Podcasts about baby please don

To celebrate Buddy Guy's recent 90th birthday, hosts Jim DeRogatis and Greg Kot re-air their 2007 with the blues legend. They'll also give an update on what he's been up to and share some of their favorite Buddy Guy tracks.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/4frcVZoMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Buddy Guy, "First Time I Met the Blues," First Time I Met the Blues (Single), Chess, 1960The Beatles, "With a Little Help from My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Buddy Guy, "What Kind of Woman Is This," Bring 'Em In, Jive and Silvertone, 2005Buddy Guy, "Louise McGhee (Live on Sound Opinions)," Blues Singer, Silvertone, 2003Buddy Guy & Junior Wells, "Sweet Home Chicago," Play the Blues, Atlantic, 1972Junior Wells, "Good Morning Little Schoolgirl (Live on Sound Opinions)," Hoodoo Man Blues, Delmark, 1965Buddy Guy, "Done Got Old (Live on Sound Opinions)," Sweat Tea, Jive and Silvertone, 2001Buddy Guy, "Let Me Love You Baby," Let Me Love You Baby (Single), Chess, 1961Buddy Guy, "Stone Crazy," Stone Crazy (Single), Chess, 1961Little Brother Montgomery, "The First Time I Met the Blues," The First Time I Met The Blues, Blues Interactions, 1998Buddy Guy, "Born To Play Guitar," Born to Play Guitar, RCA, 2015Buddy Guy, "Baby Please Don't Leave Me," Sweat Tea, Jive and Silvertone, 2001My Bloody Valentine, "Only Shallow," Loveless, Creation, 1991See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week, hosts Jim DeRogatis and Greg Kot talk with author Erin Osmon about her new book on "heartland rock." She argues that artists like John Mellencamp and Tom Petty filled stadiums in the 1980s, but also pushed back against the politics of the Reagan era. The hosts also pay tribute to Irish troubadour Glen Hansard.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/4frcVZoMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Tom Petty and the Heartbreakers, "I Won't Back Down," Full Moon Fever, MCA, 1989The Beatles, "With a Little Help from My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967The Frames, "Fitzcarraldo," Fitzcarraldo, ZTT, 1995The Swell Season, "Falling Slowly (Live On Sound Opinions)," Swell Season, Overcoat, 2006Bruce Springsteen, "Born In The U.S.A.," Born In The U.S.A., Columbia, 1984John Cougar Mellencamp, "Pink Houses," Uh-Huh, Riva, 1983Bob Seger & The Silver Bullet Band, "Like A Rock," Like A Rock, Capitol, 1986Neil Young, "Keep On Rockin' In The Free World (Live on SNL)," Freedom, Reprise, 1989Tom Petty and the Heartbreakers, "Don't Come Around Here No More," Southern Accents, MCA, 1985Bonnie Raitt, "Nick Of Time," Nick Of Time, Capitol, 1989Stephen Wilson Jr., "Gary," (Single), Big Loud, 2026Don Henley, "The Boys of Summer," Building the Perfect Beast, Geffen, 1984John Cougar Mellencamp, "Rain on the Scarecrow," Scarecrow, Riva, 1986Buddy Guy, "Baby Please Don't Leave Me," Sweet Tea, Silvertone, 2001See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Participants: John Steppling, Brecht Jonkers, Hiroyuki Hamada, and Dennis Riches. Topics covered: billionaires' escape plans, the US-Iran Memorandum of Understanding, 2026 World Cup, the upside of social media. Music track: “Baby Please Don't Go” by Big Bill Broonzy (public domain).

Sintonía: "Orbit" - Paul Revere & The Raiders 1.- Jailbreak 2.- Baby Please Don´t Go 3.- Little Lover 4.- Soul Stripper 5.- You Ain´t Got A Hold On Me 6.- Love SongCortes 2-6 extraídos del álbum "High Voltage" (1ª edición australiana, Albert Productions,1975) 7.- It´s A Long Way To The Top (If You Wanna Rock ´N´ Roll) 8.- RockerCortes 7-8 extraídos del álbum "T.N.T." (Albert Productions,1975)Escuchar audio

Sintonía: "All About My Girl" - The Mojo Glove 1.- "Boogie Thing" - Cookin´ Raw Blues 2.- "Wake Up" - C.T. Powell & Bluedays 3.- "Stop Time" - Raspa García Trío 4.- "Scorched" - Betta & The Groovers 5.- "Cold Cold Ground" - Rock Bottom 6.-. "Wonderful Time" - Quique Gómez & His Vipers 7.- "Esperándote" - Fede Aguado y Fierablues 8.- "Baby Please Don´t Go" - Mario Siles 9.- "Close to Home" (Alt. Version) - Greg IzorTodas las músicas extraídas de la compilación (2xCD) "Los Blues de la Ciudad Volumen 2" (Sociedad de Blues de Madrid, 2025)Escuchar audio

Sintonía: "Silver Bell" - Country Cooking"Do-Re-Mi" - Woody Guthrie; "Church Street Blues" - Norman Blake; "J´etais au bal" - LeJeune/Menard/Smith; "Annie Is My Darling Medley/The Red Shoes" - Joseph Cormier; "Sly Old Crow/Old Blair Store" - John McCutcheon; "Corazón viajero" - Tish Hinojosa; "One Dime Blues" - Etta Baker; "Reels: The Pure Drop/The Flax in Bloom" - Pierre Bensusan; "College Hornpipe" - Mark O´Connor; "Duncan & Brady" - Johnson Mountain Boys; "Aloha Means I Love You" - Tau Moe Family; "Bill Cheatham" - Bela Fleck/Bill Keith/Tony Trischka; "I Caught A Keeper" - Barry & Holly Tashian; "Baby Please Don´t Go" - Bill Morrissey & Greg Brown; "Old Country Stomp" - Jody Stecher & Kate BrislinTodas las músicas extraídas de la recopilación (2xCD) "Hills of Home: 25 Years of Folk Music On Rounder Records" (Rounder, 1995)Relación de emisión de los anteriores 4 programas de este coleccionable: 1.- "Hand Picked/Bluegrass" emitido el 26/05/2025 2.- "Louisiana Spice" emitido el 26/06/2025 3.- "Deep Blue" emitido el 29/07/2025 4.- The Real Music Box Bonus Disc (Txiringuito Sessions, nº 9) emitido el 05/08/2025Escuchar audio

Musician Knox Chandler (The Psychedelic Furs, Siouxsie and the Banshees) has made a career of using his guitar to create unique, otherworldly sound-scapes, working with a diverse array of acts including REM, Depeche Mode, Grace Jones, Marianne Faithful, Cyndi Lauper and many others. It's no surprise then, that the record that 'got him high' as a young man - and continues to astound and inspire him - is The Jimi Hendrix Experience's third and final studio album, the epic 'Electric Ladyland'. "Have you ever been to Electric Ladyland? The magic carpet waits for you, So don't you be late..." Songs discussed in this episode: Voodoo Child (Slight Return) - Earth, Wind & Fire; Love Me Do - The Beatles; Fire, ...And the Gods Made Love, Have You Ever Been (To Electric Ladyland), Crosstown Traffic - Jimi Hendrix; Until She Comes - The Psychedelic Furs; Loving Arms - Darden Smith; Voodoo Chile - Jimi Hendrix; Whiskey Wimmen - John Lee Hooker; Baby Please Don't Leave Me - Buddy Guy; Little Miss Strange, Long Hot Summer Night, Come On (Let The Good Times Roll), Gypsy Eyes, Burning Of The Midnight Lamp, Rainy Day, Dream Away - Jimi Hendrix; Sivad (Live) - Miles Davis; 1983 (A Merman I Should Turn To Be), Still Raining, Still Dreaming, House Burning Down, All Along The Watchtower, Voodoo Child (Slight Return) - Jimi Hendrix; Voodoo Child (Slight Return) - Stevie Ray Vaughan; Tea Stained Edge, Lapis - Knox Chandler

This week, hosts Jim DeRogatis and Greg Kot explore the history and legacy of the 50+ year-old Chicago blues label, Alligator Records, with its founder Bruce Iglauer. They'll talk to him about his new book Bitten By the Blues: The Alligator Records Story and discuss some of the landmark artists who came through, from Koko Taylor to Albert Collins. They also revisit a conversation and live performance with Buddy Guy.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Koko Taylor, "I'm A Woman," The Earthshaker, Alligator , 1978The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club, Parlophone, 1967Albert Collins, "Honey Hush! (Talking Woman Blues)," Ice Pickin', Alligator , 1978Mississippi Fred McDowell, "You Got to Move," You Gotta Move, Arhoolie, 1965Hound Dog Taylor & The Houserockers, "Walking the Ceiling," Hound Dog Taylor and the HouseRockers, Alligator , 1971Hound Dog Taylor & The Houserockers, "Give Me Back My Wig," Hound Dog Taylor and the HouseRockers, Alligator, 1971Hound Dog Taylor & The Houserockers, "Phillips' Theme," Hound Dog Taylor and the HouseRockers, Alligator, 1971B.B. King, "The Thrill Is Gone," Completely Well, Alligator, 1969Hound Dog Taylor & The Houserockers, "Wild About You Baby," Hound Dog Taylor and the HouseRockers, Alligator, 1971Koko Taylor, "Wang Dang Doodle," Wang Dang Doodle (Single), Chess, 1966Koko Taylor, "That's Why I'm Crying," I Got What It Takes, Alligator, 1975Koko Taylor, "I Got What It Takes," I Got What It Takes, Alligator, 1975Albert Collins, "I Ain't Drunk," Cold Snap, Alligator, 1986Albert Collins, Johnny Copeland, Robert Cray, "The Moon Is Full," Showdown!, Alligator, 1985Toronzo Cannon, "Walk It Off," The Chicago Way, Alligator, 2016Toronzo Cannon, "Bad Contract," The Chicago Way, Alligator, 2016Shemekia Copeland, "Would You Take My Blood," America's Child, Alligator, 2018Shemekia Copeland, "Ain't Got Time For Hate," America's Child, Alligator, 2018A.C. Reed, "She's Fine (feat. Bonnie Raitt)," I'm In the Wrong Business!, Alligator, 1987Buddy Guy, "Baby Please Don't Leave Me," Sweet Tea, Silvertone, 2001B.B. King, "Don't Answer the Door," Don't Answer The Door (single), ABC, 1966Buddy Guy, "Good Morning Schoolgirl," Hoodoo Blues Man (Live On Sound Opinions), Delmark, 2007Cream, "Strange Brew," Strange Brew (single), Reaction, 1967Buddy Guy, "First Time I Met The Blues," I Got My Eyes On You (single), Chess, 1960Shawnna, "Can't Break Me (feat. Buddy Guy)," Block Music, Disturbing Tha Peace, 2006Buddy Guy, "I've Got Dreams to Remember," Bring 'Em In (Live On Sound Opinions), Silvertone, 2007Lou Reed, "Coney Island Baby," Coney Island Baby, RCA Victor, 1976See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Singles Going Around- Summer (1967 Version)The Beatles- "I Am The Walrus"Captain Beefheart- "Sure "Nuff 'N Yes, I Do"The Small Faces- "Tin Soldier"Pink Floyd- "Astronomy Domine"Love- "Alone Again Or"The Electric Prunes- "I Had Too Much To Dream Last Night"Bob Dylan- "All Along The Watchtower"Jimi Hendrix- "Manic Depression"The Beach Boys- "Heroes and Villains"The Amboy Dukes- "Baby Please Don't Go"The Rolling Stones- "2000 Light Years From Home"The Who- "Armenia City In The Sky"Buffalo Springfield- "Expecting To Fly"13th Floor Elevators- "Levitation"The Balloon Farm- "A Question Of Temperature"The Byrds- "So You Want To Be A Rock and Roll Star"The Doors- "Back Door Man"Cream- "Sunshine Of Your Love"The Monkees- "What Am I Doing Hanging Around"The Velvet Underground- "All Tomorrow's Parties"Vanilla Fudge- "You Keep Me Hanging On" (Quentin Tarantino Edit)

It's Garage Baby! baby Doll, Baby go, Baby no More, Baby It Hurts, Bonsoir Baby, Facil Baby and Baby Please Don't Go. You get the idea, right?. Full playlist always posted via Retrospect 60s Garage Punk Show on Facebook and Insta. Retrospect is created by Phil Grey at Free FM 89.0 [Kirikiriroa/Hamilton, NZ].

It's Emma week! She is back after a 12 year gap with Baby Please Don't Stop! Another cool retro song from her, but not a lot of live performances to choose from!   Spice up your life!   The Sporty One, by Melanie C   Check out our friend Nicoli's Unbound series of books! Dissonance by Nicoli Gonnella Silence by Nicoli Gonnella Hunger by Nicoli Gonnella Fury by Nicoli Gonnella Threshold by Nicoli Gonnella Expanse by Nicoli Gonnella Abyss by Nicoli Gonnella Vault by Nicoli Gonnella Crown by Nicoli Gonnella   Listen to miek and Greg on Two Bandits Watching Bluey! Two Bandits Watching Bluey   miek made an album! progress-is-only-progress-when-documented   Follow us on Twitter: @TheSpiceLevel Check out our other socials: thespicelevel.com Email us: TheSpiceLevel@gmail.com

10:02 PM | Wild Billy Childish & The Musicians of the British Empire | Christmas 1979 10:05 PM | Crocodiles & Dum Dum Girls | Merry Christmas, Baby (Please Don't Die)10:08 PM | The Misfits | Blue Christmas10:11 PM | The Kaisers | Merry Christmas Loopy Lu 10:14 PM | Donny Burns | Cool Yule 10:16 PM | The Fall | Hark the Herald Angels Sing 10:19 PM | AC/DC | Mistress for Christmas 10:25 PM | The Replacements | Beer for Breakfast10:27 PM | Less Than Jake | I'm Gettin Nuthin for Christmas 10:29 PM | The Turtles | Santa and the Sidewalk Surfer 10:32 PM | Junkyard Dogs | Brand New Bike10:34 PM | Greg Lake | I Believe in Father Christmas 10:38 PM | The Drifters | White Christmas 10:42 PM | Denny Laine | I Wish It Could Be Christmas Everyday 10:46 PM | Hasil Adkins | Santa Claus Boogie 10:49 PM | Nat "King" Cole | The Christmas Song (Merry Christmas to You) 10:54 PM | The Monkees | Christmas is My Time of Year

Playlist:  1. Russ Conway - Snow Coach 2. Whyte Horses - The Snowfalls 3. Band A Part - Donde Todo Sigue Igual 4. Claudine Longet - I Don't Intend To Spend Christmas Without You 5. Dude York - Long Distance Christmas 6. Lisa Mychols - Christmas Will Be Just Another Lonely Day 7. The Proper Ornaments - Step Into The Cold 8. Brix, The Extricated - Wintertyde 9. Penelope Isles - Leipzig 10. Molly Burch - Holiday Dreaming 11. Josh Rouse - Winter In The Hamptons 12. The Doors - Wintertime Love 13. The Specials - Do Nothing 14. Alton Ellis - Christmas Coming15. The Early Americans - It's So Cold Outside 16. The dB's - Home For The Holidays 17. The Pogues - A Pair Of Brown Eyes 18. The Mary Wallopers - Vultures Of Christmas 19. Nadia Cattouse - Red & Green Christmas 20. Dave Pegg - Jack Frost & The Hooded Crow 21. Start - Where I Want To Be 22. The Mighty Wah! - In The Bleak, Body & Soul, Midwinter 23. The Fernweh - Winterlude 24. Bangles - Hazy Shade Of Winter (7") 25. Movin' Jelly - December Girl 26. Manic Street Preachers - Ghost Of Christmas 27. Crocodiles & Dum Dum Girls - Merry Christmas, Baby (Please Don't Die) 28. Paul Revere & The Raiders - Rain, Sleet, Snow 29. The Free Design - Christmas Is The Day (Mono) 30. The Monkees - Snowfall 31. Chilly Gonzales - Snow Is Falling In Manhattan (ft Jarvis Cocker & Feist) 32. Judy Collins - River 33. Grant-Lee-Philips - Winterglow 34. Stina Nordenstam - Little Star 35. Field Music - Home For Christmas 36. Green Day - Xmas Time Of The Year 37. The Wonder Stuff - Full Of Life (Happy Now) 38. Noel Gallagher's High Flying Birds - Wandering Star 39. Sparks - Thank God It's Not Christmas 40. Girl Ray - (I Wish I Were Giving You A Gift) This Christmas 41. Low - Just Like Christmas 42. Saint Etienne - Driving Home For Christmas 43. Dean Wareham - Christmas Can't Be Far Away 44. Aidan Moffat, RM Hubbert - The Recurrence of Dickens Image: Snow Day, Kiltimagh 90s   Podomatic: https://soulshenanigans.podomatic.com Apple Podcasts: https://apple.co/3fYzstV Google Podcasts: https://bit.ly/331g0tM Amazon Music: https://amzn.to/32OIqGI TuneIn Radio: https://bit.ly/30UUPIu Mixcloud: https://www.mixcloud.com/soulshenanigans  Twitter: @soulshenanigans Facebook: soulshenanigans Email: soulshenanigans(at)gmail.com            

