tried to keep it to a minimum. This will occasionally lead to me saying less about some topics than other people might, even though the information is easily findable, because I don't think we have an absolute right to invade someone else's privacy for entertainment. When we left Aretha Franklin, she had just finally broken through into the mainstream after a decade of performing, with a version of Otis Redding's song "Respect" on which she had been backed by her sisters, Erma and Carolyn. "Respect", in Franklin's interpretation, had been turned from a rather chauvinist song about a man demanding respect from his woman into an anthem of feminism, of Black power, and of a new political awakening. For white people of a certain generation, the summer of 1967 was "the summer of love". For many Black people, it was rather different. There's a quote that goes around (I've seen it credited in reliable sources to both Ebony and Jet magazine, but not ever seen an issue cited, so I can't say for sure where it came from) saying that the summer of 67 was the summer of "'retha, Rap, and revolt", referring to the trifecta of Aretha Franklin, the Black power leader Jamil Abdullah al-Amin (who was at the time known as H. Rap Brown, a name he later disclaimed) and the rioting that broke out in several major cities, particularly in Detroit: [Excerpt: John Lee Hooker, "The Motor City is Burning"] The mid sixties were, in many ways, the high point not of Black rights in the US -- for the most part there has been a lot of progress in civil rights in the intervening decades, though not without inevitable setbacks and attacks from the far right, and as movements like the Black Lives Matter movement have shown there is still a long way to go -- but of *hope* for Black rights. The moral force of the arguments made by the civil rights movement were starting to cause real change to happen for Black people in the US for the first time since the Reconstruction nearly a century before. But those changes weren't happening fast enough, and as we heard in the episode on "I Was Made to Love Her", there was not only a growing unrest among Black people, but a recognition that it was actually possible for things to change. A combination of hope and frustration can be a powerful catalyst, and whether Franklin wanted it or not, she was at the centre of things, both because of her newfound prominence as a star with a hit single that couldn't be interpreted as anything other than a political statement and because of her intimate family connections to the struggle. Even the most racist of white people these days pays lip service to the memory of Dr Martin Luther King, and when they do they quote just a handful of sentences from one speech King made in 1963, as if that sums up the full theological and political philosophy of that most complex of men. And as we discussed the last time we looked at Aretha Franklin, King gave versions of that speech, the "I Have a Dream" speech, twice. The most famous version was at the March on Washington, but the first time was a few weeks earlier, at what was at the time the largest civil rights demonstration in American history, in Detroit. Aretha's family connection to that event is made clear by the very opening of King's speech: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech"] So as summer 1967 got into swing, and white rock music was going to San Francisco to wear flowers in its hair, Aretha Franklin was at the centre of a very different kind of youth revolution. Franklin's second Atlantic album, Aretha Arrives, brought in some new personnel to the team that had recorded Aretha's first album for Atlantic. Along with the core Muscle Shoals players Jimmy Johnson, Spooner Oldham, Tommy Cogbill and Roger Hawkins, and a horn section led by King Curtis, Wexler and Dowd also brought in guitarist Joe South. South was a white session player from Georgia, who had had a few minor hits himself in the fifties -- he'd got his start recording a cover version of "The Purple People Eater Meets the Witch Doctor", the Big Bopper's B-side to "Chantilly Lace": [Excerpt: Joe South, "The Purple People Eater Meets the Witch Doctor"] He'd also written a few songs that had been recorded by people like Gene Vincent, but he'd mostly become a session player. He'd become a favourite musician of Bob Johnston's, and so he'd played guitar on Simon and Garfunkel's Sounds of Silence and Parsley, Sage, Rosemary and Thyme albums: [Excerpt: Simon and Garfunkel, "I am a Rock"] and bass on Bob Dylan's Blonde on Blonde, with Al Kooper particularly praising his playing on "Visions of Johanna": [Excerpt: Bob Dylan, "Visions of Johanna"] South would be the principal guitarist on this and Franklin's next album, before his own career took off in 1968 with "Games People Play": [Excerpt: Joe South, "Games People Play"] At this point, he had already written the other song he's best known for, "Hush", which later became a hit for Deep Purple: [Excerpt: Deep Purple, "Hush"] But he wasn't very well known, and was surprised to get the call for the Aretha Franklin session, especially because, as he put it "I was white and I was about to play behind the blackest genius since Ray Charles" But Jerry Wexler had told him that Franklin didn't care about the race of the musicians she played with, and South settled in as soon as Franklin smiled at him when he played a good guitar lick on her version of the blues standard "Going Down Slow": [Excerpt: Aretha Franklin, "Going Down Slow"] That was one of the few times Franklin smiled in those sessions though. Becoming an overnight success after years of trying and failing to make a name for herself had been a disorienting experience, and on top of that things weren't going well in her personal life. Her marriage to her manager Ted White was falling apart, and she was performing erratically thanks to the stress. In particular, at a gig in Georgia she had fallen off the stage and broken her arm. She soon returned to performing, but it meant she had problems with her right arm during the recording of the album, and didn't play as much piano as she would have previously -- on some of the faster songs she played only with her left hand. But the recording sessions had to go on, whether or not Aretha was physically capable of playing piano. As we discussed in the episode on Otis Redding, the owners of Atlantic Records were busily negotiating its sale to Warner Brothers in mid-1967. As Wexler said later “Everything in me said, Keep rolling, keep recording, keep the hits coming. She was red hot and I had no reason to believe that the streak wouldn't continue. I knew that it would be foolish—and even irresponsible—not to strike when the iron was hot. I also had personal motivation. A Wall Street financier had agreed to see what we could get for Atlantic Records. While Ahmet and Neshui had not agreed on a selling price, they had gone along with my plan to let the financier test our worth on the open market. I was always eager to pump out hits, but at this moment I was on overdrive. In this instance, I had a good partner in Ted White, who felt the same. He wanted as much product out there as possible." In truth, you can tell from Aretha Arrives that it's a record that was being thought of as "product" rather than one being made out of any kind of artistic impulse. It's a fine album -- in her ten-album run from I Never Loved a Man the Way I Love You through Amazing Grace there's not a bad album and barely a bad track -- but there's a lack of focus. There are only two originals on the album, neither of them written by Franklin herself, and the rest is an incoherent set of songs that show the tension between Franklin and her producers at Atlantic. Several songs are the kind of standards that Franklin had recorded for her old label Columbia, things like "You Are My Sunshine", or her version of "That's Life", which had been a hit for Frank Sinatra the previous year: [Excerpt: Aretha Franklin, "That's Life"] But mixed in with that are songs that are clearly the choice of Wexler. As we've discussed previously in episodes on Otis Redding and Wilson Pickett, at this point Atlantic had the idea that it was possible for soul artists to cross over into the white market by doing cover versions of white rock hits -- and indeed they'd had some success with that tactic. So while Franklin was suggesting Sinatra covers, Atlantic's hand is visible in the choices of songs like "(I Can't Get No) Satisfaction" and "96 Tears": [Excerpt: Aretha Franklin, "96 Tears'] Of the two originals on the album, one, the hit single "Baby I Love You" was written by Ronnie Shannon, the Detroit songwriter who had previously written "I Never Loved a Man (the Way I Love You)": [Excerpt: Aretha Franklin, "Baby I Love You"] As with the previous album, and several other songs on this one, that had backing vocals by Aretha's sisters, Erma and Carolyn. But the other original on the album, "Ain't Nobody (Gonna Turn Me Around)", didn't, even though it was written by Carolyn: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] To explain why, let's take a little detour and look at the co-writer of the song this episode is about, though we're not going to get to that for a little while yet. We've not talked much about Burt Bacharach in this series so far, but he's one of those figures who has come up a few times in the periphery and will come up again, so here is as good a time as any to discuss him, and bring everyone up to speed about his career up to 1967. Bacharach was one of the more privileged figures in the sixties pop music field. His father, Bert Bacharach (pronounced the same as his son, but spelled with an e rather than a u) had been a famous newspaper columnist, and his parents had bought him a Steinway grand piano to practice on -- they pushed him to learn the piano even though as a kid he wasn't interested in finger exercises and Debussy. What he was interested in, though, was jazz, and as a teenager he would often go into Manhattan and use a fake ID to see people like Dizzy Gillespie, who he idolised, and in his autobiography he talks rapturously of seeing Gillespie playing his bent trumpet -- he once saw Gillespie standing on a street corner with a pet monkey on his shoulder, and went home and tried to persuade his parents to buy him a monkey too. In particular, he talks about seeing the Count Basie band with Sonny Payne on drums as a teenager: [Excerpt: Count Basie, "Kid From Red Bank"] He saw them at Birdland, the club owned by Morris Levy where they would regularly play, and said of the performance "they were just so incredibly exciting that all of a sudden, I got into music in a way I never had before. What I heard in those clubs really turned my head around— it was like a big breath of fresh air when somebody throws open a window. That was when I knew for the first time how much I loved music and wanted to be connected to it in some way." Of course, there's a rather major problem with this story, as there is so often with narratives that musicians tell about their early career. In this case, Birdland didn't open until 1949, when Bacharach was twenty-one and stationed in Germany for his military service, while Sonny Payne didn't join Basie's band until 1954, when Bacharach had been a professional musician for many years. Also Dizzy Gillespie's trumpet bell only got bent on January 6, 1953. But presumably while Bacharach was conflating several memories, he did have some experience in some New York jazz club that led him to want to become a musician. Certainly there were enough great jazz musicians playing the clubs in those days. He went to McGill University to study music for two years, then went to study with Darius Milhaud, a hugely respected modernist composer. Milhaud was also one of the most important music teachers of the time -- among others he'd taught Stockhausen and Xenakkis, and would go on to teach Philip Glass and Steve Reich. This suited Bacharach, who by this point was a big fan of Schoenberg and Webern, and was trying to write atonal, difficult music. But Milhaud had also taught Dave Brubeck, and when Bacharach rather shamefacedly presented him with a composition which had an actual tune, he told Bacharach "Never be ashamed of writing a tune you can whistle". He dropped out of university and, like most men of his generation, had to serve in the armed forces. When he got out of the army, he continued his musical studies, still trying to learn to be an avant-garde composer, this time with Bohuslav Martinů and later with Henry Cowell, the experimental composer we've heard about quite a bit in previous episodes: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] He was still listening to a lot of avant garde music, and would continue doing so throughout the fifties, going to see people like John Cage. But he spent much of that time working in music that was very different from the avant-garde. He got a job as the band leader for the crooner Vic Damone: [Excerpt: Vic Damone. "Ebb Tide"] He also played for the vocal group the Ames Brothers. He decided while he was working with the Ames Brothers that he could write better material than they were getting from their publishers, and that it would be better to have a job where he didn't have to travel, so he got himself a job as a staff songwriter in the Brill Building. He wrote a string of flops and nearly hits, starting with "Keep Me In Mind" for Patti Page: [Excerpt: Patti Page, "Keep Me In Mind"] From early in his career he worked with the lyricist Hal David, and the two of them together wrote two big hits, "Magic Moments" for Perry Como: [Excerpt: Perry Como, "Magic Moments"] and "The Story of My Life" for Marty Robbins: [Excerpt: "The Story of My Life"] But at that point Bacharach was still also writing with other writers, notably Hal David's brother Mack, with whom he wrote the theme tune to the film The Blob, as performed by The Five Blobs: [Excerpt: The Five Blobs, "The Blob"] But Bacharach's songwriting career wasn't taking off, and he got himself a job as musical director for Marlene Dietrich -- a job he kept even after it did start to take off.  Part of the problem was that he intuitively wrote music that didn't quite fit into standard structures -- there would be odd bars of unusual time signatures thrown in, unusual harmonies, and structural irregularities -- but then he'd take feedback from publishers and producers who would tell him the song could only be recorded if he straightened it out. He said later "The truth is that I ruined a lot of songs by not believing in myself enough to tell these guys they were wrong." He started writing songs for Scepter Records, usually with Hal David, but also with Bob Hilliard and Mack David, and started having R&B hits. One song he wrote with Mack David, "I'll Cherish You", had the lyrics rewritten by Luther Dixon to make them more harsh-sounding for a Shirelles single -- but the single was otherwise just Bacharach's demo with the vocals replaced, and you can even hear his voice briefly at the beginning: [Excerpt: The Shirelles, "Baby, It's You"] But he'd also started becoming interested in the production side of records more generally. He'd iced that some producers, when recording his songs, would change the sound for the worse -- he thought Gene McDaniels' version of "Tower of Strength", for example, was too fast. But on the other hand, other producers got a better sound than he'd heard in his head. He and Hilliard had written a song called "Please Stay", which they'd given to Leiber and Stoller to record with the Drifters, and he thought that their arrangement of the song was much better than the one he'd originally thought up: [Excerpt: The Drifters, "Please Stay"] He asked Leiber and Stoller if he could attend all their New York sessions and learn about record production from them. He started doing so, and eventually they started asking him to assist them on records. He and Hilliard wrote a song called "Mexican Divorce" for the Drifters, which Leiber and Stoller were going to produce, and as he put it "they were so busy running Redbird Records that they asked me to rehearse the background singers for them in my office." [Excerpt: The Drifters, "Mexican Divorce"] The backing singers who had been brought in to augment the Drifters on that record were a group of vocalists who had started out as members of a gospel group called the Drinkard singers: [Excerpt: The Drinkard Singers, "Singing in My Soul"] The Drinkard Singers had originally been a family group, whose members included Cissy Drinkard, who joined the group aged five (and who on her marriage would become known as Cissy Houston -- her daughter Whitney would later join the family business), her aunt Lee Warrick, and Warrick's adopted daughter Judy Clay. That group were discovered by the great gospel singer Mahalia Jackson, and spent much of the fifties performing with gospel greats including Jackson herself, Clara Ward, and Sister Rosetta Tharpe. But Houston was also the musical director of a group at her church, the Gospelaires, which featured Lee Warrick's two daughters Dionne and Dee Dee Warwick (for those who don't know, the Warwick sisters' birth name was Warrick, spelled with two rs. A printing error led to it being misspelled the same way as the British city on a record label, and from that point on Dionne at least pronounced the w in her misspelled name). And slowly, the Gospelaires rather than the Drinkard Singers became the focus, with a lineup of Houston, the Warwick sisters, the Warwick sisters' cousin Doris Troy, and Clay's sister Sylvia Shemwell. The real change in the group's fortunes came when, as we talked about a while back in the episode on "The Loco-Motion", the original lineup of the Cookies largely stopped working as session singers to become Ray Charles' Raelettes. As we discussed in that episode, a new lineup of Cookies formed in 1961, but it took a while for them to get started, and in the meantime the producers who had been relying on them for backing vocals were looking elsewhere, and they looked to the Gospelaires. "Mexican Divorce" was the first record to feature the group as backing vocalists -- though reports vary as to how many of them are on the record, with some saying it's only Troy and the Warwicks, others saying Houston was there, and yet others saying it was all five of them. Some of these discrepancies were because these singers were so good that many of them left to become solo singers in fairly short order. Troy was the first to do so, with her hit "Just One Look", on which the other Gospelaires sang backing vocals: [Excerpt: Doris Troy, "Just One Look"] But the next one to go solo was Dionne Warwick, and that was because she'd started working with Bacharach and Hal David as their principal demo singer. She started singing lead on their demos, and hoping that she'd get to release them on her own. One early one was "Make it Easy On Yourself", which was recorded by Jerry Butler, formerly of the Impressions. That record was produced by Bacharach, one of the first records he produced without outside supervision: [Excerpt: Jerry Butler, "Make it Easy On Yourself"] Warwick was very jealous that a song she'd sung the demo of had become a massive hit for someone else, and blamed Bacharach and David. The way she tells the story -- Bacharach always claimed this never happened, but as we've already seen he was himself not always the most reliable of narrators of his own life -- she got so angry she complained to them, and said "Don't make me over, man!" And so Bacharach and David wrote her this: [Excerpt: Dionne Warwick, "Don't Make Me Over"] Incidentally, in the UK, the hit version of that was a cover by the Swinging Blue Jeans: [Excerpt: The Swinging Blue Jeans, "Don't Make Me Over"] who also had a huge hit with "You're No Good": [Excerpt: The Swinging Blue Jeans, "You're No Good"] And *that* was originally recorded by *Dee Dee* Warwick: [Excerpt: Dee Dee Warwick, "You're No Good"] Dee Dee also had a successful solo career, but Dionne's was the real success, making the names of herself, and of Bacharach and David. The team had more than twenty top forty hits together, before Bacharach and David had a falling out in 1971 and stopped working together, and Warwick sued both of them for breach of contract as a result. But prior to that they had hit after hit, with classic records like "Anyone Who Had a Heart": [Excerpt: Dionne Warwick, "Anyone Who Had a Heart"] And "Walk On By": [Excerpt: Dionne Warwick, "Walk On By"] With Doris, Dionne, and Dee Dee all going solo, the group's membership was naturally in flux -- though the departed members would occasionally join their former bandmates for sessions, and the remaining members would sing backing vocals on their ex-members' records. By 1965 the group consisted of Cissy Houston, Sylvia Shemwell, the Warwick sisters' cousin Myrna Smith, and Estelle Brown. The group became *the* go-to singers for soul and R&B records made in New York. They were regularly hired by Leiber and Stoller to sing on their records, and they were also the particular favourites of Bert Berns. They sang backing vocals on almost every record he produced. It's them doing the gospel wails on "Cry Baby" by Garnet Mimms: [Excerpt: Garnet Mimms, "Cry Baby"] And they sang backing vocals on both versions of "If You Need Me" -- Wilson Pickett's original and Solomon Burke's more successful cover version, produced by Berns: [Excerpt: Solomon Burke, "If You Need Me"] They're on such Berns records as "Show Me Your Monkey", by Kenny Hamber: [Excerpt: Kenny Hamber, "Show Me Your Monkey"] And it was a Berns production that ended up getting them to be Aretha Franklin's backing group. The group were becoming such an important part of the records that Atlantic and BANG Records, in particular, were putting out, that Jerry Wexler said "it was only a matter of common decency to put them under contract as a featured group". He signed them to Atlantic and renamed them from the Gospelaires to The Sweet Inspirations.  