Podcast appearances and mentions of Bill Wyman

(S4- Ep 28) The Rolling Stones- Their Satanic Majesties Request (Decca)Released December 8, 1967, Recorded between February 9-October 23, 1967 Their Satanic Majesties Request (1967) is The Rolling Stones' most adventurous and experimental album, showcasing their willingness to explore new musical landscapes. Embracing the psychedelic spirit of the late 1960s, the band incorporated unconventional instrumentation—such as the Mellotron, dulcimer, and tabla—creating a richly textured sonic experience. Songs like “She's a Rainbow” and “2000 Light Years from Home” highlight the group's flair for melody and atmosphere, while Bill Wyman's “In Another Land” adds a unique and playful touch. The 3D lenticular cover art, designed by Michael Cooper, captures the album's vibrant, otherworldly tone. With contributions from notable collaborators like John Paul Jones and even uncredited vocals by Lennon and McCartney, the record stands as a collaborative and stylistic milestone. Their Satanic Majesties Request captures a moment of bold creativity in the Stones' career, offering a colorful, immersive journey that continues to intrigue and inspire listeners decades later.Signature Tracks: "She's A Rainbow,"  "In Another Land,"  "2000 Light Years From Home" Full Albums: YouTube  Spotify Playlist: YouTube, Spotify

This week on RITY... The mini theme is Mayday! Songs with titles that are a cry for help... A brand new song from Sammy Hagar that pays tribute to his former bandmate, Eddie Van Halen... Who would have thought that driving down Lake Shore Drive while high on cocaine would inspire a hit song!... Who was Chicken Man and why was he blown up by a nail bomb?... Deep cuts from Artful Dodger, Orion The Hunter, Spys, Little Village, Bill Wyman's Rhythm Kings, and much more!... For more info on the show, visit reelinwithryan.com

We're celebrating our 10th anniversary all year by digging in the vaults to re-present classic episodes with fresh commentary. Today, we're revisiting our 2020 conversation with Peter Frampton. ABOUT THIS BONUS EPISODEThe exceedingly generous and gentlemanly Peter Frampton talks about David Bowie giving him his very first job; Bill Wyman of the Rolling Stones getting him into a recording studio for the first time; stumbling into session work thanks to George Harrison; writing two massive hits in the same day; how the loneliness of stratospheric success impacted his songwriting; and the inside stories of classics such as "Baby, I Love Your Way," "Show Me the Way," "Do You Feel Like We Do," "I'm in You," and many more.    

The chocolate Easter bunny of rock and roll news in highly nutritious and digestible fragments, such as …  … the Who's very public sacking of Zak Starkey. … why no band ever wants to play quietly. … how a magazine in a shop window sparked the Neil Tennant/Mark Springer album. … Katy Perry's space ‘mission' and the trenchant observations by her and the ‘crew' – “I can't put it into words but I looked out the window and we got to see the moon!” … The Thing In The Cellar, Dogs Are Everywhere, Roadkill … Pulp song or episode of The Good Life? … the brilliant new ‘One To One: John & Yoko' documentary and how we miss the days when rock stars went on live chat shows and said the first thing that came into their heads. … why musicians are fundamentally different from other entertainers. ... perilous domestic gadgets of the ‘60s. … the allure of songs about space. … “Ray's at the controls!” When Ray Charles went walkabout on the band's private plane.  … Pete Townshend: “We need bigger weapons!” … Ben Watt DJ-ing in ear defenders. … Ray Davies, Charlie Watts, Bill Wyman …? Who grew the first psychedelic moustache? Plus birthday guest Al Hearton on Kris Kristofferson, John Travolta, Bruce Dickinson, Gary Numan and the rock and roll/aviation crossover.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The chocolate Easter bunny of rock and roll news in highly nutritious and digestible fragments, such as …  … the Who's very public sacking of Zak Starkey. … why no band ever wants to play quietly. … how a magazine in a shop window sparked the Neil Tennant/Mark Springer album. … Katy Perry's space ‘mission' and the trenchant observations by her and the ‘crew' – “I can't put it into words but I looked out the window and we got to see the moon!” … The Thing In The Cellar, Dogs Are Everywhere, Roadkill … Pulp song or episode of The Good Life? … the brilliant new ‘One To One: John & Yoko' documentary and how we miss the days when rock stars went on live chat shows and said the first thing that came into their heads. … why musicians are fundamentally different from other entertainers. ... perilous domestic gadgets of the ‘60s. … the allure of songs about space. … “Ray's at the controls!” When Ray Charles went walkabout on the band's private plane.  … Pete Townshend: “We need bigger weapons!” … Ben Watt DJ-ing in ear defenders. … Ray Davies, Charlie Watts, Bill Wyman …? Who grew the first psychedelic moustache? Plus birthday guest Al Hearton on Kris Kristofferson, John Travolta, Bruce Dickinson, Gary Numan and the rock and roll/aviation crossover.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The chocolate Easter bunny of rock and roll news in highly nutritious and digestible fragments, such as …  … the Who's very public sacking of Zak Starkey. … why no band ever wants to play quietly. … how a magazine in a shop window sparked the Neil Tennant/Mark Springer album. … Katy Perry's space ‘mission' and the trenchant observations by her and the ‘crew' – “I can't put it into words but I looked out the window and we got to see the moon!” … The Thing In The Cellar, Dogs Are Everywhere, Roadkill … Pulp song or episode of The Good Life? … the brilliant new ‘One To One: John & Yoko' documentary and how we miss the days when rock stars went on live chat shows and said the first thing that came into their heads. … why musicians are fundamentally different from other entertainers. ... perilous domestic gadgets of the ‘60s. … the allure of songs about space. … “Ray's at the controls!” When Ray Charles went walkabout on the band's private plane.  … Pete Townshend: “We need bigger weapons!” … Ben Watt DJ-ing in ear defenders. … Ray Davies, Charlie Watts, Bill Wyman …? Who grew the first psychedelic moustache? Plus birthday guest Al Hearton on Kris Kristofferson, John Travolta, Bruce Dickinson, Gary Numan and the rock and roll/aviation crossover.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Informativo de primera hora de la mañana, en el programa El Remate de La Diez Capital Radio. Hoy se cumplen 1.145 días del cruel ataque e invasión de Rusia a Ucrania. 3 años y 50 días. Hoy es miércoles 16 de abril de 2025. Día Mundial de la Voz. El Día Mundial de la Voz se celebra el 16 de abril y fue decretado por la Federación de Sociedades de Otorrinolaringología con el objetivo de crear conciencia de la importancia que tiene la voz, así como los cuidados que se deben tener para evitar problemas relacionados con las cuerdas vocales, como la afonía y la disfonía. La voz representa el principal medio de comunicación a través del cual las personas expresan pensamientos y emociones. Es una herramienta que nos permite estar en contacto con otros y de esta forma crear relaciones personales. En el mundo agitado de hoy, muchas personas sufren de trastornos relacionados con la voz, sobre todo aquellas que tienen el hábito de fumar o que necesariamente necesitan la voz para ejercer una determinada profesión. Por esta razón, no está de más visitar al otorrino de manera preventiva para evitar daños futuros en las cuerdas vocales. 1581.- Felipe II es proclamado rey de Portugal en el monasterio de Tomar, tras su conquista por tropas españolas. 1622.- El cardenal Richelieu es nombrado primer ministro de Francia, cargo que ejerció en los reinados de Luis XIII y Luis XIV. 1910: en la ciudad de Boston (Estados Unidos) se inaugura el estadio para hockey sobre hielo, el Boston Arena; es el estadio más antiguo todavía en uso. 1912: la británica Harriet Quimby se convierte en la primera mujer que cruza en avión el canal de la Mancha. 1963: en la cárcel de Birmingham (estado de Alabama), el Dr. Martin Luther King Jr. escribe su carta desde la cárcel de Birmingham, encarcelado por protestar contra el apartheid (segregación racial) que asolará su país hasta 1967. 1990: en Estados Unidos, el médico Jack Kevorkian (el Doctor Muerte), participa en su primer suicidio asistido. Un 16 de abril de 2003 nació la Unión Europea de los 25 miembros -ahora son 27. 2012.- La presidenta argentina, Cristina Fernández, anuncia el decreto de intervención de la petrolera YPF, participada por Repsol. 2013.- La tonadillera Isabel Pantoja es condenada a dos años de prisión por blanqueo de capitales, al igual que su expareja Julián Muñoz, que fue alcalde de Marbella (Málaga). Santoral para hoy, 16 de abril: santos Engracia, Toribio de Liébana y Calixto. El presidente Trump asegura haber resuelto la inflación de EE.UU. en plena guerra comercial. Sudán cumple dos años en guerra con un sistema sanitario "colapsado" y millones de desplazados. Trump congelará 2.200 millones de dólares en subvenciones a la Universidad de Harvard. Alegría reprocha al PP que condene los ataques machistas recibidos con "peros": "No caben los titubeos". Vidal-Quadras insiste ante el juez que el régimen iraní intentó asesinarle: "Todos los indicios apuntan a ese origen". Ángel Víctor Torres suspende su agenda pública hasta que se recupere de su operación por cáncer. El ministro de Política Territorial y Memoria Democrática ha mantenido su actividad pública hasta este martes. Los sindicatos mantienen la huelga de hostelería en la provincia de Santa Cruz de Tenerife durante Semana Santa. El rechazo a la propuesta de la patronal turística ha sido "por unanimidad". Educación lanza una nueva convocatoria de oposiciones docentes en Canarias. La convocatoria correspondiente al año 2025 será publicada el próximo lunes en el Boletín Oficial de Canarias. El Gobierno prohíbe por ley servir bebidas azucaradas y bollería en los comedores escolares. La nueva normativa garantiza que se sirvan cinco comidas saludables a la semana en todos los colegios. La inflación encarece la sanidad pública canaria: una estancia en la UCI cuesta hoy 200 euros más que antes de la pandemia. La última actualización de precios públicos del Gobierno de Canarias contempla una subida del 1% en todos los servicios, que se suma a la del 7% del 2024. El puerto de Los Cristianos registrará esta Semana Santa 72.000 pasajeros. Se prevé que unos 20.000 vehículos circulen por el muelle sureño hasta el domingo; la Autoridad Portuaria, el Ayuntamiento de Arona y las navieras coordinan un plan para evitar el colapso. Salvamento rescata cerca de El Hierro un cayuco con 62 personas, entre ellas tres menores, que llevaban seis días en el mar. Uno de los ocupantes necesitó ser trasladado al Hospital Insular Virgen de los Reyes para su atención médica. Tal día como hoy 16 de abril de 1964, se pone a la venta el álbum debut de la banda The Rolling Stones. La banda estaba compuesta por Mick Jagger, Brian Jones (que murió en 1969), Keith Richards, Bill Wyman y Charlie Watts y todavía hoy sigue en activo.

