The annual WRTC fundraising marathon concluded Nov. 11.
On behalf of the staff and management, we thank all of our generous listeners who pledged to support the station.
As the non-commercial radio station of Trinity College, we offer a diverse schedule of 60-plus programs on a weekly basis. Aside from two part-time employees, we’re an all-volunteer organization.
Much of our financial assistance comes from our loyal listeners and we rely on your backing to keep us on the air doing what we do best.
Those who pledged will receive a pledge/payment form in the mail. Just follow the simple instructions and return it to: WRTC Marathon, 300 Summit St., Hartford, CT 06106.
You can also still donate securely online, just click…
“Thank You” premiums will be mailed out in the near future.
For more information, or to make a pledge by phone, contact the station at 860-297-2450.
Based in Buffalo, N.Y., Turner cites The Strokes, The Arctic Monkeys and Car Seat Headrest as inspirations based on their unique sounds and how each — much like Orange Dog Club — continue to evolve.
Learn more, as Turner talks about his background, groups that he looked up to and upcoming projects.
Don’t forget, it’s WRTC’s annual fundraising marathon. You can donate here.
The group is at the tail end of its Renaissance Tour which began in April and was extended due to popular demand.
Known for their hybrid mix of flamenco, rumba and salsa stylings, the band traces its humble roots to Arles and Montpellier, France, where founding brothers brothers Nicolas and André Reyes and their cousin Baliardo hailed from. The group, initially called Los Reyes (“The Kings”) formed in 1978 and also featured Baliardo’s brothers Jacques and Maurice.
Despite their first few releases failing to garner much attention, they have sold more than 20 million albums and won two Grammy Awards while being nominated for four others.
The Oct. 14 edition of Greasy Tracks featured music by artists from Florida, Long Island, New Jersey, Ohio and Ireland along with live offerings from Friends of the Brothers ahead of their up-coming area appearance.
Friends of the Brothers bring their celebration of The Allman Brothers Band to The Broad Brook Opera House on Oct. 28. Here’s more info about tickets.
The band was founded in 2017 by Alan Paul, initially to play a one-off show to honor Allmans drummer Butch Trucks who died tragically. He enlisted the aid of a handful of musicians, including former members of the Dickey Betts, Jaimoe and Gregg Allman bands.
So how were the locations determined? In the most haphazard way actually.
Florida was where the Allmans got their start, hence the connection to Friends of the Brothers. A set of music from Ireland was dedicated to the memory of WGBH’s Brian O’Donovan who recently passed away.
As far as Long Island, New Jersey and Ohio — those were completely random selections.
The Sept. 30 edition of Greasy Tracks featured the latest release by The Z3, Filibuster For Frank, as well as a healthy smattering of Frank Zappa music, just because.
The Z3 is a trio featuring Bill Carbone (drums), Tim Palmeri (guitar) and Beau Sasser (keys) which has been doing funky takes on the music of Zappa for nearly a decade.
Interviews with members of the band were be part of the feature as they discussed the new album as well as Zappa-related insights.
The musicians had a collective interest in Zappa’s music and had been playing together as a side gig from their regular bands: Palmeri and Sasser with Kung Fu and Carbone with Max Creek. Carbone and Sasser had also been working with Melvin Sparks.
The trio had been doing a residency playing funk-oriented music and decided to do a one-off show of Zappa material which ushered the start of The Z3 — another vehicle to keep Zappa’s music alive on stage and accessible to the public.
What sets The Z3 apart from other instrumental trios is their fearless approach to genre blending. They seamlessly incorporate elements of jazz improvisation, funk grooves, and rock energy into their compositions, creating a musical experience that is both intellectually stimulating and viscerally exciting.
A Place At The Table: (From left) Beau Sasser, Tim Palmeri and Bill Carbone of The Z3 along with some guy with a moustache.
Palmeri — currently out with Lotus — and Sasser handle the bulk of the vocal duties with the Z3.
