American bassist
POPULARITY
3 episodes with Billy Cox
4 episodes with Billy Cox
5 episodes with Billy Cox
3 episodes with Billy Cox
5 episodes with Billy Cox
2 episodes with Billy Cox
3 episodes with Billy Cox
2 episodes with Billy Cox
2 episodes with Billy Cox
The Problem Is the Banana on the Wallby John Horvat IINovember 28, 2024The Problem Is the Banana on the WallEveryone has an explanation for the turn of events in November.It's the economy, the culture, a failure to connect with working-class Americans. All these are valid reasons.However, I have my own explanation that sheds some light on what has gone wrong in America. It explains something of the craziness of our times. I think the problem is the banana on the wall.I know it sounds exoteric, but let me explain. I think the banana metaphor will help clarify why some Americans reacted during the election.An Auction in New YorkMy reasoning centers on a recent event in New York City in which the renowned Sotheby's auction house sold a 2019 art piece dubbed “Comedian” by Maurizio Cattelan. The work consisted of a fresh banana duct-taped to the wall.The bidding started at $800,000, and within five minutes, the item sold for $5.2 million plus auction house fees, which came to a total of $6.2 million. The new owner is Chinese-born crypto-businessman Justin Sun.The actual banana cost thirty-five cents when bought in the morning at an Upper East Side fruit stand. The new owner will get a certificate of authenticity and installation instructions should he want to replace the banana before it rots. Mr. Sun has already announced that he will eat the original banana “as part of this unique artistic experience, honoring its place in both art history and popular culture.”Commenting after the sale, Billy Cox, a Miami art dealer with his own copy of “Comedian,” says the work is something of historical importance that comes only “once or twice a century.”The Elephant in the Room Is the Banana on the WallSomething is profoundly wrong here.That's why I think the problem with our country is the banana on the wall. It's the elephant in the room that no one wants to see.We are living in a society where certain liberal sectors inhabit an alternative reality where thirty-five-cent bananas are handled as multimillion-dollar works of art. The problem is that they want to force everyone else in society to believe their madness.The only way to get out of this mess is for innocent souls with enough common sense to break the spell of this absurd consensus by crying out, “It's not art! It's just a banana! Can't you see?”Insisting on AbsurditiesTo return to our original problem, what happened in November was a clash of two groups. The first are those who do not want to see the absurdity of the banana on the wall and dogmatize that it is art. They create their own reality and impose it on the nation.The second group consists of those tired of being told a banana taped to the wall is art. They long to live in a world where art is art and bananas are bananas.In the election, some of the latter group said, “Enough is enough.”Other Bananas on the WallThis reaction was not against a single banana on one wall.You see, there is the banana that claims a man is a woman and a woman is a man. Other bananas claim that people can choose their pronouns, pornography in libraries is literature or that it is just fine for men to compete with women in sports. We are told drag queen story hours are suitable for children, after-school Satan Clubs are educational and it is not a human baby but a clump of cells.It is all part of a vast banana extravaganza that we are asked to admire and make believe is the blueprint for a dream society. Sensible people are starting to do the unthinkable: Question the real value of these bananas of absurdity that appear on the walls of our wayward culture.An AwakeningThus, the election represents an awakening that comes none too soon. When absurdities are enshrined in a culture, anything can happen. Truth is denied, morals are eroded and a cult of ugliness reigns. The cruelest manifestations of intolerance and cancellation are possible since the absurd demands absolute acceptance. It cannot tolerate innocent souls that call a spade a spade and denounce the nonsense of the banana on the wall.The time has come for a return to order and sanity. It is long past time to take the bananas off the wall.
John McDermott is a writer, producer and, for nearly three decades, the Catalog Director for the Jimi Hendrix family company Experience Hendrix, L.L.C.. Together with Jimi Hendrix's sister, Janie Hendrix and legendary engineer Eddie Kramer, McDermott has co-produced every Jimi Hendrix CD and DVD release, including 1999's Grammy Award-winning Band Of Gypsys, 2014's Emmy Award-winning Hear My Train A Comin' and the recent Grammy nominated Music, Money, Madness: Jimi Hendrix In Maui. John & Maggie discuss his latest project is Electric Lady Studios: A Jimi Hendrix Vision the new feature-length documentary film chronicling the creation of Electric Lady Studios (directed by John) Rising from the rubble of a bankrupt, Greenwich Village nightclub to the state of the art recording facility inspired by Jimi Hendrix's vision and becoming the first ever, artist owned commercial recording studio. Contained on the five vinyl LPs or three CDs in the Electric Lady Studios: A Jimi Hendrix Vision box set are 39 tracks recorded by Jimi and his band—consisting of bassist Billy Cox and drummer Mitch Mitchell—at the studio within the last four months of the guitarist's life. Hendrix was hard at work creating First Rays Of The New Rising Sun, the ambitious double album that would follow his 1968 masterwork Electric Ladyland. Inspired by the possibilities of the new studio, the Experience built classic fare such as “Night Bird Flying,” “Freedom,” and “Dolly Dagger” from the ground up. The set offers a comprehensive look at the work Hendrix undertook during that fruitful summer of 1970Source: https://ajimihendrixvision.com/Source: https://www.sonymusic.com/legacy/documentary-box-set-electric-lady-studios-a-jimi-hendrix-vision/Source: https://www.jimihendrix.com/music/electric-lady-studios-a-jimi-hendrix-vision/Host Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Send us a textSupport the show@profileswithmaggielepique@maggielepique
It's a BIG week. There is a presidential election going on, we have the Grand Opening for IMPACT-X Performance in Huntington Beach, CA, and it's Parents Weekend at Davidson College this weekend as my son Luke has only 2 football games left in his college career. A lot of CHANGE. On all levels. It seems like everyone talks about change but rarely do people embrace change. In today's episode, I talk about the power of change, its inevitability, the growth it can foster, and how our mindset influences our journey. Through a collection of 62 impactful quotes, we reflect on how to embrace change and transformation in our lives. Here are my top 62-Quotes on CHANGE that you will want to earmark for future use and reference. These will guide you through the beauty and process of change, growth, & transformation. Enjoy today's IMPACT SHOW!!! My Top 62-Quotes on CHANGE: 1. "Change your thinking, change your life." — Ernest Holmes 2. "Change before you have to." — Jack Welch 3. "Change is inevitable. Growth is optional." — John C. Maxwell 4. "Our dilemma is that we hate change and love it at the same time; what we really want is for things to remain the same but get better." — Sydney J. Harris 5. "If you do not change direction, you might end up where you are heading." — Lao Tzu 6. "If you don't like something, change it. If you can't change it, change your attitude." — Maya Angelou 7. "Dreams are the seeds of change. Nothing ever grows without a seed, and nothing ever changes without a dream." — Debby Boone 8. "The greatest discovery of all time is that a person can change his future by merely changing his attitude." — Oprah Winfrey 9. "Not everything that is faced can be changed, but nothing can be changed until it is faced." — James Baldwin 10. "You be the change that you wish to see in the world." — Mahatma Gandhi 11. "All great changes are preceded by chaos." — Deepak Chopra 12. "I cannot say whether things will get better if we change; what I can say is they must change if they are to get better." — Georg C. Lichtenberg 13. "Don't be afraid to give up the good to go for the great." — John D. Rockefeller 14. "The secret of change is to focus all of your energy not on fighting the old, but on building the new." — Socrates 15. "It doesn't matter how strong your opinions are. If you don't use your power for positive change, you are indeed part of the problem." — Coretta Scott King 16. "Yesterday, I was clever, so I wanted to change the world. Today I am wise, so I am changing myself." — Jalaluddin Rumi 17. "By changing nothing, nothing changes." — Tony Robbins 18. "Your life does not get better by chance; it gets better by change." — Jim Rohn 19. "Those who cannot change their minds cannot change anything." — George Bernard Shaw 20. "There is nothing permanent except change." — Heraclitus 21. "Everyone thinks of changing the world, but no one thinks of changing himself." — Leo Tolstoy 22. "Every great dream begins with a dreamer. Always remember, you have within you the strength, the patience, and the passion to reach for the stars to change the world." — Harriet Tubman 23. "Life is progress, and not a station." — Ralph Waldo Emerson 24. "Failure is not fatal, but failure to change might be." — John Wooden 25 "Change is the law of life, and those who look only to the past and present are certain to miss the future." — John F. Kennedy 26. "The people who are crazy enough to think they can change the world are the ones who do." — Steve Jobs 27. "Moving doesn't change who you are. It only changes the view outside your window." — Rachel Hollis 28. "I alone cannot change the world, but I can cast a stone across the waters to create many ripples." — Mother Teresa 29. "Change, like healing, takes time." — Veronica Roth 30. "It is not the strongest of the species that survive, nor the most intelligent, but the one most responsive to change." — Charles Darwin 31. "When we are no longer able to change a situation, we are challenged to change ourselves." — Viktor Frankl 32. Times and conditions change so rapidly that we must keep our aim constantly focused on the future — Walt Disney 33. "Change is painful, but nothing is as painful as staying stuck somewhere you don't belong." — Mandy Hale 34. "Life is either a daring adventure or nothing. To keep our faces toward change and behave like free spirits in the presence of fate is strength undefeatable." — Helen Keller 35. "Without change, something sleeps inside us and seldom awakens. The sleeper must awaken." — Frank Herbert 36. "When in doubt, choose change." — Lily Leung 37. "Any change, even a change for the better, is always accompanied by drawbacks and discomforts." — Arnold Bennett 38. "Growth and comfort do not coexist." — Ginni Rometty 39. "Just take any step, whether small or large. And then another and repeat day after day. It may take months, maybe years, but the path to success will become clear" — Aaron Ross 40. "Change your life today. Don't gamble on the future; act now, without delay." — Simone de Beauvoir 41. "If you know what you want to achieve in life, then you are more inspired to change for the better." — Philip Vang 42. "There is a certain relief in change, even though it be from bad to worse! As I have found in traveling in a stagecoach, it is often a comfort to shift one's position and be bruised in a new place." — Washington Irving 43. "It's not about standing still and becoming safe. If anybody wants to keep creating they have to be about change" — Miles Davis 44. "You never change things by fighting the existing reality. To change something, build a new model that makes the existing model obsolete." Buckminster Fuller 45. "The pessimist complains about the wind; the optimist expects it to change; the realist adjusts the sails." — William Arthur Ward 46. "In order to design a future of positive change, we must first become experts at changing our minds." — Jacque Fresco 47. "Change is hardest at the beginning, messiest in the middle, and best at the end." — Robin Sharma 48. "Life will only change when you become more committed to your dreams than you are to your comfort zone." — Billy Cox 49. "Embrace uncertainty. Some of the most beautiful chapters in our lives won't have a title until much later.” — Bob Goff 50. "In any given moment, we have two options: to step forward into growth or step back into safety." — Abraham Maslow 51. "A tiny change today brings a dramatically different tomorrow."– Richard Bach 52. "Become a student of change. It is the only thing that will remain constant." — Anthony D'Angelo 53. "If we don't change, we don't grow. If we don't grow, we aren't really living." — Gail Sheehy 54. "You build on failure. You use it as a stepping stone. Close the door on the past. You don't try to forget the mistakes, but you don't dwell on it. You don't let it have any of your energy, or any of your time, or any of your space." — Johnny Cash 55. "When we strive to become better than we are, everything around us becomes better too." — Paulo Coelho 56. "Do not waste time on things you cannot change or influence." — Robert Greene 57. "We cannot change what we are not aware of, and once we are aware, we cannot help but change." — Sheryl Sandberg 58. "Change your thoughts, and you change your world." – Norman Vincent Peale 59. "The most beautiful and profound way to change yourself is to accept yourself completely, as imperfect as you are." — Maxime Lagacé 60. "Open your arms to change, but don't let go of your values." — Dalai Lama 61. "The main dangers in this life are the people who want to change everything or nothing." — Nancy Astor 62. "Some changes look negative on the surface but you will soon realize that space is being created in your life for something new to emerge." — Eckhart Tolle Other Key Takeaways from today's IMPACT SHOW podcast: 10 Forms of Wealth: Reflect on your personal and professional life to identify areas needing change. Rate yourself and set specific goals. “3-in-30”: Focus on actionable steps within each Form of Wealth. What can you achieve this month to move closer to your aspirations? Embrace Uncertainty: Recognize that not all changes will feel comfortable, but they often lead to growth. Don't shy away from the unknown. Man! What an episode, these quotes are fireeee!! Change is not just about adapting to new circumstances; it's about actively choosing to evolve, grow and TRANSFORM. As we head into the final months of the year, consider what changes you want to embrace in your life. Remember, it's about progress, not perfection. In conclusion, think about your dreams, your health, your mindset, your family & relationships, and your legacy. And see how you want to shift, change, growth, and transform your trajectory in those areas of your life. And then take ACTION on it! Thank you for joining me on today's IMPACT SHOW podcast. Please share today's episode and give it some love. It helps us CHANGE MORE lives and help make this world a better place to live. Thank you! Tag us at: IG & X: @ToddDurkin #IMPACTShow #Podcast #ToddDurkin #ChangeOrDie P.S. #1. GRAND OPENING of IMPACT-X Performance in Huntington Beach, CA on Nov 7th, 2024 Join Us this Thursday (Nov 7th) for the Grand Opening of Impact-X Performance in Huntington Beach! We're excited to share updates and our journey toward making a lasting impact. See my Social Media for all information (@ToddDurkin) P.S #2. Please leave us a 5-star Rating & Write a Review on the Todd Durkin IMPACT SHOW! If you enjoyed this episode, please consider leaving a five-star rating and a review on iTunes. Your support helps us reach more people and spread the message of change and growth!
Aquesta setmana comencem amb un record per Billy Cox, el baixista de la Band of Gypsys de Hendrix, que acaba de fer 83 anys, continuem amb el nou disc del guitarrista tuareg del Niger Mdou Moctar, tornem a Xipre i a la descoberta de Buzz Ayaz, recomanem el concert de Tiken Jah Fakoly al Paral·lel 62 i acabem amb Fela Kuti i el festival Felabration que recorda el naixement del pare de l'Afrobeat.
Summary Billy Cox, a motivational speaker and sales expert, shares his journey from a young age to becoming a successful entrepreneur. He emphasizes the power of the mind and the importance of personal development in achieving success. Cox discusses the significance of mindset and visualization, as well as the need for discipline and taking action. He encourages individuals to set clear goals, focus on their passions, and continuously strive for improvement. Cox also highlights the importance of building relationships and staying adaptable in a rapidly changing world. Takeaways The power of the mind and personal development are crucial for achieving success. Having a clear mindset, setting goals, and taking action are key to reaching your full potential. Discipline is necessary for success and gaining confidence in yourself and others. Continuously learning, adapting, and focusing on your passion can lead to long-term success. Building relationships and staying adaptable are essential in today's society. Chapters 00:00 - Introduction to Billy Cox 01:22 - Early Influences and Journey 08:40 - The Power of Clarity and Focus 11:41- The Role of Discipline in Success 15:36 - Taking Action and Avoiding Complacency 22:19 - A Day in the Life of Billy Cox 29:02 - Rediscovering Dreams and Passion 33:12 - Resources and Contact Information Where to Find more about Billy www.billycox.com FB: https://www.facebook.com/billycoxmotivation/ X: https://twitter.com/Billy_Cox YT: https://www.youtube.com/@Therealbillycox IG: https://www.instagram.com/therealbillycox/ LI: https://www.linkedin.com/in/billycox/ TT: https://www.tiktok.com/@therealbillycox
In this video, we dive deep into the legendary live album "Band of Gypsys" by the iconic Jimi Hendrix. Join us as we take a journey through the history, significance, and musical brilliance that makes this record an absolute classic. Released in 1970, "Band of Gypsys" was a groundbreaking departure from Hendrix's previous work with the Experience. This album was recorded live at the Fillmore East in New York City and it showcases a new musical direction for Hendrix, incorporating funk, blues, and soul elements into his signature psychedelic rock sound. We'll take an in-depth look at each of the album's six tracks, including the mesmerizing "Machine Gun," the groovy "Power to Love," and the soulful "Message to Love." Learn about the stories and inspirations behind these songs and why they remain fan favorites to this day. Hendrix's Band of Gypsys featured the exceptional rhythm section of Billy Cox on bass and Buddy Miles on drums. We'll explore their chemistry and the impact they had on Jimi's music during this pivotal period. We'll delve into Jimi Hendrix's creative vision during this time in his career and how "Band of Gypsys" represented a departure from his earlier work, showcasing his growth as an artist and his commitment to pushing musical boundaries. Join us as we celebrate the timeless brilliance of Jimi Hendrix and his "Band of Gypsys." Whether you're a longtime fan or new to his music, there's something for everyone to appreciate in this monumental live album. Don't forget to like, subscribe, and hit that notification bell to stay updated on our latest explorations of music history. Let us know in the comments your favorite track and the one track you would Scratch from "Band of Gypsys" 0:00 Jimi Hendrix Band of Gypsys Album Review 19:45 Who Knows 22:30 Machine Gun 26:35 Changes 29:05 Power to Love 31:10 Message of Love 32:25 We Gotta Live Together 34:45 Grimm's Scratch 35:55 Dude's Scratch #JimiHendrix #MusicHistory #ClassicAlbums
"Phish's Chicago Adventure: Unpacking the Three-Night Run"Larry Mishkin talks about his experience at a recent Phish concert in Chicago. He mentions the uniqueness of this Phish show and focuses on their cover songs, specifically mentioning their cover of Talking Heads' "Remain in Light" album and the way Phish adds their signature jamming style to it. Larry also discusses a rare cover of Neil Young's "Albuquerque" and the joy of seeing a band like Phish covering classics. He mentions the fan culture at Phish concerts, including the prevalence of nitrous oxide vendors in the parking lot. He shares his experience over three nights of the concert and highlights the setlist from each night. Larry also talks about Phish covering Little Feat's "Spanish Moon" and its significance, given that it's a rarely played song by Phish..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 Phish Weekend in ChicagoOctober 13 – 15, 2023United Center Today is the Phish covers which were spectacularPlay amazing covers by incredible artists – sometimes they dig deep into the other performer's catalogue to pull out rarities. Other times they cover the hits. This weekend featured some great examples. INTRO: Cross Eyed and PainlessPhish Cross Eyed and Painless 2023 10 13 Chicago Illinois - YouTube2:00 – 3:40October 13, 2023, Second set, out of Tweezer and into Light. Who doesn't love a cover of a Talking Heads tune, ANY Talking Heads tune. But this one is special. Second song on Remain In Light, one of the greatest albums of all time. Released on October 8, 1980 by Sire Records, the band's fourth album. Last Heads album produced by Brian Eno. Phish debuted the tune on October 31, 1996 at the Phish Halloween show at the Omni in Atlanta, GA, covered Remain In Light as their Musical CostumePlayed 62 times overallThey really jam it out in a way the Talking Heads did not. Always well received and this show was no differentLast played on August 4, 2023 at MSG, 7 shows ago SHOW #1 AlbuquerquePHISH : Albuquerque : [NEIL YOUNG] : {4K Ultra HD} : The United Center : Chicago, IL : 10/13/2023 - YouTube:50 – 2:18October 13, 2023, First set, out of a killer Ghost and into Saw It Again. Beautiful Neil Young tune from Tonight's The Night released in 1975The song sees Young returning to a theme that has filled his music from very early on: the vapidity of fame. It's something he seems to struggle with even more than most other musicians. Or, at least, it's something he's chosen to sing about more often than most. It may in fact be the most common theme of all his music, besides obvious stuff like heartbreak and love.In "Albuquerque," Young is thinking about renting a car and driving from Albuquerque, New Mexico, to Santa Fe, just to be alone and "independent from the scene." He never tells us why he's in Albuquerque to begin with, but he does tell us he wants to roll a joint and rent a car and stop to eat some "fried eggs and country ham."The "country ham" bit is kind of interesting, because country ham is a food popular in the southeast, not so much in the southwest. It's probably just a simple oversight on Young's part, but it may also reveal another common thread in Young's music: the escape into rural simplicity as a cure for the craziness and fakeness of modern day life.Phish first played this song on July 26, 1998 at the Starplex Amphitheatre in Dallas, TX.Played a total of 17 timesLast played on June 11, 2011 at Merriweather Post Pavillion outside of D.C., gap of 457 shows SHOW #2: Spanish MoonPHISH : Spanish Moon : [LITTLE FEAT] : {4K Ultra HD} : The United Center : Chicago, IL : 10/15/2023 - YouTube:50 – 2:05October 15, 2023, Second set out of Pebbles and Marbles and into A Wave of Hope Little Feat cover, one of their most popular tunes.From the album, Feats Don't Fail Me Now, released in 1974 "Spanish Moon" was written and sung by guitarist Lowell George, who was a creative powerhouse in the early years of Little Feat. The song is about a fictional place called the Spanish Moon - a seedy club with whiskey and bad cocaine, but a girl singer that made it worth it. There are many dangers at the Spanish Moon, but the ones likely to do you in are the women.Lowell George was an excellent storyteller and created the Spanish Moon from his imagination, but he lived through the vices he describes in the song, especially cocaine. Around this time, his addictions were starting to overpower him, his health started failing, and he developed hepatitis. Feats Don't Fail Me Now was the last Little Feat album where he was clearly the leader; his contributions to the band slowly tailed off, and in 1979 he released a solo album. While on tour supporting it, he died of a heart attack at 34. Phish debuted it live on October 31, 2010 at Boardwalk Hall in Atlantic City when Phish's musical costume was Waiting For Columbus, the famed Little Feat live album.Phish has performed it live only 3 timesLast before this show was on February 21, 2019 at Barcelo Maya Beach, Riviera Maya, Qunitana Roo, Mexico, gap of 170 shows SHOW #3: No QuarterPHISH : No Quarter : [LED ZEPPELIN] : {4K Ultra HD} : The United Center : Chicago, IL : 10/14/2023 - YouTube1:53 – 3:25October 14, 2023, Second Set, out of Everything's Right, into Fluffhead "No Quarter" is a song by Led Zeppelin that appears on their 1973 album Houses of the Holy. It was written by John Paul Jones, Jimmy Page, and Robert Plant. The song became a centerpiece at all Led Zeppelin concerts thereafter, until their final tour. It appears in both the film versions and both live album versions of The Song Remains the Same, released in 1976 and expanded in 2007. It appeared once more in 1994 on Page and Plant's reunion album as the title track. It also appears on Led Zeppelin's 2012 live album Celebration Day, which documented their 2007 reunion performance at the O2 Arena in London. It was re-released on the deluxe edition of Houses of the Holy. The title is derived from the military practice of showing no mercy to a vanquished opponent and from the brave act of not asking for mercy when vanquished. This theme is captured in several of the song's lyrics. Like "Immigrant Song" two albums prior, it evokes imagery from the Vikings and Norse mythology, with lyrics such as “the winds of Thor are blowing cold.”Record producer Rick Rubin remarked on the song's structure, "It takes such confidence to be able to get really quiet and loose for such a long time. [Led] Zeppelin completely changed how we look at what popular music can be." Phish debuted the song on June 1, 2011 at PNC Bank Arts Center in Holmdel, NJ Phish has performed the song 19 times Last before this show was on April 23, 2023 at the Hollywood Bowl, gap of 32 shows SHOW #4 IzabellaPHISH : Izabella : [JIMI HENDRIX] : {4K Ultra HD} : The United Center : Chicago, IL : 10/13/2023 - YouTube:35 – 1:14October 13, 2023, Encore Written by Jimi Hendrix, released on Band of Gypsys, released April 8, 1970After Hendrix disbanded the Jimi Hendrix Experience in early 1969, he formed Gypsy Sun and Rainbows to fulfill his contract to play Woodstock. This was one of the new songs that he introduced at the festival, after which the guitarist was eager to perfect a studio version. Hendrix recruited bassist Billy Cox, who had played with him while they were in the army and his drummer friend Buddy Miles, for a new ensemble, Band of Gypsys. They recorded this as the B-side to his "Stepping Stone" single for Reprise, but it was quickly pulled after Hendrix complained about the mix. The Band of Gypsys made their live debut at the Fillmore East on New Year's Eve, 1969 and this song was played during their first set. Phish debuted the song on June 13, 1997 at The S.F.X. Centre in Dublin, IrelandPhish has performed the Song 17 timesLast before this show July 30, 2023 at MSG in NYC, gap of 15 shows OUTRO: Loving CupPhish Remastered - 10 - 15 - 2023 - United Center, Chicago, Illinois - YouTube2:34:50 – 2:36:23October 15, 2023, Second set, out of Evolve, set closer. Written by Mick Jagger and Keith Richards, released on Exile on Main Street (1971)Exile on Main St. has grown to be appreciated with time, and this is an example of a song that become more popular later on. In a 2003 interview, Mick Jagger explained: "On the Forty Licks tour, when we were preparing the set list for a show in Yokohama, Chuck Leavell suggested we play 'Loving Cup,' the ballad from Exile on Main St. I didn't want to play the tune and I said, Chuck, this is going to die a death in Yokohama. I can't even remember the bloody song, and no one likes it. I've done it loads of times in America, it doesn't go down that well, it's a very difficult song to sing, and I'm fed up with it! Chuck went, Stick in the mud! so I gave in and put it in the set-list. Lo and behold, we went out, started the song and they all began applauding... Which just proves how, over time, some of these songs acquire a certain existence, or value, that they never had when they first came out. People will say, What a wonderful song that was, when it was virtually ignored at the time it was released." >> Phish debuted the song on February 3, 1993 at the Portland Expo in Portland, MaineInteresting because they did eventually cover Exile On Main Street as a Halloween musical costume on October 31, 2009 at the Empire Polo Club in Indio, CA, part of Phish Festival 8.Clearly one of their favorite covers, and a crowd pleaser, played 148 times.Last played before this show on August 5, 2023 at MSG, gap of 13 shows
It can be assumed that Hendrix wrote the music for "Angel" as early as 1967, as it first appeared in the form of a demo with the title "Little Wing".The song became "Angel" not long after this, when the first recording under the name "Sweet Angel" took place just one month later.The lyrics for "Angel" were written early in 1968, being completed on January 14. They were somewhat different from those used on the final version, though similar to the "Sweet Angel" recording of 1967. The title written by Hendrix for the lyrics was "My Angel Catherina (Return of Little Wing)", suggesting that the metaphorical female subject of "Little Wing" is the same as that of "Angel".The next version of "Angel" was recorded by Hendrix alone, on guitar and vocals, in a hotel room in early February, 1968. After apparently leaving the song for over two years, Hendrix, Mitch Mitchell and Billy Cox recorded the final version of "Angel" on July 23, 1970.[A few days after the session, Hendrix recited the song as a piece of poetry to friend Freddie Mae Gautier during a conversation about his mother Lucille. In an interview for Electric Gypsy.Jimi imparted the inspiration behind the song to Mae by detailing a dream he had about Lucille:"My mother was bein' carried away on this camel. And there was a big caravan, she's sayin', 'Well, I'm gonna see you now,' and she's goin' under these trees, you could see the shade, you know, the leaf patterns across her face when she was goin' under ... She's sayin', 'Well, I won't be seein' you too much anymore, you know. I'll see you.' And then about two years after that she dies, you know. And I said, 'Yeah, but where are you goin'?' and all that, you know. I remember that. I will always remember that. I never did forget ... there are some dreams you never forget."Mae described "Angel" as "very deep. "It was what was in him" she stated."Angel" was mixed for Hendrix's First Rays of the New Rising Sun project over August 20 and 21, 1970 which included the overdubbing of a second guitar part. When Hendrix passed away, Mae took it upon herself to read the poem — as well as Hendrix's liner notes to the Buddy Miles Express album Expressway to Your Skull — at the musician's funeral on October 1, 1970.