Dan Penn and Spooner Oldham wrote a song for the group which became their only hit under their own name: [Excerpt: The Sweet Inspirations, "Sweet Inspiration"] But to start with, they released a cover of Pops Staples' civil rights song "Why (Am I treated So Bad)": [Excerpt: The Sweet Inspirations, "Why (Am I Treated So Bad?)"] That hadn't charted, and meanwhile, they'd all kept doing session work. Cissy had joined Erma and Carolyn Franklin on the backing vocals for Aretha's "I Never Loved a Man the Way I Love You": [Excerpt: Aretha Franklin, "I Never Loved a Man the Way I Love You"] Shortly after that, the whole group recorded backing vocals for Erma's single "Piece of My Heart", co-written and produced by Berns: [Excerpt: Erma Franklin, "Piece of My Heart"] That became a top ten record on the R&B charts, but that caused problems. Aretha Franklin had a few character flaws, and one of these was an extreme level of jealousy for any other female singer who had any level of success and came up in the business after her. She could be incredibly graceful towards anyone who had been successful before her -- she once gave one of her Grammies away to Esther Phillips, who had been up for the same award and had lost to her -- but she was terribly insecure, and saw any contemporary as a threat. She'd spent her time at Columbia Records fuming (with some justification) that Barbra Streisand was being given a much bigger marketing budget than her, and she saw Diana Ross, Gladys Knight, and Dionne Warwick as rivals rather than friends. And that went doubly for her sisters, who she was convinced should be supporting her because of family loyalty. She had been infuriated at John Hammond when Columbia had signed Erma, thinking he'd gone behind her back to create competition for her. And now Erma was recording with Bert Berns. Bert Berns who had for years been a colleague of Jerry Wexler and the Ertegun brothers at Atlantic. Aretha was convinced that Wexler had put Berns up to signing Erma as some kind of power play. There was only one problem with this -- it simply wasn't true. As Wexler later explained “Bert and I had suffered a bad falling-out, even though I had enormous respect for him. After all, he was the guy who brought over guitarist Jimmy Page from England to play on our sessions. Bert, Ahmet, Nesuhi, and I had started a label together—Bang!—where Bert produced Van Morrison's first album. But Bert also had a penchant for trouble. He courted the wise guys. He wanted total control over every last aspect of our business dealings. Finally it was too much, and the Erteguns and I let him go. He sued us for breach of contract and suddenly we were enemies. I felt that he signed Erma, an excellent singer, not merely for her talent but as a way to get back at me. If I could make a hit with Aretha, he'd show me up by making an even bigger hit on Erma. Because there was always an undercurrent of rivalry between the sisters, this only added to the tension.” There were two things that resulted from this paranoia on Aretha's part. The first was that she and Wexler, who had been on first-name terms up to that point, temporarily went back to being "Mr. Wexler" and "Miss Franklin" to each other. And the second was that Aretha no longer wanted Carolyn and Erma to be her main backing vocalists, though they would continue to appear on her future records on occasion. From this point on, the Sweet Inspirations would be the main backing vocalists for Aretha in the studio throughout her golden era [xxcut line (and when the Sweet Inspirations themselves weren't on the record, often it would be former members of the group taking their place)]: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] The last day of sessions for Aretha Arrives was July the twenty-third, 1967. And as we heard in the episode on "I Was Made to Love Her", that was the day that the Detroit riots started. To recap briefly, that was four days of rioting started because of a history of racist policing, made worse by those same racist police overreacting to the initial protests. By the end of those four days, the National Guard, 82nd Airborne Division, and the 101st Airborne from Clarksville were all called in to deal with the violence, which left forty-three dead (of whom thirty-three were Black and only one was a police officer), 1,189 people were injured, and over 7,200 arrested, almost all of them Black. Those days in July would be a turning point for almost every musician based in Detroit. In particular, the police had murdered three members of the soul group the Dramatics, in a massacre of which the author John Hersey, who had been asked by President Johnson to be part of the National Advisory Commission on Civil Disorders but had decided that would compromise his impartiality and did an independent journalistic investigation, said "The episode contained all the mythic themes of racial strife in the United States: the arm of the law taking the law into its own hands; interracial sex; the subtle poison of racist thinking by “decent” men who deny they are racists; the societal limbo into which, ever since slavery, so many young black men have been driven by our country; ambiguous justice in the courts; and the devastation in both black and white human lives that follows in the wake of violence as surely as ruinous and indiscriminate flood after torrents" But these were also the events that radicalised the MC5 -- the group had been playing a gig as Tim Buckley's support act when the rioting started, and guitarist Wayne Kramer decided afterwards to get stoned and watch the fires burning down the city through a telescope -- which police mistook for a rifle, leading to the National Guard knocking down Kramer's door. The MC5 would later cover "The Motor City is Burning", John Lee Hooker's song about the events: [Excerpt: The MC5, "The Motor City is Burning"] It would also be a turning point for Motown, too, in ways we'll talk about in a few future episodes.  And it was a political turning point too -- Michigan Governor George Romney, a liberal Republican (at a time when such people existed) had been the favourite for the Republican Presidential candidacy when he'd entered the race in December 1966, but as racial tensions ramped up in Detroit during the early months of 1967 he'd started trailing Richard Nixon, a man who was consciously stoking racists' fears. President Johnson, the incumbent Democrat, who was at that point still considering standing for re-election, made sure to make it clear to everyone during the riots that the decision to call in the National Guard had been made at the State level, by Romney, rather than at the Federal level.  That wasn't the only thing that removed the possibility of a Romney presidency, but it was a big part of the collapse of his campaign, and the, as it turned out, irrevocable turn towards right-authoritarianism that the party took with Nixon's Southern Strategy. Of course, Aretha Franklin had little way of knowing what was to come and how the riots would change the city and the country over the following decades. What she was primarily concerned about was the safety of her father, and to a lesser extent that of her sister-in-law Earline who was staying with him. Aretha, Carolyn, and Erma all tried to keep in constant touch with their father while they were out of town, and Aretha even talked about hiring private detectives to travel to Detroit, find her father, and get him out of the city to safety. But as her brother Cecil pointed out, he was probably the single most loved man among Black people in Detroit, and was unlikely to be harmed by the rioters, while he was too famous for the police to kill with impunity. Reverend Franklin had been having a stressful time anyway -- he had recently been fined for tax evasion, an action he was convinced the IRS had taken because of his friendship with Dr King and his role in the civil rights movement -- and according to Cecil "Aretha begged Daddy to move out of the city entirely. She wanted him to find another congregation in California, where he was especially popular—or at least move out to the suburbs. But he wouldn't budge. He said that, more than ever, he was needed to point out the root causes of the riots—the economic inequality, the pervasive racism in civic institutions, the woefully inadequate schools in inner-city Detroit, and the wholesale destruction of our neighborhoods by urban renewal. Some ministers fled the city, but not our father. The horror of what happened only recommitted him. He would not abandon his political agenda." To make things worse, Aretha was worried about her father in other ways -- as her marriage to Ted White was starting to disintegrate, she was looking to her father for guidance, and actually wanted him to take over her management. Eventually, Ruth Bowen, her booking agent, persuaded her brother Cecil that this was a job he could do, and that she would teach him everything he needed to know about the music business. She started training him up while Aretha was still married to White, in the expectation that that marriage couldn't last. Jerry Wexler, who only a few months earlier had been seeing Ted White as an ally in getting "product" from Franklin, had now changed his tune -- partly because the sale of Atlantic had gone through in the meantime. He later said “Sometimes she'd call me at night, and, in that barely audible little-girl voice of hers, she'd tell me that she wasn't sure she could go on. She always spoke in generalities. She never mentioned her husband, never gave me specifics of who was doing what to whom. And of course I knew better than to ask. She just said that she was tired of dealing with so much. My heart went out to her. She was a woman who suffered silently. She held so much in. I'd tell her to take as much time off as she needed. We had a lot of songs in the can that we could release without new material. ‘Oh, no, Jerry,' she'd say. ‘I can't stop recording. I've written some new songs, Carolyn's written some new songs. We gotta get in there and cut 'em.' ‘Are you sure?' I'd ask. ‘Positive,' she'd say. I'd set up the dates and typically she wouldn't show up for the first or second sessions. Carolyn or Erma would call me to say, ‘Ree's under the weather.' That was tough because we'd have asked people like Joe South and Bobby Womack to play on the sessions. Then I'd reschedule in the hopes she'd show." That third album she recorded in 1967, Lady Soul, was possibly her greatest achievement. The opening track, and second single, "Chain of Fools", released in November, was written by Don Covay -- or at least it's credited as having been written by Covay. There's a gospel record that came out around the same time on a very small label based in Houston -- "Pains of Life" by Rev. E. Fair And The Sensational Gladys Davis Trio: [Excerpt: Rev. E. Fair And The Sensational Gladys Davis Trio, "Pains of Life"] I've seen various claims online that that record came out shortly *before* "Chain of Fools", but I can't find any definitive evidence one way or the other -- it was on such a small label that release dates aren't available anywhere. Given that the B-side, which I haven't been able to track down online, is called "Wait Until the Midnight Hour", my guess is that rather than this being a case of Don Covay stealing the melody from an obscure gospel record he'd have had little chance to hear, it's the gospel record rewriting a then-current hit to be about religion, but I thought it worth mentioning. The song was actually written by Covay after Jerry Wexler asked him to come up with some songs for Otis Redding, but Wexler, after hearing it, decided it was better suited to Franklin, who gave an astonishing performance: [Excerpt: Aretha Franklin, "Chain of Fools"] Arif Mardin, the arranger of the album, said of that track “I was listed as the arranger of ‘Chain of Fools,' but I can't take credit. Aretha walked into the studio with the chart fully formed inside her head. The arrangement is based around the harmony vocals provided by Carolyn and Erma. To add heft, the Sweet Inspirations joined in. The vision of the song is entirely Aretha's.” According to Wexler, that's not *quite* true -- according to him, Joe South came up with the guitar part that makes up the intro, and he also said that when he played what he thought was the finished track to Ellie Greenwich, she came up with another vocal line for the backing vocals, which she overdubbed. But the core of the record's sound is definitely pure Aretha -- and Carolyn Franklin said that there was a reason for that. As she said later “Aretha didn't write ‘Chain,' but she might as well have. It was her story. When we were in the studio putting on the backgrounds with Ree doing lead, I knew she was singing about Ted. Listen to the lyrics talking about how for five long years she thought he was her man. Then she found out she was nothing but a link in the chain. Then she sings that her father told her to come on home. Well, he did. She sings about how her doctor said to take it easy. Well, he did too. She was drinking so much we thought she was on the verge of a breakdown. The line that slew me, though, was the one that said how one of these mornings the chain is gonna break but until then she'll take all she can take. That summed it up. Ree knew damn well that this man had been doggin' her since Jump Street. But somehow she held on and pushed it to the breaking point." [Excerpt: Aretha Franklin, "Chain of Fools"] That made number one on the R&B charts, and number two on the hot one hundred, kept from the top by "Judy In Disguise (With Glasses)" by John Fred and his Playboy Band -- a record that very few people would say has stood the test of time as well. The other most memorable track on the album was the one chosen as the first single, released in September. As Carole King told the story, she and Gerry Goffin were feeling like their career was in a slump. While they had had a huge run of hits in the early sixties through 1965, they had only had two new hits in 1966 -- "Goin' Back" for Dusty Springfield and "Don't Bring Me Down" for the Animals, and neither of those were anything like as massive as their previous hits. And up to that point in 1967, they'd only had one -- "Pleasant Valley Sunday" for the Monkees. They had managed to place several songs on Monkees albums and the TV show as well, so they weren't going to starve, but the rise of self-contained bands that were starting to dominate the charts, and Phil Spector's temporary retirement, meant there simply wasn't the opportunity for them to place material that there had been. They were also getting sick of travelling to the West Coast all the time, because as their children were growing slightly older they didn't want to disrupt their lives in New York, and were thinking of approaching some of the New York based labels and seeing if they needed songs. They were particularly considering Atlantic, because soul was more open to outside songwriters than other genres. As it happened, though, they didn't have to approach Atlantic, because Atlantic approached them. They were walking down Broadway when a limousine pulled up, and Jerry Wexler stuck his head out of the window. He'd come up with a good title that he wanted to use for a song for Aretha, would they be interested in writing a song called "Natural Woman"? They said of course they would, and Wexler drove off. They wrote the song that night, and King recorded a demo the next morning: [Excerpt: Carole King, "(You Make Me Feel Like) A Natural Woman (demo)"] They gave Wexler a co-writing credit because he had suggested the title.  