Podcasts about Balladeer

Is there such a thing as Christian art? Or are there just Christians who make great art that represents something of the nature of God? There are no Christian bagels, surgeries, or financial portfolios, so why do we expect artists in our churches to create sculptures or plays that are "Christian?" Only humans can be Christians. Let's bring freedom to the artistic gift in ourselves and others, glorifying God through any art that speaks to the beauty, hope, joy, meaning, or grandeur of God and His character. Today, we sit down with three professional artists who embody this and who use the beauty of their art to speak prophetically to their cultures. Join us and learn how you can use this language to spread hope in despair, splendor in ugliness, and ultimately disciple your nation with God's beauty. View the transcript, leave comments, and check out recommended resources on the Episode Landing Page!Learn more about DNA's free online Kingdomizer Training Program: Truth and Transformation.

What happens when a committed communist finds faith in Christianity? Héctor Ramírez, our special guest, shares his gripping journey from embracing Marxist ideology in his small Colombian hometown to being transformed by Christ. His remarkable story highlights the impact of faith, beauty, and the arts in bridging the gap between truth and today's postmodern, post-Christian societies. Héctor helps us consider how we might best navigate postmodern thinking as believers. To help us, we discuss the cultural shift from modernity to postmodernity and examine the challenges of a post-truth era, where emotions often overshadow reason and science. This conversation is crucial for understanding how the Church can effectively communicate the Bible in our day. Héctor shares his thoughts on utilizing beauty and art as a vessel for truth, and considers how this can foster spiritual reflection and bring a cultural shift away from postmodernism.View the transcript, leave comments, and check out recommended resources on the Episode Landing Page!Learn more about DNA's free online Kingdomizer Training Program: Truth and Transformation.

Harvey Brownstone conducts an in-depth Interview with Patrick Cassidy, Broadway, Movie & TV Star, Son of Shirley Jones & Jack Cassidy About Harvey's guest: Today's guest, Patrick Cassidy, is a popular actor and singer who's been dazzling the world of stage and screen with his remarkable talent, charisma and versatility for over 4 decades.   And his talent comes as no surprise, given that he is a member of Hollywood royalty.  He's the son of the beloved and legendary entertainers Jack Cassidy and Shirley Jones.    His body of work in musical theatre is incredibly impressive.  On Broadway, he starred in “The Pirates of Penzance”, “Annie Get Your Gun”, “Aida”, “42nd Street” and “Leader of the Pack”, which earned him a Tony Award nomination for Best Actor.  He's also starred in national tours of some of those shows I just mentioned, and in fact he won the National Broadway Theatre Award for Best Actor in a Touring Musical for his performance in “Aida”, before playing the role on Broadway.   He originated the role of “The Balladeer” in the Off-Broadway production of Stephen Sondheim's “Assassins”.  And he has starred in numerous other theatrical productions including “The Sound of Music”, “Joseph and the Amazing Technicolor Dreamcoat”, “The Robber Bridegroom”, “Company”, and “The Threepenny Opera”, for which he was nominated for the Garland Award for Best Actor.   On the big screen, he's appeared in “Off the Wall”, “Nickel Mountain”, “Fever Pitch”, “Love at Stake”, “Man of Her Dreams”, “A One Time Thing”, and of course, the brilliant, groundbreaking Oscar-nominated movie, “Longtime Companion”.  On television, you've seen him in many movies, TV series and miniseries including: “Midnight Offerings”, “Angel Dusted”, “Dress Gray”, “Dirty Dancing”, “Napoleon & Josephine”, “Hitler's Daughter”, “Ruby & The Rockits” and many more.    Our guest is also the artistic director of the renowned Studio Tenn Theatre Company in Franklin, Tennessee.   For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To learn more about Patrick Cassidy, go to:https://www.instagram.com/patrickcassidyofficial/ #PatrickCassidy    #harveybrownstoneinterviews

The story "Harmonious Journey," a tale of musical discovery and mentorship. A young man, named Enthusiast, meets a seasoned old traveler, an extraordinary harmonica player, named Balladeer, and they begin to travel together. Along their travels, Balladeer mentors his protege Enthusiast how to play the harmonica. The harmonica becomes an instrument for music, song, and storytelling. Video of this Podcast on YouTube: https://youtu.be/OEsqfWfQtUg Flipbook of Harmonious Journey: https://heyzine.com/flip-book/4dc0b8b2f0.html =============================== Attribution for Harmonica Music: Renzo Cheesman for Harmonica Tunes 1 to 12 played at the end of the Podcast Episode. Renzo Cheesman on Fiver: https://www.fiverr.com/renzoch96? and Leon van Egmond for Harmonica Tunes 13 to 22 played at the end of the Podcast Episode. Leon van Egmond on Fiver: https://www.fiverr.com/leonvanegmond? =============================== website: https://oportuno.org DISCLAIMER: To help support our channel to keep making videos, this video and description might have affiliate links. If you use a coupon code and/or click an affiliate link, I'll get a small commission with no additional cost to you.

Isang candid, magaan at masayang kuwentuhan ang mapapakinggan sa ating episode kasama ang ating surprise guest, Asia's Romantic Baladeer, Mr. Christian Bautista! Binisto niya sa atin ang kaniyang mga hidden talents sa paghuhugas ng plato, pag-mamaneho nang mabagal, at pagiging isang romantic na asawa! Makinig na sa Surprise Guest with Pia Arcangel!