Back from vacation and recharged with an all new episode! Nate shares the programing announcement that the release schedule is switching to a weekly format through October before sitting down to talk to singer/songwriter/guitar slinger, Greg Sover. Greg talks about his early years growing up with music, Hendrix, getting his first guitar at the age of 5, having a son, playing bass in the church band, getting tapped to play in Joe Frazier's band, his guitar influences, early days of playing out in Philly and the venues he came up in, finding his guitar tone, playing a strat, working with Billy Cox, being inspired by influences without letting it become mimicry, working in the studio, the Parade EP, his latest album HIS-Story and starting to work on his fifth album. Then, Greg becomes the latest guest to enter The Jawntlet!Greg Sover websiteGreg Sover BandcampGreg Sover FacebookGreg Sover InstagramGreg Sover YouTube :: Episode Sponsors :: Liquid IV :: Ready to shop better hydration, use my special link to save 20% off anything you order. (use Code: YTMJ) Subscribe to the Y!TMJ Newsletter! --- Send in a voice message: https://podcasters.spotify.com/pod/show/ytmj/message Support this podcast: https://podcasters.spotify.com/pod/show/ytmj/support
Andy Aledort is widely known for his transcriptions, instructional columns and DVDs and has also toured throughout the last two decades with Dickey Betts and the Jimi Hendrix Tribute. He is also co-author of the New York Times Best Selling biography, Texas Flood: The Inside Story of Stevie Ray Vaughan. Andy visited with The Trout about his career from playing with Mitch Mitchell and Billy Cox of the Jimi Hendrix Band, to jamming with Johnny Winter, sharing licks with Stevie Ray Vaughn, touring with Dickie Betts and his tenure as Associate Editor for Guitar World. His stories are amusing, fascinating and a look inside rock music history. http://andyaledort.com/ https://www.thetroutshow.com/ Thanks for listening for more information or to listen to other podcasts or watch YouTube videos click on this link >https://thetroutshow.com/
On this edition of Closer Look: Martin Luther King, III and his wife, Arndrea Waters King talk about helping fund, The Drum Major Coalition. The goal is to support Black and Brown organizers across the country, that promote freedom, justice, and equality. Dr. Robert Franklin explains “Moral Leadership”, and how he was inspired to become a leader after the assassination of Martin Luther King, Jr. And, American bassist, Billy Cox relives his time performing with legendary musician, Jimi Hendrix. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
THE HAPPY CURMUDGEONS The Happy Curmudgeons are a group of studio musicians founded by Dave Hamilton. The band released their first album, Meant 2 Be, in Dec. of 2017. The Happy Curmudgeons won a 2020 Best Song W.A.M. Music Award for 2nd Chances in the Folk/Americana category. The band finished in 2nd place at the 2021 W.A.M Awards with I Know How You Feel in the same category. The band is continuing to work with their producer, Mark Byerly from the Bob Seger Band, on their second album at this time. The band has featured great guest musicians such as Billy Cox, Bobby Balderrama, Jim Moose Brown, Takashi Iio, Pepe Espinosa and Todd Glass.*************************************************************************************************************************************************************************************************************************************************************** BIGGFACE & BALL D REDD We are independent artists out of Columbus Georgia. The track was produced by Biggface (D'Ville Music LLC). The song was mixed by Avery Johnson ( Bone Crusher, Indie Arie) and mastered by Grammy winning Glenn Schiek. The song is a combination of blues and Southern Hip Hop. ********************************************************************************************************************************************************************************************************************************************************************** MR. ROGE GRANT 54 years old, German studio musician, makes Reagee, House, Italo Pop. He actually worked as a craftsman as a painter. Unfortunately, he was no longer able to work due to illness. Since then he has been making music. We are excited to see what else he will show everyone.
PAUL GROSSO Paul's story is rooted in pain as he battled illness for over 7 years. His skin was afflicted and modern medicine seemed to fail, but as Paul found his path to healing he also founded Musical Mindset, his alter ego that would create timeless works of art as well as a healing and wellness program that seeks to tell stories and move people in purpose and Healing. He sees music as a canvas on which to articulate his thoughts and create bridges for a higher plane of existence. For Paul music is an art form that is reflective of his experiences, and by using his gift he can fully express himself and deliver a musical experience that is unique, engaging, and relatable. His music is really about everyday life and expressing himself and influencing people to leave their comfort zone and find who they really are and not be defined by society or fear. Paul has numerous projects which will connect with audiences on a deeper level and drive introspective conversation, meditation and healing. ********************************************************************************************************************************************************************************************************************************************************************* Happy Curmudgeons The Happy Curmudgeons are a group of studio musicians founded by Dave Hamilton. The band released their first album, Meant 2 Be, in Dec. of 2017. The Happy Curmudgeons won a 2020 Best Song W.A.M. Music Award for 2nd Chances in the Folk/Americana category. The band finished in 2nd place at the 2021 W.A.M Awards with I Know How You Feel in the same category. The band is continuing to work with their producer, Mark Byerly from the Bob Seger Band, on their second album at this time. The band has featured great guest musicians such as Billy Cox, Bobby Balderrama, Jim Moose Brown, Takashi Iio, Pepe Espinosa and Todd Glass.
HAPPY CURMUDGEONS The Happy Curmudgeons are a group of studio musicians founded by Dave Hamilton. The band released their first album, Meant 2 Be, in Dec. of 2017. The Happy Curmudgeons won a 2020 Best Song W.A.M. Music Award for 2nd Chances in the Folk/Americana category. The band finished in 2nd place at the 2021 W.A.M Awards with I Know How You Feel in the same category. The band is continuing to work with their producer, Mark Byerly from the Bob Seger Band, on their second album at this time. The band has featured great guest musicians such as Billy Cox, Bobby Balderrama, Jim Moose Brown, Takashi Iio, Pepe Espinosa and Todd Glass.
Stacey's tales of his early days in Nashville continue. Things kick off with him being selected to play on the Grand Ole Opry with Roy Acuff, his first time meeting Jimi Hendrix Band of Gypsy's bass player Billy Cox, his VERY BRIEF stint as an Elvis impersonator, and finally his battle with a fly while finishing the paint on one of his first award winning builds. Listener questions tackled are replacing the wiring harness on a '73 Cuda, battery 4-1-1, and putting 3/4 ton axles into a 1/2 ton Silverado.
Episode one hundred and forty-seven of A History of Rock Music in Five Hundred Songs looks at “Hey Joe" by the Jimi Hendrix Experience, and is the longest episode to date, at over two hours. Patreon backers also have a twenty-two-minute bonus episode available, on "Making Time" by The Creation. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud mix containing all the music excerpted in this episode. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. Information on Arthur Lee and Love came from Forever Changes: Arthur Lee and the Book of Love by John Einarson, and Arthur Lee: Alone Again Or by Barney Hoskyns. Information on Gary Usher's work with the Surfaris and the Sons of Adam came from The California Sound by Stephen McParland, which can be found at https://payhip.com/CMusicBooks Information on Jimi Hendrix came from Room Full of Mirrors by Charles R. Cross, Crosstown Traffic by Charles Shaar Murray, and Wild Thing by Philip Norman. Information on the history of "Hey Joe" itself came from all these sources plus Hey Joe: The Unauthorised Biography of a Rock Classic by Marc Shapiro, though note that most of that book is about post-1967 cover versions. Most of the pre-Experience session work by Jimi Hendrix I excerpt in this episode is on this box set of alternate takes and live recordings. And "Hey Joe" can be found on Are You Experienced? Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before we start – this episode deals with a song whose basic subject is a man murdering a woman, and that song also contains references to guns, and in some versions to cocaine use. Some versions excerpted also contain misogynistic slurs. If those things are likely to upset you, please skip this episode, as the whole episode focusses on that song. I would hope it goes without saying that I don't approve of misogyny, intimate partner violence, or murder, and my discussing a song does not mean I condone acts depicted in its lyrics, and the episode itself deals with the writing and recording of the song rather than its subject matter, but it would be impossible to talk about the record without excerpting the song. The normalisation of violence against women in rock music lyrics is a subject I will come back to, but did not have room for in what is already a very long episode. Anyway, on with the show. Let's talk about the folk process, shall we? We've talked before, like in the episodes on "Stagger Lee" and "Ida Red", about how there are some songs that aren't really individual songs in themselves, but are instead collections of related songs that might happen to share a name, or a title, or a story, or a melody, but which might be different in other ways. There are probably more songs that are like this than songs that aren't, and it doesn't just apply to folk songs, although that's where we see it most notably. You only have to look at the way a song like "Hound Dog" changed from the Willie Mae Thornton version to the version by Elvis, which only shared a handful of words with the original. Songs change, and recombine, and everyone who sings them brings something different to them, until they change in ways that nobody could have predicted, like a game of telephone. But there usually remains a core, an archetypal story or idea which remains constant no matter how much the song changes. Like Stagger Lee shooting Billy in a bar over a hat, or Frankie killing her man -- sometimes the man is Al, sometimes he's Johnny, but he always done her wrong. And one of those stories is about a man who shoots his cheating woman with a forty-four, and tries to escape -- sometimes to a town called Jericho, and sometimes to Juarez, Mexico. The first version of this song we have a recording of is by Clarence Ashley, in 1929, a recording of an older folk song that was called, in his version, "Little Sadie": [Excerpt: Clarence Ashley, "Little Sadie"] At some point, somebody seems to have noticed that that song has a slight melodic similarity to another family of songs, the family known as "Cocaine Blues" or "Take a Whiff on Me", which was popular around the same time: [Excerpt: The Memphis Jug Band, "Cocaine Habit Blues"] And so the two songs became combined, and the protagonist of "Little Sadie" now had a reason to kill his woman -- a reason other than her cheating, that is. He had taken a shot of cocaine before shooting her. The first recording of this version, under the name "Cocaine Blues" seems to have been a Western Swing version by W. A. Nichol's Western Aces: [Excerpt: W.A. Nichol's Western Aces, "Cocaine Blues"] Woody Guthrie recorded a version around the same time -- I've seen different dates and so don't know for sure if it was before or after Nichol's version -- and his version had himself credited as songwriter, and included this last verse which doesn't seem to appear on any earlier recordings of the song: [Excerpt: Woody Guthrie, "Cocaine Blues"] That doesn't appear on many later recordings either, but it did clearly influence yet another song -- Mose Allison's classic jazz number "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] The most famous recordings of the song, though, were by Johnny Cash, who recorded it as both "Cocaine Blues" and as "Transfusion Blues". In Cash's version of the song, the murderer gets sentenced to "ninety-nine years in the Folsom pen", so it made sense that Cash would perform that on his most famous album, the live album of his January 1968 concerts at Folsom Prison, which revitalised his career after several years of limited success: [Excerpt: Johnny Cash, "Cocaine Blues (live at Folsom Prison)"] While that was Cash's first live recording at a prison, though, it wasn't the first show he played at a prison -- ever since the success of his single "Folsom Prison Blues" he'd been something of a hero to prisoners, and he had been doing shows in prisons for eleven years by the time of that recording. And on one of those shows he had as his support act a man named Billy Roberts, who performed his own song which followed the same broad outlines as "Cocaine Blues" -- a man with a forty-four who goes out to shoot his woman and then escapes to Mexico. Roberts was an obscure folk singer, who never had much success, but who was good with people. He'd been part of the Greenwich Village folk scene in the 1950s, and at a gig at Gerde's Folk City he'd met a woman named Niela Miller, an aspiring songwriter, and had struck up a relationship with her. Miller only ever wrote one song that got recorded by anyone else, a song called "Mean World Blues" that was recorded by Dave Van Ronk: [Excerpt: Dave Van Ronk, "Mean World Blues"] Now, that's an original song, but it does bear a certain melodic resemblance to another old folk song, one known as "Where Did You Sleep Last Night?" or "In the Pines", or sometimes "Black Girl": [Excerpt: Lead Belly, "Where Did You Sleep Last Night?"] Miller was clearly familiar with the tradition from which "Where Did You Sleep Last Night?" comes -- it's a type of folk song where someone asks a question and then someone else answers it, and this repeats, building up a story. This is a very old folk song format, and you hear it for example in "Lord Randall", the song on which Bob Dylan based "A Hard Rain's A-Gonna Fall": [Excerpt: Ewan MacColl, "Lord Randall"] I say she was clearly familiar with it, because the other song she wrote that anyone's heard was based very much around that idea. "Baby Please Don't Go To Town" is a question-and-answer song in precisely that form, but with an unusual chord progression for a folk song. You may remember back in the episode on "Eight Miles High" I talked about the circle of fifths -- a chord progression which either increases or decreases by a fifth for every chord, so it might go C-G-D-A-E [demonstrates] That's a common progression in pop and jazz, but not really so much in folk, but it's the one that Miller had used for "Baby, Please Don't Go to Town", and she'd taught Roberts that song, which she only recorded much later: [Excerpt: Niela Miller, "Baby, Please Don't Go To Town"] After Roberts and Miller broke up, Miller kept playing that melody, but he changed the lyrics. The lyrics he added had several influences. There was that question-and-answer folk-song format, there's the story of "Cocaine Blues" with its protagonist getting a forty-four to shoot his woman down before heading to Mexico, and there's also a country hit from 1953. "Hey, Joe!" was originally recorded by Carl Smith, one of the most popular country singers of the early fifties: [Excerpt: Carl Smith, "Hey Joe!"] That was written by Boudleaux Bryant, a few years before the songs he co-wrote for the Everly Brothers, and became a country number one, staying at the top for eight weeks. It didn't make the pop chart, but a pop cover version of it by Frankie Laine made the top ten in the US: [Excerpt: Frankie Laine, "Hey Joe"] Laine's record did even better in the UK, where it made number one, at a point where Laine was the biggest star in music in Britain -- at the time the UK charts only had a top twelve, and at one point four of the singles in the top twelve were by Laine, including that one. There was also an answer record by Kitty Wells which made the country top ten later that year: [Excerpt: Kitty Wells, "Hey Joe"] Oddly, despite it being a very big hit, that "Hey Joe" had almost no further cover versions for twenty years, though it did become part of the Searchers' setlist, and was included on their Live at the Star Club album in 1963, in an arrangement that owed a lot to "What'd I Say": [Excerpt: The Searchers, "Hey Joe"] But that song was clearly on Roberts' mind when, as so many American folk musicians did, he travelled to the UK in the late fifties and became briefly involved in the burgeoning UK folk movement. In particular, he spent some time with a twelve-string guitar player from Edinburgh called Len Partridge, who was also a mentor to Bert Jansch, and who was apparently an extraordinary musician, though I know of no recordings of his work. Partridge helped Roberts finish up the song, though Partridge is about the only person in this story who *didn't* claim a writing credit for it at one time or another, saying that he just helped Roberts out and that Roberts deserved all the credit. The first known recording of the completed song is from 1962, a few years after Roberts had returned to the US, though it didn't surface until decades later: [Excerpt: Billy Roberts, "Hey Joe"] Roberts was performing this song regularly on the folk circuit, and around the time of that recording he also finally got round to registering the copyright, several years after it was written. When Miller heard the song, she was furious, and she later said "Imagine my surprise when I heard Hey Joe by Billy Roberts. There was my tune, my chord progression, my question/answer format. He dropped the bridge that was in my song and changed it enough so that the copyright did not protect me from his plagiarism... I decided not to go through with all the complications of dealing with him. He never contacted me about it or gave me any credit. He knows he committed a morally reprehensible act. He never was man enough to make amends and apologize to me, or to give credit for the inspiration. Dealing with all that was also why I made the decision not to become a professional songwriter. It left a bad taste in my mouth.” Pete Seeger, a friend of Miller's, was outraged by the injustice and offered to testify on her behalf should she decide to take Roberts to court, but she never did. Some time around this point, Roberts also played on that prison bill with Johnny Cash, and what happened next is hard to pin down. I've read several different versions of the story, which change the date and which prison this was in, and none of the details in any story hang together properly -- everything introduces weird inconsistencies and things which just make no sense at all. Something like this basic outline of the story seems to have happened, but the outline itself is weird, and we'll probably never know the truth. Roberts played his set, and one of the songs he played was "Hey Joe", and at some point he got talking to one of the prisoners in the audience, Dino Valenti. We've met Valenti before, in the episode on "Mr. Tambourine Man" -- he was a singer/songwriter himself, and would later be the lead singer of Quicksilver Messenger Service, but he's probably best known for having written "Get Together": [Excerpt: Dino Valenti, "Get Together"] As we heard in the "Mr. Tambourine Man" episode, Valenti actually sold off his rights to that song to pay for his bail at one point, but he was in and out of prison several times because of drug busts. At this point, or so the story goes, he was eligible for parole, but he needed to prove he had a possible income when he got out, and one way he wanted to do that was to show that he had written a song that could be a hit he could make money off, but he didn't have such a song. He talked about his predicament with Roberts, who agreed to let him claim to have written "Hey Joe" so he could get out of prison. He did make that claim, and when he got out of prison he continued making the claim, and registered the copyright to "Hey Joe" in his own name -- even though Roberts had already registered it -- and signed a publishing deal for it with Third Story Music, a company owned by Herb Cohen, the future manager of the Mothers of Invention, and Cohen's brother Mutt. Valenti was a popular face on the folk scene, and he played "his" song to many people, but two in particular would influence the way the song would develop, both of them people we've seen relatively recently in episodes of the podcast. One of them, Vince Martin, we'll come back to later, but the other was David Crosby, and so let's talk about him and the Byrds a bit more. Crosby and Valenti had been friends long before the Byrds formed, and indeed we heard in the "Mr. Tambourine Man" episode how the group had named themselves after Valenti's song "Birdses": [Excerpt: Dino Valenti, "Birdses"] And Crosby *loved* "Hey Joe", which he believed was another of Valenti's songs. He'd perform it every chance he got, playing it solo on guitar in an arrangement that other people have compared to Mose Allison. He'd tried to get it on the first two Byrds albums, but had been turned down, mostly because of their manager and uncredited co-producer Jim Dickson, who had strong opinions about it, saying later "Some of the songs that David would bring in from the outside were perfectly valid songs for other people, but did not seem to be compatible with the Byrds' myth. And he may not have liked the Byrds' myth. He fought for 'Hey Joe' and he did it. As long as I could say 'No!' I did, and when I couldn't any more they did it. You had to give him something somewhere. I just wish it was something else... 'Hey Joe' I was bitterly opposed to. A song about a guy who murders his girlfriend in a jealous rage and is on the way to Mexico with a gun in his hand. It was not what I saw as a Byrds song." Indeed, Dickson was so opposed to the song that he would later say “One of the reasons David engineered my getting thrown out was because I would not let Hey Joe be on the Turn! Turn! Turn! album.” Dickson was, though, still working with the band when they got round to recording it. That came during the recording of their Fifth Dimension album, the album which included "Eight Miles High". That album was mostly recorded after the departure of Gene Clark, which was where we left the group at the end of the "Eight Miles High" episode, and the loss of their main songwriter meant that they were struggling for material -- doubly so since they also decided they were going to move away from Dylan covers. This meant that they had to rely on original material from the group's less commercial songwriters, and on a few folk songs, mostly learned from Pete Seeger The album ended up with only eleven songs on it, compared to the twelve that was normal for American albums at that time, and the singles on it after "Eight Miles High" weren't particularly promising as to the group's ability to come up with commercial material. The next single, "5D", a song by Roger McGuinn about the fifth dimension, was a waltz-time song that both Crosby and Chris Hillman were enthused by. It featured organ by Van Dyke Parks, and McGuinn said of the organ part "When he came into the studio I told him to think Bach. He was already thinking Bach before that anyway.": [Excerpt: The Byrds, "5D"] While the group liked it, though, that didn't make the top forty. The next single did, just about -- a song that McGuinn had written as an attempt at communicating with alien life. He hoped that it would be played on the radio, and that the radio waves would eventually reach aliens, who would hear it and respond: [Excerpt: The Byrds, "Mr. Spaceman"] The "Fifth Dimension" album did significantly worse, both critically and commercially, than their previous albums, and the group would soon drop Allen Stanton, the producer, in favour of Gary Usher, Brian Wilson's old songwriting partner. But the desperation for material meant that the group agreed to record the song which they still thought at that time had been written by Crosby's friend, though nobody other than Crosby was happy with it, and even Crosby later said "It was a mistake. I shouldn't have done it. Everybody makes mistakes." McGuinn said later "The reason Crosby did lead on 'Hey Joe' was because it was *his* song. He didn't write it but he was responsible for finding it. He'd wanted to do it for years but we would never let him.": [Excerpt: The Byrds, "Hey Joe"] Of course, that arrangement is very far from the Mose Allison style version Crosby had been doing previously. And the reason for that can be found in the full version of that McGuinn quote, because the full version continues "He'd wanted to do it for years but we would never let him. Then both Love and The Leaves had a minor hit with it and David got so angry that we had to let him do it. His version wasn't that hot because he wasn't a strong lead vocalist." The arrangement we just heard was the arrangement that by this point almost every group on the Sunset Strip scene was playing. And the reason for that was because of another friend of Crosby's, someone who had been a roadie for the Byrds -- Bryan MacLean. MacLean and Crosby had been very close because they were both from very similar backgrounds -- they were both Hollywood brats with huge egos. MacLean later said "Crosby and I got on perfectly. I didn't understand what everybody was complaining about, because he was just like me!" MacLean was, if anything, from an even more privileged background than Crosby. His father was an architect who'd designed houses for Elizabeth Taylor and Dean Martin, his neighbour when growing up was Frederick Loewe, the composer of My Fair Lady. He learned to swim in Elizabeth Taylor's private pool, and his first girlfriend was Liza Minelli. Another early girlfriend was Jackie DeShannon, the singer-songwriter who did the original version of "Needles and Pins", who he was introduced to by Sharon Sheeley, whose name you will remember from many previous episodes. MacLean had wanted to be an artist until his late teens, when he walked into a shop in Westwood which sometimes sold his paintings, the Sandal Shop, and heard some people singing folk songs there. He decided he wanted to be a folk singer, and soon started performing at the Balladeer, a club which would later be renamed the Troubadour, playing songs like Robert Johnson's "Cross Roads Blues", which had recently become a staple of the folk repertoire after John Hammond put out the King of the Delta Blues Singers album: [Excerpt: Robert Johnson, "Cross Roads Blues"] Reading interviews with people who knew MacLean at the time, the same phrase keeps coming up. John Kay, later the lead singer of Steppenwolf, said "There was a young kid, Bryan MacLean, kind of cocky but nonetheless a nice kid, who hung around Crosby and McGuinn" while Chris Hillman said "He was a pretty good kid but a wee bit cocky." He was a fan of the various musicians who later formed the Byrds, and was also an admirer of a young guitarist on the scene named Ryland Cooder, and of a blues singer on the scene named Taj Mahal. He apparently was briefly in a band with Taj Mahal, called Summer's Children, who as far as I can tell had no connection to the duo that Curt Boettcher later formed of the same name, before Taj Mahal and Cooder formed The Rising Sons, a multi-racial blues band who were for a while the main rivals to the Byrds on the scene. MacLean, though, firmly hitched himself to the Byrds, and particularly to Crosby. He became a roadie on their first tour, and Hillman said "He was a hard-working guy on our behalf. As I recall, he pretty much answered to Crosby and was David's assistant, to put it diplomatically – more like his gofer, in fact." But MacLean wasn't cut out for the hard work that being a roadie required, and after being the Byrds' roadie for about thirty shows, he started making mistakes, and when they went off on their UK tour they decided not to keep employing him. He was heartbroken, but got back into trying his own musical career. He auditioned for the Monkees, unsuccessfully, but shortly after that -- some sources say even the same day as the audition, though that seems a little too neat -- he went to Ben Frank's -- the LA hangout that had actually been namechecked in the open call for Monkees auditions, which said they wanted "Ben Franks types", and there he met Arthur Lee and Johnny Echols. Echols would later remember "He was this gadfly kind of character who knew everybody and was flitting from table to table. He wore striped pants and a scarf, and he had this long, strawberry hair. All the girls loved him. For whatever reason, he came and sat at our table. Of course, Arthur and I were the only two black people there at the time." Lee and Echols were both Black musicians who had been born in Memphis. Lee's birth father, Chester Taylor, had been a cornet