C'est parti pour la saison 3! Petit retour en arrière, l'après doo wop va vers le rock'n'roll côté blanc et vers la soul côté noir. C'est côté soul que nous allons.Un début chronologique et nécessaire avec Jaaaaaaaaaames Brown!Comme pour Sam Cooke la deuxième partie sera dans 14 épisodes. va falloir être patient. The Charioteers, "So Long" Count Basie, "One O'Clock Jump" James Brown, "Caldonia" James Brown, "So Long" Little Richard, "Directly From My Heart to You" Faye Adams, "Shake a Hand" The Orioles, "Baby Please Don't Go" James Brown et les Famous Flames, "Please Please Please" James Brown, "Chonnie On Chon" Jerry Butler, "For Your Precious Love" James Brown et les Famous Flames, "Try Me"

 | Artist  | Title  | Album Name  | Album Copyright | Ernie Hawkins  | Sweethearts On Parade (feat. Roger Day, Paul Consentino & Joe D  | Monongahela Rye  |  | Son House  | John The Revelator  | The Delta Blues Of Son House | Big Bill Broonzy  | It's A Low Down Dirty Shame  | Chicago 1937-1938 (CD8)  1937-1940 Part 2 | Tony Joe White  | You Got Me Running  | Baby Please Don't Go | The Georgia Browns  | Who Stole De Lock.  | Curley Weaver (1933-1935) | Pistol Pete Wearn  | Rosalynd  | Blues, Ballads & Barnstormers | Alger ''Texas'' Alexander  | Water Bound Blues (1929)  | Complete Recorded Works, Vol. 2 (1928 - 1930) | Lightnin' Hopkins  | Goin' Away  | Goin' Away (1963)  |  | Pinetop Perkins  | Willow Weep For Me  | Heaven  |   |  | W.C. Handy Preservation Band - Carl Wolfe  | Loveless Love  | W.C. Handy's Beale Street: Where The Blues Began | Guy Davis  | Did You See My Baby  | Juba Dance  |  | Jesse Fuller  | Morning Blues  | San Francisco Bay Blues | Jo Ann Kelly  | Boll Weevil  | Do It and More  |  | Mike Goudreau  | I'm So Glad I Have You  | Acoustic Sessions  |  | Auld Man's Baccie  | Whole Lotta Rosie  | 100% Homage  |  | Half Deaf Clatch  | Tumbledown Blues  | Eat Sleep Stomp Repeat

 | Artist  | Title  | Album Name  | Album Copyright  |  | Tony Joe White  | Baby Please Don't Go  | Tony Joe White  |   |  | Memphis Minnie  | Nothing In Ramblin'  | Blues: The Essential Album  |  | Bukka White  | Shake Em On Down  | The Complete Sessions 1930-1940 | Lettoman  | Dancing, Singing, and Hot Gazes  | Singles July 2023  |   |  | Lightnin' Hopkins  | Play With Your Poodle  | Morning Blues (1965)  |  | Jimmy Driftwood  | Battle of New Orleans  | The Collection  |   |  | Jaybird Coleman  | Man Trouble Blues  | Country Southern Blues  |  | Mary Flower  | Hard Day Blues  | Misery Loves Company  |  | Steve Howell & The Mighty Men  | Bad Boy  | Been Here And Gone  |  | Big Bill Broonzy  | Water Coast  | Four Classic Albums Plus - CD Two | Thom Bresh  | Mi Amigo - Instrumental  | @Home  |   |   |  | Duster Bennett  | Let Your Light Shine On Me  | Comin' Home- Unreleased & Rare Recordings, Vol. 2 1971-1975 | Andy Cohen  | Moppers Blues  | Built Right On The Ground  |  | Alison Solo  | Old English  | Plutonian  |   |   |  | Original Rabbit Foot Spasm Band  | Chapel In The Pines  | Party Seven  |   |  | Colin James  | See That My Grave is Kept Clean  | Miles to Go  | W.C. Handy Preservation Band- Dir. Carl Wolfe  | Harlem Blues  | W.C. Handy's Beale Street: Where The Blues Began

John Mayall feat.Eric Clapton - All Your LoveB.B. King  The Thrill Is GoneRuben Hoeke Band – Love is Blindness - All Saints (2019)Rozedale – Drifting - Rozedale Live At Woodstock Guitares - 2021RSO Ritchie Sambora & Orianthi – Blues won't leave me alone -  Radio Free America – 2018Steve Miller Band – Driftin' - Let You Hair Down – 2011Travis Haddix – I am I good shape for the shape I'm in - Ring on Her Finger, Rope around My Neck – 2013Kenny Wayne Shepherd - Born With A Broken HeartJoe Louis Walker - Blues Of The Month ClubJimmy Johnson – when My first wife quit meMichael Lee Firkins – You took the words right out of my mouth - VA - Jam On GuitarsL.A. Blues Authority -  Baby Please Don't Go

 | Artist  | Title  | Album Name  | Album Copyright | Arthur Montana Taylor  | Sweet Sue (rec Chicago 18/4/46)  | Montana Taylor  |  | Tampa Red  |  It's Red Hot  | Bottleneck Guitar 1928-1937 | Lightnin' Hopkins  | Wake Up Old Lady  | Goin' Away (1963)  |  | Half Deaf Clatch  | The Elysian Blues  | Simple Songs For These Complicated Times | Seasick Steve  | Purple Shadows  | Hubcap Music  |  | Blind Willie Johnson  | If I Had My Way I'd Tear The Building Down  | The Complete Blind Willie Johnson (1 of 2) | Sonny Terry & Brownie McGhee  | Hey Baby Hey Baby You're So Sweet - [ASH GROVE 1-21-1967 1ST SH  | Ash Grove 01-21-1967 1st Show | Bill Abel  | Don't You Hurt (Instrumental)  | One-Man Band  |  | Tony Joe White  | Baby Please Don't Go  | Bad Mouthin' (2018) | Andres Roots  | Thanks For Bringing Me Down  | Winter  |   |  | Washboard Sam  | Phantom Black Snake  | Washboard Swing  |  | Paul Cowley  | Preaching Blues  | Stroll Out West  |  | R. L. Burnside  | Goin' Down South  | First Recordings  |  | Lonnie Johnson  | C.C. Rider (Traditional)  | American Folk Blues Festival 1962-1965  CD3 | John Hammond  | Sugar Mama  | Sooner Or Later (2002 reissue) - 2002 - 320 - FC | Mississippi Fred Mc Dowell  | Highway 61  | American Folk Blues Festival 1962-1965  CD5

 | Artist  | Title  | Album Name  | Album Copyright | Gráinne Duffy  | Dirt Woman Blues  | Dirt Woman Blues  |  | Mick Pini & Audio 54  | Nowadays.mp3  | Way Ahead  |  | Tony Joe White  | Baby Please Don't Go  | Tony Joe White  |  | Thom Bresh  | Vermillion - Instrumental  | @ Home  |   |  | Mike Ross  | Eulogy  | Third Eye Open  |  | Big Bill Broonzy  | I Wonder  | Four Classic Albums Plus - CD Two | Brownie McGhee  | Evil but Kind Hearted   | Talking the Blues  |  | Mary Stokes Band  | Let 'Er Roll  | Let 'Er Roll  |  | Cripple Clarence Lofton  | Sweetest Thing Born  | Complete Recorded Works, Vol. 1 (1935-1939) | Lightnin' Malcolm  | Crawlin' Baby  | Eye of the Storm  |  | Robert Hill & Joanne Lediger  | Jesus By The Riverside  | Revelation  |  | Dion  | My Baby's Cryin'  | Tank Full Of Blues  |  | James Cotton w Mat Murphy  | Rocket 88  | Live & On the Move  |  | Selwyn Birchwwood  | Horns Below Her Halo  | The Exorcist  | 

No, ellos nunca quieren restar méritos a las victorias del Real Madrid. Su problema es que les sale así por su propia naturaleza. El rival del Madrid siempre está formado por gordo, inútiles o jubilados y, en caso contrario, es la suerte, la mística o vaya usted a saber qué. Además, después de una victoria, lo habitual suele ser hablar de temas más o menos polémicos, reales o inventados, para desviar convenientemente la atención del triunfo. Becario: @ChiscanoFelix Min. 01 Seg. 46 - Intro Min. 09 Seg. 00 - Un truño y una renovación Min. 15 Seg. 41 - Antes morir que rectificar Min. 21 Seg. 43 - Algo repugnante Min. 31 Seg. 26 - Un desastre mal gestionado Min. 38 Seg. 45 - No fue un partido redondo Min. 42 Seg. 51 - La oportunidad perdida Min. 50 Seg. 31 - Ventajismo resultadista Min. 55 Seg. 43 - Ahora es una gran temporada Min. 59 Seg. 34 - Despedida Van Morrison (Passaic, NJ 18/05/1985) Haunts Of Ancient Peace It's All In The Game A Sense Of Wonder Summertime In England Inarticulate Speech Of The Heart > Baby Please Don't Go > Gloria > Here Comes The Night > Brown Eyed Girl Tore Down A La Rimbaud Help Me Vanlose Stairway Dweller On The Threshold Canned Heat - Let's Work Together (Montreux 01-07-1973)

No, ellos nunca quieren restar méritos a las victorias del Real Madrid. Su problema es que les sale así por su propia naturaleza. El rival del Madrid siempre está formado por gordo, inútiles o jubilados y, en caso contrario, es la suerte, la mística o vaya usted a saber qué. Además, después de una victoria, lo habitual suele ser hablar de temas más o menos polémicos, reales o inventados, para desviar convenientemente la atención del triunfo. Becario: @ChiscanoFelix Min. 01 Seg. 46 - Intro Min. 09 Seg. 00 - Un truño y una renovación Min. 15 Seg. 41 - Antes morir que rectificar Min. 21 Seg. 43 - Algo repugnante Min. 31 Seg. 26 - Un desastre mal gestionado Min. 38 Seg. 45 - No fue un partido redondo Min. 42 Seg. 51 - La oportunidad perdida Min. 50 Seg. 31 - Ventajismo resultadista Min. 55 Seg. 43 - Ahora es una gran temporada Min. 59 Seg. 34 - Despedida Van Morrison (Passaic, NJ 18/05/1985) Haunts Of Ancient Peace It's All In The Game A Sense Of Wonder Summertime In England Inarticulate Speech Of The Heart > Baby Please Don't Go > Gloria > Here Comes The Night > Brown Eyed Girl Tore Down A La Rimbaud Help Me Vanlose Stairway Dweller On The Threshold Canned Heat - Let's Work Together (Montreux 01-07-1973)

Singles Going Around- NuggetsShadows of Knight- "Oh Yea"The Magicians- "Invitation To Cry"The Thirteenth Floor Elevators- "You're Gonna Miss Me"Count Five- "Psychotic Reaction"The Amboy Dukes- "Baby Please Don't Go"The Blues Magoos- "Tobacco Road"The Premiers- "Farmer John"The Standells- "Dirty Water"The Vagrants- "Respect"

Dave Evans, the man behind the microphone for AC/DC before Bon Scott and Brian Johnson, says his fans want to see him back in the band now that Johnson has been advised by doctors to stop touring or risk total hearing loss. AC/DC say they will reschedule their 10 postponed tour dates, but with guest vocalists.Evans tells the Sydney Morning Herald, "When I perform around the world, the fans love my music and my performances, and I hear what they tell me. That's what they all tell me. They're pretty appreciative of my vocals and performances."Regarding the news about Johnson, Evans says, "I just thought it was sad news. It's your lifeblood as a singer. Live performances are so personal. Without the crowd and the adrenaline, it's going to be hard for him. Performances are the big highs in our lives."Though he knows his return is a longshot, Evans adds that "it would be nice to do one guest performance. [Former members] were all part of the band no matters what era they were from."Evans sang on the band's first two singles, "Can I Sit Next to You Girl" and "Baby Please Don't Go" before leaving in 1974 to join the Newcastle glam band Rabbit.

Dave Evans, the man behind the microphone for AC/DC before Bon Scott and Brian Johnson, says his fans want to see him back in the band now that Johnson has been advised by doctors to stop touring or risk total hearing loss. AC/DC say they will reschedule their 10 postponed tour dates, but with guest vocalists.Evans tells the Sydney Morning Herald, "When I perform around the world, the fans love my music and my performances, and I hear what they tell me. That's what they all tell me. They're pretty appreciative of my vocals and performances."Regarding the news about Johnson, Evans says, "I just thought it was sad news. It's your lifeblood as a singer. Live performances are so personal. Without the crowd and the adrenaline, it's going to be hard for him. Performances are the big highs in our lives."Though he knows his return is a longshot, Evans adds that "it would be nice to do one guest performance. [Former members] were all part of the band no matters what era they were from."Evans sang on the band's first two singles, "Can I Sit Next to You Girl" and "Baby Please Don't Go" before leaving in 1974 to join the Newcastle glam band Rabbit.

Playlist:   1. Russ Conway - Snow Coach  2. Whyte Horses - The Snowfalls  3. Edwyn Collins - Keep On Burning  4. Band A Part - Donde Todo Sigue Igual  5. Invitations - Ski-ing In The Snow  6. Claudine Longet - I Don't Intend To Spend Christmas Without You  7. Dude York - Long Distance Christmas  8. Lisa Mychols - Christmas Will Be Just Another Lonely Day  9. The Proper Ornaments - Step Into The Cold  10. Brix, The Extricated - Wintertyde  11. Penelope Isles - Leipzig  12. Molly Burch - Holiday Dreaming  13. Josh Rouse - Winter In The Hamptons  14. The Doors - Wintertime Love  15. The Specials - Do Nothing  16. Alton Ellis - Christmas Coming  17. Nadia Cattouse - Red & Green Christmas  18. Dave Pegg - Jack Frost & The Hooded Crow  19. The Mighty Wah! - In The Bleak, Body & Soul, Midwinter  20. Thin Lizzy - Dancing In The Moonlight  21. Bangles - Hazy Shade Of Winter  22. Movin' Jelly - December Girl  23. Manic Street Preachers - Ghost Of Christmas  24. Crocodiles & Dum Dum Girls - Merry Christmas, Baby (Please Don't Die)  25. Paul Revere & The Raiders - Rain, Sleet, Snow  26. The Monkees - Snowfall  27. Chilly Gonzales - Snow Is Falling In Manhattan (ft Jarvis Cocker & Feist)  28. Judy Collins - River  29. Grant-Lee-Philips - Winterglow  30. Stina Nordenstam - Little Star  31. Field Music - Home For Christmas  32. Green Day - Xmas Time Of The Year  33. Noel Gallagher's High Flying Birds - Wandering Star  34. Sparks - Thank God It's Not Christmas  35. Tony Anthony & The Stocking Stuffers - Don't Believe In Christmas  36. Pogue Mahone - Streams Of Whiskey (Peel 1984)  37. The Ukrainians - Shchedryk  38. Low - Just Like Christmas  39. Saint Etienne - Driving Home For Christmas  40. Aidan Moffat, RM Hubbert - The Recurrence Of Dickens  41. The Fernweh - Winterlude Image: Aiden St Krew, Kiltimagh 2002 Podomatic: https://soulshenanigans.podomatic.com Apple Podcasts: https://apple.co/3fYzstV Google Podcasts: https://bit.ly/331g0tM Amazon Music: https://amzn.to/32OIqGI TuneIn Radio: https://bit.ly/30UUPIu Mixcloud: https://www.mixcloud.com/soulshenanigans  Mastodon: @soulshenanigans@mastodon.ie Twitter: @soulshenanigans Facebook: soulshenanigans Email: soulshenanigans(at)gmail.com 

Playlist: Snatch It Back and Hold It – Junior Wells; Damn Right I've Got the Blues – Buddy Guy; Early in the Morning – Buddy Guy, feat. Eric Clapton, Jeff Beck; Before You Accuse Me, Malted Milk, Layla – Eric Clapton; Ten Long Years, Days of Old – B. B. King, Eric Clapton; Every Day I Have the Blues, The Thrill is Gone – B. B. King; Done Got Old, Baby Please Don't Leave Me – Buddy Guy; Dimples – John Lee Hooker; Dimples – James "Blood" Ulmer. Escuchar audio

El veterano bluesman de Chicago Tail Dragger vuelve a España en una gira con paradas esta semana en Madrid, Valencia, Bilbao, y Huesca. Playlist: Snatch It Back and Hold It – Junior Wells; Don't Start Me Talkin', Bought Me A New Home, American People, You Gotta Go, My Woman Is Gone, Louise, Baby Please Don't Go, She's Worryin' Me – Tail Dragger; Wander – Tail Dragger, feat. Jimmy Dawkins. Escuchar audio

 | Artist  | Title  | Album Name  | Album Copyright | Stacy Jones  | Everything Is Going To Be All Right  | World On Fire  |  | Curtis Johnson  | None Like You  | None Like You [Single] | Son Of Dave  | I'm Going Monkey For Your Love  | Call Me KIng  |  | Debra Power  | The Last Time I Saw Memphis  | I'm Not From Chicago | Blue Touch  | Baby Please Don't Go  | Old, New, Borrowed & Blue | Vaneese Thomas  | Rosalee  | Fight The Good Fight | The Nighthawks  |Nobody  | Established 1972  |  | Trevor Finlay  | Recover  | Get Into It  |  | Katie Webster  | Those Lonely, Lonely Nights  | No Foolin'  |  | Steve Bailey featuring Mississippi MacDonald  | She's My Baby  | Crazy 'Bout You  |  | Washington Phillips  | Washington Phillips Mix  |  | The Soundtracks  | Don't Ever Change  | John, Paul, George, Dave, Brian, Tony & More; The Birth of the  | The Cadillac Kings  | For Richer, For Poorer  | Cadillac Kings  |  | Dean Haitani  | Fairlight Walking  | RED DUST  | 