For many people, singing “Joy to the World” is a Christmas tradition. However, familiarity with the song can cause us to miss its depth and significance. The song announces the Kingship of Jesus and calls on each individual to respond. We are to push back against the effects of the fall as far as the curse is found in our world. Christ actively rules with both truth and grace. His love is wondrous. Come celebrate with us the joy and hope of the Christmas season through the powerful lens of "Joy to the World."View the transcript, leave comments, and check out recommended resources on the Episode Landing Page!Disciple Nations Alliance Website

Do you ever wish we could get back to Eden? Every day we create. Whether it's creating language, ideas, tools, relationships, the list goes on. But tied to this incredible blessing to create freely comes the responsibility to create that which is true, good, and beautiful. Today's passionate guest, Jessica Shakir, founder of the Beautiful Mind Academy, brings us back to Genesis One, Two, and Three for this deep dive into what it means, as imago Dei, to be co-creators with the Creator. How are you using your God-given calling to creativity? Every single person is creative. Join us as we consider how God's nature and Kingdom can be reflected through you and your intentional creativity.View the transcript, leave comments, and check out recommended resources on the Episode Landing Page!Disciple Nations Alliance Website

What's up people of earth?! Part of the Abyss gang is joined by Todd Keisling to stare and chatter about Keisling's Cold, Black & Infinite: Stories of the Horrific & Strange. Before digging into the collection they discuss Five Nights at Freddy's, Barbie, Alan Wake 2, Brainwyrms by Alison Rumfitt, Manly Wade Wellman's John the Balladeer, Appendage, The Dark & The Wicked, and Fright Night. Now take a step into the unknown!

The Ballad Of Buck Moon is a standalone episode made by us creators of HUMAN-B-GON. A very different tone than the high tech hijinx of HUMAN-B-GON. But still quite silly. We hope you like it - we're very proud of it. It was originally made for the anthology series Tales For Howling At The Full Moon, which is produced by the lovely humans at Packhowl Media. The Ballad Of Buck Moon was written and voiced by Drew Frohmann. Featuring Jeff Lurie as the honey toned Balladeer. It was mixed and recorded by Adam Ive and Selina Fiorini. Find us on Twitter, Instagram and Tumblr. Find and support our sponsors at fableandfolly.com/partners Learn more about your ad choices. Visit megaphone.fm/adchoices

Billy and Michelle catch up with Calvin Nguyen to discuss recent G2 winner, Balladeer and his stallion, Idol.

Billy and Michelle catch up with Calvin Nguyen to discuss recent G2 winner, Balladeer and his stallion, Idol.

Bar Talk (our recommendations):Jessica is reading The Bone Mother by David Demchuk; drinking Bright Lights, Big Bourbon by Hudson Whiskey.Damien is reading The Dead Djinn Universe preamble (A Dead Djinn in Cairo, The Angel of Khan El-Khalili, and The Haunting of Tram Car 015) by P. Djeli Clark; drinking Wheel Horse bourbon whiskey.Ryan is reading John the Balladeer stories by Manly Wade Wellman (forthcoming volume from Valancourt Press, Fall 2023); drinking Glenlivet 14 Cognac Cask Single Malt.If you liked this week's story, watch Netflix's Cabinet of Curiosities, S1E8: The Murmuring (dir. Jennifer Kent).Up next: In Death as in Life by Joseph Payne Brennan.Special thank you to Dr Blake Brandes for our Whiskey and the Weird music! Like, rate, and follow! Check us out on Instagram, Twitter, Facebook, and at whiskeyandtheweird.com

Ruth Kelly's debut thriller, The Villa, is a sharp social commentary on the dark side of reality TV, as well as a total page turner. She tells our Mick about her time watching people in a glass box in Bristol, why the viewers of reality telly are as complicit and culpable as the stars and the TV execs, and what it's like to be the Miss World of ghostwriting. Our Hazel Davis has been on the Zoom with singer-songwriter Eddi Reader to talk singing, songwriting, playing the Balladeer in the new stage version of Brokeback Mountain, and why love is love – no matter what shape your nose is. Jen's got good news and bad news – as ever – in Jenny Off The Blocks. And in Rated or Dated, we're distrusting computers and wondering how we'll ever work out when something's made in the 1980s. Hello tiny Matthew Broderick and 1983's WarGames. Shall we play a game, listeners? Let Hannah go first though, eh – she's been waiting for aaaaages.Support this show http://supporter.acast.com/standardissuespodcast. Hosted on Acast. See acast.com/privacy for more information.

This episode we cover Manly Wade Wellman's John the Balladeer in Shiver in the Pines. http://baencd.freedoors.org/Books/John%20the%20Balladeer/John_the_Balladeer.htm Next Episode we'er covering HP Lovecraft's - The colour out of space https://www.amazon.com.au/Colour-Out-Space-H-P-Lovecraft-ebook/dp/B07BK7R8YJ https://linktr.ee/strangelibrarypod Find our Instagram here https://www.instagram.com/strangelibrarypod/ Find Aidan here https://www.instagram.com/shadep99/ Find Leeroy here https://www.instagram.com/doublescuzz/

