Podcast appearances and mentions of Albert Hammond

Neil Diamond is one of the best-selling singer-songwriters of all time.  In August 1972 he performed a series of 10 sold-out shows at the Greek Theatre in Los Angeles.  Recordings from this concert would be released as a live double-album entitled Hot August Night later that year in December.  Neil Diamond was born in Brooklyn, New York, the child of a Jewish family.  At the age of 16 he was inspired by seeing folk singer Pete Seeger perform at a camp for Jewish children in upstate New York, and received his first guitar shortly thereafter.  This would set the direction of Diamond's career, starting with both taking guitar lessons and writing songs.  After some time barely scraping by as a songwriter, Diamond began to find some success by the mid-60's, most prominently with several songs for The Monkees, including the big hit, "I'm A Believer."  Diamond moved to Los Angeles in 1969, where he recorded some of his bigger solo hits, including the iconic "Sweet Caroline."Many consider "Hot August Night" to be Neil Diamond's best work, capturing the artist at his prime and at the top of his game.  It went to number 5 on the Billboard 200 album chart, and was number 12 for the 1973 year-end chart.  It was number 1 in Australia for 29 weeks in 1973 and 1974, and remains one of the highest selling albums in that country. Neil Diamond retired from touring in 2018 toward the end of his "50 Year Anniversary World Tour" after being diagnosed with Parkinson's disease.  However, Diamond did not retire from music, and continued writing and developing new projects.Wayne brings us this soft rock singer-songwriter live album for this week's podcast. Kentucky WomanThis song is a bonus track on the CD, and many will recognize this song from the remake performed by Deep Purple.  It was written in 1967 and went to number 22 on the charts after its release.  It appeared on the compilation album, "Neil Diamond's Greatest Hits" released in 1968 on Bang records after Diamond left that label.Cherry CherryThe inspiration for this song was an early relationship with a significantly older woman.  This was Diamond's first hit, reaching number 6 on the Billboard Hot 100.  The most familiar studio version of this song was released in mid 1966 on Bang records, and was the final track on Diamond's debut studio album, "The Feel of Neil Diamond."Song Sung BlueThis song was originally released on Diamond's eighth studio album, "Moods."  It was his second number 1 song in the United States, and his last solo #1 song in America to date.  The musical inspiration for the song is Mozart's Piano Concerto #21, second movement.  The lyrics reflect on the power of music to heal when a sad mood is poured into a song. Cracklin' RosieOriginally released in 1970, this song topped the charts and sold over 1 million copies.  The studio version appeared on "Tap Root Manuscript," Diamond's sixth studio album, and was recorded with instrumentation provided by session musicians from the Wrecking Crew. While the lyrics suggest that Rosie is a prostitute, there are tales that it actually refers to a cheap sparkling wine from Canada called "Crackling Rosè."  ENTERTAINMENT TRACK:Theme from the animated series "Josie and the Pussycats"The animated series "Josie and the Pussycats" and "Josie and the Pussycats in Outer Space" concluded its run this month. STAFF PICKS:Ventura Highway by AmericaRob leads off the staff picks with a song inspired by a drive that vocalist and writer Dewey Bunnell took in 1963 on the Pacific Coast.  While his father was changing a flat tire, he and his brother stood on the side of the road near a road sign for Ventura, watching shapes in the clouds, inspiring the lyrics "alligator lizards in the air."Superstition by Stevie WonderLynch brings us the lead single from Wonder's fifteenth studio album "Talking Book."  It's lyrics mention many popular superstitions and their negative consequences.  Stevie Wonder collaborated with Jeff Beck on the demo for this song, and Beck would include his version of "Superstition" on his "Beck, Bogert & Appice" album.Rockin' Pneumonia and the Boogie Woogie Flu by Johnny RiversBruce features the song originally recorded in 1957 by Huey "Piano" Smith.  The original version went to number 52 on the pop charts, but the version we all know went to number 6 on the Billboard Hot 100.  Rivers was a member of the Wrecking Crew, and several musicians from that session group played on this single. It Never Rains in Southern California by Albert HammondWayne's closes out the staff picks with a storytelling song about a performer off to make it big.  He fails in his efforts, but wants to hide the failure from those he left behind.  Members of the Wrecking Crew also provide instrumentation on this song that went to number 5 on the Billboard Hot 100. NOVELTY TRACK:Crazy Horses by The OsmondsThis surprisingly heavy performance from the Osmonds takes us out for this week.  Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Siggi Schwarz gehört zu den wichtigsten und besten Gitarristen des Landes. Santana, Albert Hammond oder Bryan Adams - er steht seit Jahrzehnten mit den Größen des Rocks und der Charts auf der Bühne. Sein Lebenswerk beinhaltet aber auch sehr viele Konzerte und Auftritte für Menschen, die sich das nicht leisten können. Verdient hat er das Bundesverdienstkreuz schon lange, verliehen wurde es ihm dafür jetzt! Und warum auch seine Eltern im Geiste bei der Verleihung dabei waren, das erzählt er nochmal voller Rührung und Dankbarkeit in diesem Interview.

By the mid-70's the Beach Boys appeared to be a band that had been left behind.  Sales had been only moderate for their previous albums, and the band was struggling to determine their direction musically.  In the summer of 1973 the movie "American Graffiti" featured several Beach Boys songs, creating nostalgia for the earlier surfing music.Between the revived interest sparked by "American Graffiti" and the success of the Beatles "Red" and "Blue" compilation albums, the Beach Boys released a collection of hits from their early 60's catalogue called Endless Summer.  This featured songs from their Capitol Records days, 1962-1965.  It was a near-instant success reaching the top of the charts in the United States four months after its release, and becoming their second number 1 album on the US charts.  After the success of Endless Summer, the Beach Boys would reposition themselves as an oldies act, continuing in this vein for many years.  Brian Wilson would pen one further Beach Boys studio album in 1977 which would meet with meager sales.  Afterwards the band would focus on their classics until seeing a resurgence in the late 80's generated from another popular film, Tom Cruise's "Cocktail" Wayne brings us this surfin' themed compilation for this week's podcast. Catch A WaveA true surfing song, this tune is about being on a surfboard, waiting for the right wave to come along.  This song was originally released on the 1963 album "Surfer Girl," and a rewritten version was recorded by Jan and Dean as "Sidewalk Surfin."Little Deuce CoupeThis track is about a 1932-vintage Ford model 18 hot rod used in drag racing on the streets of California.  "American Graffiti" had featured the deuce coupe prominently, along with the Beach Boys song.  The lyrics were written by local radio DJ Roger Christian.Shut DownAnother song about drag racing, "shut down" means you are about to beat the person in the race.  The phrase "tach it up" may have lost some meaning in the era of automatic transmission, but the tachometer would run high for a drag race.  The song is told from the perspective of the driver of a 1963 Corvette Sting Ray in a race against a 1962 Dodge Dart.Fun, Fun, FunThe inspiration for this song was a story the Beach Boys heard during a radio interview.  The station owner described his daughter "borrowing" his 1963 Thunderbird to go to a drive-in hamburger shop.  The opening riffs were inspired by Chuck Berry's "Johnny B. Goode."   ENTERTAINMENT TRACK:Uptown Saturday Night by Dobie Gray (from the motion picture “Uptown Saturday Night”)Sidney Poitier starred in and directed this action comedy which co-starred Bill Cosby, Harry Belafonte, Richard Pryor, and Flip Wilson. STAFF PICKS:The Joker by the Steve Miller BandLynch leads off the staff picks with a well known song from Steve Miller.  The names in the first line reference several of Miller's previous songs, as well as the made-up word "pompatus."  It barely cracked the top 40 in the US, hitting 40 on the Billboard Hot 100.  Miller borrowed some lyrics from the song "Lovey Dovey" when he talks about wanting to "shake your tree."The Air that I Breathe by the HolliesRob brings us a slow burning but iconic ballad that the Hollies covered.  The original was from Albert Hammond, and previously covered by Phil Everly.  The Hollies version was the most successful, going to number 6 on the Billboard Hot 100.  Alan Parsons was the engineer on this song.Hollywood Swinging by Kool & the GangBruce's staff pick is the first number 1 R&B Single from Kool & the Gang.  It was a crossover hit as well, going to number 6 on the Billboard Hot 100.  Rick Westfield is the keyboardist for it and sings lead.  The song is a true story of the keyboardist wanting to become "a bad piano-playing man" with the group. Rock and Roll Heaven by The Righteous BrothersWayne's features an ode to the rock stars who had died at an early age. This song is another example of a song that was covered, and did better than the original.  Climax performed this song in 1973 but did not chart, while the Righteous Brothers took it to the top 10 in the United States.  Lyric would be added in the years to come as more rock stars passed. INSTRUMENTAL TRACK:Chameleon by Herbie HancockThis jazz funk instrumental track closes out the podcast for the week.  Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

¡Descubre la historia detrás de este "plagio" con Carlos Iribarren! 

In this episode of LaunchLeft captured at Licorice Pizza, Rain Phoenix welcomes Courtney Taylor-Taylor of The Dandy Warhols. They delve into The Dandy Warhols' history, touching on the 90s and how the band has adapted over three decades and the changing landscape of the music industry, from the MTV era to the current digital age. Courtney launches Miranda Lee Richards, who offers insights into her own musical career. The discussion shifts to the creative process, with both Courtney and Miranda sharing their approaches to songwriting. The episode culminates in a special acoustic performance of Kristin Hersh’s iconic song “Your Ghost”, showcasing the raw talent of both artists. IN THIS EPISODE:  [02:04] The Dandy Warhols' 30-Year Journey: Courtney reflects on the band's longevity and the importance of listening to each member's voice. [06:11] Songwriting and Creative Process: Discover how music serves as therapy and the balance between creating art and entertainment. [35:52] Music Industry Transformation: Explore the impact of MTV's decline and the current state of the music industry. [44:29] Protest Songs and Social Commentary: A discussion on the absence of protest songs and the challenges of writing socially conscious music. [57:51] Touring and Recording Experiences: Miranda and Courtney share stories from their European tour, highlighting the balance of work and fun. KEY TAKEAWAYS:  Maintaining a long-running band requires adapting to changing dynamics and respecting each member's creative input The shift from the MTV era to the current digital landscape has dramatically altered how artists create and distribute music. Songwriting often involves a balance between conscious effort and subconscious inspiration, with the best lyrics often surprising the writer Collaborations and live performances continue to be vital aspects of the music industry, offering unique experiences for both artists and audiences RESOURCE LINKS:  LaunchLeft Podcast Smart Link @launchleft DANDY WARHOLS: https://www.dandywarhols.com/ https://www.instagram.com/thedandywarhols https://www.youtube.com/channel/UC-HcL5BBMRHXkijhIniuu0Q Wine Acoustics Podcast MIRANDA LEE RICHARDS: https://www.mirandaleerichards.com/ https://www.instagram.com/mirandaleerichards/ https://www.facebook.com/mirandaleerichards https://x.com/MirandaRichards https://soundcloud.com/mirandaleerichards https://www.youtube.com/user/MirandaLeeRichards1 BIOS:  Courtney Taylor-Taylor is an American singer-songwriter from Portland, Oregon. He is the lead singer and guitarist of alternative rock band The Dandy Warhols, a band he co-founded. Taylor-Taylor has written the majority of the band's songs. Miranda Lee Richards is known for her distinctive brand of enchanting “chamber folk rock meets cosmic country," Miranda Lee Richards’ latest long-player, Existential Beast, is provocative in every sense, from the breadth of musical ambition to its politically-driven lyrics (10/10 Americana UK). She has collaborated in the studio and/or performed onstage with The Brian Jonestown Massacre, Mark Gardener of Ride, The Jesus and Mary Chain, The Dandy Warhols, Bridgette St. John, Susan Vega, Grant Lee Philips, The Cordovas, Juliana Hatfield, Albert Hammond, GospelbeacH, The Beachwood Sparks, and Charlie Overbey, among many others. Miranda Lee Richards is currently working on an album of solo Americana material, and two collaborative folk albums: one with the U.K.-based Lords of Thyme and another with the Los Angeles-based MIROMA trio. In 2019, she was voted best folk-roots artist by the LA Weekly.

Albert Hammond is a British-Gibraltarian singer, songwriter, and record producer renowned for his extensive contributions to popular music. Born on May 18, 1944, in London and raised in Gibraltar, he has crafted numerous hits both as a solo artist and for other performers. His solo successes include classics like "It Never Rains in Southern California" and "The Free Electric Band." As a prolific songwriter, Hammond has penned songs for a diverse array of artists, including Whitney Houston, Tina Turner, and Celine Dion. In November 2024, Hammond released his first Christmas album, aptly titled "Christmas." This festive collection features 15 tracks that blend traditional carols, such as "God Rest Ye Merry, Gentlemen" and "O Come, All Ye Faithful," with contemporary holiday classics like "Last Christmas" and "Driving Home for Christmas." The album also includes a new rendition of his 1989 holiday single "Under the Christmas Tree" and introduces an original composition, "I Wish You a Merry Christmas." Hosted on Acast. See acast.com/privacy for more information.