player with Jimmie Lunceford, whose Delta Rhythm Boys had had a hit with "The Honeydripper", as we heard way back in the episode on "Rocket '88": [Excerpt: Jimmie Lunceford and the Delta Rhythm Boys, "The Honeydripper"] However, Taylor soon split from Lee's mother, a schoolteacher, and she married Clinton Lee, a stonemason, who doted on his adopted son, and they moved to California. They lived in a relatively prosperous area of LA, a neighbourhood that was almost all white, with a few Asian families, though the boxer Sugar Ray Robinson lived nearby. A year or so after Arthur and his mother moved to LA, so did the Echols family, who had known them in Memphis, and they happened to move only a couple of streets away. Eight year old Arthur Lee reconnected with seven-year-old Johnny Echols, and the two became close friends from that point on. Arthur Lee first started out playing music when his parents were talked into buying him an accordion by a salesman who would go around with a donkey, give kids free donkey rides, and give the parents a sales pitch while they were riding the donkey, He soon gave up on the accordion and persuaded his parents to buy him an organ instead -- he was a spoiled child, by all accounts, with a TV in his bedroom, which was almost unheard of in the late fifties. Johnny Echols had a similar experience which led to his parents buying him a guitar, and the two were growing up in a musical environment generally. They attended Dorsey High School at the same time as both Billy Preston and Mike Love of the Beach Boys, and Ella Fitzgerald and her then-husband, the great jazz bass player Ray Brown, lived in the same apartment building as the Echols family for a while. Ornette Coleman, the free-jazz saxophone player, lived next door to Echols, and Adolphus Jacobs, the guitarist with the Coasters, gave him guitar lessons. Arthur Lee also knew Johnny Otis, who ran a pigeon-breeding club for local children which Arthur would attend. Echols was the one who first suggested that he and Arthur should form a band, and they put together a group to play at a school talent show, performing "Last Night", the instrumental that had been a hit for the Mar-Keys on Stax records: [Excerpt: The Mar-Keys, "Last Night"] They soon became a regular group, naming themselves Arthur Lee and the LAGs -- the LA Group, in imitation of Booker T and the MGs – the Memphis Group. At some point around this time, Lee decided to switch from playing organ to playing guitar. He would say later that this was inspired by seeing Johnny "Guitar" Watson get out of a gold Cadillac, wearing a gold suit, and with gold teeth in his mouth. The LAGs started playing as support acts and backing bands for any blues and soul acts that came through LA, performing with Big Mama Thornton, Johnny Otis, the O'Jays, and more. Arthur and Johnny were both still under-age, and they would pencil in fake moustaches to play the clubs so they'd appear older. In the fifties and early sixties, there were a number of great electric guitar players playing blues on the West Coast -- Johnny "Guitar" Watson, T-Bone Walker, Guitar Slim, and others -- and they would compete with each other not only to play well, but to put on a show, and so there was a whole bag of stage tricks that West Coast R&B guitarists picked up, and Echols learned all of them -- playing his guitar behind his back, playing his guitar with his teeth, playing with his guitar between his legs. As well as playing their own shows, the LAGs also played gigs under other names -- they had a corrupt agent who would book them under the name of whatever Black group had a hit at the time, in the belief that almost nobody knew what popular groups looked like anyway, so they would go out and perform as the Drifters or the Coasters or half a dozen other bands. But Arthur Lee in particular wanted to have success in his own right. He would later say "When I was a little boy I would listen to Nat 'King' Cole and I would look at that purple Capitol Records logo. I wanted to be on Capitol, that was my goal. Later on I used to walk from Dorsey High School all the way up to the Capitol building in Hollywood -- did that many times. I was determined to get a record deal with Capitol, and I did, without the help of a fancy manager or anyone else. I talked to Adam Ross and Jack Levy at Ardmore-Beechwood. I talked to Kim Fowley, and then I talked to Capitol". The record that the LAGs released, though, was not very good, a track called "Rumble-Still-Skins": [Excerpt: The LAGs, "Rumble-Still-Skins"] Lee later said "I was young and very inexperienced and I was testing the record company. I figured if I gave them my worst stuff and they ripped me off I wouldn't get hurt. But it didn't work, and after that I started giving my best, and I've been doing that ever since." The LAGs were dropped by Capitol after one single, and for the next little while Arthur and Johnny did work for smaller labels, usually labels owned by Bob Keane, with Arthur writing and producing and Johnny playing guitar -- though Echols has said more recently that a lot of the songs that were credited to Arthur as sole writer were actually joint compositions. Most of these records were attempts at copying the style of other people. There was "I Been Trying", a Phil Spector soundalike released by Little Ray: [Excerpt: Little Ray, "I Been Trying"] And there were a few attempts at sounding like Curtis Mayfield, like "Slow Jerk" by Ronnie and the Pomona Casuals: [Excerpt: Ronnie and the Pomona Casuals, "Slow Jerk"] and "My Diary" by Rosa Lee Brooks: [Excerpt: Rosa Lee Brooks, "My Diary"] Echols was also playing with a lot of other people, and one of the musicians he was playing with, his old school friend Billy Preston, told him about a recent European tour he'd been on with Little Richard, and the band from Liverpool he'd befriended while he was there who idolised Richard, so when the Beatles hit America, Arthur and Johnny had some small amount of context for them. They soon broke up the LAGs and formed another group, the American Four, with two white musicians, bass player John Fleckenstein and drummer Don Costa. Lee had them wear wigs so they seemed like they had longer hair, and started dressing more eccentrically -- he would soon become known for wearing glasses with one blue lens and one red one, and, as he put it "wearing forty pounds of beads, two coats, three shirts, and wearing two pairs of shoes on one foot". As well as the Beatles, the American Four were inspired by the other British Invasion bands -- Arthur was in the audience for the TAMI show, and quite impressed by Mick Jagger -- and also by the Valentinos, Bobby Womack's group. They tried to get signed to SAR Records, the label owned by Sam Cooke for which the Valentinos recorded, but SAR weren't interested, and they ended up recording for Bob Keane's Del-Fi records, where they cut "Luci Baines", a "Twist and Shout" knock-off with lyrics referencing the daughter of new US President Lyndon Johnson: [Excerpt: The American Four, "Luci Baines"] But that didn't take off any more than the earlier records had. Another American Four track, "Stay Away", was recorded but went unreleased until 2006: [Excerpt: Arthur Lee and the American Four, "Stay Away"] Soon the American Four were changing their sound and name again. This time it was because of two bands who were becoming successful on the Sunset Strip. One was the Byrds, who to Lee's mind were making music like the stuff he heard in his head, and the other was their rivals the Rising Sons, the blues band we mentioned earlier with Taj Mahal and Ry Cooder. Lee was very impressed by them as an multiracial band making aggressive, loud, guitar music, though he would always make the point when talking about them that they were a blues band, not a rock band, and *he* had the first multiracial rock band. Whatever they were like live though, in their recordings, produced by the Byrds' first producer Terry Melcher, the Rising Sons often had the same garage band folk-punk sound that Lee and Echols would soon make their own: [Excerpt: The Rising Sons, "Take a Giant Step"] But while the Rising Sons recorded a full album's worth of material, only one single was released before they split up, and so the way was clear for Lee and Echols' band, now renamed once again to The Grass Roots, to become the Byrds' new challengers. Lee later said "I named the group The Grass Roots behind a trip, or an album I heard that Malcolm X did, where he said 'the grass roots of the people are out in the street doing something about their problems instead of sitting around talking about it'". After seeing the Rolling Stones and the Byrds live, Lee wanted to get up front and move like Mick Jagger, and not be hindered by playing a guitar he wasn't especially good at -- both the Stones and the Byrds had two guitarists and a frontman who just sang and played hand percussion, and these were the models that Lee was following for the group. He also thought it would be a good idea commercially to get a good-looking white boy up front. So the group got in another guitarist, a white pretty boy who Lee soon fell out with and gave the nickname "Bummer Bob" because he was unpleasant to be around. Those of you who know exactly why Bobby Beausoleil later became famous will probably agree that this was a more than reasonable nickname to give him (and those of you who don't, I'll be dealing with him when we get to 1969). So when Bryan MacLean introduced himself to Lee and Echols, and they found out that not only was he also a good-looking white guitarist, but he was also friends with the entire circle of hipsters who'd been going to Byrds gigs, people like Vito and Franzoni, and he could get a massive crowd of them to come along to gigs for any band he was in and make them the talk of the Sunset Strip scene, he was soon in the Grass Roots, and Bummer Bob was out. The Grass Roots soon had to change their name again, though. In 1965, Jan and Dean recorded their "Folk and Roll" album, which featured "The Universal Coward"... Which I am not going to excerpt again. I only put that pause in to terrify Tilt, who edits these podcasts, and has very strong opinions about that song. But P. F. Sloan and Steve Barri, the songwriters who also performed as the Fantastic Baggies, had come up with a song for that album called "Where Where You When I Needed You?": [Excerpt: Jan and Dean, "Where Were You When I Needed You?"] Sloan and Barri decided to cut their own version of that song under a fake band name, and then put together a group of other musicians to tour as that band. They just needed a name, and Lou Adler, the head of Dunhill Records, suggested they call themselves The Grass Roots, and so that's what they did: [Excerpt: The Grass Roots, "Where Were You When I Needed You?"] Echols would later claim that this was deliberate malice on Adler's part -- that Adler had come in to a Grass Roots show drunk, and pretended to be interested in signing them to a contract, mostly to show off to a woman he'd brought with him. Echols and MacLean had spoken to him, not known who he was, and he'd felt disrespected, and Echols claims that he suggested the name to get back at them, and also to capitalise on their local success. The new Grass Roots soon started having hits, and so the old band had to find another name, which they got as a joking reference to a day job Lee had had at one point -- he'd apparently worked in a specialist bra shop, Luv Brassieres, which the rest of the band found hilarious. The Grass Roots became Love. While Arthur Lee was the group's lead singer, Bryan MacLean would often sing harmonies, and would get a song or two to sing live himself. And very early in the group's career, when they were playing a club called Bido Lito's, he started making his big lead spot a version of "Hey Joe", which he'd learned from his old friend David Crosby, and which soon became the highlight of the group's set. Their version was sped up, and included the riff which the Searchers had popularised in their cover version of "Needles and Pins", the song originally recorded by MacLean's old girlfriend Jackie DeShannon: [Excerpt: The Searchers, "Needles and Pins"] That riff is a very simple one to play, and variants of it became very, very, common among the LA bands, most notably on the Byrds' "I'll Feel a Whole Lot Better": [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] The riff was so ubiquitous in the LA scene that in the late eighties Frank Zappa would still cite it as one of his main memories of the scene. I'm going to quote from his autobiography, where he's talking about the differences between the LA scene he was part of and the San Francisco scene he had no time for: "The Byrds were the be-all and end-all of Los Angeles rock then. They were 'It' -- and then a group called Love was 'It.' There were a few 'psychedelic' groups that never really got to be 'It,' but they could still find work and get record deals, including the West Coast Pop Art Experimental Band, Sky Saxon and the Seeds, and the Leaves (noted for their cover version of "Hey, Joe"). When we first went to San Francisco, in the early days of the Family Dog, it seemed that everybody was wearing the same costume, a mixture of Barbary Coast and Old West -- guys with handlebar mustaches, girls in big bustle dresses with feathers in their hair, etc. By contrast, the L.A. costumery was more random and outlandish. Musically, the northern bands had a little more country style. In L.A., it was folk-rock to death. Everything had that" [and here Zappa uses the adjectival form of a four-letter word beginning with 'f' that the main podcast providers don't like you saying on non-adult-rated shows] "D chord down at the bottom of the neck where you wiggle your finger around -- like 'Needles and Pins.'" The reason Zappa describes it that way, and the reason it became so popular, is that if you play that riff in D, the chords are D, Dsus2, and Dsus4 which means you literally only wiggle one finger on your left hand: [demonstrates] And so you get that on just a ton of records from that period, though Love, the Byrds, and the Searchers all actually play the riff on A rather than D: [demonstrates] So that riff became the Big Thing in LA after the Byrds popularised the Searchers sound there, and Love added it to their arrangement of "Hey Joe". In January 1966, the group would record their arrangement of it for their first album, which would come out in March: [Excerpt: Love, "Hey Joe"] But that wouldn't be the first recording of the song, or of Love's arrangement of it – although other than the Byrds' version, it would be the only one to come out of LA with the original Billy Roberts lyrics. Love's performances of the song at Bido Lito's had become the talk of the Sunset Strip scene, and soon every band worth its salt was copying it, and it became one of those songs like "Louie Louie" before it that everyone would play. The first record ever made with the "Hey Joe" melody actually had totally different lyrics. Kim Fowley had the idea of writing a sequel to "Hey Joe", titled "Wanted Dead or Alive", about what happened after Joe shot his woman and went off. He produced the track for The Rogues, a group consisting of Michael Lloyd and Shaun Harris, who later went on to form the West Coast Pop Art Experimental Band, and Lloyd and Harris were the credited writers: [Excerpt: The Rogues, "Wanted Dead or Alive"] The next version of the song to come out was the first by anyone to be released as "Hey Joe", or at least as "Hey Joe, Where You Gonna Go?", which was how it was titled on its initial release. This was by a band called The Leaves, who were friends of Love, and had picked up on "Hey Joe", and was produced by Nik Venet. It was also the first to have the now-familiar opening line "Hey Joe, where you going with that gun in your hand?": [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] Roberts' original lyric, as sung by both Love and the Byrds, had been "where you going with that money in your hand?", and had Joe headed off to *buy* the gun. But as Echols later said “What happened was Bob Lee from The Leaves, who were friends of ours, asked me for the words to 'Hey Joe'. I told him I would have the words the next day. I decided to write totally different lyrics. The words you hear on their record are ones I wrote as a joke. The original words to Hey Joe are ‘Hey Joe, where you going with that money in your hand? Well I'm going downtown to buy me a blue steel .44. When I catch up with that woman, she won't be running round no more.' It never says ‘Hey Joe where you goin' with that gun in your hand.' Those were the words I wrote just because I knew they were going to try and cover the song before we released it. That was kind of a dirty trick that I played on The Leaves, which turned out to be the words that everybody uses.” That first release by the Leaves also contained an extra verse -- a nod to Love's previous name: [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] That original recording credited the song as public domain -- apparently Bryan MacLean had refused to tell the Leaves who had written the song, and so they assumed it was traditional. It came out in November 1965, but only as a promo single. Even before the Leaves, though, another band had recorded "Hey Joe", but it didn't get released. The Sons of Adam had started out as a surf group called the Fender IV, who made records like "Malibu Run": [Excerpt: The Fender IV, "Malibu Run"] Kim Fowley had suggested they change their name to the Sons of Adam, and they were another group who were friends with Love -- their drummer, Michael Stuart-Ware, would later go on to join Love, and Arthur Lee wrote the song "Feathered Fish" for them: [Excerpt: Sons of Adam, "Feathered Fish"] But while they were the first to record "Hey Joe", their version has still to this day not been released. Their version was recorded for Decca, with producer Gary Usher, but before it was released, another Decca artist also recorded the song, and the label weren't sure which one to release. And then the label decided to press Usher to record a version with yet another act -- this time with the Surfaris, the surf group who had had a hit with "Wipe Out". Coincidentally, the Surfaris had just changed bass players -- their most recent bass player, Ken Forssi, had quit and joined Love, whose own bass player, John Fleckenstein, had gone off to join the Standells, who would also record a version of “Hey Joe” in 1966. Usher thought that the Sons of Adam were much better musicians than the Surfaris, who he was recording with more or less under protest, but their version, using Love's arrangement and the "gun in your hand" lyrics, became the first version to come out on a major label: [Excerpt: The Surfaris, "Hey Joe"] They believed the song was in the public domain, and so the songwriting credits on the record are split between Gary Usher, a W. Hale who nobody has been able to identify, and Tony Cost, a pseudonym for Nik Venet. Usher said later "I got writer's credit on it because I was told, or I assumed at the time, the song was Public Domain; meaning a non-copyrighted song. It had already been cut two or three times, and on each occasion the writing credit had been different. On a traditional song, whoever arranges it, takes the songwriting credit. I may have changed a few words and arranged and produced it, but I certainly did not co-write it." The public domain credit also appeared on the Leaves' second attempt to cut the song, which was actually given a general release, but flopped. But when the Leaves cut the song for a *third* time, still for the same tiny label, Mira, the track became a hit in May 1966, reaching number thirty-one: [Excerpt: The Leaves, "Hey Joe"] And *that* version had what they thought was the correct songwriting credit, to Dino Valenti. Which came as news to Billy Roberts, who had registered the copyright to the song back in 1962 and had no idea that it had become a staple of LA garage rock until he heard his song in the top forty with someone else's name on the credits. He angrily confronted Third Story Music, who agreed to a compromise -- they would stop giving Valenti songwriting royalties and start giving them to Roberts instead, so long as he didn't sue them and let them keep the publishing rights. Roberts was indignant about this -- he deserved all the money, not just half of it -- but he went along with it to avoid a lawsuit he might not win. So Roberts was now the credited songwriter on the versions coming out of the LA scene. But of course, Dino Valenti had been playing "his" song to other people, too. One of those other people was Vince Martin. Martin had been a member of a folk-pop group called the Tarriers, whose members also included the future film star Alan Arkin, and who had had a hit in the 1950s with "Cindy, Oh Cindy": [Excerpt: The Tarriers, "Cindy, Oh Cindy"] But as we heard in the episode on the Lovin' Spoonful, he had become a Greenwich Village folkie, in a duo with Fred Neil, and recorded an album with him, "Tear Down the Walls": [Excerpt: Fred Neil and Vince Martin, "Morning Dew"] That song we just heard, "Morning Dew", was another question-and-answer folk song. It was written by the Canadian folk-singer Bonnie Dobson, but after Martin and Neil recorded it, it was picked up on by Martin's friend Tim Rose who stuck his own name on the credits as well, without Dobson's permission, for a version which made the song into a rock standard for which he continued to collect royalties: [Excerpt: Tim Rose, "Morning Dew"] This was something that Rose seems to have made a habit of doing, though to be fair to him it went both ways. We heard about him in the Lovin' Spoonful episode too, when he was in a band named the Big Three with Cass Elliot and her coincidentally-named future husband Jim Hendricks, who recorded this song, with Rose putting new music to the lyrics of the old public domain song "Oh! Susanna": [Excerpt: The Big Three, "The Banjo Song"] The band Shocking Blue used that melody for their 1969 number-one hit "Venus", and didn't give Rose any credit: [Excerpt: Shocking Blue, "Venus"] But another song that Rose picked up from Vince Martin was "Hey Joe". Martin had picked the song up from Valenti, but didn't know who had written it, or who was claiming to have written it, and told Rose he thought it might be an old Appalchian murder ballad or something. Rose took the song and claimed writing credit in his own name -- he would always, for the rest of his life, claim it was an old folk tune he'd heard in Florida, and that he'd rewritten it substantially himself, but no evidence of the song has ever shown up from prior to Roberts' copyright registration, and Rose's version is basically identical to Roberts' in melody and lyrics. But Rose takes his version at a much slower pace, and his version would be the model for the most successful versions going forward, though those other versions would use the lyrics Johnny Echols had rewritten, rather than the ones Rose used: [Excerpt: Tim Rose, "Hey Joe"] Rose's version got heard across the Atlantic as well. And in particular it was heard by Chas Chandler, the bass player of the Animals. Some sources seem to suggest that Chandler first heard the song performed by a group called the Creation, but in a biography I've read of that group they clearly state that they didn't start playing the song until 1967. But however he came across it, when Chandler heard Rose's recording, he knew that the song could be a big hit for someone, but he didn't know who. And then he bumped into Linda Keith, Keith Richards' girlfriend, who took him to see someone whose guitar we've already heard in this episode: [Excerpt: Rosa Lee Brooks, "My Diary"] The Curtis Mayfield impression on guitar there was, at least according to many sources the first recording session ever played on by a guitarist then calling himself Maurice (or possibly Mo-rees) James. We'll see later in the story that it possibly wasn't his first -- there are conflicting accounts, as there are about a lot of things, and it was recorded either in very early 1964, in which case it was his first, or (as seems more likely, and as I tell the story later) a year later, in which case he'd played on maybe half a dozen tracks in the studio by that point. But it was still a very early one. And by late 1966 that guitarist had reverted to the name by which he was brought up, and was calling himself Jimi Hendrix. Hendrix and Arthur Lee had become close, and Lee would later claim that Hendrix had copied much of Lee's dress style and attitude -- though many of Hendrix's other colleagues and employers, including Little Richard, would make similar claims -- and most of them had an element of truth, as Lee's did. Hendrix was a sponge. But Lee did influence him. Indeed, one of Hendrix's *last* sessions, in March 1970, was guesting on an album by Love: [Excerpt: Love with Jimi Hendrix, "Everlasting First"] Hendrix's name at birth was Johnny Allen Hendrix, which made his father, James Allen Hendrix, known as Al, who was away at war when his son was born, worry that he'd been named after another man who might possibly be the real father, so the family just referred to the child as "Buster" to avoid the issue. When Al Hendrix came back from the war the child was renamed James Marshall Hendrix -- James after Al's first name, Marshall after Al's dead brother -- though the family continued calling him "Buster". Little James Hendrix Junior didn't have anything like a stable home life. Both his parents were alcoholics, and Al Hendrix was frequently convinced that Jimi's mother Lucille was having affairs and became abusive about it. They had six children, four of whom were born disabled, and Jimi was the only one to remain with his parents -- the rest were either fostered or adopted at birth, fostered later on because the parents weren't providing a decent home life, or in one case made a ward of state because the Hendrixes couldn't afford to pay for a life-saving operation for him. The only one that Jimi had any kind of regular contact with was the second brother, Leon, his parents' favourite, who stayed with them for several years before being fostered by a family only a few blocks away. Al and Lucille Hendrix frequently split and reconciled, and while they were ostensibly raising Jimi (and for a few years Leon), he was shuttled between them and various family members and friends, living sometimes in Seattle where his parents lived and sometimes in Vancouver with his paternal grandmother. He was frequently malnourished, and often survived because friends' families fed him. Al Hendrix was also often physically and emotionally abusive of the son he wasn't sure was his. Jimi grew up introverted, and stuttering, and only a couple of things seemed to bring him out of his shell. One was science fiction -- he always thought that his nickname, Buster, came from Buster Crabbe, the star of the Flash Gordon serials he loved to watch, though in fact he got the nickname even before that interest developed, and he was fascinated with ideas about aliens and UFOs -- and the other was music. Growing up in Seattle in the forties and fifties, most of the music he was exposed to as a child and in his early teens was music made by and for white people -- there wasn't a very large Black community in the area at the time compared to most major American cities, and so there were no prominent R&B stations. As a kid he loved the music of Bob Wills and the Texas Playboys, and when he was thirteen Jimi's favourite record was Dean Martin's "Memories are Made of This": [Excerpt: Dean Martin, "Memories are Made of This"] He also, like every teenager, became a fan of rock and roll music. When Elvis played at a local stadium when Jimi was fifteen, he couldn't afford a ticket, but he went and sat on top of a nearby hill and watched the show from the distance. Jimi's first exposure to the blues also came around this time, when his father briefly took in lodgers, Cornell and Ernestine Benson, and Ernestine had a record collection that included records by Lightnin' Hopkins, Howlin' Wolf, and Muddy Waters, all of whom Jimi became a big fan of, especially Muddy Waters. The Bensons' most vivid memory of Jimi in later years was him picking up a broom and pretending to play guitar along with these records: [Excerpt: Muddy Waters, "Baby Please Don't Go"] Shortly after this, it would be Ernestine Benson who would get Jimi his very first guitar. By this time Jimi and Al had lost their home and moved into a boarding house, and the owner's son had an acoustic guitar with only one string that he was planning to throw out. When Jimi asked if he could have it instead of it being thrown out, the owner told him he could have it for five dollars. Al Hendrix refused to pay that much for it, but Ernestine Benson bought Jimi the guitar. She said later “He only had one string, but he could really make that string talk.” He started carrying the guitar on his back everywhere he went, in imitation of Sterling Hayden in the western Johnny Guitar, and eventually got some more strings for it and learned to play. He would play it left-handed -- until his father came in. His father had forced him to write with his right hand, and was convinced that left-handedness was the work of the devil, so Jimi would play left-handed while his father was somewhere else, but as soon as Al came in he would flip the guitar the other