Bienvenidos a La Diez Capital Radio! Están a punto de comenzar un nuevo episodio de nuestro Programa de Actualidad, donde la información, la formación y el entretenimiento se encuentran para ofrecerles lo mejor de las noticias y temas relevantes. Este programa, dirigido y presentado por Miguel Ángel González Suárez, es su ventana directa a los acontecimientos más importantes, así como a las historias que capturan la esencia de nuestro tiempo. A través de un enfoque dinámico y cercano, Miguel Ángel conecta con ustedes para proporcionar una experiencia informativa y envolvente. Desde análisis profundos hasta entrevistas exclusivas, cada emisión está diseñada para mantenerles al tanto, ofrecerles nuevos conocimientos y, por supuesto, entretenerles. Para más detalles sobre el programa, visiten nuestra web en www.ladiez.es. - Informativo de primera hora de la mañana, en el programa El Remate de La Diez Capital Radio. Hoy se cumplen 1.145 días del cruel ataque e invasión de Rusia a Ucrania. 3 años y 50 días. Hoy es miércoles 16 de abril de 2025. Día Mundial de la Voz. El Día Mundial de la Voz se celebra el 16 de abril y fue decretado por la Federación de Sociedades de Otorrinolaringología con el objetivo de crear conciencia de la importancia que tiene la voz, así como los cuidados que se deben tener para evitar problemas relacionados con las cuerdas vocales, como la afonía y la disfonía. La voz representa el principal medio de comunicación a través del cual las personas expresan pensamientos y emociones. Es una herramienta que nos permite estar en contacto con otros y de esta forma crear relaciones personales. En el mundo agitado de hoy, muchas personas sufren de trastornos relacionados con la voz, sobre todo aquellas que tienen el hábito de fumar o que necesariamente necesitan la voz para ejercer una determinada profesión. Por esta razón, no está de más visitar al otorrino de manera preventiva para evitar daños futuros en las cuerdas vocales. 1581.- Felipe II es proclamado rey de Portugal en el monasterio de Tomar, tras su conquista por tropas españolas. 1622.- El cardenal Richelieu es nombrado primer ministro de Francia, cargo que ejerció en los reinados de Luis XIII y Luis XIV. 1910: en la ciudad de Boston (Estados Unidos) se inaugura el estadio para hockey sobre hielo, el Boston Arena; es el estadio más antiguo todavía en uso. 1912: la británica Harriet Quimby se convierte en la primera mujer que cruza en avión el canal de la Mancha. 1963: en la cárcel de Birmingham (estado de Alabama), el Dr. Martin Luther King Jr. escribe su carta desde la cárcel de Birmingham, encarcelado por protestar contra el apartheid (segregación racial) que asolará su país hasta 1967. 1990: en Estados Unidos, el médico Jack Kevorkian (el Doctor Muerte), participa en su primer suicidio asistido. Un 16 de abril de 2003 nació la Unión Europea de los 25 miembros -ahora son 27. 2012.- La presidenta argentina, Cristina Fernández, anuncia el decreto de intervención de la petrolera YPF, participada por Repsol. 2013.- La tonadillera Isabel Pantoja es condenada a dos años de prisión por blanqueo de capitales, al igual que su expareja Julián Muñoz, que fue alcalde de Marbella (Málaga). Santoral para hoy, 16 de abril: santos Engracia, Toribio de Liébana y Calixto. El presidente Trump asegura haber resuelto la inflación de EE.UU. en plena guerra comercial. Sudán cumple dos años en guerra con un sistema sanitario "colapsado" y millones de desplazados. Trump congelará 2.200 millones de dólares en subvenciones a la Universidad de Harvard. Alegría reprocha al PP que condene los ataques machistas recibidos con "peros": "No caben los titubeos". Vidal-Quadras insiste ante el juez que el régimen iraní intentó asesinarle: "Todos los indicios apuntan a ese origen". Ángel Víctor Torres suspende su agenda pública hasta que se recupere de su operación por cáncer. El ministro de Política Territorial y Memoria Democrática ha mantenido su actividad pública hasta este martes. Los sindicatos mantienen la huelga de hostelería en la provincia de Santa Cruz de Tenerife durante Semana Santa. El rechazo a la propuesta de la patronal turística ha sido "por unanimidad". Educación lanza una nueva convocatoria de oposiciones docentes en Canarias. La convocatoria correspondiente al año 2025 será publicada el próximo lunes en el Boletín Oficial de Canarias. El Gobierno prohíbe por ley servir bebidas azucaradas y bollería en los comedores escolares. La nueva normativa garantiza que se sirvan cinco comidas saludables a la semana en todos los colegios. La inflación encarece la sanidad pública canaria: una estancia en la UCI cuesta hoy 200 euros más que antes de la pandemia. La última actualización de precios públicos del Gobierno de Canarias contempla una subida del 1% en todos los servicios, que se suma a la del 7% del 2024. El puerto de Los Cristianos registrará esta Semana Santa 72.000 pasajeros. Se prevé que unos 20.000 vehículos circulen por el muelle sureño hasta el domingo; la Autoridad Portuaria, el Ayuntamiento de Arona y las navieras coordinan un plan para evitar el colapso. Salvamento rescata cerca de El Hierro un cayuco con 62 personas, entre ellas tres menores, que llevaban seis días en el mar. Uno de los ocupantes necesitó ser trasladado al Hospital Insular Virgen de los Reyes para su atención médica. Tal día como hoy 16 de abril de 1964, se pone a la venta el álbum debut de la banda The Rolling Stones. La banda estaba compuesta por Mick Jagger, Brian Jones (que murió en 1969), Keith Richards, Bill Wyman y Charlie Watts y todavía hoy sigue en activo. - Sección de actualidad con mucho sentido de Humor inteligente en el programa El Remate de La Diez Capital radio con el periodista socarrón y palmero, José Juan Pérez Capote, El Nº 1. - Entrevista en La Diez Capital radio a Rosario Blanco, Pedro Yumar y Manuel Diaz, portavoces de La Coordinadora Vecinal de Afectados por el Aeropuerto de Tenerife Norte. - Entrevista en el programa El Remate de La Diez Capital Radio al empresario Juan Francisco Reverón. En una nueva edición de El Remate, hemos contado con la participación del empresario Juan Francisco Reverón, con quien abordamos una de las problemáticas más relevantes del sur de Tenerife: la situación del Puerto de Los Cristianos. Durante la entrevista, Reverón analizó en profundidad los problemas estructurales, de planificación y operatividad que afectan al puerto, señalando las consecuencias que esto tiene para el desarrollo económico, turístico y social de la zona. Desde la congestión del tráfico marítimo hasta la falta de infraestructuras adecuadas, el empresario expuso un panorama crítico que requiere soluciones urgentes. Asimismo, aportó posibles alternativas para mejorar la situación, entre ellas la descentralización de algunos servicios, la modernización de las instalaciones, así como una mejor coordinación entre las administraciones públicas y los actores económicos del territorio. “El puerto necesita una visión a largo plazo, con planificación estratégica y decisiones valientes”, afirmó. Una conversación clave para entender uno de los grandes retos de conectividad y desarrollo que enfrenta Tenerife. - Sección en La Diez Capital radio. Nos acompañan Konstantin Hinner Ivamtchev CEO de Proyectos insulares y Juan Pablo Cabrera Molina, Director Comercial. Los beneficios de las Viviendas Modulares. - Sección en el programa el Remate de La Diez Capital radio con el chef Ramón Hernández, recetas de cocina canaria sin vergüenza. Quesito de mí tía Nena. - Entrevista en el programa el Remate de La Diez Capital radio al especialista en energías, Juan Cabrera. Ofrecemos una oferta de aire acondicionado a nuestros oyentes.