Episode 714 of On Screen & Beyond - Singer/Songwriter Albert Hammond drops by to talk about his music career. From his Billboard Top 5 hit "It Never Rains In Southern California" to co-writing many hit songs including "Nothings Gonna Stop Us Now" for Starship, "When I Need You" for Leo Sayer, "Whitney Houston's "One Moment In Time" and more! Albert also has a new Christmas album out called "Christmas".

Con The Darts, Johnny Tillotson, Gene Pitney, BSO Top Secret, Charo Baeza, Julio Iglesias, Gloria, Juan Gabriel, Cuerpos y Almas, Danny Daniel, Joan Bautista Humet y Albert Hammond.

Découvrez les coulisses d'un des titres les plus emblématiques de Radiohead, « Creep ». Cette chanson, écrite en 1987 par le leader du groupe Tom Yorke alors âgé de seulement 17 ans, reflète le mal-être d'un jeune homme des années 90 qui ne se sent jamais à la hauteur.Le guitariste du groupe ne croyait pas du tout au potentiel de ce qui allait devenir un véritable tube mondial. Vous serez également surpris d'apprendre que « Creep » s'inspire en réalité d'une autre chanson, « The Air », datant de 1972 et signée Albert Hammond.Explorez l'intimité du processus créatif de Tom Yorke et suivez son cheminement pour exprimer son mal-être d'adolescent à travers des paroles devenues inoubliables : « I'm a creep, I'm a weirdo ». Un épisode passionnant qui vous en apprendra davantage sur les coulisses d'un des morceaux les plus marquants de l'histoire du rock

En la sección semanal de Discos Desiertos, con la locutora, productora y actriz Geraldine Hill, conocemos las canciones favoritas y los tesoros sonoros ocultos de la profesora de música de instituto Guisela Cruces.Suenan Pulp (Common People), David Bowie (Absolute Beginners), Echo And The Bunnymen (Bring On The Dancing Horses), Albert Hammond (Échame A Mí La Culpa) e Ike And Tina Turner (River Deep Mountain High).También escuchamos a The Bronson (Ménage à 3), Chocabeat (Breakpoint), Carolina y Los Alisios (Piensa En Mí), The Kleejoss Band (Radio Amiga), El Twanguero (Pupilas FEAT Alih Jey), Bob Dylan (Just Like Tom Thumb's Blues DIRECTO), Tears For Fears (The Girl That I Call Home) y Cordovas (Rain On The Rail).

En la sección semanal de Discos Desiertos, con la locutora, productora y actriz Geraldine Hill, conocemos las canciones favoritas y los tesoros sonoros ocultos de la profesora de música de instituto Guisela Cruces.Suenan Pulp (Common People), David Bowie (Absolute Beginners), Echo And The Bunnymen (Bring On The Dancing Horses), Albert Hammond (Échame A Mí La Culpa) e Ike And Tina Turner (River Deep Mountain High).También escuchamos a The Bronson (Ménage à 3), Chocabeat (Breakpoint), Carolina y Los Alisios (Piensa En Mí), The Kleejoss Band (Radio Amiga), El Twanguero (Pupilas FEAT Alih Jey) y Bob Dylan (Just Like Tom Thumb's Blues DIRECTO).

Tony Orlando remembers playing in Detroit in his early days Connect the Dots Tribute to Abdul Fakir This Week in Music History Skeeter Davis talks about End of the World The Five Second Quiz Behind the Hits - It Never Rains in Southern California by Albert Hammond

Send us a Text Message.In this episode of The Music in Me we embark on a captivating journey through the powerful and emotional world of Olympic music. From the timeless Olympic Hymn that has signaled the start of the Games for over a century, to the national anthems that accompany athletes' triumphant moments on the podium, we'll explore the rich history and profound significance of the music that makes the Olympics so unforgettable. We will dive into some of the most iconic Olympic anthems, including Whitney Houston's "One Moment in Time," Céline Dion's "The Power of the Dream," and Gloria Estefan's "Reach," all of which have inspired both athletes and fans alike. We'll also pay tribute to the legendary composer John Williams, whose epic pieces like "Olympic Fanfare and Theme" and "Summon the Heroes" have become synonymous with the spirit of the Games. Throughout the episode, you'll hear about the emotional impact of these anthems, how they symbolize unity, triumph, and the shared dreams of athletes from around the world, and the unforgettable moments they have soundtracked. Whether you're an Olympics enthusiast or a music lover, this episode is a celebration of the melodies that have defined some of the greatest moments in sports history.SONGS MENTIONED: Olympic Hymn written by Spyridon Samaras and Kostis PalamasOne Moment in Time  sung by Whitney Houston & written by Albert Hammond and John BettisThe Power of a Dream sung by Celine Dion & written by David Foster, Linda Thompson, and BabyfaceReach sung by Gloria Estefan & written by Gloria Estefan and Diane WarrenJOHN WILLIAMS SONGS:Olympic Fanfare and ThemeThe Olympic SpiritSummon the HeroesCall of the Champions Support the Show.Keep listening, keep grooving, and let the music in you continue to shine. Thank you, and see you soon!CONTACT TERI:Instagram: https://www.instagram.com/terirosborg/Facebook: https://www.facebook.com/teri.rosborgYouTube: The Music in MeTikTok: https://www.tiktok.com/@terirosborgPodcast Facebook Page: The Music in Me Podcast Facebook pageTHEME SONG BY: Hayley GremardINTRODUCTION BY: Gavin Bruno

Eighty-nine years ago this week, a young North Carolinian walked into a New York recording studio as Fulton Allen and, after recording a few tunes, walked out again as “Blind Boy Fuller.” On the recording of his composition “Rag Mama” and two other songs pressed that day, the young man was accompanied by his mentor and blues tutor, the legendary Rev. Gary Davis. “When I first run across him,” Davis said years later, “he didn't know how to play but one piece and that was with a knife.”But with Davis' guidance, Allen's playing had improved dramatically by the time he came to the attention of James Baxter Long, a record store manager and talent scout in Burlington, NC.“I saw this blind fellow, colored man. He had on a blanket-lined overall jumper,” Long later recounted, “but I heard him sing. He could sing. Anyway, I told him, 'I'm down here at the United Dollar Store. Come by and see me.'”Well, Fulton did, and a short time later, in July 1935, Long, Allen and Davis set off for New York City, bound for American Recording Co. (ARC), which manufactured disks for many companies, including Columbia. Over the next five years Fulton Allen — as Blind Boy Fuller — recorded 120 sides, which were released by several different labels.Oh, and about the name on the label. Earlier when Allen started to sing on the street corners of Durham, NC, outside factories and tobacco warehouses, people called him “Blind Boy Fulton.” Eventually it was corrupted to “Blind Boy Fuller,” which was to be the name Allen provided to folks at the New York recording studio.How the Tune Came Down to UsThirty years later, “Rag Mama” came down to the 1960s folk music crowd as a signature sound for the era's jug band music revival. It was first picked up by Stefan Grossman and Peter Siegel's Even Dozen Jug Band, then by the even better-known Jim Kweskin Jug Band.In their seminal 1979 book Baby, Let Me Follow You Down, Eric Von Schmidt and Jim Rooney quoted Kweskin as relating how he traveled across the country in the early 1960s developing his musical chops by performing with an array of musicians in local music stores, coffeehouses and bars.“In Berkeley, California,” Kweskin told them, “I met a guy named Steve Talbott, who adapted an old Blind Boy Fuller tune, and I learned it from him. The song was ‘Rag Mama' and it became my theme song.”Enter The FloodIt was Kweskin's rendition on his 1965 Jug Band Music album that inspired The Flood a decade later as the guys were expanding their repertoire into hokum music. “Rag Mama” even played an important role in the early 1980s when Joe Dobbs pitched his idea to West Virginia Public Radio for a new weekly music show. When Joe asked his band mates to help him create a demo of his dream for “Music from the Mountains,” he wanted to illustrate the diversity of musical styles the show could celebrate.Click the button below for a rather manic 1983 version of the tune offered up by Joe and his fellow Floodsters Dave Peyton, Charlie Bowen, Roger Samples and Bill Hoke:Gimme Dat DingFew things stand still in the Floodisphere. That includes songs in the band's repertoire. “Rag Mama” was still with the guys when they rolled into the 21st century, but by then the song had picked up new ornamentation.It's unclear just who first suggested it — might have been Peyton, might have been Bowen — but by the time the tune made it onto the band's second studio album in 2002, “Rag Mama” had been been further fortified with a bit of 1970s folkie foolishness.Britain's novelty group The Pipkins hit the charts in 1970 with a little earworm that was written by Albert Hammond and Mike Hazlewood. The Family Flood found "Gimme Dat Ding” to be a perfect ending for its ever-evolving version of “Rag Mama.”Today's Take on the TuneSo, this song has been floating around in the Floodisphere for nearly 50 years. Nowadays, it is not often on the set list at the band's shows, but it almost always comes back at Flood reunion, and we had a wonderful reunion last week. Michelle Hoge, “the chick singer,” drove in from Cincinnati. Bub — Dave Ball — was up from Florida. Old friends like Jim Rumbaugh, Karen Combs and Doug Imbrogno came by. Everybody was singing and playing along with this one from last week's rehearsal. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Albert Hammond discusses his new album ‘Body of Work' and reflects on his extensive musical career. He talks The post Albert Hammond appeared first on The Strange Brew .

Label: Mums 6026Year: 1974Condition: M-Price: $10.00Silly, but irresistible! Note: This beautiful copy comes in a vintage Mums Records factory sleeve. It has pristine Mint sound.

Albert Hammond's career spans over five decades, characterized by his exceptional talent as both a performer and a songwriter. His early work in the 1960s included co-founding the British band The Family Dogg, which achieved moderate success. However, it was his solo career in the 1970s that propelled him to international fame.To watch on YouTube go here:Albert Hammond SINGER SONGWRITER. He wrote the songs - from Whitney, to Diana Ross, to Tina Turnerhttps://youtu.be/Tm-ytrNSX7USolo CareerIn 1972, Hammond released his debut solo album, It Never Rains in Southern California. The title track became an international hit, reaching the top 10 in several countries and establishing Hammond as a major artist. Other notable songs from his solo work include "The Free Electric Band," "I'm a Train," and "Down by the River."Down by the Riverhttps://www.youtube.com/watch?v=U6-IDU1MgFMSongwriting SuccessApart from his solo performances, Hammond is celebrated for his songwriting prowess. He has written or co-written numerous hits for other artists, showcasing his versatility across genres. Some of his most famous contributions include:"When I Need You" (Leo Sayer): Carole Bayer Sager/Albert Hammond. This song reached number one in the UK and number one on the Billboard Hot 100 in the United States.https://www.youtube.com/watch?v=obC0MFHWJ0A"One Moment in Time" (Whitney Houston): Written by Albert Hammond & John Bettis for the 1988 Summer Olympics, this powerful ballad became a signature song for Houston.https://www.youtube.com/watch?v=96aAx0kxVSA"To All the Girls I've Loved Before" (sung by Julio Iglesias and Willie Nelson): Hal David/Albert Hammond. This duet became a major hit on both country and pop charts.https://www.youtube.com/watch?v=rVq0ONrSH-Q"Nothing's Gonna Stop Us Now" (Starship): Albert Hammond/Diane Warren. This song topped the charts in the United States and the UK.https://www.youtube.com/watch?v=3wxyN3z9PL4"The Air That I Breathe" (The Hollies): A major hit in the mid-1970s, this song has been covered by numerous artists and remains a classic. (Albert Hammond(Mike Hazlewood)https://www.youtube.com/watch?v=7duPNQCp-w4Collaboration and ProductionHammond has collaborated with a wide array of artists, lending his songwriting skills to enhance their work. His ability to craft memorable melodies and poignant lyrics has made him a sought-after collaborator. He has worked with artists such as Tina Turner, Diana Ross, and Celine Dion, contributing to their commercial and artistic successes.Tina Turner - I don't want to lose you (Graham Lyle/Albert Hammond)https://www.youtube.com/watch?v=pLj5sBfGuQYDiana Ross - When you tell me that you love me (John Bettis & Albert Hammond)https://www.youtube.com/watch?v=NdkU4MQBYKQAwards and RecognitionThroughout his career, Hammond has received numerous accolades for his contributions to music. He has been inducted into the Songwriters Hall of Fame and has received an Ivor Novello Award for Outstanding Song Collection. His influence and contributions have solidified his status as one of the most significant figures in contemporary music.LegacyAlbert Hammond's legacy is defined by his enduring influence on the music industry. His songs continue to be covered and celebrated, reflecting his timeless appeal and the universal resonance of his music. Whether through his own performances or the voices of the many artists he has written for, Hammond's work remains a vital part of the global musical landscape. Hosted on Acast. See acast.com/privacy for more information.

