Podcasts about Bobby Bland

Today's program features music from Rabbath Electric Orchestra, Josef Leimberg, Alfa Mist and Eric Hilton, plus two mini-sets from Sly Stone and Bobby Bland!Playlist: https://spinitron.com/m/playlist/view/20778482 This program has been edited from the original broadcast.

That Driving Beat this week brings you two similar-sounding midtempo Northern steppers about urban life in the ever-changing, anonymous concrete city. One is a sought-after valuable rarity in the scene, while the other hasn't found much love even with its more uplifting message. We love them both! We also spin some classics that the discerning rare soul scenesters might say they're sick of hearing, at least one big chart hit with a B-side worth attention, 2 favorites from Bobby Bland, a much more in this week's radio dance party! -Originally broadcast June 1, 2025- Willie Mitchell / That Driving BeatAaron Neville / Why WorryGloria Jones / Tainted LoveInez & Charlie Foxx / (1-2-3-4-5-6-7) Count the DaysThe O'Jays / I'll Never Forget YouThe Malibus / Ten Times a DayTony Clarke / Landslide Allison and Calvin Turner / Shake What Your Mamma Gave YouThe Valentines / BreakawayWilmer & The Dukes / Heavy TimeCoasters / Love Potion Number NineBetty Lavette / I Feel Good (All Over)Bobby Bland / I Pity the FoolShirley Brown / I've Got to Go On Without YouBobby Bland / ShoesTimothy Carr / Love My LoveDean Parrish / Bricks, Broken Bottles and SticksBobby Allen Poe / Concrete JungleBonnie Lou / 24 Hours of LonelinessLarry & The Mighty Storms / Eldorado SuziePeggy March / If You Loved Me (Soul Coaxing-Ame Caline)Four Tops / The KeyLaura Greene / Moonlight Music In YouBettye Swann / Lonely LoveSusan Rafey / Hurt So BadThe Endeavors / I Know You Don't Want MeAl Kent / The Way You Been Acting LatelyPic & Bill / It's Not YouLou Johnson / If I Never Get To Love YouLittle Emmett Sutton / Mom, Won't You Teach Me To MonkeyDeon Jackson / Love Makes The World Go RoundThe Intruders / Every Day is a HolidayJohnny Nash / Love Ain't Nothin'Chet "Poison" Ivey And His Fabulous Avengers / In A Little WhileAnna King / Mama's Got a Bag of Her OwnNina Simone / It Be's That Way SometimeBilly Joe Royal / Heart's DesireMaurice & the Radiants / I Gotta Dance To Keep My BabyBob Kayli / Tie Me Tight Hosted on Acast. See acast.com/privacy for more information.

A companion piece to Radio Rewind, join Dustin as he spins some 45s of songs from the Billboard Hot 100 this week in 1965 & 1975. One hour of hits from the 60s & 70s to enjoy before the gang returns on Friday with your normal dose of Radio Rewind hits.  This week we enjoy some singles from Ray Stevens, Orleans, Elvis Presley, Bobby Bland, and more.