King later wrote in her autobiography "Hearing Aretha's performance of “Natural Woman” for the first time, I experienced a rare speechless moment. To this day I can't convey how I felt in mere words. Anyone who had written a song in 1967 hoping it would be performed by a singer who could take it to the highest level of excellence, emotional connection, and public exposure would surely have wanted that singer to be Aretha Franklin." She went on to say "But a recording that moves people is never just about the artist and the songwriters. It's about people like Jerry and Ahmet, who matched the songwriters with a great title and a gifted artist; Arif Mardin, whose magnificent orchestral arrangement deserves the place it will forever occupy in popular music history; Tom Dowd, whose engineering skills captured the magic of this memorable musical moment for posterity; and the musicians in the rhythm section, the orchestral players, and the vocal contributions of the background singers—among them the unforgettable “Ah-oo!” after the first line of the verse. And the promotion and marketing people helped this song reach more people than it might have without them." And that's correct -- unlike "Chain of Fools", this time Franklin did let Arif Mardin do most of the arrangement work -- though she came up with the piano part that Spooner Oldham plays on the record. Mardin said that because of the song's hymn-like feel they wanted to go for a more traditional written arrangement. He said "She loved the song to the point where she said she wanted to concentrate on the vocal and vocal alone. I had written a string chart and horn chart to augment the chorus and hired Ralph Burns to conduct. After just a couple of takes, we had it. That's when Ralph turned to me with wonder in his eyes. Ralph was one of the most celebrated arrangers of the modern era. He had done ‘Early Autumn' for Woody Herman and Stan Getz, and ‘Georgia on My Mind' for Ray Charles. He'd worked with everyone. ‘This woman comes from another planet' was all Ralph said. ‘She's just here visiting.'” [Excerpt: Aretha Franklin, "(You Make Me Feel Like) A Natural Woman"] By this point there was a well-functioning team making Franklin's records -- while the production credits would vary over the years, they were all essentially co-productions by the team of Franklin, Wexler, Mardin and Dowd, all collaborating and working together with a more-or-less unified purpose, and the backing was always by the same handful of session musicians and some combination of the Sweet Inspirations and Aretha's sisters. That didn't mean that occasional guests couldn't get involved -- as we discussed in the Cream episode, Eric Clapton played guitar on "Good to Me as I am to You": [Excerpt: Aretha Franklin, "Good to Me as I am to You"] Though that was one of the rare occasions on one of these records where something was overdubbed. Clapton apparently messed up the guitar part when playing behind Franklin, because he was too intimidated by playing with her, and came back the next day to redo his part without her in the studio. At this point, Aretha was at the height of her fame. Just before the final batch of album sessions began she appeared in the Macy's Thanksgiving Parade, and she was making regular TV appearances, like one on the Mike Douglas Show where she duetted with Frankie Valli on "That's Life": [Excerpt: Aretha Franklin and Frankie Valli, "That's Life"] But also, as Wexler said “Her career was kicking into high gear. Contending and resolving both the professional and personal challenges were too much. She didn't think she could do both, and I didn't blame her. Few people could. So she let the personal slide and concentrated on the professional. " Her concert promoter Ruth Bowen said of this time "Her father and Dr. King were putting pressure on her to sing everywhere, and she felt obligated. The record company was also screaming for more product. And I had a mountain of offers on my desk that kept getting higher with every passing hour. They wanted her in Europe. They wanted her in Latin America. They wanted her in every major venue in the U.S. TV was calling. She was being asked to do guest appearances on every show from Carol Burnett to Andy Williams to the Hollywood Palace. She wanted to do them all and she wanted to do none of them. She wanted to do them all because she's an entertainer who burns with ambition. She wanted to do none of them because she was emotionally drained. She needed to go away and renew her strength. I told her that at least a dozen times. She said she would, but she didn't listen to me." The pressures from her father and Dr King are a recurring motif in interviews with people about this period. Franklin was always a very political person, and would throughout her life volunteer time and money to liberal political causes and to the Democratic Party, but this was the height of her activism -- the Civil Rights movement was trying to capitalise on the gains it had made in the previous couple of years, and celebrity fundraisers and performances at rallies were an important way to do that. And at this point there were few bigger celebrities in America than Aretha Franklin. At a concert in her home town of Detroit on February the sixteenth, 1968, the Mayor declared the day Aretha Franklin Day. At the same show, Billboard, Record World *and* Cash Box magazines all presented her with plaques for being Female Vocalist of the Year. And Dr. King travelled up to be at the show and congratulate her publicly for all her work with his organisation, the Southern Christian Leadership Conference. Backstage at that show, Dr. King talked to Aretha's father, Reverend Franklin, about what he believed would be the next big battle -- a strike in Memphis: [Excerpt, Martin Luther King, "Mountaintop Speech" -- "And so, as a result of this, we are asking you tonight, to go out and tell your neighbors not to buy Coca-Cola in Memphis. Go by and tell them not to buy Sealtest milk. Tell them not to buy—what is the other bread?—Wonder Bread. And what is the other bread company, Jesse? Tell them not to buy Hart's bread. As Jesse Jackson has said, up to now, only the garbage men have been feeling pain; now we must kind of redistribute the pain. We are choosing these companies because they haven't been fair in their hiring policies; and we are choosing them because they can begin the process of saying, they are going to support the needs and the rights of these men who are on strike. And then they can move on downtown and tell Mayor Loeb to do what is right."] The strike in question was the Memphis Sanitation Workers' strike which had started a few days before.  The struggle for Black labour rights was an integral part of the civil rights movement, and while it's not told that way in the sanitised version of the story that's made it into popular culture, the movement led by King was as much about economic justice as social justice -- King was a democratic socialist, and believed that economic oppression was both an effect of and cause of other forms of racial oppression, and that the rights of Black workers needed to be fought for. In 1967 he had set up a new organisation, the Poor People's Campaign, which was set to march on Washington to demand a program that included full employment, a guaranteed income -- King was strongly influenced in his later years by the ideas of Henry George, the proponent of a universal basic income based on land value tax -- the annual building of half a million affordable homes, and an end to the war in Vietnam. This was King's main focus in early 1968, and he saw the sanitation workers' strike as a major part of this campaign. Memphis was one of the most oppressive cities in the country, and its largely Black workforce of sanitation workers had been trying for most of the 1960s to unionise, and strike-breakers had been called in to stop them, and many of them had been fired by their white supervisors with no notice. They were working in unsafe conditions, for utterly inadequate wages, and the city government were ardent segregationists. After two workers had died on the first of February from using unsafe equipment, the union demanded changes -- safer working conditions, better wages, and recognition of the union. The city council refused, and almost all the sanitation workers stayed home and stopped work. After a few days, the council relented and agreed to their terms, but the Mayor, Henry Loeb, an ardent white supremacist who had stood on a platform of opposing desegregation, and who had previously been the Public Works Commissioner who had put these unsafe conditions in place, refused to listen. As far as he was concerned, he was the only one who could recognise the union, and he wouldn't. The workers continued their strike, marching holding signs that simply read "I am a Man": [Excerpt: Stevie Wonder, "Blowing in the Wind"] The Southern Christian Leadership Conference and the NAACP had been involved in organising support for the strikes from an early stage, and King visited Memphis many times. Much of the time he spent visiting there was spent negotiating with a group of more militant activists, who called themselves The Invaders and weren't completely convinced by King's nonviolent approach -- they believed that violence and rioting got more attention than non-violent protests. King explained to them that while he had been persuaded by Gandhi's writings of the moral case for nonviolent protest, he was also persuaded that it was pragmatically necessary -- asking the young men "how many guns do we have and how many guns do they have?", and pointing out as he often did that when it comes to violence a minority can't win against an armed majority. Rev Franklin went down to Memphis on the twenty-eighth of March to speak at a rally Dr. King was holding, but as it turned out the rally was cancelled -- the pre-rally march had got out of hand, with some people smashing windows, and Memphis police had, like the police in Detroit the previous year, violently overreacted, clubbing and gassing protestors and shooting and killing one unarmed teenage boy, Larry Payne. The day after Payne's funeral, Dr King was back in Memphis, though this time Rev Franklin was not with him. On April the third, he gave a speech which became known as the "Mountaintop Speech", in which he talked about the threats that had been made to his life: [Excerpt: Martin Luther King, "Mountaintop Speech": “And then I got to Memphis. And some began to say the threats, or talk about the threats that were out. What would happen to me from some of our sick white brothers? Well, I don't know what will happen now. We've got some difficult days ahead. But it doesn't matter with me now. Because I've been to the mountaintop. And I don't mind. Like anybody, I would like to live a long life. Longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the promised land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land. So I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord."] The next day, Martin Luther King was shot dead. James Earl Ray, a white supremacist, pled guilty to the murder, and the evidence against him seems overwhelming from what I've read, but the King family have always claimed that the murder was part of a larger conspiracy and that Ray was not the gunman. Aretha was obviously distraught, and she attended the funeral, as did almost every other prominent Black public figure. James Baldwin wrote of the funeral: "In the pew directly before me sat Marlon Brando, Sammy Davis, Eartha Kitt—covered in black, looking like a lost, ten-year-old girl—and Sidney Poitier, in the same pew, or nearby. Marlon saw me, and nodded. The atmosphere was black, with a tension indescribable—as though something, perhaps the heavens, perhaps the earth, might crack. Everyone sat very still. The actual service sort of washed over me, in waves. It wasn't that it seemed unreal; it was the most real church service I've ever sat through in my life, or ever hope to sit through; but I have a childhood hangover thing about not weeping in public, and I was concentrating on holding myself together. I did not want to weep for Martin, tears seemed futile. But I may also have been afraid, and I could not have been the only one, that if I began to weep I would not be able to stop. There was more than enough to weep for, if one was to weep—so many of us, cut down, so soon. Medgar, Malcolm, Martin: and their widows, and their children. Reverend Ralph David Abernathy asked a certain sister to sing a song which Martin had loved—“Once more,” said Ralph David, “for Martin and for me,” and he sat down." Many articles and books on Aretha Franklin say that she sang at King's funeral. In fact she didn't, but there's a simple reason for the confusion. King's favourite song was the Thomas Dorsey gospel song "Take My Hand, Precious Lord", and indeed almost his last words were to ask a trumpet player, Ben Branch, if he would play the song at the rally he was going to be speaking at on the day of his death. At his request, Mahalia Jackson, his old friend, sang the song at his private funeral, which was not filmed, unlike the public part of the funeral that Baldwin described. Four months later, though, there was another public memorial for King, and Franklin did sing "Take My Hand, Precious Lord" at that service, in front of King's weeping widow and children, and that performance *was* filmed, and gets conflated in people's memories with Jackson's unfilmed earlier performance: [Excerpt: Aretha Franklin, "Take My Hand, Precious Lord (at Martin Luther King Memorial)"] Four years later, she would sing that at Mahalia Jackson's funeral. Through all this, Franklin had been working on her next album, Aretha Now, the sessions for which started more or less as soon as the sessions for Lady Soul had finished. The album was, in fact, bookended by deaths that affected Aretha. Just as King died at the end of the sessions, the beginning came around the time of the death of Otis Redding -- the sessions were cancelled for a day while Wexler travelled to Georgia for Redding's funeral, which Franklin was too devastated to attend, and Wexler would later say that the extra emotion in her performances on the album came from her emotional pain at Redding's death. The lead single on the album, "Think", was written by Franklin and -- according to the credits anyway -- her husband Ted White, and is very much in the same style as "Respect", and became another of her most-loved hits: [Excerpt: Aretha Franklin, "Think"] But probably the song on Aretha Now that now resonates the most is one that Jerry Wexler tried to persuade her not to record, and was only released as a B-side. Indeed, "I Say a Little Prayer" was a song that had already once been a hit after being a reject.  Hal David, unlike Burt Bacharach, was a fairly political person and inspired by the protest song movement, and had been starting to incorporate his concerns about the political situation and the Vietnam War into his lyrics -- though as with many such writers, he did it in much less specific ways than a Phil Ochs or a Bob Dylan. This had started with "What the World Needs Now is Love", a song Bacharach and David had written for Jackie DeShannon in 1965: [Excerpt: Jackie DeShannon, "What the "World Needs Now is Love"] But he'd become much more overtly political for "The Windows of the World", a song they wrote for Dionne Warwick. Warwick has often said it's her favourite of her singles, but it wasn't a big hit -- Bacharach blamed himself for that, saying "Dionne recorded it as a single and I really blew it. I wrote a bad arrangement and the tempo was too fast, and I really regret making it the way I did because it's a good song." [Excerpt: Dionne Warwick, "The Windows of the World"] For that album, Bacharach and David had written another track, "I Say a Little Prayer", which was not as explicitly political, but was intended by David to have an implicit anti-war message, much like other songs of the period like "Last Train to Clarksville". David had sons who were the right age to be drafted, and while it's never stated, "I Say a Little Prayer" was written from the perspective of a woman whose partner is away fighting in the war, but is still in her thoughts: [Excerpt: Dionne Warwick, "I Say a Little Prayer"] The recording of Dionne Warwick's version was marked by stress. Bacharach had a particular way of writing music to tell the musicians the kind of feel he wanted for the part -- he'd write nonsense words above the stave, and tell the musicians to play the parts as if they were singing those words. The trumpet player hired for the session, Ernie Royal, got into a row with Bacharach about this unorthodox way of communicating musical feeling, and the track ended up taking ten takes (as opposed to the normal three for a Bacharach session), with Royal being replaced half-way through the session. Bacharach was never happy with the track even after all the work it had taken, and he fought to keep it from being released at all, saying the track was taken at too fast a tempo. It eventually came out as an album track nearly eighteen months after it was recorded -- an eternity in 1960s musical timescales -- and DJs started playing it almost as soon as it came out. Scepter records rushed out a single, over Bacharach's objections, but as he later said "One thing I love about the record business is how wrong I was. Disc jockeys all across the country started playing the track, and the song went to number four on the charts and then became the biggest hit Hal and I had ever written for Dionne." [Excerpt: Dionne Warwick, "I Say a Little Prayer"] Oddly, the B-side for Warwick's single, "Theme From the Valley of the Dolls" did even better, reaching number two. Almost as soon as the song was released as a single, Franklin started playing around with the song backstage, and in April 1968, right around the time of Dr. King's death, she recorded a version. Much as Burt Bacharach had been against releasing Dionne Warwick's version, Jerry Wexler was against Aretha even recording the song, saying later “I advised Aretha not to record it. I opposed it for two reasons. First, to cover a song only twelve weeks after the original reached the top of the charts was not smart business. You revisit such a hit eight months to a year later. That's standard practice. But more than that, Bacharach's melody, though lovely, was peculiarly suited to a lithe instrument like Dionne Warwick's—a light voice without the dark corners or emotional depths that define Aretha. Also, Hal David's lyric was also somewhat girlish and lacked the gravitas that Aretha required. “Aretha usually listened to me in the studio, but not this time. She had written a vocal arrangement for the Sweet Inspirations that was undoubtedly strong. Cissy Houston, Dionne's cousin, told me that Aretha was on the right track—she was seeing this song in a new way and had come up with a new groove. Cissy was on Aretha's side. Tommy Dowd and Arif were on Aretha's side. So I had no choice but to cave." It's quite possible that Wexler's objections made Franklin more, rather than less, determined to record the song. She regarded Warwick as a hated rival, as she did almost every prominent female singer of her generation and younger ones, and would undoubtedly have taken the implication that there was something that Warwick was simply better at than her to heart. [Excerpt: Aretha Franklin, "I Say a Little Prayer"] Wexler realised as soon as he heard it in the studio that Franklin's version was great, and Bacharach agreed, telling Franklin's biographer David Ritz “As much as I like the original recording by Dionne, there's no doubt that Aretha's is a better record. She imbued the song with heavy soul and took it to a far deeper place. Hers is the definitive version.” -- which is surprising because Franklin's version simplifies some of Bacharach's more unusual chord voicings, something he often found extremely upsetting. Wexler still though thought there was no way the song would be a hit, and it's understandable that he thought that way. Not only had it only just been on the charts a few months earlier, but it was the kind of song that wouldn't normally be a hit at all, and certainly not in the kind of rhythmic soul music for which Franklin was known. Almost everything she ever recorded is in simple time signatures -- 4/4, waltz time, or 6/8 -- but this is a Bacharach song so it's staggeringly metrically irregular. Normally even with semi-complex things I'm usually good at figuring out how to break it down into bars, but here I actually had to purchase a copy of the sheet music in order to be sure I was right about what's going on. I'm going to count beats along with the record here so you can see what I mean. The verse has three bars of 4/4, one bar of 2/4, and three more bars of 4/4, all repeated: [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] While the chorus has a bar of 4/4, a bar of 3/4 but with a chord change half way through so it sounds like it's in two if you're paying attention to the harmonic changes, two bars of 4/4, another waltz-time bar sounding like it's in two, two bars of four, another bar of three sounding in two, a bar of four, then three more bars of four but the first of those is *written* as four but played as if it's in six-eight time (but you can keep the four/four pulse going if you're counting): [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] I don't expect you to have necessarily followed that in great detail, but the point should be clear -- this was not some straightforward dance song. Incidentally, that bar played as if it's six/eight was something Aretha introduced to make the song even more irregular than how Bacharach wrote it. And on top of *that* of course the lyrics mixed the secular and the sacred, something that was still taboo in popular music at that time -- this is only a couple of years after Capitol records had been genuinely unsure about putting out the Beach Boys' "God Only Knows", and Franklin's gospel-inflected vocals made the religious connection even more obvious. But Franklin was insistent that the record go out as a single, and eventually it was released as the B-side to the far less impressive "The House That Jack Built". It became a double-sided hit, with the A-side making number two on the R&B chart and number seven on the Hot One Hundred, while "I Say a Little Prayer" made number three on the R&B chart and number ten overall. In the UK, "I Say a Little Prayer" made number four and became her biggest ever solo UK hit. It's now one of her most-remembered songs, while the A-side is largely forgotten: [Excerpt: Aretha Franklin, "I Say a Little Prayer"] For much of the