La mejor música, todas las curiosidades y las últimas noticias te están esperando de mano de Jota Abril, Marta Critikian y Carlos Iribarren.

Y lo hacemos con un homenaje de una hora en el que recordamos sus mejores canciones y momentos televisivos. ¡No te lo pierdas! 

La mejor música, todas las curiosidades y las últimas noticias te están esperando de mano de Jota Abril, Marta Critikian y Carlos Iribarren.

Hablamos con el prolífico cantante y compositor sobre los éxitos de toda una vida y su nuevo trabajo 'Body of work'. ¡No te lo pierdas! 

Con Pancho Varona, escuchamos más "Música para los pájaros": Comes Closer (Miles Kane), Caroline (Status Quo), Crossroads (Cream), Tanglewood'63 (Colosseum), I'm A Train (Albert Hammond) y O tren (Andrés do Barro).Escuchar audio

Nos situamos en "Macondo" con Juan Carlos Iragorri y conversamos sobre el expresidente de Uruguay, Pepe Mujica, que ha anunciado que padece cáncer de esófago. Nos acompaña el periodista Mauricio Rabuffetti, autor del libro José Mujica. La revolución tranquila (Ed. Aguilar). En "Antropoturismo", con Paula Ginés, trazamos el perfil biográfico de Manuela Malasaña (1791-1808), heroína madrileña en el levantamiento de Madrid contra los franceses el 2 de mayo de 1808. Nos ayuda el divulgador David Botello. Y ya es jueves y, con Pancho Varona, escuchamos más "Música para los pájaros": Comes Closer (Miles Kane), Caroline (Status Quo), Crossroads (Cream), Tanglewood'63 (Colosseum), I'm A Train (Albert Hammond) y O tren (Andrés do Barro).Escuchar audio

Making a Scene Brings you Gerry Casey's Interview with Todd SharpvilleAmericana/Blues stalwart Todd Sharpville has been at the coalface of grass roots music for 30 years as a respected guitarist, singer, songwriter. The list of artists he's worked with / for is long & diverse. Icons such as Joe Cocker, BB King, Hubert Sumlin, Ike Turner, Pink, Robbie Williams, George Michael, Duke Robillard, Albert Hammond, Mick Taylor, Snowy White, Kim Wilson, Bill Wyman, Rui Veloso, Joe Louis Walker, James Talley... His new album "Medication Time" (released 8th July 2022 - Dixiefrog Records CDDFG8834) features duets with US blues stalwarts Larry McCray & Sugar Ray Norcia, produced by the legendary Duke Robillard. http://www.makingascene.org

Hola de nuevo despues de unas vacacciones volvemos a las ondas musicales ven a ESCUCHAME5G y conoce un poco de la vida del Albert Hammond vamoooooos

Jaume Segalés y su equipo hablan de Antik Almoneda 2024, de Albert Hammond y de cine clásico.

Man, it's pouring — with another episode of THE STORY SONG PODCAST! Join your hosts as they discuss the 1972 hit “It Never Rains in Southern California” by singer/songwriter Albert Hammond OBE. In this episode we'll talk of opportunities, TV breaks, and movies. We'll also discuss the vast East Coast network of commuter rails, Sky Mall splurges, and the stories you tell on every major holiday. So don't be a creep — be a train! Call a meeting of the Diamond Dogs and listen to this episode of THE STORY SONG PODCAST. And tell the folks back home. Continue the conversation; follow THE STORY SONG PODCAST on social media. Follow us on Instagram (storysongpodcast), and Facebook (thestorysongpodcast), Threads (storysongpodcast), GoodPods, and Podchaser. “It Never Rains in Southern California” by Albert Hammond (from the album It Never Rains in Southern California) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Pandora, Spotify, or wherever you listen to music. Learn more about your ad choices. Visit megaphone.fm/adchoices

The new Inquiries Act is now law, after the Governor, Sir David Steel, gave it royal assent; it is set to be brought into effect this week. Sir Peter Openshaw's team will invite submissions from Core Participants as to whether they disagree with the Government's position that the new Act automatically applies to this Inquiry. A fact sheet has just been published on the Inquiry's website. Our reporter Ros Astengo has reviewed it, and told us what stood out to her from this fact sheet.And, after an album hiatus of sixteen years, Albert Hammond is back with a bumper seventeen-track offering which is aptly titled ‘Body Of Work.' The album has garnered many plaudits and excellent reviews all over the music industry. It's a significant milestone album only three months away from his 80th birthday. We had the absolute pleasure to welcome the local legend to the Radio Gibraltar studios to talk about his new music. Hosted on Acast. See acast.com/privacy for more information.

08 26-03-24 LHDW @jaabellan nos habla de Albert Hammond, un desconocido, pero un gran compositor. Críticas a ACDC y Metallica de Soziedad Alkoholica

Elliott Randall is one of the greatest guitarists of the Rock era. His solos on Steely Dan's hit “Reelin' In The Years” and Irene Cara's “Fame” are nothing short of iconic. To the uninitiated, it might seem like Elliott has made a career out of saying no to great opportunities. Steely Dan, The Doobie Brothers, The Blues Brothers and Toto all asked him to join their bands and he said no. But Elliot is different. He has always trusted his intuition. Known as one of the greatest session musicians around, he's the man behind that renowned Reelin' In The Years Steely Dan solo (which is said to be Jimmy Page's favourite ever lead guitar break) among literally hundreds, if not thousands, of other cuts. He also continues to write, produce, consult, engineer, tutor and perform to this day. In this interview we turn back the clock to learn about his upbringing in NYC and his passion for music ignited at a young age. During his formative years, Elliott immersed himself in the vibrant musical culture of the 50s and 60s. He took guitar lessons, honed his skills and his dedication caught the attention of instructors and peers alike. By the time he had ended his teens, Elliott had already been a pro' player for four or five years. In 1967, Musicor Records (who gave the world Gene Pitney) offered him a role as a Staff Musician. He then joined the roots fusion act Seatrain briefly in 1969, and signed as a solo artist, releasing his debut album in 1970. It was the death of his good friend Jimi Hendrix that helped Elliott realise he didn't need to be the rockstar or the centre of attention so he began working with other artists and clients, providing solutions for their musical and commercial success. The most well known four-and-a-half minutes of his guitar life became the lead breaks he added to Steely Dan's megahit Reelin' In The Years in 1972. It has received acclaim from other players and audiences alike. Since then Elliott Randall has played with Joan Baez, Chuck Berry, Kate Bush, The Doobie Brothers, Peter Frampton, Art Garfunkel, Albert Hammond, Bob Marley, Yoko Ono, Gene Simmons, Loudon Wainright III, Gary Barlow of Take That fame, and many, many more. He has also soundtracked jingles for some of world's biggest brands including Coca-Cola, Budweiser, McDonald's, Citi Bank, Procter & Gamble, MTV, ESPN and BBC TV. He's also performed for musicals like Jesus Christ Superstar on Broadway, and has been a musical consultant for Saturday Night Live and the film director Oliver Stone. Elliott's passion for music continues unabated today. His story is fascinating and I hope you will enjoy every minute of it. To learn more about Elliott Randall head for his website https://elliott-randall.com/ To contact me head for my website https://www.abreathoffreshair.com.au  

Albert Hammond “Body Of Work”:”Don’t Bother Me Babe””Shake A Bone””Gonna Save The World””Both Ways””Like They Do Across The River””Somebody’s Child””Knocking On Your Door””Young Llewelyn””Gonna Be Alright””Let It Go””The American Flag””Anything You Want Me To””Looking Back””Another Heart To Break””Living In The Universe””Goodbye LA”Escuchar audio

Label: Mums 6018Year: 1973Condition: M-Price: $10.00This paean to The Musical Life is an irresistible slice of bubblegum rock. Note: This beautiful copy comes in a vintage Mums Records factory sleeve. It has pristine Mint sound.

Reciban un cordial saludo. Desde Cali (Colombia), les habla Sergio Luis López, compartiéndoles un nuevo episodio de "Así la escuché yo..." La banda británica Aswad presentó en 1988 su álbum "Distant thunder" del cual destacó la canción “Don't turn around” (No te des la vuelta). Así la escuché yo… La canción es una composición del famoso cantautor británico Albert Hammond, la cual fue lanzada en 1986 por la célebre cantante estadounidense Tina Turner bajo el título “Don't turn around”. Ese mismo año se lanzó otra versión de “Don't turn around” en la voz del artista estadounidense Luther Ingram incluida en su álbum homónimo de 1986. Tres años después, el propio autor de la canción, Albert Hammond grabó su versión de “Don't turn around”, la cual publicó en el álbum “Best of me” de 1989.. “Don't turn around” ha sido una canción tan popular que varios importantes artistas han realizado sus propias versiones como la británica Bonnie Tyler en 1988… El reconocido cantautor estadounidense Neil Diamond grabó “Don't turn around” en 1991… Una buena versión de “Don't turn around” la presento la agrupación sueca Ace of Base en 1993. ¿Y tú, en cuál versión prefieres escuchar esta canción? Autores: Albert Hammond (británico) & Díane Warren (estadounidense) Don't turn around - Aswad (1988) "Distant thunder" álbum (1988) Aswad (banda británica) Don't turn around - Tina Turner (1986) single "Don't turn around/Typical males" (1986) Tina Turner (nombre real Anna Mae Bullock, estadounidense) Don't turn around - Luther Ingram (1986) “Luther Ingram” álbum (1986) Luther Ingram (nombre real Luther Thomas Ingram, estadounidense) Don't turn around - Albert Hammond (1989) “Best of me” álbum (1989) Albert Hammond (nombre real Albert Louis Hammond, británico) Don't turn around - Bonnie Tyler (1988) “Hide your heart” álbum (1988) Bonnie Tyler (nombre real Gaynor Hopkins, británica del país de Gales) Don't turn around - Neil Diamond (1991) “Lovescape” álbum (1991) Neil Diamond (nombre real Neil Leslie Diamond, estadounidense) Don't turn around - Ace of Base (1993) “The sign (Happy Nation U.S Version)” álbum (1993) Ace of Base (agrupación sueca, cuyos miembros son Linn Berggren, Jenny Berggren, Jonas Berggren y Ulf Ekberg) ___________________ “Así la escuché yo…” Temporada: 7 Episodio: 81 Sergio Productions Cali – Colombia Sergio Luis López Mora

Cantante, compositor y productor, Albert Hammond es un auténtico hombre renacentista cuyo talento está detrás de algunos de los mayores éxitos de estrellas musicales de la talla de Whitney Houston, Tina Turner o Radiohead. Casi dos décadas después de su último disco, el autor de "It Never Rains in Southern California" nos acerca la esencia y algunas de las canciones del que será su nuevo trabajo, Body of  Work, un álbum escrito y grabado entre Nashville y Berlín que verá la luz el próximo 1 de marzo y cuya carta de presentación es el sencillo “Gonna Save The World”. Escuchar audio

Scott sits with The Strokes' own Albert Hammond Jr., following the recent release of the guitarist's latest solo album, Melodies on Hiatus. The California-born musician and son of “It Never Rains in Southern California” singer Albert Hammond was one of the first-ever guests on Lipps Service back in 2018. In his second appearance, he talked with Scott about The Strokes' latest tour for its album The New Abnormal, hanging out with Anthony Kiedis, and what it's like living in LA. The two also got into Hammond Jr.'s upbringing and getting into music at a young age, meeting and working with The Cars' Ric Ocasek, and the whole story of him joining The Strokes, including meeting Julian Casablancas in NY and having almost instant chemistry with him. They reflect on The Strokes' 25-plus-year-long career, working with Rick Rubin and other producers, touring, the making of his solo albums, Melodies on Hiatus, and much more. Tune into an insightful and rockin' episode with the one and only, Albert Hammond Jr. 