James ran this show solo, and played from the big stack of records he dug up on a 4-state midwestern road trip. We've got tunes from Nancy Wilson, Bobby Rush, Bobby Bland, Barbara Lynn, some mid-1950s King Records R&B, two versions of Turn on Your Love Light that sound nothing alike, and many more vintage soul, R&B, funk, and jazz movers! -Originally broadcast April 20, 2025- Willie Mitchell / That Driving BeatLuther Ingram / You Got to Give Love to Get LoveThe Impressions / You've Been Cheatin'Nancy Wilson / You've Got Your TroublesBobby Bland / Wouldn't You Rather Have MeNancy Wilson / Uptight (Everything's Alright)Lenny Miles / In Between TearsBobby Rush / Gotta Have MoneyJackie Ross / Glory BeBarbara Lynn / Take Your Love and RunHerman Grimes / Thought I Had it MadeBobby Bland / Turn On Your Love LightBill Black's Combo / Turn on Your Love LightQuovans / Boogaloo Part 1The O'Jays / Whip It On Me BabyShack / Too Many LoversLittle Royal and the Swingmasters / Razor BladeSimtec & Wylie / Can't Break AwayThe Soul Runners / CharleyEddie Clearwater / True LoveGarnet Mimms / Look AwayThe Del-Phis / I'll Let You KnowNancy Wilson / My Sweet ThingDarlene Paul / All Cried OutIvy Jo / Sorry is a Sorry WordThe Gum Drops / Natural Born LoverLittle Willie John / All Around The WorldArchie & Al Perkins / You Can Belong to SomeoneChuck Langley / Tain't Me BabyTommy Tucker / Sitting Home AloneJoyce Kennedy / MisunderstoodTenison Stephens / Where Would You BeAl Brown's Tunetoppers / The MadisonPhil Guilbeau and his Creole Stompers / Creole WalkBobby Rush / Camel WalkThe Popcorns / Pluto Hosted on Acast. See acast.com/privacy for more information.

Segunda entrega dedicada a canciones que alcanzaron su puesto más alto en listas pop de EEUU en noviembre de 1964. Un mes con una cosecha lo suficientemente interesante como para sacar otra entrega en donde rescatamos canciones que -en su mayoría- quedaron en la parte baja del Top 100. Ahí encontramos a varios pioneros peleando por mantener su hueco en la actualidad musical del momento, a las últimas bandas de espíritu festivo o a varias figuras del soul que encontraban su espacio en las audiencias blancas.Playlist;(sintonía) RAMSEY LEWIS TRIO “Something you got” (top 63)ELVIS PRESLEY “Ain’t that lovin you baby” (top 16)ROGER MILLER “Chuck-a-lug” (top 9)JOHNNY CASH “It ain’t me baby” (top 58)CHUCK BERRY “Little Marie” (top 54)JERRY LEE LEWIS “High heel sneakers” (top 91)BOBBY BLAND “Ain’t doing too bad (part 1)” (top 49)B.B. KING “Beautician Blues” (top 82)RUFUS THOMAS “Jump back” (top 49)MICKEY LEE LANE “Shaggy dog” (top 38)BOBBY FREEMAN “S-W-I-M” (top 56)THE CHARTBUSTERS “Why (doncha be my girl)” (top 92)RONNY and THE DAYTONAS “California bound” (top 72)SAM COOKE “Cousin of mine” (top 31)SAM COOKE “That’s where it’s at” (top 93)OTIS REDDING “Chained and bound” (top 70)JACKIE ROSS “I’ve got the skill” (top 89)ARETHA FRANKLIN “Runnin’ out of fools” (top 57)IRMA THOMAS “Times have changed” (top 98)Escuchar audio