Une longue émission pour couvrir les années 2002 à 2008 de la discographie du groupe.Les différentes chroniques portent sur :Jimmy Page & The Black Crowes - Live At The GreekHeather Nova - Breath And AirNeil Young - Oceanside CountrysideLarkin Poe - BloomCymande - RenascencePink Floyd Animals - livre de Philippe Gonin aux éditions Le Mot Et Le ResteRetrouvez nous sur sympathyforthedevils.com pour les infos stoniennes et sur chronicast.com pour découvrir tous nos podcasts.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Chas & Guest PEPCaster Bill Wyman discuss The Jeff Bezos in the Coal Mine, Low Budget Sopranos and The War on Does 0:00 - Introducing: Bill Wyman 4:27 - Grateful (Chicago, Nicholas Enrich) 9:46 - Correspondence (Gulf of America, Bill) 20:27 - ZelenskyGate: Background 57:45 - ZelenskyGate: The Oval Office 1:46:38 - ZelenskyGate: Bill's Take 1:49:37 - ZelenskyGate: Trump & Russia 2:05:05 - WAPO and Bezos 2:36:13 - Bill's Oscars Take 2:48:44 - Stats Nugget (Education) 2:59:54 - DOJ Is Terrible 3:06:21 - Eagle Ed Martin Jr SHOW LINKS: *Chat with the PEPpers on the Discord Server: https://discord.com/invite/WxDD2PPvaW

Sticky Fingers is considered by many to be the greatest studio album the Rolling Stones ever created.  This ninth studio album represented a return to a more basic sound for the Stones after several albums with less conventional instrumentation.  It was also known for its cover artwork from Andy Warhol which featured a man in jeans with a working zipper.  The album won a Grammy for “Best Album Cover” for this innovative design.This was the first album that was released on their own label, Rolling Stones Records.  It was also the first album the group produced without Brian Jones, who had died two years earlier.  The members of the band were Charlie Watts on drums, Bill Wyman on bass, Mick Taylor on guitar, Keith Richards on guitar and backing vocals, and Mick Jagger on lead vocals and some guitar and percussion.  There were a number of session musicians and frequent collaborators involved in the album, including Bobby Keys on sax, and Billy Preston and Ian Stewart on keyboards.Sticky Fingers was the band's first album to reach number 1 on album charts in both the US and the UK.  It has since reached triple platinum status, and was inducted into the Grammy Hall of Fame in 1999.    The album was also the first album to utilize the now-iconic “mouth”  for which the group would be known.Friend of the show Mike Fernandez joins us in Bruce's absence, while Rob brings us this amazing album from one of the giants of the rock world in this week's podcast. Wild HorsesThis softer song with a country bent was first released in 1970 by the Flying Burrito Brothers, and subsequently recorded by the Stones after originally thinking the demo wasn't worth recording.  It was originally recorded over a three-day period at Muscle Shoals Studio in Alabama in 1969.  The lyrics are about being on the road, and not being where you really want to be.Brown SugarThe opening track to the album was also the lead single, and reached the top of the charts in the US and Canada, while reaching number 2 on the UK singles chart.  The song sounds like a strong rocking one, but the lyrics discuss slavery and rape, a much more serious topic than most realized the lyrics covered.BitchThis track which leads off side two of the album was the B-side to the single “Brown Sugar.”  It has a strong brass section — the song originated in a jam, and features Bobby Keys on sax and Jim Price on trumpet.  The lyrics are describing love as a bitch but the title probably didn't help the band in its problems with women's groups.  Can't You Hear Me KnockingThis is the longest song on the album, clocking in at over seven minutes.  The central part of the song lasts for 2:43, with an extended jam following.  The entire track was captured in one take, and the band continued with the jam, thinking that the recording was complete.   ENTERTAINMENT TRACK:One Tin Soldier (from the motion picture “Billy Jack”)This counterculture song was a prominent part of the soundtrack to the action drama "Billy Jack" a part Navajo Green Beret and Vietnam War veteran defending his Freedom School students from angry townspeople. STAFF PICKS:Get It On by ChaseWayne starts out the staff picks with a high energy song from an artist known for his jazz trumpet.  Bill Chase brought together a band including three other trumpet players, a rock rhythm section, and front man Terry Richards on lead vocals.  This jazz fusion rock piece peaked at number 24 on the Billboard Hot 100.Let's Get It On by Marvin GayeLynch brings us a track that has taken on a life of its own as the ultimate romance song.  Backed by the Funk Brothers, it is the most successful song Gaye produced on Motown Records.  It reached number 1 on both the Billboard Hot 100 singles chart and the US Hot Soul Singles chart.Love Her Madly by the DoorsMike features the first single from the album “L.A. Woman,” the sixth studio album from the Doors, and the final album with Jim Morrison before his untimely death.  Guitarist Robby Krieger wrote this song while experimenting with a 12-string guitar.  It Don't Come Easy by Ringo Starr Rob finishes the staff picks with a non-album single from the drummer of the recently-disbanded Beatles.  Fellow Beatle George Harrison produced the single and helped Starr write the song which peaked at number 4 on the US and UK singles charts. INSTRUMENTAL TRACK:Main Theme from the motion picture “The Summer of 42”We exit this week's podcast with the signature song from this Academy Award nominee and coming-of-age movie in the theaters in April 1971. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Joining me on this video edition of the show the legendary Andy Fairweather Low.New Album Out "The Invisible Bluesman" Buy here https://amzn.to/40QsAbwJoining us on the latest edition of The Classic Rock and Blues Show with Tim Caple is none other than rhythm guitar legend Andy Fairweather Low. A true icon, Andy has played alongside some of the greatest names in music history—Eric Clapton, BB King, George Harrison, Roger Waters, Stevie Nicks, The Who, and many more. From his early days fronting the chart-topping Amen Corner to his acclaimed solo career and legendary collaborations, Andy's journey is nothing short of extraordinary.Now, he returns to his blues roots with a brand-new album, set for release on February 7th. Don't miss this exclusive feature interview as Andy shares insights into his storied career and his latest musical venture.Andy Fairweather Low is a rhythm guitar legend who has played with the music industries greats of the last 60 years, from Eric Clapton, BB King, George Harrison, Roger Waters, Stevei Nicks, The Who in fact the list is so long you couldn't fit it in here, and lets not forget the chart topping band Amen Corner as well. Andy turns to the blues for his brand new album coming Feb 7th Andy Fairweather Low, born on August 2, 1948, in Ystrad Mynach, Wales, is a renowned Welsh guitarist, singer, and songwriter. He first gained prominence in the late 1960s as the lead vocalist of the pop group Amen Corner. The band achieved several UK hits, including "Gin House Blues," "Bend Me Shape Me," "High in the Sky," and the chart-topping "(If Paradise Is) Half as Nice" in 1969. Following the disbandment of Amen Corner in 1970, Fairweather Low formed Fair Weather, which scored a UK Top 10 hit with "Natural Sinner" the same year. After the group's dissolution in 1971, he embarked on a solo career, releasing albums such as "Spider Jiving" (1974) and "La Booga Rooga" (1975). His solo work produced hits like "Reggae Tune" and "Wide Eyed and Legless," the latter reaching No. 6 on the UK charts in 1975. Beyond his solo endeavors, Fairweather Low became a sought-after session musician. He collaborated with prominent artists, including Eric Clapton, George Harrison, Roger Waters, and Bill Wyman's Rhythm Kings. Notably, he was part of Eric Clapton's band during the acclaimed "Unplugged" performance and toured extensively with Roger Waters during the "In the Flesh" and "The Dark Side of the Moon Live" tours. #andyfairweatherlow #bluesmusic #amencorner

This week is a very extra special Coolest Conversation as The Mighty Manfred's guest is Bill Wyman! Bill has an extroardinary career spanning six decades as an author, songwriter, producer, and as an original member of the Rolling Stones. His newest solo album features our Coolest Song in the World, “Thunder on The Mountain.” Join The Mighty Manfred and Bill Wyman for this week's Coolest Conversation, presented by Hard Rock

On the January 6 edition of the Music History Today podcast, Elvis does a final appearance, the Stones lose a member, Frampton Comes Alive (maybe), & happy birthday to Syd Barrett For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday

Send us a textIn this episode, we discuss the second instalment in the Rolling Stones' legendary four-album run from 1968-72, that being 'Let It Bleed,' released on this day in 1969. Few albums so accurately capture the mood of their time, and even fewer hit just as close to home 55 years later as they did on release day...Support the showSubscribe to Rock Talk with Dr. Cropper +Instagram & TikTok — @rocktalk.dr.cropperTwitter — @RockTalkDrCroppFacebook, LinkedIn & YouTube — Rock Talk with Dr. CropperEmail — rocktalk.dr.cropper@gmail.com

The week in 1997 INXS front man Michael Hutchence was found dead in SydneyIn 1990, Bill Wyman's marriage was over... to the girl he met when she was 13. So wrongAnd in 2012, the courts were investigating the death of the former ELO cellist Mike Edwards. What a freak accident that was.