Episode one hundred and forty-seven of A History of Rock Music in Five Hundred Songs looks at “Hey Joe" by the Jimi Hendrix Experience, and is the longest episode to date, at over two hours. Patreon backers also have a twenty-two-minute bonus episode available, on "Making Time" by The Creation. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud mix containing all the music excerpted in this episode. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. Information on Arthur Lee and Love came from Forever Changes: Arthur Lee and the Book of Love by John Einarson, and Arthur Lee: Alone Again Or by Barney Hoskyns. Information on Gary Usher's work with the Surfaris and the Sons of Adam came from The California Sound by Stephen McParland, which can be found at https://payhip.com/CMusicBooks Information on Jimi Hendrix came from Room Full of Mirrors by Charles R. Cross, Crosstown Traffic by Charles Shaar Murray, and Wild Thing by Philip Norman. Information on the history of "Hey Joe" itself came from all these sources plus Hey Joe: The Unauthorised Biography of a Rock Classic by Marc Shapiro, though note that most of that book is about post-1967 cover versions. Most of the pre-Experience session work by Jimi Hendrix I excerpt in this episode is on this box set of alternate takes and live recordings. And "Hey Joe" can be found on Are You Experienced? Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before we start – this episode deals with a song whose basic subject is a man murdering a woman, and that song also contains references to guns, and in some versions to cocaine use. Some versions excerpted also contain misogynistic slurs. If those things are likely to upset you, please skip this episode, as the whole episode focusses on that song. I would hope it goes without saying that I don't approve of misogyny, intimate partner violence, or murder, and my discussing a song does not mean I condone acts depicted in its lyrics, and the episode itself deals with the writing and recording of the song rather than its subject matter, but it would be impossible to talk about the record without excerpting the song. The normalisation of violence against women in rock music lyrics is a subject I will come back to, but did not have room for in what is already a very long episode. Anyway, on with the show. Let's talk about the folk process, shall we? We've talked before, like in the episodes on "Stagger Lee" and "Ida Red", about how there are some songs that aren't really individual songs in themselves, but are instead collections of related songs that might happen to share a name, or a title, or a story, or a melody, but which might be different in other ways. There are probably more songs that are like this than songs that aren't, and it doesn't just apply to folk songs, although that's where we see it most notably. You only have to look at the way a song like "Hound Dog" changed from the Willie Mae Thornton version to the version by Elvis, which only shared a handful of words with the original. Songs change, and recombine, and everyone who sings them brings something different to them, until they change in ways that nobody could have predicted, like a game of telephone. But there usually remains a core, an archetypal story or idea which remains constant no matter how much the song changes. Like Stagger Lee shooting Billy in a bar over a hat, or Frankie killing her man -- sometimes the man is Al, sometimes he's Johnny, but he always done her wrong. And one of those stories is about a man who shoots his cheating woman with a forty-four, and tries to escape -- sometimes to a town called Jericho, and sometimes to Juarez, Mexico. The first version of this song we have a recording of is by Clarence Ashley, in 1929, a recording of an older folk song that was called, in his version, "Little Sadie": [Excerpt: Clarence Ashley, "Little Sadie"] At some point, somebody seems to have noticed that that song has a slight melodic similarity to another family of songs, the family known as "Cocaine Blues" or "Take a Whiff on Me", which was popular around the same time: [Excerpt: The Memphis Jug Band, "Cocaine Habit Blues"] And so the two songs became combined, and the protagonist of "Little Sadie" now had a reason to kill his woman -- a reason other than her cheating, that is. He had taken a shot of cocaine before shooting her. The first recording of this version, under the name "Cocaine Blues" seems to have been a Western Swing version by W. A. Nichol's Western Aces: [Excerpt: W.A. Nichol's Western Aces, "Cocaine Blues"] Woody Guthrie recorded a version around the same time -- I've seen different dates and so don't know for sure if it was before or after Nichol's version -- and his version had himself credited as songwriter, and included this last verse which doesn't seem to appear on any earlier recordings of the song: [Excerpt: Woody Guthrie, "Cocaine Blues"] That doesn't appear on many later recordings either, but it did clearly influence yet another song -- Mose Allison's classic jazz number "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] The most famous recordings of the song, though, were by Johnny Cash, who recorded it as both "Cocaine Blues" and as "Transfusion Blues". In Cash's version of the song, the murderer gets sentenced to "ninety-nine years in the Folsom pen", so it made sense that Cash would perform that on his most famous album, the live album of his January 1968 concerts at Folsom Prison, which revitalised his career after several years of limited success: [Excerpt: Johnny Cash, "Cocaine Blues (live at Folsom Prison)"] While that was Cash's first live recording at a prison, though, it wasn't the first show he played at a prison -- ever since the success of his single "Folsom Prison Blues" he'd been something of a hero to prisoners, and he had been doing shows in prisons for eleven years by the time of that recording. And on one of those shows he had as his support act a man named Billy Roberts, who performed his own song which followed the same broad outlines as "Cocaine Blues" -- a man with a forty-four who goes out to shoot his woman and then escapes to Mexico. Roberts was an obscure folk singer, who never had much success, but who was good with people. He'd been part of the Greenwich Village folk scene in the 1950s, and at a gig at Gerde's Folk City he'd met a woman named Niela Miller, an aspiring songwriter, and had struck up a relationship with her. Miller only ever wrote one song that got recorded by anyone else, a song called "Mean World Blues" that was recorded by Dave Van Ronk: [Excerpt: Dave Van Ronk, "Mean World Blues"] Now, that's an original song, but it does bear a certain melodic resemblance to another old folk song, one known as "Where Did You Sleep Last Night?" or "In the Pines", or sometimes "Black Girl": [Excerpt: Lead Belly, "Where Did You Sleep Last Night?"] Miller was clearly familiar with the tradition from which "Where Did You Sleep Last Night?" comes -- it's a type of folk song where someone asks a question and then someone else answers it, and this repeats, building up a story. This is a very old folk song format, and you hear it for example in "Lord Randall", the song on which Bob Dylan based "A Hard Rain's A-Gonna Fall": [Excerpt: Ewan MacColl, "Lord Randall"] I say she was clearly familiar with it, because the other song she wrote that anyone's heard was based very much around that idea. "Baby Please Don't Go To Town" is a question-and-answer song in precisely that form, but with an unusual chord progression for a folk song. You may remember back in the episode on "Eight Miles High" I talked about the circle of fifths -- a chord progression which either increases or decreases by a fifth for every chord, so it might go C-G-D-A-E [demonstrates] That's a common progression in pop and jazz, but not really so much in folk, but it's the one that Miller had used for "Baby, Please Don't Go to Town", and she'd taught Roberts that song, which she only recorded much later: [Excerpt: Niela Miller, "Baby, Please Don't Go To Town"] After Roberts and Miller broke up, Miller kept playing that melody, but he changed the lyrics. The lyrics he added had several influences. There was that question-and-answer folk-song format, there's the story of "Cocaine Blues" with its protagonist getting a forty-four to shoot his woman down before heading to Mexico, and there's also a country hit from 1953. "Hey, Joe!" was originally recorded by Carl Smith, one of the most popular country singers of the early fifties: [Excerpt: Carl Smith, "Hey Joe!"] That was written by Boudleaux Bryant, a few years before the songs he co-wrote for the Everly Brothers, and became a country number one, staying at the top for eight weeks. It didn't make the pop chart, but a pop cover version of it by Frankie Laine made the top ten in the US: [Excerpt: Frankie Laine, "Hey Joe"] Laine's record did even better in the UK, where it made number one, at a point where Laine was the biggest star in music in Britain -- at the time the UK charts only had a top twelve, and at one point four of the singles in the top twelve were by Laine, including that one. There was also an answer record by Kitty Wells which made the country top ten later that year: [Excerpt: Kitty Wells, "Hey Joe"] Oddly, despite it being a very big hit, that "Hey Joe" had almost no further cover versions for twenty years, though it did become part of the Searchers' setlist, and was included on their Live at the Star Club album in 1963, in an arrangement that owed a lot to "What'd I Say": [Excerpt: The Searchers, "Hey Joe"] But that song was clearly on Roberts' mind when, as so many American folk musicians did, he travelled to the UK in the late fifties and became briefly involved in the burgeoning UK folk movement. In particular, he spent some time with a twelve-string guitar player from Edinburgh called Len Partridge, who was also a mentor to Bert Jansch, and who was apparently an extraordinary musician, though I know of no recordings of his work. Partridge helped Roberts finish up the song, though Partridge is about the only person in this story who *didn't* claim a writing credit for it at one time or another, saying that he just helped Roberts out and that Roberts deserved all the credit. The first known recording of the completed song is from 1962, a few years after Roberts had returned to the US, though it didn't surface until decades later: [Excerpt: Billy Roberts, "Hey Joe"] Roberts was performing this song regularly on the folk circuit, and around the time of that recording he also finally got round to registering the copyright, several years after it was written. When Miller heard the song, she was furious, and she later said "Imagine my surprise when I heard Hey Joe by Billy Roberts. There was my tune, my chord progression, my question/answer format. He dropped the bridge that was in my song and changed it enough so that the copyright did not protect me from his plagiarism... I decided not to go through with all the complications of dealing with him. He never contacted me about it or gave me any credit. He knows he committed a morally reprehensible act. He never was man enough to make amends and apologize to me, or to give credit for the inspiration. Dealing with all that was also why I made the decision not to become a professional songwriter. It left a bad taste in my mouth.” Pete Seeger, a friend of Miller's, was outraged by the injustice and offered to testify on her behalf should she decide to take Roberts to court, but she never did. Some time around this point, Roberts also played on that prison bill with Johnny Cash, and what happened next is hard to pin down. I've read several different versions of the story, which change the date and which prison this was in, and none of the details in any story hang together properly -- everything introduces weird inconsistencies and things which just make no sense at all. Something like this basic outline of the story seems to have happened, but the outline itself is weird, and we'll probably never know the truth. Roberts played his set, and one of the songs he played was "Hey Joe", and at some point he got talking to one of the prisoners in the audience, Dino Valenti. We've met Valenti before, in the episode on "Mr. Tambourine Man" -- he was a singer/songwriter himself, and would later be the lead singer of Quicksilver Messenger Service, but he's probably best known for having written "Get Together": [Excerpt: Dino Valenti, "Get Together"] As we heard in the "Mr. Tambourine Man" episode, Valenti actually sold off his rights to that song to pay for his bail at one point, but he was in and out of prison several times because of drug busts. At this point, or so the story goes, he was eligible for parole, but he needed to prove he had a possible income when he got out, and one way he wanted to do that was to show that he had written a song that could be a hit he could make money off, but he didn't have such a song. He talked about his predicament with Roberts, who agreed to let him claim to have written "Hey Joe" so he could get out of prison. He did make that claim, and when he got out of prison he continued making the claim, and registered the copyright to "Hey Joe" in his own name -- even though Roberts had already registered it -- and signed a publishing deal for it with Third Story Music, a company owned by Herb Cohen, the future manager of the Mothers of Invention, and Cohen's brother Mutt. Valenti was a popular face on the folk scene, and he played "his" song to many people, but two in particular would influence the way the song would develop, both of them people we've seen relatively recently in episodes of the podcast. One of them, Vince Martin, we'll come back to later, but the other was David Crosby, and so let's talk about him and the Byrds a bit more. Crosby and Valenti had been friends long before the Byrds formed, and indeed we heard in the "Mr. Tambourine Man" episode how the group had named themselves after Valenti's song "Birdses": [Excerpt: Dino Valenti, "Birdses"] And Crosby *loved* "Hey Joe", which he believed was another of Valenti's songs. He'd perform it every chance he got, playing it solo on guitar in an arrangement that other people have compared to Mose Allison. He'd tried to get it on the first two Byrds albums, but had been turned down, mostly because of their manager and uncredited co-producer Jim Dickson, who had strong opinions about it, saying later "Some of the songs that David would bring in from the outside were perfectly valid songs for other people, but did not seem to be compatible with the Byrds' myth. And he may not have liked the Byrds' myth. He fought for 'Hey Joe' and he did it. As long as I could say 'No!' I did, and when I couldn't any more they did it. You had to give him something somewhere. I just wish it was something else... 'Hey Joe' I was bitterly opposed to. A song about a guy who murders his girlfriend in a jealous rage and is on the way to Mexico with a gun in his hand. It was not what I saw as a Byrds song." Indeed, Dickson was so opposed to the song that he would later say “One of the reasons David engineered my getting thrown out was because I would not let Hey Joe be on the Turn! Turn! Turn! album.” Dickson was, though, still working with the band when they got round to recording it. That came during the recording of their Fifth Dimension album, the album which included "Eight Miles High". That album was mostly recorded after the departure of Gene Clark, which was where we left the group at the end of the "Eight Miles High" episode, and the loss of their main songwriter meant that they were struggling for material -- doubly so since they also decided they were going to move away from Dylan covers. This meant that they had to rely on original material from the group's less commercial songwriters, and on a few folk songs, mostly learned from Pete Seeger The album ended up with only eleven songs on it, compared to the twelve that was normal for American albums at that time, and the singles on it after "Eight Miles High" weren't particularly promising as to the group's ability to come up with commercial material. The next single, "5D", a song by Roger McGuinn about the fifth dimension, was a waltz-time song that both Crosby and Chris Hillman were enthused by. It featured organ by Van Dyke Parks, and McGuinn said of the organ part "When he came into the studio I told him to think Bach. He was already thinking Bach before that anyway.": [Excerpt: The Byrds, "5D"] While the group liked it, though, that didn't make the top forty. The next single did, just about -- a song that McGuinn had written as an attempt at communicating with alien life. He hoped that it would be played on the radio, and that the radio waves would eventually reach aliens, who would hear it and respond: [Excerpt: The Byrds, "Mr. Spaceman"] The "Fifth Dimension" album did significantly worse, both critically and commercially, than their previous albums, and the group would soon drop Allen Stanton, the producer, in favour of Gary Usher, Brian Wilson's old songwriting partner. But the desperation for material meant that the group agreed to record the song which they still thought at that time had been written by Crosby's friend, though nobody other than Crosby was happy with it, and even Crosby later said "It was a mistake. I shouldn't have done it. Everybody makes mistakes." McGuinn said later "The reason Crosby did lead on 'Hey Joe' was because it was *his* song. He didn't write it but he was responsible for finding it. He'd wanted to do it for years but we would never let him.": [Excerpt: The Byrds, "Hey Joe"] Of course, that arrangement is very far from the Mose Allison style version Crosby had been doing previously. And the reason for that can be found in the full version of that McGuinn quote, because the full version continues "He'd wanted to do it for years but we would never let him. Then both Love and The Leaves had a minor hit with it and David got so angry that we had to let him do it. His version wasn't that hot because he wasn't a strong lead vocalist." The arrangement we just heard was the arrangement that by this point almost every group on the Sunset Strip scene was playing. And the reason for that was because of another friend of Crosby's, someone who had been a roadie for the Byrds -- Bryan MacLean. MacLean and Crosby had been very close because they were both from very similar backgrounds -- they were both Hollywood brats with huge egos. MacLean later said "Crosby and I got on perfectly. I didn't understand what everybody was complaining about, because he was just like me!" MacLean was, if anything, from an even more privileged background than Crosby. His father was an architect who'd designed houses for Elizabeth Taylor and Dean Martin, his neighbour when growing up was Frederick Loewe, the composer of My Fair Lady. He learned to swim in Elizabeth Taylor's private pool, and his first girlfriend was Liza Minelli. Another early girlfriend was Jackie DeShannon, the singer-songwriter who did the original version of "Needles and Pins", who he was introduced to by Sharon Sheeley, whose name you will remember from many previous episodes. MacLean had wanted to be an artist until his late teens, when he walked into a shop in Westwood which sometimes sold his paintings, the Sandal Shop, and heard some people singing folk songs there. He decided he wanted to be a folk singer, and soon started performing at the Balladeer, a club which would later be renamed the Troubadour, playing songs like Robert Johnson's "Cross Roads Blues", which had recently become a staple of the folk repertoire after John Hammond put out the King of the Delta Blues Singers album: [Excerpt: Robert Johnson, "Cross Roads Blues"] Reading interviews with people who knew MacLean at the time, the same phrase keeps coming up. John Kay, later the lead singer of Steppenwolf, said "There was a young kid, Bryan MacLean, kind of cocky but nonetheless a nice kid, who hung around Crosby and McGuinn" while Chris Hillman said "He was a pretty good kid but a wee bit cocky." He was a fan of the various musicians who later formed the Byrds, and was also an admirer of a young guitarist on the scene named Ryland Cooder, and of a blues singer on the scene named Taj Mahal. He apparently was briefly in a band with Taj Mahal, called Summer's Children, who as far as I can tell had no connection to the duo that Curt Boettcher later formed of the same name, before Taj Mahal and Cooder formed The Rising Sons, a multi-racial blues band who were for a while the main rivals to the Byrds on the scene. MacLean, though, firmly hitched himself to the Byrds, and particularly to Crosby. He became a roadie on their first tour, and Hillman said "He was a hard-working guy on our behalf. As I recall, he pretty much answered to Crosby and was David's assistant, to put it diplomatically – more like his gofer, in fact." But MacLean wasn't cut out for the hard work that being a roadie required, and after being the Byrds' roadie for about thirty shows, he started making mistakes, and when they went off on their UK tour they decided not to keep employing him. He was heartbroken, but got back into trying his own musical career. He auditioned for the Monkees, unsuccessfully, but shortly after that -- some sources say even the same day as the audition, though that seems a little too neat -- he went to Ben Frank's -- the LA hangout that had actually been namechecked in the open call for Monkees auditions, which said they wanted "Ben Franks types", and there he met Arthur Lee and Johnny Echols. Echols would later remember "He was this gadfly kind of character who knew everybody and was flitting from table to table. He wore striped pants and a scarf, and he had this long, strawberry hair. All the girls loved him. For whatever reason, he came and sat at our table. Of course, Arthur and I were the only two black people there at the time." Lee and Echols were both Black musicians who had been born in Memphis. Lee's birth father, Chester Taylor, had been a cornet player with Jimmie Lunceford, whose Delta Rhythm Boys had had a hit with "The Honeydripper", as we heard way back in the episode on "Rocket '88": [Excerpt: Jimmie Lunceford and the Delta Rhythm Boys, "The Honeydripper"] However, Taylor soon split from Lee's mother, a schoolteacher, and she married Clinton Lee, a stonemason, who doted on his adopted son, and they moved to California. They lived in a relatively prosperous area of LA, a neighbourhood that was almost all white, with a few Asian families, though the boxer Sugar Ray Robinson lived nearby. A year or so after Arthur and his mother moved to LA, so did the Echols family, who had known them in Memphis, and they happened to move only a couple of streets away. Eight year old Arthur Lee reconnected with seven-year-old Johnny Echols, and the two became close friends from that point on. Arthur Lee first started out playing music when his parents were talked into buying him an accordion by a salesman who would go around with a donkey, give kids free donkey rides, and give the parents a sales pitch while they were riding the donkey, He soon gave up on the accordion and persuaded his parents to buy him an organ instead -- he was a spoiled child, by all accounts, with a TV in his bedroom, which was almost unheard of in the late fifties. Johnny Echols had a similar experience which led to his parents buying him a guitar, and the two were growing up in a musical environment generally. They attended Dorsey High School at the same time as both Billy Preston and Mike Love of the Beach Boys, and Ella Fitzgerald and her then-husband, the great jazz bass player Ray Brown, lived in the same apartment building as the Echols family for a while. Ornette Coleman, the free-jazz saxophone player, lived next door to Echols, and Adolphus Jacobs, the guitarist with the Coasters, gave him guitar lessons. Arthur Lee also knew Johnny Otis, who ran a pigeon-breeding club for local children which Arthur would attend. Echols was the one who first suggested that he and Arthur should form a band, and they put together a group to play at a school talent show, performing "Last Night", the instrumental that had been a hit for the Mar-Keys on Stax records: [Excerpt: The Mar-Keys, "Last Night"] They soon became a regular group, naming themselves Arthur Lee and the LAGs -- the LA Group, in imitation of Booker T and the MGs – the Memphis Group. At some point around this time, Lee decided to switch from playing organ to playing guitar. He would say later that this was inspired by seeing Johnny "Guitar" Watson get out of a gold Cadillac, wearing a gold suit, and with gold teeth in his mouth. The LAGs started playing as support acts and backing bands for any blues and soul acts that came through LA, performing with Big Mama Thornton, Johnny Otis, the O'Jays, and more. Arthur and Johnny were both still under-age, and they would pencil in fake moustaches to play the clubs so they'd appear older. In the fifties and early sixties, there were a number of great electric guitar players playing blues on the West Coast -- Johnny "Guitar" Watson, T-Bone Walker, Guitar Slim, and others -- and they would compete with each other not only to play well, but to put on a show, and so there was a whole bag of stage tricks that West Coast R&B guitarists picked up, and Echols learned all of them -- playing his guitar behind his back, playing his guitar with his teeth, playing with his guitar between his legs. As well as playing their own shows, the LAGs also played gigs under other names -- they had a corrupt agent who would book them under the name of whatever Black group had a hit at the time, in the belief that almost nobody knew what popular groups looked like anyway, so they would go out and perform as the Drifters or the Coasters or half a dozen other bands. But Arthur Lee in particular wanted to have success in his own right. He would later say "When I was a little boy I would listen to Nat 'King' Cole and I would look at that purple Capitol Records logo. I wanted to be on Capitol, that was my goal. Later on I used to walk from Dorsey High School all the way up to the Capitol building in Hollywood -- did that many times. I was determined to get a record deal with Capitol, and I did, without the help of a fancy manager or anyone else. I talked to Adam Ross and Jack Levy at Ardmore-Beechwood. I talked to Kim Fowley, and then I talked to Capitol". The record that the LAGs released, though, was not very good, a track called "Rumble-Still-Skins": [Excerpt: The LAGs, "Rumble-Still-Skins"] Lee later said "I was young and very inexperienced and I was testing the record company. I figured if I gave them my worst stuff and they ripped me off I wouldn't get hurt. But it didn't work, and after that I started giving my best, and I've been doing that ever since." The LAGs were dropped by Capitol after one single, and for the next little while Arthur and Johnny did work for smaller labels, usually labels owned by Bob Keane, with Arthur writing and producing and Johnny playing guitar -- though Echols has said more recently that a lot of the songs that were credited to Arthur as sole writer were actually joint compositions. Most of these records were attempts at copying the style of other people. There was "I Been Trying", a Phil Spector soundalike released by Little Ray: [Excerpt: Little Ray, "I Been Trying"] And there were a few attempts at sounding like Curtis Mayfield, like "Slow Jerk" by Ronnie and the Pomona Casuals: [Excerpt: Ronnie and the Pomona Casuals, "Slow Jerk"] and "My Diary" by Rosa Lee Brooks: [Excerpt: Rosa Lee Brooks, "My Diary"] Echols was also playing with a lot of other people, and one of the musicians he was playing with, his old school friend Billy Preston, told him about a recent European tour he'd been on with Little Richard, and the band from Liverpool he'd befriended while he was there who idolised Richard, so when the Beatles hit America, Arthur and Johnny had some small amount of context for them. They soon broke up the LAGs and formed another group, the American Four, with two white musicians, bass player John Fleckenstein and drummer Don Costa. Lee had them wear wigs so they seemed like they had longer hair, and started dressing more eccentrically -- he would soon become known for wearing glasses with one blue lens and one red one, and, as he put it "wearing forty pounds of beads, two coats, three shirts, and wearing two pairs of shoes on one foot". As well as the Beatles, the American Four were inspired by the other British Invasion bands -- Arthur was in the audience for the TAMI show, and quite impressed by Mick Jagger -- and also by the Valentinos, Bobby Womack's group. They tried to get signed to SAR Records, the label owned by Sam Cooke for which the Valentinos recorded, but SAR weren't interested, and they ended up recording for Bob Keane's Del-Fi records, where they cut "Luci Baines", a "Twist and Shout" knock-off with lyrics referencing the daughter of new US President Lyndon Johnson: [Excerpt: The American Four, "Luci Baines"] But that didn't take off any more than the earlier records had. Another American Four track, "Stay Away", was recorded but went unreleased until 2006: [Excerpt: Arthur Lee and the American Four, "Stay Away"] Soon the American Four were changing their sound and name again. This time it was because of two bands who were becoming successful on the Sunset Strip. One was the Byrds, who to Lee's mind were making music like the stuff he heard in his head, and the other was their rivals the Rising Sons, the blues band we mentioned earlier with Taj Mahal and Ry Cooder. Lee was very impressed by them as an multiracial band making aggressive, loud, guitar music, though he would always make the point when talking about them that they were a blues band, not a rock band, and *he* had the first multiracial rock band. Whatever they were like live though, in their recordings, produced by the Byrds' first producer Terry Melcher, the Rising Sons often had the same garage band folk-punk sound that Lee and Echols would soon make their own: [Excerpt: The Rising Sons, "Take a Giant Step"] But while the Rising Sons recorded a full album's worth of material, only one single was released before they split up, and so the way was clear for Lee and Echols' band, now renamed once again to The Grass Roots, to become the Byrds' new challengers. Lee later said "I named the group The Grass Roots behind a trip, or an album I heard that Malcolm X did, where he said 'the grass roots of the people are out in the street doing something about their problems instead of sitting around talking about it'". After seeing the Rolling Stones and the Byrds live, Lee wanted to get up front and move like Mick Jagger, and not be hindered by playing a guitar he wasn't especially good at -- both the Stones and the Byrds had two guitarists and a frontman who just sang and played hand percussion, and these were the models that Lee was following for the group. He also thought it would be a good idea commercially to get a good-looking white boy up front. So the group got in another guitarist, a white pretty boy who Lee soon fell out with and gave the nickname "Bummer Bob" because he was unpleasant to be around. Those of you who know exactly why Bobby Beausoleil later became famous will probably agree that this was a more than reasonable nickname to give him (and those of you who don't, I'll be dealing with him when we get to 1969). So when Bryan MacLean introduced himself to Lee and Echols, and they found out that not only was he also a good-looking white guitarist, but he was also friends with the entire circle of hipsters who'd been going to Byrds gigs, people like Vito and Franzoni, and he could get a massive crowd of them to come along to gigs for any band he was in and make them the talk of the Sunset Strip scene, he was soon in the Grass Roots, and Bummer Bob was out. The Grass Roots soon had to change their name again, though. In 1965, Jan and Dean recorded their "Folk and Roll" album, which featured "The Universal Coward"... Which I am not going to excerpt again. I only put that pause in to terrify Tilt, who edits these podcasts, and has very strong opinions about that song. But P. F. Sloan and Steve Barri, the songwriters who also performed as the Fantastic Baggies, had come up with a song for that album called "Where Where You When I Needed You?": [Excerpt: Jan and Dean, "Where Were You When I Needed You?"] Sloan and Barri decided to cut their own version of that song under a fake band name, and then put together a group of other musicians to tour as that band. They just needed a name, and Lou Adler, the head of Dunhill Records, suggested they call themselves The Grass Roots, and so that's what they did: [Excerpt: The Grass Roots, "Where Were You When I Needed You?"] Echols would later claim that this was deliberate malice on Adler's part -- that Adler had come in to a Grass Roots show drunk, and pretended to be interested in signing them to a contract, mostly to show off to a woman he'd brought with him. Echols and MacLean had spoken to him, not known who he was, and he'd felt disrespected, and Echols claims that he suggested the name to get back at them, and also to capitalise on their local success. The new Grass Roots soon started having hits, and so the old band had to find another name, which they got as a joking reference to a day job Lee had had at one point -- he'd apparently worked in a specialist bra shop, Luv Brassieres, which the rest of the band found hilarious. The Grass Roots became Love. While Arthur Lee was the group's lead singer, Bryan MacLean would often sing harmonies, and would get a song or two to sing live himself. And very early in the group's career, when they were playing a club called Bido Lito's, he started making his big lead spot a version of "Hey Joe", which he'd learned from his old friend David Crosby, and which soon became the highlight of the group's set. Their version was sped up, and included the riff which the Searchers had popularised in their cover version of  "Needles and Pins", the song originally recorded by MacLean's old girlfriend Jackie DeShannon: [Excerpt: The Searchers, "Needles and Pins"] That riff is a very simple one to play, and variants of it became very, very, common among the LA bands, most notably on the Byrds' "I'll Feel a Whole Lot Better": [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] The riff was so ubiquitous in the LA scene that in the late eighties Frank Zappa would still cite it as one of his main memories of the scene. I'm going to quote from his autobiography, where he's talking about the differences between the LA scene he was part of and the San Francisco scene he had no time for: "The Byrds were the be-all and end-all of Los Angeles rock then. They were 'It' -- and then a group called Love was 'It.' There were a few 'psychedelic' groups that never really got to be 'It,' but they could still find work and get record deals, including the West Coast Pop Art Experimental Band, Sky Saxon and the Seeds, and the Leaves (noted for their cover version of "Hey, Joe"). When we first went to San Francisco, in the early days of the Family Dog, it seemed that everybody was wearing the same costume, a mixture of Barbary Coast and Old West -- guys with handlebar mustaches, girls in big bustle dresses with feathers in their hair, etc. By contrast, the L.A. costumery was more random and outlandish. Musically, the northern bands had a little more country style. In L.A., it was folk-rock to death. Everything had that" [and here Zappa uses the adjectival form of a four-letter word beginning with 'f' that the main podcast providers don't like you saying on non-adult-rated shows] "D chord down at the bottom of the neck where you wiggle your finger around -- like 'Needles and Pins.'" The reason Zappa describes it that way, and the reason it became so popular, is that if you play that riff in D, the chords are D, Dsus2, and Dsus4 which means you literally only wiggle one finger on your left hand: [demonstrates] And so you get that on just a ton of records from that period, though Love, the Byrds, and the Searchers all actually play the riff on A rather than D: [demonstrates] So that riff became the Big Thing in LA after the Byrds popularised the Searchers sound there, and Love added it to their arrangement of "Hey Joe". In January 1966, the group would record their arrangement of it for their first album, which would come out in March: [Excerpt: Love, "Hey Joe"] But that wouldn't be the first recording of the song, or of Love's arrangement of it – although other than the Byrds' version, it would be the only one to come out of LA with the original Billy Roberts lyrics. Love's performances of the song at Bido Lito's had become the talk of the Sunset Strip scene, and soon every band worth its salt was copying it, and it became one of those songs like "Louie Louie" before it that everyone would play. The first record ever made with the "Hey Joe" melody actually had totally different lyrics. Kim Fowley had the idea of writing a sequel to "Hey Joe", titled "Wanted Dead or Alive", about what happened after Joe shot his woman and went off. He produced the track for The Rogues, a group consisting of Michael Lloyd and Shaun Harris, who later went on to form the West Coast Pop Art Experimental Band, and Lloyd and Harris were the credited writers: [Excerpt: The Rogues, "Wanted Dead or Alive"] The next version of the song to come out was the first by anyone to be released as "Hey Joe", or at least as "Hey Joe, Where You Gonna Go?", which was how it was titled on its initial release. This was by a band called The Leaves, who were friends of Love, and had picked up on "Hey Joe", and was produced by Nik Venet. It was also the first to have the now-familiar opening line "Hey Joe, where you going with that gun in your hand?": [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] Roberts' original lyric, as sung by both Love and the Byrds, had been "where you going with that money in your hand?", and had Joe headed off to *buy* the gun. But as Echols later said “What happened was Bob Lee from The Leaves, who were friends of ours, asked me for the words to 'Hey Joe'. I told him I would have the words the next day. I decided to write totally different lyrics. The words you hear on their record are ones I wrote as a joke. The original words to Hey Joe are ‘Hey Joe, where you going with that money in your hand? Well I'm going downtown to buy me a blue steel .44. When I catch up with that woman, she won't be running round no more.' It never says ‘Hey Joe where you goin' with that gun in your hand.' Those were the words I wrote just because I knew they were going to try and cover the song before we released it. That was kind of a dirty trick that I played on The Leaves, which turned out to be the words that everybody uses.” That first release by the Leaves also contained an extra verse -- a nod to Love's previous name: [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] That original recording credited the song as public domain -- apparently Bryan MacLean had refused to tell the Leaves who had written the song, and so they assumed it was traditional. It came out in November 1965, but only as a promo single. Even before the Leaves, though, another band had recorded "Hey Joe", but it didn't get released. The Sons of Adam had started out as a surf group called the Fender IV, who made records like "Malibu Run": [Excerpt: The Fender IV, "Malibu Run"] Kim Fowley had suggested they change their name to the Sons of Adam, and they were another group who were friends with Love -- their drummer, Michael Stuart-Ware, would later go on to join Love, and Arthur Lee wrote the song "Feathered Fish" for them: [Excerpt: Sons of Adam, "Feathered Fish"] But while they were the first to record "Hey Joe", their version has still to this day not been released. Their version was recorded for Decca, with producer Gary Usher, but before it was released, another Decca artist also recorded the song, and the label weren't sure which one to release. And then the label decided to press Usher to record a version with yet another act -- this time with the Surfaris, the surf group who had had a hit with "Wipe Out". Coincidentally, the Surfaris had just changed bass players -- their most recent bass player, Ken Forssi, had quit and joined Love, whose own bass player, John Fleckenstein, had gone off to join the Standells, who would also record a version of “Hey Joe” in 1966. Usher thought that the Sons of Adam were much better musicians than the Surfaris, who he was recording with more or less under protest, but their version, using Love's arrangement and the "gun in your hand" lyrics, became the first version to come out on a major label: [Excerpt: The Surfaris, "Hey Joe"] They believed the song was in the public domain, and so the songwriting credits on the record are split between Gary Usher, a W. Hale who nobody has been able to identify, and Tony Cost, a pseudonym for Nik Venet. Usher said later "I got writer's credit on it because I was told, or I assumed at the time, the song was Public Domain; meaning a non-copyrighted song. It had already been cut two or three times, and on each occasion the writing credit had been different. On a traditional song, whoever arranges it, takes the songwriting credit. I may have changed a few words and arranged and produced it, but I certainly did not co-write it." The public domain credit also appeared on the Leaves' second attempt to cut the song, which was actually given a general release, but flopped. But when the Leaves cut the song for a *third* time, still for the same tiny label, Mira, the track became a hit in May 1966, reaching number thirty-one: [Excerpt: The Leaves, "Hey Joe"] And *that* version had what they thought was the correct songwriting credit, to Dino Valenti. Which came as news to Billy Roberts, who had registered the copyright to the song back in 1962 and had no idea that it had become a staple of LA garage rock until he heard his song in the top forty with someone else's name on the credits. He angrily confronted Third Story Music, who agreed to a compromise -- they would stop giving Valenti songwriting royalties and start giving them to Roberts instead, so long as he didn't sue them and let them keep the publishing rights. Roberts was indignant about this -- he deserved all the money, not just half of it -- but he went along with it to avoid a lawsuit he might not win. So Roberts was now the credited songwriter on the versions coming out of the LA scene. But of course, Dino Valenti had been playing "his" song to other people, too. One of those other people was Vince Martin. Martin had been a member of a folk-pop group called the Tarriers, whose members also included the future film star Alan Arkin, and who had had a hit in the 1950s with "Cindy, Oh Cindy": [Excerpt: The Tarriers, "Cindy, Oh Cindy"] But as we heard in the episode on the Lovin' Spoonful, he had become a Greenwich Village folkie, in a duo with Fred Neil, and recorded an album with him, "Tear Down the Walls": [Excerpt: Fred Neil and Vince Martin, "Morning Dew"] That song we just heard, "Morning Dew", was another question-and-answer folk song. It was written by the Canadian folk-singer Bonnie Dobson, but after Martin and Neil recorded it, it was picked up on by Martin's friend Tim Rose who stuck his own name on the credits as well, without Dobson's permission, for a version which made the song into a rock standard for which he continued to collect royalties: [Excerpt: Tim Rose, "Morning Dew"] This was something that Rose seems to have made a habit of doing, though to be fair to him it went both ways. We heard about him in the Lovin' Spoonful episode too, when he was in a band named the Big Three with Cass Elliot and her coincidentally-named future husband Jim Hendricks, who recorded this song, with Rose putting new music to the lyrics of the old public domain song "Oh! Susanna": [Excerpt: The Big Three, "The Banjo Song"] The band Shocking Blue used that melody for their 1969 number-one hit "Venus", and didn't give Rose any credit: [Excerpt: Shocking Blue, "Venus"] But another song that Rose picked up from Vince Martin was "Hey Joe". Martin had picked the song up from Valenti, but didn't know who had written it, or who was claiming to have written it, and told Rose he thought it might be an old Appalchian murder ballad or something. Rose took the song and claimed writing credit in his own name -- he would always, for the rest of his life, claim it was an old folk tune he'd heard in Florida, and that he'd rewritten it substantially himself, but no evidence of the song has ever shown up from prior to Roberts' copyright registration, and Rose's version is basically identical to Roberts' in melody and lyrics. But Rose takes his version at a much slower pace, and his version would be the model for the most successful versions going forward, though those other versions would use the lyrics Johnny Echols had rewritten, rather than the ones Rose used: [Excerpt: Tim Rose, "Hey Joe"] Rose's version got heard across the Atlantic as well. And in particular it was heard by Chas Chandler, the bass player of the Animals. Some sources seem to suggest that Chandler first heard the song performed by a group called the Creation, but in a biography I've read of that group they clearly state that they didn't start playing the song until 1967. But however he came across it, when Chandler heard Rose's recording, he knew that the song could be a big hit for someone, but he didn't know who. And then he bumped into Linda Keith, Keith Richards' girlfriend,  who took him to see someone whose guitar we've already heard in this episode: [Excerpt: Rosa Lee Brooks, "My Diary"] The Curtis Mayfield impression on guitar there was, at least according to many sources the first recording session ever played on by a guitarist then calling himself Maurice (or possibly Mo-rees) James. We'll see later in the story that it possibly wasn't his first -- there are conflicting accounts, as there are about a lot of things, and it was recorded either in very early 1964, in which case it was his first, or (as seems more likely, and as I tell the story later) a year later, in which case he'd played on maybe half a dozen tracks in the studio by that point. But it was still a very early one. And by late 1966 that guitarist had reverted to the name by which he was brought up, and was calling himself Jimi Hendrix. Hendrix and Arthur Lee had become close, and Lee would later claim that Hendrix had copied much of Lee's dress style and attitude -- though many of Hendrix's other colleagues and employers, including Little Richard, would make similar claims -- and most of them had an element of truth, as Lee's did. Hendrix was a sponge. But Lee did influence him. Indeed, one of Hendrix's *last* sessions, in March 1970, was guesting on an album by Love: [Excerpt: Love with Jimi Hendrix, "Everlasting First"] Hendrix's name at birth was Johnny Allen Hendrix, which made his father, James Allen Hendrix, known as Al, who was away at war when his son was born, worry that he'd been named after another man who might possibly be the real father, so the family just referred to the child as "Buster" to avoid the issue. When Al Hendrix came back from the war the child was renamed James Marshall Hendrix -- James after Al's first name, Marshall after Al's dead brother -- though the family continued calling him "Buster". Little James Hendrix Junior didn't have anything like a stable home life. Both his parents were alcoholics, and Al Hendrix was frequently convinced that Jimi's mother Lucille was having affairs and became abusive about it. They had six children, four of whom were born disabled, and Jimi was the only one to remain with his parents -- the rest were either fostered or adopted at birth, fostered later on because the parents weren't providing a decent home life, or in one case made a ward of state because the Hendrixes couldn't afford to pay for a life-saving operation for him. The only one that Jimi had any kind of regular contact with was the second brother, Leon, his parents' favourite, who stayed with them for several years before being fostered by a family only a few blocks away. Al and Lucille Hendrix frequently split and reconciled, and while they were ostensibly raising Jimi (and for a  few years Leon), he was shuttled between them and various family members and friends, living sometimes in Seattle where his parents lived and sometimes in Vancouver with his paternal grandmother. He was frequently malnourished, and often survived because friends' families fed him. Al Hendrix was also often physically and emotionally abusive of the son he wasn't sure was his. Jimi grew up introverted, and stuttering, and only a couple of things seemed to bring him out of his shell. One was science fiction -- he always thought that his nickname, Buster, came from Buster Crabbe, the star of the Flash Gordon serials he loved to watch, though in fact he got the nickname even before that interest developed, and he was fascinated with ideas about aliens and UFOs -- and the other was music. Growing up in Seattle in the forties and fifties, most of the music he was exposed to as a child and in his early teens was music made by and for white people -- there wasn't a very large Black community in the area at the time compared to most major American cities, and so there were no prominent R&B stations. As a kid he loved the music of Bob Wills and the Texas Playboys, and when he was thirteen Jimi's favourite record was Dean Martin's "Memories are Made of This": [Excerpt: Dean Martin, "Memories are Made of This"] He also, like every teenager, became a fan of rock and roll music. When Elvis played at a local stadium when Jimi was fifteen, he couldn't afford a ticket, but he went and sat on top of a nearby hill and watched the show from the distance. Jimi's first exposure to the blues also came around this time, when his father briefly took in lodgers, Cornell and Ernestine Benson, and Ernestine had a record collection that included records by Lightnin' Hopkins, Howlin' Wolf, and Muddy Waters, all of whom Jimi became a big fan of, especially Muddy Waters. The Bensons' most vivid memory of Jimi in later years was him picking up a broom and pretending to play guitar along with these records: [Excerpt: Muddy Waters, "Baby Please Don't Go"] Shortly after this, it would be Ernestine Benson who would get Jimi his very first guitar. By this time Jimi and Al had lost their home and moved into a boarding house, and the owner's son had an acoustic guitar with only one string that he was planning to throw out. When Jimi asked if he could have it instead of it being thrown out, the owner told him he could have it for five dollars. Al Hendrix refused to pay that much for it, but Ernestine Benson bought Jimi the guitar. She said later “He only had one string, but he could really make that string talk.” He started carrying the guitar on his back everywhere he went, in imitation of Sterling Hayden in the western Johnny Guitar, and eventually got some more strings for it and learned to play. He would play it left-handed -- until his father came in. His father had forced him to write with his right hand, and was convinced that left-handedness was the work of the devil, so Jimi would play left-handed while his father was somewhere else, but as soon as Al came in he would flip the guitar the other way up and continue playing the song he had been playing, now right-handed. Jimi's mother died when he was fifteen, after having been ill for a long time with drink-related problems, and Jimi and his brother didn't get to go to the funeral -- depending on who you believe, either Al gave Jimi the bus fare and told him to go by himself and Jimi was too embarrassed to go to the funeral alone on the bus, or Al actually forbade Jimi and Leon from going.  After this, he became even more introverted than he was before, and he also developed a fascination with the idea of angels, convinced his mother now was one. Jimi started to hang around with a friend called Pernell Alexander, who also had a guitar, and they would play along together with Elmore James records. The two also went to see Little Richard and Bill Doggett perform live, and while Jimi was hugely introverted, he did start to build more friendships in the small Seattle music scene, including with Ron Holden, the man we talked about in the episode on "Louie Louie" who introduced that song to Seattle, and who would go on to record with Bruce Johnston for Bob Keane: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] Eventually Ernestine Benson persuaded Al Hendrix to buy Jimi a decent electric guitar on credit -- Al also bought himself a saxophone at the same time, thinking he might play music with his son, but sent it back once the next payment became due. As well as blues and R&B, Jimi was soaking up the guitar instrumentals and garage rock that would soon turn into surf music. The first song he learned to play was "Tall Cool One" by the Fabulous Wailers, the local group who popularised a version of "Louie Louie" based on Holden's one: [Excerpt: The Fabulous Wailers, "Tall Cool One"] As we talked about in the "Louie Louie" episode, the Fabulous Wailers used to play at a venue called the Spanish Castle, and Jimi was a regular in the audience, later writing his song "Spanish Castle Magic" about those shows: [Excerpt: The Jimi Hendrix Experience, "Spanish Castle Magic"] He was also a big fan of Duane Eddy, and soon learned Eddy's big hits "Forty Miles of Bad Road", "Because They're Young", and "Peter Gunn" -- a song he would return to much later in his life: [Excerpt: Jimi Hendrix, "Peter Gunn/Catastrophe"] His career as a guitarist didn't get off to a great start -- the first night he played with his first band, he was meant to play two sets, but he was fired after the first set, because he was playing in too flashy a manner and showing off too much on stage. His girlfriend suggested that he might want to tone it down a little, but he said "That's not my style".  This would be a common story for the next several years. After that false start, the first real band he was in was the Velvetones, with his friend Pernell Alexander. There were four guitarists, two piano players, horns and drums, and they dressed up with glitter stuck to their pants. They played Duane Eddy songs, old jazz numbers, and "Honky Tonk" by Bill Doggett, which became Hendrix's signature song with the band. [Excerpt: Bill Doggett, "Honky Tonk"] His father was unsupportive of his music career, and he left his guitar at Alexander's house because he was scared that his dad would smash it if he took it home. At the same time he was with the Velvetones, he was also playing with another band called the Rocking Kings, who got gigs around the Seattle area, including at the Spanish Castle. But as they left school, most of Hendrix's friends were joining the Army, in order to make a steady living, and so did he -- although not entirely by choice. He was arrested, twice, for riding in stolen cars, and he was given a choice -- either go to prison, or sign up for the Army for three years. He chose the latter. At first, the Army seemed to suit him. He was accepted into the 101st Airborne Division, the famous "Screaming Eagles", whose actions at D-Day made them legendary in the US, and he was proud to be a member of the Division. They were based out of Fort Campbell, the base near Clarksville we talked about a couple of episodes ago, and while he was there he met a bass player, Billy Cox, who he started playing with. As Cox and Hendrix were Black, and as Fort Campbell straddled the border between Kentucky and Tennessee, they had to deal with segregation and play to only Black audiences. And Hendrix quickly discovered that Black audiences in the Southern states weren't interested in "Louie Louie", Duane Eddy, and surf music, the stuff he'd been playing in Seattle. He had to instead switch to playing Albert King and Slim Harpo songs, but luckily he loved that music too. He also started singing at this point -- when Hendrix and Cox started playing together, in a trio called the Kasuals, they had no singer, and while Hendrix never liked his own voice, Cox was worse, and so Hendrix was stuck as the singer. The Kasuals started gigging around Clarksville, and occasionally further afield, places like Nashville, where Arthur Alexander would occasionally sit in with them. But Cox was about to leave the Army, and Hendrix had another two and a bit years to go, having enlisted for three years. They couldn't play any further away unless Hendrix got out of the Army, which he was increasingly unhappy in anyway, and so he did the only thing he could -- he pretended to be gay, and got discharged on medical grounds for homosexuality. In later years he would always pretend he'd broken his ankle parachuting from a plane. For the next few years, he would be a full-time guitarist, and spend the periods when he wasn't earning enough money from that leeching off women he lived with, moving from one to another as they got sick of him or ran out of money. The Kasuals expanded their lineup, adding a second guitarist, Alphonso Young, who would show off on stage by playing guitar with his teeth. Hendrix didn't like being upstaged by another guitarist, and quickly learned to do the same. One biography I've used as a source for this says that at this point, Billy Cox played on a session for King Records, for Frank Howard and the Commanders, and brought Hendrix along, but the producer thought that Hendrix's guitar was too frantic and turned his mic off. But other sources say the session Hendrix and Cox played on for the Commanders wasn't until three years later, and the record *sounds* like a 1965 record, not a 1962 one, and his guitar is very audible – and the record isn't on King. But we've not had any music to break up the narration for a little while, and it's a good track (which later became a Northern Soul favourite) so I'll play a section here, as either way it was certainly an early Hendrix session: [Excerpt: Frank Howard and the Commanders, "I'm So Glad"] This illustrates a general problem with Hendrix's life at this point -- he would flit between bands, playing with the same people at multiple points, nobody was taking detailed notes, and later, once he became famous, everyone wanted to exaggerate their own importance in his life, meaning that while the broad outlines of his life are fairly clear, any detail before late 1966 might be hopelessly wrong. But all the time, Hendrix was learning his craft. One story from around this time  sums up both Hendrix's attitude to his playing -- he saw himself almost as much as a scientist as a musician -- and his slightly formal manner of speech.  He challenged the best blues guitarist in Nashville to a guitar duel, and the audience actually laughed at Hendrix's playing, as he was totally outclassed. When asked what he was doing, he replied “I was simply trying to get that B.B. King tone down and my experiment failed.” Bookings for the King Kasuals dried up, and he went to Vancouver, where he spent a couple of months playing in a covers band, Bobby Taylor and the Vancouvers, whose lead guitarist was Tommy Chong, later to find fame as one half of Cheech and Chong. But he got depressed at how white Vancouver was, and travelled back down south to join a reconfigured King Kasuals, who now had a horn section. The new lineup of King Kasuals were playing the chitlin circuit and had to put on a proper show, and so Hendrix started using all the techniques he'd seen other guitarists on the circuit use -- playing with his teeth like Alphonso Young, the other guitarist in the band, playing with his guitar behind his back like T-Bone Walker, and playing with a fifty-foot cord that allowed him to walk into the crowd and out of the venue, still playing, like Guitar Slim used to. As well as playing with the King Kasuals, he started playing the circuit as a sideman. He got short stints with many of the second-tier acts on the circuit -- people who had had one or two hits, or were crowd-pleasers, but weren't massive stars, like Carla Thomas or Jerry Butler or Slim Harpo. The first really big name he played with was Solomon Burke, who when Hendrix joined his band had just released "Just Out of Reach (Of My Two Empty Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (Of My Two Empty Arms)"] But he lacked discipline. “Five dates would go beautifully,” Burke later said, “and then at the next show, he'd go into this wild stuff that wasn't part of the song. I just couldn't handle it anymore.” Burke traded him to Otis Redding, who was on the same tour, for two horn players, but then Redding fired him a week later and they left him on the side of the road. He played in the backing band for the Marvelettes, on a tour with Curtis Mayfield, who would be another of Hendrix's biggest influences, but he accidentally blew up Mayfield's amp and got sacked. On another tour, Cecil Womack threw Hendrix's guitar off the bus while he slept. In February 1964 he joined the band of the Isley Brothers, and he would watch the Beatles on Ed Sullivan with them during his first days with the group. Assuming he hadn't already played the Rosa Lee Brooks session (and I think there's good reason to believe he hadn't), then the first record Hendrix played on was their single "Testify": [Excerpt: The Isley Brothers, "Testify"] While he was with them, he also moonlighted on Don Covay's big hit "Mercy, Mercy": [Excerpt: Don Covay and the Goodtimers, "Mercy Mercy"] After leaving the Isleys, Hendrix joined the minor soul singer Gorgeous George, and on a break from Gorgeous George's tour, in Memphis, he went to Stax studios in the hope of meeting Steve Cropper, one of his idols. When he was told that Cropper was busy in the studio, he waited around all day until Cropper finished, and introduced himself. Hendrix was amazed to discover that Cropper was white -- he'd assumed that he must be Black -- and Cropper was delighted to meet the guitarist who had played on "Mercy Mercy", one of his favourite records. The two spent hours showing each other guitar licks -- Hendrix playing Cropper's right-handed guitar, as he hadn't brought along his own. Shortly after this, he joined Little Richard's band, and once again came into conflict with the star of the show by trying to upstage him. For one show he wore a satin shirt, and after the show Richard screamed at him “I am the only Little Richard! I am the King of Rock and Roll, and I am the only one allowed to be pretty. Take that shirt off!” While he was with Richard, Hendrix played on his "I Don't Know What You've Got, But It's Got Me", which like "Mercy Mercy" was written by Don Covay, who had started out as Richard's chauffeur: [Excerpt: Little Richard, "I Don't Know What You've Got, But It's Got Me"] According to the most likely version of events I've read, it was while he was working for Richard that Hendrix met Rosa Lee Brooks, on New Year's Eve 1964. At this point he was using the name Maurice James, apparently in tribute to the blues guitarist Elmore James, and he used various names, including Jimmy James, for most of his pre-fame performances. Rosa Lee Brooks was an R&B singer who had been mentored by Johnny "Guitar" Watson, and when she met Hendrix she was singing in a girl group who were one of the support acts for Ike & Tina Turner, who Hendrix went to see on his night off. Hendrix met Brooks afterwards, and told her she looked like his mother -- a line he used on a lot of women, but which was true in her case if photos are anything to go by. The two got into a relationship, and were soon talking about becoming a duo like Ike and Tina or Mickey and Sylvia -- "Love is Strange" was one of Hendrix's favourite records. But the only recording they made together was the "My Diary" single. Brooks always claimed that she actually wrote that song, but the label credit is for Arthur Lee, and it sounds like his work to me, albeit him trying hard to write like Curtis Mayfield, just as Hendrix is trying to play like him: [Excerpt: Rosa Lee Brooks, "My Diary"] Brooks and Hendrix had a very intense relationship for a short period. Brooks would later recall Little