Malcolm John Rebennack, Jr.,better known by his stage name, Dr. John, was a singer-songwriter who blended funk, R&B and New Orleans blues into a distinctive sound.   Dr. John was well known for his stage shows which were inspired by an eclectic mix of medicine shows, voodoo ceremonies, and Mardi Gras costumes.  Dr. John got his start as a session musician in the 1950s, and continued doing session work throughout his career playing keyboards for Aretha Franklin, the Rolling Stones, and Van Morrison as a member of "The Wrecking Crew."  He recorded thirty studio albums and nine live albums before his death in 2019, including the one we profile today.In the Right Place is Dr. John's sixth album and his best selling one, peaking at number 24 on the Billboard 200 chart.  He is backed up on this album by The Meters, a New Orleans funk band that formed in 1965.  The Meters were the house band for Alan Toussaint, who produced, arranged, and played on a number of tracks on the album.Mac Rebennack's father ran an appliance shop in the East End of New Orleans where, in addition to fixing radios and televisions, he sold records to people from a wide variety of races and cultures.  Rebennack was expelled from his Catholic high school when the priests told him he had to either stop playing in the clubs or leave.  The stage name Dr. John was taken from a 19th-century Louisiana voodoo priest.  In turn, Dr. John would inspire two other characters - Johnny Fever (from "WKRP in Cincinnati") and Dr. Teeth (from "The Muppet Show").The future Dr. John started playing guitar and switched to piano after nearly losing a finger during an on-tour gunfight.It's time for some New Orleans funk as Wayne brings us this album for the podcast.  Friend of the show Sean Mooney joins us for this one. Traveling MoodYou can expect any rock group to eventually put out a song about losing a woman, but it takes Dr. John to make this tragedy whimsical and fun.  "Said that she'd never leave me, now she's gone away to grieve me.  I was fast asleep, when she begun her midnight creep."QualifiedThis is a social hierarchy song about a guy telling people who think they are better than others that they are not.  "Your social life ain't no better than my hot dog stand.  Your edu-ma-cation ain't no hipper than what you understand."Right Place, Wrong TimeThis is the funky hit that peaked at number 9 on the Billboard Hot 100.  It was also Dr. John's only top 40 hit, making him technically a one-hit wonder.   "I took the right road but I must have took a wrong turn."  "I took a right move, but I made it at the wrong time." Cold, Cold, ColdIn this song, the man wishes a woman he loves was not also running around with the other guys.  There's a pit of a Rolling Stones sound about this one, and maybe a little bit of Randy Newman humor. ENTERTAINMENT TRACK:Live and Let Die by Wings (from the motion picture “Live and Let Die”)This song was the theme which first introduced Roger Moore as James Bond.  It also reunited Paul McCartney with former Beatles producer George Martin. STAFF PICKS:Drift Away by Dobie GrayRob drifts into the staff picks with this song originally written by Mentor Williams in 1970, and first performed by swamp rock singer John Henry Kurtz.  Soul singer Dobie Gray would produce the rendition we would know best.  Gray would land at number 5 on the Billboard Hot 100, making this song his biggest hit.  The lyrical tribute to the power of music would make it a frequent cover by lots of artists.Daniel by Elton JohnLynch features a song with a story.  Daniel is an American soldier injured in Vietnam who, though accepted by his family, receives criticism from the public due to the polarizing nature of that war.  Disillusioned by the response, Daniel decides to go away to Spain.  Almost all of this storyline was contained in the last verse of the song, which was cut before it was produced.China Grove by the Doobie Brothers Friend of the show Sean brings us a song which introduces itself with a great guitar riff and keyboards.  It is sung and written by Tom Johnson for the Doobie Brothers third studio album, "The Captain and Me."  It went to number 15 on the Billboard Hot 100.  While Johnson was writing about a fictional town, there are several towns called China Grove in America.The Free Electric Band by Albert HammondWayne closes out the staff picks with a prog rock hit.  Songwriter Hammond has written a number of hits over the years, though this particular one only went to number 48.  The lyrics are about a privileged child who decides to move to California to play music despite his parents higher expectations for him.   COMEDY TRACK:Back When My Hair Was Short by Gunhill RoadThis lone hit by Gunhill Road went to number 40, and was produced by Kenny Rogers.