A star is born tonight... Will she live to see tomorrow?Opera (also known and released as Terror at the Opera) is a 1987 Italian giallo directed and co-written by Dario Argento and starring Cristina Marsillach, Urbano Barberini, Daria Nicolodi, and Ian Charleson.The film's plot focuses on a young soprano (Marsillach) who becomes involved in a series of murders being committed inside an opera house by a masked assailant. The film features music composed and performed by Brian Eno, Claudio Simonetti, and Bill Wyman.00:00 Intro / USA Trip27:42 Horror News 33:24 What We've Been Watching46:45 Film Review1:57:52 Name Game / Giallo or Gial-no2:04:54 Film Rating2:09:40 Outrowww.horrorhangout.co.ukPodcast - https://fanlink.tv/horrorhangoutPatreon - http://www.patreon.com/horrorhangoutFacebook - http://www.facebook.com/horrorhangoutpodcastX - http:/x.com/horror_hangout_TikTok - http://www.tiktok.com/@horrorhangoutpodcastInstagram - http://www.instagram.com/horrorhangoutpodcastBen - https://x.com/ben_errington​​​Andy - https://x.com/AndyCTWritesCharley - https://www.instagram.com/charley_errington/Audio credit - Taj Eastonhttp://tajeaston.comSupport this show http://supporter.acast.com/thehorrorhangout. Hosted on Acast. See acast.com/privacy for more information.

ABOUT MICKI FREE: Guitarist and singer Micki Free is a GRAMMY® Award Winner, Five Time Native American Music Award Winner & formerly of Shalamar who has also worked with Gene Simmons, Prince, Bill Wyman, Diana Ross, Carlos Santana, Cheap Trick & many more. ABOUT THE PODCAST:  Candid discussions with and about those behind the scenes in the music business including industry veterans representing the segments of: Musician, Design & Live ABOUT THE HOSTS: All three Music Buzzz Podcast hosts (Dane Clark, Hugh Syme and Andy Wilson) have spent their careers working with the biggest names in entertainment and have been, and still are, a fly on the wall. Learn more about your ad choices. Visit megaphone.fm/adchoices

ABOUT MICKI FREE: Guitarist and singer Micki Free is a GRAMMY® Award Winner, Five Time Native American Music Award Winner & formerly of Shalamar who has also worked with Gene Simmons, Prince, Bill Wyman, Diana Ross, Carlos Santana, Cheap Trick & many more. ABOUT THE PODCAST:  Candid discussions with and about those behind the scenes in the music business including industry veterans representing the segments of: Musician, Design & Live ABOUT THE HOSTS: All three Music Buzzz Podcast hosts (Dane Clark, Hugh Syme and Andy Wilson) have spent their careers working with the biggest names in entertainment and have been, and still are, a fly on the wall. Learn more about your ad choices. Visit megaphone.fm/adchoices

Bill talks to Bill Wyman about the US Election Next Tuesday November 5See omnystudio.com/listener for privacy information.

Send us a textIn this episode, we discuss the Rolling Stones' twelfth album, 'It's Only Rock 'N' Roll,' in celebration of the 50th anniversary of its October 18, 1974 release. While far from their best album, it's still close enough to their creative peak that it has some great stuff on it!The speed-corrected version of "Fingerprint File," finally liberated on the 2011 Japanese CD release of the album, can be found here.Support the showSubscribe to Rock Talk with Dr. Cropper +Instagram & TikTok — @rocktalk.dr.cropperTwitter — @RockTalkDrCroppFacebook, LinkedIn & YouTube — Rock Talk with Dr. CropperEmail — rocktalk.dr.cropper@gmail.com

Chas & Guest PEPcaster Bill Wyman discuss The Loaded Gun of Democracy, Wrestling Pigs and Will The Real Matthew Metro Please Stand Up? 0:00 - Introducing: Bill Wyman 2:18 - Grateful (Alexander Hamilton/Democracy?Kind PEPpers) 13:21 - Washington Post's Non-Endorsement 57:28 - Madison Square Garden Rally1:26:19 - Policy Time: Tax Credit for Caregivers/Death Penalty for Migrants 1:37:19 - Woodward on Biden's Mental Decline 1:43:28 - Bill Wyman's Election Predictions1:51:53 - Election Pre-Hindsights 2:06:00 - John Tester & The Senate 2:10:19 - Chas Unleashed (Madison Square Garden Redux) 2:15:24 - Chas Unleashed (Failed October Surprises - Harris Plagiarism/Trump Groping/Walz Molestation/Emhoff Slap) 2:52:56 - Chas Unleashed (Policy Time: Deportations) SHOW NOTES/HOMEWORK *The Atlantic article I liked about Malthus and immigration https://archive.md/diHqK SHOW LINKS: *Chat with the PEPpers on the Discord Server: https://discord.gg/WxDD2PPvaW *PEP Merch Store: https://pepchasdaveshop.com/

Zdravo. V tokratni epizodi iz debate o čistosti zvoka in rekla "čisto kot gorski studenec" nenadoma zaidemo na reklame za vložke ter izkušnje moških pri nakupu teh izdelkov, vključno s frustracijami ob spreminjanju embalaže le-teh. Dotaknemo se tudi teme, kako smo Slovenci včasih bolj nevarni sami sebi kot drugim, ter razpravljamo o slavi, denarju in motivaciji glasbenikov za ustvarjanje. Omenimo pomembnost iskrene komunikacije in kako lahko strah pred prinašanjem slabih novic vpliva na odločitve voditeljev. Na koncu vam zaželimo lep teden, še pred tem se pa za nekaj minut posvetimo tudi 4. poglavju 6. knjige.

On this week's episode of You Are What You Read, we are joined by one of the most celebrated guitarists in rock history, Peter Frampton, for a conversation about his memoir, Do You Feel Like I Do? Peter's 1976 album, Frampton Comes Alive!, remains one of the top-selling live records of all time. He co-founded one of the first supergroups, the seminal rock act Humble Pie, and he has collaborated with legends… George Harrison, David Bowie, Jerry Lee Lewis, Bill Wyman, Ringo Starr, and most recently with the great Dolly Parton. In 2007, Peter won the Grammy Award for Best Pop Instrumental Album for Fingerprints, and in 2014 he was inducted into the Musicians Hall of Fame. In this conversation, Peter tells us about his path to stardom from an early age… his enduring friendship with David Bowie…as schoolmates and later on, as performers. He also tells us about the obstacles he's had to overcome to continue to play and pour his heart into music. We'd like to thank our sponsor, Book of the Month.  Head over to bookofthemonth.com and use Promo Code ADRI to get your first book for just $9.99. Thank you for listening, and thank you for reading. Learn more about your ad choices. Visit megaphone.fm/adchoices

Chas & Melina Wicks and Bill Wyman discuss The REAL Pizzagate, Crazy John's FBI, and Being Chased By Porn 0:00 - Introducing Lachy 7:53 - Welcome Bill & Melina! 10:06 - Grateful (Curb Your Enthusiasm/Robert Caro/Summer Music) 16:17 - Correspondence (Haitians/Hong Kong Mobile Phones/Abortion Law/Johnny SexPest) 28:15 - Mark Robinson Extra Thoughts 35:35 - Eric Adams Scandal 43:15 - Harris v Filibuster 54:40 - Stats Nugget (Reagan 1980) 56:11 - Gallup's Bad News For Biden 1:07:16 - California Deepfakes Law 1:34:55 - Gangsta Rap Literalcy 1:56:39 - RFK – Olivia Nuzzi Affair 2:19:09 - RFK - North Carolina Ballot 2:33:12 - Who's Gonna Vote? 2:50:20 - Duelling Crime Statistics HOMEWORK/SHOW NOTES * Gallup's analysis of why this is the Republicans' election to lose https://news.gallup.com/poll/651092/2024-election-environment-favorable-gop.aspx * Melina's article about rappers words becoming a sentence https://www.nytimes.com/2022/03/30/opinion/rap-music-criminal-trials.html * One of many gossipy articles about RFK/Nuzzi that Bill enjoyed a little too much this week https://www.thedailybeast.com/rfk-jr-tries-to-paint-himself-as-olivia-nuzzis-victim * The NY Times on how to spot a likely voter https://www.nytimes.com/2024/09/23/us/elections/registered-voters-vs-likely-voters.html * Become a Crime Nerd! It's the Real-Time Crime Index https://realtimecrimeindex.com/ 

durée : 00:20:37 - Le Feuilleton - Comment la musique permet de traverser toutes les mauvaises passes : l'itinéraire de William Perks, futur Bill Wyman, dans l'Angleterre d'après-guerre.

Nate returns with a solo review of The Quiet One, a documentary biography of Rolling Stones bassist Bill Wyman. CHECK OUT THE LET IT ROLL WEB SITE -- We've got all 350+ episodes listed, organized by mini-series, genre, era, co-host, guest and more. Please sign up for the email list on the site and get music essays from Nate as well as (eventually) transcriptions of every episode. Also if you can afford it please consider becoming a paid subscriber to support the show. Thanks! Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.com Follow us on Twitter. Follow us on Facebook. Let It Roll is proud to be part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Chas & Guest PEPcaster Bill Wyman discuss An Adoption Journey, Greg Gutfeld's Metrics and Is Chas The Next RayGun?  0:00 - Intro2:00 - Grateful For (Citizenship/Climbing) 5:32 - Tangent Treehouse (Raygun) 11:43 - Correspondence (Handball/ Live PEP/ Right To Repair/ Falconing) 23.00 - Bill on Biden 28:49 - Bill on the Harris Takeover (The Pelosi Factor) 41:37 - Polling Update 55:55 - How Has Harris Created This Bump? 1:32:05 - Trump Spinning Out 1:41:43 - Willie Brown's Helicopter + Trump's Presser 2:03:09 - Policy Time (Harris/ No Social Security Taxes) 2:23:24 - More Tim Walz  

Acclaimed genre-crossing songwriter and interpreter Madeleine Peyroux takes stock of her songwriting over the years and shares insights into the creation of her latest album. PART ONEPaul and Scott talk music books, the value of recording, and whether or not performers should stick to a strict or loose interpretation of a song when performing live. PART TWOOur in-depth conversation with Madeleine PeyrouxABOUT MADELEINE PEYROUXMadeleine Peyroux moved to Paris with her mother at the age of 12 and began singing with street musicians while still a teenager. She eventually joined the Lost Wandering Blues and Jazz Band, with whom she toured Europe. After being discovered by Atlantic Records she released her debut album, Dreamland, in 1996. Madeleine's commercial breakthrough came with the Gold-selling album Careless Love in 2004 and it's single, the self-penned “Don't Wait Too Long,” which was released by Rounder Records and topped the jazz charts. The follow-up album, Half the Perfect World, hit the Top 40 on Billboard's US album chart. Her 2009 album, Bare Bones, was the first to feature all original material. She moved to Decca Records for the Standing on the Rooftop album in 2011 and has since released four additional studio albums. Her latest effort, Let's Walk, features all original material and continues to showcase her masterful blending of jazz, blues, folk, pop, and more. 