L.A. WOMAN: 50TH ANNIVERSARY DELUXE EDITION includes the original album newly remastered by The Doors' longtime engineer and mixer Bruce Botnick, two bonus discs of unreleased studio outtakes, and the stereo mix of the original album on 180-gram virgin vinyl. For this new collection, the original album has been expanded with more than two hours of unreleased recordings taken from the sessions for L.A. Woman, allowing the listener to experience the progression of each song as it developed in the studio. An early demo for “Hyacinth House” recorded at Robby Krieger's home studio in 1969 is also included.  The outtakes feature Jim Morrison, John Densmore, Robby Krieger, and Ray Manzarek working in the studio with two additional musicians. The first was rhythm guitarist Marc Benno, who worked with Leon Russell in The Asylum Choir. The other was bassist Jerry Scheff, who was a member of Elvis Presley's TCB band.Among the outtakes of album tracks, you can also hear the band joyously ripping through the kinds of classic blues songs that Morrison once described as “original blues.” There are great takes of Junior Parker's “Mystery Train,” John Lee Hooker's “Crawling King Snake,” Big Joe Williams' “Baby Please Don't Go,” and “Get Out Of My Life Woman,” Lee Dorsey's funky 1966 classic, written by his producer Allen Toussaint.In the collection's extensive liner notes, veteran rock journalist David Fricke explores the whirlwind making of the album, which would be the last with Morrison, who died in Paris a few months after its release. “Morrison may never have come back to The Doors,” he writes. “But with his death, L.A. Woman became rebirth, achievement, and finale, all at once. It's the blues too – original blues, as Morrison promised. Fifty years later, there is still nothing like it.”This episode is from an archive from the KPFK program Profiles adapted for podcast. Host Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994. Source: https://robbykrieger.comSource: https://store.thedoors.com/products/l-a-woman-50th-anniversary-deluxe-edition-3-cd-1-lpSupport the show