Uwe runs the show solo on this episode while James is off doing his own thing. If you didn't already know, Uwe's got the records! Here are some favorites from Susan Barrett, Otis Clay, Bobby Bland, Mable John, Z.Z. Hill, Pearl Woods, Barbara Carr, plus a couple of monkey songs, some 1966 Louisville garage rockers, and a modern tune from Louisville's Butch Williams!For more info and tracklisting, visit: https://thefaceradio.com/that-driving-beat/Tune into new broadcasts of That Driving Beat, Tuesdays from 8- 10 PM EST / 1 - 3 AM GMT//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Uwe runs the show solo on this episode while James is off doing his own thing. If you didn't already know, Uwe's got the records! Here are some favorites from Susan Barrett, Otis Clay, Bobby Bland, Mable John, Z.Z. Hill, Pearl Woods, Barbara Carr, plus a couple of monkey songs, some 1966 Louisville garage rockers, and a modern tune from Louisville's Butch Williams! -Originally broadcast September 8, 2024- Willie Mitchell / That Driving BeatInez & Charlie Foxx / La De Da I Love YouGladys Knight & The Pips / Just Walk In My ShoesSusan Barrett / What's It Gonna BeSheila Ferguson / How Did That HappenOtis Clay / She's About a MoverThe Casinos / I Still Love YouBetty Semper & Donnie Elbert Band / A Love I Believe InButch Williams / Keep On Loving Me (The Way You Do)Nolan Porter / Go-Go-GoSidney Barnes & Speedometer / If I Could Only Be SureMable John / Able MableVicky Gomez / Boys Are a Dime a DozenBaby Washington / You And The Night And The MusicLesley Gore / Je Ne Sais Plus (You Don't Own Me)Danny Hutton / Big Bright EyesThe Mob / I Wish You'd Leave Me AloneNancy Wilson / The End Of Our LoveZ.Z. Hill / Oh DarlingBeverly Ann Gibson / Do The MonkeyThe King Pins / The Monkey One More TimeNancy Wilcox / Coming On StrongBobby Bland / ShoesBetty Everett / I'll Be ThereElla Fitzgerald / I'm Falling In LoveChristine Kittrell / Call His NameThe Vallures / Dance Before the Police ComeBig Fred and the Ovations / Bring It On Home To MeThe Scavengers / It's Only So LongThe Oxfords / Time And PlaceSoul, Inc. / Who Do You LoveBarbara Carr / Shake Your HeadPearl Woods / Right NowMamie Galore / Special Agent 34-24-38Ruth Christie / Dancing FeetCarolyn Crawford / My Smile Is Just a Frown (Turned Upside Down)Wanda Rouzan / Would You Love MeDee Dee Sharp / It's A Funny Situation Hosted on Acast. See acast.com/privacy for more information.

durée : 01:58:41 - Retour de plage du mercredi 24 juillet 2024 - par : Thierry Jousse - Au programme, un parcours dans la riche histoire de la soul qui nous mènera de la fin des années 1950 à aujourd'hui, avec des figures célèbres comme Aretha Fanklin ou Al Green et d'autres moins connues, telles que Bobby Bland ou Alexander O'Neal…

Here's two more packed hours of 1960s dance music from Slim Harpo, Chris Clark, Martha & The Vandellas, Barbara Lewis, Big Maybelle, The Dells, Bobby Bland, Timi Yuro and many more! Originally broadcast June 9, 2024 Willie Mitchell / That Driving BeatSlim Harpo / Shake Your HipsBilly Watkins / Go Billy GoChris Clark / Love's Gone BadThe Fantastic Four / Ain't Love WonderfulThe Capitols / Zig - ZaggingMartha & The Vandellas / I'm Ready for LoveOtis Brown & Band / Will You WaitThe Coasters / (When She Wants Good Lovin') My Baby Comes to MeP.J. Proby / You Can't Come Home Again (If You Leave Me Now)Jackie Ross / Haste Makes WasteClarence Murray / Don't Talk Like ThatThe Drifters / Baby What I MeanJames & Bobby Purify / Wish You Didn't Have To GoBarbara Lewis / I Remember the FeelingBig Maybelle / Eleanor RigbyBud Spudd And The Sprouts / The MashBobby Bland / Getting Used To The BluesJames Brown / James Brown's Boo-Ga-LooBrenda & The Tabulations / Hey BoyGabriel & The Angels / Don't Wanna Twist No MoreFrankie Valli / (You're Gonna) Hurt YourselfThe Swingin' Medallions / Don't Cry No MoreChris Clark / Put Yourself In My PlaceWillie Tee / I Want Somebody (To Show Me the Way Back Home)The Dells / There IsBarbara George / If You ThinkHowlin' Wolf / Pop It to MeThe Diplomats / Hey, Mr Taxi DriverSonny Hines / Nothing Like Your LoveBobby Harris / More of the JerkTimi Yuro / I Ain't Gonna Cry No MoreThe Shirelles / Are You Still My BabyThe O'Jays / I'll Never Let You GoThe Drifters / He's Just a PlayboyJackie Wilson / I'm So LonelyFats Domino / Something You Got BabyJewel Akens / Little Bitty Pretty OneBarbara Lewis / My Heart Went Do Dat DaDusty Springfield / A Brand New Me Hosted on Acast. See acast.com/privacy for more information.