VII En el programa 138 y el 140 hablé de famosos y experiencias paranormales, eran famosos en general, modelos, cantantes, actores, que han vivido fenómenos inexplicables. En esta ocasión, quería hablar solo de músicos. Y aunque a veces sus anécdotas las han vivido solos, no en pocas ocasiones, ha sido toda la banda… algo que puede dar qué pensar. Casas embrujadas, encuentros con fantasmas, avistamientos OVNIs, o mensajes de esperanza. Voy a contaros anécdotas de muchos músicos muy importantes, tal vez de la historia, como Elvis Presley, quien tuvo experiencias con su madre fallecida y con avistamientos, entre otras anécdotas. David Bowie, a quien canciones como, Space Oddity, Oh! You Pretty Things, Starman, Moonage Daydream, Station to Station, podríamos decir que han sido inspiradas en dichas experiencias. Durante la década de 1970, también se adentró en un mundo oscuro y misterioso: el del ocultismo y la magia negra. La canción “Quicksand” del álbum “Hunky Dory” menciona a Aleister Crowley, el famoso ocultista británico. Hablaré de Jimmy Hendrix y Robert Fripp de King Crimson, quienes grabaron en Château d’Hérouville, al parecer un lugar embrujado, ya que se dice que el músico Frederic Chopin, se veía con su amante George Sand. En la actualidad la compra Michel Magne y hace un estudio de grabación. También pasan por allí, Grateful Dead, Bill Wyman, el bajista de los Rolling Stones, Bee Gees, Pink Floyd, Cat Stevens, Iggy Pop, Deep Purple, Uriah Heep , Jethro Tull, Elton John, Richie Blackmore, T Rex, Sham 69 y Fleetwood Mac. También hablare de músicos de la talla de The Clash, Black Sabbath, Tony Iommi, Geezer Butler, Ozzy Osbourne, Radiohead, de su cantante, Thom Yorke, New Order, Robbie Williams o The Cure, The Police, Sting, Sammy Hagar, reconocido por su brillante carrera en Van Halen tras reemplazar a David Lee Roth, John Lennon, The Beatles, Ringo Starr, George Harrison y Paul McCartney. HAZTE MECENAS, no dejes que La Biblioteca, cierre Nunca sus Puertas… GRATITUD ESPECIAL: Siempre a los MECENAS. Sin ustedes… esto no tendría sentido. SUSCRIBETE AL CANAL DE TELEGRAM: https://t.me/LaLamadaDeLaLuna PUEDES VER ALGUNOS VIDEOS DE LLDLL: https://www.youtube.com/channel/UCEOtdbbriLqUfBtjs_wtEHw Suscríbete al Canal Youtube y a Ivoox. Sigamos sumando en LLDLL, SUSCRIBETE en IVOOX y comparte. Y si deseas escuchar todos los programas en cerrados y sin anuncios… Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

The Wolf & Action Jackson are HUGE Rolling Stones fans and count seeing the Steel Wheels Tour live in their respective cities as an important moment in their lives. Though the Stones never said it, many figured the Steel Wheels Tour would be the last chance for many people to ever see the Stones play. And because Bill Wyman retired after that tour, one could argue that definitely signaled the end of an era. Fast forward 5 years later and our hosts are in college, had been roommates, and went crazy for Keith Richards 1992 solo effort Main Offender. When the Stone s announced they'd signed a new $44 million deal with Virgin and would be putting out a new album with Darryl Jones on the bass, the boys were psyched. Not only would that mean some new Keith songs to hear on the album but that there would be a new tour - another chance to see the Stones live! This made for a special time in the boys lives and we've chosen to review this album to remember those heady days. However, even at the time the boys didn't love Voodoo Lounge. Producer Don Was tried to play up some funky grooves and call backs to their heyday but the end result was long (over an hour) and a disappointment outside of the songs Keith Richards sang. Still, our heroes go track x track here to unveil what was happening in Stones World at the time, which songs are worth keeping, which songs would have made better b-sides and what they loved about the tour. Ugly American Werewolf in London Website Ugly American Werewolf in London Store - Get your Wolf merch and use code 10OFF2023 to save 10%! Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Luther Heggs was a DJ on Cleveland's #1- Oldies station- MAJIC 105.7 from 1991-1999.This episode is 4th in a series to give you a taste of Luther on the air at MAJIC. This a composite recording from his many shows at WMJI.In Pt.4, a rock secret revealed as to which rock legend would ban you from the recording studio if you dared touch his pickles at a recording session... Ever wonder what a "Wooly Bully" was that Sam the Sham was wailing about ?   Luther knows...What Icons of Rock never received a Grammy or had a #1 hit record ... And what song did Tom Jones turn down written by a Beatle because some pinhead at his record label said that it was too slow...Many tales to tell in this episode like what Bill Wyman was doing while the Stones were almost crushed to death and how Luther went cheek to cheek- so to speak- with the King baby !  And what band did Keith Moon really want to be the drummer for instead of the WHO ?   ...And finally, what was the last song that John Lennon may have heard the night he died in 1980... It will give you chills...

The Wolf & Action Jackson are HUGE Rolling Stones fans and count seeing the Steel Wheels Tour live in their respective cities as an important moment in their lives. Though the Stones never said it, many figured the Steel Wheels Tour would be the last chance for many people to ever see the Stones play. And because Bill Wyman retired after that tour, one could argue that definitely signaled the end of an era. Fast forward 5 years later and our hosts are in college, had been roommates, and went crazy for Keith Richards 1992 solo effort Main Offender. When the Stone s announced they'd signed a new $44 million deal with Virgin and would be putting out a new album with Darryl Jones on the bass, the boys were psyched. Not only would that mean some new Keith songs to hear on the album but that there would be a new tour - another chance to see the Stones live! This made for a special time in the boys lives and we've chosen to review this album to remember those heady days. However, even at the time the boys didn't love Voodoo Lounge. Producer Don Was tried to play up some funky grooves and call backs to their heyday but the end result was long (over an hour) and a disappointment outside of the songs Keith Richards sang. Still, our heroes go track x track here to unveil what was happening in Stones World at the time, which songs are worth keeping, which songs would have made better b-sides and what they loved about the tour. Ugly American Werewolf in London Website Ugly American Werewolf in London Store - Get your Wolf merch and use code 10OFF2023 to save 10%! Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Chas & Guest PEPcaster Bill Wyman discuss The Demise of the NZ Sheep Rooting Joke, The Stagnation in Wig Technology and Bill Wyman is a Jealous Bitch. 1:48 - Grateful For (The NewsBiz/Connecting on the Internet/Bad Wigs)10:13 - Correspondence (Louisiana Abortion Pills/Comedy Songs) 21:49 - Correspondence (Alito's Flags) 37:52 - Interesting Polling 1:02:18 - Hush Money Trial Miscellanea 1:39:31 - The Ticketmaster/Live Nation Antitrust Lawsuit 2:01: 54 - Stats Nugget (NZ Sheep) 2:03:42 - Bill's Crime Thoughts 2:14:09 - Bill and Drudge 2:22:15 - Bill Wyman v Bill Wyman 2:34:00 - Chas Unleashed (The Red Tie Brigade) 2:47:32 - Chas Unleashed (Stats Nugget - Social Security) HOMEWORK/SHOWNOTES Bill's Novelty Songs Playlist! * "Senator Bobby" singing "Wild Thing" https://www.youtube.com/watch?v=-LE0aToTtGY * Dr Demento Classic 1: "Shaving Cream" https://www.youtube.com/watch?v=G8ffkDf0ol4 * Dr Demento Classic 2: "Fish Heads" https://www.youtube.com/watch?v=JKDtUzRIG6I Now a handful of so of Bill's last category - what he would term pretty good legit rock songs that happen to be funny, or funny songs that happen to be pretty good legit rock songs: *"Clowns" — one of many nice humorous endeavors from Too Much Joy that really rock! https://www.youtube.com/watch?v=O52mNrTjYTE *"Dead Skunk" is an immortal "one hit wonder" of the 1970s... though the artiste in question, Loudon Wainwright III, went on to a pretty distinguished career as a singer-songwriter: https://www.youtube.com/watch?v=Uu5hzc2Mei4 * This guy had a brief celebrity. Bill doesn't support the overall message, but the verse about Jackson Browne is a keeper: https://www.youtube.com/watch?v=xSktY_6sL-4 * This is a group called Two Nice Girls. Hint: There aren't two, they aren't girls, and they are not nice: https://www.youtube.com/watch?v=WMiV27R1ZiI Bill's top 3 Hall of Fame immortals: * Mr Bo Diddley, with his maracas-playing foil, Jerome https://www.youtube.com/watch?v=45ZdKCFFR3I * (Bonus! A sequel https://www.youtube.com/watch?v=vHXDkLl7CCc  ) * "I, Viv Stanshall, trumpet" is one of the most beautiful sentences in the English language: https://www.youtube.com/watch?v=hcrUuCDFLOQ *And this could be the greatest of them all; Mojo Nixon, who died this year, was a great man. Bill once wrote about him, "He's like a friendly but not-quite-housebroken German shepherd: He means well but tends to make a mess, and he'll bite your leg if angered." https://www.youtube.com/watch?v=Qt81bVae4tQ 

On this day in 1965, in a fit of nocturnal inspiration, Rolling Stones guitarist Keith Richards wrote “(I Can't Get No) Satisfaction.” See omnystudio.com/listener for privacy information.