Fats Waller "Winter Weather"Elvis Costello & The Attractions "Radio, Radio"Loretta Lynn "Van Lear Rose"Cedric Burnside "Keep On Pushing"Ruth Brown "It's Raining"Lightnin' Hopkins "Penitentiary Blues"Billie Holiday "That's All I Ask of You"Stack Waddy "Repossession Boogie"Bull Moose Jackson "Big 10 Inch Record (Remastered)"The Both "Honesty Is No Excuse"Tom Waits "I Never Talk to Strangers"Jolie Holland "Mad Tom Of Bedlam"The Foc'sle Singers "Haul on the Bowline"Shannon McNally "John Finch / Swing Me Easy"Dwight Yoakam Duet with Maria McKee "Bury Me (2006 Remaster)"Floyd Dixon "Hey Bartender"Ted Hawkins "I Got What I Wanted"Lucero "When You Found Me"R.L. Burnside "Poor Black Mattie"Joe Calicott "Fare Thee Well Blues"Various "Shout, Lula With The Red Dress On"Buddy Guy "Baby Please Don't Leave Me"Bonnie 'Prince' Billy "May It Always Be"Duke Ellington "Creole Love Call"Hank Williams "Be Careful of Stones That You Throw"Chris Robinson "Over the Hill"Pee Wee King "Oh Monah"Victoria Spivey, Roosvelt Sykes, Lonnie Johnson, Big Joe Williams & Bob Dylan "All You Men"Jerry Lee Lewis "It Hurt Me So"Aretha Franklin "Never Grow Old"Shovels & Rope "I'm Comin' Out"Asie Payton "Back To The Bridge"Jimmy Lee Williams "Have You Ever Seen Peaches"Jessie Mae Hemphill "Run Get My Shotgun"Hank Ballard "Sunday Morning Coming Down"R.L. Boyce "R.l.'s Boogie"Milton Brown & His Musical Brownies "Easy Ridin' Papa"Jimmie Lunceford & His Orchestra "Margie"Josh White "Jelly Jelly"She & Him "Why Do You Let Me Stay Here?"Jake Xerxes Fussell "Pork and Beans"Marty Stuart "Hey Porter"Chubby "Hip Shakin'" Newsom "Hip Shakin' Mama"Eilen Jewell "Hallelujah Band"Johnny Horton "The Golden Rocket"Wright Holmes "Good Road Blues"The Wandering "In The Pines"Fred McDowell "You Gonna Meet King Jesus"