way up and continue playing the song he had been playing, now right-handed. Jimi's mother died when he was fifteen, after having been ill for a long time with drink-related problems, and Jimi and his brother didn't get to go to the funeral -- depending on who you believe, either Al gave Jimi the bus fare and told him to go by himself and Jimi was too embarrassed to go to the funeral alone on the bus, or Al actually forbade Jimi and Leon from going. After this, he became even more introverted than he was before, and he also developed a fascination with the idea of angels, convinced his mother now was one. Jimi started to hang around with a friend called Pernell Alexander, who also had a guitar, and they would play along together with Elmore James records. The two also went to see Little Richard and Bill Doggett perform live, and while Jimi was hugely introverted, he did start to build more friendships in the small Seattle music scene, including with Ron Holden, the man we talked about in the episode on "Louie Louie" who introduced that song to Seattle, and who would go on to record with Bruce Johnston for Bob Keane: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] Eventually Ernestine Benson persuaded Al Hendrix to buy Jimi a decent electric guitar on credit -- Al also bought himself a saxophone at the same time, thinking he might play music with his son, but sent it back once the next payment became due. As well as blues and R&B, Jimi was soaking up the guitar instrumentals and garage rock that would soon turn into surf music. The first song he learned to play was "Tall Cool One" by the Fabulous Wailers, the local group who popularised a version of "Louie Louie" based on Holden's one: [Excerpt: The Fabulous Wailers, "Tall Cool One"] As we talked about in the "Louie Louie" episode, the Fabulous Wailers used to play at a venue called the Spanish Castle, and Jimi was a regular in the audience, later writing his song "Spanish Castle Magic" about those shows: [Excerpt: The Jimi Hendrix Experience, "Spanish Castle Magic"] He was also a big fan of Duane Eddy, and soon learned Eddy's big hits "Forty Miles of Bad Road", "Because They're Young", and "Peter Gunn" -- a song he would return to much later in his life: [Excerpt: Jimi Hendrix, "Peter Gunn/Catastrophe"] His career as a guitarist didn't get off to a great start -- the first night he played with his first band, he was meant to play two sets, but he was fired after the first set, because he was playing in too flashy a manner and showing off too much on stage. His girlfriend suggested that he might want to tone it down a little, but he said "That's not my style". This would be a common story for the next several years. After that false start, the first real band he was in was the Velvetones, with his friend Pernell Alexander. There were four guitarists, two piano players, horns and drums, and they dressed up with glitter stuck to their pants. They played Duane Eddy songs, old jazz numbers, and "Honky Tonk" by Bill Doggett, which became Hendrix's signature song with the band. [Excerpt: Bill Doggett, "Honky Tonk"] His father was unsupportive of his music career, and he left his guitar at Alexander's house because he was scared that his dad would smash it if he took it home. At the same time he was with the Velvetones, he was also playing with another band called the Rocking Kings, who got gigs around the Seattle area, including at the Spanish Castle. But as they left school, most of Hendrix's friends were joining the Army, in order to make a steady living, and so did he -- although not entirely by choice. He was arrested, twice, for riding in stolen cars, and he was given a choice -- either go to prison, or sign up for the Army for three years. He chose the latter. At first, the Army seemed to suit him. He was accepted into the 101st Airborne Division, the famous "Screaming Eagles", whose actions at D-Day made them legendary in the US, and he was proud to be a member of the Division. They were based out of Fort Campbell, the base near Clarksville we talked about a couple of episodes ago, and while he was there he met a bass player, Billy Cox, who he started playing with. As Cox and Hendrix were Black, and as Fort Campbell straddled the border between Kentucky and Tennessee, they had to deal with segregation and play to only Black audiences. And Hendrix quickly discovered that Black audiences in the Southern states weren't interested in "Louie Louie", Duane Eddy, and surf music, the stuff he'd been playing in Seattle. He had to instead switch to playing Albert King and Slim Harpo songs, but luckily he loved that music too. He also started singing at this point -- when Hendrix and Cox started playing together, in a trio called the Kasuals, they had no singer, and while Hendrix never liked his own voice, Cox was worse, and so Hendrix was stuck as the singer. The Kasuals started gigging around Clarksville, and occasionally further afield, places like Nashville, where Arthur Alexander would occasionally sit in with them. But Cox was about to leave the Army, and Hendrix had another two and a bit years to go, having enlisted for three years. They couldn't play any further away unless Hendrix got out of the Army, which he was increasingly unhappy in anyway, and so he did the only thing he could -- he pretended to be gay, and got discharged on medical grounds for homosexuality. In later years he would always pretend he'd broken his ankle parachuting from a plane. For the next few years, he would be a full-time guitarist, and spend the periods when he wasn't earning enough money from that leeching off women he lived with, moving from one to another as they got sick of him or ran out of money. The Kasuals expanded their lineup, adding a second guitarist, Alphonso Young, who would show off on stage by playing guitar with his teeth. Hendrix didn't like being upstaged by another guitarist, and quickly learned to do the same. One biography I've used as a source for this says that at this point, Billy Cox played on a session for King Records, for Frank Howard and the Commanders, and brought Hendrix along, but the producer thought that Hendrix's guitar was too frantic and turned his mic off. But other sources say the session Hendrix and Cox played on for the Commanders wasn't until three years later, and the record *sounds* like a 1965 record, not a 1962 one, and his guitar is very audible – and the record isn't on King. But we've not had any music to break up the narration for a little while, and it's a good track (which later became a Northern Soul favourite) so I'll play a section here, as either way it was certainly an early Hendrix session: [Excerpt: Frank Howard and the Commanders, "I'm So Glad"] This illustrates a general problem with Hendrix's life at this point -- he would flit between bands, playing with the same people at multiple points, nobody was taking detailed notes, and later, once he became famous, everyone wanted to exaggerate their own importance in his life, meaning that while the broad outlines of his life are fairly clear, any detail before late 1966 might be hopelessly wrong. But all the time, Hendrix was learning his craft. One story from around this time sums up both Hendrix's attitude to his playing -- he saw himself almost as much as a scientist as a musician -- and his slightly formal manner of speech. He challenged the best blues guitarist in Nashville to a guitar duel, and the audience actually laughed at Hendrix's playing, as he was totally outclassed. When asked what he was doing, he replied “I was simply trying to get that B.B. King tone down and my experiment failed.” Bookings for the King Kasuals dried up, and he went to Vancouver, where he spent a couple of months playing in a covers band, Bobby Taylor and the Vancouvers, whose lead guitarist was Tommy Chong, later to find fame as one half of Cheech and Chong. But he got depressed at how white Vancouver was, and travelled back down south to join a reconfigured King Kasuals, who now had a horn section. The new lineup of King Kasuals were playing the chitlin circuit and had to put on a proper show, and so Hendrix started using all the techniques he'd seen other guitarists on the circuit use -- playing with his teeth like Alphonso Young, the other guitarist in the band, playing with his guitar behind his back like T-Bone Walker, and playing with a fifty-foot cord that allowed him to walk into the crowd and out of the venue, still playing, like Guitar Slim used to. As well as playing with the King Kasuals, he started playing the circuit as a sideman. He got short stints with many of the second-tier acts on the circuit -- people who had had one or two hits, or were crowd-pleasers, but weren't massive stars, like Carla Thomas or Jerry Butler or Slim Harpo. The first really big name he played with was Solomon Burke, who when Hendrix joined his band had just released "Just Out of Reach (Of My Two Empty Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (Of My Two Empty Arms)"] But he lacked discipline. “Five dates would go beautifully,” Burke later said, “and then at the next show, he'd go into this wild stuff that wasn't part of the song. I just couldn't handle it anymore.” Burke traded him to Otis Redding, who was on the same tour, for two horn players, but then Redding fired him a week later and they left him on the side of the road. He played in the backing band for the Marvelettes, on a tour with Curtis Mayfield, who would be another of Hendrix's biggest influences, but he accidentally blew up Mayfield's amp and got sacked. On another tour, Cecil Womack threw Hendrix's guitar off the bus while he slept. In February 1964 he joined the band of the Isley Brothers, and he would watch the Beatles on Ed Sullivan with them during his first days with the group. Assuming he hadn't already played the Rosa Lee Brooks session (and I think there's good reason to believe he hadn't), then the first record Hendrix played on was their single "Testify": [Excerpt: The Isley Brothers, "Testify"] While he was with them, he also moonlighted on Don Covay's big hit "Mercy, Mercy": [Excerpt: Don Covay and the Goodtimers, "Mercy Mercy"] After leaving the Isleys, Hendrix joined the minor soul singer Gorgeous George, and on a break from Gorgeous George's tour, in Memphis, he went to Stax studios in the hope of meeting Steve Cropper, one of his idols. When he was told that Cropper was busy in the studio, he waited around all day until Cropper finished, and introduced himself. Hendrix was amazed to discover that Cropper was white -- he'd assumed that he must be Black -- and Cropper was delighted to meet the guitarist who had played on "Mercy Mercy", one of his favourite records. The two spent hours showing each other guitar licks -- Hendrix playing Cropper's right-handed guitar, as he hadn't brought along his own. Shortly after this, he joined Little Richard's band, and once again came into conflict with the star of the show by trying to upstage him. For one show he wore a satin shirt, and after the show Richard screamed at him “I am the only Little Richard! I am the King of Rock and Roll, and I am the only one allowed to be pretty. Take that shirt off!” While he was with Richard, Hendrix played on his "I Don't Know What You've Got, But It's Got Me", which like "Mercy Mercy" was written by Don Covay, who had started out as Richard's chauffeur: [Excerpt: Little Richard, "I Don't Know What You've Got, But It's Got Me"] According to the most likely version of events I've read, it was while he was working for Richard that Hendrix met Rosa Lee Brooks, on New Year's Eve 1964. At this point he was using the name Maurice James, apparently in tribute to the blues guitarist Elmore James, and he used various names, including Jimmy James, for most of his pre-fame performances. Rosa Lee Brooks was an R&B singer who had been mentored by Johnny "Guitar" Watson, and when she met Hendrix she was singing in a girl group who were one of the support acts for Ike & Tina Turner, who Hendrix went to see on his night off. Hendrix met Brooks afterwards, and told her she looked like his mother -- a line he used on a lot of women, but which was true in her case if photos are anything to go by. The two got into a relationship, and were soon talking about becoming a duo like Ike and Tina or Mickey and Sylvia -- "Love is Strange" was one of Hendrix's favourite records. But the only recording they made together was the "My Diary" single. Brooks always claimed that she actually wrote that song, but the label credit is for Arthur Lee, and it sounds like his work to me, albeit him trying hard to write like Curtis Mayfield, just as Hendrix is trying to play like him: [Excerpt: Rosa Lee Brooks, "My Diary"] Brooks and Hendrix had a very intense relationship for a short period. Brooks would later recall Little
Today we look at Storer College and the influence it had on the black community with a very notable alumnus. Then we shift our focus to the very famous black musicians from West Virginia that have influenced musicians for years.Support the show
Billy Cox is the last surviving member of Jimi Hendrix's Band of Gypsies and the original Experience Hendrix Tours. He joins us to discuss his music “Old School Blue Blues” and “The Last Gypsy Standing” and Billy Cox's New Band of Gypsys. Legendary bassist and Musicians Hall of Fame inductee Billy Cox, is synonymous with almost any reference to Jimi Hendrix and Rock-n-Roll history. From their army days, Billy would always have an extended friendship with Jimi Hendrix. The kindred spirits would have a musical chemistry that was nurtured over the years as both performed regularly as sidemen for the most prominent blues and R&B acts of the day. The bond between the two men would write a new chapter in music history. After high school, Billy enlisted in the army and joined one of the army's finest, the 101st Airborne Division. It was here that Billy met and became friends with Jimi Hendrix. The friendship lasted a lifetime and was cemented with the harmony and rhythm that flowed between them. After being discharged from the army, Billy and Jimi played at the local night spots in the South and Mid-West. They played the dives on the “chitlin circuit.” In later years, Billy and Jimi often joked that wherever they performed, each place had a hole in the wall. The two finally settled in Nashville and formed The King Kasuals Band. The group would include the original and later renowned Muscle Shoals horn section. Hosted by Dr. Bob Hieronimus www.21stCenturyRadio.com. Produced by Hieronimus & Co. for 21st Century Radio®. Edited version provided to Nightlight Radio with permission.
Billy Cox is the last surviving member of Jimi Hendrix's Band of Gypsies and the original Experience Hendrix Tours. He joins us to discuss his music “Old School Blue Blues” and “The Last Gypsy Standing” and Billy Cox's New Band of Gypsys. Legendary bassist and Musicians Hall of Fame inductee Billy Cox, is synonymous with almost any reference to Jimi Hendrix and Rock-n-Roll history. From their army days, Billy would always have an extended friendship with Jimi Hendrix. The kindred spirits would have a musical chemistry that was nurtured over the years as both performed regularly as sidemen for the most prominent blues and R&B acts of the day. The bond between the two men would write a new chapter in music history. After high school, Billy enlisted in the army and joined one of the army's finest, the 101st Airborne Division. It was here that Billy met and became friends with Jimi Hendrix. The friendship lasted a lifetime and was cemented with the harmony and rhythm that flowed between them. After being discharged from the army, Billy and Jimi played at the local night spots in the South and Mid-West. They played the dives on the “chitlin circuit.” In later years, Billy and Jimi often joked that wherever they performed, each place had a hole in the wall. The two finally settled in Nashville and formed The King Kasuals Band. The group would include the original and later renowned Muscle Shoals horn section. Hosted by Dr. Bob Hieronimus www.21stCenturyRadio.com. Produced by Hieronimus & Co. for 21st Century Radio®. Edited version provided to Nightlight Radio with permission.
Billy Cox is the last surviving member of Jimi Hendrix's Band of Gypsies and the original Experience Hendrix Tours. He joins us to discuss his music “Old School Blue Blues” and “The Last Gypsy Standing” and Billy Cox's New Band of Gypsys. Legendary bassist and Musicians Hall of Fame inductee Billy Cox, is synonymous with almost any reference to Jimi Hendrix and Rock-n-Roll history. From their army days, Billy would always have an extended friendship with Jimi Hendrix. The kindred spirits would have a musical chemistry that was nurtured over the years as both performed regularly as sidemen for the most prominent blues and R&B acts of the day. The bond between the two men would write a new chapter in music history. After high school, Billy enlisted in the army and joined one of the army's finest, the 101st Airborne Division. It was here that Billy met and became friends with Jimi Hendrix. The friendship lasted a lifetime and was cemented with the harmony and rhythm that flowed between them. After being discharged from the army, Billy and Jimi played at the local night spots in the South and Mid-West. They played the dives on the “chitlin circuit.” In later years, Billy and Jimi often joked that wherever they performed, each place had a hole in the wall. The two finally settled in Nashville and formed The King Kasuals Band. The group would include the original and later renowned Muscle Shoals horn section. Hosted by Dr. Bob Hieronimus www.21stCenturyRadio.com. Produced by Hieronimus & Co. for 21st Century Radio®. Edited version provided to Nightlight Radio with permission.
On this episode of Talking Metal, Mark Strigl speaks with Doug Pinnick. Topics include the new dUg Pinnick solo album Joy Bomb which can be heard on Apple Music. George Lynch, KXM, Ray Luzier, Grinder Blues, the new and forthcoming King's X album, Billy Cox, Jimi Hendrix and more.This episode also includes a conversation on Ride the Lightning by Metallica. Big thanks to Anthony Mackey, Ed Ferguson, and Johan Ederström for joining me.Find all-things Mark Strigl here: MarkStrigl.netFollow Mark Strigl on Twitter: @talkingmetal Follow Mark Strigl on Instagram.Support this show by making a PayPal donation.Please consider sharing this episode on social media and leaving a 5-star review on Apple Podcasts.Get bonus content and support Mark on Patreon for as little as $2 a month: www.patreon.com/talkingmetal#JimiHendrix #KingsX #heavymetal #hardrock #talkingmetal #StriglSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Would you like some advice from an entrepreneur who built a $2 billion real estate investment firm? As entrepreneurs, it is easy to become consumed in our work and schedules. Sometimes we get so focused on meeting a deadline or reaching a certain goal that we forget to focus on nurturing our important relationships. In the last episode with Jeff Burningham, we discussed why entrepreneurs should never stop learning. In today's episode, we're going to discuss how we can maintain healthy business and personal relationships. Make Time If we want to maintain our relationships, whether personal or professional, we need to make time for that person. A study published by the Journal of Social and Personal Relationships found that it takes about 50 hours of time together for two people to move from acquaintances to friends, 90 hours to become more than simple friends, and over 200 hours before we will consider someone a close friend (Source: The University of Kansas). When we make time for our customers, business partners, friends, and family, we strengthen our relationships. Spending time with someone shows that we care about them and what is going on in their lives. When I asked Jeff what his biggest home run was in his career, he told me it was finding his partners at Peak Capital. “It's all about the team; the best teams almost always win,” Jeff said. “I think the longevity of the partnership was the biggest home run in my career because not only has it certainly paid off financially over time but more importantly, it's paid off interpersonally and personally, as we have fun together and grow businesses together.” Jeff built very strong relationships with his business partners, and because he was able to do this, his company became very successful. However, if Jeff hadn't put the time into building those relationships, his company could have potentially had a very different outcome. When I asked Jeff what his biggest failure was, he said it is being too focused on the end prize, and not spending enough time developing relationships. “I'm very type A, driven by results, driven by outcomes. And that's what my mistake has been. I'm too often driven by outcomes when, really, I think the outcome we really want [to focus on] is our close, intimate relationships,” Jeff said. Jeff explained that there have been times when he may have neglected his close relationships or he wasn't as empathetic as he could have been, something which can really hurt relationships. This can be caused when we are too focused on the grand prize such as profit. Instead, we need to remember that without relationships, we wouldn't get anywhere. We need relationships with our customers if we are going to sell, we need relationships with our partners if we're going to stay organized and energized, and we need relationships with our friends and family if we're going to stay positive and happy. “Sometimes I lose perspective,” Jeff said. “What really matters in the end [is] the relationships that we have.” In order to build these strong relationships that are the backbone of our businesses, we need to take the time to develop them. This can mean prioritizing a coffee date with a partner over finishing a business report or taking the night off to spend it with family, even when we have a list of 100 things to get done by the end of the week. Be Patient and Understanding We have to remember to be patient with everyone in our lives. Often stress and pressure can build up until the thing that breaks the camel's back is a small and insignificant thing someone close to us says. They end up getting the worst of it as we let everything affecting us, come out on them. We need to be patient with the weaknesses of others and be patient during disagreements. “What I wish we had more of is the wisdom, the patience, [and] the foresight to understand we're all flawed characters,” Jeff said. “We're all extraordinary in some ways. We're all very ordinary in other ways. . . . There's a lot more that binds us together, and that makes us similar in our human experience than what makes us different.” In our professional relationships, patience is essential. An employee may repeat the same mistake while they're learning or a partner may take more time to complete their part of a project than we take. If we aren't patient and lose our temper, it can permanently damage a relationship. Sometimes we may be unable to recover. When we are lacking patience with those we work with, Jeff urges us to remember that we are all flawed. We all have our strengths and weaknesses and if we expect others to be patient with us as we work on our weaknesses, we should be patient with others as they work on theirs. Our strengths and weaknesses often go hand in hand. It's like picking up a stick, you have to pick up both sides. The two sides of the stick are a superpower and a weakness. God gives us strengths so we can change the world, but with every strength, there is an associated weakness which gives us humility and the chance to focus on improving and overcoming it. Our weaknesses not only test our patience with others but also our patience with ourselves. Even if we vote for different people and have opposing political views, we still have a lot more in common than we do in differences. “Let's support each other . . . and endlessly give each other grace and mercy in places where we don't see eye to eye,” Jeff said. Two people can never agree 100% of the time. We may disagree with our business partner on the best marketing strategy or argue about parenting methods. However, even if we have disagreements, if we can be patient and understanding, there are ways to communicate and work through conflicts without damaging a relationship. Love One Another My wife and I have a core philosophy, and that core philosophy is “just love”. As we come into conflict in a relationship or a challenge with an employer or co-worker, 99% of the time when I don't know what to do, the answer to that problem or that challenge is just to “just love” them. Choose kindness. Choose love. Choose compassion. Choose the benefit of the doubt. Billy Cox, an American bassist, said, “Leadership today is based on relationships built with trust, hope, love, and encouragement.” In order to be a successful leader in our businesses, we need to lead with love. We should treat each employee with respect and value their opinions like we would our own. If we don't show love in our relationships, they will likely dwindle and burn out. Despite all the work we have to do in such a little amount of time, relationships should be our top priority. When our employee has an idea, we should listen. When our family eats dinner, we should sit with them whenever possible. When our partner disagrees with us, we should do our best to understand them and love them. As we spend quality time with those around us and show patience, understanding, and love, we will be able to maintain and grow our professional and personal relationships better even with the workload of an entrepreneur. Key Takeaways Thank you so much Jeff for sharing your stories and insights with us today. Here are some of my key takeaways from this episode: If we want to maintain and grow our relationships, whether personal or professional, we need to make time for that person. We need to be patient with the weaknesses of others and be patient during disagreements. A moment of lost patience can have permanently damaging effects on our relationships. We all have our strengths and weaknesses, and if we expect others to be patient with us as we work on our weaknesses, we should be patient with others as they work on theirs. As we come into conflict in a relationship, 99% of the time the answer to that problem or that challenge is just to love them. Connect with Jeff If you want to learn more about Jeff or connect with him, you can find him on LinkedIn or Twitter, or visit his company's website at PeakCapitalPartners.com. Want to be a Better Digital Monetizer? Please follow these channels to receive free digital monetization content: Get a free Passion Marketing ebook and learn how to be a top priority of your ideal customers. Subscribe to the free Monetization eMagazine. Subscribe to the Monetization Nation YouTube channel. Subscribe to the Monetization Nation podcast on Apple Podcast, Google Podcasts, Spotify, or Stitcher. Follow Monetization Nation on Instagram and Twitter. Share Your Story How do you maintain your personal and professional relationships as an entrepreneur? Please join our private Monetization Nation Facebook group and share your insights with other digital monetizers. Read at: https://monetizationnation.com/blog/how-to-maintain-healthy-relationships-as-an-entrepreneur/
Songs of Our Own: A Marital Tour of the Music That Shaped Us.
There will only be one Jimi Hendrix. For this episode we look at Jimi's legacy and some of what he was able to accomplish with the release of this first album. Released in 1967 'Are You Experienced' took the world by storm. No one had every heard anything like what Jimi Hendrix and his band were playing. We will discuss Jimi, the writing and recording process and we will try our best to decipher the meanings of some of these rock and roll staples. Thanks for listening!Intro/Outro Music:Upbeat Forever by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/5011-upbeat-foreverLicense: http://creativecommons.org/licenses/by/4.0/
Billy Cox is an investigative UFO Journalist for decades & how the Media covers the Topic. This will be a fascinating discussion between 2 individuals who have been involved with the UFO Phenomenon for many years!
Episode 18 continues our NCAA Tournament styled brackets to determine the greatest rock album of all time. This episode focuses on the second round of the 1960s. Matchups for this episode: (1) The Beatles "Revolver" vs. (9) Jimi Hendrix Experience "Electric Ladyland" (2) The Velvet Underground "The Velvet Underground & NIco" vs. (7) Van Morrison "Astral Weeks" (3) The Beach Boys "Pet Sounds" vs. (6) The Doors "The Doors" (4) Bob Dylan "Highway 61 Revisited" vs. (5) King Crimson "In The Court Of The Crimson King" Notes/corrections for this episode: Whitney Houston's mother who was in the Sweet Inspirations was Cissy Houston. Billy Cox not Buddy Cox was the bass player in Band Of Gypsies. The Nice was Keith Emerson's pre-ELP band. The King Crimson songs "Epitaph" and "In The Court Of The Crimson King" run for 8:47 and 10:03, respectively. Among the bands The Doors influenced, Scott meant to say Joy Division not New Order. John Cale provided the crazy viola sounds in The Velvet Underground. Brian and Carl played on Pet Sounds, and Dennis played drums on 1 song, the rest of the Beach Boys only sang on the album.