Lori McKenna became a songwriter almost by accident. In this episode she joins Laura and Tracy to talk about her super unusual entrance into the Nashville music scene. Lori details how Faith Hill heard and recorded several of her songs before she had a publishing deal, how she balances living in Boston and working in Nashville, and why no expectations are the best expectations. Over the last three decades, as she became a wife and mother of five, Lori McKenna has also emerged as one of the most respected, prolific singer-songwriters in popular music. On her latest release, The Balladeer, Lori McKenna is offering her most uplifting and up-tempo album in a catalog that spans 20 years. Produced by GRAMMY award winning Dave Cobb and recorded in Nashville's historic Studio A, The Balladeer follows an incredible stretch of career momentum, including two consecutive Grammy wins as a songwriter for Best Country Song – Little Big Town's “Girl Crush” and Tim McGraw's “Humble and Kind.” She has been nominated for the award four other times, most recently with Taylor Swift's “I Bet You Think About Me,” which features Chris Stapleton and was released in 2021 on her re-recorded album, Red (Taylor's Version). In 2016, she made history by becoming the Academy of Country Music's first female Songwriter of the year and in 2017, she became the first female ever to win the Country Music Association's Song of the Year award two years in a row. Yet her success doesn't stop there. McKenna co-wrote Lady Gaga's “Always Remember Us This Way,” which was featured in the Academy Award-winning 2018 film, A Star Is Born, and was also nominated for Grammy Song of the Year in 2020. She has written songs for a multitude of other award-winning artists including Miranda Lambert, Carrie Underwood, Sara Bareilles, Faith Hill, Hunter Hayes, Reba McEntire, and more. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's the end of our annual Sondheim birthday celebration, and our last murder ballad. This episode, we're back with Assassins looking at "The Ballad of Guiteau." Charles Guiteau is a thorny historical figure, but Erik and Shannon do their best to try to make some sense of him, his song, and this entire show. All clips are from Assassins: The 2022 Off-Broadway Cast Recording featuring Ethan Slater as The Balladeer and Will Swenson as Charles Guiteau and are used in accordance with the Fair Use Exemption for criticism and commentary. Buy/listen to the musical on Amazon! Listen to the SMSTS playlist on Spotify. Follow the show on Twitter: @somuchstuffpod Follow SMSTS on Instagram: @somuchstufftosing Email the show: somuchstufftosing@gmail.com

We're continuing our Sondheim birthday miniseries, this time focusing on his murder ballads, and we're moving on to a show that is dominated by murder ballads -- 1991's Assassins. Join us as we look at "The Ballad of Booth"and try to pick apart both this extremely rich song and the show's message.  Audio note: It was raining when we recorded this episode, and you will occasionally hear the rain striking Shannon's air conditioner. We hope it won't distract too much from your enjoyment of the episode. All clips are from the 1991 Original Off-Broadway Cast Recording of Assassins featuring Patrick Cassidy as The Balladeer and Victor Garber as John Wilkes Booth and are used in accordance with the Fair Use Exemption for criticism and commentary. Buy/listen to the musical on Amazon! Listen to the SMSTS playlist on Spotify. Follow the show on Twitter: @somuchstuffpod Follow SMSTS on Instagram: @somuchstufftosing Email the show: somuchstufftosing@gmail.com

Strange Library Podcast Episode 8 The Mortal Immortal - Mary Shelley https://www.amazon.com.au/Mortal-Immortal-Mary-Shelley-Illustrated/dp/1521942587 Next episode will be Shiver in the Pines a John the Balladeer story by Manly Wade Wellman http://baencd.freedoors.org/Books/John%20the%20Balladeer/John_the_Balladeer.htm If you like what we do, please leave us a like or send us a message on our instagram below. Rate us on Apple Podcasts or anywhere you listen to your podcasts, and share us with friends! https://podcasts.apple.com/us/podcast/strange-library-podcast/id1647537668 https://linktr.ee/strangelibrarypod Find our Instagram here https://www.instagram.com/strangelibrarypod/ Find Aidan here https://www.instagram.com/shadep99/ Find Leeroy here https://www.instagram.com/doublescuzz/

Labor history in song, from the “Coal Miners' Balladeer,” performed live at the April 1, 2023 “Annual Commemoration of the History of Working People” put on by the Pennsylvania Labor History Society and The Battle of Homestead Foundation in Windber, Pennsylvania. On this week's Labor History in Two: The year was 1937. That was the day sparring between Henry Ford and John L. Lewis spilled over into the press. Questions, comments, or suggestions are welcome, and to find out how you can be a part of Labor History Today, email us at LaborHistoryToday@gmail.com Labor History Today is produced by Union City Radio and the Kalmanovitz Initiative for Labor and the Working Poor. #LaborRadioPod #History #WorkingClass #ClassStruggle @GeorgetownKILWP #LaborHistory @UMDMLA @ILLaborHistory @AFLCIO @StrikeHistory #LaborHistory @wrkclasshistory @HomesteadFdn @breiding_tom

Welcome back to Room 1 on 1 and its another massive week for the Celtic.The forces of Darkness are coming down the motorway and are attempted to cast their shadow over Paradise, so I am delighted to welcome Belfasts finest Balladeer, Matt O'Reilly to the show to help me look forward to the match.Matt tells us his own story, being a Tim in Belfast and ended up living his own dream and playing music in Belfast and beyond.He tells us how his own story has got bigger an better as he has branched out and played in England, Scotland an barn storming gig in Berlin before Celtics match vs Leipzig last year. He tells us his heroes growing up and picks his first and favourite Celtic matches. The lads then sit and have a chat about the Huns and what this Saturday could bring. Enjoy

Irish singer and balladeer, Frank Harte's presentation at the Elko Cowboy Poetry Festival back in 1998

Christian Bautista reveals his “tito” sense of humor and takes us back on his career full of milestones and achievements that, he says, people always tell him not to underplay.