En el audio de hoy discutiremos diferentes aspectos de la historia, la cultura, y la cocina del Sur profundo de los Estados Unidos. Hablaremos de Louisiana, Mississippi y Alabama: Nueva Orleans, Lafayette, Jackson, Mobile, Poverty Point y de personajes históricos como Bernardo de Gálvez, Jean Baptiste Bienville y Andrew Jackson entre otros. Música: A Crazy Cool Christmas by Kermit Ruffins; Right Place, Wrong Time by Dr. John; Liberian Girl by Rebirth Brass Band; Cave of Forgotten Dreams by Erns Reijseger; Sweet Home Alabama by Lynkin Skynird; Baby Please Don't Go by Muddy Waters; Let It Snow by Kermit Ruffins; King Size Papa by Julia Lee; What A Wonderful World by Louis Armstrong. 

A reading of "Ghost on the Canvas," by Nancy Rommelmann, originally published  Nov. 19, 2021 on Paloma MediaMuddy Waters & the Rolling Stones, Baby Please Don't Go (video)Glen Campbell - Paul Westerberg, Ghost on the Canvas (video)

Bluesmoosenonstop  1703-43-2021Chris Rea – Born BadBlues Union - Don't Let The Sun Catch You Cryin' Robben trower – Fallen Smokin' Joe Kubek & Bnois King - Talkin 'bout Bad Luck Henrik Freischlader - Parisienne Walkways Snowy White Blues Project - Good Morning Blues Jan Akkerman - You Can't Keep A Bad Man UpMatthews Baartmans Conspiracy – Writing off the blues - Distant Chatter – 2021Carl Weathersby – I am a travelling man - I'm Still Standing Here - (2009)Rob Alley – Thank god I have the blues - Also-Ran Bluesman - 2021 Rare earth – get Ready JR Band – For absent friends – Haakie's ong - 3rd Album - 2003 Chris Cain - Trouble Makin' Woman Big Joe Willams  Baby Please Don't Go

Mission of Burma "Secrets"Jelly Roll Morton "Doctor Jazz Stomp"Memphis Minnie "Night Watchman Blues (Take 2)"Wanda Jackson "Hot Dog! That Mad Him Mad"The Replacements "Kiss Me On The Bus"The Jon Spencer Blues Explosion "Wail"Big Joe Williams "49 Highway Blues"Jimmy Page & The Black Crowes "Sloppy Drunk"Tom Rush "Baby Please Don't Go"Big Joe Williams "Sitting On Top Of The World"Kathleen Edwards "Empty Threat"Broken Social Scene "Anthems For A Seventeen Year-Old Girl"The Mountain Goats "The Best Ever Death Metal Band in Denton"Palace Music "New Partner"Uncle Tupelo "Still Be Around"Eilen Jewell "I'm Gonna Dress in Black"Adam Faucett "Day Drinker"Fugazi "Strangelight"Jason Isbell And The 400 Unit "Sometimes Salvation"Jimi Hendrix "Gypsy Eyes"Loretta Lynn "Have Mercy"Sugar Pie DeSanto "It's Done And Forgotten"Dave Van Ronk "Sunday Street"X "In This House That I Call Come"Andrew Bird "Plasticites"Brandi Carlile "The Eye"Tom Waits "I Hope That I Don't Fall in Love with You"Jelly Roll Morton "Don t you leave me here"Excuse 17 "Watchmaker"The Stooges "1969"Minutemen "Corona"Robert Petway "Catfish Blues"Sweet Emma & Her Dixieland Boys "I Ain't Gonna Give Nobody None of My Jelly Roll"John Lee Hooker "Seven Days And Seven Nights"Billie Holiday "God Bless the Child"Shannon Mcnally;Neal Casal "Pale Moon"Hank Williams "Blue Eyes Crying in the Rain"Mississippi John Hurt "Louis Collins"Sister O.M. Terrell "I'm Going to That City (To Die No More)"Sister O.M. Terrell "I'm Going to That City"Jelly Roll Morton "Smoke House Blues"Hüsker Dü "Divide And Conquer"Sebadoh "Drama Mine"Joni Mitchell "The Dawntreader - Live at Le Hibou Coffee House, Ottawa, Ontario, 3/19/1968"Jelly Roll Morton "Slow Swing and "Sweet Jazz Music""

The birth of recorded blues straight through its evolution to mayhem-based guitar rock. Baby Please Don't Go, originally by Big Joe William, covered by Muddy Waters, and by AC/DC. Outro music is Wild Cow Blues, also by Big Joe Williams, because how could we not pick that.

Al talks again about how he brings Bobby Colomby, who kicked his ass out of Blood Sweat and Tears, to play drums…. because Bobby is a really good drummer. Al also explains how a bit of Eleanor Rigby ends up in the 12 minute blues, Baby Please Don't Go.

I hope that on most broadcasts listeners discover new artists to listen to however with this show I'm specifically referring to the ability to utilize the power of radio to help listeners to not only find new artists to fall in love with but to also discover a new location to visit or to live. Yep, I'm still plugging away at my idea of rock'n'roll revitalization for a small city of town. Playlist Men and Whales - "Signs of Life" Watts - "Queens" Neighborhood Brats - "All Nazis Must Die" Greg Antista and the Lonely Streets - "Tijuana Jail" Los Sustos - "Baby Please Don't Go" Dont - "The Chase Is Better" Satanic Togas - "Strange Attraction b/w Unaware" Los Straitjackets - "Can You Dig It?" Nihiloceros - "iamananimal" Scattered Ashes - "Love Is Not an Option" Women of the Night - "Open All Night" HEARTS APART - "I'm so Blue" Hot Laundry - "Satisfied" Terry "Buffalo" Ware - "Drop Edge of Yonder" Paul Jacobs - "Half Rich Loner" The Constant Supervision - "Wiggly Jiggly" Wine Lips - "Fever" Huevos Rancheros - "Evacuation" The Tragically Hip - "It's A Good Life If You Don't Weaken" Make sure to follow The Rodent Hour on Twitter & Instagram.