Leo makes an unapologetic vow and reveals he is in possession of Grant's least favorite historical artifact, Dorsch has a fashion faux pas and is totally not illiterate, and Grant invites his co-hosts to a party at his family's ancestral home, the Lincoln Lodge. Speaking of parties, the Crew sits down with famed stunt double Buck Housman (Billy Cox) at the wrap party for one of JAMP's recent films. Buck peels himself off of two giant celebrity-lookalike-strippers to come chat about his suspiciously timed injuries and the "death" of Timothée Chalamet. We wish this episode was sponsored by Pringles; Once you pop, the fun don't stop! Questions or comments? You can reach the crew at Crewscontrolpodcast@gmail.comWe're on Instagram @crewscontrolpodcastIf you like the show, help us grow! Rate, review, and subscribe on Apple Podcasts and Dorsch will bake you an authentic Ukrainian cake!Cover art by Dave BenderTheme composed by Steve Sarro(We can't promise that Dorsch won't eat your authentic Ukrainian cake)
Rob Garland & Andy Aledort talk about their guitar lessons available on TrueFire, perform, and answer questions. To learn more and watch the video from this live session, please visit truefire.com/live.About Rob:Growing up in England I worked in a diverse array of bands and performed on the London college circuit. Later I played hundreds of gigs at numerous festivals (The Big Muddy Blues Festival, Blues In The District, Washington Blues, etc). and at clubs around the U.S. with my group, Rob Garland & The Blue Monks, opening for artists such as B.B. King, Chuck Berry and Booker T. The band attained airplay on international radio and T.V. stations.I graduated from Christ Church College in the U.K. with a Bachelors degree in Music/Radio Film & Television. After moving to the U.S. I studied with jazz great Jimmy Bruno.Since being featured in guitar magazines, (Guitarist, Guitar One, Premier Guitar, etc), my first instructional book was published by Cherry Lane in 2007 which led to a wonderful relationship with TrueFire where currently I run an artist channel (Babylon), write articles for RIFF Journal, host live YouTube sessions and create instructional courses, such as the best selling Chord Navigator: CAGED series. You can check out my courses and watch video introductions on the Guitar Lessons & TrueFire Courses page of my website.I've been a guitar teacher for over 25 years and am very proud to be part of the faculty at Musicians Institute, in Hollywood, CA. I also teach private lessons from my home in L.A. via Zoom/Skype.Currently I play gigs with jazz/funk band Catatonic and my fusion power trio Rob Garland's Eclectic Trio at venues such as The Baked Potato, Vitello's, Alva's Showroom and The Mint. I've performed sessions at Los Angeles studios such as Revolver and The Village Recorder and co-written music for Bad Robot.I love writing, recording and releasing my original music ranging in genre from jazz/rock instrumental to acoustic vocal folk, which can be streamed on Spotify or downloaded on iTunes as well as numerous other digital platforms. Check out the Music page on my website for more information and links.In September 2018 I was honoured to perform and jam with legendary guitarist Steve Vai at the 'Big Mama-Jama Jamathon' in Hollywood, CA.Some of the amazing musicians I've worked with include Jimmy Haslip (The Yellowjackets), Andy Sanesi (Scott Henderson), Tony Newton (Gary Moore), Mick Stevens (Brand X) and Gus Thornton (Albert King).Endorsements include the wonderful folks at Bogner amplification, Xotic guitars, Curt Mangan strings, Chicken Picks and Moody Leather Straps.I love all different genres of music and am influenced by everyone from Joni Mitchell to Frank Zappa, via Prince and Black Sabbath!About Andy:Only a handful of people on the planet can deliver the instructional goods on guitar as well as Andy Aledort. Andy has served as senior editor for several top guitar magazines, has authored over 200 guitar instruction books, and has studied the styles and techniques of virtually every major electric blues and rock guitar artist in history. You’d be hard pressed to find anyone better qualified to present a more thorough guitar lesson curriculum than Andy Aledort.Over the last 10 years, Andy Aledort has sold over one million instructional DVDs, and continues to produce new DVD products for Guitar World and TrueFire. There are many additional Aledort products on the market available from other companies such as Hal Leonard and Alfred Music PubAledort has also been featured nationally on Comcast Music On Demand every day, seven days a week. All of the many different products he’s created for GW are featured, including excerpts from his Axis: Bold as Love and Electric Ladyland instructional DVDs.Aledort has been touring for the last eight years with Dickey Betts of the Allman Brothers and plays slide guitar in the band. Additionally, he appears on the new “Dickey Betts & Great Southern: 30 Years Of Southern Rock” 2 Disc DVD and the double live CD, “The Official Bootleg”.Aledort regularly participates in the Jimi Hendrix Tribute Tours of the last nine years and is featured on the live Experience Hendrix DVD available from jimihendrix.com appearing with Paul Rodgers, Buddy Guy, Hubert Sumlin, Mick Taylor, Mitch Mitchell, Billy Cox, Robert Randolph and others. He’s also performed and recorded many times with Double Trouble, Stevie Ray Vaughan’s rhythm section of Tommy Shannon and Chris Layton. They appear with Aledort on a cut from his upcoming studio album.Andy Aledort performs regularly in the tri-state area with his band, the Groove Kings, and are looking to expand their touring parameters. They released an acclaimed studio album, Put A Sock In It, a few years ago, and released a equally highly-regarded live album, Live at North Star, in 2009.
Our final Jimi Hendrix special has Christian join three rock n rollers to discuss what the man means to them. First up is Bassist and perhaps oldest collaborator Billy cox, followed by percussionist Juma Sultan and finally with Hendrix re-creator Jimy Bleu, guitarist for Kiss the Sky.Billy CoxBilly Cox is best known for performing with Jimi Hendrix. Cox is the only surviving musician to have regularly played with Hendrix: first with the experimental group that backed Hendrix at Woodstock (informally referred to as "Gypsy Sun and Rainbows"), followed by the trio with drummer Buddy Miles that recorded the live Band of Gypsys album, and, lastly, The Cry of Love Tour trio with Mitch Mitchell back on drums. Cox continues to perform dates with the Band of Gypsys Experience and the Experience Hendrix Tour. As well as sitting in with Kiss the Sky several times.Today, Billy Cox owns a video production company. He has produced numerous blues and a myriad of gospel shows. He co-authored the books Jimi Hendrix Sessions and Ultimate Hendrix with John McDermott and Eddie Kramer. He released Old School Blue Blues in 2011, and continues to tour with "The Experience Hendrix Tour" each year and his own Band of Gypsys Experience. http://www.bassistbillycox.com/Juma SultanJuma Sultan (born April 13, 1942) is a jazz musician, most often recording as a percussionist or bass player. He may be best known for his appearance at the Woodstock festival of 1969 at Bethel, New York, playing with Jimi Hendrix. He currently plays in the African performance group Sankofa, the band Sons of Thunder, and with the Juma Sultan Band.Sultan was born in Monrovia, California on April 13, 1942. In 1969, he performed at the Woodstock festival in Hendrix's band, Gypsy Sun and Rainbows and on The Dick Cavett Show and at a special show in Harlem, New York several weeks later. He was interviewed extensively for the documentary films, Jimi Hendrix and Jimi Hendrix: Live at Woodstock. He appears on approximately 12 of Jimi Hendrix' posthumous releases.www.jumasarchive.org.Jimmy BleuKiss the Sky, who you will see performing at the Historic Bearville Theater in Woodstock New York is fronted by virtuoso guitarist and former Columbia recording artist, Jimy Bleu, and backed by a cast of world-class touring musicians from the NYC metro area. KTS musicians are so 'EXPERIENCED' that all 3 of Jimi's remaining former bandmates and living legends (Billy Cox, Juma Sultan and Jerry Velez) have each played on stage along side KTS performers. Most especially, Jimy Bleu, is the longest running Jimi tribute specialist in the world and even tours with former Hendrix Bassist, Billy Cox and his Band of Gypsys ExperienceJimy Bleu actually met Jimi Hendrix in 1968 while at Warner/Reprise records and a member of the official Hendrix fan club that got Hendrix to address an assembly at his high school of the Performing Arts in NYC. The very next year at Woodstock, Bleu was thrown one of the guitar straps Hendrix used in that famous performance and through this direct musical lineage, Jimy Bleu has carried the figurative baton of the Jimi Hendrix guitar showmanship legacy ever since. Jimy Bleu attended Berklee College of Music on the recommendation of Hendrix himself and went on to become a Columbia/Def Jam recording artist. A Hendrix historian, Bleu has given lectures on radio, TV and college campuses about the musical, spiritual and political importance of Hendrix. His musical talents and Hendrix stage show expertise has even landed Bleu a touring member spot with former Jimi Hendrix bassist, Mr. Billy Cox's band ... The Band of Gypsys Experience! Like Jimi Hendrix...Jimy Bleu is also one of the only lefthanders in the guitar biz... bringing even more authenticity to the concert re-creations he now performs in...KISS THE SKY!https://www.kisstheskytribute.com/about.html
Our final Jimi Hendrix special has Christian join three rock n rollers to discuss what the man means to them. First up is Bassist and perhaps oldest collaborator Billy cox, followed by percussionist Juma Sultan and finally with Hendrix re-creator Jimy Bleu, guitarist for Kiss the Sky.Billy CoxBilly Cox is best known for performing with Jimi Hendrix. Cox is the only surviving musician to have regularly played with Hendrix: first with the experimental group that backed Hendrix at Woodstock (informally referred to as "Gypsy Sun and Rainbows"), followed by the trio with drummer Buddy Miles that recorded the live Band of Gypsys album, and, lastly, The Cry of Love Tour trio with Mitch Mitchell back on drums. Cox continues to perform dates with the Band of Gypsys Experience and the Experience Hendrix Tour. As well as sitting in with Kiss the Sky several times.Today, Billy Cox owns a video production company. He has produced numerous blues and a myriad of gospel shows. He co-authored the books Jimi Hendrix Sessions and Ultimate Hendrix with John McDermott and Eddie Kramer. He released Old School Blue Blues in 2011, and continues to tour with "The Experience Hendrix Tour" each year and his own Band of Gypsys Experience. http://www.bassistbillycox.com/Juma SultanJuma Sultan (born April 13, 1942) is a jazz musician, most often recording as a percussionist or bass player. He may be best known for his appearance at the Woodstock festival of 1969 at Bethel, New York, playing with Jimi Hendrix. He currently plays in the African performance group Sankofa, the band Sons of Thunder, and with the Juma Sultan Band.Sultan was born in Monrovia, California on April 13, 1942. In 1969, he performed at the Woodstock festival in Hendrix's band, Gypsy Sun and Rainbows and on The Dick Cavett Show and at a special show in Harlem, New York several weeks later. He was interviewed extensively for the documentary films, Jimi Hendrix and Jimi Hendrix: Live at Woodstock. He appears on approximately 12 of Jimi Hendrix' posthumous releases.www.jumasarchive.org.Jimmy BleuKiss the Sky, who you will see performing at the Historic Bearville Theater in Woodstock New York is fronted by virtuoso guitarist and former Columbia recording artist, Jimy Bleu, and backed by a cast of world-class touring musicians from the NYC metro area. KTS musicians are so 'EXPERIENCED' that all 3 of Jimi's remaining former bandmates and living legends (Billy Cox, Juma Sultan and Jerry Velez) have each played on stage along side KTS performers. Most especially, Jimy Bleu, is the longest running Jimi tribute specialist in the world and even tours with former Hendrix Bassist, Billy Cox and his Band of Gypsys ExperienceJimy Bleu actually met Jimi Hendrix in 1968 while at Warner/Reprise records and a member of the official Hendrix fan club that got Hendrix to address an assembly at his high school of the Performing Arts in NYC. The very next year at Woodstock, Bleu was thrown one of the guitar straps Hendrix used in that famous performance and through this direct musical lineage, Jimy Bleu has carried the figurative baton of the Jimi Hendrix guitar showmanship legacy ever since. Jimy Bleu attended Berklee College of Music on the recommendation of Hendrix himself and went on to become a Columbia/Def Jam recording artist. A Hendrix historian, Bleu has given lectures on radio, TV and college campuses about the musical, spiritual and political importance of Hendrix. His musical talents and Hendrix stage show expertise has even landed Bleu a touring member spot with former Jimi Hendrix bassist, Mr. Billy Cox's band ... The Band of Gypsys Experience! Like Jimi Hendrix...Jimy Bleu is also one of the only lefthanders in the guitar biz... bringing even more authenticity to the concert re-creations he now performs in...KISS THE SKY!https://www.kisstheskytribute.com/about.html
Our final Jimi Hendrix special has Christian join three rock n rollers to discuss what the man means to them. First up is Bassist and perhaps oldest collaborator Billy cox, followed by percussionist Juma Sultan and finally with Hendrix re-creator Jimy Bleu, guitarist for Kiss the Sky. Billy Cox Billy Cox is best known for performing with Jimi Hendrix. Cox is the only surviving musician to have regularly played with Hendrix: first with the experimental group that backed Hendrix at Woodstock (informally referred to as "Gypsy Sun and Rainbows"), followed by the trio with drummer Buddy Miles that recorded the live Band of Gypsys album, and, lastly, The Cry of Love Tour trio with Mitch Mitchell back on drums. Cox continues to perform dates with the Band of Gypsys Experience and the Experience Hendrix Tour. As well as sitting in with Kiss the Sky several times. Today, Billy Cox owns a video production company. He has produced numerous blues and a myriad of gospel shows. He co-authored the books Jimi Hendrix Sessions and Ultimate Hendrix with John McDermott and Eddie Kramer. He released Old School Blue Blues in 2011, and continues to tour with "The Experience Hendrix Tour" each year and his own Band of Gypsys Experience. http://www.bassistbillycox.com/ Juma Sultan Juma Sultan (born April 13, 1942) is a jazz musician, most often recording as a percussionist or bass player. He may be best known for his appearance at the Woodstock festival of 1969 at Bethel, New York, playing with Jimi Hendrix. He currently plays in the African performance group Sankofa, the band Sons of Thunder, and with the Juma Sultan Band. Sultan was born in Monrovia, California on April 13, 1942. In 1969, he performed at the Woodstock festival in Hendrix's band, Gypsy Sun and Rainbows and on The Dick Cavett Show and at a special show in Harlem, New York several weeks later. He was interviewed extensively for the documentary films, Jimi Hendrix and Jimi Hendrix: Live at Woodstock. He appears on approximately 12 of Jimi Hendrix' posthumous releases.www.jumasarchive.org. Jimmy Bleu Kiss the Sky, who you will see performing at the Historic Bearville Theater in Woodstock New York is fronted by virtuoso guitarist and former Columbia recording artist, Jimy Bleu, and backed by a cast of world-class touring musicians from the NYC metro area. KTS musicians are so 'EXPERIENCED' that all 3 of Jimi's remaining former bandmates and living legends (Billy Cox, Juma Sultan and Jerry Velez) have each played on stage along side KTS performers. Most especially, Jimy Bleu, is the longest running Jimi tribute specialist in the world and even tours with former Hendrix Bassist, Billy Cox and his Band of Gypsys Experience Jimy Bleu actually met Jimi Hendrix in 1968 while at Warner/Reprise records and a member of the official Hendrix fan club that got Hendrix to address an assembly at his high school of the Performing Arts in NYC. The very next year at Woodstock, Bleu was thrown one of the guitar straps Hendrix used in that famous performance and through this direct musical lineage, Jimy Bleu has carried the figurative baton of the Jimi Hendrix guitar showmanship legacy ever since. Jimy Bleu attended Berklee College of Music on the recommendation of Hendrix himself and went on to become a Columbia/Def Jam recording artist. A Hendrix historian, Bleu has given lectures on radio, TV and college campuses about the musical, spiritual and political importance of Hendrix. His musical talents and Hendrix stage show expertise has even landed Bleu a touring member spot with former Jimi Hendrix bassist, Mr. Billy Cox’s band ... The Band of Gypsys Experience! Like Jimi Hendrix...Jimy Bleu is also one of the only lefthanders in the guitar biz... bringing even more authenticity to the concert re-creations he now performs in...KISS THE SKY! https://www.kisstheskytribute.com/about.html
Our final Jimi Hendrix special has Christian join three rock n rollers to discuss what the man means to them. First up is Bassist and perhaps oldest collaborator Billy cox, followed by percussionist Juma Sultan and finally with Hendrix re-creator Jimy Bleu, guitarist for Kiss the Sky. Billy Cox Billy Cox is best known for performing with Jimi Hendrix. Cox is the only surviving musician to have regularly played with Hendrix: first with the experimental group that backed Hendrix at Woodstock (informally referred to as "Gypsy Sun and Rainbows"), followed by the trio with drummer Buddy Miles that recorded the live Band of Gypsys album, and, lastly, The Cry of Love Tour trio with Mitch Mitchell back on drums. Cox continues to perform dates with the Band of Gypsys Experience and the Experience Hendrix Tour. As well as sitting in with Kiss the Sky several times. Today, Billy Cox owns a video production company. He has produced numerous blues and a myriad of gospel shows. He co-authored the books Jimi Hendrix Sessions and Ultimate Hendrix with John McDermott and Eddie Kramer. He released Old School Blue Blues in 2011, and continues to tour with "The Experience Hendrix Tour" each year and his own Band of Gypsys Experience. http://www.bassistbillycox.com/ Juma Sultan Juma Sultan (born April 13, 1942) is a jazz musician, most often recording as a percussionist or bass player. He may be best known for his appearance at the Woodstock festival of 1969 at Bethel, New York, playing with Jimi Hendrix. He currently plays in the African performance group Sankofa, the band Sons of Thunder, and with the Juma Sultan Band. Sultan was born in Monrovia, California on April 13, 1942. In 1969, he performed at the Woodstock festival in Hendrix's band, Gypsy Sun and Rainbows and on The Dick Cavett Show and at a special show in Harlem, New York several weeks later. He was interviewed extensively for the documentary films, Jimi Hendrix and Jimi Hendrix: Live at Woodstock. He appears on approximately 12 of Jimi Hendrix' posthumous releases.www.jumasarchive.org. Jimmy Bleu Kiss the Sky, who you will see performing at the Historic Bearville Theater in Woodstock New York is fronted by virtuoso guitarist and former Columbia recording artist, Jimy Bleu, and backed by a cast of world-class touring musicians from the NYC metro area. KTS musicians are so 'EXPERIENCED' that all 3 of Jimi's remaining former bandmates and living legends (Billy Cox, Juma Sultan and Jerry Velez) have each played on stage along side KTS performers. Most especially, Jimy Bleu, is the longest running Jimi tribute specialist in the world and even tours with former Hendrix Bassist, Billy Cox and his Band of Gypsys Experience Jimy Bleu actually met Jimi Hendrix in 1968 while at Warner/Reprise records and a member of the official Hendrix fan club that got Hendrix to address an assembly at his high school of the Performing Arts in NYC. The very next year at Woodstock, Bleu was thrown one of the guitar straps Hendrix used in that famous performance and through this direct musical lineage, Jimy Bleu has carried the figurative baton of the Jimi Hendrix guitar showmanship legacy ever since. Jimy Bleu attended Berklee College of Music on the recommendation of Hendrix himself and went on to become a Columbia/Def Jam recording artist. A Hendrix historian, Bleu has given lectures on radio, TV and college campuses about the musical, spiritual and political importance of Hendrix. His musical talents and Hendrix stage show expertise has even landed Bleu a touring member spot with former Jimi Hendrix bassist, Mr. Billy Cox’s band ... The Band of Gypsys Experience! Like Jimi Hendrix...Jimy Bleu is also one of the only lefthanders in the guitar biz... bringing even more authenticity to the concert re-creations he now performs in...KISS THE SKY! https://www.kisstheskytribute.com/about.html
November is Jimi Hendrix month here on Deeper Digs! For the next few episodes we will be featuring several interviews with people who played with Hendrix, were inspired by Hendrix or have written extensively about Hendrix.All of this is in anticipation of the 78th birthday celebration of the man on November 27th, where the incredible recreation act “Kiss the Sky” will be performing their annual concert event virtually from the historic Bearsville Theater!See why Rolling Stone Magazine has said ""Yes believe the hype! This show lives up to it!” and why AXS-TV crowned Kiss The Sky featuring left handed guitar virtuoso Jimy Bleu, "The World's Greatest Tribute to Jimi Hendrix”.Kiss The Sky recreate Hendrix's most iconic concert moments in full replica wardrobe and gear so well that they have had the honor of playing with all surviving members of Hendrix's own bands including Billy Cox, The Last Gypsy. http://bearsvilletheater.com/events/kiss-the-sky-the-re-experience-worlds-greatest-tribute-to-jimi-hendrix-annual-birthday-celebration/Today we have two amazing guests to kick things off!First up is one of the greatest living drummers, Kenny Aronoff. Voted one of the top 100 drummers of all time by Rolling Stone Magazine, Drummer Magazine have crowned Kenny Aronoff the #1 Pop /Rock Drummer and the #1 Studio Drummer for his unique and emulated style combining finesse and power. The celebrated musician has contributed his talents to more than 60 Grammy® nominated recordings. Over 300 million records sold worldwide feature his work—1,300 of which are certified gold, platinum or diamond records!In his autobiography, Sex, Drums, Rock 'n' Roll! Kenny Aronoff talks about his childhood growing up in both the Berkshires and Mid-West.At an early age, music inspired him. He studied classical, jazz and every style in between—creating a foundation that evolved him into the versatile drummer he is today, with the talent to play anything. While trying to make it in the music industry in his early 20's, fate stepped in with the audition that would change his life—it was for John Mellencamp. His work with Mellencamp catapulted Aronoff to the top of the charts with hits like “Hurts so Good,” “Little Pink Houses,” and “Jack and Diane” paving the way for session and recording work for many remarkable artists.https://www.amazon.com/Sex-Drums-Rock-Roll-Business/dp/1495007936Batting second is Corey Washington with a very important book “Jimi Hendrix - Black Legacy (A Dream Deferred)” is the culmination of a two decade journey of author Corey Washington's exploration of Jimi Hendrix's complex and misunderstood relationship and impact on the Black Community. Jimi's life has been featured in numerous biographies over the years, but very little has been properly documented, when it comes to his influence on people of color. Hendrix was often seen by many to have transcended race, which is a slap in the face to his deep cultural roots, concerning not only his Black musical traditions, but simply growing up as a Black person in the 40's-60's.Corey seeks to add to Jimi's overall legacy, by embracing Jimi's Black culture, including the well known people in Jimi's life, as well as the voices that many do not get to hear from in your traditional Jimi Hendrix biographies.It was always a strong desire of Jimi Hendrix to garner a more diverse fan base. Although he never got to fully see the fruits of his labor, Jimi Hendrix - Black Legacy, will reveal that his wish ultimately came true.Corey Washington is a high school History teacher currently teaching in Richmond County, Augusta, Georgia. He holds both a bachelor's and master's degree in Middle Grades Education from Augusta State University. Born in New York City in 1976, he has grown up in a cultural/racial melting pot.https://www.amazon.com/Jimi-Hendrix-Black-Legacy-Deferred/dp/179346233X/ref=sr_1_1?dchild=1&keywords=corey+washington&qid=1605208270&s=books&sr=1-1