In true Zappa fashion, Filibuster For Frank is a combination of live tracks recorded at The Pacific Standard Tavern in New Haven in 2017 and interesting interludes courtesy of Carbone.
The venue was the most beloved room for the band which had a number of residencies there. Carbone’s added segments, which intertwined seamlessly with the live material, were culled from a collection of personal, field recordings and what he deemed to be “found sounds.”
The Sept. 23 edition of Dean Farrell’s Soul Express featured a special countdown: the Top 40 songs on radio station KOWH in Omaha, Neb., for their weekly chart on Sept. 25, 1972.
Featured artists included Stevie Wonder, The Moments, Harold Melvin & The Blue Notes, Allen Toussaint, Mandrill, The Spinners, Denise LaSalle, B.B. King, Billy Preston, Laura Lee, Bobby “Blue” Bland, The O’Jays, Millie Jackson, The Staple Singers, Curtis Mayfield and James Brown.
A few acts listeners might not be familiar with, including Barbara Jean English, Creative Funk and Exuma, were also included.
When it comes to Rufus Thomas’ contributions to music and his incredible legacy — which is sadly underappreciated — get a pen and paper because the list is quite impressive.
If it’s dance music, he’s a go-to. Nicknamed “The World’s Oldest Teenager,” Thomas’ catchy dance tunes and unique style are captured on cuts like “Do The Funky Chicken” and “The Dog”. Funk traces some roots to “The World Is Round” and “The Memphis Train” which Tomas released in the 1960s. His “Bear Cat,” “Walkin’ The Dog” and “Jump Back” are connected like strands of DNA to the world-famous “Memphis Sound.”
But there was much more and you can learn about the fascinating patriarch of Memphis soul by checking out the Sept. 16 edition of Greasy Tracks.
There’s also a mix of Thomas tracks covered by a wide range of artists to provide just a snapshot of how he influenced so many others.
As an entertainer, Thomas was not only dynamic, but a dynamo. The program will provide an insight to the remarkable, yet vastly overlooked, artist, highlighting his contributions to rhythm and blues, soul and funk.
Born in 1917 in Cayce, Miss., Thomas was raised in Memphis and quickly influenced by the city’s rich musical heritage, which included blues, gospel and soul. As a youth, he would tap dance for coins on Beale Street, but his first foray into the music world came in the 1930s when he joined the Rabbit Foot Minstrels, a variety troupe, as a tap dancer. His knack for dance and his love for music quickly became apparent, foreshadowing a career that would seamlessly blend the two.
HOOT AND HOLLER: Rufus Thomas was a popular host at WDIA in Memphis for many decades. (Michael Ochs Archives/Getty Images photo).
His breakthrough came in 1953 when he signed with Sun Records and started working with Sam Phillips, the label boss and producer at his own The Memphis Recording Service which would later become Sun Studio. Sun launched the careers of Elvis Presley, Johnny Cash and Jerry Lee Lewis, amongst others.
Though Thomas didn’t achieve the same level of mainstream fame as these artists, he made significant contributions to the burgeoning rhythm and blues scene.
At the time of his early Sun sessions, Thomas was a disc jockey on WDIA in Memphis, a groundbreaking station that was the first to feature all-black programming. His popularity as a DJ helped him build connections with record labels and promotors.
Recording as Rufus “Hound Dog” Thomas, his 1953 debut single, “Bear Cat,” was a response to Big Mama Thornton’s “Hound Dog” and garnered substantial attention and sales, despite its legal issues due to copyright infringement — Philips literally nicked the lyrics from “Hound Dog”. It would be the first hit for Sun and Thomas, ultimately reaching No. 3 on the Billboard R&B charts.
In 1963, Thomas released “Walking the Dog,” which became a dance sensation, going to No. 10 on the Billboard Hot 100. It would go on to be covered by 100-plus artists and remains his most successful single.