Episode 125 of A History of Rock Music in Five Hundred Songs looks at “Here Comes the Night", Them, the early career of Van Morrison, and the continuing success of Bert Berns.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Dirty Water" by the Standells. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've created a Mixcloud playlist, with full versions of all the songs excerpted in this episode. The information about Bert Berns comes from Here Comes the Night: The Dark Soul of Bert Berns and the Dirty Business of Rhythm and Blues by Joel Selvin. I've used two biographies of Van Morrison. Van Morrison: Into the Music by Ritchie Yorke is so sycophantic towards Morrison that the word "hagiography" would be, if anything, an understatement. Van Morrison: No Surrender by Johnny Rogan, on the other hand, is the kind of book that talks in the introduction about how the author has had to avoid discussing certain topics because of legal threats from the subject. I also used information from the liner notes to The Complete Them 1964-1967, which as the title suggests is a collection of all the recordings the group made while Van Morrison was in the band. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to take a look at a band whose lead singer, sadly, is more controversial now than he was at the period we're looking at. I would normally not want to explicitly talk about current events upfront at the start of an episode, but Van Morrison has been in the headlines in the last few weeks for promoting dangerous conspiracy theories about covid, and has also been accused of perpetuating antisemitic stereotypes with a recent single.  So I would like to take this opportunity just to say that no positive comments I make about the Van Morrison of 1965 in this episode should be taken as any kind of approval of the Van Morrison of 2021 -- and this should also be taken as read for one of the similarly-controversial subjects of next week's episode...   Anyway, that aside, today we're going to take a look at the first classic rock and roll records made by a band from Northern Ireland, and at the links between the British R&B scene and the American Brill Building. We're going to look at Van Morrison, Bert Berns, and "Here Comes the Night" by Them:   [Excerpt: Them, "Here Comes the Night"]   When we last looked at Bert Berns, he was just starting to gain some prominence in the East Coast recording scene with his productions for artists like Solomon Burke and the Isley Brothers. We've also, though it wasn't always made explicit, come across several of his productions when talking about other artists -- when Leiber and Stoller stopped working for Atlantic, Berns took over production of their artists, as well as all the other recordings he was making, and so many of the mid-sixties Drifters records we looked at in the episode on "Stand By Me" were Berns productions. But while he was producing soul classics in New York, Berns was also becoming aware of the new music coming from the United Kingdom -- in early 1963 he started receiving large royalty cheques for a cover version of his song "Twist and Shout" by some English band he'd never heard of. He decided that there was a market here for his songs, and made a trip to the UK, where he linked up with Dick Rowe at Decca.    While most of the money Berns had been making from "Twist and Shout" had been from the Beatles' version, a big chunk of it had also come from Brian Poole and the Tremeloes, the band that Rowe had signed to Decca instead of the Beatles. After the Beatles became big, the Tremeloes used the Beatles' arrangement of "Twist and Shout", which had been released on an album and an EP but not a single, and had a top ten hit with their own version of it:   [Excerpt: Brian Poole and the Tremeloes, "Twist and Shout"]   Rowe was someone who kept an eye on the American market, and saw that Berns was a great source of potential hits. He brought Berns over to the UK, and linked him up with Larry Page, the manager who gave Rowe an endless supply of teen idols, and with Phil Solomon, an Irish manager who had been the publicist for the crooner Ruby Murray, and had recently brought Rowe the group The Bachelors, who had had a string of hits like "Charmaine":   [Excerpt: The Bachelors, "Charmaine"]   Page, Solomon, and Rowe were currently trying to promote something called "Brum Beat", as a Birmingham rival to Mersey beat, and so all the acts Berns worked with were from Birmingham. The most notable of these acts was one called Gerry Levene and the Avengers. Berns wrote and produced the B-side of that group's only single, with Levene backed by session musicians, but I've been unable to find a copy of that B-side anywhere in the digital domain. However, the A-side, which does exist and wasn't produced by Berns, is of some interest:   [Excerpt: Gerry Levene and the Avengers, "Dr. Feelgood"]   The lineup of the band playing on that included guitarist Roy Wood, who would go on to be one of the most important and interesting British musicians of the later sixties and early seventies, and drummer Graeme Edge, who went on to join the Moody Blues. Apparently at another point, their drummer was John Bonham.   None of the tracks Berns recorded for Decca in 1963 had any real success, but Berns had made some useful contacts with Rowe and Solomon, and most importantly had met a British arranger, Mike Leander, who came over to the US to continue working with Berns, including providing the string arrangements for Berns' production of "Under the Boardwalk" for the Drifters:   [Excerpt: The Drifters, "Under the Boardwalk"]   In May 1964, the month when that track was recorded, Berns was about the only person keeping Atlantic Records afloat -- we've already seen that they were having little success in the mid sixties, but in mid-May, even given the British Invasion taking over the charts, Berns had five records in the Hot One Hundred as either writer or producer -- the Beatles' version of "Twist and Shout" was the highest charting, but he also had hits with "One Way Love" by the Drifters:   [Excerpt: The Drifters, "One Way Love"]   "That's When it Hurts" by Ben E. King:   [Excerpt: Ben E. King, "That's When it Hurts"]   "Goodbye Baby (Baby Goodbye)" by Solomon Burke:   [Excerpt: Solomon Burke, "Goodbye Baby (Baby Goodbye)"]   And "My Girl Sloopy" by the Vibrations:   [Excerpt: The Vibrations, "My Girl Sloopy"]   And a week after the production of "Under the Boardwalk", Berns was back in the studio with Solomon Burke, producing Burke's classic "Everybody Needs Somebody to Love", though that track would lead to a major falling-out with Burke, as Berns and Atlantic executive Jerry Wexler took co-writing credit they hadn't earned on Burke's song -- Berns was finally at the point in his career where he was big enough that he could start stealing Black men's credits rather than having to earn them for himself:   [Excerpt: Solomon Burke, "Everybody Needs Somebody to Love"]   Not everything was a hit, of course -- he wrote a dance track with Mike Leander, "Show Me Your Monkey", which was definitely not a big hit -- but he had a strike rate that most other producers and writers would have killed for. And he was also having hits in the UK with the new British Invasion bands -- the Animals had made a big hit from "Baby Let Me Take You Home", the old folk tune that Berns had rewritten for Hoagy Lands. And he was still in touch with Phil Solomon and Dick Rowe, both of whom came over to New York for Berns' wedding in July.   It might have been while they were at the wedding that they first suggested to Berns that he might be interested in producing a new band that Solomon was managing, named Them, and in particular their lead singer, Van Morrison.   Van Morrison was always a misfit, from his earliest days. He grew up in Belfast, a city that is notoriously divided along sectarian lines between a Catholic minority who (for the most part) want a united Ireland, and a Presbyterian majority who want Northern Ireland to remain part of the UK. But in a city where the joke goes that a Jewish person would be asked "but are you a Catholic Jew or a Protestant Jew?", Morrison was raised as a Jehovah's Witness, and for the rest of his life he would be resistant to fitting into any of the categories anyone tried to put him in, both for good and ill.   While most of the musicians from the UK we've looked at so far have been from middle-class backgrounds, and generally attended art school, Morrison had gone to a secondary modern school, and left at fourteen to become a window cleaner. But he had an advantage that many of his contemporaries didn't -- he had relatives living in America and Canada, and his father had once spent a big chunk of time working in Detroit, where at one point the Morrison family planned to move. This exposed Morrison senior to all sorts of music that would not normally be heard in the UK, and he returned with a fascination for country and blues music, and built up a huge record collection. Young Van Morrison was brought up listening to Hank Williams, Sister Rosetta Tharpe,  Jimmie Rodgers, Louis Jordan, Jelly Roll Morton, and his particular favourite, Lead Belly. The first record he bought with his own money was "Hootin' Blues" by the Sonny Terry Trio:   [Excerpt: The Sonny Terry Trio, "Hootin' Blues"]   Like everyone, Van Morrison joined a skiffle group, but he became vastly more ambitious in 1959 when he visited a relative in Canada. His aunt smuggled him into a nightclub where an actual American rock and roll group were playing -- Ronnie Hawkins and the Hawks:   [Excerpt: Ronnie Hawkins, "Mary Lou"]   Hawkins had been inspired to get into the music business by his uncle Delmar, a fiddle player whose son, Dale Hawkins, we looked at back in episode sixty-three. His band, the Hawks, had a reputation as the hottest band in Canada -- at this point they were still all Americans, but other than their drummer Levon Helm they would soon be replaced one by one with Canadian musicians, starting with bass player Robbie Robertson.   Morrison was enthused and decided he was going to become a professional musician. He already played a bit of guitar, but started playing the saxophone too, as that was an instrument that would be more likely to get him work at this point.   He joined a showband called the Monarchs, as saxophone player and occasional vocalist. Showbands were a uniquely Irish phenomenon -- they were eight- or nine-piece groups, rhythm sections with a small horn section and usually a couple of different singers, who would play every kind of music for dancing, ranging from traditional pop to country and western to rock and roll, and would also perform choreographed dance routines and comedy sketches.    The Monarchs were never a successful band, but they managed to scrape a living playing the Irish showband circuit, and in the early sixties they travelled to Germany, where audiences of Black American servicemen wanted them to play more soulful music like songs by Ray Charles, an opportunity Morrison eagerly grabbed. It was also a Black American soldier who introduced Morrison to the music of Bobby Bland, whose "Turn on Your Love Light" was soon introduced to the band's set:   [Excerpt Bobby "Blue" Bland, "Turn on Your Love Light"]   But they were still mostly having to play chart hits by Billy J Kramer or Gerry and the Pacemakers, and Morrison was getting frustrated. The Monarchs did get a chance to record a single in Germany, as Georgie and the Monarchs, with another member, George Jones (not the famous country singer) singing lead, but the results were not impressive:   [Excerpt: Georgie and the Monarchs, "O Twingy Baby"]   Morrison moved between several different showbands, but became increasingly dissatisfied with what he was doing. Then another showband he was in, the Manhattan Showband, briefly visited London, and Morrison and several of his bandmates went to a club called Studio 51, run by Ken Colyer. There they saw a band called The Downliners Sect, who had hair so long that the Manhattan members at first thought they were a girl group, until their lead singer came on stage wearing a deerstalker hat. The Downliners Sect played exactly the kind of aggressive R&B that Morrison thought he should be playing:   [Excerpt: The Downliners Sect, "Be a Sect Maniac"]   Morrison asked if he could sit in with the group on harmonica, but was refused -- and this was rather a pattern with the Downliners Sect, who had a habit of attracting harmonica players who wanted to be frontmen. Both Rod Stewart and Steve Marriott did play harmonica with the group for a while, and wanted to join full-time, but were refused as they clearly wanted to be lead singers and the group didn't need another one of them.   On returning to Belfast, Morrison decided that he needed to start his own R&B band, and his own R&B club night. At first he tried to put together a sort of supergroup of showband regulars, but most of the musicians he approached weren't interested in leaving their steady gigs. Eventually, he joined a band called the Gamblers, led by guitarist and vocalist Billy Harrison. The Gamblers had started out as an instrumental group, playing rock and roll in the style of Johnny and the Hurricanes, but they'd slowly been moving in a more R&B direction, and playing Chuck Berry and Bo Diddley material. Morrison joined the group on saxophone and vocals -- trading off leads with Harrison -- and the group renamed themselves after a monster movie from a few years before:   [Excerpt: THEM! trailer]   The newly renamed Them took up a regular gig at the Maritime Hotel, a venue which had previously attracted a trad jazz crowd, and quickly grew a substantial local following. Van Morrison later often said that their residency at the Maritime was the only time Them were any good, but that period was remarkably short -- three months after their first gig, the group had been signed to a management, publishing, and production deal with Philip Solomon, who called in Dick Rowe to see them in Belfast. Rowe agreed to the same kind of licensing deal with Solomon that Andrew Oldham had already got from him for the Stones -- Them would record for Solomon's company, and Decca would license the recordings.   This also led to the first of the many, many, lineup changes that would bedevil the group for its short existence -- between 1964 and 1966 there were eighteen different members of the group. Eric Wrixon, the keyboard player, was still at school, and his parents didn't think he should become a musician, so while he came along to the first recording session, he didn't sign the contract because he wasn't allowed to stay with the group once his next term at school started. However, he wasn't needed -- while Them's guitarist and bass player were allowed to play on the records, Dick Rowe brought in session keyboard player Arthur Greenslade and drummer Bobby Graham -- the same musicians who had augmented the Kinks on their early singles -- to play with them.   The first single, a cover version of Slim Harpo's "Don't Start Crying Now", did precisely nothing commercially:   [Excerpt: Them, "Don't Start Crying Now"]   The group started touring the UK, now as Decca recording artistes, but they almost immediately started to have clashes with their management. Phil Solomon was not used to aggressive teenage R&B musicians, and didn't appreciate things like them just not turning up for one gig they were booked for, saying to them "The Bachelors never missed a date in their lives. One of them even had an accident on their way to do a pantomime in Bristol and went on with his leg in plaster and twenty-one stitches in his head."   Them were not particularly interested in performing in pantomimes in Bristol, or anywhere else, but the British music scene was still intimately tied in with the older showbiz tradition, and Solomon had connections throughout that industry -- as well as owning a publishing and production company he was also a major shareholder in Radio Caroline, one of the pirate radio stations that broadcast from ships anchored just outside British territorial waters to avoid broadcasting regulations, and his father was a major shareholder in Decca itself.    Given Solomon's connections, it wasn't surprising that Them were chosen to be one of the Decca acts produced by Bert Berns on his next UK trip in August 1964. The track earmarked for their next single was their rearrangement of "Baby Please Don't Go", a Delta blues song that had originally been recorded in 1935 by Big Joe Williams and included on the Harry Smith Anthology:   [Excerpt: Big Joe Williams' Washboard Blues Singers , "Baby Please Don't Go"]   though it's likely that Them had learned it from Muddy Waters' version, which is much closer to theirs:   [Excerpt: Muddy Waters, "Baby Please Don't Go"]   Bert Berns helped the group tighten up their arrangement, which featured a new riff thought up by Billy Harrison, and he also brought in a session guitarist, Jimmy Page, to play rhythm guitar. Again he used a session drummer, this time Andy White who had played on "Love Me Do". Everyone agreed that the result was a surefire hit:   [Excerpt: Them, "Baby Please Don't Go"]   At the session with Berns, Them cut several other songs, including some written by Berns, but it was eventually decided that the B-side should be a song of Morrison's, written in tribute to his dead cousin Gloria, which they'd recorded at their first session with Dick Rowe:   [Excerpt: Them, "Gloria"]   "Baby Please Don't Go" backed with "Gloria" was one of the great double-sided singles of the sixties, but it initially did nothing on the charts, and the group were getting depressed at their lack of success, Morrison and Harrison were constantly arguing as each thought of himself as the leader of the group, and the group's drummer quit in frustration. Pat McAuley, the group's new keyboard player, switched to drums, and brought in his brother Jackie to replace him on keyboards.    To make matters worse, while "Baby Please Don't Go" had flopped, the group had hoped that their next single would be one of the songs they'd recorded with Berns, a Berns song called "Here Comes the Night". Unfortunately for them, Berns had also recorded another version of it for Decca, this one with Lulu, a Scottish singer who had recently had a hit with a cover of the Isley Brothers' "Shout!", and her version was released as a single:   [Excerpt: Lulu, "Here Comes the Night"]   Luckily for Them, though unluckily for Lulu, her record didn't make the top forty, so there was still the potential for Them to release their version of it.   Phil Solomon hadn't given up on "Baby Please Don't Go", though, and he began a media campaign for the record. He moved the group into the same London hotel where Jimmy Savile was staying -- Savile is now best known for his monstrous crimes, which I won't go into here except to say that you shouldn't google him if you don't know about them, but at the time he was Britain's most popular DJ, the presenter of Top of the Pops, the BBC's major TV pop show, and a columnist in a major newspaper. Savile started promoting Them, and they would later credit him with a big part of their success.   But Solomon was doing a lot of other things to promote the group as well. He part-owned Radio Caroline, and so "Baby Please Don't Go" went into regular rotation on the station. He called in a favour with the makers of Ready Steady Go! and got "Baby Please Don't Go" made into the show's new theme tune for two months, and soon the record, which had been a flop on its first release, crawled its way up into the top ten.   For the group's next single, Decca put out their version of "Here Comes the Night", and that was even more successful, making it all the way to number two on the charts, and making the American top thirty:   [Excerpt: Them, "Here Comes the Night"]   As that was at its chart peak, the group also performed at the NME Poll-Winners' Party at Wembley Stadium, a show hosted by Savile and featuring The Moody Blues, Freddie and the Dreamers, Georgie Fame and the Blue Flames, Herman's Hermits, Cilla Black, Donovan, The Searchers, Dusty Springfield, The Animals,The Kinks, the Rolling Stones, and the Beatles, among others. Even on that bill, reviewers singled out Them's seven-minute performance of Bobby Bland's "Turn on Your Love Light" for special praise, though watching the video of it it seems a relatively sloppy performance.   But the group were already starting to fall apart. Jackie McAuley was sacked from the group shortly after that Wembley show -- according to some of the group, because of his use of amphetamines, but it's telling that when the Protestant bass player Alan Henderson told the Catholic McAuley he was out of the group, he felt the need to emphasise that "I've got nothing against" -- and then use a term that's often regarded as an anti-Catholic slur...   On top of this, the group were also starting to get a bad reputation among the press -- they would simply refuse to answer questions, or answer them in monosyllables, or just swear at journalists. Where groups like the Rolling Stones carefully cultivated a "bad boy" image, but were doing so knowingly and within carefully delineated limits, Them were just unpleasant and rude because that's who they were.   Bert Berns came back to the UK to produce a couple of tracks for the group's first album, but he soon had to go back to America, as he had work to do there -- he'd just started up his own label, a rival to Red Bird, called BANG, which stood for Bert, Ahmet, Neshui, Gerald -- Berns had co-founded it with the Ertegun brothers and Jerry Wexler, though he soon took total control over it. BANG had just scored a big hit with "I Want Candy" by the Strangeloves, a song Berns had co-written:   [Excerpt: The Strangeloves, "I Want Candy"]   And the Strangeloves in turn had discovered a singer called Rick Derringer, and Bang put out a single by him under the name "The McCoys", using a backing track Berns had produced as a Strangeloves album track, their version of his earlier hit "My Girl Sloopy". The retitled "Hang on Sloopy" went to number one:   [Excerpt: The McCoys, "Hang on Sloopy"]   Berns was also getting interested in signing a young Brill Building songwriter named Neil Diamond... The upshot was that rather than continuing to work with Berns, Them were instead handed over to Tommy Scott, an associate of Solomon's who'd sung backing vocals on "Here Comes the Night", but who was best known for having produced "Terry" by Twinkle:   [Excerpt: Twinkle, "Terry"]   The group were not impressed with Scott's productions, and their next two singles flopped badly, not making the charts at all. Billy Harrison and Morrison were becoming less and less able to tolerate each other, and eventually Morrison and Henderson forced Harrison out. Pat McAuley quit two weeks later,    The McAuley brothers formed their own rival lineup of Them, which initially also featured Billy Harrison, though he soon left, and they got signed to a management contract with Reg Calvert, a rival of Solomon's who as well as managing several pop groups also owned Radio City, a pirate station that was in competition with Radio Caroline. Calvert registered the trademark in the name Them, something that Solomon had never done for the group, and suddenly there was a legal dispute over the name.   Solomon retaliated by registering trademarks for the names "The Fortunes" and "Pinkerton's Assorted Colours" -- two groups Calvert managed -- and putting together rival versions of those groups. However the problem soon resolved itself, albeit tragically -- Calvert got into a huge row with Major Oliver Smedley, a failed right-libertarian politician who, when not co-founding the Institute for Economic Affairs and quitting the Liberal Party for their pro-European stance and left-wing economics, was one of Solomon's co-directors of Radio Caroline. Smedley shot Calvert, killing him, and successfully pled self-defence at his subsequent trial. The jury let Smedley off after only a minute of deliberation, and awarded Smedley two hundred and fifty guineas to pay for his costs.   The McAuley brothers' group renamed themselves to Them Belfast -- and the word beginning with g that some Romany people regard as a slur for their ethnic group -- and made some records, mostly only released in Sweden, produced by Kim Fowley, who would always look for any way to cash in on a hit record, and wrote "Gloria's Dream" for them:   [Excerpt: Them Belfast G***ies, "Gloria's Dream"]   Morrison and Henderson continued their group, and had a surprise hit in the US when Decca issued "Mystic Eyes", an album track they'd recorded for their first album, as a single in the US, and it made the top forty:   [Excerpt: Them, "Mystic Eyes"]   On the back of that, Them toured the US, and got a long residency at the Whisky a Go-Go in LA, where they were supported by a whole string of the Sunset Strip's most exciting new bands -- Captain Beefheart and the Magic Band, The Association, Buffalo Springfield, and the Doors. The group became particularly friendly with the Doors, with the group's new guitarist getting thrown out of clubs with Jim Morrison for shouting "Johnny Rivers is a wanker!" at Rivers while Rivers was on stage, and Jim Morrison joining them on stage for duets, though the Doors were staggered at how much the Belfast group could drink -- their drink bill for their first week at the Whisky A Go-Go was $5400.   And those expenses caused problems, because Van Morrison agreed before the tour started that he would be on a fixed salary, paid by Phil Solomon, and Solomon would get all the money from the promoters. But then Morrison found out how much Solomon was making, and decided that it wasn't fair that Solomon would get all that money when Morrison was only getting the comparatively small amount he'd agreed to. When Tommy Scott, who Solomon had sent over to look after the group on tour, tried to collect the takings from the promoters, he was told "Van Morrison's already taken the money".    Solomon naturally dropped the group, who continued touring the US without any management, and sued them. Various Mafia types offered to take up the group's management contract, and even to have Solomon murdered, but the group ended up just falling apart.    Van Morrison quit the group, and Alan Henderson struggled on for another five years with various different lineups of session men, recording albums as Them which nobody bought. He finally stopped performing as Them in 1972. He reunited with Billy Harrison and Eric Wrixon, the group's original keyboardist, in 1979, and they recorded another album and toured briefly. Wrixon later formed another lineup of Them, which for a while included Billy Harrison, and toured with that group, billed as Them The Belfast Blues Band, until Wrixon's death in 2015.   Morrison, meanwhile, had other plans. Now that Them's two-year contract with Solomon was over, he wanted to have the solo career people had been telling him he deserved. And he knew how he was going to do it. All along, he'd thought that Bert Berns had been the only person in the music industry who understood him as an artist, and now of course Berns had his own record label. Van Morrison was going to sign to BANG Records, and he was going to work again with Bert Berns, the man who was making hits for everyone he worked with.   But the story of "Brown-Eyed Girl", and Van Morrison going solo, and the death of Bert Berns, is a story for another time...