Helen and Gavin chat about Run Rabbit Run, Joy Ride, and Past Lives, and it's Week 83 from the list of Rolling Stone's 500 Best Songs Ever, numbers 90 to 86; (You Make Me Feel Like) A Natural Woman by Aretha Franklin, Hey Jude by The Beatles, Sweet Child O' Mine by Guns N Roses, All My Friends by LCD Soundsystem, and Tumbling Dice by The Rolling Stones.

This week Justin and Tyler review Carole King's 14 times platinum second album Tapestry. Selling over 30 million copies worldwide and spending almost 6 years in the Billboard 200, this album held up as the longest charting female album for almost 50 years. With great songs on this album like I Feel the Earth Move, So Far Away, It's Too Late, You've Got a Friend, Will You Love Me Tomorrow, and (You Make Me Feel Like) A Natural Woman, it is no wonder the album has done so well and was such a huge success. If you haven't already, give it a listen and let us know what you think. Classic Vinyl Podcast Website https://classicvinlylpodcast.podbean.com/   Classic Vinyl Podcast Email classicvinylpodcast@gmail.com   Support our podcast and buy us a beer https://www.buymeacoffee.com/classicvinylpod

No one is immune to the predations of the woke mob -- not even the Queen of Soul. She has been politely asked -- that means ordered -- to no longer sing her signature hit (You Make Me Feel Like) A Natural Woman... because the non-natural woman lobby find it offensive. And another conservative is born. Zo Rachel has the sad and stupid story. Join our elite team of anti-elitists by becoming a Citizen Producer right here: https://billwhittle.com/register/

Buzz Aldrin ties the knot... again, Lisa Marie Presley's funeral, Beyonce in Dubai, Olivia Dunne's influencing issues, Adam Sandler films, Eli Zaret joins us post NFL Playoff Weekend, Drew Crime, Hilarious Baldwin's accent is back, and Damar Hamlin conspiracy theories. Buffalo Bill Damar Hamlin was in the building this weekend to distract his team from their playoff game vs. the Cincinnati Bengals. We See It Eli's Way on the NFL playoffs, Damar Hamlin conspiracy theories, Patrick Mahomes injuries, crap all over Urban Meyer, the return of Ben Johnson to the Detroit Lions, Matt Weiss BLOWN OUT by Michigan, Jaden Rashada's NIL value and more. Drew watched "That's My Boy" and wants to know why it's not more popular. (You Make Me Feel Like) A Natural Woman is under attack from triggered transgender people. The Taliban hate women so much that they even make the mannequins wear masks. Beyoncé got PAID for playing in Dubai, but she is getting backlash from her LGBTQ fans thus igniting the Bey Army. Alec Baldwin thinks his son wants to nail his wife. Hilarious Baldwin's Spanish accent returns over the weekend. Theranos' Elizabeth Holmes tried to bail to Mexico. Lock her up! No more planes for Olympic sprinter Sha'Carri Richardson. She battles American Airlines. Law Enforcement: The Democratic House whip's daughter is not a fan of the police. Some tree-huggers got into it with police in Atlanta which led to a pretty fiery night. Music: Some people are saying David Crosby died of COVID-19. Dhani Harrison is a nepo-baby. Lisa Marie Presley's funeral was full of celebrities. Axl Rose sang November Rain. Hat Douche got custody of the twins. Maude Apatow is a nepotism-baby too. Fergie, The Duchess of Pork, is selling crappy NFTs. Prime Minister Jacinda Ardern up and quits on New Zealand. Buzz Aldrin marries a new hot piece on his 93rd birthday. Grab your EXCLUSIVE NordVPN Deal by going to nordvpn.com/dams to get up a Huge Discount off your NordVPN Plan + 4 months for free! It's completely risk free with Nord's 30-day money-back guarantee. TikTok: Baylen Dupree has Tourette's and puts it to use on TikTok. This TikTok chick here doesn't want to work. Drew Crime: Drew explains crimes of Sean Turkot and Alex Smoot and other tales from Signs Of A Psychopath on ID. 20/20 covered the story of numb-nuts, Thomas Clayton. Brian Walshe remains the worst murderer of all-time. Prince Harry craps all over Graceland and its Jungle Room. Joe Biden asks why police have to shoot to kill. Oh, and more documents have been found in Biden's house. MSU is still dealing the 'Dancing Professor' from the Gatsby Gala. Jacob Edwards arrested in Illinois. Dumbass. Dr. Disgusto strikes again. Known boner-maker and part time LSU gymnast, Olivia Dunne, sits down with Stephanie Gosk and The Today Show. Breaking News: Damar Hamlin has visited his own mural! Paulina Porizkova is whining again. Cyrus Chestnut makes it back to the Detroit Symphony Orchestra following a super racist event. The Michigan Panthers will play at Ford Field. Visit Our Presenting Sponsor Hall Financial – Michigan's highest rated mortgage company Social media is dumb, but we're on Facebook, Instagram and Twitter (Drew and Mike Show, Marc Fellhauer, Trudi Daniels and BranDon).

On this episode of Yup, Another Podcast, we come back from our month hiatus and cover a lot of topics. Some other things we discuss are Dr. Love being arrested for scamming once again, Keith Murray speaking on Foxy Brown and Bill Cosby going on a comedy tour. We also get into some urine talk, Ice Spice's EP, and trans women wanting to ban Aretha Franklin's “You Make Me Feel Like A Natural Woman.” All that and more on “Yup, Another Podcast”, a podcast about absolutely nothing and shit you actually care about. Follow Us On Twitter/Instagram @Yup_AnotherPod @ImStunt/@ImStunt1 @ChanThePlug @_ChiefEats_ @HarleyNoDavidson_ ImStunt Vibes: Vol 24 https://linktr.ee/imstunt #MCM IGTV: https://www.instagram.com/tv/B8sKl_ynRNr/?igshid=9i6bh3bwmkwi VIMEO: #MCM on Vimeo --- Send in a voice message: https://podcasters.spotify.com/pod/show/yup-anotherpodcast/message

Hour 3 -  Good Tuesday morning! Here's what Nick Reed covers this hour: The Trans Cultural Mindfulness Alliance group in Norway is calling for Aretha Franklin's hit 1968 song “(You Make Me Feel Like) A Natural Woman” to be removed from Apple Music and Spotify after they deemed its lyrics offensive. The group condemned the song, citing that it has ignited harm against transgender women. Insiders are reporting widespread panic and despair in Florida's Democratic Party after a series of crushing defeats in the midterm elections. Gov. DeSantis defended his state's rejection of an Advanced Placement course on African-American studies recommended by the College Board after the White House called the decision "incomprehensible." DeSantis said that the course in question was eliminated because it teaches controversial topics outside African-American history, such as "queer theory" and abolishing prisons.

For this week's episode, we are going to be going over legendary singer, Carol King's song called A Natural Woman and the songwriting dynamic duo between her and Gerry Goffin. In the world of popular music, few praises are higher than that of John Lennon saying that he aspired to be like you. And few songwriters can claim such an honour. However, the two that can are, undoubtedly, two of the greats… Gerry Goffin and Carole King. The pair have been credited with writing much of the “soundtrack of the sixties;” from hits like “Will You Still Love Me Tomorrow,” “One Fine Day,” and “Locomotion,” to “(You Make Me Feel Like) A Natural Woman.” Donate to the Goffin and King Foundation: https://thegoffinkingfoundation.org/donate/ Check Out Goffin and King Foundation: https://www.instagram.com/goffin_king_foundation/?hl=en Subscribe to the email list and get yourself some free goodies: https://producelikeapro.com  Want to create radio ready mixes from the comfort of your home? Go check out https://promixacademy.com/courses/  Check out all other services here: https://linktr.ee/producelikeapro

For this week's episode, we are going to be going over legendary singer, Carol King's song called A Natural Woman and the songwriting dynamic duo between her and Gerry Goffin. In the world of popular music, few praises are higher than that of John Lennon saying that he aspired to be like you. And few songwriters can claim such an honour. However, the two that can are, undoubtedly, two of the greats… Gerry Goffin and Carole King. The pair have been credited with writing much of the “soundtrack of the sixties;” from hits like “Will You Still Love Me Tomorrow,” “One Fine Day,” and “Locomotion,” to “(You Make Me Feel Like) A Natural Woman.” Donate to the Goffin and King Foundation: https://thegoffinkingfoundation.org/donate/ Check Out Goffin and King Foundation: https://www.instagram.com/goffin_king_foundation/?hl=en Subscribe to the email list and get yourself some free goodies: https://producelikeapro.com  Want to create radio ready mixes from the comfort of your home? Go check out https://promixacademy.com/courses/  Check out all other services here: https://linktr.ee/producelikeapro

RNIB Connect Radio's Toby Davey is joined again by Vidar Hjardeng MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands for the next in his regular Connect Radio audio described theatre reviews. This week Vidar was reviewing the audio described performance of Beautiful - The Carole King Musical  at the Birmingham Hippodrome  Theatre on Saturday 3 September at 2.30pm with audio description by professional Describers Julia Grundy and Jonathan Nash. Long before she was Carole King, the chart-topping music legend, she was an ordinary girl with an extraordinary talent. Beautiful tells the inspiring true story of King's remarkable rise to stardom, from being part of a hit songwriting team with her husband Gerry Goffin, to her relationship with fellow writers and best friends Cynthia Weil and Barry Mann, to becoming one of the most successful solo acts in popular music history. Along the way, she wrote the soundtrack to a generation, with countless classics such as (You Make Me Feel Like) A Natural Woman, Take Good Care of My Baby, You've Got a Friend, So Far Away, It Might as Well Rain Until September, Up on the Roof, and The Locomotion. Vidar began by telling Toby that although this was the second time he had seen Beautiful - The Carole King Musical, he was struck by how many tunes Carole King had written that had become both hits for her and for other artists, how he felt there was a good balance between Carole King's story and her hits in this new production and how much the audio description by Julia and Jonathan enhanced his enjoyment of the show.  Beautiful - The Carole King Musical continues on tour around the UK and more details can be found by visiting the following website -https://beautifulmusical.co.uk/tour/ (Image shows RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line, with the words 'See differently' underneath)