Cliff Barackman and James "Bobo" Fay speak with their close friend and fellow 'squatcher Tom Yamarone! These three go back a long way, and have a lot of stories to share! Tom also writes songs about bigfoot history, so keep an ear open for those in this episode! See Tom's performances and other sasquatch-related videos at his YouTube channel here: https://www.youtube.com/@BigfootSongs04 Sign up for our weekly bonus podcast "Beyond Bigfoot & Beyond" at our Patreon site: https://www.patreon.com/bigfootandbeyondpodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

SPOILER ALERT: In this weeks ep. we talk and theorize on the latest Interlude Archon Quest! Let us know if you got the vibe that the Balladeer enjoyed being worked on by The Doctor and let us know what you named the Wanderer at the end of the quest! Enjoy your holidays Travelers!Support this podcast: https://patreon.com/HOYOcastDiscord: https://discord.me/theresonanceTwitter: @HOYOcastInstagram: @HOYOcastMusic Used:Sangonomiya Kokomi Demo Trailer Theme Extended | Epic Version - Cover/Remix by brittle bearhttps://youtu.be/G2hG-5aF8CkShenhe Demo Trailer Theme Extended | Epic Version | "Crane in the Wild" Trailer Soundtrack - Cover/Remix by brittle bearhttps://youtu.be/20HPqjj6jL4All Genshin 2.4 Character Music Compilation | 1 Hour OST Mix | Epic Version - Cover/Remix by brittle bearYunjin Trailer Theme EXTENDED | EPIC Opera Dance Mix EXTENDED | Genshin Impact - Cover/Remix by brittle bearhttps://www.youtube.com/watch?v=1OSzrsRi_a4https://youtu.be/9WnTEWWcs64https://www.twitter.com/brittlebearmhttps://www.instagram.com/brittlebearmusic/Original music by Yu-peng Chen and HoYo Mix Become a patron to receive bonus content! Hosted on Acast. See acast.com/privacy for more information.

This episode we talk about the League of Legend's story "Testimony of the Balladeer". | All CoR Links | https://www.podcastcor.com | Music By Slayur | https://www.linktr.ee/slayur

EP.56 Will Downing - Join me in welcoming the Prince of Sophisticated Soul to the show. Singer, songwriter, producer and balladeer will discuss his musical journey and his upcoming 26th musical project.

Chaque mois, le critique musical Sophian Fanen propose 5 nouveautés. Pour la cuvée juin 2022, nous vous proposons : - Ebi, Shabzadeh, tiré de la bande originale du film Hit the Road (2022) - Pusha T, Dreamin of the Past, tiré de l'album It's Almost Dry (Def Jam/Universal Music, 2022) - Laila al Habash, Oracolo, tiré de l'album Mystic Motel (Undamento, 2022) - Beckah Amani, I Don't Know why I Don't Leave You, single (Rebecca Amani, 2022) - Kendrick Lamar, United in Grief, tiré de l'album Mr. Morale and the Big Steppers (Aftermath/Interscope, 2022).   Puis nous recevons le bluesman néo-zélandais Grant Haua qui présente l'album Awa Blues (Dixie Frog) et qui sort également un album live Ora Blues At The Chapel Feat. DeLanie Ututaonga. Les talents de ce calibre sont rares : Grant Haua possède tous les dons : un timbre de voix que ne renierait pas Tom Jones, une technique de guitare stupéfiante, une facilité mélodique qui interpelle, une histoire singulière entre celle de sa culture Maori et les hauts sommets du rugby néo-zélandais et une dévotion au blues sans faille !   Grant Haua, le phénomène Maori, vient juste de terminer une tournée de présentation en Allemagne et en France, se produisant notamment dans le cadre de la mythique émission de télévision Rock Palast ou en 1ère partie de Fred Chapellier ou de Neal Black. Durant toute la période du confinement, Grant Haua a pris sa guitare et s'est rendu au studio d'enregistrement de Tim Julian, son collaborateur de longue date. Ils ont fait appel à Mickey Ututaonga à la batterie, Brian Franks à la basse et DeLanie Ututaonga, la signature sonore de la Soul Maori de ces 20 dernières années, pour quelques parties vocales. Le groupe s'est réuni, à la fin du mois de février 2022, dans un village historique de la région de Tauranga pour enregistrer 13 titres tirés du pléthorique répertoire de Grant face à un public d'invités. Les morceaux vont du très émouvant et sensuel Song For Speedy, un titre à la mémoire d'un musicien disparu jusqu'au blues brutal et sans concession de Bad Man. Grant s'est plongé aussi dans quelques titres appréciés du public comme Balladeer, un morceau issu du répertoire de Swamp Thing, le groupe de blues alternatif qui lui a valu une renommée internationale. Grant est sur le point de retourner en Europe pour de nouvelles dates en juillet 2022 où il ne manquera pas de jouer certaines des pépites présentes sur Ora Blues at the Chapel. Pour l'occasion, il sera accompagné de DeLanie Ututaonga, la Diva, reine du blues kiwi et toute récente signature du label Dixiefrog pour un album à paraître à l'automne 2022.   Titres interprétés au Grand studio - Tough love mumma Live RFI voir le clip  - This is the place, extrait de l'album Awa Blues voir le clip - Be Yourself Live RFI.    - Grant Haua, guitare, voix - André Brodzki, traducteur. Son : Benoît Letirant & Fabien Mugneret.   - Instagram - Facebook  - Site : Grant Haua + DixieFrog/Grant Haua.   Concerts Grant Haua Du 1er au 4 juillet 2022 au Cognac Blues Passion 17 juillet 2022 : Cahors Blues Festival.