Acabo de recibir lo nuevo de los londinenses The Jazz Defenders. Recordamos la bienvenida callejera de Jorge Drexler a la primavera. Rod Stewart ha vuelto a grabar temas clásicos estándar del american book junto al televisivo productor y pianista Jools Holland. Escuchamos lo nuevo de la añorada Valerie Carter junto a los hermanos Faragher y también la recordamos cantando con Christopher Cross. Y Aretha canta a The Doobie Brothers. Pronto se cumplirán 30 años de mi entrevista con JJ Cales en Los Ángeles. ¿Recordáis a Linda Jones o a Bobby Bland o a Cookie Jackson?  DISCO 1 THE JAZZ DEFENDERS Meanderthal (ESCA) DISCO 2 ROD STEWART WITH JOOLS HOLLAND Almost Like Being In Love (Cara B Corte 6)  DISCO 3 JORGE DREXLER Las Transeúntes (3)   DISCO 4 THE YOUNG RASCALS I’m So Happy Now (3) DISCO 5 VALERIE CARTER & FARAGHER BROS Never Get Your Love Behind Me (ESCA) DISCO 6 CHRISTOPHER CROSS & Valerie Carter Spinning (3)DISCO 7 ARETHA FRANKLIN What a Fool Believes (YATCH SOUL - 12) DISCO 8 JAMIE LIDELL How Did I Live Before Your Love (6) DISCO 9 COOKIE JACKSON Your Good Girl's Gonna Be Bad (BEYOND THE CLOSED DOORS - 15)  DISCO 10 BOBBY BLAND Two Steps From The Blues (1) DISCO 11 WAS NOT WAS It’s A Miracle (2) DISCO 12 JJ CALE Nobody But You (Cara 2 Corte 4) DISCO 13 LINDA JONES If Only (We Had Met Sooner) (YOU BETTER BELIEVE IT! - 21)Escuchar audio

Kicking off with a fine slice of forgotten funk, Andy brings you his eclectic mix from France which includes some new ones from Bella Brown & The Jealous Lovers, Liam Bailey, Thee Heart Tones and The Diasonics. There's the regular three Northern Soul Stonkers, belters from Willie Hutch, Bobby Bland and Etta James and he leaves you with Mr Charles getting all country!This show was first broadcast on the 18th of February, 2024For more info and tracklisting, visit :https://thefaceradio.com/groovy-soulTune into new broadcasts of Groovy Soul, LIVE, Sunday 12 - 2 PM EST / 5 - 7 PM GMT.https://thefaceradio.com/archives/groovy-soulDig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

This week, Pete pays homage to the great Marlena Shaw who recently passed away. There are classic tracks from Marva Whitney, Bobby Bland and The O'Jays, with new music coming from Sofia Rubina, Les Dynamites and 2 from the brand new album by New Visionaries. For more info and tracklisting, visit: https://thefaceradio.com/superfly-funk-and-soul-show/Tune into new broadcasts of the Superfly Funk & Soul Show, LIVE, Friday from 10 AM - 12 PM EST / 3 - 5 PM GMT.Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