Everybody Dance! Remixed Dance Classics: Gwen McCrae “Funky Sensation” (MAW Mix) The Trammps “The Night The Lights Went Out” (Black Science NY Story Part 1) Manu Dibango “Soul Makossa” (Johnick Mix) Sister Sledge “We Are Family” (Marley's The System “You Are In My System” (Tee's Freeze Mix) Spinners “I'll Be Around” (Simp-House Mix) Sister Sledge “Thinking Of You” (Ramp Mix) Slave “Just A Touch Of Love” (MAW Mix) The Manhattan Transfer “ Twilight Zone / Twilight Tone” (Nevco Rascal Mix) Herbie Mann “Hi-Jack” (Johnick Mix) A Brand New Me: Aretha Franklin With The Royal Philharmonic: "Think" "Don't Play That Song (You Lied)" "I Say a Little Prayer" "Until You Come Back to Me (That's What I'm Gonna Do)" "Brand New Me" "(You Make Me Feel Like) A Natural Woman" "Angel" "Border Song (Holy Moses)" "Let It Be" "People Get Ready" "Oh Me Oh My (I'm a Fool for You Baby)" "You're All I Need to Get By" "Son of a Preacher Man" "Respect" Escuchar audio

I denne uges episode af Rockhistorier drejer det sig om endnu en 80 års fødselsdag. Vi skal høre om soul sangerinden, Aretha Franklin, der ville have fyldt 80 år i år. Hun begyndte allerede sin musikkarriere som barn, da hun sang gospel i New Bethel Baptist Church i Detroit, hvor hendes far var præst. Allerede som 15-årig indspiller hun sin første plade og i 1960 får hun sin pladekontrakt hos Columbia Records. Senere hen, i 1967, udskifter hun Columbia Records med Atlantic Records, og det er årene fra 1967 til 1972, hvor Franklin udgiver sit mest solgte album Amazing Grace, som vores to værter dækker i denne episode.Værter: Klaus Lynggaard og Henrik QueitschProducer: Signe Haahr og Cecilie WortzigerSpilleliste:1. "I Never Loved a Man (The Way I Love You)" (1967)2. “Respect” (1967)3. "Do Right Woman, Do Right Man" (1967)4. "(I Can't Get No) Satisfaction" (1967)5. “Night Life” (1967)6. “Chain of Fools” (1967) 7. "(You Make Me Feel Like) A Natural Woman" (1967)8. “I Say a Little Prayer” (1968)9. “Think” (1968)10. “Don't Let Me Lose This Dream” – Live (1968)11. "Crazy He Calls Me" (1969)12. “The Weight” (1969)13. “Let It Be” (1970)14. "Spirit in the Dark" with The Dixie Flyers (1970)15. "One Way Street" (1970)16. "Don't Play That Song (You Lied)" with The Dixie Flyers (1970)17. “Dr. Feelgood” – Live (1971)18. “Border Song (Holy Moses)” (1970)19. “Rock Steady” (1971)20. "Oh Me Oh My (I'm a Fool for You Baby)" (1971)21. “Mary, Don't You Weep” – Live at the New Temple Missionary Baptist Church with James Cleveland & The Southern California Community Choir (1972)

Tanya Sassi is the Global Music Partnerships @ Lightning Agency, leading influencer marketing campaigns for major & indie labels globally. She works with some of the greatest artists of our time, namely Elton John, Shakira, and Aretha Franklin. Tanya received a master's in music management and began a career at Sony Music in digital sales. Prior to her role in music partnerships, she lived in Dubai for 4 years, working at Universal Music, managing local relationships with DSPs. Today, we discuss how Tanya uses influencer marketing on TikTok to keep established artists in the forefront and reach new fans. Including the use of 7 TikTok Influencers for "(You Make Me Feel) Like A Natural Woman" in promotion of Aretha Franklin's Documentary that resulted in 2 MM views and 390 fan created videos. -- From Masters to Music Marketing to Different Markets Defining Influencer Music Partnerships Goals & Metrics Creating a Schedule & Strategy Identifying the Right Influencers Budgets for Influencers TikTok Tricks -- If you enjoy the podcast, would you be willing to leave us a 5-star review on Apple podcasts? It takes less than 15 seconds, and it really makes a difference in helping to convince hard-to-get guests and I also love reading the reviews! We love to see what you all think! -- For show notes and past guests, please visit thesetupseries.com Want to meet our guests? Join our community (“Set Up Set List") at thesetupseries.com/community --- Send in a voice message: https://anchor.fm/thesetupseries/message Support this podcast: https://anchor.fm/thesetupseries/support

Hosts Jim DeRogatis and Greg Kot revisit their classic album dissection of Carole King's "Tapestry" for its 50th anniversary. Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lURecord a Voice Memo: https://bit.ly/2RyD5Ah Featured Songs:Carole King, "It's Too Late," Tapestry, Ode, 1971The Shirelles, "Will You Love Me Tomorrow," Tonight's the Night, Scepter, 1960Little Eva, "The Loco-motion," The Loco-motion (Single), Dimension 1000, 1962Bobby Vee, "Take Good Care of My Baby," Take Good Care of My Baby, Liberty, 1961The Monkees, "Pleasant Valley Sunday," Pisces, Aquarius, Capricorn & Jones Ltd., Colgems, 1967Carole King, "It Might As Well Rain Until September," It Might As Well Rain Until September (Single), Dimension, 1962The City, "Now That Everything's Been Said," Now That Everything's Been Said, Ode, 1968Carole King, "No Easy Way Down," Writer, Ode, 1970Carole King, "Beautiful," Tapestry, Ode, 1971Carole King, "I Feel the Earth Move," Tapestry, Ode, 1971Carole King, "You've Got a Friend," Tapestry, Ode, 1971Carole King, "Tapestry," Tapestry, Ode, 1971Carole King, "(You Make Me Feel Like) A Natural Woman," Tapestry, Ode, 1971Carole King and Louise Goffin, "Where You Lead," Our Little Corner of the World Music From Gilmore Girls, Rhino, 2002Carole King, "Where You Lead," Tapestry, Ode, 1971Carole King, "So Far Away," Tapestry, Ode, 1971Carole King, "Will You Love Me Tomorrow," Tapestry, Ode, 1971Carole King, "Way Over Yonder," Tapestry, Ode, 1971Carole King, "Home Again," Tapestry, Ode, 1971Carole King, "Smackwater Jack," Tapestry, Ode, 1971James Taylor, "You've Got a Friend," Mud Slide Slim and the Blue Horizon, Warner Bros., 1971Carole King and James Taylor, "You've Got a Friend," Live At The Troubadour, Syzygy, 2010Liz Phair, "Divorce Song (Girly-Sound Version)," The Girly-Sound Tapes, Matador, 2018Lauryn Hill, "Everything Is Everything," The Miseducation of Lauryn Hill, Columbia, 1998Tori Amos, "Cornflake Girl," Under the Pink, Atlantic, 1994Rolling Stones, "Gimme Shelter," Let It Bleed, Decca, 1969

# 좋은 게 좋은 거다♪ Boy With A Problem / Elvis Costello # 뉴스 Good & Bad feat. 옥유정 기자, 정새배 기자Bad: ‘다크웹'서 청와대·검경 개인정보 ‘우수수'…손 놓은 당국Good: 이등병도 '장군 지퍼 전투화' 신는다…국감서 복지개선 한목소리 # 시간을 달리는 음악 feat. 김경진 음악평론가 Aretha Franklin♪ Respect (2:26) (1967)♪ (You Make Me Feel Like) A Natural Woman (2:44) (1967)♪ I Say a Little Prayer (3:37) (1968)ART19 개인정보 정책 및 캘리포니아주의 개인정보 통지는 https://art19.com/privacy & https://art19.com/privacy#do-not-sell-my-info 에서 확인하실 수 있습니다.

Lydia and Tay finish recapping book three of Nalini Singh's Psy-Changeling series, Caressed by Ice. It's still pretty dark stuff, but we've got you covered with pop culture references, from Scooby Doo to High School Musical (and of course, Arrow!).CW: details of Brenna's abduction and assault (from book 1); child abuse **We're back in TWO weeks with part 2, to discuss themes of Caressed by Ice.  (Life got in the way again...)Playlist:LydiaStyle, Taylor Swift mad woman, Taylor Swift Everything Has Changed, Taylor Swift and Ed Sheehan (You Make Me Feel Like) A Natural Woman, Carole KingTayWhat's Up?, 4 Non Blondes Amor Prohibido, Selena Hungry Eyes, Eric Carmenhttps://music.apple.com/us/playlist/psy-changeling/pl.u-r2yBAexTPRd661  Thanks for listening! Instagram and Facebook: @callingcardspodTwitter: @CardsCalling Website: https://www.callingcards.wixsite.com/callingcardspodEmail us at callingcardspod@gmail.com. Theme music by PASTACAT @pastacatmusic on Instagram.Help us spread the word- pretty please, rate, review, and tell a friend!

"Appearing after a blockbuster debut and a sophomore set that was rather disappointing (in comparison), 1968's Lady Soul proved Aretha Franklin, the pop sensation, was no fluke. Her performances were more impassioned than on her debut, and the material just as strong, an inspired blend of covers and originals from the best songwriters in soul and pop music. The opener, "Chain of Fools," became the biggest hit, driven by a chorus of cascading echoes by Franklin and her bedrock backing vocalists, the Sweet Impressions, plus the unforgettable, earthy guitar work of guest Joe South. The album's showpiece, though, was "(You Make Me Feel Like) A Natural Woman," a song written expressly for her by Brill Building pop stalwarts Gerry Goffin and Carole King, based on a title coined by producer Jerry Wexler. One of the landmark performances in pop music, the song floats serenely through the verses until, swept up by Ralph Burns' stirring string arrangement again and again, Franklin opens up on the choruses with one of the most transcendent vocals of her career. And just as she'd previously transformed a soul classic (Otis Redding's "Respect") into a signature piece of her own, Franklin courageously reimagined songs by heavyweights James Brown, Ray Charles, and the Impressions. Brown's "Money Won't Change You" is smooth and kinetic, her testifying constantly reinforced by interjections from the Sweet Inspirations. Curtis Mayfield's "People Get Ready," a 1965 civil-rights anthem and a hit for the Impressions, is taken at a slower pace than the original; after a quiet verse, Franklin lets loose amidst a magisterial brass arrangement by Arif Mardin. Powered by three hit singles (each nested in the upper reaches of the pop Top Ten), Lady Soul became Aretha Franklin's second gold LP and remained on the charts for over a year." - John Bush, All MusicSupport this podcast at — https://redcircle.com/polyphonic-press1229/donations

The Highwomen "Redesigning Women"Yola "Starlight"Julien Baker "Sprained Ankle"R.E.M. "I'm Gonna DJ"Sleater-Kinney "Bury Our Friends"Sleater-Kinney "Complex Female Characters"Jenny Lewis "The Next Messiah"Songs: Ohia "Farewell Transmission"Precious Bryant "Don't Let the Devil Ride"Sugar Pie De Santo "Going Back Where I Belong"Neko Case "Twist the Knife"James McMurtry "The Horses and the Hounds"Bobbie Gentry "Fancy"The Rolling Stones "Stray Cat Blues"The Rolling Stones "Love In Vain"Mavis Staples "This Little Light"Lilly Hiatt "Records"Sierra Ferrell "At The End Of The Rainbow"Big Maybelle "Goin' Home Baby"Eilen Jewell "Nowhere In No Time"Bob Dylan "Workingman's Blues #2"Aimee Mann "Freeway"John R. Miller "Lookin' Over My Shoulder"Margo Price "About to Find Out"Tyler Childers "Whitehouse Road"Dolly Parton "Kentucky Gambler"Nina Simone "Gin House Blues"Cedric Burnside "Get Down"Lucinda Williams "Pineola"Will Johnson "The Watchman"Gillian Welch "Tear My Stillhouse Down"Waxahatchee "Bonfire"Centro-Matic "Remind Us Alive"Wanda Jackson "Kansas City"Marie/Lepanto "Clean Gift"Aretha Franklin "(You Make Me Feel Like) A Natural Woman"Aretha Franklin "What A Friend We Have In Jesus"Emmylou Harris "Two More Bottles Of Wine"Alex Chilton/Hi Rhythm Section "Lucille (Live)"Carla Thomas "What the World Needs Now (LP Version)"Loudon Wainwright III "Down Drinking at the Bar (Album Version)"Elizabeth Cotten "Freight Train"