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

From humble beginnings some 100 years ago, Buller Wines has grown to be a leading Victorian winery, spanning premium wine regions including Rutherglen, King Valley, Swan Hill and Heathcote. Jill & Simon chat to Michael about his Balladeer, Nook and RLG range of wines, fantastic fortifieds and fabulous 3 Chain Road gin. Open 7 days, 10am to 5pm with an outstanding restaurant attached, it is definitely worth a visit when you are in the area! #bullerwines

Dylan and Connor are joined by Ethan Slater (SpongeBob SquarePants, Assassins). NOT a simple sponge! Listen in as the guys discuss Sondheim's birthday, Ethan's new play Good Night, Oscar, starring alongside comedic genius Sean Hayes, staying positive with Danny Skinner, Severance on Apple TV+, working with John Doyle and an unreal cast in Classic Stage Company's Assassins, the brilliance of Tavi Gevinson, the dream role of Lee Harvey Oswald and the Balladeer, the masterful art of Tina Landau, Vassar, Sondheim revivals on YouTube, and starring as SpongeBob SquarePants in the Tony nominated titular role. We. Love. Ethan.Follow Ethan on Twitter & InstagramFollow DRAMA. on Twitter & InstagramFollow Connor MacDowell on Twitter & InstagramFollow Dylan MacDowell on Twitter & InstagramEdited by DylanGet your DRAMA merch (t-shirts, stickers, and more) HERE!SUBSCRIBE TO OUR PATREON HERE! Support us and help us continue producing content!Please subscribe on Apple Podcasts, rate us 5 stars, and leave a kind review!

Another couple of hours of beautiful jazz from our gisele.

Ethan Slater / @ethanslater Ethan Slater is an actor and a writer. He recently starred as SpongeBob in The SpongeBob Musical on Broadway (and now on Paramount Plus!), for which he won Drama Desk, Outer Critics Circle, TheaterWorld Awards (and more) and earned a Tony Nomination. He recently closed Assassins at CSC as The Balladeer and Lee Harvey Oswald. Ethan is now performing in Chicago in the new play, Good Night Oscar. (You can also see him on TV in things like Fosse/Verdon, Murphy Brown, Law and Order: SVU and more. It's all on imdb.com). As a writer, he has a number of things in development including the musical Edge of the World written with Nick Blaemire (the concept album starring Norbert Leo Butz, Lilli Cooper and Ethan is available wherever you listen to music), the upcoming films the Interveners (with Nadja Leonhard-Hooper), Silent Mode (with Marshall Pailet), and more. You can check out more of his music on Spotify or wherever you listen. Edge of the World https://open.spotify.com/album/0QrI6q1Qb1pnfb80FwAWHX?si=Z6rrMddURUmW3nVBTz0xlg Broadway Records announced today the forthcoming release of Assassins (The 2022 Off-Broadway Cast Recording). The album will preserve Stephen Sondheim's full score with the recent Classic Stage Company cast with direction by John Doyle. Assassins is available for pre-order at Broadwayrecords.com. The album will be available digitally on March 18, with a physical CD release date of April 15, 2022. https://www.ethanslater.com/ https://builtforthestage.com/subscribe - $1 coaching for your first month + unlocking a 20% discount code on apparel! www.broadwaypodcastnetwork.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Ethan Slater / @ethanslater Ethan Slater is an actor and a writer. He recently starred as SpongeBob in The SpongeBob Musical on Broadway (and now on Paramount Plus!), for which he won Drama Desk, Outer Critics Circle, TheaterWorld Awards (and more) and earned a Tony Nomination. He recently closed Assassins at CSC as The Balladeer and Lee Harvey Oswald. Ethan is now performing in Chicago in the new play, Good Night Oscar. (You can also see him on TV in things like Fosse/Verdon, Murphy Brown, Law and Order: SVU and more. It's all on imdb.com). As a writer, he has a number of things in development including the musical Edge of the World written with Nick Blaemire (the concept album starring Norbert Leo Butz, Lilli Cooper and Ethan is available wherever you listen to music), the upcoming films the Interveners (with Nadja Leonhard-Hooper), Silent Mode (with Marshall Pailet), and more. You can check out more of his music on Spotify or wherever you listen. Edge of the World https://open.spotify.com/album/0QrI6q1Qb1pnfb80FwAWHX?si=Z6rrMddURUmW3nVBTz0xlg Broadway Records announced today the forthcoming release of Assassins (The 2022 Off-Broadway Cast Recording). The album will preserve Stephen Sondheim's full score with the recent Classic Stage Company cast with direction by John Doyle. Assassins is available for pre-order at Broadwayrecords.com. The album will be available digitally on March 18, with a physical CD release date of April 15, 2022. https://www.ethanslater.com/ https://builtforthestage.com/subscribe - $1 coaching for your first month + unlocking a 20% discount code on apparel! www.broadwaypodcastnetwork.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Hello My name is PJ Hill a.k.a. Dra Hill I have recorded a few songs in my lifetime and have promoted a few artists. I love music. I miss performing and recording with my group so I try to help others reach their goals. I am the president and founder of Kansas City Hot Traks LLC, which was a promotional avenue for local artists in the Kansas City area. I have moved to Texas to connect with others in the business to continue to promote those and other artists. I am an ole school Balladeer. I write the ole school love songs with harmonies. Songs that put you in the mood for love, touching, kissing and just thinking. My 13 song CD will take you there if you want to go. I just released two more songs that will be on a separate EP called “introducing Dra Hill a.k.a. PJ Hill” The first song is “You Bring Me Joy” you can hear it on https://www.numberonemusic.com/pjhill , https://www.reverbnation.com/pjhill and http://www.kcityrecords.com The second song has not been released but I will be very soon so please stay tuned. --- Send in a voice message: https://anchor.fm/keith-paul6/message Support this podcast: https://anchor.fm/keith-paul6/support

Bakotunes welcomes best-selling, Grammy Hall of Famer, and American music icon, Johnny Mathis! One of the original voices of romance. A classic previously unreleased interview from 2011. Includes music. Information: mattomunoz@gmail.com.