JULIAN JONAH FEAT. SUGAR RAINBOW  IF YOU WANNA (KNOW WHAT'S MISSING).MAYER HAWTHORNE  ON THE FLOOR.JAHEIM  JUST IN CASE.SAY SHE SHE  THE WATER.REQUESTORS  LOVE HAS TO BE EASY.JOHNNIE TAYLOR  LET'S GET BACK ON TRACK.JEWEL BASS  TURN OFF THE PAIN.BOBBY BLAND  HEART, OPEN UP AGAIN.ARETHA FRANKLIN  I'M TRYING TO OVERCOME.JALEN NGONDA  THAT'S ALL I WANTED FROM YOU.GARY B. POOLE  ALRIGHT.PAULETTE MCWILLIAMS  TELL ME YOU LOVE ME.REGI MYRIX FEAT. LINA  SOULADELICA.BRAND NEW HEAVIES  NEVER STOP (HEAVIES MIX).BERT ROBINSON  I CAN'T LET YOU GO.MT JONES  IN MY ARMS.SHAILA PROSPERE  SHARE YOUR LOVE.CLEO SOL  MISS ROMANTIC.MAYER HAWTHORNE  FOR ALL TIME.JALEN NGONDA  SO GLAD I FOUND YOU.THE BRIT FUNK ASSOCIATION  FREEDOM DANCIN'.LORI WILLIAMS  TAKE MY WINGS.LEELA JAMES  WHATCHA DONE NOW.SAY SHE SHE  QUESTIONS.APHROSE  SOFT NUCLEAR.ROBERT GEE  WHATCHA WANNA DO?MAYER HAWTHORNE  TELL ME.MT JONES  I'D BE LYING.CLEO SOL  GOLDEN CHILD (JEALOUS).NEICY ROBINSON  BEFORE YOU KNOW.JALEN NGONDA  PLEASE SHOW ME.PAULETTE MCWILLIAMS  NEW TUNES, OLD GROOVES.SAY SHE SHE  PASSING TIME.LENNY WILLIAMS  INVISIBLE MAN.MAGIC SAM  EVERY NIGHT AND EVERY DAY.ARETHA FRANKLIN  CAN YOU LOVE AGAIN?CLYDIE KING  MISSIN' MY BABY.