Rick Vito Live on Game Changers with Vicki Abelson What a lovely way to spend a sunny afternoon. Grammy-nominated guitarist, singer, and producer, Rick Vito, probably best known as a member of Fleetwood Mac, was a sunny delight, hisself. Coming to us Live from Franklin TN, following the release of his recently dropped latest album, Cadillac Man, we wiled away the hour talking his tastes… The Stones, Duane Eddy, BB King, his passions, Jimi Hendrix, Peter Green, his custom guitars, and his history… a 41-year marriage, two great kids, starting out with Delaney and Bonnie and Eric Clapton, what a story there! Moving to LA, crashing with Todd Rundgren, Something/Anything? Could I have played that album more freshman year? John Prine's Common Sense… oh please! An all-time favorite! Bonnie Raitt, Jackson Browne, with our friends Russ Kunkel and Kootch, Bob Seger, and that idea of Rick's to play slide on Like a Rock, a tasty choice that would become an iconic anthem for Chevrolet and a generation. A great story about meeting John Fogerty, playing with Leon Russell, touring with Tina Turner, picking it up with Mick in the Mick Fleetwood Blues Band with Rick Vito, and getting nominated for a Grammy, and the last great show before the pandemic alongside Christine McVie (in her final performance), Billy Gibbons, Pete Townsend, David Gilmour, Bill Wyman, John Mayall, and a host of other musical luminaries in Mick Fleetwood & Friends Celebrate the Music of Peter Green concert filmed in London in 2020. We were treated to a glimpse of one of Rick Vito's Soul Agent Signature Custom Designed Art Deco Guitars which is available from Reverend Guitars. This pink beauty with black and white piping, Rick designed to have attributes of a Gibson, a Fender, and a Gretch. Rick's new album, Cadillac Man, is available now and has been on heavy rotation in the Snicki Mobile. I'm just loving it. A lotta rock n roll, heavy on the R & B. You can get yours here: https://www.rickvito.com It's easy to see why Rick's been in demand by so many diverse and stellar artists. He's a stunning talent, who plays from his soul, leaving space between the notes, and warmth within his smile. I can't wait to hear and see more! Rick Vito Live on Game Changers with Vicki Abelson Wednesday, April 10th * SPECIAL TIME1 PM PT, 4 PM ET* Streamed Live on my Facebook Reply here: https://bit.ly/3vMHQuv

After a 16 year break, The Zutons are back! New album The Big Decider, produced by Nile Rodgers and Ian Brodie, is proof that they are still a force to be reckoned with. Frontman Dave McCabe and saxophonist Abi Harding talk about the songwriting and recording process, past albums, a bad run in with Bill Wyman and John Lydon (on separate occasions) and more. Hosted on Acast. See acast.com/privacy for more information.

Chas and Guest PEPcaster Bill Wyman discuss Flouncing On The Senate Floor, The Unknown Unmasked, and Pissing On Your Own Face In Disgust 1:28 - Grateful For…. Living in Australia/Fetterman's Grace 7:13 - Correspondence (Russia Stuff/Senate Stuff/Wonka Stuff/Bill & Queen) 34:42 - The Departed - Nikki Haley 49:40 - The Departed - Kyrsten Sinema 1:11:56 - Stats Nugget (Unproductive Congresses) 1:16:41 - Super Tuesday 1:20:03 - State Of The Union Preview 1:35:30 - Trump Supreme Court Immunity Appeal (Update) 1:55:28 - Bill's World Of Entertainment (Oscars) 2:07:46  - Chas Unleashed (Supreme Court & the 14th Amendment) 2:33:40 - Chas Unleashed (Hunter Biden Testimony)  

De Melodie Gardot, à Bill Wyman.........

Liam Gallagher, Bill Wyman, George Michael and Connor McGregor – just a few of the names Mickey Thomas casually mentions during a fascinating conversation with Elis James and Iwan Roberts. Thomas' is certainly a life well lived. He looks back on his early days at Wrexham, the pressure of playing for Manchester United and of course the famous FA Cup goal against Arsenal (which, as it happens, is not the favourite goal he ever scored...).

Miss Heard celebrates Season 5, Episode 227 with Peter Frampton's "Baby I Love Your Way.” So many connections with his childhood with David Bowie and Bill Wyman of the Rolling Stones to later with the Bee Gees and the 1978 movie “Grease”. You can listen to all our episodes at our website at: https://pod.co/miss-heard-song-lyrics Or iTunes, Stitcher, Spotify and many more platforms under Podcast name “Miss Heard Song Lyrics” Don't forget to subscribe/rate/review to help our Podcast in the ratings. Please consider supporting our little podcast via Patreon at https://www.patreon.com/MissHeardSongLyrics or via PayPal at https://www.paypal.com/paypalme/MissHeardSongLyrics #missheardsonglyrics #missheardsongs #missheardlyrics #misheardsonglyrics #misheardsongs        #misheardlyrics #PeterFrampton #BabyILoveYourWay #talkbox #BeeGees #Grease #DavidBowie #WilltoPower #BigMountain   https://www.youtube.com/watch?v=0gjWcnJLIZ0 https://en.wikipedia.org/wiki/Baby,_I_Love_Your_Way https://en.wikipedia.org/wiki/Peter_Frampton https://en.wikipedia.org/wiki/Talk_box https://en.wikipedia.org/wiki/Grease_(song) https://www.theguardian.com/music/2019/sep/30/peter-frampton-how-we-made-baby-i-love-your-way-chris-kimsey