Episode 166 of A History of Rock Music in Five Hundred Songs looks at “Crossroads", Cream, the myth of Robert Johnson, and whether white men can sing the blues. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-eight-minute bonus episode available, on “Tip-Toe Thru' the Tulips" by Tiny Tim. 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/ Errata I talk about an interview with Clapton from 1967, I meant 1968. I mention a Graham Bond live recording from 1953, and of course meant 1963. I say Paul Jones was on vocals in the Powerhouse sessions. Steve Winwood was on vocals, and Jones was on harmonica. Resources As I say at the end, the main resource you need to get if you enjoyed this episode is Brother Robert by Annye Anderson, Robert Johnson's stepsister. There are three Mixcloud mixes this time. As there are so many songs by Cream, Robert Johnson, John Mayall, and Graham Bond excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here -- one, two, three. This article on Mack McCormick gives a fuller explanation of the problems with his research and behaviour. The other books I used for the Robert Johnson sections were McCormick's Biography of a Phantom; Up Jumped the Devil: The Real Life of Robert Johnson, by Bruce Conforth and Gayle Dean Wardlow; Searching for Robert Johnson by Peter Guralnick; and Escaping the Delta by Elijah Wald. I can recommend all of these subject to the caveats at the end of the episode. The information on the history and prehistory of the Delta blues mostly comes from Before Elvis by Larry Birnbaum, with some coming from Charley Patton by John Fahey. The information on Cream comes mostly from Cream: How Eric Clapton Took the World by Storm by Dave Thompson. I also used Ginger Baker: Hellraiser by Ginger Baker and Ginette Baker, Mr Showbiz by Stephen Dando-Collins, Motherless Child by Paul Scott, and  Alexis Korner: The Biography by Harry Shapiro. The best collection of Cream's work is the four-CD set Those Were the Days, which contains every track the group ever released while they were together (though only the stereo mixes of the albums, and a couple of tracks are in slightly different edits from the originals). You can get Johnson's music on many budget compilation records, as it's in the public domain in the EU, but the double CD collection produced by Steve LaVere for Sony in 2011 is, despite the problems that come from it being associated with LaVere, far and away the best option -- the remasters have a clarity that's worlds ahead of even the 1990s CD version it replaced. And for a good single-CD introduction to the Delta blues musicians and songsters who were Johnson's peers and inspirations, Back to the Crossroads: The Roots of Robert Johnson, compiled by Elijah Wald as a companion to his book on Johnson, can't be beaten, and contains many of the tracks excerpted in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick note that this episode contains discussion of racism, drug addiction, and early death. There's also a brief mention of death in childbirth and infant mortality. It's been a while since we looked at the British blues movement, and at the blues in general, so some of you may find some of what follows familiar, as we're going to look at some things we've talked about previously, but from a different angle. In 1968, the Bonzo Dog Band, a comedy musical band that have been described as the missing link between the Beatles and the Monty Python team, released a track called "Can Blue Men Sing the Whites?": [Excerpt: The Bonzo Dog Band, "Can Blue Men Sing the Whites?"] That track was mocking a discussion that was very prominent in Britain's music magazines around that time. 1968 saw the rise of a *lot* of British bands who started out as blues bands, though many of them went on to different styles of music -- Fleetwood Mac, Ten Years After, Jethro Tull, Chicken Shack and others were all becoming popular among the kind of people who read the music magazines, and so the question was being asked -- can white men sing the blues? Of course, the answer to that question was obvious. After all, white men *invented* the blues. Before we get any further at all, I have to make clear that I do *not* mean that white people created blues music. But "the blues" as a category, and particularly the idea of it as a music made largely by solo male performers playing guitar... that was created and shaped by the actions of white male record executives. There is no consensus as to when or how the blues as a genre started -- as we often say in this podcast "there is no first anything", but like every genre it seems to have come from multiple sources. In the case of the blues, there's probably some influence from African music by way of field chants sung by enslaved people, possibly some influence from Arabic music as well, definitely some influence from the Irish and British folk songs that by the late nineteenth century were developing into what we now call country music, a lot from ragtime, and a lot of influence from vaudeville and minstrel songs -- which in turn themselves were all very influenced by all those other things. Probably the first published composition to show any real influence of the blues is from 1904, a ragtime piano piece by James Chapman and Leroy Smith, "One O' Them Things": [Excerpt: "One O' Them Things"] That's not very recognisable as a blues piece yet, but it is more-or-less a twelve-bar blues. But the blues developed, and it developed as a result of a series of commercial waves. The first of these came in 1914, with the success of W.C. Handy's "Memphis Blues", which when it was recorded by the Victor Military Band for a phonograph cylinder became what is generally considered the first blues record proper: [Excerpt: The Victor Military Band, "Memphis Blues"] The famous dancers Vernon and Irene Castle came up with a dance, the foxtrot -- which Vernon Castle later admitted was largely inspired by Black dancers -- to be danced to the "Memphis Blues", and the foxtrot soon overtook the tango, which the Castles had introduced to the US the previous year, to become the most popular dance in America for the best part of three decades. And with that came an explosion in blues in the Handy style, cranked out by every music publisher. While the blues was a style largely created by Black performers and writers, the segregated nature of the American music industry at the time meant that most vocal performances of these early blues that were captured on record were by white performers, Black vocalists at this time only rarely getting the chance to record. The first blues record with a Black vocalist is also technically the first British blues record. A group of Black musicians, apparently mostly American but led by a Jamaican pianist, played at Ciro's Club in London, and recorded many tracks in Britain, under a name which I'm not going to say in full -- it started with Ciro's Club, and continued alliteratively with another word starting with C, a slur for Black people. In 1917 they recorded a vocal version of "St. Louis Blues", another W.C. Handy composition: [Excerpt: Ciro's Club C**n Orchestra, "St. Louis Blues"] The first American Black blues vocal didn't come until two years later, when Bert Williams, a Black minstrel-show performer who like many Black performers of his era performed in blackface even though he was Black, recorded “I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,” [Excerpt: Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,”] But it wasn't until 1920 that the second, bigger, wave of popularity started for the blues, and this time it started with the first record of a Black *woman* singing the blues -- Mamie Smith's "Crazy Blues": [Excerpt: Mamie Smith, "Crazy Blues"] You can hear the difference between that and anything we've heard up to that point -- that's the first record that anyone from our perspective, a hundred and three years later, would listen to and say that it bore any resemblance to what we think of as the blues -- so much so that many places still credit it as the first ever blues record. And there's a reason for that. "Crazy Blues" was one of those records that separates the music industry into before and after, like "Rock Around the Clock", "I Want to Hold Your Hand", Sgt Pepper, or "Rapper's Delight". It sold seventy-five thousand copies in its first month -- a massive number by the standards of 1920 -- and purportedly went on to sell over a million copies. Sales figures and market analysis weren't really a thing in the same way in 1920, but even so it became very obvious that "Crazy Blues" was a big hit, and that unlike pretty much any other previous records, it was a big hit among Black listeners, which meant that there was a market for music aimed at Black people that was going untapped. Soon all the major record labels were setting up subsidiaries devoted to what they called "race music", music made by and for Black people. And this sees the birth of what is now known as "classic blues", but at the time (and for decades after) was just what people thought of when they thought of "the blues" as a genre. This was music primarily sung by female vaudeville artists backed by jazz bands, people like Ma Rainey (whose earliest recordings featured Louis Armstrong in her backing band): [Excerpt: Ma Rainey, "See See Rider Blues"] And Bessie Smith, the "Empress of the Blues", who had a massive career in the 1920s before the Great Depression caused many of these "race record" labels to fold, but who carried on performing well into the 1930s -- her last recording was in 1933, produced by John Hammond, with a backing band including Benny Goodman and Jack Teagarden: [Excerpt: Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer"] It wouldn't be until several years after the boom started by Mamie Smith that any record companies turned to recording Black men singing the blues accompanied by guitar or banjo. The first record of this type is probably "Norfolk Blues" by Reese DuPree from 1924: [Excerpt: Reese DuPree, "Norfolk Blues"] And there were occasional other records of this type, like "Airy Man Blues" by Papa Charlie Jackson, who was advertised as the “only man living who sings, self-accompanied, for Blues records.” [Excerpt: Papa Charlie Jackson, "Airy Man Blues"] But contrary to the way these are seen today, at the time they weren't seen as being in some way "authentic", or "folk music". Indeed, there are many quotes from folk-music collectors of the time (sadly all of them using so many slurs that it's impossible for me to accurately quote them) saying that when people sang the blues, that wasn't authentic Black folk music at all but an adulteration from commercial music -- they'd clearly, according to these folk-music scholars, learned the blues style from records and sheet music rather than as part of an oral tradition. Most of these performers were people who recorded blues as part of a wider range of material, like Blind Blake, who recorded some blues music but whose best work was his ragtime guitar instrumentals: [Excerpt: Blind Blake, "Southern Rag"] But it was when Blind Lemon Jefferson started recording for Paramount records in 1926 that the image of the blues as we now think of it took shape. His first record, "Got the Blues", was a massive success: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] And this resulted in many labels, especially Paramount, signing up pretty much every Black man with a guitar they could find in the hopes of finding another Blind Lemon Jefferson. But the thing is, this generation of people making blues records, and the generation that followed them, didn't think of themselves as "blues singers" or "bluesmen". They were songsters. Songsters were entertainers, and their job was to sing and play whatever the audiences would want to hear. That included the blues, of course, but it also included... well, every song anyone would want to hear.  They'd perform old folk songs, vaudeville songs, songs that they'd heard on the radio or the jukebox -- whatever the audience wanted. Robert Johnson, for example, was known to particularly love playing polka music, and also adored the records of Jimmie Rodgers, the first country music superstar. In 1941, when Alan Lomax first recorded Muddy Waters, he asked Waters what kind of songs he normally played in performances, and he was given a list that included "Home on the Range", Gene Autry's "I've Got Spurs That Jingle Jangle Jingle", and Glenn Miller's "Chattanooga Choo-Choo". We have few recordings of these people performing this kind of song though. One of the few we have is Big Bill Broonzy, who was just about the only artist of this type not to get pigeonholed as just a blues singer, even though blues is what made him famous, and who later in his career managed to record songs like the Tin Pan Alley standard "The Glory of Love": [Excerpt: Big Bill Broonzy, "The Glory of Love"] But for the most part, the image we have of the blues comes down to one man, Arthur Laibley, a sales manager for the Wisconsin Chair Company. The Wisconsin Chair Company was, as the name would suggest, a company that started out making wooden chairs, but it had branched out into other forms of wooden furniture -- including, for a brief time, large wooden phonographs. And, like several other manufacturers, like the Radio Corporation of America -- RCA -- and the Gramophone Company, which became EMI, they realised that if they were going to sell the hardware it made sense to sell the software as well, and had started up Paramount Records, which bought up a small label, Black Swan, and soon became the biggest manufacturer of records for the Black market, putting out roughly a quarter of all "race records" released between 1922 and 1932. At first, most of these were produced by a Black talent scout, J. Mayo Williams, who had been the first person to record Ma Rainey, Papa Charlie Jackson, and Blind Lemon Jefferson, but in 1927 Williams left Paramount, and the job of supervising sessions went to Arthur Laibley, though according to some sources a lot of the actual production work was done by Aletha Dickerson, Williams' former assistant, who was almost certainly the first Black woman to be what we would now think of as a record producer. Williams had been interested in recording all kinds of music by Black performers, but when Laibley got a solo Black man into the studio, what he wanted more than anything was for him to record the blues, ideally in a style as close as possible to that of Blind Lemon Jefferson. Laibley didn't have a very hands-on approach to recording -- indeed Paramount had very little concern about the quality of their product anyway, and Paramount's records are notorious for having been put out on poor-quality shellac and recorded badly -- and he only occasionally made actual suggestions as to what kind of songs his performers should write -- for example he asked Son House to write something that sounded like Blind Lemon Jefferson, which led to House writing and recording "Mississippi County Farm Blues", which steals the tune of Jefferson's "See That My Grave is Kept Clean": [Excerpt: Son House, "Mississippi County Farm Blues"] When Skip James wanted to record a cover of James Wiggins' "Forty-Four Blues", Laibley suggested that instead he should do a song about a different gun, and so James recorded "Twenty-Two Twenty Blues": [Excerpt: Skip James, "Twenty-Two Twenty Blues"] And Laibley also suggested that James write a song about the Depression, which led to one of the greatest blues records ever, "Hard Time Killing Floor Blues": [Excerpt: Skip James, "Hard Time Killing Floor Blues"] These musicians knew that they were getting paid only for issued sides, and that Laibley wanted only blues from them, and so that's what they gave him. Even when it was a performer like Charlie Patton. (Incidentally, for those reading this as a transcript rather than listening to it, Patton's name is more usually spelled ending in ey, but as far as I can tell ie was his preferred spelling and that's what I'm using). Charlie Patton was best known as an entertainer, first and foremost -- someone who would do song-and-dance routines, joke around, play guitar behind his head. He was a clown on stage, so much so that when Son House finally heard some of Patton's records, in the mid-sixties, decades after the fact, he was astonished that Patton could actually play well. Even though House had been in the room when some of the records were made, his memory of Patton was of someone who acted the fool on stage. That's definitely not the impression you get from the Charlie Patton on record: [Excerpt: Charlie Patton, "Poor Me"] Patton is, as far as can be discerned, the person who was most influential in creating the music that became called the "Delta blues". Not a lot is known about Patton's life, but he was almost certainly the half-brother of the Chatmon brothers, who made hundreds of records, most notably as members of the Mississippi Sheiks: [Excerpt: The Mississippi Sheiks, "Sitting on Top of the World"] In the 1890s, Patton's family moved to Sunflower County, Mississippi, and he lived in and around that county until his death in 1934. Patton learned to play guitar from a musician called Henry Sloan, and then Patton became a mentor figure to a *lot* of other musicians in and around the plantation on which his family lived. Some of the musicians who grew up in the immediate area around Patton included Tommy Johnson: [Excerpt: Tommy Johnson, "Big Road Blues"] Pops Staples: [Excerpt: The Staple Singers, "Will The Circle Be Unbroken"] Robert Johnson: [Excerpt: Robert Johnson, "Crossroads"] Willie Brown, a musician who didn't record much, but who played a lot with Patton, Son House, and Robert Johnson and who we just heard Johnson sing about: [Excerpt: Willie Brown, "M&O Blues"] And Chester Burnett, who went on to become known as Howlin' Wolf, and whose vocal style was equally inspired by Patton and by the country star Jimmie Rodgers: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] Once Patton started his own recording career for Paramount, he also started working as a talent scout for them, and it was him who brought Son House to Paramount. Soon after the Depression hit, Paramount stopped recording, and so from 1930 through 1934 Patton didn't make any records. He was tracked down by an A&R man in January 1934 and recorded one final session: [Excerpt, Charlie Patton, "34 Blues"] But he died of heart failure two months later. But his influence spread through his proteges, and they themselves influenced other musicians from the area who came along a little after, like Robert Lockwood and Muddy Waters. This music -- or that portion of it that was considered worth recording by white record producers, only a tiny, unrepresentative, portion of their vast performing repertoires -- became known as the Delta Blues, and when some of these musicians moved to Chicago and started performing with electric instruments, it became Chicago Blues. And as far as people like John Mayall in Britain were concerned, Delta and Chicago Blues *were* the blues: [Excerpt: John Mayall and the Bluesbreakers, "It Ain't Right"] John Mayall was one of the first of the British blues obsessives, and for a long time thought of himself as the only one. While we've looked before at the growth of the London blues scene, Mayall wasn't from London -- he was born in Macclesfield and grew up in Cheadle Hulme, both relatively well-off suburbs of Manchester, and after being conscripted and doing two years in the Army, he had become an art student at Manchester College of Art, what is now Manchester Metropolitan University. Mayall had been a blues fan from the late 1940s, writing off to the US to order records that hadn't been released in the UK, and by most accounts by the late fifties he'd put together the biggest blues collection in Britain by quite some way. Not only that, but he had one of the earliest home tape recorders, and every night he would record radio stations from Continental Europe which were broadcasting for American service personnel, so he'd amassed mountains of recordings, often unlabelled, of obscure blues records that nobody else in the UK knew about. He was also an accomplished pianist and guitar player, and in 1956 he and his drummer friend Peter Ward had put together a band called the Powerhouse Four (the other two members rotated on a regular basis) mostly to play lunchtime jazz sessions at the art college. Mayall also started putting on jam sessions at a youth club in Wythenshawe, where he met another drummer named Hughie Flint. Over the late fifties and into the early sixties, Mayall more or less by himself built up a small blues scene in Manchester. The Manchester blues scene was so enthusiastic, in fact, that when the American Folk Blues Festival, an annual European tour which initially featured Willie Dixon, Memhis Slim, T-Bone Walker, Sonny Terry & Brownie McGhee, and John Lee Hooker, first toured Europe, the only UK date it played was at the Manchester Free Trade Hall, and people like Mick Jagger, Keith Richards, Brian Jones and Jimmy Page had to travel up from London to see it. But still, the number of blues fans in Manchester, while proportionally large, was objectively small enough that Mayall was captivated by an article in Melody Maker which talked about Alexis Korner and Cyril Davies' new band Blues Incorporated and how it was playing electric blues, the same music he was making in Manchester. He later talked about how the article had made him think that maybe now people would know what he was talking about. He started travelling down to London to play gigs for the London blues scene, and inviting Korner up to Manchester to play shows there. Soon Mayall had moved down to London. Korner introduced Mayall to Davey Graham, the great folk guitarist, with whom Korner had recently recorded as a duo: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] Mayall and Graham performed together as a duo for a while, but Graham was a natural solo artist if ever there was one. Slowly Mayall put a band together in London. On drums was his old friend Peter Ward, who'd moved down from Manchester with him. On bass was John McVie, who at the time knew nothing about blues -- he'd been playing in a Shadows-style instrumental group -- but Mayall gave him a stack of blues records to listen to to get the feeling. And on guitar was Bernie Watson, who had previously played with Screaming Lord Sutch and the Savages. In late 1963, Mike Vernon, a blues fan who had previously published a Yardbirds fanzine, got a job working for Decca records, and immediately started signing his favourite acts from the London blues circuit. The first act he signed was John Mayall and the Bluesbreakers, and they recorded a single, "Crawling up a Hill": [Excerpt: John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)"] Mayall later called that a "clumsy, half-witted attempt at autobiographical comment", and it sold only five hundred copies. It would be the only record the Bluesbreakers would make with Watson, who soon left the band to be replaced by Roger Dean (not the same Roger Dean who later went on to design prog rock album covers). The second group to be signed by Mike Vernon to Decca was the Graham Bond Organisation. We've talked about the Graham Bond Organisation in passing several times, but not for a while and not in any great detail, so it's worth pulling everything we've said about them so far together and going through it in a little more detail. The Graham Bond Organisation, like the Rolling Stones, grew out of Alexis Korner's Blues Incorporated. As we heard in the episode on "I Wanna Be Your Man" a couple of years ago, Blues Incorporated had been started by Alexis Korner and Cyril Davies, and at the time we're joining them in 1962 featured a drummer called Charlie Watts, a pianist called Dave Stevens, and saxophone player Dick Heckstall-Smith, as well as frequent guest performers like a singer who called himself Mike Jagger, and another one, Roderick Stewart. That group finally found themselves the perfect bass player when Dick Heckstall-Smith put together a one-off group of jazz players to play an event at Cambridge University. At the gig, a little Scottish man came up to the group and told them he played bass and asked if he could sit in. They told him to bring along his instrument to their second set, that night, and he did actually bring along a double bass. Their bluff having been called, they decided to play the most complicated, difficult, piece they knew in order to throw the kid off -- the drummer, a trad jazz player named Ginger Baker, didn't like performing with random sit-in guests -- but astonishingly he turned out to be really good. Heckstall-Smith took down the bass player's name and phone number and invited him to a jam session with Blues Incorporated. After that jam session, Jack Bruce quickly became the group's full-time bass player. Bruce had started out as a classical cellist, but had switched to the double bass inspired by Bach, who he referred to as "the guv'nor of all bass players". His playing up to this point had mostly been in trad jazz bands, and he knew nothing of the blues, but he quickly got the hang of the genre. Bruce's first show with Blues Incorporated was a BBC recording: [Excerpt: Blues Incorporated, "Hoochie Coochie Man (BBC session)"] According to at least one source it was not being asked to take part in that session that made young Mike Jagger decide there was no future for him with Blues Incorporated and to spend more time with his other group, the Rollin' Stones. Soon after, Charlie Watts would join him, for almost the opposite reason -- Watts didn't want to be in a band that was getting as big as Blues Incorporated were. They were starting to do more BBC sessions and get more gigs, and having to join the Musicians' Union. That seemed like a lot of work. Far better to join a band like the Rollin' Stones that wasn't going anywhere. Because of Watts' decision to give up on potential stardom to become a Rollin' Stone, they needed a new drummer, and luckily the best drummer on the scene was available. But then the best drummer on the scene was *always* available. Ginger Baker had first played with Dick Heckstall-Smith several years earlier, in a trad group called the Storyville Jazzmen. There Baker had become obsessed with the New Orleans jazz drummer Baby Dodds, who had played with Louis Armstrong in the 1920s. Sadly because of 1920s recording technology, he hadn't been able to play a full kit on the recordings with Armstrong, being limited to percussion on just a woodblock, but you can hear his drumming style much better in this version of "At the Jazz Band Ball" from 1947, with Mugsy Spanier, Jack Teagarden, Cyrus St. Clair and Hank Duncan: [Excerpt: "At the Jazz Band Ball"] Baker had taken Dobbs' style and run with it, and had quickly become known as the single best player, bar none, on the London jazz scene -- he'd become an accomplished player in multiple styles, and was also fluent in reading music and arranging. He'd also, though, become known as the single person on the entire scene who was most difficult to get along with. He resigned from his first band onstage, shouting "You can stick your band up your arse", after the band's leader had had enough of him incorporating bebop influences into their trad style. Another time, when touring with Diz Disley's band, he was dumped in Germany with no money and no way to get home, because the band were so sick of him. Sometimes this was because of his temper and his unwillingness to suffer fools -- and he saw everyone else he ever met as a fool -- and sometimes it was because of his own rigorous musical ideas. He wanted to play music *his* way, and wouldn't listen to anyone who told him different. Both of these things got worse after he fell under the influence of a man named Phil Seaman, one of the only drummers that Baker respected at all. Seaman introduced Baker to African drumming, and Baker started incorporating complex polyrhythms into his playing as a result. Seaman also though introduced Baker to heroin, and while being a heroin addict in the UK in the 1960s was not as difficult as it later became -- both heroin and cocaine were available on prescription to registered addicts, and Baker got both, which meant that many of the problems that come from criminalisation of these drugs didn't affect addicts in the same way -- but it still did not, by all accounts, make him an easier person to get along with. But he *was* a fantastic drummer. As Dick Heckstall-Smith said "With the advent of Ginger, the classic Blues Incorporated line-up, one which I think could not be bettered, was set" But Alexis Korner decided that the group could be bettered, and he had some backers within the band. One of the other bands on the scene was the Don Rendell Quintet, a group that played soul jazz -- that style of jazz that bridged modern jazz and R&B, the kind of music that Ray Charles and Herbie Hancock played: [Excerpt: The Don Rendell Quintet, "Manumission"] The Don Rendell Quintet included a fantastic multi-instrumentalist, Graham Bond, who doubled on keyboards and saxophone, and Bond had been playing occasional experimental gigs with the Johnny Burch Octet -- a group led by another member of the Rendell Quartet featuring Heckstall-Smith, Bruce, Baker, and a few other musicians, doing wholly-improvised music. Heckstall-Smith, Bruce, and Baker all enjoyed playing with Bond, and when Korner decided to bring him into the band, they were all very keen. But Cyril Davies, the co-leader of the band with Korner, was furious at the idea. Davies wanted to play strict Chicago and Delta blues, and had no truck with other forms of music like R&B and jazz. To his mind it was bad enough that they had a sax player. But the idea that they would bring in Bond, who played sax and... *Hammond* organ? Well, that was practically blasphemy. Davies quit the group at the mere suggestion. Bond was soon in the band, and he, Bruce, and Baker were playing together a *lot*. As well as performing with Blues Incorporated, they continued playing in the Johnny Burch Octet, and they also started performing as the Graham Bond Trio. Sometimes the Graham Bond Trio would be Blues Incorporated's opening act, and on more than one occasion the Graham Bond Trio, Blues Incorporated, and the Johnny Burch Octet all had gigs in different parts of London on the same night and they'd have to frantically get from one to the other. The Graham Bond Trio also had fans in Manchester, thanks to the local blues scene there and their connection with Blues Incorporated, and one night in February 1963 the trio played a gig there. They realised afterwards that by playing as a trio they'd made £70, when they were lucky to make £20 from a gig with Blues Incorporated or the Octet, because there were so many members in those bands. Bond wanted to make real money, and at the next rehearsal of Blues Incorporated he announced to Korner that he, Bruce, and Baker were quitting the band -- which was news to Bruce and Baker, who he hadn't bothered consulting. Baker, indeed, was in the toilet when the announcement was made and came out to find it a done deal. He was going to kick up a fuss and say he hadn't been consulted, but Korner's reaction sealed the deal. As Baker later said "‘he said “it's really good you're doing this thing with Graham, and I wish you the best of luck” and all that. And it was a bit difficult to turn round and say, “Well, I don't really want to leave the band, you know.”'" The Graham Bond Trio struggled at first to get the gigs they were expecting, but that started to change when in April 1963 they became the Graham Bond Quartet, with the addition of virtuoso guitarist John McLaughlin. The Quartet soon became one of the hottest bands on the London R&B scene, and when Duffy Power, a Larry Parnes teen idol who wanted to move into R&B, asked his record label to get him a good R&B band to back him on a Beatles cover, it was the Graham Bond Quartet who obliged: [Excerpt: Duffy Power, "I Saw Her Standing There"] The Quartet also backed Power on a package tour with other Parnes acts, but they were also still performing their own blend of hard jazz and blues, as can be heard in this recording of the group live in June 1953: [Excerpt: The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)"] But that lineup of the group didn't last very long. According to the way Baker told the story, he fired McLaughlin from the group, after being irritated by McLaughlin complaining about something on a day when Baker was out of cocaine and in no mood to hear anyone else's complaints. As Baker said "We lost a great guitar player and I lost a good friend." But the Trio soon became a Quartet again, as Dick Heckstall-Smith, who Baker had wanted in the band from the start, joined on saxophone to replace McLaughlin's guitar. But they were no longer called the Graham Bond Quartet. Partly because Heckstall-Smith joining allowed Bond to concentrate just on his keyboard playing, but one suspects partly to protect against any future lineup changes, the group were now The Graham Bond ORGANisation -- emphasis on the organ. The new lineup of the group got signed to Decca by Vernon, and were soon recording their first single, "Long Tall Shorty": [Excerpt: The Graham Bond Organisation, "Long Tall Shorty"] They recorded a few other songs which made their way onto an EP and an R&B compilation, and toured intensively in early 1964, as well as backing up Power on his follow-up to "I Saw Her Standing There", his version of "Parchman Farm": [Excerpt: Duffy Power, "Parchman Farm"] They also appeared in a film, just like the Beatles, though it was possibly not quite as artistically successful as "A Hard Day's Night": [Excerpt: Gonks Go Beat trailer] Gonks Go Beat is one of the most bizarre films of the sixties. It's a far-future remake of Romeo and Juliet. where the two star-crossed lovers are from opposing countries -- Beatland and Ballad Isle -- who only communicate once a year in an annual song contest which acts as their version of a war, and is overseen by "Mr. A&R", played by Frank Thornton, who would later star in Are You Being Served? Carry On star Kenneth Connor is sent by aliens to try to bring peace to the two warring countries, on pain of exile to Planet Gonk, a planet inhabited solely by Gonks (a kind of novelty toy for which there was a short-lived craze then). Along the way Connor encounters such luminaries of British light entertainment as Terry Scott and Arthur Mullard, as well as musical performances by Lulu, the Nashville Teens, and of course the Graham Bond Organisation, whose performance gets them a telling-off from a teacher: [Excerpt: Gonks Go Beat!] The group as a group only performed one song in this cinematic masterpiece, but Baker also made an appearance in a "drum battle" sequence where eight drummers played together: [Excerpt: Gonks Go Beat drum battle] The other drummers in that scene included, as well as some lesser-known players, Andy White who had played on the single version of "Love Me Do", Bobby Graham, who played on hits by the Kinks and the Dave Clark Five, and Ronnie Verrell, who did the drumming for Animal in the Muppet Show. Also in summer 1964, the group performed at the Fourth National Jazz & Blues Festival in Richmond -- the festival co-founded by Chris Barber that would evolve into the Reading Festival. The Yardbirds were on the bill, and at the end of their set they invited Bond, Baker, Bruce, Georgie Fame, and Mike Vernon onto the stage with them, making that the first time that Eric Clapton, Ginger Baker, and Jack Bruce were all on stage together. Soon after that, the Graham Bond Organisation got a new manager, Robert Stigwood. Things hadn't been working out for them at Decca, and Stigwood soon got the group signed to EMI, and became their producer as well. Their first single under Stigwood's management was a cover version of the theme tune to the Debbie Reynolds film "Tammy". While that film had given Tamla records its name, the song was hardly an R&B classic: [Excerpt: The Graham Bond Organisation, "Tammy"] That record didn't chart, but Stigwood put the group out on the road as part of the disastrous Chuck Berry tour we heard about in the episode on "All You Need is Love", which led to the bankruptcy of  Robert Stigwood Associates. The Organisation moved over to Stigwood's new company, the Robert Stigwood Organisation, and Stigwood continued to be the credited producer of their records, though after the "Tammy" disaster they decided they were going to take charge themselves of the actual music. Their first album, The Sound of 65, was recorded in a single three-hour session, and they mostly ran through their standard set -- a mixture of the same songs everyone else on the circuit was playing, like "Hoochie Coochie Man", "Got My Mojo Working", and "Wade in the Water", and originals like Bruce's "Train Time": [Excerpt: The Graham Bond Organisation, "Train Time"] Through 1965 they kept working. They released a non-album single, "Lease on Love", which is generally considered to be the first pop record to feature a Mellotron: [Excerpt: The Graham Bond Organisation, "Lease on Love"] and Bond and Baker also backed another Stigwood act, Winston G, on his debut single: [Excerpt: Winston G, "Please Don't Say"] But the group were developing severe tensions. Bruce and Baker had started out friendly, but by this time they hated each other. Bruce said he couldn't hear his own playing over Baker's loud drumming, Baker thought that Bruce was far too fussy a player and should try to play simpler lines. They'd both try to throw each other during performances, altering arrangements on the fly and playing things that would trip the other player up. And *neither* of them were particularly keen on Bond's new love of the Mellotron, which was all over their second album, giving it a distinctly proto-prog feel at times: [Excerpt: The Graham Bond Organisation, "Baby Can it Be True?"] Eventually at a gig in Golders Green, Baker started throwing drumsticks at Bruce's head while Bruce was trying to play a bass solo. Bruce retaliated by throwing his bass at Baker, and then jumping on him and starting a fistfight which had to be broken up by the venue security. Baker fired Bruce from the band, but Bruce kept turning up to gigs anyway, arguing that Baker had no right to sack him as it was a democracy. Baker always claimed that in fact Bond had wanted to sack Bruce but hadn't wanted to get his hands dirty, and insisted that Baker do it, but neither Bond nor Heckstall-Smith objected when Bruce turned up for the next couple of gigs. So Baker took matters into his own hands, He pulled out a knife and told Bruce "If you show up at one more gig, this is going in you." Within days, Bruce was playing with John Mayall, whose Bluesbreakers had gone through some lineup changes by this point. Roger Dean had only played with the Bluesbreakers for a short time before Mayall had replaced him. Mayall had not been impressed with Eric Clapton's playing with the Yardbirds at first -- even though graffiti saying "Clapton is God" was already starting to appear around London -- but he had been *very* impressed with Clapton's playing on "Got to Hurry", the B-side to "For Your Love": [Excerpt: The Yardbirds, "Got to Hurry"] When he discovered that Clapton had quit the band, he sprang into action and quickly recruited him to replace Dean. Clapton knew he had made the right choice when a month after he'd joined, the group got the word that Bob Dylan had been so impressed with Mayall's single "Crawling up a Hill" -- the one that nobody liked, not even Mayall himself -- that he wanted to jam with Mayall and his band in the studio. Clapton of course went along: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] That was, of course, the session we've talked about in the Velvet Underground episode and elsewhere of which little other than that survives, and which Nico attended. At this point, Mayall didn't have a record contract, his experience recording with Mike Vernon having been no more successful than the Bond group's had been. But soon he got a one-off deal -- as a solo artist, not with the Bluesbreakers -- with Immediate Records. Clapton was the only member of the group to play on the single, which was produced by Immediate's house producer Jimmy Page: [Excerpt: John Mayall, "I'm Your Witchdoctor"] Page was impressed enough with Clapton's playing that he invited him round to Page's house to jam together. But what Clapton didn't know was that Page was taping their jam sessions, and that he handed those tapes over to Immediate Records -- whether he was forced to by his contract with the label or whether that had been his plan all along depends on whose story you believe, but Clapton never truly forgave him. Page and Clapton's guitar-only jams had overdubs by Bill Wyman, Ian Stewart, and drummer Chris Winter, and have been endlessly repackaged on blues compilations ever since: [Excerpt: Jimmy Page and Eric Clapton, "Draggin' My Tail"] But Mayall was having problems with John McVie, who had started to drink too much, and as soon as he found out that Jack Bruce was sacked by the Graham Bond Organisation, Mayall got in touch with Bruce and got him to join the band in McVie's place. Everyone was agreed that this lineup of the band -- Mayall, Clapton, Bruce, and Hughie Flint -- was going places: [Excerpt: John Mayall's Bluesbreakers with Jack Bruce, "Hoochie Coochie Man"] Unfortunately, it wasn't going to last long. Clapton, while he thought that Bruce was the greatest bass player he'd ever worked with, had other plans. He was going to leave the country and travel the world as a peripatetic busker. He was off on his travels, never to return. Luckily, Mayall had someone even better waiting in the wings. A young man had, according to Mayall, "kept coming down to all the gigs and saying, “Hey, what are you doing with him?” – referring to whichever guitarist was onstage that night – “I'm much better than he is. Why don't you let me play guitar for you?” He got really quite nasty about it, so finally, I let him sit in. And he was brilliant." Peter Green was probably the best blues guitarist in London at that time, but this lineup of the Bluesbreakers only lasted a handful of gigs -- Clapton discovered that busking in Greece wasn't as much fun as being called God in London, and came back very soon after he'd left. Mayall had told him that he could have his old job back when he got back, and so Green was out and Clapton was back in. And soon the Bluesbreakers' revolving door revolved again. Manfred Mann had just had a big hit with "If You Gotta Go, Go Now", the same song we heard Dylan playing earlier: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] But their guitarist, Mike Vickers, had quit. Tom McGuinness, their bass player, had taken the opportunity to switch back to guitar -- the instrument he'd played in his first band with his friend Eric Clapton -- but that left them short a bass player. Manfred Mann were essentially the same kind of band as the Graham Bond Organisation -- a Hammond-led group of virtuoso multi-instrumentalists who played everything from hardcore Delta blues to complex modern jazz -- but unlike the Bond group they also had a string of massive pop hits, and so made a lot more money. The combination was irresistible to Bruce, and he joined the band just before they recorded an EP of jazz instrumental versions of recent hits: [Excerpt: Manfred Mann, "(I Can't Get No) Satisfaction"] Bruce had also been encouraged by Robert Stigwood to do a solo project, and so at the same time as he joined Manfred Mann, he also put out a solo single, "Drinkin' and Gamblin'" [Excerpt: Jack Bruce, "Drinkin' and Gamblin'"] But of course, the reason Bruce had joined Manfred Mann was that they were having pop hits as well as playing jazz, and soon they did just that, with Bruce playing on their number one hit "Pretty Flamingo": [Excerpt: Manfred Mann, "Pretty Flamingo"] So John McVie was back in the Bluesbreakers, promising to keep his drinking under control. Mike Vernon still thought that Mayall had potential, but the people at Decca didn't agree, so Vernon got Mayall and Clapton -- but not the other band members -- to record a single for a small indie label he ran as a side project: [Excerpt: John Mayall and Eric Clapton, "Bernard Jenkins"] That label normally only released records in print runs of ninety-nine copies, because once you hit a hundred copies you had to pay tax on them, but there was so much demand for that single that they ended up pressing up five hundred copies, making it the label's biggest seller ever. Vernon eventually convinced the heads at Decca that the Bluesbreakers could be truly big, and so he got the OK to record the album that would generally be considered the greatest British blues album of all time -- Blues Breakers, also known as the Beano album because of Clapton reading a copy of the British kids' comic The Beano in the group photo on the front. [Excerpt: John Mayall with Eric Clapton, "Ramblin' On My Mind"] The album was a mixture of originals by Mayall and the standard repertoire of every blues or R&B band on the circuit -- songs like "Parchman Farm" and "What'd I Say" -- but what made the album unique was Clapton's guitar tone. Much to the chagrin of Vernon, and of engineer Gus Dudgeon, Clapton insisted on playing at the same volume that he would on stage. Vernon later said of Dudgeon "I can remember seeing his face the very first time Clapton plugged into the Marshall stack and turned it up and started playing at the sort of volume he was going to play. You could almost see Gus's eyes meet over the middle of his nose, and it was almost like he was just going to fall over from the sheer power of it all. But after an enormous amount of fiddling around and moving amps around, we got a sound that worked." [Excerpt: John Mayall with Eric Clapton, "Hideaway"] But by the time the album cane out. Clapton was no longer with the Bluesbreakers. The Graham Bond Organisation had struggled on for a while after Bruce's departure. They brought in a trumpet player, Mike Falana, and even had a hit record -- or at least, the B-side of a hit record. The Who had just put out a hit single, "Substitute", on Robert Stigwood's record label, Reaction: [Excerpt: The Who, "Substitute"] But, as you'll hear in episode 183, they had moved to Reaction Records after a falling out with their previous label, and with Shel Talmy their previous producer. The problem was, when "Substitute" was released, it had as its B-side a song called "Circles" (also known as "Instant Party -- it's been released under both names). They'd recorded an earlier version of the song for Talmy, and just as "Substitute" was starting to chart, Talmy got an injunction against the record and it had to be pulled. Reaction couldn't afford to lose the big hit record they'd spent money promoting, so they needed to put it out with a new B-side. But the Who hadn't got any unreleased recordings. But the Graham Bond Organisation had, and indeed they had an unreleased *instrumental*. So "Waltz For a Pig" became the B-side to a top-five single, credited to The Who Orchestra: [Excerpt: The Who Orchestra, "Waltz For a Pig"] That record provided the catalyst for the formation of Cream, because Ginger Baker had written the song, and got £1,350 for it, which he used to buy a new car. Baker had, for some time, been wanting to get out of the Graham Bond Organisation. He was trying to get off heroin -- though he would make many efforts to get clean over the decades, with little success -- while Bond was starting to use it far more heavily, and was also using acid and getting heavily into mysticism, which Baker despised. Baker may have had the idea for what he did next from an article in one of the music papers. John Entwistle of the Who would often tell a story about an article in Melody Maker -- though I've not been able to track down the article itself to get the full details -- in which musicians were asked to name which of their peers they'd put into a "super-group". He didn't remember the full details, but he did remember that the consensus choice had had Eric Clapton on lead guitar, himself on bass, and Ginger Baker on drums. As he said later "I don't remember who else was voted in, but a few months later, the Cream came along, and I did wonder if somebody was maybe believing too much of their own press". Incidentally, like The Buffalo Springfield and The Pink Floyd, Cream, the band we are about to meet, had releases both with and without the definite article, and Eric Clapton at least seems always to talk about them as "the Cream" even decades later, but they're primarily known as just Cream these days. Baker, having had enough of the Bond group, decided to drive up to Oxford to see Clapton playing with the Bluesbreakers. Clapton invited him to sit in for a couple of songs, and by all accounts the band sounded far better than they had previously. Clapton and Baker could obviously play well together, and Baker offered Clapton a lift back to London in his new car, and on the drive back asked Clapton if he wanted to form a new band. Clapton was as impressed by Baker's financial skills as he was by his musicianship. He said later "Musicians didn't have cars. You all got in a van." Clearly a musician who was *actually driving a new car he owned* was going places. He agreed to Baker's plan. But of course they needed a bass player, and Clapton thought he had the perfect solution -- "What about Jack?" Clapton knew that Bruce had been a member of the Graham Bond Organisation, but didn't know why he'd left the band -- he wasn't particularly clued in to what the wider music scene was doing, and all he knew was that Bruce had played with both him and Baker, and that he was the best bass player he'd ever played with. And Bruce *was* arguably the best bass player in London at that point, and he was starting to pick up session work as well as his work with Manfred Mann. For example it's him playing on the theme tune to "After The Fox" with Peter Sellers, the Hollies, and the song's composer Burt Bacharach: [Excerpt: The Hollies with Peter Sellers, "After the Fox"] Clapton was insistent. Baker's idea was that the band should be the best musicians around. That meant they needed the *best* musicians around, not the second best. If Jack Bruce wasn't joining, Eric Clapton wasn't joining either. Baker very reluctantly agreed, and went round to see Bruce the next day -- according to Baker it was in a spirit of generosity and giving Bruce one more chance, while according to Bruce he came round to eat humble pie and beg for forgiveness. Either way, Bruce agreed to join the band. The three met up for a rehearsal at Baker's home, and immediately Bruce and Baker started fighting, but also immediately they realised that they were great at playing together -- so great that they named themselves the Cream, as they were the cream of musicians on the scene. They knew they had something, but they didn't know what. At first they considered making their performances into Dada projects, inspired by the early-twentieth-century art movement. They liked a band that had just started to make waves, the Bonzo Dog Doo-Dah Band -- who had originally been called the Bonzo Dog Dada Band -- and they bought some props with the vague idea of using them on stage in the same way the Bonzos did. But as they played together they realised that they needed to do something different from that. At first, they thought they needed a fourth member -- a keyboard player. Graham Bond's name was brought up, but Clapton vetoed him. Clapton wanted Steve Winwood, the keyboard player and vocalist with the Spencer Davis Group. Indeed, Winwood was present at what was originally intended to be the first recording session the trio would play. Joe Boyd had asked Eric Clapton to round up a bunch of players to record some filler tracks for an Elektra blues compilation, and Clapton had asked Bruce and Baker to join him, Paul Jones on vocals, Winwood on Hammond and Clapton's friend Ben Palmer on piano for the session. Indeed, given that none of the original trio were keen on singing, that Paul Jones was just about to leave Manfred Mann, and that we know Clapton wanted Winwood in the band, one has to wonder if Clapton at least half-intended for this to be the eventual lineup of the band. If he did, that plan was foiled by Baker's refusal to take part in the session. Instead, this one-off band, named The Powerhouse, featured Pete York, the drummer from the Spencer Davis Group, on the session, which produced the first recording of Clapton playing on the Robert Johnson song originally titled "Cross Road Blues" but now generally better known just as "Crossroads": [Excerpt: The Powerhouse, "Crossroads"] We talked about Robert Johnson a little back in episode ninety-seven, but other than Bob Dylan, who was inspired by his lyrics, we had seen very little influence from Johnson up to this point, but he's going to be a major influence on rock guitar for the next few years, so we should talk about him a little here. It's often said that nobody knew anything about Robert Johnson, that he was almost a phantom other than his records which existed outside of any context as artefacts of their own. That's... not really the case. Johnson had died a little less than thirty years earlier, at only twenty-seven years old. Most of his half-siblings and step-siblings were alive, as were his son, his stepson, and dozens of musicians he'd played with over the years, women he'd had affairs with, and other assorted friends and relatives. What people mean is that information about Johnson's life was not yet known by people they consider important -- which is to say white blues scholars and musicians. Indeed, almost everything people like that -- people like *me* -- know of the facts of Johnson's life has only become known to us in the last four years. If, as some people had expected, I'd started this series with an episode on Johnson, I'd have had to redo the whole thing because of the information that's made its way to the public since then. But here's what was known -- or thought -- by white blues scholars in 1966. Johnson was, according to them, a field hand from somewhere in Mississippi, who played the guitar in between working on the cotton fields. He had done two recording sessions, in 1936 and 1937. One song from his first session, "Terraplane Blues", had been a very minor hit by blues standards: [Excerpt: Robert Johnson, "Terraplane Blues"] That had sold well -- nobody knows how well, but maybe as many as ten thousand copies, and it was certainly a record people knew in 1937 if they liked the Delta blues, but ten thousand copies total is nowhere near the sales of really successful records, and none of the follow-ups had sold anything like that much -- many of them had sold in the hundreds rather than the thousands. As Elijah Wald, one of Johnson's biographers put it "knowing about Johnson and Muddy Waters but not about Leroy Carr or Dinah Washington was like knowing about, say, the Sir Douglas Quintet but not knowing about the Beatles" -- though *I* would add that the Sir Douglas Quintet were much bigger during the sixties than Johnson was during his lifetime. One of the few white people who had noticed Johnson's existence at all was John Hammond, and he'd written a brief review of Johnson's first two singles under a pseudonym in a Communist newspaper. I'm going to quote it here, but the word he used to talk about Black people was considered correct then but isn't now, so I'll substitute Black for that word: "Before closing we cannot help but call your attention to the greatest [Black] blues singer who has cropped up in recent years, Robert Johnson. Recording them in deepest Mississippi, Vocalion has certainly done right by us and by the tunes "Last Fair Deal Gone Down" and "Terraplane Blues", to name only two of the four sides already released, sung to his own guitar accompaniment. Johnson makes Leadbelly sound like an accomplished poseur" Hammond had tried to get Johnson to perform at the Spirituals to Swing concerts we talked about in the very first episodes of the podcast, but he'd discovered that he'd died shortly before. He got Big Bill Broonzy instead, and played a couple of Johnson's records from a record player on the stage. Hammond introduced those recordings with a speech: "It is tragic that an American audience could not have been found seven or eight years ago for a concert of this kind. Bessie Smith was still at the height of her career and Joe Smith, probably the greatest trumpet player America ever knew, would still have been around to play obbligatos for her...dozens of other artists could have been there in the flesh. But that audience as well as this one would not have been able to hear Robert Johnson sing and play the blues on his guitar, for at that time Johnson was just an unknown hand on a Robinsonville, Mississippi plantation. Robert Johnson was going to be the big surprise of the evening for this audience at Carnegie Hall. I know him only from his Vocalion blues records and from the tall, exciting tales the recording engineers and supervisors used to bring about him from the improvised studios in Dallas and San Antonio. I don't believe Johnson had ever worked as a professional musician anywhere, and it still knocks me over when I think of how lucky it is that a talent like his ever found its way onto phonograph records. We will have to be content with playing two of his records, the old "Walkin' Blues" and the new, unreleased, "Preachin' Blues", because Robert Johnson died last week at the precise moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall on December 23. He was in his middle twenties and nobody seems to know what caused his death." And that was, for the most part, the end of Robert Johnson's impact on the culture for a generation. The Lomaxes went down to Clarksdale, Mississippi a couple of years later -- reports vary as to whether this was to see if they could find Johnson, who they were unaware was dead, or to find information out about him, and they did end up recording a young singer named Muddy Waters for the Library of Congress, including Waters' rendition of "32-20 Blues", Johnson's reworking of Skip James' "Twenty-Two Twenty Blues": [Excerpt: Muddy Waters, "32-20 Blues"] But Johnson's records remained unavailable after their initial release until 1959, when the blues scholar Samuel Charters published the book The Country Blues, which was the first book-length treatment ever of Delta blues. Sixteen years later Charters said "I shouldn't have written The Country Blues when I did; since I really didn't know enough, but I felt I couldn't afford to wait. So The Country Blues was two things. It was a romanticization of certain aspects of black life in an effort to force the white society to reconsider some of its racial attitudes, and on the other hand it was a cry for help. I wanted hundreds of people to go out and interview the surviving blues artists. I wanted people to record them and document their lives, their environment, and their music, not only so that their story would be preserved but also so they'd get a little money and a little recognition in their last years." Charters talked about Johnson in the book, as one of the performers who played "minor roles in the story of the blues", and said that almost nothing was known about his life. He talked about how he had been poisoned by his common-law wife, about how his records were recorded in a pool hall, and said "The finest of Robert Johnson's blues have a brooding sense of torment and despair. The blues has become a personified figure of despondency." Along with Charters' book came a compilation album of the same name, and that included the first ever reissue of one of Johnson's tracks, "Preaching Blues": [Excerpt: Robert Johnson, "Preaching Blues"] Two years later, John Hammond, who had remained an ardent fan of Johnson, had Columbia put out the King of the Delta Blues Singers album. At the time no white blues scholars knew what Johnson looked like and they had no photos of him, so a generic painting of a poor-looking Black man with a guitar was used for the cover. The liner note to King of the Delta Blues Singers talked about how Johnson was seventeen or eighteen when he made his recordings, how he was "dead before he reached his twenty-first birthday, poisoned by a jealous girlfriend", how he had "seldom, if ever, been away from the plantation in Robinsville, Mississippi, where he was born and raised", and how he had had such stage fright that when he was asked to play in front of other musicians, he'd turned to face a wall so he couldn't see them. And that would be all that any of the members of the Powerhouse would know about Johnson. Maybe they'd also heard the rumours that were starting to spread that Johnson had got his guitar-playing skills by selling his soul to the devil at a crossroads at midnight, but that would have been all they knew when they recorded their filler track for Elektra: [Excerpt: The Powerhouse, "Crossroads"] Either way, the Powerhouse lineup only lasted for that one session -- the group eventually decided that a simple trio would be best for the music they wanted to play. Clapton had seen Buddy Guy touring with just a bass player and drummer a year earlier, and had liked the idea of the freedom that gave him as a guitarist. The group soon took on Robert Stigwood as a manager, which caused more arguments between Bruce and Baker. Bruce was convinced that if they were doing an all-for-one one-for-all thing they should also manage themselves, but Baker pointed out that that was a daft idea when they could get one of the biggest managers in the country to look after them. A bigger argument, which almost killed the group before it started, happened when Baker told journalist Chris Welch of the Melody Maker about their plans. In an echo of the way that he and Bruce had been resigned from Blues Incorporated without being consulted, now with no discussion Manfred Mann and John Mayall were reading in the papers that their band members were quitting before those members had bothered to mention it. Mayall was furious, especially since the album Clapton had played on hadn't yet come out. Clapton was supposed to work a month's notice while Mayall found another guitarist, but Mayall spent two weeks begging Peter Green to rejoin the band. Green was less than eager -- after all, he'd been fired pretty much straight away earlier -- but Mayall eventually persuaded him. The second he did, Mayall turned round to Clapton and told him he didn't have to work the rest of his notice -- he'd found another guitar player and Clapton was fired: [Excerpt: John Mayall's Bluesbreakers, "Dust My Blues"] Manfred Mann meanwhile took on the Beatles' friend Klaus Voorman to replace Bruce. Voorman would remain with the band until the end, and like Green was for Mayall, Voorman was in some ways a better fit for Manfred Mann than Bruce was. In particular he could double on flute, as he did for example on their hit version of Bob Dylan's "The Mighty Quinn": [Excerpt: Manfred Mann "The Mighty Quinn"] The new group, The Cream, were of course signed in the UK to Stigwood's Reaction label. Other than the Who, who only stuck around for one album, Reaction was not a very successful label. Its biggest signing was a former keyboard player for Screaming Lord Sutch, who recorded for them under the names Paul Dean and Oscar, but who later became known as Paul Nicholas and had a successful career in musical theatre and sitcom. Nicholas never had any hits for Reaction, but he did release one interesting record, in 1967: [Excerpt: Oscar, "Over the Wall We Go"] That was one of the earliest songwriting attempts by a young man who had recently named himself David Bowie. Now the group were public, they started inviting journalists to their rehearsals, which were mostly spent trying to combine their disparate musical influences --