His most enduring legacy is undoubtedly his association with Stax Records, the iconic Memphis soul music label. At Stax, he became a vital part of the label’s roster and contributed to its distinctive sound. His recordings with Stax merged R&B, soul and funk. He was best known for his high-energy stage performances, which often included his signature dance moves and eye-catching wardrobe.
A WATTSTAX HIGHLIGHT: A high-energy appearance by Rufus Thomas, backed by Con Funk Shon, was one of the memorable parts of the WattStax, a benefit concert at Los Angeles Memorial Coliseum on Aug. 20, 1972 .
Thomas’ talented children, Carla and Marvell, left an indelible mark on the music industry during their time, initially at Satellite Records, which would become Stax Records in 1961.
Marvell was the first piano player at the label and would appear on scores of classic tracks as a musician and later, producer. Carla, known as the “Queen of Memphis Soul,” brought her emotive voice to classics like “Cause I Love You,” a duet with her father as Rufus & Carla, which went up the regional charts. It also gained the attention of Atlantic Records which would sign a distribution deal for the single, ultimately selling more than 30,000 copies, thus providing vital cashflow to keet the burgeoning label up and running.
Carla followed with her first national hit, “Gee Whiz (Look at His Eyes),” which reached No. 5 on the R&B chart and No. 10 on the pop chart in 1961. It was also the first hit recorded — and initially released — at Satellite.
A younger daughter, Vaneese, would make her debut as a five-year-old on Carla’s “A Boy Named Tom” in 1964. She later become a solo artist, but also recorded or toured with everyone from Luthor Vandross and Bob James to Eric Clapton, Melba Moore, Freddie Jackson and Sarah Dash.
Rufus Thomas’ influence is wide. His “The Breakdown” and “Do the Push and Pull” no doubt rubbed off on artists like James Brown, George Clinton and Prince, who all incorporated elements of his style into their own music and performances.
Did you know that Hispanic Heritage Month is celebrated in the United States Sept. 15-Oct. 15?
It was introduced in 1968 by California Congressman George E. Brown to recognize the contributions of this community to the U.S. and there’s no surprise that music plays an important role.
The Sept. 15 edition of Prof. Lay’s Friday Class kicked-off the celebration by showcasing Costa Rica.
Listeners were treated to an in-depth overview of Costa Rica’s culture and history. Discover how the country got its name; what are some of its most popular dishes; and why it was declared the “happiest country in the world,” according to National Geographic.
Prof. Lay even had a legend or two to share and there was a great selection of music, reinforcing why Costa Rica’s motto is “¡Pura vida!” (Pure life!).
The band just released their new album, Art Dealers (Contender), and are performing at The Space Ballroom in Hamden on Sept 12. Tickets will be given away during the program.
The band, which formed in 2010, hails from Philadelphia and has released eight albums. Their latest effort was three years in the making and features a wide variety of songs and styles, including the debut single: “Are You Gonna Run”. The new release is dedicated to Lou Reed, a long-time influence for Weiner.
Weiner talks about his inspiration for that song and his songwriting process in the interview with Devo. He also talks about some is his favorite spots in Connecticut and his love of record collecting.
During the pandemic, Weiner produced Tough Cookies — a weekly livestream concert and podcast — which included interviews with fellow musicians. He also has a new concert film and documentary, Art Dealers, that will begin being shown this fall.
Recorded in 1973 at Shibuya Kokaido in Tokyo, the line-up includes Damon Harris and Richard Street who had joined the group in 1971 following the exit of founding members Eddie Kendricks and Paul Williams.
The LP was initially only released in Japan and England, but not the United States. In 2004, a remaster, limited-edition version was made available to the U.S. and rest of the world, but only 5,000 copies were printed.
Of the 12 tracks on the record, one of the most notable was the performance of “Papa Was a Rollin’ Stone” which featured a noticeably different arrangement than the single which came out following the release of All Directions in July 1972.
Oddly, the Shibuya Kokaido hosted the Tamla-Motown Festival in 1968, featuring Stevie Wonder and Martha Reeves and the Vandellas.