November is Jimi Hendrix month here on Deeper Digs! For the next few episodes we will be featuring several interviews with people who played with Hendrix, were inspired by Hendrix or have written extensively about Hendrix.All of this is in anticipation of the 78th birthday celebration of the man on November 27th, where the incredible recreation act “Kiss the Sky” will be performing their annual concert event virtually from the historic Bearsville Theater!See why Rolling Stone Magazine has said ""Yes believe the hype! This show lives up to it!” and why AXS-TV crowned Kiss The Sky featuring left handed guitar virtuoso Jimy Bleu, "The World's Greatest Tribute to Jimi Hendrix”.Kiss The Sky recreate Hendrix's most iconic concert moments in full replica wardrobe and gear so well that they have had the honor of playing with all surviving members of Hendrix's own bands including Billy Cox, The Last Gypsy. http://bearsvilletheater.com/events/kiss-the-sky-the-re-experience-worlds-greatest-tribute-to-jimi-hendrix-annual-birthday-celebration/Today we have two amazing guests to kick things off!First up is one of the greatest living drummers, Kenny Aronoff. Voted one of the top 100 drummers of all time by Rolling Stone Magazine, Drummer Magazine have crowned Kenny Aronoff the #1 Pop /Rock Drummer and the #1 Studio Drummer for his unique and emulated style combining finesse and power. The celebrated musician has contributed his talents to more than 60 Grammy® nominated recordings. Over 300 million records sold worldwide feature his work—1,300 of which are certified gold, platinum or diamond records!In his autobiography, Sex, Drums, Rock 'n' Roll! Kenny Aronoff talks about his childhood growing up in both the Berkshires and Mid-West.At an early age, music inspired him. He studied classical, jazz and every style in between—creating a foundation that evolved him into the versatile drummer he is today, with the talent to play anything. While trying to make it in the music industry in his early 20's, fate stepped in with the audition that would change his life—it was for John Mellencamp. His work with Mellencamp catapulted Aronoff to the top of the charts with hits like “Hurts so Good,” “Little Pink Houses,” and “Jack and Diane” paving the way for session and recording work for many remarkable artists.https://www.amazon.com/Sex-Drums-Rock-Roll-Business/dp/1495007936Batting second is Corey Washington with a very important book “Jimi Hendrix - Black Legacy (A Dream Deferred)” is the culmination of a two decade journey of author Corey Washington's exploration of Jimi Hendrix's complex and misunderstood relationship and impact on the Black Community. Jimi's life has been featured in numerous biographies over the years, but very little has been properly documented, when it comes to his influence on people of color. Hendrix was often seen by many to have transcended race, which is a slap in the face to his deep cultural roots, concerning not only his Black musical traditions, but simply growing up as a Black person in the 40's-60's.Corey seeks to add to Jimi's overall legacy, by embracing Jimi's Black culture, including the well known people in Jimi's life, as well as the voices that many do not get to hear from in your traditional Jimi Hendrix biographies.It was always a strong desire of Jimi Hendrix to garner a more diverse fan base. Although he never got to fully see the fruits of his labor, Jimi Hendrix - Black Legacy, will reveal that his wish ultimately came true.Corey Washington is a high school History teacher currently teaching in Richmond County, Augusta, Georgia. He holds both a bachelor's and master's degree in Middle Grades Education from Augusta State University. Born in New York City in 1976, he has grown up in a cultural/racial melting pot.https://www.amazon.com/Jimi-Hendrix-Black-Legacy-Deferred/dp/179346233X/ref=sr_1_1?dchild=1&keywords=corey+washington&qid=1605208270&s=books&sr=1-1
November is Jimi Hendrix month here on Deeper Digs! For the next few episodes we will be featuring several interviews with people who played with Hendrix, were inspired by Hendrix or have written extensively about Hendrix. All of this is in anticipation of the 78th birthday celebration of the man on November 27th, where the incredible recreation act “Kiss the Sky” will be performing their annual concert event virtually from the historic Bearsville Theater! See why Rolling Stone Magazine has said ""Yes believe the hype! This show lives up to it!” and why AXS-TV crowned Kiss The Sky featuring left handed guitar virtuoso Jimy Bleu, "The World’s Greatest Tribute to Jimi Hendrix”. Kiss The Sky recreate Hendrix’s most iconic concert moments in full replica wardrobe and gear so well that they have had the honor of playing with all surviving members of Hendrix’s own bands including Billy Cox, The Last Gypsy. http://bearsvilletheater.com/events/kiss-the-sky-the-re-experience-worlds-greatest-tribute-to-jimi-hendrix-annual-birthday-celebration/ Today we have two amazing guests to kick things off! First up is one of the greatest living drummers, Kenny Aronoff. Voted one of the top 100 drummers of all time by Rolling Stone Magazine, Drummer Magazine have crowned Kenny Aronoff the #1 Pop /Rock Drummer and the #1 Studio Drummer for his unique and emulated style combining finesse and power. The celebrated musician has contributed his talents to more than 60 Grammy® nominated recordings. Over 300 million records sold worldwide feature his work—1,300 of which are certified gold, platinum or diamond records! In his autobiography, Sex, Drums, Rock ’n’ Roll! Kenny Aronoff talks about his childhood growing up in both the Berkshires and Mid-West. At an early age, music inspired him. He studied classical, jazz and every style in between—creating a foundation that evolved him into the versatile drummer he is today, with the talent to play anything. While trying to make it in the music industry in his early 20’s, fate stepped in with the audition that would change his life—it was for John Mellencamp. His work with Mellencamp catapulted Aronoff to the top of the charts with hits like “Hurts so Good,” “Little Pink Houses,” and “Jack and Diane” paving the way for session and recording work for many remarkable artists. https://www.amazon.com/Sex-Drums-Rock-Roll-Business/dp/1495007936 Batting second is Corey Washington with a very important book “Jimi Hendrix - Black Legacy (A Dream Deferred)” is the culmination of a two decade journey of author Corey Washington's exploration of Jimi Hendrix's complex and misunderstood relationship and impact on the Black Community. Jimi's life has been featured in numerous biographies over the years, but very little has been properly documented, when it comes to his influence on people of color. Hendrix was often seen by many to have transcended race, which is a slap in the face to his deep cultural roots, concerning not only his Black musical traditions, but simply growing up as a Black person in the 40's-60’s. Corey seeks to add to Jimi's overall legacy, by embracing Jimi's Black culture, including the well known people in Jimi's life, as well as the voices that many do not get to hear from in your traditional Jimi Hendrix biographies. It was always a strong desire of Jimi Hendrix to garner a more diverse fan base. Although he never got to fully see the fruits of his labor, Jimi Hendrix - Black Legacy, will reveal that his wish ultimately came true. Corey Washington is a high school History teacher currently teaching in Richmond County, Augusta, Georgia. He holds both a bachelor's and master's degree in Middle Grades Education from Augusta State University. Born in New York City in 1976, he has grown up in a cultural/racial melting pot. https://www.amazon.com/Jimi-Hendrix-Black-Legacy-Deferred/dp/179346233X/ref=sr_1_1?dchild=1&keywords=corey+washington&qid=1605208270&s=books&sr=1-1
November is Jimi Hendrix month here on Deeper Digs! For the next few episodes we will be featuring several interviews with people who played with Hendrix, were inspired by Hendrix or have written extensively about Hendrix. All of this is in anticipation of the 78th birthday celebration of the man on November 27th, where the incredible recreation act “Kiss the Sky” will be performing their annual concert event virtually from the historic Bearsville Theater! See why Rolling Stone Magazine has said ""Yes believe the hype! This show lives up to it!” and why AXS-TV crowned Kiss The Sky featuring left handed guitar virtuoso Jimy Bleu, "The World’s Greatest Tribute to Jimi Hendrix”. Kiss The Sky recreate Hendrix’s most iconic concert moments in full replica wardrobe and gear so well that they have had the honor of playing with all surviving members of Hendrix’s own bands including Billy Cox, The Last Gypsy. http://bearsvilletheater.com/events/kiss-the-sky-the-re-experience-worlds-greatest-tribute-to-jimi-hendrix-annual-birthday-celebration/ Today we have two amazing guests to kick things off! First up is one of the greatest living drummers, Kenny Aronoff. Voted one of the top 100 drummers of all time by Rolling Stone Magazine, Drummer Magazine have crowned Kenny Aronoff the #1 Pop /Rock Drummer and the #1 Studio Drummer for his unique and emulated style combining finesse and power. The celebrated musician has contributed his talents to more than 60 Grammy® nominated recordings. Over 300 million records sold worldwide feature his work—1,300 of which are certified gold, platinum or diamond records! In his autobiography, Sex, Drums, Rock ’n’ Roll! Kenny Aronoff talks about his childhood growing up in both the Berkshires and Mid-West. At an early age, music inspired him. He studied classical, jazz and every style in between—creating a foundation that evolved him into the versatile drummer he is today, with the talent to play anything. While trying to make it in the music industry in his early 20’s, fate stepped in with the audition that would change his life—it was for John Mellencamp. His work with Mellencamp catapulted Aronoff to the top of the charts with hits like “Hurts so Good,” “Little Pink Houses,” and “Jack and Diane” paving the way for session and recording work for many remarkable artists. https://www.amazon.com/Sex-Drums-Rock-Roll-Business/dp/1495007936 Batting second is Corey Washington with a very important book “Jimi Hendrix - Black Legacy (A Dream Deferred)” is the culmination of a two decade journey of author Corey Washington's exploration of Jimi Hendrix's complex and misunderstood relationship and impact on the Black Community. Jimi's life has been featured in numerous biographies over the years, but very little has been properly documented, when it comes to his influence on people of color. Hendrix was often seen by many to have transcended race, which is a slap in the face to his deep cultural roots, concerning not only his Black musical traditions, but simply growing up as a Black person in the 40's-60’s. Corey seeks to add to Jimi's overall legacy, by embracing Jimi's Black culture, including the well known people in Jimi's life, as well as the voices that many do not get to hear from in your traditional Jimi Hendrix biographies. It was always a strong desire of Jimi Hendrix to garner a more diverse fan base. Although he never got to fully see the fruits of his labor, Jimi Hendrix - Black Legacy, will reveal that his wish ultimately came true. Corey Washington is a high school History teacher currently teaching in Richmond County, Augusta, Georgia. He holds both a bachelor's and master's degree in Middle Grades Education from Augusta State University. Born in New York City in 1976, he has grown up in a cultural/racial melting pot. https://www.amazon.com/Jimi-Hendrix-Black-Legacy-Deferred/dp/179346233X/ref=sr_1_1?dchild=1&keywords=corey+washington&qid=1605208270&s=books&sr=1-1
On this episode of the Sofa King Podcast, we talk about the man named the greatest guitarist of all time by Rolling Stone magazine, the one and only Jimi Hendrix. Hendrix was a virtuoso by any measure. His first album almost toppled Sgt. Pepper’s Lonely Hearts Club from the charts, and his four studio albums forever changed rock and roll as well as thoughts on what you could do with a guitar. And this was all by the age of 27! Jimi was an interesting and complex man, a drug addict to be sure, and a violent drunk. But when he died due to drug use in 1970, he left the music industry a different place than he found it. Born to a 17 year old mom and a G.I. serving in WWII, Jimi had a rough upbringing. He was often raised by relatives and his grandmother, and when he was born, they had to lock his father up in the brig, so he wouldn’t go AWOL to try and get to the birth. His mom and dad eventually divorced, some saying his mom abandoned them. His father worked hard to put food on the table and eventually helped Jimi buy his first electric guitar. (This after he walked around his school with a broom, pretending it to be a guitar all year…) Once he got his guitars, he started obsessing and self-learning. He had small gigs almost immediately, but his music career was detoured by a (court mandated?) enlistment in the Army as a paratrooper. He was by all accounts a bad soldier known to sleep on duty and ignore orders. He was honorably discharged, but only after meeting Billy Cox, who would go on to play with him for years to come. Jimi toured the south in what was then called the Chitterlin’ Circuit, and he eventually started to get noticed. He toured with some bands and did studio work for everyone from Tina and Ike Turner to Little Richard, B.B. King, Sam Cooke and the Isley Brothers. But his showboating and tendency to take center stage made them not want to work with him. Eventually, he moved to New York and met Keith Richard’s girlfriend. From there, he made enough contacts to head to London and form his seminal band, The Jimmi Hendrix Experience. His first album was a runaway success in the UK, and eventually, he was a star in the US and globally. He infamously lit his guitar on fire at the Monterey Pop Music Festival, played the Star Spangled Banner in the rain at Woodstock, and was a pioneer of psychedelic music. He defined the 1960s in ways nobody else could. So, how exactly did he die? What did he do that made Paul McCartney think was the biggest honor of his life? What happened the time he got kidnapped? Why do they say he was a mean drunk? Was “excuse me while I kiss this guy” on purpose? Listen, laugh, learn. Visit Our Sources: https://www.biography.com/musician/jimi-hendrix https://www.jimihendrix.com/ https://en.wikipedia.org/wiki/Jimi_Hendrix https://www.allmusic.com/artist/jimi-hendrix-mn0000354105 https://www.theatlantic.com/culture/archive/2020/09/how-jimi-hendrix-london-years-changed-music/616399/ https://www.mentalfloss.com/article/517664/10-fast-facts-about-jimi-hendrix https://www.celebritynetworth.com/articles/entertainment-articles/how-much-was-jimi-hendrix-worth-when-he-died/#:~:text=New%20recordings%20released%20over%20the,and%20died%2049%20years%20ago.
The Joiner Report guest Billy Cox 052209
The Joiner Report guest Billy Cox 052209
Gestur þáttarins að þessu sinni er Helga Vala Helgadóttir þingman Samfylkingarinnar. Hún mætir með uppáhalds ROKKplötuna sína klukkan 21.00. Vinur þáttarins sendir lag og óskalagasíminn opnar kl. 20.00 - 5687123. Plata þáttarins sem við heyrum amk. þrjú lög af er Cry of Love - fyrsta plata Jimi Hendrix sem kom út eftir að hann lést, en hann lést þennan dag, 18. September 1970 - fyrir hálfri öld. Þessi plata sem heitir Cry of Love kom út 5. Mars 1971 - rúmu hálfu ári eftir að hann lést. Upptökustjórinn Eddie Kramer kláraði að setja plötuna saman úr þeim lögum sem hann var að vinna með Hendrix þegar hann lést, og honum til aðstoðar voru trommuleikarinn Mitch Mitchell og umboðsmaðurinn Michael Jeffery. Hendrix, Kramer og Mitchell eru skráðir upptökustjórar plötunnar og umboðsmaðurinn einskonar framkvæmdastjóri verksins. Það var Reprise útgáfan sem gaf plötuna út og hún seldist vel bæði t.d. í Bandaríkjunum og Bretlandi. Lög af plötunni komu seinna út á öðrum plötum þar sem reynt var að skapa plötuna sem Hendrix var í raun að gera 1970. Ein heitir Voodo Soup og kom út 1995 og önnur sem kom 1997 heitir First Rays of the new Rising Sun. Þessi plata sem Hendrix var aðgera var fyrsta platan hans eftir að hljómsveitin Jimi Hendrix Experience leystist upp og hann gerði með nýju hljómsveitinni, Band of Gypsys, tromaranum Micth Mitchell og bassaleikaranum Billy Cox. Platan var tekin upp í nýja hljóðverinu hans Hendirx í New York, Electric Lady studios sem er enn starfandi og margir stærstu listamenn heims hafa unnið þar. Mammút - Blóðbergð Ace Frehley - I?m down Hellsongs - Paranoid Black Sabbath - War pigs Smashing Pumpkins - The Colour of love VINUR ÞÁTTARINS Jo Jo Gunne - Rock around the symbol/Broken down man Helhorse - Overboard SÍMATÍMI Jimi Hendrix - Freedom (plata þáttarins) John Lennon - Cold Turkey (óskalag) Golden Earring - Radar Love (óskalag) Green Day - American idiot Ramones - I wanna be sedated Pearl Jam - Even flow (óskalag) Black Sabbath - Iron man (óskalag) Jimi Hendrix - Ezy rider (plata þáttarins) GESTUR FUZZ - HELGA VALA HELGADÓTTIR MEÐ UPPÁHALDS ROKKLÖTUNA Nick Cave & PJ Harvey - Henry Lee HELGA VALA II PJ. Harvey - A perfect day Elise HELGA VALA III PJ. Harvey - The sky lit up Churchhouse Creepers - Party (óskalag) Foo Fighters - Walk (óskalag) Ozzy Osbourne - Dreamer (óskalag)
Gestur þáttarins að þessu sinni er Helga Vala Helgadóttir þingman Samfylkingarinnar. Hún mætir með uppáhalds ROKKplötuna sína klukkan 21.00. Vinur þáttarins sendir lag og óskalagasíminn opnar kl. 20.00 - 5687123. Plata þáttarins sem við heyrum amk. þrjú lög af er Cry of Love - fyrsta plata Jimi Hendrix sem kom út eftir að hann lést, en hann lést þennan dag, 18. September 1970 - fyrir hálfri öld. Þessi plata sem heitir Cry of Love kom út 5. Mars 1971 - rúmu hálfu ári eftir að hann lést. Upptökustjórinn Eddie Kramer kláraði að setja plötuna saman úr þeim lögum sem hann var að vinna með Hendrix þegar hann lést, og honum til aðstoðar voru trommuleikarinn Mitch Mitchell og umboðsmaðurinn Michael Jeffery. Hendrix, Kramer og Mitchell eru skráðir upptökustjórar plötunnar og umboðsmaðurinn einskonar framkvæmdastjóri verksins. Það var Reprise útgáfan sem gaf plötuna út og hún seldist vel bæði t.d. í Bandaríkjunum og Bretlandi. Lög af plötunni komu seinna út á öðrum plötum þar sem reynt var að skapa plötuna sem Hendrix var í raun að gera 1970. Ein heitir Voodo Soup og kom út 1995 og önnur sem kom 1997 heitir First Rays of the new Rising Sun. Þessi plata sem Hendrix var aðgera var fyrsta platan hans eftir að hljómsveitin Jimi Hendrix Experience leystist upp og hann gerði með nýju hljómsveitinni, Band of Gypsys, tromaranum Micth Mitchell og bassaleikaranum Billy Cox. Platan var tekin upp í nýja hljóðverinu hans Hendirx í New York, Electric Lady studios sem er enn starfandi og margir stærstu listamenn heims hafa unnið þar. Mammút - Blóðbergð Ace Frehley - I?m down Hellsongs - Paranoid Black Sabbath - War pigs Smashing Pumpkins - The Colour of love VINUR ÞÁTTARINS Jo Jo Gunne - Rock around the symbol/Broken down man Helhorse - Overboard SÍMATÍMI Jimi Hendrix - Freedom (plata þáttarins) John Lennon - Cold Turkey (óskalag) Golden Earring - Radar Love (óskalag) Green Day - American idiot Ramones - I wanna be sedated Pearl Jam - Even flow (óskalag) Black Sabbath - Iron man (óskalag) Jimi Hendrix - Ezy rider (plata þáttarins) GESTUR FUZZ - HELGA VALA HELGADÓTTIR MEÐ UPPÁHALDS ROKKLÖTUNA Nick Cave & PJ Harvey - Henry Lee HELGA VALA II PJ. Harvey - A perfect day Elise HELGA VALA III PJ. Harvey - The sky lit up Churchhouse Creepers - Party (óskalag) Foo Fighters - Walk (óskalag) Ozzy Osbourne - Dreamer (óskalag)
Gestur þáttarins að þessu sinni er Helga Vala Helgadóttir þingman Samfylkingarinnar. Hún mætir með uppáhalds ROKKplötuna sína klukkan 21.00. Vinur þáttarins sendir lag og óskalagasíminn opnar kl. 20.00 - 5687123. Plata þáttarins sem við heyrum amk. þrjú lög af er Cry of Love - fyrsta plata Jimi Hendrix sem kom út eftir að hann lést, en hann lést þennan dag, 18. September 1970 - fyrir hálfri öld. Þessi plata sem heitir Cry of Love kom út 5. Mars 1971 - rúmu hálfu ári eftir að hann lést. Upptökustjórinn Eddie Kramer kláraði að setja plötuna saman úr þeim lögum sem hann var að vinna með Hendrix þegar hann lést, og honum til aðstoðar voru trommuleikarinn Mitch Mitchell og umboðsmaðurinn Michael Jeffery. Hendrix, Kramer og Mitchell eru skráðir upptökustjórar plötunnar og umboðsmaðurinn einskonar framkvæmdastjóri verksins. Það var Reprise útgáfan sem gaf plötuna út og hún seldist vel bæði t.d. í Bandaríkjunum og Bretlandi. Lög af plötunni komu seinna út á öðrum plötum þar sem reynt var að skapa plötuna sem Hendrix var í raun að gera 1970. Ein heitir Voodo Soup og kom út 1995 og önnur sem kom 1997 heitir First Rays of the new Rising Sun. Þessi plata sem Hendrix var aðgera var fyrsta platan hans eftir að hljómsveitin Jimi Hendrix Experience leystist upp og hann gerði með nýju hljómsveitinni, Band of Gypsys, tromaranum Micth Mitchell og bassaleikaranum Billy Cox. Platan var tekin upp í nýja hljóðverinu hans Hendirx í New York, Electric Lady studios sem er enn starfandi og margir stærstu listamenn heims hafa unnið þar. Mammút - Blóðbergð Ace Frehley - I?m down Hellsongs - Paranoid Black Sabbath - War pigs Smashing Pumpkins - The Colour of love VINUR ÞÁTTARINS Jo Jo Gunne - Rock around the symbol/Broken down man Helhorse - Overboard SÍMATÍMI Jimi Hendrix - Freedom (plata þáttarins) John Lennon - Cold Turkey (óskalag) Golden Earring - Radar Love (óskalag) Green Day - American idiot Ramones - I wanna be sedated Pearl Jam - Even flow (óskalag) Black Sabbath - Iron man (óskalag) Jimi Hendrix - Ezy rider (plata þáttarins) GESTUR FUZZ - HELGA VALA HELGADÓTTIR MEÐ UPPÁHALDS ROKKLÖTUNA Nick Cave & PJ Harvey - Henry Lee HELGA VALA II PJ. Harvey - A perfect day Elise HELGA VALA III PJ. Harvey - The sky lit up Churchhouse Creepers - Party (óskalag) Foo Fighters - Walk (óskalag) Ozzy Osbourne - Dreamer (óskalag)
Dan, Mike and Ashley have just one question for you - are you experienced? It has been fifty years since the passing of Jimi Hendrix and this week we are honoring the man and his music by sharing the impact he made. We will hear from Recording Engineer, Eddie Kramer; Bassist, Billy Cox; Founder of Seymour Duncan Pickups, Seymour Duncan; Studio Musician, Mike Finnigan; Founder of Luthier's Workshop, Tony Louscher and Founder of Spector Guitars, Stuart Spector as we honor the iconic guitar hero!