Alex, Andrea, Emily, and John share the meaningful songs of their lives in five year increments until the present day. 

Alright, let's cut to the chase.  I don't think we're going to learn Spanish but I can guarantee we're going to make a mess.  Michael gets into his flow state and that means we're talking tears.  Riding bikes and earning likes, the most uphill battle.  New money, old problems, big bellies.  We're going for money now.  Dirty, hairy, sweaty money.  Let's buy a sports team.  If you're tuning in for discussions on aeronautics, you've come to the right place.  Welcome to the doctor zone, we're smart now and we're explaining air travel on a cellular level.  Malcom in the Middle?  More like Frankie in the driver's seat (he's a racecar driver now).  Art is dead, money is king, deplete the ozone.   See Rock City, waste your day."We're giving too much credence to what I think is just a stress response"Patreon: https://www.patreon.com/intheminivanFollow us on instagram: @intheminivanpodFollow us on twitter: @intheminivanFollow us on TikTok: @intheminivanpodcastWe're on YouTube: https://www.youtube.com/channel/UCTxCtwpkBssIljyG6tdJbWQGet in the Discord: https://discord.gg/YWgaD6xFN3Episode Playlist: https://open.spotify.com/playlist/6vrgTBmFWC8B6hp3PioZtD?si=4e2ac52b1bf141ecTHE MASTER PLAYLIST: https://open.spotify.com/playlist/2saxemA3MOXcjIWdwHGwCZ?si=ee3444c085714c46Support the show