"Middle-Aged and Older Patients Report Improved Health with Medical Marijuana"Larry Mishkin discusses a recent study from the University of Florida which shows that medical marijuana use can lead to lower pain levels and reduced dependency on opioids and psychiatric prescriptions among middle-aged and older chronic pain patients. Participants in the study reported improved physical and mental functioning, better sleep quality, and reduced anxiety. The research adds to the growing body of evidence supporting the therapeutic benefits of medical cannabis for pain management..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  Grateful Dead, October 16, 1989, Melk Weg Club, Amsterdam, the NetherlandsGrateful Dead Live at Club Melk Weg on 1981-10-16 : Free Borrow & Streaming : Internet Archive Second of two night stand at this famous hash bar that only held about 500 people in the room in which the Dead performed.  Very cool and famous club in Amsterdam, one of the best known hash bars.  Went there one time in 1988 with good buddies Mikey and H.  A highlight of our trip. Another good buddy, Freddie Burp, was spending the school year abroad in the fall of 1981 and was one of the lucky ones who were present for this show.  He's a tough guy to get a hold of, but maybe some day I can get him on the show to talk about this concert.  INTRO:                  The Race Is On                                Track No. 8                                1:10 – 2:24                 Show had an acoustic first set and an electric second set.  Many of the songs in the acoustic set we featured a few weeks ago from the September, 1980 show at the Warfield Theater in San Francisco as part of the recordings for the Dead's Reckoning album.  So I went with this one which has always been one of my favorites ever since my good buddy Mikey (who took me to three of my first four shows) used to play it for me as we drove through the northwoods of Wisconsin on nights out from the summer camp where we were spending the summer in 1981. "The Race Is On" is a song written by Don Rollins[1] (not to be confused with the Don Rollins who co-wrote "It's Five O'Clock Somewhere" for Alan Jackson and Jimmy Buffett) and made a hit on the country music charts by George Jones and on the pop and easy listening charts by the unrelated Jack Jones. George's version was the first single released from his 1965 album of the same name. Released as a single in September 1964, it peaked at number three on the BillboardHot Country Singles chart and at number 96 on the BillboardHot 100 in January 1965. Jack's version topped Billboard'sEasy Listening chart and reached number 15 on the Hot 100 the same year. The two recordings combined to reach number 12 on the Cashbox charts, which combined all covers of the same song in one listing and thus gave George Jones his only top-40 hit. The song uses thoroughbred horse racing as the metaphor for the singer's romantic relationships.                 Rockabilly artist Dave Edmunds, in collaboration with the Stray Cats, whose debut album Edmunds had recently produced, recorded a version for his 1981 album, Twangin.... Stray Cats drummer Slim Jim Phantom recalled Edmunds' affection for the song when he was courting the band to produce their debut album: "We met with Edmunds at his house. He had a little pub in his basement. He had a finished basement, outside of London. Edmunds had a jukebox, a little jukebox. He had 'The Race is On' and 'Rockabilly Boogie' by Johnny Burnette. He had those records in his jukebox. We all looked at each other and said, 'This is it.'"[3] Phantom also recalled that the song took "one or two takes" in the studio.[4]Thank you.                 Covered by:        Jack Jones                                                Loretta Lynn                                                Alvin and the Chipmunks for their 1965 album, “Chipmunks a Go Go”                                                Waylon Jennings                                                The Georgia Satellites from 1965 debut album, “Keep The Faith”                                                Elvis Costello                                                And others                                                 Dead played it 60times in concert                                                First:  December 31, 1969 at Boston Tea Party in Boston                                                Last:  May 20, 1995 at Sam Boyd Silver Bowl, Las Vegas  SHOW #1:                           Ripple                                                Track No. 9                                                1:50 – 3:06                                 We prominently featured this song form the Warfield show and talked about how it was last played ever on Sept. 3, 1988 at the Cap Center.  What makes this version we just listened to so special is that this was the last Ripple played by the Dead until the Cap Center show, a seven year gap, and that that was it, no more Ripple.  So this is the last accoustic Ripple ever played since the Cap Center was electric.  Maybe the most famous Dead tune ever, from American Beauty, Hunter's lyrics and Jerry's music mesh together in a way to make this tune not just one of the best Dead tunes ever, but one of the best tunes ever, IMHO!  SHOW #2:                           Hully Gully                                                Track No. 12                                                0:15 – 1:38                                 "(Baby) Hully Gully" is a song written by Fred Sledge Smith and Cliff Goldsmith and recorded by The Olympics, an American doo-wop group formed in 1957.  Released in 1959 on the album, “Doin' the Hully Gully”, it peaked at number 72 on the Billboard Hot 100 in February 1960[2] and sparked the Hully Gully dance craze.                         Covered by:     Buddy Guy                                                Chubby Checkers                                                The Ventures                                                The Beach Boys                                                Many others                                                Peter Pan Peanut Butter add jingle in the 1980's                                                 The Dead's version of this song from this show is the only time they played it in concert.  