You've neatly and tenderly tied up my shoe!Join Josh and Kristian today as they talk life, music, and 'Easy and Slow' with the wonderful Dublin Balladeer Billy Treacy of 'Billy Treacy and The Scope'! "Billy Treacy is a Folk singer/songwriter from Dublin's Inner City. A modern day Balladeer with contemporary story songs using traditional instruments it neatly welds the past with the present.His first Album "Head Above Water" was produced by Conor Brady and featured a host of musicians that Billy has played with around town. It contains thirteen tracks and features the viral video hits "Temple Bar" a humorous but truthful story about the tourist area told as only a real Dub could tell it. And "Woe!" a hard hitting tale of an Irish man trying to deal with the recession.Billy has toured Norway, The Netherlands , France, Belgium, The Uk and The States in the past and has performed on Rte Television and several radio stations around the country.Currently recording a new album with a more Roots sound it features Instruments such as Fiddle, Banjo (both 5 string and Tenor) and Uilleann Pipes. The Musicians known collectively as The Scope change on different days depending on the size of the gig but consist of Anna Mary Donaghy on Fiddle, Paddy Kiernan (5 String Banjo), Gavin Whelan (Low Whistle and Pipes) Anthony Warde (Tenor Banjo and Mandolin) .During the summer of 2017 Billy Treacy & The Scope performed their new single "Moving This Way" in front of 83,000 in Croke Park Stadium. It's an emotional song about the plight and problems that Ireland has faced in the past, but especially now with the huge homeless crisis.November 23rd 2018 was the release date for "Ma", a new ballad done in the old traditional style recorded in Floodplain Studios and engineered by Graham Watson with a lineup including Eoin Dillon (founding member of Kila) on Uilleann Pipes and Whistles.July 20th 2019 Billy Treacy and The Scope played at the Het Lindeboom Folk and Traditional Music Festival in Loon Plage (near Dunkirk) in France.Tune into Billy's music on all usual platforms and give him a listen today! The Market - https://www.youtube.com/watch?v=vUqymPzfEPoMa - https://www.youtube.com/watch?v=dhvUYpnJsLgTemplebar - https://www.youtube.com/watch?v=PsqzEtprcpkBilly Treacy and The Scope - https://www.breakingtunes.com/billytreacyandthescope

Help produce Basic Folk by contributing at basicfolk.com/donateLori McKenna is on Basic Folk talking about her new album The Balladeer. Lori's been a huge part of the New England folk circuit for over two decades and for the last ten years has been a much in-demand songwriting in Nashville thanks to Faith Hill, Tim McGraw and Mary Gauthier. Lori grew up (and still lives) in Stoughton, Mass (where the Ikea is!) and she talks about her complicated relationship with her hometown and discovering how her home life are the secret ingredient to her incredible writing. Lori's a great storyteller and we get a lot of stories about her brothers and sister, her dad, her husband, her kids and of course, Mandy Moore.Lori talks about developing her confidence in songwriting. She didn't leave the house with her music until she was in her late twenties, even though she had been writing since she was a young teen. She talks about the first song she wrote and played for her brother about a rodeo. It was the late 70's and she had never been exposed to rodeos and still has no idea where that came from. I did the math to even make sure she couldn't have absorbed it from any Garth Brooks' rodeo songs. From there, Lori just wrote to express herself. The new album is filled with personal songs as well as one character song, which happens to be the title track. Lori McKenna is a songwriting giant who has been hugely historical in my life, so it was an absolute honor to have her on the podcast. Advertising Inquiries: https://redcircle.com/brands

The power of a good lyric is truly amazing. Thankfully, there are people like Lori McKenna in the world who can craft deeply emotional lyrics that inspire and motivate. She joins Andy today to chat about how she got into music, what it is like to write music with and without co-writers, and to talk about her recently released album, The Balladeer.  Lori grew up with a love of music. She lost her mother at a young age and her four older brothers, older sister, and father found solace in the beauty of music. She credits her brothers with establishing her music education and instilling a love of music at an early age.  She didn't immediately look for ways into the music industry. Instead, she got married and started a family, but she knew something was missing. Listen as she shares how she got her start and why she often feels overcome with gratitude for the life she leads. There is no question that the changes in the music industry, over the last decade, have been immense. One thing that never changes is the ability of writers to evoke emotion from the listener. Lori gives a true insider's look into the writing process and what it takes to keep going each and every day.  Her new album The Balladeer is available to order. Click here to find out more.    Show Highlights: [00:10] Lori McKenna is an amazing singer-songwriter. Listen as Andy shares just a few of her accolades.  [02:45] What was her earliest memory of being touched and moved by music?  [05:18] Which influences in her life shaped who she is today?  [06:39] How did the early passing of her mother affect her life and songwriting?  [09:27] Learn more about the long history between Lori and her husband.  [11:28] Why it's so important to have a place to come home to.  [14:07] How does the writing process change when writing alone versus when co-writing?  [17:15] When writing alone does she start with one part of a song versus another?  [20:20] Does she get close to the actual melodies versus the words?  [23:05] Learn how Girl Crush came into existence.  [25:23] What's it like to write with superstars?  [28:13] How does she feel about her most recent album?  [31:32] Lori shares how one of the most poignant songs on her album got its name. [34:15] There is so much in all this that is helping to learn and grow together. [35:18] What does she dream about now?    LINKS & RESOURCES   Lori McKenna: www.lorimckenna.com The Balladeer: https://orcd.co/theballadeer Instagram: @lorimckennama Mentioned:  Episode 16 Beth Laird: CEO Creative Nation for Hit Songwriters, Producers, Artists   Follow The Music Makers:  The Music Makers on Instagram   The Music Makers podcast theme song was written and produced by Andy Kushner with help from the rhythm section and horn players of the band, SoundConnection: Elliot Jefferson, Lamonte Silver, Keith Hammond, Roy Lambert, Joe Herrera, and Craig Alston.   Sponsor: Kushner Entertainment    Check out Andy's Other Podcast: The Wedding Biz

Date: April 1970 Speaker: Colonel Lindsey T. Henderson and Win Stracke (Balladeer) Topic: The Volunteer Units of Georgia and Savannah - Chicago Civil War Round Table Monthly Meeting Col Lindsey Henderson's talk begins at 17:32.