Welcome to Live From Progzilla Towers Edition 473. In this 1973 edition we heard music by Albert Hammond, Agitation Free, Babe Ruth, Greenslade, Eumir Deodato, Flash, Electric Light Orchestra, Alain Goraguer, Pink Floyd, Focus, Emerson, Lake & Palmer, Roxy Music, Genesis, Gong, Fantasy, Procol Harum, Stardrive, Samla Mammas Manna, Renaissance, Yes & Roger Powell.

Albert Hammond, Mike Hazlewood, Don Altfeld, and me.

The Hollies, Albert Hammond, Michael Hazlewood, Ron Richards, and me.

Ho, Ho, Ho. Come for the tidings of great joy, stay for the sick Albert Hammond, Jr. reference. This week Lee and Robby recount some of their favorite Christmas gifts; Lee guesses the entire plot of Avatar: The Way of Water; MAGA in-fighting makes our pee-pees big; James Cameron has lost his fucking mind - and so much more! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/apodthepod/support

El cantante británico Albert Hammond grabó en 1976 el disco vinilo “My spanish álbum” en el que nos presentó una serie de temas musicales del repertorio latinoamericano, entre ellos la canción “Échame a mí la culpa”. Así la escuché yo… El tema musical de Albert Hammond es una nueva versión de la Ranchera compuesta por el mexicano José Ángel Espinoza, mejor conocido como “Ferrusquilla”, quien la compuso bajo el título “Échame a mí la culpa” y que fuera grabada originalmente en 1957 por su compatriota Amalia Mendoza en el álbum “La Tariácuri”. Han sido varios los artistas que han realizado versiones de esta canción, como Javier Solís en 1957… Hansel y Raúl, en versión Salsa en 1986… y Luis Miguel en 2004, entre muchos otros intérpretes… ¿Y tú, en cuál versión la escuchaste primero? Autor: Ferrusquilla (nombre real José Ángel Espinoza Aragón, mexicano) Échame a mí la culpa - Albert Hammond (1976) “My spanish álbum” álbum (1976) Albert Hammond (nombre real Albert Louis Hammond, británico) Échame a mí la culpa - Amalia Mendoza (1957) “La Tariácuri” álbum (1958) Amalia Mendoza García (mexicana) Échame a mí la culpa - Javier Solís (1957) “Javier Solís con el Mariachi Perla de Occidente” álbum (1957) Javier Solís (nombre real Gabriel Siria Levario, mexicano) Échame a mí la culpa - Hansel y Raúl (1986) “Tropical” álbum (1986) Hansel y Raúl (nombres reales Hansel Enrique Martínez y Raúl Alfonso, cubanos) Échame a mí la culpa - Luis Miguel (2004) “México en la piel” álbum (2004) Luis Miguel (nombre real Luis Miguel Gallego Basteri, mexicano) ___________________ “Así la escuché yo…” Temporada: 6 Episodio: 9 Sergio Productions Cali – Colombia Sergio Luis López Mora

There sure are a lot of bubblegum songs that like the alphabet! What makes up the New Sound?! Who are the Liverbirds and how do they pronounce their name?! Enjoy an hour of bubblegum music from The Bay City Rollers, The Brady Bunch, Alacran, Albert Hammond, The Monkees, ABCMouse, East Main Street Explosion, Sparrow, The Liverbirds, Goldie and the Gingerbreads, Barry Kirk, and Steve Day and the Syndicate!

A little bit of surf…just a bit…and some folk favorites right alongside some local performers in this week's episode brought your way directly from the KOWS Studios in downtown Santa Rosa, California. Our theme is the Golden State where the living may be costly but the core soul is one of progressive culture and hard work: whether that's in the fields, behind the desk, in the service industry, or on the road. This week's show focuses on California, from the LA Freeway to the Streets of Bakersfield, on up to Lodi and the Monterey Bay. The past century has found the state a popular subject of song and we've got some favorites and off-the-wall nuggets just for you this Friday morning including tracks from Dave Alvin, Albert Hammond, and Red River Dave. Tune in.

Adam, Joanna, and Zach discuss whether wine-based seltzers can grab market share from those based on malt liquor or other spirits, and what makes for a good wine seltzer. Then, Adam and Joanna interview Albert Hammond, Jr., lead guitarist for The Strokes, about his new wine seltzer, Jetway. Finally, the team returns to the ranch water conversation and tries the original version, with Topo Chico, lime, and silver tequila. Please remember to subscribe to, rate, and review VinePair on Apple Podcasts, Spotify, Stitcher, or wherever you get your episodes, and send any questions, comments, critiques, or suggestions to podcast@vinepair.com. Thanks for listening, and be well. See acast.com/privacy for privacy and opt-out information.

If 99 Miles From L.A., P. David Ebersole’s debut crime fiction novel, sounds like it should be the title of a song, that’s because it is. Written by Hal David and Albert Hammond—and sung by everyone from Hammond to Julio Iglesias to Art Garfunkel (a decidedly disturbing version)—it’s Johnny Mathis’s take that inspired Ebersole, and... Read more »

As broadcast April 26, 2022 with plenty of weird for your radio pod.  Tonight we shone the spotlight on a video from Father John Misty that debuted five years ago on this date, a real treat featuring a crucified McCaulay Culkin playing Kurt Cobain getting whipped by Ronald McDonald.  Pure Comedy.  After that, we had all the new and latest indie cuts to taste test for the rest with Kat Bass, with notable highlights being the latest from Korean band Say Sue Me's upcoming LP, along with joints from 53 Thieves, Andrew Bird, and many others to take us to where we always wanna go.#feelthegravityTracklisting:Part I (00:00)Father John Misty – Total Entertainment ForeverEnengis feat SJU – Night Soup 53 Thieves – 3rd FloorCommunity Swimming Pool – valentinePrateek Kuhad – Favorite PeepsAndrew Bird - Underlands Part II (35:15)The Unlikely Candidates - How I AmSub Urban & BENEE- UH OH!KAYDEN - PULL ME The Vaccines - Planet of the Youth lostboy - MapleThe Kooks - 25 Pet Shimmers - Mortal Sport ArgonautPart III (64:15)SEB - SAVE ME Glass Animals & Albert Hammond Jr. - I Don't Wanna Talk ( I Just Wanna Dance) Say Sue Me - To DreamGirlhouse - cool guyHatchie - Sunday SongWeiland - Dangerous Woman Part IV (94:18)Alec Benjamin - Devil Doesn't BargainFontaines D.C. - Jackie Down The LineEthel Cain - American Teenager Hitsujibungaku - LuckyMilky Chance - Stolen Dance (Acoustic)Yujihi - Where is blue? 

ALBERT HAMMOND