"Sailing Through Sounds: JRad's Revelations & Dylan Surprises"Larry Mishkin    discusses  JRad (Joe Russo's Almost Dead)  December 1st concert  at the Riviera nightclub in Chicago. He talks about the band's unique covers, including Grateful Dead songs, and their ability to recreate the sound of the original artists. He highlight the performance of "Foolish Heart" during a previous show, describing its musical construction and its significance in the Grateful Dead's live repertoire.Delving into the band members' backgrounds, emphasizing their musical talents and contributions to JRad. It provides detailed information about each member's musical history and collaborations, discussing Joe Russo's drumming, Marco Benevento's keyboards, Dave Drywitz's bass, Tom Hamilton's guitar, and Scott Metzger's diverse musical styles.He also reviews JRad's surprise performances, such as their rendition of Bob Dylan's "Tell Me Mama," a song exclusively performed during Dylan's 1966 world tour. Larry expresses surprise at how JRad, despite being younger and not following Dylan in 1966, managed to perform the song so well.Additionally, he briefly touches on the issue of marijuana prohibition on cruise ships, by criticizing the strict enforcement against cannabis use, considering the changing attitudes toward marijuana. The discussion also touches upon ticket availability for concerts by bands like Phish and rumors surrounding potential performances..Produced by PodConx  Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast JRADDecember 1, 2023The Riviera NightclubChicagoJoe Russo's Almost Dead Live at The Riviera on 2023-12-01 : Free Download, Borrow, and Streaming : Internet Archive Episode title:      JRAD Rocks The Riv in Chicago on 12.1.2023: channel Dylan and Dire Straits                                Happy Birthday Keith Richards (80!) INTRO:                  Foolish Heart                                Track #3                                5:45 – 7:17  SHOW No. 1:      Tell Me, Momma                                Track #4                                0:57 – 2:33 Tell Me, Momma is a song written by Bob Dylan and performed exclusively during his 1966 World Tour with the Band (then known as the Hawks). It was used to introduce the second half of a concert, when Dylan switched from an acoustic solo performance to an electric performance backed by a band. The song was not recorded on a studio album, nor was it ever performed again by Dylan in concert.Dylan's May 17, 1966 live performance of the song was released in 1998 on The Bootleg Series Vol. 4: Bob Dylan Live 1966, The "Royal Albert Hall" Concert.[1] In 2016, all Dylan's recorded live performances of "Tell Me, Momma" from 1966 were released in the 36-CD boxed set The 1966 Live Recordings, with the May 26, 1966 performance released separately on the album The Real Royal Albert Hall 1966 Concert. The boxed set contains all the live versions of "Tell Me, Momma" ever performed by Dylan and his band. SHOW No. 2:                      Fire On The Mountain                                                Track #7                                                0:30 – 2:05 SHOW No. 3:                      Before They Make Me Run                                                Keith Richards                                                ROLLING STONES: Before They Make Me Run (Promo - 7" Single Version) (youtube.com)                                                1:54 – 3:21 Today Keith turned 80.  Cannot let that milestone go unnoticed.  Richards was born in and grew up in Dartford, Kent. He studied at the Dartford Technical School and Sidcup Art College. After graduating, Richards befriended Jagger, Bill Wyman, Charlie Watts, and Brian Jones and joined the Rolling Stones. As a member of the Rolling Stones, Richards also sings lead on some Stones songs. Richards typically sings lead on at least one song a concert, including "Happy", "Before They Make Me Run", and "Connection". Outside of his career with the Rolling Stones, Richards has also played with his own side-project, The X-Pensive Winos. He also appeared in three Pirates of the Caribbean films as Captain Teague, father of Jack Sparrow, whose look and characterisation was inspired by Richards himself.In 1989, Richards was inducted into the Rock and Roll Hall of Fame and in 2004 into the UK Music Hall of Fame with the Rolling Stones. Rolling Stone magazine ranked him fourth on its list of 100 best guitarists in 2011. In 2023, Rolling Stone's ranking was 15th.[1] The magazine lists fourteen songs that Richards wrote with Jagger on its "500 Greatest Songs of All Time" list.My favorite “Keith tune” in the Stone's songbook.  1978 version. "Before They Make Me Run" is a song by English rock band the Rolling Stones, featured on their 1978 album Some Girls.English musician, songwriter, singer and recording producer who is an original member, guitarist, secondary vocalist, and co-principal songwriter of the Rolling Stones. His songwriting partnership with the band's lead vocalist Mick Jagger is one of the most successful in history. His career spans over six decades, and his guitar playing style has been a trademark of the Rolling Stones throughout the band's career. Richards gained press notoriety for his romantic involvements and illicit drug use, and he was often portrayed as a countercultural figure.Written by guitaristKeith Richards, the song is a response to his arrest for heroin possession in Toronto in February 1977. The criminal charges and prospect of a prison sentence loomed over the Some Girls recording sessions and endangered the future of the Rolling Stones.[2]In the lyrics, Richards reflects unapologetically on his lifestyle up to that point. The line "it's another goodbye to another good friend" in the first verse can be interpreted as referring to Gram Parsons, Richards's close friend who died in 1973 from a drug overdose,[3] and/or to heroin itself: Richards had sought medical treatment for heroin addiction following his arrest in Toronto, and his resolution to overcome his addiction would be a significant factor in his upcoming trial.[4]Richards recorded the song in five days without sleeping.[5] Originally entitled "Rotten Roll", the song was recorded in a Paris studio in March 1978 during one of Mick Jagger's absences from the Some Girls sessions.[6] The completed track, "a high-energy rock & roller",[7] features Richards on lead vocals, acoustic and electric guitars, and bass; Ronnie Wood on pedal steel guitar, slide guitar and backing vocals; Charlie Watts on drums; and Jagger on backing vocals.Richards first performed the song in concert on the New Barbarians' tour of North America in 1979; it was not until the Steel Wheels Tour in 1989 that it entered the Rolling Stones' concert repertoireSHOW No. 4:                      Romeo and Juliet                                                Track #13                                                1:54 – 3:21 "Romeo and Juliet" is a rock[1][4][5] song by the British rock band Dire Straits, written by frontman Mark Knopfler. It first appeared on the 1980 album Making Movies and was released as a single in 1981.[6] The song subsequently appeared on the Dire Straits live albums Alchemy and On the Night, and later on Knopfler's live duet album with Emmylou Harris, Real Live Roadrunning (though Harris does not perform on the track). The song itself, written by Knopfler, was inspired by his failed romance with Holly Vincent, lead singer of the short-lived band Holly and the Italians. The song speaks of a Romeo who is still very much in love with his Juliet, but she now treats him like "just another one of [her] deals". Knopfler has both stated and implied that he believes Vincent was using him to boost her career. The song's line, "Now you just say, oh Romeo, yeah, you know I used to have a scene with him," refers to an interview with Vincent, where she says "What happened was that I had a scene with Mark Knopfler and it got to the point where he couldn't handle it and we split up.  OUTRO:                                Hard To Handle                                                Track #17                                                5:00 – 6:45 Otis Redding recorded Hard to Handle in late 1967, shortly before his death. It was released as a single in June 1968. By 1969, it was being covered by a number of people, and surprisingly, the Dead seem to have been one of the first. If anyone were to think of the least likely groups in ‘69 to cover some funky new R&B, the Dead would probably be on that list. They hadn't shown any interest in picking up new R&B covers since mid-1967, when they started doing Lovelight – since then, they had focused on their original ‘acid-rock' material. Many old covers dropped out of their setlists, and from summer '68 through winter '69, their shows were almost exclusively devoted to Anthem & Live/Dead suite material, with a few new Aoxomoxoa songs dropped in.But by March 1969, they seem to have felt the need for something new – the Live/Dead album was in the can, and their repertoire had not varied much in months. Aside from a couple sluggish, misbegotten renditions of Hey Jude that winter, Hard to Handle was their first new cover song in over a year. Over the course of the spring, they would gradually bring in more cover tunes, bringing back many songs they had stopped playing in previous years, and the shows would start to reflect a wider set of influences.Pigpen probably emulated Otis, and of course this song would have matched his strutting stage persona; it may have been his idea to cover it. The Dead must have known they could not recapture the tight, snappy Stax horn sound of Redding's original, and they didn't even try. Instead they adapted it to their loud, heavy, lumbering two-drum, two-guitar style – of course adding a big guitar solo. Pigpen had a set way of singing the song from the start, closely following Redding's phrasing, which would vary little over the next couple years; but the band would go through some dramatic changes in the way they played the song. (The next year, a bit lighter on their feet, they would also attempt James Brown's ‘Man's World' – not one of his funkiest efforts – but would only play it for about five months.) The Dead had long been fans of Otis Redding – in 1966-67, Pigpen was performing his ‘63 song ‘Pain in My Heart.' (Though the impetus to cover it may have come from the Rolling Stones' version.)Redding came to the Fillmore in December '66 – musicians were clamoring to Bill Graham that he needed to book Otis. When he came, according to Graham, “Every artist in the city asked to open for Otis. The first night, it was the Grateful Dead. Janis Joplin came at three in the afternoon the day of the first show to make sure that she'd be in front… Every musician then into music came.” *The Dead opened for Redding on 12/20/66; the next two nights, other bands opened. (The Dead went to play in Santa Clara.) Bill Graham was permanently impressed: “By far, Otis Redding was the single most extraordinary talent I had ever seen. There was no comparison, then or now... That was the best gig I ever put on in my entire life.” * Janis also mentioned that Otis was a particular inspiration to her. (I believe Ralph Gleason also wrote a review of one of the shows for the Chronicle, which I'd like to see.)When Garcia & Lesh appeared on Tom Donahue's FM show in April '67, they played Otis' cover of ‘Day Tripper' and reminisced about the show. Otis had an 18-piece band with him, and Garcia recalled that Otis did his standard show, “where the band would get up and play some numbers, and a girl singer would come up” and warm up the audience before Otis appeared.Lesh: “It was kind of scary to work with Otis… He tore it up!”Garcia: “Otis is really heavy… He tore the place apart… When he came on stage, it was like the whole place got about six times as big, and the band just got real snappy – it was so fine, and the music was really good.” The Dead debuted Hard to Handle at the Black & White Ball (Hilton Hotel, S.F.) , 3/15/69 – the very first song of the show! In their eagerness to tackle it, they perhaps neglected to rehearse it a few more times… They have trouble keeping together in the precise arrangement, and sometimes stumble around erratically before syncing up again. Garcia plays swooping slide throughout, but seems to have little idea what to do with it, so there's not much of a solo and they just sort of stagger forward aimlessly for a while. Pigpen is also a little confused about the verses. At the end the band thinks Pigpen's finished, but he continues with another verse, so they bring it to an abrupt end. Last played on December 31, 1982 at the Oakland Civic Auditorium.  Played it a total of 120 times.   Other stories:Cruise Ships have a very strict NO CANNABIS rule.  That sucksPhish tix for the Sphere are out. Did you get any?  .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

This week's show is all about the joy AND angst of gift giving, the importance of context and considering the message you want to send with your gift. Peter learns this when he gives Jason the gift of Rolling Stone's bassist, Darryl Jones-for his own- personal bass lesson, and Jason points out the problems issues he has with this incredible gift…Really, no Really! Coincidently, besides playing bass with the Stones, Miles Davis, Madonna, Sting, Peter Gabriel, Herbie Hancock (the list goes on and on) Darryl is a burgeoning actor having played several roles in some major projects. So why not knock out two birds with one Stone (pardon the intentional pun) in exchange for his talents as a musician, Jason offers his tips and advice on being an actor. Darryl Jones was born on the south side of Chicago into a musical family. At 21, he landed a life-changing gig with the legendary jazz icon Miles Davis, with whom he would record and tour over the next five years. In 1993, Jones was chosen to replace longtime band member Bill Wyman as bassist for the Rolling Stones. Since then, he has toured the world, performed on studio and live albums, and appeared in documentary “Darryl Jones: In The Blood.”   IN THIS EPISODE: How Miles Davis mentorship changed Darryl's life. The remarkable way Mick Jagger and Keith Richards asked Darryl to audition. Pro acting tips from Jason Alexander and how his techniques could quite possibly ruin an actor. What it's like to collaborate and make music with the Stones. The unusual items on the Stones' backstage rider when they tour. Darryl reminisces about Charlie Watts, the late Stones' drummer and the quirky quality that make him irreplaceable. The best gifts ever. Googleheim: America's unwanted gift problem.   FOLLOW DARRYL JONES: Online: www.darryljones.com Instagram and Facebook: @DarrylJonesBassist   FOLLOW REALLY NO REALLY: www.reallynoreally.com Instagram YouTube TikTok Facebook Threads X (Twitter)See omnystudio.com/listener for privacy information.