What Is America To You? Show# 1 with guest Roy Buckley recoded live July, 21, 2020 at JLK Productions.Host Derek Dempsey and Production Manager Jessica Klee of JLK Productions and Songbird Studios deliver their first live production of their talkshow series What Is America To You?The show features Balladeer, Roy Buckley, who was recently nominated for a Grammy for his hit single "The Old Man On Patrick's Street". Now number two on the Irish download charts. Roy will return to What is America To You? when he wins his Grammy in October.

Hi All, I know I stated "I Want You" would be the next album songs I'd dive into, BUT I finished a project last night that dictated an episode dedicated to the very first album Marvin Gaye released: "Soulful Moods of Marvin Gaye" in 1961. I have uploaded every song from this album onto to my youtube channel "Marvin Gaye's Enduring Gifts" on the "Marvin Gaye song of the day" playlist. Here is a link to the playlists page: https://www.youtube.com/channel/UChilKh5Wc2UolrxowWOPktw/playlists?view_as=subscriber As mentioned in previous episodes it is my mission of the youtube channel to be a resource to you for the depth of Marvin Gaye's musical catalog. We have 52 songs now in the "song of the day" playlist, and it will be constantly growing. I recently began using the playlist as my main source of Marvin music during the day by playing the playlist on shuffle. Please use it as your free Marvin Gaye streaming resource! To give an update on the Marvin Gaye Collection songs available on the channel: I owe you two more songs from Volume 3-Rare, Live and Unreleased. And about 6 or 7 songs from Volume 4-The Balladeer. There will also be several unreleased, in other collections, songs from volume 2-Duets coming soon. BUT!!! I sat and listened to every song from the Soulful Moods of Marvin Gaye tonight, and the only word I can use to describe my experience: mesmerized! Please allow yourself to go back in time as you hear the master introducing himself to us. OH! MY GOODNESS GUYS!! This is the purest experience of Marvin Gaye you will EVER have! Marvin is playing the piano AND the drums on every song, and possibly he is also playing the guitar as the inside of the album reveals he was skilled at the guitar, along with arranging, writing and singing. I've stated many times that Marvin was a percussionist and this is a very clear experience of his skills. Our beloved is showing himself to us for his very first solo project! He knows we don't know who he is, and all he can do is his best, and it is magical to be in this space with him, with a knowledge that we are blessed to have today: ALL THAT IS TO COME! Everyone starts from square one, and this is a very appreciated suite of material that I'm so happy to share with you! I also can't recommend highly enough the recent documentary of Motown that aired last month on Showtime, here we get Berry Gordy's take of the journey between he and Marvin to getting Marvin's gift "What's Going On" released. marvin gaye abraham martin and john, marvin gaye ain't no mountain high enough, marvin gaye albums, marvin gaye and kim weston, marvin gaye and tammi terrell, marvin gaye belgium, marvin gaye best album, marvin gaye best songs, marvin gaye biography, marvin gaye biopic, marvin gaye can i get a witness, marvin gaye come get to this, marvin gaye discography, marvin gaye documentary, marvin gaye duets, marvin gaye easy, marvin gaye ecology, marvin gaye ego tripping out, marvin gaye environmental song, marvin gaye era, marvin gaye every great motown hit, marvin gaye everybody needs love, marvin gaye famous songs, marvin gaye film, marvin gaye genre, marvin gaye get it on, marvin gaye got to give it up, marvin gaye grapevine, marvin gaye greatest hits, marvin gaye heard it through the grapevine, marvin gaye here my dear, marvin gaye hits, marvin gaye how sweet it is to be loved by you, marvin gaye i heard it through the grapevine, marvin gaye i want you, marvin gaye if this world were mine, marvin gaye in concert, marvin gaye in our lifetime, marvin gaye in the groove, marvin gaye inner city blues, marvin gaye is that enough, marvin gaye it takes two, marvin gaye jazz, marvin gaye joy, marvin gaye just like, marvin gaye just like music, marvin gaye just to keep you satisfied, marvin gaye let's get it on, marvin gaye li