Episode ninety-five of A History of Rock Music in Five Hundred Songs looks at "You Better Move On", and the sad story of Arthur Alexander. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Mother-In-Law" by Ernie K-Doe. 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/ ----more---- Resources As always, I've created Mixcloud playlists with full versions of all the songs in the episode. This week it's been split into two parts because of the number of songs by Arthur Alexander. Part one. Part two. This compilation collects the best of Alexander's Dot work. Much of the information in this episode comes from Richard Younger's biography of Alexander. It's unfortunately not in print in the UK, and goes for silly money, though I believe it can be bought cheaply in the US. And a lot of the background on Muscle Shoals comes from Country Soul by Charles L. Hughes. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a warning for those who need it. This is one of the sadder episodes we're going to be doing, and it deals with substance abuse, schizophrenia, and miscarriage. One of the things we're going to see a lot of in the next few weeks and months is the growing integration of the studios that produced much of the hit music to come out of the Southern USA in the sixties -- studios in what the writer Charles L. Hughes calls the country-soul triangle: Nashville, Memphis, and Muscle Shoals. That integration produced some of the greatest music of the era, but it's also the case that with few exceptions, narratives about that have tended to centre the white people involved at the expense of the Black people. The Black musicians tend to be regarded as people who allowed the white musicians to cast off their racism and become better people, rather than as colleagues who in many cases somewhat resented the white musicians -- there were jobs that weren't open to Black musicians in the segregated South, and now here were a bunch of white people taking some of the smaller number of jobs that *were* available to them. This is not to say that those white musicians were, individually, racist -- many were very vocally opposed to racism -- but they were still beneficiaries of a racist system. These white musicians who loved Black music slowly, over a decade or so, took over the older Black styles of music, and made them into white music. Up to this point, when we've looked at R&B, blues, or soul recordings, all the musicians involved have been Black people, almost without exception. And for most of the fifties, rock and roll was a predominantly Black genre, before the influx of the rockabillies made it seem, briefly, like it could lead to a truly post-racial style of music. But over the 1960s, we're going to see white people slowly colonise those musics, and push Black musicians to the margins. And this episode marks a crucial turning point in the story, as we see the establishment of Muscle Shoals, Alabama, as a centre of white people making music in previously Black genres. But the start of that story comes with a Black man making music that most people at the time saw as coded as white. Today we're going to look at someone whose music is often considered the epitome of deep soul, but who worked with many of the musicians who made the Nashville Sound what it was, and who was as influenced by Gene Autry as he was by many of the more obvious singers who might influence a soul legend. Today, we're going to look at Arthur Alexander, and at "You Better Move On": [Excerpt: Arthur Alexander, "You'd Better Move On"] Arthur Alexander's is one of the most tragic stories we'll be looking at. He was a huge influence on every musician who came up in the sixties, but he never got the recognition for it. He was largely responsible for the rise of Muscle Shoals studios, and he wrote songs that were later covered by the Beatles, and Bob Dylan, and the Rolling Stones, as well as many, many more. The musician Norbert Putnam told the story of visiting George Harrison in the seventies, and seeing his copy of Alexander's hit single "You Better Move On". He said to Harrison, "Did you know I played bass on that?" and Harrison replied, "If I phoned Paul up now, he'd come over and kiss your feet". That's how important Arthur Alexander was to the Beatles, and to the history of rock music. But he never got to reap the rewards his talent entitled him to. He spent most of his life in poverty, and is now mostly known only to fans of the subgenre known as deep soul. Part of this is because his music is difficult to categorise. While most listeners would now consider it soul music, it's hard to escape the fact that Alexander's music has an awful lot of elements of country music in it. This is something that Alexander would point out himself -- in interviews, he would talk about how he loved singing cowboys in films -- people like Roy Rogers and Gene Autry -- and about how when he was growing up the radio stations he would listen to would "play a Drifters record and maybe an Eddy Arnold record, and they didn't make no distinction. That's the way it was until much later". The first record he truly loved was Eddy Arnold's 1946 country hit "That's How Much I Love You": [Excerpt: Eddy Arnold, "That's How Much I Love You"] Alexander grew up in Alabama, but in what gets described as a relatively integrated area for the time and place -- by his own account, the part of East Florence he grew up in had only one other Black family, and all the other children he played with were white, and he wasn't even aware of segregation until he was eight or nine. Florence is itself part of a quad-city area with three other nearby towns – Muscle Shoals, Sheffield, and Tuscumbia. This area as a whole is often known as either “the Shoals”, or “Muscle Shoals”, and when people talk about music, it's almost always the latter, so from this point on, I'll be using “Muscle Shoals” to refer to all four towns. The consensus among people from the area seems to have been that while Alabama itself was one of the most horribly racist parts of the country, Muscle Shoals was much better than the rest of Alabama. Some have suggested that this comparative integration was part of the reason for the country influence in Alexander's music, but as we've seen in many previous episodes, there were a lot more Black fans of country music than popular myth would suggest, and musicians like Fats Domino, Chuck Berry, and Bo Diddley were very obviously influenced by country singers. Alexander's father was also called Arthur, and so for all his life the younger Arthur Alexander was known to family and friends as "June", for Junior. Arthur senior had been a blues guitarist in his youth, and according to his son was also an excellent singer, but he got very angry the one time June picked up his guitar and tried to play it -- he forbade him from ever playing the guitar, saying that he'd never made a nickel as a player, and didn't want that life for his son. As Arthur was an obedient kid, he did as his father said -- he never in his life learned to play any musical instrument. But that didn't stop him loving music and wanting to sing. He would listen to the radio all the time, listening to crooners like Patti Page and Nat "King" Cole, and as a teenager he got himself a job working at a cafe owned by a local gig promoter, which meant he was able to get free entry to the R&B shows the promoter put on at a local chitlin circuit venue, and get to meet the stars who played there. He would talk to people like Clyde McPhatter, and ask him how he managed to hit the high notes -- though he wasn't satisfied by McPhatter's answer that "It's just there", thinking there must be more to it than that. And he became very friendly with the Clovers, once having a baseball game with them, and spending a lot of time with their lead singer, Buddy Bailey, asking him details of how he got particular vocal effects in the song "One Mint Julep": [Excerpt: The Clovers, "One Mint Julep"] He formed a vocal group called the Heartstrings, who would perform songs like "Sixty Minute Man", and got a regular spot on a local TV show, but according to his account, after a few weeks one of the other members decided he didn't need to bother practising any more, and messed up on live TV. The group split up after that. The only time he got to perform once that group split up was when he would sit in in a band led by his friend George Brooks, who regularly gigged around Muscle Shoals. But there seemed no prospect of anything bigger happening -- there were no music publishing companies or recording studios in Alabama, and everyone from Alabama who had made an impact in music had moved away to do it -- W.C. Handy, Hank Williams, Sam Phillips, they'd all done truly great things, but they'd done them in Memphis or Nashville, not in Montgomery or Birmingham. There was just not the music industry infrastructure there to do anything. That started to change in 1956, when the first record company to set up in Muscle Shoals got its start. Tune Records was a tiny label run from a bus station, and most of its business was the same kind of stuff that Sam Phillips did before Sun became big -- making records of people's weddings and so on. But then the owner of the label, James Joiner, came up with a song that he thought might be commercial if a young singer he knew named Bobby Denton sang it. "A Fallen Star" was done as cheaply as humanly possible -- it was recorded at a radio station, cut live in one take. The engineer on the track was a DJ who was on the air at the time -- he put a record on, engineered the track while the record was playing, and made sure the musicians finished before the record he was playing did, so he could get back on the air. That record itself wasn't a hit, and was so unsuccessful that I've not been able to find a copy of it anywhere, but it inspired hit cover versions from Ferlin Husky and Jimmy C. Newman: [Excerpt: Jimmy C. Newman, “A Fallen Star”] Off the back of those hit versions, Joiner started his own publishing company to go with his record company. Suddenly there was a Muscle Shoals music scene, and everything started to change. A lot of country musicians in the area gravitated towards Joiner, and started writing songs for his publishing company. At this point, this professional music scene in the area was confined to white people -- Joiner recalled later that a young singer named Percy Sledge had auditioned for him, but that Joiner simply didn't understand his type of music -- but a circle of songwriters formed that would be important later. Jud Phillips, Sam's brother, signed Denton to his new label, Judd, and Denton started recording songs by two of these new songwriters, Rick Hall and Billy Sherrill. Denton's recordings were unsuccessful, but they started getting cover versions. Roy Orbison's first single on RCA was a Hall and Sherrill song: [Excerpt: Roy Orbison, "Sweet and Innocent"] Hall and Sherrill then started up their own publishing company, with the help of a loan from Joiner, and with a third partner, Tom Stafford. Stafford is a figure who has been almost written out of music history, and about whom I've been able to find out very little, but who seems in some ways the most intriguing person among these white musicians and entrepreneurs. Friends from the time describe him as a "reality-hacking poet", and he seems to have been a beatnik, or a proto-hippie, the only one in Muscle Shoals and maybe the only one in the state of Alabama at the time. He was the focal point of a whole group of white musicians, people like Norbert Puttnam, David Briggs, Dan Penn, and Spooner Oldham. These musicians loved Black music, and wanted to play it, thinking of it as more exciting than the pop and country that they also played. But they loved it in a rather appropriative way -- and in the same way, they had what they *thought* was an anti-racist attitude. Even though they were white, they referred to themselves collectively as a word I'm not going to use, the single most offensive slur against Black people. And so when Arthur Alexander turned up and got involved in this otherwise-white group of musicians, their attitudes varied widely. Terry Thompson, for example, who Alexander said was one of the best players ever to play guitar, as good as Nashville legends like Roy Clark and Jerry Reed, was also, according to Alexander, “the biggest racist there ever was”, and made derogatory remarks about Black people – though he said that Alexander didn't count. Others, like Dan Penn, have later claimed that they took an “I don't even see race” attitude, while still others were excited to be working with an actual Black man. Alexander would become close friends with some of them, would remain at arm's length with most, but appreciated the one thing that they all had in common – that they, like him, wanted to perform R&B *and* country *and* pop. For Hall, Sherrill, and Stafford's fledgling publishing company FAME, Alexander and one of his old bandmates from the Heartstrings, Henry Lee Bennett, wrote a song called “She Wanna Rock”, which was recorded in Nashville by the rockabilly singer Arnie Derksen, at Owen Bradley's studio with the Nashville A-Team backing him: [Excerpt: Arnie Derksen, "She Wanna Rock"] That record wasn't a success, and soon after that, the partnership behind FAME dissolved. Rick Hall was getting super-ambitious and wanted to become a millionaire by the time he was thirty, Tom Stafford was content with the minor success they had, and wanted to keep hanging round with his friends, watching films, and occasionally helping them make a record, and Billy Sherrill had a minor epiphany and decided he wanted to make country music rather than rock and roll. Rick Hall kept the FAME name for a new company he was starting up and Sherrill headed over to Nashville and got a job with Sam Phillips at Sun's Nashville studio. Sherrill would later move on from Sun and produce and write for almost every major country star of the sixties and seventies – most notably, he co-wrote "Stand By Your Man" with Tammy Wynette, and produced "He Stopped Loving Her Today" for George Jones. And Stafford kept the studio and the company, which was renamed Spar. Arthur Alexander stuck with Tom Stafford, as did most of the musicians, and while he was working a day job as a bellhop, he would also regularly record demos for other writers at Stafford's studio. By the start of 1960, 19-year-old June had married another nineteen-year-old, Ann. And it was around this point that Stafford came to him with a half-completed lyric that needed music. Alexander took Stafford's partial lyric, and finished it. He added a standard blues riff, which he had liked in Brook Benton's record “Kiddio”: [Excerpt: Brook Benton, “Kiddio”] The resulting song, “Sally Sue Brown”, was a mixture of gutbucket blues and rockabilly, with a soulful vocal, and it was released under the name June Alexander on Judd Records: [Excerpt: June Alexander, "Sally Sue Brown"] It's a good record, but it didn't have any kind of success. So Arthur started listening to the radio more, trying to see what the current hits were, so he could do something more commercial. He particularly liked the Drifters and Ben E. King, and he decided to try to write a song that fit their styles. He eventually came up with one that was inspired by real events -- his wife, Ann, had an ex who had tried to win her back once he'd found out she was dating Arthur. He took the song, "You Better Move On", to Stafford, who knew it would be a massive hit, but also knew that he couldn't produce the record himself, so they got in touch with Rick Hall, who agreed to produce the track. There were multiple sessions, and after each one, Hall would take the tapes away, study them, and come up with improvements that they would use at the next session. Hall, like Alexander, wanted to get a sound like Ben E. King -- he would later say, "It was my conception that it should have a groove similar to 'Stand By Me', which was a big record at the time. But I didn't want to cop it to the point where people would recognise it was a cop. You dig? So we used the bass line and modified it just a little bit, put the acoustic guitar in front of that.": [Excerpt: Arthur Alexander, "You Better Move On"] For a B-side, they chose a song written by Terry Thompson, "A Shot of Rhythm and Blues", which would prove almost as popular as the A-side: [Excerpt: Arthur Alexander, "A Shot of Rhythm and Blues"] Hall shopped the record around every label in Nashville, with little success. Eventually, in February 1961, the record was released by Dot Records, the label that Pat Boone was on. It went to number twenty-four on the pop charts, becoming the first ever hit record to be made in Alabama. Rick Hall made enough money from it that he was able to build a new, much better, studio, and Muscle Shoals was set to become one of the most important recording centres in the US. As Norbert Puttnam, who had played bass on "You Better Move On", and who would go on to become one of the most successful session bass players and record producers in Nashville, later said "If it wasn't for Arthur Alexander, we'd all be at Reynolds" -- the local aluminium factory. But Arthur Alexander wouldn't record much at Muscle Shoals from that point on. His contracts were bought out -- allegedly, Stafford, a heavy drug user, was bought off with a case of codeine -- and instead of working with Rick Hall, the perfectionist producer who would go on to produce a decade-long string of hits, he was being produced by Noel Ball, a DJ with little production experience, though one who had a lot of faith in Alexander's talent, and who had been the one to get him signed to Dot. His first album was a collection of covers of current hits. The album is widely regarded as a failure, and Alexander's heart wasn't in it -- his father had just died, his wife had had a miscarriage, and his marriage was falling apart. But his second single for Dot was almost as great as his first. Recorded at Owen Bradley's studio with top Nashville session players, the A-side, "Where Have You Been?" was written by the Brill Building team of Barry Mann and Cynthia Weill, and was very much in the style of "You Better Move On": [Excerpt: Arthur Alexander, "Where Have You Been?"] While the B-side, "Soldiers of Love" (and yes, it was called "Soldiers of Love" on the original label, rather than "Soldier"), was written by Buzz Cason and Tony Moon, two members of Brenda Lee's backing band, The Casuals: [Excerpt: Arthur Alexander, "Soldiers of Love"] The single was only a modest hit, reaching number fifty-eight, but just like his first single, both sides became firm favourites with musicians in Britain. Even though he wasn't having a huge amount of commercial success, music lovers really appreciated his music, and bands in Britain, playing long sets, would pick up on Arthur's songs. Almost every British guitar group had Arthur Alexander songs in their setlists, even though he was unaware of it at the time. For his third Dot single, Arthur was in trouble. He'd started drinking a lot, and taking a lot of speed, and his marriage was falling apart. Meanwhile, Noel Ball was trying to get him to record all sorts of terrible songs. He decided he'd better write one himself, and he'd make it about the deterioration of his marriage to Ann -- though in the song he changed her name to Anna, because it scanned better: [Excerpt: Arthur Alexander, "Anna (Go To Him)"] Released with a cover version of Gene Autry's country classic "I Hang My Head and Cry" as the B-side, that made the top ten on the R&B chart, but it only made number sixty-eight on the pop charts. His next single, "Go Home Girl", another attempt at a "You Better Move On" soundalike, only made number 102. Meanwhile, a song that Alexander had written and recorded, but that Dot didn't want to put out, went to number forty-two when it was picked up by the white singer Steve Alaimo: [Excerpt: Steve Alaimo, "Every Day I Have To Cry"] He was throwing himself into his work at this point, to escape the problems in his personal life. He'd often just go to a local nightclub and sit in with a band featuring a bass player called Billy Cox, and Cox's old Army friend, who was just starting to get a reputation as a musician, a guitarist they all called Marbles but who would later be better known as Jimi Hendrix. He was drinking heavily, divorced, and being terribly mismanaged, as well as being ripped off by his record and publishing companies. He was living with a friend, Joe Henderson, who had had a hit a couple of years earlier with "Snap Your Fingers": [Excerpt: Joe Henderson, "Snap Your Fingers"] Henderson and Alexander would push each other to greater extremes of drug use, enabling each other's addiction, and one day Arthur came home to find his friend dead in the bathroom, of what was officially a heart attack but which everyone assumes was an overdose. Not only that, but Noel Ball was dying of cancer, and for all that he hadn't been the greatest producer, Arthur cared deeply about him. He tried a fresh start with Monument Records, and he was now being produced by Fred Foster, who had produced Roy Orbison's classic hits, and his arrangements were being done by Bill Justis, the saxophone player who had had a hit with "Raunchy" on a subsidiary of Sun a few years earlier. Some of his Monument recordings were excellent, like his first single for the label, "Baby For You": [Excerpt: Arthur Alexander, "Baby For You"] On the back of that single, he toured the UK, and appeared on several big British TV shows, and was generally feted by all the major bands who were fans of his work, but he had no more commercial success at Monument than he had at the end of his time on Dot. And his life was getting worse and worse. He had a breakdown, brought on by his constant use of amphetamines and cannabis, and started hallucinating that people he saw were people from his past life -- he stopped a taxi so he could get out and run after a man he was convinced was his dead father, and assaulted an audience member he was convinced was his ex-wife. He was arrested, diagnosed with schizophrenia, and spent several months in a psychiatric hospital. Shortly after he got out, Arthur visited his friend Otis Redding, who was in the studio in Memphis, and was cutting a song that he and Arthur had co-written several years earlier, "Johnny's Heartbreak": [Excerpt: Otis Redding, "Johnny's Heartbreak"] Otis asked Arthur to join him on a tour he was going to be going on a couple of weeks later, but fog grounded Arthur's plane so he was never able to meet up with Otis in Atlanta, and the tour proceeded without him -- and so Arthur was not on the plane that Redding was on, on December 10 1967, which crashed and killed him. Arthur saw this as divine intervention, but he was seeing patterns in everything at this point, and he had several more breakdowns. He ended up getting dropped by Monument in 1970. He was hospitalised again after a bad LSD trip led to him standing naked in the middle of the road, and he spent several years drifting, unable to have a hit, though he was still making music. He kept having bad luck – for example, he recorded a song by the songwriter Dennis Linde, which was an almost guaranteed hit, and could have made for a comeback for him: [Excerpt: Arthur Alexander, “Burning Love”] But between him recording it and releasing it as a single, Elvis Presley released his version, which went to number two on the charts, and killed any chance of Arthur's version being a success: [Excerpt: Elvis Presley, “Burning Love”] He did, though, have a bit of a comeback in 1975, when he rerecorded his old song "Every Day I Have To Cry", as "Every Day I Have To Cry Some", in a version which many people think likely inspired Bruce Springsteen's "Hungry Heart" a few years later: [Excerpt: Arthur Alexander, "Every Day I Have To Cry Some"] That made number forty-five, but unfortunately his follow-up, “Sharing the Night Together”, was another song where multiple people released versions of it at the same time, without realising, and so didn't chart – Dr. Hook eventually had a hit with it a year later. Arthur stepped away from music. He managed to get himself more mentally well, and spent the years from 1978 through 1993 working a series of blue-collar jobs in Cleveland -- construction worker, bus driver, and janitor. He rarely opened up to people about ever having been a singer. He suffered through more tragedy, too, like the murder of one of his sons, but he remained mentally stable. But then, in March 1993, he made a comeback. The producer Ben Vaughn persuaded him into the studio, and he got a contract with Elektra records. He made his first album in twenty-two years, a mixture of new songs and reworkings of his older ones. It got great reviews, and he was rediscovered by the music press as a soul pioneer. He got a showcase spot at South by Southwest, he was profiled by NPR on Fresh Air, and he was playing to excited crowds of new, young fans. He was in the process of getting his publishing rights back, and might finally start to see some money from his hits. And then, three months after that album came out, in the middle of a meeting with a publisher about the negotiations for his new contracts, he had a massive heart attack, and died the next day, aged fifty-three. His bad luck had caught up with him again.
Episode ninety-five of A History of Rock Music in Five Hundred Songs looks at “You Better Move On”, and the sad story of Arthur Alexander. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Mother-In-Law” by Ernie K-Doe. 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/ —-more—- Resources As always, I’ve created Mixcloud playlists with full versions of all the songs in the episode. This week it’s been split into two parts because of the number of songs by Arthur Alexander. Part one. Part two. This compilation collects the best of Alexander’s Dot work. Much of the information in this episode comes from Richard Younger’s biography of Alexander. It’s unfortunately not in print in the UK, and goes for silly money, though I believe it can be bought cheaply in the US. And a lot of the background on Muscle Shoals comes from Country Soul by Charles L. Hughes. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a warning for those who need it. This is one of the sadder episodes we’re going to be doing, and it deals with substance abuse, schizophrenia, and miscarriage. One of the things we’re going to see a lot of in the next few weeks and months is the growing integration of the studios that produced much of the hit music to come out of the Southern USA in the sixties — studios in what the writer Charles L. Hughes calls the country-soul triangle: Nashville, Memphis, and Muscle Shoals. That integration produced some of the greatest music of the era, but it’s also the case that with few exceptions, narratives about that have tended to centre the white people involved at the expense of the Black people. The Black musicians tend to be regarded as people who allowed the white musicians to cast off their racism and become better people, rather than as colleagues who in many cases somewhat resented the white musicians — there were jobs that weren’t open to Black musicians in the segregated South, and now here were a bunch of white people taking some of the smaller number of jobs that *were* available to them. This is not to say that those white musicians were, individually, racist — many were very vocally opposed to racism — but they were still beneficiaries of a racist system. These white musicians who loved Black music slowly, over a decade or so, took over the older Black styles of music, and made them into white music. Up to this point, when we’ve looked at R&B, blues, or soul recordings, all the musicians involved have been Black people, almost without exception. And for most of the fifties, rock and roll was a predominantly Black genre, before the influx of the rockabillies made it seem, briefly, like it could lead to a truly post-racial style of music. But over the 1960s, we’re going to see white people slowly colonise those musics, and push Black musicians to the margins. And this episode marks a crucial turning point in the story, as we see the establishment of Muscle Shoals, Alabama, as a centre of white people making music in previously Black genres. But the start of that story comes with a Black man making music that most people at the time saw as coded as white. Today we’re going to look at someone whose music is often considered the epitome of deep soul, but who worked with many of the musicians who made the Nashville Sound what it was, and who was as influenced by Gene Autry as he was by many of the more obvious singers who might influence a soul legend. Today, we’re going to look at Arthur Alexander, and at “You Better Move On”: [Excerpt: Arthur Alexander, “You’d Better Move On”] Arthur Alexander’s is one of the most tragic stories we’ll be looking at. He was a huge influence on every musician who came up in the sixties, but he never got the recognition for it. He was largely responsible for the rise of Muscle Shoals studios, and he wrote songs that were later covered by the Beatles, and Bob Dylan, and the Rolling Stones, as well as many, many more. The musician Norbert Putnam told the story of visiting George Harrison in the seventies, and seeing his copy of Alexander’s hit single “You Better Move On”. He said to Harrison, “Did you know I played bass on that?” and Harrison replied, “If I phoned Paul up now, he’d come over and kiss your feet”. That’s how important Arthur Alexander was to the Beatles, and to the history of rock music. But he never got to reap the rewards his talent entitled him to. He spent most of his life in poverty, and is now mostly known only to fans of the subgenre known as deep soul. Part of this is because his music is difficult to categorise. While most listeners would now consider it soul music, it’s hard to escape the fact that Alexander’s music has an awful lot of elements of country music in it. This is something that Alexander would point out himself — in interviews, he would talk about how he loved singing cowboys in films — people like Roy Rogers and Gene Autry — and about how when he was growing up the radio stations he would listen to would “play a Drifters record and maybe an Eddy Arnold record, and they didn’t make no distinction. That’s the way it was until much later”. The first record he truly loved was Eddy Arnold’s 1946 country hit “That’s How Much I Love You”: [Excerpt: Eddy Arnold, “That’s How Much I Love You”] Alexander grew up in Alabama, but in what gets described as a relatively integrated area for the time and place — by his own account, the part of East Florence he grew up in had only one other Black family, and all the other children he played with were white, and he wasn’t even aware of segregation until he was eight or nine. Florence is itself part of a quad-city area with three other nearby towns – Muscle Shoals, Sheffield, and Tuscumbia. This area as a whole is often known as either “the Shoals”, or “Muscle Shoals”, and when people talk about music, it’s almost always the latter, so from this point on, I’ll be using “Muscle Shoals” to refer to all four towns. The consensus among people from the area seems to have been that while Alabama itself was one of the most horribly racist parts of the country, Muscle Shoals was much better than the rest of Alabama. Some have suggested that this comparative integration was part of the reason for the country influence in Alexander’s music, but as we’ve seen in many previous episodes, there were a lot more Black fans of country music than popular myth would suggest, and musicians like Fats Domino, Chuck Berry, and Bo Diddley were very obviously influenced by country singers. Alexander’s father was also called Arthur, and so for all his life the younger Arthur Alexander was known to family and friends as “June”, for Junior. Arthur senior had been a blues guitarist in his youth, and according to his son was also an excellent singer, but he got very angry the one time June picked up his guitar and tried to play it — he forbade him from ever playing the guitar, saying that he’d never made a nickel as a player, and didn’t want that life for his son. As Arthur was an obedient kid, he did as his father said — he never in his life learned to play any musical instrument. But that didn’t stop him loving music and wanting to sing. He would listen to the radio all the time, listening to crooners like Patti Page and Nat “King” Cole, and