Hunter's prank on Dave goes horribly wrong in the best possible way, and we all find out why the bassist from The Rolling Stones didn't say much. Spoiler Alert: He's a weird dude!

A sleaze masterpiece directed by star Anthony Perkins, PSYCHO 3 plunges Norman Bates deep into the vibe & venom of the mid 80s Nashville's pre-eminent film critic, curator & connoisseur Jason Shawhan joins me to talk Perkins magic, the consistent brilliance of the PSYCHO franchise, the horror of Bill Wyman, Alfred Hitchcock, lurid lighting, Michael Mann's BATMAN, Siskel & Ebert's review, Brian De Palma, Perkins' personal life, Quentin Tarantino, the silky synth score from Carter Burwell, Katt Shea, Diana Scarwid, Jeff Fahey and more. Head over to ⁠⁠⁠⁠⁠⁠https://www.patreon.com/CraigAndFriends⁠⁠⁠⁠⁠⁠⁠ Snatch up ad-free & early versions of these episodes, exclusive bonus episodes AND get in early on Movie Clubs. Add your questions, comments (and maybe be directed to certain places where certain films might be) while supporting the show. .For more Jason Shawhan: ⁠https://x.com/jshawhan?s=21&t=2TXy7cSLOHZN-Ef4khov0A⁠ ⁠http://rebirthoftheflesh.blogspot.com/⁠ Jason & Sam Inglis host FEARLESS PRETENDER- The Only Podcast That Provides Extensive Analysis of Every-Single Film & Television Show Featuring Jennifer Jason-Leigh. ⁠https://open.spotify.com/show/17u9DSmsiByQ56LijyERoo⁠ Hear my guest spot on the episode devoted to the bizarro Rodney Dangerfield classic EASY MONEY

Pat welcomes Rolling Stones "Super Fan" David Wright back to the show to check out the band's new album "Hackney Diamonds" track by track!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Rolling Stones were on the run in 1973. Still tax exiles from England, the Stones went from Europe to the Caribbean to the United States to record and mix the album. Mick Jagger & Keith RIchards were still peeved over Allen Klein taking half their royalties but were now on Rolling Stone records (thanks to Ahmet Ertegun) and had a primo publishing deal. However, not all was right in Rolling Stones land as Mick Taylor was growing dissatisfied with his roll (and income) with the band, producer Jimmy Miller was slowly becoming deeply entrenched in his addiction and Keith was as well while Mick Jagger was trying to live up to his reputation as a lothario and jetset rock superstar. Though Goats Head Soup did contain worldwide hit Angie and Doo Doo Doo Doo Doo (Heartbreaker), there were some more experimental songs on the album like Winter, odd jams like Can You Hear The Music and the non-radio friendly tale of groupies, Star Star. Bill Wyman doesn't play much bass on the record as Keith and Mick Taylor take turns, Mick Jagger plays some guitar as well as piano as do Billy Preston, Nicky Hopkins and Ian Stewart. It's tough to follow Exile on Main Street and this one is a little different but to help walk us through it is Marc of the Performance Anxiety Podcast. Our Pantheon Podcasts brother helps us go track x track and tackle the unreleased tracks from the Deluxe Edition, including Scarlett featuring the one and only Jimmy Page. Listen to Performance Anxiety Ugly American Werewolf in London Website Ugly American Werewolf in London Store - Get your Wolf merch! Visit RareVinyl.com and use the NEW code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

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

Stupid summer movies, Anheuser-Busch CEO interview, Stuttering John v. Karl, Drew Crime, another cruise ship passenger goes overboard, and a call to the innovative doctor making thicker dongs. Lyla tries to eat Trudi's prescription medication. Insane police body cam footage has dropped of the Texas Mall shooting. Donald Trump thinks Ivanka Trump is hot and wonders how she is in bed. Gene Simmons almost killed everyone in a concert fire. Thankfully every single concertgoer was filming with their phones. The CEO of Anheuser-Busch, Brendan Whitworth, went on CBS This Morning and said a bunch of nothing. John Boyega is finally allowed to talk to Jamie Foxx. Reveals nothing. Wheel of Fortune: Ryan Seacrest is getting hate for landing the hosting gig, but TMZ's Harvey Levin has his back. Vanna White goes on the offensive because she hasn't had a "raise" in 16 years. $3M/year for 73 years hasn't been enough. We deep dive on a riveting 1988 interview with Vanna (the last interview she did). Danny Bonaduce is doing fine. Madonna has been hospitalized for a bacterial infection of her butt or something. Pete Davidson is in rehab for a "tune up". Stuttering John made a return to podcasting on Misery Loves Company and Karl Hamburger destroyed him. Fall Out Boy re-did 'We Didn't Start the Fire' and it sucks. Tori Spelling is getting divorced. Her podcast is awful as well. Christine Baumgartner is squatting in Kevin Costner's house. Lushful Aesthetics is here to fatten up your dong. We inquire about our own personal wangs. Pump yours up today! We HAVE to tell Jonah Falcon about it. YouTube star Shallon Lester lays into Not-a-Prince Harry and that beast, Meghan Markle. She is suing the royal couple. Sir Trevor Phillips takes aim at that beast, Meghan, as well. Drew Crime: More victims are coming out against the North End Rapist. His hot girlfriend is standing by him. Bryan Kohberger's sister hates him too, but mostly because he stole her phone. He's facing the firing squad. NASCAR legend Jimmie Johnson is in the middle of a true crime massacre. John Legend and Chrissy Teigen paid some random chick to have another brat. A Delta plane landed without it's nose gear. The 'Summer of Falling Off a Cruise Ship' continues as a woman is saved after going overboard. Tresa Baldas has the latest on Ethan Crumbley's parents excuse-making. Movies: Trudi wants to see the Barbie movie. BranDon would rather watch Oppenheimer. Drew has never heard of either movie. Christian Bale wanted nothing to do with The Flash. Karen Allen is 71 and "unrecognizable" in the new Indiana Jones movie. Erika Eleniak is unrecognizable too. Animal House couldn't be made today. Everyone hates the movie theater except BranDon. What sent Enrique Padilla in such a rage that he'd kill someone over a movie theater seat? There is a massive California exodus. Texas was the hottest place on Earth. Music: Conan O'Brien landed Paul McCartney on his podcast. Bill Wyman reunited with The Rolling Stones after 30 years. Drew introduces us to The Green Pajamas. Human remains of the Titanic tourists have been recovered. Peter Gregory made his own hot air balloon... and it killed him. Marc enjoys watching people through the lens of 'No Context Humans'. Visit Our Presenting Sponsor Hall Financial – Michigan's highest rated mortgage company If you'd like to help support the show… please consider subscribing to our YouTube Page, Facebook, Instagram and Twitter (Drew and Mike Show, Marc Fellhauer, Trudi Daniels, Jim Bentley and BranDon). Or don't.

Did R. Kelly truly have a sex cult?  For around a quarter-of-a-century Robert Sylvester Kelly wrote hit after hit after hit, becoming one of the most successful musical artists in American history. But also, the whole time it seems, he preyed viciously on young women and girls. He brainwashed them, physically abused them,  psychologically abused them, and videotaped himself sexually abusing them in a variety of degrading ways. And he did all of that openly. Why did it take so long for him to be taken down? Wet Hot Bad Magic Summer Camp tickets are ON SALE!  BadMagicMerch.com Get tour tickets at dancummins.tv Watch the Suck on YouTube: https://youtu.be/N9beyV4FfzgBad Magic Charity of the Month: Over the years, we have tried to donate back to our local community here in Coeur D Alene. This month, we have decided that in honor of Pride month, we are going to donate locally to the North Idaho Pride Alliance whose mission is to connect LGBTQIA+ people and allies to various community groups so they may create a more inclusive North Idaho through Networking, Educating and Advocating. To find out more, you can visit nipridealliance.comMerch: https://www.badmagicmerch.comDiscord! https://discord.gg/tqzH89vWant to join the Cult of the Curious private Facebook Group? Go directly to Facebook and search for "Cult of the Curious" in order to locate whatever happens to be our most current page :)For all merch related questions/problems: store@badmagicproductions.com (copy and paste)Please rate and subscribe on iTunes and elsewhere and follow the suck on social media!! @timesuckpodcast on IG and http://www.facebook.com/timesuckpodcastWanna become a Space Lizard?  Click here: https://www.patreon.com/timesuckpodcastSign up through Patreon and for $5 a month you get to listen to the Secret Suck, which will drop Thursdays at Noon, PST. You'll also get 20% off of all regular Timesuck merch PLUS access to exclusive Space Lizard merch. You get to vote on two Monday topics each month via the app. And you get the download link for my new comedy album, Feel the Heat. Check the Patreon posts to find out how to download the new album and take advantage of other benefits