Winter, spring, summer, or fall... all you have to do is call, and Strong Songs will be there with an in-depth analysis of one of the most influential songwriters of the 20th century.This episode takes a deep dive into Carole King's ever enduring, much-covered tribute to friendship, "You've Got a Friend." What starts in Laurel Canyon in the early 70s spread outward to the world, thanks to King's revolutionary 1971 album Tapestry. 50 years later, those songs are still with us, and "You've Got a Friend" remains one of the most meaningful tributes to simple, platonic love. Written by: Carole KingAlbum: Tapestry (1971)Listen/Buy: Apple Music | Amazon | SpotifyALSO FEATURED/DISCUSSED:"I Feel The Earth Move" and "So Far Away," both by Carole King, and "It's Too Late" by King with lyrics by Toni Stern, from Tapestry, 1971"You've Got a Friend" as recorded by James Taylor on Mud Slide Slim and the Blue Horizon, 1971"You've Got a Friend" as recorded by Roberta Flack and Donny Hathaway on Roberta Flack & Donny Hathaway, 1972"Precious Lord, Take My Hand/You've Got a Friend" as recorded by Aretha Franklin on Amazing Grace, 1972"(You Make Me Feel Like) A Natural Woman" by Carole King and Gerry Goffen as recorded by Aretha Franklin, 1967Harvey Kubernik's exceptional chronicling of Tapestry's place in the broader 1970s music scene:  https://www.musicconnection.com/kubernik-carole-king-tapestry-50th-anniversary/Kubernik's book on Laurel Canyon: https://www.goodreads.com/en/book/show/6464198-canyon-of-dreams"You've Got a Friend" as recorded by Donny Hathaway on Live, 1972OUTRO SOLOIST: Charles McNealCharles McNeal is a killin' Oakland-based sax player who plays all over the bay area. He's also a master jazz transcriber, and has chronicled tons of great solos. You can find him playing out in a variety of bands and settings; the best way to keep up with his music is to subscribe to his YouTube channel or follow him on Instagram @charlesonsax2 - https://www.instagram.com/charlesonsax2STRONG MERCHVisit the Strong Songs merch store for some cool t-shirts, mugs, totes, and more: store.strongsongspodcast.comKEEP IT SOCIALYou can follow Strong Songs on Twitter @StrongSongs: http://twitter.com/strongsongsAnd you can find Kirk on Twitter @Kirkhamilton and on Instagram at @Kirk_Hamilton: https://www.instagram.com/kirk_hamilton/NEWSLETTER/MAILING LISTSign up for Kirk's mailing list to start getting monthly-ish newsletters with music recommendations, links, news, and extra thoughts on new Strong Songs episodes: https://kirkhamilton.substack.com/subscribeSTRONG PLAYLISTSKirk has condensed his Strong Songs picks into a single new list, which you can find on Spotify and Apple Music, and YouTube Music.SUPPORT STRONG SONGS ON PATREON!Thanks to all of Strong Songs' Patrons! You keep this show going. If you want to support Strong Songs, go here: https://Patreon.com/StrongSongsJUNE 2021 WHOLE-NOTE PATRONSRob BosworthJosh PearsonKyle CookeDonald MackieLiam KeoghMelissa OsbornePer Morten BarstadChristopher MillerTim ByrneAllison Clift-JenningsPatrick FunstonJamie WhiteChristopher KupskiChristopher McConnellJoshua JarvisRick KlarasNikoJoe LaskaLaurie AcremanKen HirshJezJenness GardnerSimon CammellGuinevere BoostromNarelle HornNathaniel BauernfeindBill RosingerAnne BrittDavid ZahmErinAidan CoughlanJeanneret Manning Family FourDoug PatonRobert PaulViki DunChrister LindqvistSami SamhuriCraig J CovellAccessViolationRyan TorvikMerlin MannFraserGlennAndre BremerMark SchechterDave FloreyDan ApczynskiJUNE 2021 HALF-NOTE PATRONSNATALIE MISTILISJosh SingerPhino DeLeonSchloss Edward J. MDRhyanon MurrayAmy Lynn ThornsenAdam WKelli BrockingtonStephen RawlingsBen MachtaVictoria YuKevin RiversGray DyerBrad ClarkChristopherKari KirkMark Boggsmino caposselaSteve PaquinMary SchoenmakerSarahDavid JoskeÅshild Margrete Østtveit OdéenEmma SklarSpencer StanfordBernard KhooMarcAndrew ShpallRobert HeuerMatthew GoldenBrian MeldrumDavid NoahBen HuntGeraldine ButlerRichard CambierMadeleine MaderAndy SmithFernando RodriguezTimothy DoughertyJason PrattStewart OakCaroline MillerAbbie BergSam NortonNicole SchleicherDoug BelewDermot CrowleyAchint SrivastavaRyan RairighMichael Bermanstephen matthewsBridget LyonsOlivia BishopJeremy SchwartzJohn GisselquistElaine MartinKourothBelinda Mcgrath-steerEoin de BurcaKevin PotterM Shane BordersPete SimmShawn McCarthyDallas HockleyJana JJason GerryRich RoskopfMelissa GalloNathan GouwensWill Dwyer Alethea LeeLauren ReayEric PrestemonErika L AustinCookies250Spencer ShirleyDamian BradyAngela LivingstoneJeffrey C. YarnellDavid FriedmanPhillip DaltonChristopher CudnoskiSarah SulanDiane HughesKenneth TiongJo SutherlandMichael CasnerMichael YorkBarb CourtneyDerek BenderJen SmallDon HutchisonLowell MeyerEtele IllesStephen TsoneffLorenz SchwarzBecca SampleWenJack SjogrenAparajit RaghavanBenedict PenningtonGeoff GoldenRobyn FraserAlexander GeddesPascal RuegerRandy SouzaJCBrendan JubbClare HolbertonJake TinsleyDiane TurnerTom ColemanJudy ChappleMark PerryDhu WikMelEric HelmJake RobertsBriony LeoBill FullerJonathan DanielsSteven MaronMichael FlahertyJarrod SchindlerZoe LittleAlbukittyCaro Fieldmichael bochnerDuncanDave Sharpebrant brantphillipDavid CushmanAlexanderJeremy DawsonChris KGavin DoigSam FennTanner MortonAJ SchusterJennifer BushDavid StroudAmanda FurlottiAndrew BakerChris BrownJuan Carlos Montemayor ElosuaMatt GaskellJules BaileyEero WahlstedtBill ThorntonBrian AmoebasBrett DouvilleJeffrey OlsonMatt BetzelMuellerNate from KalamazooMelanie StiversRichard TollerAlexander PolsonTom LauerEarl LozadaJon O’KeefeJustin McElroyArjun SharmaJames JohnsonAndrew LeeKevin MorrellTom ClewerKevin PennyfeatherNicholas SchechterEmily Williams

In 1971, Carole King released her masterpiece, Tapestry. 50 years later, the music feels more brilliant, moving and comforting than ever. Hosts Jim DeRogatis and Greg Kot do a classic album dissection of Tapestry and talk to lyricist Toni Stern, guitarist Danny Kortchmar and drummer Russ Kunkel about their involvement on the legendary record. Become a member on Patreon: https://www.patreon.com/soundopinionsMake a donation via PayPal: https://bit.ly/36zIhZK Record a Voice Memo: https://www.micdropp.com/studio/5febf006eba45/ Featured Songs:Carole King, "It's Too Late," Tapestry, Ode, 1971The Shirelles, "Will You Love Me Tomorrow," Tonight's the Night, Scepter, 1960 Little Eva, "The Loco-motion," The Loco-motion (Single), Dimension 1000, 1962Bobby Vee, "Take Good Care of My Baby," Take Good Care of My Baby, Liberty, 1961The Monkees, "Pleasant Valley Sunday," Pisces, Aquarius, Capricorn & Jones Ltd., Colgems, 1967Carole King, "It Might As Well Rain Until September," It Might As Well Rain Until September (Single), Dimension, 1962The City, "Now That Everything's Been Said," Now That Everything's Been Said, Ode, 1968Carole King, "No Easy Way Down," Writer, Ode, 1970Carole King, "Beautiful," Tapestry, Ode, 1971Carole King, "I Feel the Earth Move," Tapestry, Ode, 1971Carole King, "You've Got a Friend," Tapestry, Ode, 1971Carole King, "Tapestry," Tapestry, Ode, 1971Carole King, "(You Make Me Feel Like) A Natural Woman," Tapestry, Ode, 1971Carole King and Louise Goffin, "Where You Lead," Our Little Corner of the World Music From Gilmore Girls, Rhino, 2002Carole King, "Where You Lead," Tapestry, Ode, 1971Carole King, "So Far Away," Tapestry, Ode, 1971Carole King, "Will You Love Me Tomorrow," Tapestry, Ode, 1971Carole King, "Way Over Yonder," Tapestry, Ode, 1971Carole King, "Home Again," Tapestry, Ode, 1971Carole King, "Smackwater Jack," Tapestry, Ode, 1971James Taylor, "You've Got a Friend," Mud Slide Slim and the Blue Horizon, Warner Bros., 1971Carole King and James Taylor, "You've Got a Friend," Live At The Troubadour, Syzygy, 2010Liz Phair, "Divorce Song (Girly-Sound Version)," The Girly-Sound Tapes, Matador, 2018Lauryn Hill, "Everything Is Everything," The Miseducation of Lauryn Hill, Columbia, 1998Tori Amos, "Cornflake Girl," Under the Pink, Atlantic, 1994Caroline Rose, "Do You Think We'll Last Forever," Superstar, New West, 2020

Giorgia T "Natural Woman" Live In Rome: “Takin' It To The Streets” “Ain't No Sunshine” “Chain Of Fools” “(You Make Me Feel Like) A Natural Woman” “Love Of My Life” “You Don't Know What Love Is” “The Wind Cries Mary” “Man In The Mirror” “Bridge Over Troubled Water” Geoffrey Oryema “Spirit” : “John Mon Frère” AP Big Band “ Plays Radiohead” : “Weird Fishes” Escuchar audio

Hoy nos visita con su disco y su guitarra Vía Verde, neopunk que recuerda que cuando alguien necesita gritar con una canción ya está renovando el rocanrol. Escuchamos novedades de Barry Gibb e Imelda May muy bien acompañados. Y desde Barcelona a Aiala y Saphie Wells, Y tres pepinazos para este año de Jon Batiste y Steven Wilson. Además el encuentro de Mikel Erentxun y Quique González como adelanto del álbum de dúos del primero. Hoy Carole King cumple 79 años y mañana hará 50 que publicó su obra maestra “Tapestry”. DISCO 1 BARRY GIBB & Tommy Emanuel, Little Big Town How Deep Is Your Love (BARRY GIBB - 8) DISCO 2 AIALA Can you feel that fire (ORDENADOR) DISCO 3 CAROLE KING You Make Me Feel Like A Natural Woman (4) DISCO 4 STEVEN WILSON 12 Things I Forgot (4) DISCO 5 MIKEL ERENTXUN & Quique González Intacto (Ordenador) DISCO 6 LUIS PRADO Me Río (El Crash) (2) DISCO 7 IMELDA MAY Noel Gallagher ft Ronnie Wood Just One Kiss (ORDENADOR) DISCO 8 VÍA VERDE Intro (11) DISCO 9 VÍA VERDE Limitarme a vivir (10) DISCO 10 VÍA VERDE Que se pare el tiempo (5) DISCO 11 SAPHIE WELLS Off You Go (PAUL McCARTNEY III - 13) Escuchar audio

Richard Coles and Nikki Bedi are joined by Graeme Garden - one third of the Goodies along with Bill Oddie and the late Tim Brooke-Taylor. In the classic BBC television show the trio played agents for hire and would do "anything, anywhere, anytime". Astride their trusty ‘Trandem’ – a three-seater bicycle – they tackled a giant kitten, parodied westerns with a Cornish version called “Bunfight at the OK Tea Rooms” and were chased by a giant Dougal from Magic Roundabout. Graeme also created I'm Sorry I Haven't A Clue, the long-running Radio 4 show on which he is still a panellist and, with producer Jon Naismith, devised the Unbelievable Truth on Radio 4. Jojo Moyes is a novelist and journalist. Her books include the bestsellers Me Before You, After You and Still Me and The Girl You Left Behind. Me Before You has now sold over 14 million copies worldwide and was adapted into a major film starring Sam Claflin and Emilia Clarke. JoJo’s latest novel, The Giver of Stars, is based on a mobile library service launched by Eleanor Roosevelt in the 1930s. The Pack Horse Library Project was an initiative in which female volunteers on horseback delivered paperbacks to families in rural Kentucky who did not have access to books. Giles Clark is a conservationist who is taking on the illegal wildlife trade and helping to build a pioneering new bear sanctuary in Laos, Southeast Asia. He'll be talking about rescuing sun and moon bears and the perils of having bears about the house. And Garry Crothers, who lost an arm in a motorbike accident, joins us to talk about his epic journey - a 4,000 mile solo voyage from the Caribbean to his home in Northern Ireland. Presenter and author Fern Britton chooses her Inheritance Tracks - Those Lazy-Hazy-Crazy Days of Summer by Nat King Cole and (You Make Me Feel Like A) Natural Woman by Carole King. Plus a listener says thank you to a stranger who helped her at a difficult time. Producer: Paula McGinley Editor: Richard Hooper

Suavemente me mata con su versión. Cuando Erma, la hermanísima de Aretha, canta "Piece Of My Heart" antes de que la grabase Janis... Cuando Luciana Souza canta a Brian Wilson... Cuando Dusty Springfield interpreta a su sensual gana "Spooky" y en efecto se me pone los pelos como escarpias... Y así Grace Potter cantando a Bowie, Louise Goffin a su madrísima, Ashley cantando a su padrísimo, Bridy a James Taylor, Chaka Khan a Christine McVie /Fleetwood Mac) o Kimberley a Mecano. DISCO 1 QUEEN LATIFAH I’m Not In Love DISCO 2 CHAKA KHAN Everywhere DISCO 3 ARLO PARKS Creep DISCO 4 LUCIANA SOUZA God Only Knows DISCO 5 DUSTY SPRINGFIELD Spooky DISCO 6 ANNIE LENNOX River Deep, Mountain High [Live] DISCO 7 LOUISE GOFFIN (You Make Me Feel Like) A Natural Woman DISCO 8 MÄBU Dos Gardenias DISCO 9 KIMBERLEY TELL Hoy no me puedo levantar DISCO 10 ERMA FRANKLIN Piece Of My Heart DISCO 11 SARAH HARMER Morning Has Broken DISCO 12 GRACE POTTER As The World Falls Down (Bowie) DISCO 13 BIRDY Fire And Rain DISCO 14 ASHLEY CAMPBELL & Dad Wichita Lineman DISCO 15 COLOR ME HOME Satin Doll Escuchar audio

Hoy empezamos la nueva temporada 2020 con un #SoundtrackFEMENINO lleno de hits de Madonna, Nina Simone, Violeta Parra, Tina Turner, Ana Tijoux y varias más! También escuchamos el nuevo single Brujas (2019) de Catártica Animal y finalmente nos despedimos con el #MomentoFOGATERO en donde reversioné (You Make Me Feel) Like A Natural Woman (1968) de Aretha Franklin. Así da gusto volver

This week we pay our respects to the late, great Aretha Franklin. A legendary singer, writer, arranger, pianist, performer and more, Ms. Franklin channeled both the difficult and beautiful aspects of American culture to make the songs that have scored our lives. From her breakout hit “Respect,” to her performance of “Dr. Feelgood” at Fillmore West in San Francisco, to her rendition of “My Country, ’Tis of Thee” at former President Barack Obama’s first inauguration, she left a legacy of virtuosity and swagger that will live on — both online and off.We’ll be taking some time off, but you can expect us back in your headphones sometime in the fall."Respect" (Aretha Franklin, 1967)"Respect" (Otis Redding, 1964)"I Never Loved a Man [the Way I Love You]" (Aretha Franklin, 1967)"Dr. Feelgood" - Live at Fillmore West (Aretha Franklin, 1971)"Think" (Aretha Franklin, 1967)"Think" - The Blues Brothers version (Aretha Franklin, 1980)"Rocksteady" (Aretha Franklin, 1972)Aretha Franklin performing "My Country, 'Tis of Thee" at former president Barack Obama's first inauguration (January 20, 2009)Aretha Franklin performing "(You Make Me Feel Like) A Natural Woman" at the 2015 Kennedy Center Honors"A Different World" theme song (1988)

Eves Karydas performs 'Further Than The Planes Fly' in the triple j studio before paying tribute to Aretha Franklin with her cover of '(You Make Me Feel Like) A Natural Woman'.

Aretha Louise Franklin nació en la primavera del 42 en Memphis, hija del predicador Clarence Franklin y la cantante de góspel Barbara Franklin se trasladó de niña a vivir a Detroit. Su trayectoria musical comenzó como cantante de góspel, una de sus primeras interpretaciones fue con la canción “Precious Lord”. Con 14 años grabó su primer disco titulado “The gospel soul of Aretha Franklin” lleno de un “soul” con melodías interpretadas por la propia Aretha al piano. En 1967 Aretha grabó “Respect” lo que ya la consagró definitivamente como una artista Soul. Ese mismo año se edita el álbum con el mismo título que su primer single con Atlantic, en el que además de este y “Respect” se incluyen temas de Ray Charles y Sam Cooke pero también cuatro temas compuestos por la propia Aretha. Sus dos primeros Grammy llegaron con este disco y en 1968 en una concierto en Chicago el presentador Pervis Spann la llamó “Reina del Soul”. La lista comienza con una canción que seguro que recuerdas de la banda sonora de “Blues Brothers” titulada Think, para seguir con uno de sus primeros éxitos, Respect, continuamos con una balada titulada (You Make Me Feel Like) A Natural Woman, para continuar con Chain of Fools, seguimos con Freeway of Love y la penúltima canción es You Are My Sunshine. Cerramos esta lista con I Say a Little Prayer recordando a la Reina del Soul.