El inglés Paul Oliver está considerado el mayor estudioso del blues. Empezó a grabar blues en 1961. Fue editando discos a través del sello Storyville de Copenhage. En 1966 publicó esta soberbia recopilación: V.A. – GUITAR BLUES Storyville – SLP 166 Dinamarca 1966 Discophon – (S) 4311 1973 A1 Big Joe Williams– Wild Ox Moan 3:05 A2 Big Joe Williams– Juanita Blues 3:00 A3 Lightnin' Hopkins– Walkin' The Streets 2:45 A4 John Henry Barbee– Your Friend 5:05 A5 John Henry Barbee– Back Water Blues 6:20 B1 Lonnie Johnson (2)– My Baby Is Gone 3:55 B2 Lonnie Johnson (2)– You Don't Know What Love Is 3:40 B3 Matt "Guitar" Murphy*– Gravel Road 3:45 B4 Lightnin' Hopkins– Mussy Haired Woman 3:00 B5 John Lee Hooker– Stand By Me Baby 3:10 B6 John Lee Hooker– Baby Please Don't Go 2:45 En finde Discopolis Jazz a la misma hora. Escuchar audio

Making a Scene Presents Turn it Up with Gerry Casey Show #89 with his Guest Billy HarrisonIreland has produced many famous sons and daughters in the world of music. They have reached the highest highs and have inspired a generation of music lovers.Back in the sixties a group of young men with dreams of making it in the music business set off from Belfast to London. Armed with nothing but a pocket full of dreams they began a journey that in the coming years would take them around the world. The band was Them who went on to have such iconic hits as Gloria , Here Comes The Night , and Baby Please Don’t Go. The latter of which has been recorded more times than any other song in rock n roll history. One man was at the heart of that machine providing the rhythms and the iconic riffs to songs that were played the world over Ronan Gallagher, LibertyThe Glycereens,Neon City LightsBloodbound,March Into WarCallow Youth,Straight To The EndSocial Disorder,Love 2 Be HatedDom Martin,Walking BluesJizzy Pearl’s Love Hate, Soul Mama  Gov’t Mule ,Just Got PaidUriah Heep,Grazed By HeavenThem(Featuring Billy Harrison),Baby Please Don’t Go .Velvet Revolver,Psycho KillerThem, All Over Now Baby BlueChris Farlowe , Handbags and GladragsOzzy Osbourne, So TiredPaul Kossoff , Back Street CrawlerThe Cold Stares,In The Night TimeBooker T and The MG’S ,Green OnionsLynyrd Skynyrd,The Last RebelDavy K.Project,BorderlineCam Cole ,New Age BluesThe Glycreenes,New ShoesAlabama 3,WhackedGilby Clarke ,The Gospel TruthThe Steel Woods ,Out Of The BlueThe Black Moods ,Sunshine  Tom Jones , One More Cup Of CoffeeEliza Neals ,Watch Me Fly  Tiffinay Pollock & Eric Johanson , Blues In My Blood  Bad Company, Bad CompanyBlack Country Commumion,One Last SoulKings Ex ,Go Tell  Some BodyWalter Trout,Playin’ HideawayStevie Ray Vaughan,Voodoo ChildThe Steepwater Band ,Come On DownLayla Zoe ,Nowhere Left To GoPeter Frampton , Show Me The WayDanielle Bloom, I Give UpMason Hill,Broken Son  The Nile Deltas, Dust Me DownAlice Cooper,Detroit City 2021Them,Brown EyesThem,PhilosophyThem,Gloria 

Making a Scene Presents Gerry Casey's Interview with Billy HarrisonIreland has produced many famous sons and daughters in the world of music. They have reached the highest highs and have inspired a generation of music lovers.Back in the sixties a group of young men with dreams of making it in the music business set off from Belfast to London. Armed with nothing but a pocket full of dreams they began a journey that in the coming years would take them around the world. The band was Them who went on to have such iconic hits as Gloria , Here Comes The Night , and Baby Please Don’t Go. The latter of which has been recorded more times than any other song in rock n roll history. One man was at the heart of that machine providing the rhythms and the iconic riffs to songs that were played the world over

Music is a reflection of both our history as well as our social consciousness. It helps us make sense of the world and allows us to make personal connections with it. Perhaps more than any other art form, music is evocative; it triggers vivid memories of childhood, falling in love, loss and sadness - it forces us to look at ourselves to remember who we were and who we are.  Music always makes me feel connected in a Jungian sense. It makes me realize that the struggles I have are not mine alone, they are shared. Simply recognizing this makes me feel less alone and ultimately better.  I'm a big fan of the Blues. In the late 70-'s early 80's I lost my connection with popular music - it just didn't resonate., so as great bluesmen, Sonny Terry and Brownie McGee said in one of their songs, I became a “white boy lost in the blues” I began to seek out roots music wherever I could find it. Fortunately Toronto in the early 80's was a place where the great blues artists were readily accessible to me in a number of small venues. I had the chance to see and meet some of the greatest blues artists of our time - Buddy Guy, Junior Wells, Albert Collins, Fenton Robinson, Son Seals and a great many others - before what I will call the blues renaissance which occurred the nineties, when popular artists, realizing the contribution these aging blues players had made to the world of music began to appearing as guests on their records, thereby raising awareness of the blues form and these great artists in the minds of a white listening audience. So here's the rub, while blues themes tend to focus on “Feeling Blue” about things which happen in one's life - “The Thrill is Gone”, Baby Please Don't Go, The sky is crying” etc. the blues are about acknowledging our pain our feelings of loss and sadness, and by doing so, we feel better. This episode of the space celebrates the spirit of the blues ...#ForWhatitsWorthThe Music for Today's Show, "You Think I'm Bad" is written and performed by Oliver McQuaid. Click HERE to listen to Oliver's interview called  "Campfire Jesus" with Co-host Ben Hunter and visit the show BLOG to see the picsShow website - https://fwiw.buzzsprout.comShow Blog - https://forwhatitsworthpodcast.comLink to Show Trailer: https://fwiw.buzzsprout.com/1151660/4138862-for-what-it-s-worth-trailerLink to For What it's Worth Face Book group page: https://www.facebook.com/groups/720335292207376Link to Instagram: https://www.instagram.com/forwhatitsworth.podcast/Support the show (https://www.buymeacoffee.com/forwhatitsworth)Buzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.

Tracklist1 Boogie-Tão - Nu Azeite & Bruce Leroys (Tropical Disco)2 H.O.U.S.E. Music Part 2 (Original Mix) - Sahib Muhammad (Quantize)3 Baby Please Don't Go (Angelo Ferreri Extended Remix) - Samuele Sartini, Jonk & Spook Feat. Lisa Millett (Milk & Sugar)4 Mamma Jamma (Original Mix) - 84Bit (Fruity Flavour)5 House Music Legend - Matt Main (Lookbook)6 I Am Funk (Original Mix) - BBwhite (Hive)7 Be There (Original Mix) - Ady Stewart & Chemars8 Nobody (Original Mix) - Discoslap (Disco Revenge)9 Tinfoils (Original Mix) - Arel & Schaefer (Moiss Blk)10 Back Tonight (Saison Extended Remix) - Miguel Migs Feat. Martin Luther (Soulfuric Deep)11 The Deepster Touch (Original Mix) - Raffaele Ciavolino (Moiss Blk)12 Groove & Funk (Bonetti Remix) - Lebedev (RU) (Groovy Riddim)13 No Worries (Main Mix) - HP Vince, Yvvan Back (Phoenix Music)www.instagram.com/adystewartdj/www.linktr.ee/AdyStewart

It's time for a fresh episode of #vivifiersessions with brand new features and brand new music presented by Elysia

House music at its best! Let Dave Baker take you on a journey of discovery and aural pleasure as he brings you the hottest and freshest funky, deep and tech house releases every week. This week we have more of the hottest funky / pumping house tunes released over the past week including the latest from Toolroom and Defected, and 4 amazing promo tracks set to be released in the coming month. Feel free to connect on social media and/or comment on the episodes by visiting the website. Website: https://www.djdavebaker.com/house/hot-house-hours-052 Instagram: https://www.instagram.com/djdavebaker Facebook: https://www.facebook.com/hothousehours Rate / review: https://lovethepodcast.com/hothousehours 1. Re-Funk (Halcyon Dayz Remix) - Kid Kenobi [promo, Klub Kids] RELEASE DATE: APRIL 23 2. Love You Better (Extended Mix) - Alex Preston [Toolroom] 3. Miss You (Extended Mix) - Kevin McKay, Tasty Lopez, Alex Gewer [Glasgow Underground] 4. For A Fool (Claptone Extended Remix) - Storm Queen [FFRR] 5. Josephine (Soul Avengerz Remix) - Markosa [promo, Revoke Musica] RELEASE DATE: MAY 7 6. Let Go - Ted Nilsson, Stuart Ojelay [promo, Cleveland City] RELEASE DATE TBC 7. Baby Please Don't Go feat. Lisa Millett (Extended Mix) - Lisa Millett, Samuele Sartini, Jonk & Spook [Milk & Sugar] 8. Love Divine feat. Phebe Edwards (Extended Mix) - Riva Starr, Phebe Edwards [Defected] 9. Love Motivation Feat. Eleonore (Extended Mix) - Fabio Pierucci, Eleonore [Motive Records] 10. You Take Me There (Original Mix) - Roger Da'Silva [Finally Records] 11. Parallel (Original Mix) - under_score [Simma Black] 12. Burning (Thomas Newson Extended Remix) - MaddoxX [Armada Music] 13. Make It Better (Original Mix) - Sllash & Doppe [Incorrect] 14. Woo Dat (Extended Mix) - LO'99 & Tough Love [promo, Medium Rare Recordings] RELEASE DATE: APRIL 16

Sintonía: "Amen Brother" - The Winstons Para esta "Music Non-Stop Sessions", arrasamos con una recopilación en vinilo (Star Light Entertainment, 2016) de 16 trallazos que escuchamos en su totalidad; Oh, Yeah !!! Buen provecho, amigos !!! "The Real Thing" - Troy Dodds; "Gloria" - Dee Clark; "Lover´s Hell" - Merle Kilgore; "No Love" - McKinley Mitchell; "I´m Never Gonna Cry Again" - Roberta Daye; "Hey Eula" - Barry Cryer; "Workin´ For My Baby" - Gary U.S. Bonds; "Fever Twist" - Henry Wright; "Laughing Over My Grave" - Ray Stevens; "Baby Please Don´t Go" - Jo Ann Henderson; "Sixteen Tons" - Lou Neefs; "Delilah Jones" - McGuire Sisters; "Bury Me Deep" - Chance Halladay; "Il n´a rien retrouvé" - Sylvie Vartan; "Trance" - Billy Dixon & The Topics; "I Idolize You" - Gail Harris And The Wailers Escuchar audio

The Subdued Radio Hour with host Robert Sarazin Blake. Featuring live recordings from The Subdued Stringband Jamboree. Playlist: Under Any Old Flag by Tamar Korn feat. Frog & Henry, 2019 Baby Please Don't Go by Cedric Watson, 2019 Dallas Does Debbie by Chris Acker and the Growing Boys, 2017 Palm Sunday by Gallowglass feat. Aaron Malcomb, 2015 Slow Poison by The Cactus Blossoms, 2015 The Tipsy Gypsy by Jack Dwyer and Tim Connell, 2013 Fables of Fabus by Mingish, 2018 My Horses Ain't Hungry by Caleb Klauder & Reeb Willms Salty Dog Boogie by The Jimmy Roy Fourplex, 2019 A Good Man Is Hard To Find by The Crow Quill Night Owls feat Devin Champlin, 2018 Pipe Of Doom by Sons Of Rainier, 2013 Twist It Up by Hot Damn Scandal, 2013 More Info available at www.subduedradiohour.com

If my full interviews are like albums then look upon this as a single! For nearly a decade at the start of the 21st century, I interviewed many of the most famous musicians in the world, for a radio series called Under The Influence. Taking my cue from the fact that hearing two particular Elvis songs when I was a child - I tell that tale in the intro to the podcast - changed my life, changed it utterly, I always kicked off each show by asking a musician if she or he had a similar memory that maybe led to an epiphany and to them wanting to make music. So, now, alongside my uploading already four of the full shows - Christy Moore, Elvis Costello, Micky Dolenz, and the other Joe Jackson- I have decided to "release" these "singles" which focus on the song that became a clarion call of sorts to the musician in question. Here Tony Joe White talks about Lightnin' Hopkins' Baby Please Don't Go, and, to kick off tells us what Polk Salad really is and that it should not be smoked!

Host Sama'an Ashrawi shares a bonus mix based on songs from the Khruangbin episode of The Nostalgia Mixtape. Music from Sudan, Morocco, Algeria, Niger, Libya, Egypt, Lebanon, Palestine, Iran, India, plus a few dub tracks as well as some American rockabilly, blues, Jamaican soul, and Canadian disco. Listen to the Khruangbin interview on the Nostalgia Mixtape here: https://soundcloud.com/nostalgiatapes/the-khruangbin-episode Check the footnotes here: http://bit.ly/TNMKhruangbin Tracklist: 00:00 -- "Nar" by Alsarah & The Nubatones 02:50 -- "Besaha" by Kareem Isaaq (of The Devil's Anvil) 04:04 -- "Son Moi" by Chaz Bundick (Toro y Moi) Meets The Mattson 2 05:22 -- "Agadez" (live) by Bombino 06:46 -- "Thanks A Lot" by The Sea-ders 08:16 -- "People Everywhere (Still Alive)" by Khruangbin 10:27 -- "Ayetheri A L'afjare" by El-Abranis 11:24 -- "Helelyos" by Zia Atabi 15:21 -- "Zifaf Filfada" by Nama Samith 16:49 -- "Bin Bin" (live on GMTX) by Khruangbin 17:58 -- "Khuda Bhi Aasman Se" by Mohammed Rafi (movie: Dharti) 19:02 -- "Jab Jab Teri Surat Dekhun" - Sapna Mukherjee, Mahesh Gadhvi (movie: Janbaaz) 20:41 -- "Laila O Laila" by Amit Kumar, Kanchan (movie: Qurbani) 21:51 -- "Laila O Laila" - Shah Rukh Khan, Sunny Leone, Pawni Pandey, Ram Sampath (movie: Raees) 22:29 -- "Jimmy" by M.I.A. 23:58 -- "Jimmy Jimmy Ajaa Ajaa" by Parvati Khan (movie: Disco Dancer) 24:54 -- "Gud Naal Ishq Mitha" by Malaika Arora Khan, Jas Arora, Bally Sagoo & Malkit Singh 25:58 -- "Gonna Get Over You" by France Joli 29:01 -- "Let Love Flow On" by Sonya Spence 31:27 -- "Khalas" by Ziad Rahbani, Monica Asly 33:41 -- "Ayonha" by Hamid El Shaeri 35:50 -- "U.F.O." by Jim Sullivan 37:21 -- "From The Moon" by The News (written by Elias Rahbani) 38:33 -- "Shakin' All Over" by The Guess Who 39:27 -- "Baby Please Don't Go" by Them 40:29 -- "Rock Around The Clock" by Bill Haley & His Comets 41:50 -- "Baby Please Don't Go" (reprise) by Them 42:36 -- "Jailhouse Rock" by Queen (live at the Summit, Houston, TX. 1977.) 46:38 -- "No Particular Place To Go" by Chuck Berry 47:38 -- "Hi Heel Sneakers" by Tommy Tucker 49:04 -- "Little Bitty Pretty One" by Thurston Harris 50:33 -- "Rip It Up" by Little Richard 51:38 -- "Whatchya Say (I Don't Know)" by Albert Collins 52:39 -- "There's Been Some Lonely, Lonely Nights" by Johnny "Guitar" Watson 53:54 -- "At The Hop" by Danny & The Juniors 55:12 -- "Touch Me" by Tia Carrere (from Wayne's World) 56:46 -- "Crazy Little Thing Called Love" by Queen 58:49 -- "Sid Redad" by Fadoul 1:00:30 -- "I Got You" by Simon C. Edwards & His Soul Set 1:03:06 -- "Undecidedly" by The Sea-Ders 1:04:31 -- "Dance Maria" by Khruangbin (Elias Rahbani cover) 1:05:41 -- "Ramallah" by Anatolia 1:06:37 -- "Ya Kullo Ya Balash" by Stormtrap 1:08:08 -- "Gole Yakh" by Kourosh Yaghmaei 1:10:29 -- "Moon" by Deradoorian 1:11:46 -- "Ma Be Ham Nemiresim" by Khruangbin (Googoosh cover) 1:13:17 -- "Mosem-e Gol" by Parva 1:16:28 -- "Mandela Dub" by Peter Youthman 1:19:47 -- "People Everywhere (Still Alive)" by Khruangbin (Vuelo Dub)