as a teenager he got himself a job working at a cafe owned by a local gig promoter, which meant he was able to get free entry to the R&B shows the promoter put on at a local chitlin circuit venue, and get to meet the stars who played there. He would talk to people like Clyde McPhatter, and ask him how he managed to hit the high notes — though he wasn’t satisfied by McPhatter’s answer that “It’s just there”, thinking there must be more to it than that. And he became very friendly with the Clovers, once having a baseball game with them, and spending a lot of time with their lead singer, Buddy Bailey, asking him details of how he got particular vocal effects in the song “One Mint Julep”: [Excerpt: The Clovers, “One Mint Julep”] He formed a vocal group called the Heartstrings, who would perform songs like “Sixty Minute Man”, and got a regular spot on a local TV show, but according to his account, after a few weeks one of the other members decided he didn’t need to bother practising any more, and messed up on live TV. The group split up after that. The only time he got to perform once that group split up was when he would sit in in a band led by his friend George Brooks, who regularly gigged around Muscle Shoals. But there seemed no prospect of anything bigger happening — there were no music publishing companies or recording studios in Alabama, and everyone from Alabama who had made an impact in music had moved away to do it — W.C. Handy, Hank Williams, Sam Phillips, they’d all done truly great things, but they’d done them in Memphis or Nashville, not in Montgomery or Birmingham. There was just not the music industry infrastructure there to do anything. That started to change in 1956, when the first record company to set up in Muscle Shoals got its start. Tune Records was a tiny label run from a bus station, and most of its business was the same kind of stuff that Sam Phillips did before Sun became big — making records of people’s weddings and so on. But then the owner of the label, James Joiner, came up with a song that he thought might be commercial if a young singer he knew named Bobby Denton sang it. “A Fallen Star” was done as cheaply as humanly possible — it was recorded at a radio station, cut live in one take. The engineer on the track was a DJ who was on the air at the time — he put a record on, engineered the track while the record was playing, and made sure the musicians finished before the record he was playing did, so he could get back on the air. That record itself wasn’t a hit, and was so unsuccessful that I’ve not been able to find a copy of it anywhere, but it inspired hit cover versions from Ferlin Husky and Jimmy C. Newman: [Excerpt: Jimmy C. Newman, “A Fallen Star”] Off the back of those hit versions, Joiner started his own publishing company to go with his record company. Suddenly there was a Muscle Shoals music scene, and everything started to change. A lot of country musicians in the area gravitated towards Joiner, and started writing songs for his publishing company. At this point, this professional music scene in the area was confined to white people — Joiner recalled later that a young singer named Percy Sledge had auditioned for him, but that Joiner simply didn’t understand his type of music — but a circle of songwriters formed that would be important later. Jud Phillips, Sam’s brother, signed Denton to his new label, Judd, and Denton started recording songs by two of these new songwriters, Rick Hall and Billy Sherrill. Denton’s recordings were unsuccessful, but they started getting cover versions. Roy Orbison’s first single on RCA was a Hall and Sherrill song: [Excerpt: Roy Orbison, “Sweet and Innocent”] Hall and Sherrill then started up their own publishing company, with the help of a loan from Joiner, and with a third partner, Tom Stafford. Stafford is a figure who has been almost written out of music history, and about whom I’ve been able to find out very little, but who seems in some ways the most intriguing person among these white musicians and entrepreneurs. Friends from the time describe him as a “reality-hacking poet”, and he seems to have been a beatnik, or a proto-hippie, the only one in Muscle Shoals and maybe the only one in the state of Alabama at the time. He was the focal point of a whole group of white musicians, people like Norbert Puttnam, David Briggs, Dan Penn, and Spooner Oldham. These musicians loved Black music, and wanted to play it, thinking of it as more exciting than the pop and country that they also played. But they loved it in a rather appropriative way — and in the same way, they had what they *thought* was an anti-racist attitude. Even though they were white, they referred to themselves collectively as a word I’m not going to use, the single most offensive slur against Black people. And so when Arthur Alexander turned up and got involved in this otherwise-white group of musicians, their attitudes varied widely. Terry Thompson, for example, who Alexander said was one of the best players ever to play guitar, as good as Nashville legends like Roy Clark and Jerry Reed, was also, according to Alexander, “the biggest racist there ever was”, and made derogatory remarks about Black people – though he said that Alexander didn’t count. Others, like Dan Penn, have later claimed that they took an “I don’t even see race” attitude, while still others were excited to be working with an actual Black man. Alexander would become close friends with some of them, would remain at arm’s length with most, but appreciated the one thing that they all had in common – that they, like him, wanted to perform R&B *and* country *and* pop. For Hall, Sherrill, and Stafford’s fledgling publishing company FAME, Alexander and one of his old bandmates from the Heartstrings, Henry Lee Bennett, wrote a song called “She Wanna Rock”, which was recorded in Nashville by the rockabilly singer Arnie Derksen, at Owen Bradley’s studio with the Nashville A-Team backing him: [Excerpt: Arnie Derksen, “She Wanna Rock”] That record wasn’t a success, and soon after that, the partnership behind FAME dissolved. Rick Hall was getting super-ambitious and wanted to become a millionaire by the time he was thirty, Tom Stafford was content with the minor success they had, and wanted to keep hanging round with his friends, watching films, and occasionally helping them make a record, and Billy Sherrill had a minor epiphany and decided he wanted to make country music rather than rock and roll. Rick Hall kept the FAME name for a new company he was starting up and Sherrill headed over to Nashville and got a job with Sam Phillips at Sun’s Nashville studio. Sherrill would later move on from Sun and produce and write for almost every major country star of the sixties and seventies – most notably, he co-wrote “Stand By Your Man” with Tammy Wynette, and produced “He Stopped Loving Her Today” for George Jones. And Stafford kept the studio and the company, which was renamed Spar. Arthur Alexander stuck with Tom Stafford, as did most of the musicians, and while he was working a day job as a bellhop, he would also regularly record demos for other writers at Stafford’s studio. By the start of 1960, 19-year-old June had married another nineteen-year-old, Ann. And it was around this point that Stafford came to him with a half-completed lyric that needed music. Alexander took Stafford’s partial lyric, and finished it. He added a standard blues riff, which he had liked in Brook Benton’s record “Kiddio”: [Excerpt: Brook Benton, “Kiddio”] The resulting song, “Sally Sue Brown”, was a mixture of gutbucket blues and rockabilly, with a soulful vocal, and it was released under the name June Alexander on Judd Records: [Excerpt: June Alexander, “Sally Sue Brown”] It’s a good record, but it didn’t have any kind of success. So Arthur started listening to the radio more, trying to see what the current hits were, so he could do something more commercial. He particularly liked the Drifters and Ben E. King, and he decided to try to write a song that fit their styles. He eventually came up with one that was inspired by real events — his wife, Ann, had an ex who had tried to win her back once he’d found out she was dating Arthur. He took the song, “You Better Move On”, to Stafford, who knew it would be a massive hit, but also knew that he couldn’t produce the record himself, so they got in touch with Rick Hall, who agreed to produce the track. There were multiple sessions, and after each one, Hall would take the tapes away, study them, and come up with improvements that they would use at the next session. Hall, like Alexander, wanted to get a sound like Ben E. King — he would later say, “It was my conception that it should have a groove similar to ‘Stand By Me’, which was a big record at the time. But I didn’t want to cop it to the point where people would recognise it was a cop. You dig? So we used the bass line and modified it just a little bit, put the acoustic guitar in front of that.”: [Excerpt: Arthur Alexander, “You Better Move On”] For a B-side, they chose a song written by Terry Thompson, “A Shot of Rhythm and Blues”, which would prove almost as popular as the A-side: [Excerpt: Arthur Alexander, “A Shot of Rhythm and Blues”] Hall shopped the record around every label in Nashville, with little success. Eventually, in February 1961, the record was released by Dot Records, the label that Pat Boone was on. It went to number twenty-four on the pop charts, becoming the first ever hit record to be made in Alabama. Rick Hall made enough money from it that he was able to build a new, much better, studio, and Muscle Shoals was set to become one of the most important recording centres in the US. As Norbert Puttnam, who had played bass on “You Better Move On”, and who would go on to become one of the most successful session bass players and record producers in Nashville, later said “If it wasn’t for Arthur Alexander, we’d all be at Reynolds” — the local aluminium factory. But Arthur Alexander wouldn’t record much at Muscle Shoals from that point on. His contracts were bought out — allegedly, Stafford, a heavy drug user, was bought off with a case of codeine — and instead of working with Rick Hall, the perfectionist producer who would go on to produce a decade-long string of hits, he was being produced by Noel Ball, a DJ with little production experience, though one who had a lot of faith in Alexander’s talent, and who had been the one to get him signed to Dot. His first album was a collection of covers of current hits. The album is widely regarded as a failure, and Alexander’s heart wasn’t in it — his father had just died, his wife had had a miscarriage, and his marriage was falling apart. But his second single for Dot was almost as great as his first. Recorded at Owen Bradley’s studio with top Nashville session players, the A-side, “Where Have You Been?” was written by the Brill Building team of Barry Mann and Cynthia Weill, and was very much in the style of “You Better Move On”: [Excerpt: Arthur Alexander, “Where Have You Been?”] While the B-side, “Soldiers of Love” (and yes, it was called “Soldiers of Love” on the original label, rather than “Soldier”), was written by Buzz Cason and Tony Moon, two members of Brenda Lee’s backing band, The Casuals: [Excerpt: Arthur Alexander, “Soldiers of Love”] The single was only a modest hit, reaching number fifty-eight, but just like his first single, both sides became firm favourites with musicians in Britain. Even though he wasn’t having a huge amount of commercial success, music lovers really appreciated his music, and bands in Britain, playing long sets, would pick up on Arthur’s songs. Almost every British guitar group had Arthur Alexander songs in their setlists, even though he was unaware of it at the time. For his third Dot single, Arthur was in trouble. He’d started drinking a lot, and taking a lot of speed, and his marriage was falling apart. Meanwhile, Noel Ball was trying to get him to record all sorts of terrible songs. He decided he’d better write one himself, and he’d make it about the deterioration of his marriage to Ann — though in the song he changed her name to Anna, because it scanned better: [Excerpt: Arthur Alexander, “Anna (Go To Him)”] Released with a cover version of Gene Autry’s country classic “I Hang My Head and Cry” as the B-side, that made the top ten on the R&B chart, but it only made number sixty-eight on the pop charts. His next single, “Go Home Girl”, another attempt at a “You Better Move On” soundalike, only made number 102. Meanwhile, a song that Alexander had written and recorded, but that Dot didn’t want to put out, went to number forty-two when it was picked up by the white singer Steve Alaimo: [Excerpt: Steve Alaimo, “Every Day I Have To Cry”] He was throwing himself into his work at this point, to escape the problems in his personal life. He’d often just go to a local nightclub and sit in with a band featuring a bass player called Billy Cox, and Cox’s old Army friend, who was just starting to get a reputation as a musician, a guitarist they all called Marbles but who would later be better known as Jimi Hendrix. He was drinking heavily, divorced, and being terribly mismanaged, as well as being ripped off by his record and publishing companies. He was living with a friend, Joe Henderson, who had had a hit a couple of years earlier with “Snap Your Fingers”: [Excerpt: Joe Henderson, “Snap Your Fingers”] Henderson and Alexander would push each other to greater extremes of drug use, enabling each other’s addiction, and one day Arthur came home to find his friend dead in the bathroom, of what was officially a heart attack but which everyone assumes was an overdose. Not only that, but Noel Ball was dying of cancer, and for all that he hadn’t been the greatest producer, Arthur cared deeply about him. He tried a fresh start with Monument Records, and he was now being produced by Fred Foster, who had produced Roy Orbison’s classic hits, and his arrangements were being done by Bill Justis, the saxophone player who had had a hit with “Raunchy” on a subsidiary of Sun a few years earlier. Some of his Monument recordings were excellent, like his first single for the label, “Baby For You”: [Excerpt: Arthur Alexander, “Baby For You”] On the back of that single, he toured the UK, and appeared on several big British TV shows, and was generally feted by all the major bands who were fans of his work, but he had no more commercial success at Monument than he had at the end of his time on Dot. And his life was getting worse and worse. He had a breakdown, brought on by his constant use of amphetamines and cannabis, and started hallucinating that people he saw were people from his past life — he stopped a taxi so he could get out and run after a man he was convinced was his dead father, and assaulted an audience member he was convinced was his ex-wife. He was arrested, diagnosed with schizophrenia, and spent several months in a psychiatric hospital. Shortly after he got out, Arthur visited his friend Otis Redding, who was in the studio in Memphis, and was cutting a song that he and Arthur had co-written several years earlier, “Johnny’s Heartbreak”: [Excerpt: Otis Redding, “Johnny’s Heartbreak”] Otis asked Arthur to join him on a tour he was going to be going on a couple of weeks later, but fog grounded Arthur’s plane so he was never able to meet up with Otis in Atlanta, and the tour proceeded without him — and so Arthur was not on the plane that Redding was on, on December 10 1967, which crashed and killed him. Arthur saw this as divine intervention, but he was seeing patterns in everything at this point, and he had several more breakdowns. He ended up getting dropped by Monument in 1970. He was hospitalised again after a bad LSD trip led to him standing naked in the middle of the road, and he spent several years drifting, unable to have a hit, though he was still making music. He kept having bad luck – for example, he recorded a song by the songwriter Dennis Linde, which was an almost guaranteed hit, and could have made for a comeback for him: [Excerpt: Arthur Alexander, “Burning Love”] But between him recording it and releasing it as a single, Elvis Presley released his version, which went to number two on the charts, and killed any chance of Arthur’s version being a success: [Excerpt: Elvis Presley, “Burning Love”] He did, though, have a bit of a comeback in 1975, when he rerecorded his old song “Every Day I Have To Cry”, as “Every Day I Have To Cry Some”, in a version which many people think likely inspired Bruce Springsteen’s “Hungry Heart” a few years later: [Excerpt: Arthur Alexander, “Every Day I Have To Cry Some”] That made number forty-five, but unfortunately his follow-up, “Sharing the Night Together”, was another song where multiple people released versions of it at the same time, without realising, and so didn’t chart – Dr. Hook eventually had a hit with it a year later. Arthur stepped away from music. He managed to get himself more mentally well, and spent the years from 1978 through 1993 working a series of blue-collar jobs in Cleveland — construction worker, bus driver, and janitor. He rarely opened up to people about ever having been a singer. He suffered through more tragedy, too, like the murder of one of his sons, but he remained mentally stable. But then, in March 1993, he made a comeback. The producer Ben Vaughn persuaded him into the studio, and he got a contract with Elektra records. He made his first album in twenty-two years, a mixture of new songs and reworkings of his older ones. It got great reviews, and he was rediscovered by the music press as a soul pioneer. He got a showcase spot at South by Southwest, he was profiled by NPR on Fresh Air, and he was playing to excited crowds of new, young fans. He was in the process of getting his publishing rights back, and might finally start to see some money from his hits. And then, three months after that album came out, in the middle of a meeting with a publisher about the negotiations for his new contracts, he had a massive heart attack, and died the next day, aged fifty-three. His bad luck had caught up with him again.
¡Bienvenido a los Vinilos de Barbarella! El podcast donde sólo se escucha música en formato de vinilo Aparición del álbum póstumo en directo Hoy hablaremos de un directo grabado en el Festival de la Isla de Wight el 31 de agosto de 1970, por lo que en breve se cumplirá el 50 aniversario de este disco, que tiene por nombre 'Blue Wild Angel: Live At the Isle Of Wight'. El disco recoge la que sería la última actuación del gran guitarrista en el Reino Unido, sólo tres semanas antes de su trágico fallecimiento. En el disco aparecen versiones del himno 'God Save The Queen' o del 'Sgt. Pepper's Lonely Hearts Club Band' de The Beatles. El tema 'Machine Gun' con una duración de 22 minutos incluye interferencias producidas por un walkie-talkiedel personal de seguridad. Apareció una versión en Cd y otra en DVD, aunque el Cd contiene más temas, incluyendo la famosísima 'Hey Joe'. Han aparecido otras ediciones con menos material e incluso un cofre con material adicional. Festival de la Isla de Wight La primera edición de dicho festival tuvo lugar en 1968, y a continuación se celebraron los del año 1969 y 1970. No volvió a celebrarse hasta 2002, y desde entonces se ha realizado de forma anual hasta nuestros días, aunque se ha trasladado a un nuevo emplazamiento, Seaclose Park. La edición del año 1970, que es la que nos ocupa, se celebró entre los días 26 y 30 de agosto y se contó con la participación de artistas de la talla de Joan Baez, The Doors, Donovan, Sly Stone, John Sebastian, Ten Years After, Taste, Joni Mitchell, Miles Davis, Leonard Cohen, Melanie, Richie Havens, Supertramp, The Who, Tony Joe White, Emerson, Lake & Palmer, The Moody Blues y Jethro Tull. Debido a la gran afluencia de público, al siguiente año se aprobó la 'Ley de la Isla de Wight' que prohibía explícitamente reuniones en dicha isla de más de 500 personas. Las dificultades para encontrar un nuevo emplazamiento así como las grandes pérdidas económicas que supusieron esas tres primeras ediciones hicieron que el festival quedase suspendido por más de 30 años. Formación En este directo la banda estaba formada por Jimi Hendrix (guitarra y voces), Mitch Mitchell (batería) y Billy Cox(bajo). Mitch Mitchell ya había formado parte de la Jimi Hendrix Experience, banda en la que el bajista había sido anteriormente Noel Redding, y que sólo editaron 3 discos durante su corta carrera. A pesar de su gran experiencia como baterista, tras la muerte de Hendrix, apenas si obtuvo algún éxito en las bandas por las que fue pasando. Billy Cox es, a día de hoy, el último músico vivo de la Jimi Hendrix Experience. Hizo el servicio militar con el afamado guitarrista y después formaron su primera banda de nombre King Casuals. En 1969 volvería a formar banda con su compañero en un grupo de rock psicodélico llamado Band Of Gyspsys. Al contrario que su compañero Mitchell, Cox ha seguido trabajando como baterista de sesión así como sacando al mercado varios discos en solitario. Texto: Albert García Carbó Voces: Albert García Carbó y Antonio Buendía Guión: Albert García Carbó Grabación y postproducción: Carlos Buendía Datos del vinilo Los datos de dicha edición en triple vinilo son: Título: Blue Wild Angel Artista: Jimi Hendrix Sello Discográfico: MCA Records Label Code: 113 086-1 Código de barras:008811308612 Año: 2012 País: USA En esta ocasión, reseñamos los temas: 'Foxy Lady', 'All Along The Watchover, 'Lover Man', 'Freedom', 'In Front The Storm' y un tema de la banda de covers de Jimi Hendrix donde Albert toca la batería: 'Bold As Love'.
Dave and Dee are back for another Spirited Discussion with guest bartender and hilarious comedian Billy Cox of Improv Asylum (www.improvasylum.com)
Life will only change when you become more committed to your dreams than you have your comfort zone. Billy Cox. Today I talk about my TV commercial. Also this day in history and some facts about Kenya. Be a part of the show and contact me at WLOAP.com or call (315) 326-1882. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/wloap/message Support this podcast: https://anchor.fm/wloap/support
Lorenzo Washington never imagined that he would one day be the curator of a museum, however that’s one of the many hats he wears today. This hat fits easily and comfortably as it came about naturally through a passion for his community. Lorenzo is the founder and creator of Jefferson Street Sound Museum. Nashville’s Jefferson Street has a deep musical history and was at one time an epicenter for R&B, blues, and jazz. Lorenzo witnessed this flourishing musical era firsthand. Many of the musicians and artists who called Jefferson Street home are his friends. Jefferson Street Sound Museum has exhibits, memorabilia, instruments, and autographed pictures that were mostly donated to him by these friends. A piano from Marion James and a guitar strap from Billy Cox are just two of the items one will discover at this museum that is also still Lorenzo's home. Lorenzo welcomes tours and hosts performances at Jefferson Street Sound. There is also a recording studio to capture the current sounds coming off Jefferson Street. Lorenzo was kind enough to take time out of his busy schedule to reminisce and talk about that exciting era on Jefferson Street.
In this podcast, Herald-Tribune senior reporter Billy Cox talks with topics editor Lee Williams about his "Python Man" story, which focuses on Dusty Crum, a Sarasota native who hunts invasive pythons in the Everglades with his bare hands (and bare feet) and stars in "Guardians of the Glades" on the Discovery Channel.
Herald-Tribune reporter Billy Cox asks retired U.S. Marines general and former White House Chief of Staff John Kelly about UFOs. Recorded Jan. 27, 2020, in Sarasota, Florida.
On this episode, senior reporter Billy Cox talks about his story that's coming Sunday, which updates the legal class-action lawsuit involving veterans who received other-than-honorable discharges because of PTSD, TBI and other non-visible wounds.
full Artist Interviews & Performances 46bc3343-20bf-4c2c-9d63-aae801294132 46bc3343-20bf-4c2c-9d63-aae801294132 Wed, 16 Oct 2019 12:00:00 +0000 816 http://feedproxy.google.com/~r/995ArtistInterviews/~3/1wOPaeH6ppY/bassist-billy-cox-on-the-jimi-hendrix-experience digitalservices@entercom.com (99.5 The Mountain)noArtist Interviews & Performances on 99.5 The MountainArtist,Interviews,Performances,
On Thursday, Oct. 10, Sarasota Herald-Tribune reporters and their supporters took part in the NewsGuild-Communication Workers of America (CWA) campaign to preserve local news in front of the paper's downtown offices. They handed out flyers decrying GateHouse Media's aggressive program of layoffs and cost-cutting. GateHouse Media, which acquired the Herald-Tribune in 2015, is preparing for a potential merger with the Gannett corporation. GateHouse says there will be up to $300 million in additional cuts and synergies following the merger. We spoke with longtime local columnist Billy Cox.
This week is part one of two of the Joe'e experience and interviews at the Super Hero Saturday event at Morton Elementary Hosted by Robin Sizemore. Joe some great conversations about the influence and positive powers of music. Part one includes interviews with, Kathy Pozywio, Maureen Carroll, Billy Cox, and Heather Plinovich. The work that Robin and her always growing team is doing is amazing and we thank her for letting us be a part of the event. Do you have a story of how you used music as a therapeutic tool? Call and Share: 1-812-963-4727
Billy Cox met Jimi Hendrix while they were serving in the Army at Fort Campbell, Kentucky in 1961. In this episode of Groove, we chat with Billy about those early days and more.
After being featured in the Boston Globe, Billy and Jenny HAD to get Billy Cox in studio! He talks about his life as a bartender at Ocean Prime and also how he juggles doing comedy at the Improv Asylum.
On this podcast, senior reporter Billy Cox discusses his story about the 51st Anniversary of the seizure of the USS Pueblo by the North Koreans
On this episode, Bob and Lee are joined by Billy Cox, senior reporter at the Herald-Tribune, who talks about his special report that focuses on veterans who are seeking legal access to medicinal marijuana for use in treating PTSD, TBI and other unseen wounds. Of course we answer your questions.
D'Jorbundo is a comedy podcast, comprised of sketches and scenes created through improvisation, and digitally edited. Featured Improvisers: Kate Hopkins, Billy Cox, Nate Davis, Jeff Kucukistipanoglu, Caroline McCallum, Teddy Myers, Joey Lopez, and Will Gianetta. Music provided by Headlong Snipers: @headlong-snipers
D'Jorbundo is a comedy podcast, comprised of sketches created through improvisation, and digitally edited. Featuring improvisers: Matt Fear, Laura Clark, Ben Clarendon, Brian Holmes, Billy Cox, Liz Jukovsky, Caroline McCallum, Bill Fryer, Jeff Kucukistipanoglu, Zach Barker, and Will Gianetta. Editing and sound design by Will Gianetta. Music provided by Headlong Snipers: https://soundcloud.com/headlong-snipers
D'Jorbundo is podcast of improvised sketches, lovingly edited to maximize listener's enjoyment. Featuring improvisers: Kate Hopkins, Matt Fear, Bryan Marshall, Billy Cox, Chris Madden, Liz Jukovsky, Ben Clarendon, Brian Holmes, and Will Gianetta. Editing and sound design by Will Gianetta.
Jimy Bleu has been performing in a Jimi Hendrix tribute band for almost 50 years. He was educated at the Berkelee college of Music in Boston in the 1960’s, a former Columbia recording artist and has shared the stage with many world class touring artists, including Billy Cox, former bassist from Band of Gypsies and even met Hendrix several times in NYC.
Please join me this Friday @ 8am Pacific on my weekly radio show, Living Fearlessly , as I will be chatting with our friend and Public Figure, Billy Cox. Billy motivates and inspires millions of people on a daily basis with his positivity and insights as an energetic author, speaker, and Social Media Strategist in the world. #grateful #radio #ctr #podcasts #itunes Http://lisamcdonaldauthor.com Http://billycox.com Http://ctrnetwork.com Learn more about your ad choices. Visit megaphone.fm/adchoices
In this Intel Chip Chat Under the Hood video podcast: Deploying to a cloud data center can be a lot like moving into a new neighborhood. No one wants “the noisy neighbor”. Intel’s Billy Cox takes an under the hood look at data center performance and trust and how Intel can help. For more information […]
The Rules To Hiring A Rock Star Team MARCH 6, 2015 BY LESLIE LEAVE A COMMENT(EDIT) Join Leslie on today’s business coaching moment about the rules to hiring your rock star team. Leslie shares the excuses and bad habits that we partake in as women entrepreneurs that sabotage our businesses and the ability to have a rock star team behind us. LISTEN HERE Respond vs. React via Proctor Gallager Institute Understand the Long Term Benefits via Billy Cox Let the Superwoman Complex Go Via Jules 1224 WordPress Expect & Encourage Results via Meetville Seed for Employee Superheroes via Active Happiness
Jay McDowell is the Multimedia/Assistant Museum Exhibit Curator at the Musician’s Hall Of Fame And Museum and he’s sharing stories about Jimi Hendrix’s early days in Nashville. Stories about the 101st Airborne at Fort Campbell, Kentucky, meeting Billy Cox, moving… Continue Reading →
In this Intel Chip Chat audio podcast with Allyson Klein: In this archive of a livecast from the Intel Developer Forum, Billy Cox, the GM of SDI Software Development at Intel and Jeff Autor, a Distinguished Technologist in the Servers Business Unit at HP, stop by to talk about the new Redfish specification from Intel, […]
In this archive of a livecast from the Intel Developer Forum, Billy Cox, the GM of SDI Software Development at Intel and Jeff Autor, a Distinguished Technologist in the Servers Business Unit at HP, stop by to talk about the new Redfish specification from Intel, HP, Dell and Emerson Network Power which has recently been submitted to a new forum in the DMTF. Redfish enables devices to be scalable, discoverable, extensible and easy to manage via a simple, script-based programming method. This allows use cases from data center operators to enterprise management consoles to expand data access and analysis. For more information, visit www.refishspecification.org.
We took The New Stack Analysts show to the Intel Developer Forum this past week. On the eve of the conference, TNS Founder Alex Williams gathered with Billy Cox of Intel and two respected cloud analysts: Ben Kepes of Diversity Limited and Paul Miller of Cloud of Data. We wanted to know how the conversation about the data center has changed in the last year. Has the change been that significant? Cox has some perspectives about a data center that works entirely by itself, commanded by people from some distant place; Miller has perspectives about Google Kubernetes and Kepes keeps it real. Learn more at: https://thenewstack.io/the-new-stack-analysts-show-13-defining-orchestration-and-drinking-the-docker-kool-aid-at-idf/
Billy Cox, the GM of Service Assurance Management at Intel, stops by to talk about the launch of a product, the Intel® Datacenter Manager: Service Assurance Administrator. SAA enables IT managers and service providers to create multitenant environments and implement SLAs. SAA monitoring, remediation, reporting, and management capabilities bring the trust attestation, performance, availability, and portability enterprises require. For more info, visit www.intel.com/saa.
Billy Cox stops by to give an update on Intel Cloud Builders progress – more partners and RAs and successful customer adoption – and also discuss the adoption of cloud computing in Asia.
Dori Armor The Experience Hendrix Tribute Tour - Sr. Director of Booking the Hippodrome Theatre www.france-merrickpac.com/home.html AND 8:30-9:00 – Billy Cox The last surviving member of Jimi Hendrix’s Band of Gypsies and the original Experience Hendrix Tours
4/11/10 SUNDAY HOUR ONE (8-9 PM Eastern) John McDermott: Ultimate Hendrix: An Illustrated Encyclopedia of Live Concerts and Sessions (with Eddie Kramer and Billy Cox), Hal Leonard/Back Beat Books, 2009
UFOs and the press are explored by investigative journalist Leslie Kean, from The Coalition for Freedom of Information, and reporter Billy Cox. In the second hour, Leslie is joined by James Fox, director and host of the UFO documentary, “I Know What I Saw.”
© 2020-2025 Ivy Podcast Discovery LLC