Aretha Louise Franklin nació en la primavera del 42 en Memphis, hija del predicador Clarence Franklin y la cantante de góspel Barbara Franklin se trasladó de niña a vivir a Detroit. Su trayectoria musical comenzó como cantante de góspel, una de sus primeras interpretaciones fue con la canción “Precious Lord”. Con 14 años grabó su primer disco titulado “The gospel soul of Aretha Franklin” lleno de un “soul” con melodías interpretadas por la propia Aretha al piano. En 1967 Aretha grabó “Respect” lo que ya la consagró definitivamente como una artista Soul. Ese mismo año se edita el álbum con el mismo título que su primer single con Atlantic, en el que además de este y “Respect” se incluyen temas de Ray Charles y Sam Cooke pero también cuatro temas compuestos por la propia Aretha. Sus dos primeros Grammy llegaron con este disco y en 1968 en una concierto en Chicago el presentador Pervis Spann la llamó “Reina del Soul”. La lista comienza con una canción que seguro que recuerdas de la banda sonora de “Blues Brothers” titulada Think, para seguir con uno de sus primeros éxitos, Respect, continuamos con una balada titulada (You Make Me Feel Like) A Natural Woman, para continuar con Chain of Fools, seguimos con Freeway of Love y la penúltima canción es You Are My Sunshine. Cerramos esta lista con I Say a Little Prayer recordando a la Reina del Soul.

Madonna went on: 'So I showed up for the audition and two very large French record producers sat in the empty theater, daring me to be amazing. The dance audition went well. Then they asked me if I had sheet music and a song prepared. I panicked. I had overlooked this important part of the audition process... 'I had to think fast, my next meal was on the line. Fortunately one of my favorite albums was Lady Soul by Aretha Franklin. I blurted out 'You Make Me Feel'… silence. '(You Make Me Feel Like) A Natural Woman.' Two French guys nodded at me. I said, 'You know, by Aretha Franklin.'' She continued: 'They looked over at the pianist, he shook his head. 'I don't need sheet music,' I said, 'I know every word. I know the song by heart, I will sing it a cappella.' I could see that they did not take me seriously — and why should they? The criticism didn’t seem to dissuade Minaj, as she maintained her opinion while talking to TMZ before the VMAs. “I am the new Harriet Tubman,” she said on her way to the VMAs. When asked if she thought it was too far given Tubman’s slavery connections, Minaj repeated, “No, no, I am Harriet Tubman. Leave me alone.” The controversy began Monday afternoon when she tweeted about Tubman, praising her for shaking “s–t up.”

  She is both a 20th and 21st century musical and cultural icon known the world over simply by her first name: Aretha. The reigning and undisputed “Queen Of Soul” has created an amazing legacy that spans an incredible six decades, from her first recording as a teenage gospel star, to her most recent RCA Records release, ARETHA FRANKLIN SINGS THE GREAT DIVA CLASSICS. Her many countless classics include “(You Make Me Feel Like) A Natural Woman,” “Chain Of Fools,” “I Never Loved A Man (The Way I Love You)”; her own compositions “Think,” “Daydreaming” and “Call Me”; her definitive versions of “Respect” and “I Say A Little Prayer”; and global hits like “Freeway Of Love,” “Jump To It,” “I Knew You Were Waiting (For Me),” her worldwide chart-topping duet with George Michael, and “A Rose Is Still A Rose.” The recipient of the U.S.A.’s highest civilian honor, The Presidential Medal Of Freedom, an eighteen (and counting) GRAMMY Award winner – the most recent of which was for Best Gospel Performance for “Never Gonna Break My Faith” with Mary J. Blige in 2008 – a GRAMMY Lifetime Achievement and GRAMMY Living Legend awardee, Aretha Franklin’s powerful, distinctive gospel-honed vocal style has influenced countless singers across multi-generations, justifiably earning her Rolling Stone magazine’s No. 1 placing on the list of “The Greatest Singers Of All Time.” Marking a glorious reunion with music industry legend Clive Davis (Chief Creative Officer for Sony Music Entertainment) – with whom she worked for the longest period of her recording career, twenty-three years at Arista Records (1980-2003) – Aretha continues her time-honored tradition of creating new music that is innovative, vital and fresh.  

  She is both a 20th and 21st century musical and cultural icon known the world over simply by her first name: Aretha. The reigning and undisputed “Queen Of Soul” has created an amazing legacy that spans an incredible six decades, from her first recording as a teenage gospel star, to her most recent RCA Records release, ARETHA FRANKLIN SINGS THE GREAT DIVA CLASSICS. Her many countless classics include “(You Make Me Feel Like) A Natural Woman,” “Chain Of Fools,” “I Never Loved A Man (The Way I Love You)”; her own compositions “Think,” “Daydreaming” and “Call Me”; her definitive versions of “Respect” and “I Say A Little Prayer”; and global hits like “Freeway Of Love,” “Jump To It,” “I Knew You Were Waiting (For Me),” her worldwide chart-topping duet with George Michael, and “A Rose Is Still A Rose.” The recipient of the U.S.A.’s highest civilian honor, The Presidential Medal Of Freedom, an eighteen (and counting) GRAMMY Award winner – the most recent of which was for Best Gospel Performance for “Never Gonna Break My Faith” with Mary J. Blige in 2008 – a GRAMMY Lifetime Achievement and GRAMMY Living Legend awardee, Aretha Franklin’s powerful, distinctive gospel-honed vocal style has influenced countless singers across multi-generations, justifiably earning her Rolling Stone magazine’s No. 1 placing on the list of “The Greatest Singers Of All Time.” Marking a glorious reunion with music industry legend Clive Davis (Chief Creative Officer for Sony Music Entertainment) – with whom she worked for the longest period of her recording career, twenty-three years at Arista Records (1980-2003) – Aretha continues her time-honored tradition of creating new music that is innovative, vital and fresh.  

Topics: The Black Church, Jessie Jackson, Marvin Gaye, Aretha Franklin, Shaft, & Soul Train. (Bonus Artist: Luck Pacheco)   1971 Overview Snapshots 1.    Richard Nixon still President 2.    Vietnam War still going: (year 16 of 19) 3.    Deaths: 2,357 of 58,318 total 4.    Congressional Black Caucus created 5.    Soledad Brothers (California) and Attica (New York) prison riots 6.    The Supreme Court rules unanimously that busing of students may be ordered to achieve racial desegregation. 7.    Maya Angelou’s, Gwendolyn Brooks, and Nikki Giovanni all publish books 8.    Beverly Johnson is the first black woman to appear on the cover of a major fashion magazine (Glamour). 9.    QUESTION: Because schools are socializing and educational institutions, did busing “undercut” black identity and intellect or help us get along better in a diverse world and learn more? Jesse Louis Jackson Sr.: Civil rights activist, Baptist minister, and politician from Greenville, South Carolina, U.S. 10.    Breakout Year: The "Black Expo" in Chicago, attend by 800,000+, to encourage black business and he organizes People United to Save Humanity (P.U.S.H.) 11.    FYI: Graduate from University of Illinois, Urbana-Champaign 12.    Started working for Martin Luther King Jr. in 1965 13.    Jackson participated in the Selma to Montgomery marches. 14.    Became known for commanding public attention since he first started with MLK. 15.    MLK was impressed by JJ’s drive and organizational abilities but was also concerned about his ambition and attention-seeking. 16.    1971 he grabs the MLK legacy and becomes the de facto face of the “Black Church”. 17.    QUESTION: I appreciate Jessie, but why don’t I trust him? The Black Church: Always in the Mix. (JJ  18.    The phrase "black church" refers to Protestant churches that minister to predominantly black congregations. 19.    Segregationist discouraged and often prevented blacks from worshiping with whites.  20.    This created culturally distinct communities and worship practices that incorporated African spiritual traditions. 21.    Gradually, slaves developed their own interpretations of the Scriptures. Finding inspiration in stories of oppression and deliverance like Moses vs. Pharaoh. 22.    Question: First image that comes to mind? 23.    Key event: Philadelphia, PA 1787 – Birth of the “Black Church”: Richard Allen founded the Bethel African Methodist Episcopal Church (AME). The first fully independent black denomination. 24.    The AME church put a high premium on education, tended to attract the middle class, and produce black leadership. 25.    After the Civil War, "Baptists" grew rapidly, due primarily to a more independent governing structure. 26.    Baptist churches are governed locally, by the congregation. 27.    Major Difference Between Methodist and Baptist: The Method of Baptism [Pentecostals require additional reading] 28.    Who: Methodists baptize infants. Baptists only baptizes those capable of understanding. 29.    How: Methodists baptize with immersion, sprinkling, and pouring. Baptists only with immersion. 30.    Question: Any special memories about you or someone else being baptized? The Civil Rights Period: The Baptist “Come Up” 31.    Black churches were the heart and soul: acting as information hubs and centers of solidarity, while also providing leadership, organizational manpower, and moral guidance during this period. 32.    Notable minister-activists: Martin Luther King, Jr. - Baptists (Atlanta, GA), Ralph David Abernathy - Baptist (Linden, AL), Bernard Lee - Baptist (Norfolk, VA), Fred Shuttlesworth - Baptist (Mount Meigs, AL), Wyatt Tee Walker - Baptists (Brockton, MA), C. T. Vivian - Baptist (Boonville, MO) *Obama awarded him The P.M.o.H. in 2013.  Practices 33.    Main features: African ritual, slave emotionalism, and speaking/story-telling eloquence.  34.    Services: devotional prayer, singing by the congregation and choir, and the minister's sermon. 35.    Many ministers use drama, poetry, and the "call and response" tradition to connect with and energize the congregation. Question: Have you ever visited a “white” church and felt the difference? Politics and social issues 36.    Tendency to focus more on social issues. (poverty, gang violence, drug use, prison ministries, racism, etc.) 37.    Generally, more socially conservative [i.e., same-sex marriage, LGBT issues, women's rights, etc.] Present Day: Quick facts (Pew Research Center’s 2014 Religious Landscape Study) 38.    Roughly eight-in-ten (79%) Blacks self-identify as Christian.  39.    The share of African Americans who identify as religiously “unaffiliated” has increased in recent years, mirroring national trends. 40.    This shift may help explain the popularity of non-church led activism, such as Black Lives Matter, Contributions of the Black Church 41.    The church has housed and fed the poor, assisted with psychologically negative and destructive habits, helped others overcome social and economic oppression, provided leadership development, supported the black family structure, acted as a social network and liaison for businesses, educated youths and adults, mentored "at risk" youth, provided job development skills, offered scholarships, built recreation centers, provided prison aftercare and drug prevention programs, and many other things. 42.    Functioned as a primary repository for "Black Culture", housing much of our history and traditions. Conclusion: 43.    Historically, the Black Church has been a major agent for socioeconomic and religious empowerment since the post-slavery era. 44.    It has acted as a reliable ally and sanctuary to the black community. Question: Will the Black Church be as vital to the next generation? Economics 45.    Unemployment Rate = 5.8% / Minimum Wage = $1.60, up .15c ($64w, $3,200y, ~$19,800 in 2018) Music 46.    Top Singles for the entire year of 1971 (Source: http://billboardtop100of.com/1971-2/) (*) = Black Artists / (it took 40 songs to get 10 black artists) -1    Three Dog Night: Joy To The World -2    Rod Stewart: Maggie May / (Find A) Reason To Believe -3    Carole King: It’s Too Late / I Feel The Earth Move -4    Osmonds: One Bad Apple -5    Bee Gees: How Can You Mend A Broken Heart -6    Raiders: Indian Reservation -7    Donny Osmond: Go Away Little Girl -8    John Denver: Take Me Home, Country Roads -9(1)    Temptations: Just My Imagination (Running Away With Me) -10    Dawn: Knock Three Times -11    Janis Joplin: Me And Bobby McGee -12(2)    Al Green: Tired Of Being Alone -13(3)    Honey Cone: Want Ads -14(4)    Undisputed Truth: Smiling Faces Sometimes -15(5)    Cornelius Brothers and Sister Rose: Treat Her Like A Lady -16    James Taylor: You’ve Got A Friend -17(6)    Jean Knight: Mr. Big Stuff -18    Rolling Stones: Brown Sugar -19    Lee Michaels: Do You Know What I Mean -20    Joan Baez: The Night They Drove Old Dixie Down -21(7)    Marvin Gaye: What’s Going On -22    Paul and Linda McCartney: Uncle Albert-Admiral Halsey -23(8)    Bill Withers: Ain’t No Sunshine -24    Five Man Electrical Band: Signs -25    Tom Jones: She’s A Lady -26    Murray Head and The Trinidad Singers: Superstar -27(9)    Free Movement: I Found Someone Of My Own -28    Jerry Reed: Amos Moses -29    Grass Roots: Temptation Eyes -30    Carpenters: Superstar -31    George Harrison: My Sweet Lord / Isn’t It A Pity -32    Donny Osmond: Sweet And Innocent -33    Ocean: Put Your Hand In The Hand -34    Daddy Dewdrop: Chick-a-boom -35    Carpenters: For All We Know -36    Sammi Smith: Help Me Make It Through The Night -37    Carpenters: Rainy Days And Mondays -38    Gordon Lightfoot: If You Could Read My Mind -40(10)    Jackson 5: Never Can Say Goodbye 47.    Question: Best Single? Top Albums 48.    Jan - ...To Be Continued, Isaac Hayes 49.    Feb - Curtis, Curtis Mayfield 50.    Apr - Live in Cook County Jail, B.B. King 51.    May - Maybe Tomorrow, The Jackson 5 52.    Jun - Aretha Live at Fillmore West, Aretha Franklin 53.    Jul - What's Going On, Marvin Gaye 54.    Jul - Shaft    Soundtrack, Isaac Hayes 55.    Question: Best album? Key Artists 56.    Marvin Gaye: American singer, songwriter and record producer. Gaye helped to shape the sound of Motown in the 1960s, first as an in-house session player and later as a solo artist with a string of hits, including "Ain't That Peculiar", "How Sweet It Is (To Be Loved By You)" and "I Heard It Through the Grapevine", and duet recordings with Mary Wells, Kim Weston, Diana Rossand Tammi Terrell, later earning the titles "Prince of Motown" and "Prince of Soul". 57.    During the 1970s, he recorded the albums What's Going On and Let's Get It On and became one of the first artists in Motown (joint with Stevie Wonder) to break away from the reins of a production company. His later recordings influenced several contemporary R&B subgenres, such as quiet storm and neo soul. Following a period in Europe as a tax exile in the early 1980s, he released the 1982 Grammy Award-winning hit "Sexual Healing" and its parent album Midnight Love. 58.    Aretha Louise Franklin: American singer and songwriter. Franklin began her career as a child singing gospel at New Bethel Baptist Church in Detroit, where her father, C. L. Franklin, was minister. In 1960, at the age of 18, she embarked on a secular career. 59.    In 1967, Franklin achieved commercial acclaim and success with songs such as "Respect", "(You Make Me Feel Like) A Natural Woman", "Spanish Harlem" and "Think". 60.    By the end of the 1960s decade she had gained the title "The Queen of Soul".  61.    Franklin eventually became the most charted female artist in the history. 62.    Franklin has won a total of 18 Grammy Awards and is one of the best-selling musical artists of all time, having sold over 75 million records worldwide. Franklin has been honored throughout her career including a 1987 induction into the Rock and Roll Hall of Fame, in which she became the first female performer to be inducted. She was inducted to the UK Music Hall of Fame in 2005. In August 2012, Franklin was inducted into the GMA Gospel Music Hall of Fame. Franklin is listed in at least two all-time lists on Rolling Stone magazine, including the 100 Greatest Artists of All Time; and the 100 Greatest Singers of All Time. African-American Cinema 63.    Sweet Sweetback's Baadasssss Song is a 1971 American independent action thriller film written, co-produced, scored, edited, directed by and starring Melvin Van Peebles. His son Mario Van Peebles also appears in a small role, playing the title character as a young boy. It tells the picaresque story of a poor black man on his flight from the white authority. 64.    Van Peebles began to develop the film after being offered a three-picture contract for Columbia Pictures. No studio would finance the film, so Van Peebles funded the film himself, shooting it independently over a period of 19 days, performing all of his own stunts and appearing in several sex scenes, reportedly unsimulated. He received a $50,000 loan from Bill Cosby to complete the project. The film's fast-paced montages and jump-cuts were unique features in American cinema at the time. The picture was censored in some markets and received mixed critical reviews. However, it has left a lasting impression on African-American cinema. 65.    The musical score of Sweet Sweetback's Baadasssss Song was performed by Earth, Wind & Fire. Van Peebles did not have any money for traditional advertising methods, so he released the soundtrack album prior to the film's release to generate publicity. Huey P. Newton celebrated and welcomed the film's revolutionary implications, and Sweetback became required viewing for members of the Black Panther Party. According to Variety, it demonstrated to Hollywood that films which portrayed "militant" blacks could be highly profitable, leading to the creation of the blaxploitation genre, although critic Roger Ebert did not consider this example of Van Peebles' work to be an exploitation film. 66.    Release date: April 23, 1971 / Budget: $150k (~920k today) / Gross: $4.1m (~25m today) 67.    Shaft is a 1971 American blaxploitation action-crime film directed by Gordon Parks and written by Ernest Tidyman and John D. F. Black. The film revolves around a private detective named John Shaft who is hired by a Harlem mobster to rescue his daughter from the Italian mobsters who kidnapped her. The film stars Richard Roundtree as John Shaft, Moses Gunn as Bumpy Jonas, Charles Cioffi as Vic Androzzi, and Christopher St. John as Ben Buford. The major themes present in Shaft are the Black Power movement, race, masculinity, and sexuality. It was filmed within the New York City borough of Manhattan, specifically in Harlem, Greenwich Village, and Times Square. 68.    Shaft was one of the first blaxploitation films, and one of the most popular, which "marked a turning point for this type of film and spawned a number of sequels and knockoffs." The Shaft soundtrack album, recorded by Isaac Hayes, was also a success, winning a Grammy Award for Best Score Soundtrack Album for a Motion Picture; and a second Grammy that he shared with Johnny Allen for Grammy Award for Best Instrumental Arrangement; Grammy Award for Best Original Score; the "Theme from Shaft" won the Academy Award for Best Original Song and has appeared on multiple Top 100 lists, including AFI's 100 Years...100 Songs. Widely considered a prime example of the blaxploitation genre. Shaft was selected in 2000 for preservation in the United States National Film Registry by the Library of Congress for being "culturally, historically, or aesthetically significant." 69.    Release date: July 2, 1971 / Budget: 500k (~3m today) / Gross: $13m (~80m today) 70.    The film was one of only three profitable movies that year for MGM,  71.    It not only spawned several years of "blaxploitation" action films, it earned enough money to save then-struggling MGM from bankruptcy Television: 72.    Soul Train is an American music-dance television program which aired in syndication from October 2, 1971 to March 27, 2006. In its 35-year history, the show primarily featured performances by R&B, soul, dance/pop and hip-hop artists, although funk, jazz, disco and gospel artists also appeared. The series was created by Don Cornelius, who also served as its first host and executive producer. 73.    Some commentators have called Soul Train a "black American Bandstand," 74.    Cornelius acknowledged Bandstand as a model for his program, but he tended to bristle at the Bandstand comparisons. 75.    Cornelius, with help from Jesse Jackson, openly accused Dick Clark of trying to undermine TV's only Black-owned show, when Clark launched "Soul Unlimited". 76.    Cornelius was relatively conservative in his musical tastes and was admittedly not a fan of the emerging hip hop genre, believing that the genre did not reflect positively on African-American culture (one of his stated goals for the series). 77.    Rosie Perez testified in the 2010 VH1 documentary Soul Train: The Hippest Trip in America that Cornelius also disliked seeing the show's dancers perform sexually suggestive "East Coast" dance moves. 78.     This disconnect (which was openly mocked in an In-Living Color sketch where Cornelius and the show were lampooned as extremely old and out of touch) eventually led to Cornelius's stepping down as host in the early 1990s and the show's losing its influence. Black Church Sources: https://thewitnessbcc.com/history-black-church/ https://aaregistry.org/story/the-black-church-a-brief-history/ http://news.gallup.com/poll/200186/five-key-findings-religion.aspx [2016] https://en.wikipedia.org/wiki/Religion_in_Black_America#Baptists https://en.wikipedia.org/wiki/Religion_in_Black_America http://www.pewresearch.org/fact-tank/2018/02/07/5-facts-about-the-religious-lives-of-african-americans/