I first heard this song on Disc 4-The Balladeer of the Marvin Gaye Collection which contains a mix of Marvin Gaye songs from his 4 jazz albums released in the early 1960s along with a wealth of unreleased takes of songs later released on an album titled "Vulnerable." I share how this segment of Marvin's career has always held a special place for me. And the fact that my initial study of Marvin's music threw me into the middle of the Pacific ocean, so to speak, vs. the 3 foot shallow end of the pool...is the reason why my podcast series has the mission it does. The mission is to help expose you to the deep end, the Pacific Ocean end of Marvin Gaye's musical catalog. I share how I've recently come across a performance Marvin Gaye gave on a tv show from 1968 where he sang another song in this vein titled "Why Did I Choose You." Marvin Gaye is asked where the song comes from after performing it, and his answer to the question provides an explanation of the level of depth of Marvin's knowledge of this genre of music, his seriousness about it, his expertise of it, and the education that he was trying to provide to his listeners. I give you some backstory of cinema that is tied to the songs "The Days of Wine and Roses" and "Why Did I Choose You." I wrap up by sharing the very personal connection I have to this song through a very special experience I was able to have the one time I got to play this song for my grandfather! This song will shortly be available on our Youtube Channel: "Marvin Gaye's Enduring Gifts" https://www.youtube.com/channel/UChilKh5Wc2UolrxowWOPktw?view_as=public And there will soon be a pinterest picture board capturing images relevant to the topics we covered: https://www.pinterest.com/marvingaye_enduring_gifts/ marvin gaye abraham martin and john, marvin gaye ain't no mountain high enough, marvin gaye albums, marvin gaye and kim weston, marvin gaye and tammi terrell, marvin gaye belgium, marvin gaye best album, marvin gaye best songs, marvin gaye biography, marvin gaye biopic, marvin gaye can i get a witness, marvin gaye come get to this, marvin gaye discography, marvin gaye documentary, marvin gaye duets, marvin gaye easy, marvin gaye ecology, marvin gaye ego tripping out, marvin gaye environmental song, marvin gaye era, marvin gaye every great motown hit, marvin gaye everybody needs love, marvin gaye famous songs, marvin gaye film, marvin gaye genre, marvin gaye get it on, marvin gaye got to give it up, marvin gaye grapevine, marvin gaye greatest hits, marvin gaye heard it through the grapevine, marvin gaye here my dear, marvin gaye hits, marvin gaye how sweet it is to be loved by you, marvin gaye i heard it through the grapevine, marvin gaye i want you, marvin gaye if this world were mine, marvin gaye in concert, marvin gaye in our lifetime, marvin gaye in the groove, marvin gaye inner city blues, marvin gaye is that enough, marvin gaye it takes two, marvin gaye jazz, marvin gaye joy, marvin gaye just like, marvin gaye just like music, marvin gaye just to keep you satisfied, marvin gaye let's get it on, marvin gaye little darling, marvin gaye live, marvin gaye love songs, marvin gaye mercy mercy me, marvin gaye midnight love, marvin gaye motown, marvin gaye movie, marvin gaye music, marvin gaye national anthem, marvin gaye no mountain high enough, marvin gaye northern soul, marvin gaye on youtube, marvin gaye one more heartache, marvin gaye onion song, marvin gaye oostende, marvin gaye ostend, marvin gaye playlist, marvin gaye pretty little baby, marvin gaye pride and joy, marvin gaye quiet storm, marvin gaye record, marvin gaye red beanie, marvin gaye remix, marvin gaye right on, marvin gaye romantically yours, marvin gaye sexual healing, marvin gaye songs, marvin gaye songs list, marvin gaye sunny,

A fun hour filled with history, stories, music, laughter and more with Arizona's Official State Balladeer Dolan Ellis and Official State Historian Marshall Trimble.  They talk about their careers, pick a song or two and Dolan's involvement with the Arizona Folklore Preserve near Ramsey Canyon in southeastern Arizona.

Dolan Ellis has been Arizona's Official Balladeer for over 50 years.  He talks about his career and his new book about 'Scrubby', The Mystery I-17 Christmas Tree.  For decades, a tree in between I-17 has been mysteriously decorated for Christmas.  Also discusses keeping history alive at the Arizona Folklore Preserve

Dolan Ellis is the Arizona State Balladeer.  Talks about how he became the official balladeer, performs a song from his new book called 'Scrubby, The I-17 Mystery Christmas Tree' and a special song for Veterans Day!

The party rushes to escape the sinking Swimming Hole and bid a fond farewell to Balladeer as they get on the road toward the next gang. Starring Mike(Big Boss Dungeoneer), Jeffrey(Luddy), Verge(Kadrian/Feely), Brandt(Stink-eye) with Special Guests Dan & Kurt. dungeoneerspodcast.com | facebook.com/dungeoneerspodcast | @dungeoneerspod Check out the new "This Game is Easy When You Roll 10+" Shirts/Mugs/Stickers at teespring.com/this-game-is-easy

The party is reeling after the events at the Hall of Stumps. They break the news "gently" to Stalia and look for clues at Jack's place before setting off on the second part of their mission in Balladeer, going into the swamp after the Crimson Crocs. Starring Mike(Big Boss Dungeoneer), Jeffrey(Luddy), Verge(Kadrian), Brandt(Stink-eye) and Craig(Tomas). dungeoneerspodcast.com | facebook.com/dungeoneerspodcast | @dungeoneerspod

We continue in Balladeer as the split party gets drunk and tries local delicacies before getting back together to scrounge the brain trust of the Alley Polecats for information on their targets. Or perhaps they'll just continue to mess with the locals...Starring Mike(Big Boss Dungeoneer), Jeffrey(Luddy), Verge(Kadrian), Brandt(Stink-eye), Craig(Tomas) and Special Guest Jessica(Skalia). dungeoneerspodcast.com | facebook.com/dungeoneerspodcast | @dungeoneerspod Also Tshirts at http://teespring.com/dungeoneers-podcast

Stink-eye and the party return to his home Balladeer and are reunited with friends and family. Meanwhile Luddy and Kadrian gather information on the Alley Polecats and Crimson Crocs with a fair share of snark. Starring Mike (Big Boss Dungeoneer), Jeffrey (Luddy), Verge (Kadrian), Brandt (Stink-eye), Craig (Tomas) and Special Guest Jessica (Skalia). dungeoneerspodcast.com | facebook.com/dungeoneerspodcast | @dungeoneerspod   Tshirts - www.teespring.com/dungeoneers-podcast

The party picks up from the desert and gets some unlikely assistance traveling up to southern road to Balladeer. Will their powerful ally make it easy going or leave them hanging? Starring Mike(Big Boss Dungeoneer), Jeffrey(Luddy), Verge(Kadrian), Brandt(Stink-eye), Craig(Tomas) and returning special guest Aiden(Flarry the Beholder). dungeoneerspodcast.com | facebook.com/dungeoneerspodcast | @dungeoneerspod Also we are apparently very close to having enough tshirt orders for another shipment, so if you were holding off, now is your time!