Stream episodes on demand from www.bitesz.com (mobile friendly). Beautiful - The Carole King Musical She fought her way into the record industry as a teenager and sold her first hit, Will You Love Me Tomorrow, when she was just seventeen. By the time she was twenty, she was writing number ones for the biggest acts in rock ‘n’ roll, including The Drifters, The Shirelles, Aretha Franklin and The Monkees. But it wasn’t until her personal life began to crack that she finally managed to find her own voice and step into the spotlight. BEAUTIFUL is the inspiring true story of King’s journey from school girl to superstar; from her relationship with husband and song-writing partner Gerry Goffin, their close friendship and playful rivalry with fellow song-writing duo Barry Mann and Cynthia Weil, to her remarkable rise to stardom. Along the way, she became one of the most successful solo acts in popular music history, with countless classics such as (You Make Me Feel Like) A Natural Woman, I Feel The Earth Move, Take Good Care of My Baby, You’ve Got a Friend, So Far Away, One Fine Day, It’s Too Late, Tapestry and Locomotion. For more visit http://www.beautifulmusical.com.au/about/ Theatre First RSS feed: https://audioboom.com/channels/4839371.rss Subscribe, rate and review Theatre First at all good podcatcher apps, including Apple Podcasts (formerly iTunes), Stitcher, Pocket Casts, audioBoom, CastBox.fm, Podbean etc. If you're enjoying Theatre First podcast, please share and tell your friends. Your support would be appreciated...thank you. #theatre #stage #reviews #Melbourne #Australia #Beautiful Learn more about your ad choices. Visit megaphone.fm/adchoices See acast.com/privacy for privacy and opt-out information.

It’s that time again and another show is ready to go. As per usual, variety is on display proving the fact that adding music to your day can put you in the right frame of mind. This go around is full of musical treasures that are fit to burst. We cover diverse genres such as strong women songwriters, western rock, collaborations, brand spanking new tunes, rock solid fuzz, and “Three of a Kind”. Join us once again for a musical journey of the highest order; join us for Euphoric Musicality Radio.Like us on Facebook: https://www.facebook.com/euphoricmusicalityradioFollow us on Twitter: https://twitter.com/euphmusicradioE-mail: euphoricmusicalityradio@gmail.comWebsite: www.euphoricmusicalityradio.caCredits:EMR Host: CurtisEMR Producer: Lesley Playlist:1) Between My Legs, Rufus Wainwright (0:00:00)2) Horses of the Sun, Bat for Lashes (0:06:36)3) Long Goodbye, Basia Bulat (0:11:30)4) Dance Anthem of the 80’s, Regina Spektor (0:15:09)5) Queen of Peace, Florence & the Machine (0:20:12)6) Living It Up, Rickie Lee Jones (0:27:13)7) (You Make Me Feel Like) A Natural Woman, Carole King (0:33:26)8) From the Air, Laurie Anderson (0:37:09)9) One-Eyed Jack, Andre Williams & The Sadies (0:44:12)10) It Just Dawned On Me, John Doe & The Sadies (0:48:12)11) Crater, Gore Downie & The Sadies (0:50:29)12) It’s Easy (Like Walking), The Sadies (0:55:31)13) Hey Jude, Wilson Pickett (0:59:27)14) Follow Them True, Stick in the Wheel (1:05:29)15) Pews, Nadine (1:08:11)16) Baby’s Got The Blues, H.C. McEntire (1:12:46)17) Whitehouse Road, Tyler Childers (1:18:38)18) Halfway Towards a Healing, The Lost Brothers (1:23:03)19) Bridge to Nowhere, Calexico (1:26:58)20) Pink Flamingo, The Liminanas (1:31:27)21) Only Love, Xyloris White (1:34:07)22) Comite Rouge, La Feline (1:37:30)23) Red Shoes, The Durutti Column (1:45:04)24) Home for Moss Valley, Jim Ghedi (1:48:08)25) Lankum, What Will We Do When We Have No Money? (1:54:50)26) Hayday, The Replacements (2:00:38)27) Colour Me Impressed, The Replacements (2:02:37)28) Dose of Thunder, The Replacements (2:05:18)29) Soft Collar Fad, No Age (2:11:56)30) Egypt Berry, Night Beats (2:14:20)31) Radio Kids, Strand of Oaks (2:19:33)32) Back in ‘74, Endless Boogie (2:24:02)33) Stackt, Brant Bjork (2:33:15)34) Back to the River, We Hunt Buffalo (2:36:40)35) I’ve Been Trying to Leave, Quest for Fire (2:41:30)36) Shadows, Red Fang (2:51:33)37) Wolf Named Crow, Corrosion of Conformity (2:54:42)

Stream episodes on demand from www.bitesz.com (mobile friendly) Beautiful: The Carol King Musical BEAUTIFUL is the inspiring true story of King’s journey from school girl to superstar; from her relationship with husband and song-writing partner Gerry Goffin, their close friendship and playful rivalry with fellow song-writing duo Barry Mann and Cynthia Weil, to her remarkable rise to stardom. Along the way, she became one of the most successful solo acts in popular music history, with countless classics such as (You Make Me Feel Like) A Natural Woman, I Feel The Earth Move, Take Good Care of My Baby, You’ve Got a Friend, So Far Away, One Fine Day, It’s Too Late, Tapestry and Locomotion. For more visit: http://www.beautifulmusical.com.au Subscribe to the Theatre First podcast at all good podcatcher apps including Apple Podcasts (iTunes), Stitcher, Pocketcasts, audioBoom etc. #theatre #reviews #podcast #CarolKing #musical #Sydney #LyricTheatre Learn more about your ad choices. Visit megaphone.fm/adchoices See acast.com/privacy for privacy and opt-out information.

Join us this week as we welcome singer songwriter and producer, Louise Goffin. Born in Brooklyn, New York, and raised in LA’s Laurel Canyon during its music halcyon days, Louise Goffin is a multi-talented, modern-day renaissance woman. Her jobs in music have ranged from singer-songwriter, multi-instrumentalist, recording artist, record producer, and has been known to tour as a hired gun for other artists. She released her debut album on Elektra/Asylum when she was 19. Along the way Louise produced a Grammy-nominated record for her mother Carole King, “A Holiday Carole” which was King's 17th studio album. Louise has released eight solo albums of her own, on major labels ranging from Elektra/ Asylum, Warner Bros. and Dreamworks to independent releases on her Majority of One imprint. The Essential Louise Goffin (Vol. 1), her eighth record, features never released tracks including her own upcoming new single "5th of July", a duet with Joseph Arthur on an unearthed Goffin/King song, "If I'm Late", "Take A Giant Step" featuring Jakob Dylan, "Devil's Door" with Cyanide Social Club, and the iconic "(You Make Me Feel Like) A Natural Woman." An accomplished songwriter in her own right, the younger Goffin began to record some of the songs she loved that were written by her songwriting parents as homage to her father, lyricist Gerry Goffin who passed on June 19th 2014. During her career, Louise has played with Tears For Fears, Bryan Ferry, David Gilmore, Stevie Nicks and Donovan. We will talk to Louise about her upcoming schedule, get a behind the scenes look at her music, feature her latest songs, and ask her to share her message for the troops. Please be sure to visit Louise Goffin at https://www.louisegoffin.com/ and spread the word. Our message to the troops: WE do what we do, because YOU do what you do.

As part of our Album of the Month series, Classic Album Sundays took an in-depth look at Carole King's 'Tapestry'. Classic Album Sundays' founder Colleen 'Cosmo' Murphy tells the story behind Carole King’s second album featuring songs penned by King that had previously been hits for other musicians such as Aretha Franklin’ with “(You Make Me Feel Like) A Natural Woman” and The Shirelles with “Will You Still Love Me Tomorrow”. The album’s impact cannot be underestimated as it would go on to win four Grammy’s making King the first solo female artist to win the Grammy Award for Record of the Year, and the first woman to win the Grammy Award for Song of the Year alongside Grammy’s for Album of The Year and Best Pop Vocal Performance. Check out Carole King's influences and contemporaries on our Musical Lead-Up Playlist here: http://classicalbumsundays.com/carole-king-tapestry-musical-lead-up-playlist/

Roy Plomley's castaways are scriptwriters Dick Clement and Ian La Frenais.Favourite track: You Make Me Feel Like A Natural Woman by Aretha Franklin Book: Teach yourself the guitar and Winnie the Pooh by A.A. Milne Luxury: Cards and a guitar

Roy Plomley's castaways are scriptwriters Dick Clement and Ian La Frenais. Favourite track: You Make Me Feel Like A Natural Woman by Aretha Franklin Book: Teach yourself the guitar and Winnie the Pooh by A.A. Milne Luxury: Cards and a guitar