SHOW #3:                   Gloria                                    Track No. 15                                    2:15 – 3:45                         "Gloria" is a rock song written by Northern Irish singer-songwriter Van Morrison, and originally recorded by Morrison's band Them in 1964. It was released as the B-side of "Baby, Please Don't Go” on December 2, 1964.  The song became a garage rock staple and a part of many rock bands' repertoires.                         According to Morrison, he wrote "Gloria" while performing with the Monarchs in Germany in the summer of 1963, at just about the time he turned 18 years old.[6] He started to perform it at the Maritime Hotel when he returned to Belfast and joined up with the Gamblers to form the band Them. He would ad-lib lyrics as he performed, sometimes stretching the song to 15 or 20 minutes. After signing a contract with Dick Rowe and Decca, Them went to London for a recording session at Decca Three Studios in West Hampstead on 5 April 1964; "Gloria" was one of the seven songs recorded that day.                         Alan Henderson (guitar) contends that Them constituted the first rock group to use two drummers on a recording.[7] Although some sources claim that Jimmy Page played second guitar, other sources deny this.                         Covered by:                 The Doors –   The Doors performed the song several times in 1966 and 1967, with one recording released on Alive, She Cried (1983). It was also released as a single, which reached number 18 on Hot Mainstream Rock Tracks and number 71 on Billboard Hot 100 in 1983.[18] The song is included on Legacy: The Absolute Best (2003) and The Very Best of The Doors (2007).                                                             Patti Smith - Patti Smith recorded it for her album Horses in 1975. Based on the Van Morrison tune, the lyrics had been adapted from an early poem, 'Oath'.[5] Smith's band had started to play the song live and merged it with the poem by 1974, so the song contained half of Smith's own words.[5] For the recording of her debut album, Smith and her band recorded the song live and, after mixing, chose it as the album's opener.                                                            In 1993, Van Morrison recorded a version with John Lee Hooker, which reached the Top 40 in several countries.                                                                        For the Dead, this was the first time they played it live in concert.                                    They wound up playing it only a total of 14 times                                        Last played on June 30, 1995 at Three Rivers Stadium in Pittsburgh                                                   I was lucky enough to catch it on June 25, 1992 at Soldier Field.  SHOW #4:                   Turn On Your Lovelight                                    Track No. 16                                    1:03 – 2:33                                     "Turn On Your Love Light" is a rhythm and blues song recorded by Bobby Bland in 1961. It was both an important R&B and pop chart hit for Bland and has become one of his most identifiable songs. A variety of artists have recorded it, including the Grateful Dead, who made it part of their concert repertoire.  was written by band leader and arranger Joe Scott (with an additional credit given to Duke Records owner/producer Don Robey aka Deadric Malone). Scott's brass arrangement "upped the excitement ante"[2] with "the groove picking up momentum as the horns and percussion talk to each other" and Bland's vocal "riding on top".                                     In 1967, "Turn On Your Love Light" became a staple of Grateful Dead concerts, sung by Ron McKernan: a 15-minute rendition is on their 1969 double live album Live/Dead. McKernan's final performance of "Love Light" – complete with extended vocal raps – occurred at the Lyceum Theatre, London, during the Europe '72 tour. Versions with McKernan were often very long due to long vocal raps, instrumental jams, and drum solos throughout. A version performed at the 1969 Woodstock Festival lasted more than 45 minutes.[8] The Grateful Dead later revived the song in the early 1980s with Bob Weir singing.                                     Before this show at the Melk Weg, the last time the Dead had played it in concert was on May 24,1972 at the Lyceum Ballroom in London at the very end of the Europe '72 tour.  In other words, this was the Dead's first performance of the song without Pigpen on lead.  Dead went on to play it a lot after this show right up until the end.  Bobby played it well, but never even tried the rap that Pig made famous in his extended versions.  No Box Back Knitties when Bobby sang it.                         Dead played it 355 times in concert!  Originally part of the Dark Star>St. Stephen>The Eleven>Lovelight suite of songs that the Dead played constantly during the primal Dead years in the late ‘60's.                        First played on August 4, 1967 at the O'Keefe Center in Toronto                        Last played on June 19, 1975 at Giants Stadium in New Jersey                                     When my good buddy Marc started seeing the Dead in 1984, we joked that every time he went to a show they played Lovelight.  Not a bad thing to be associated with.  Always fun to hear it in concert even without Pig.  OUTRO:                      Sugar Magnolia                                    Track No. 20                                    6:30 – 8:05                                     One of the best Dead tunes of all time and the ultimate show closer.  Always nice to add a little Sunshine Daydream to your day! The boys jam the hell out of it here, a 10+ minute version to close out a remarkable one of a kind Dead show.  Either you were there or you missed it.  What being a Deadhead is all about. 

Tercer capítulo dedicado a recordar y reivindicar las Mod Jazz Series, compilaciones que fueron editadas por la escudería Ace Records, a partir de 1996 y manufacturadas por el Ady Croasdell, director del sello Kent Records.Playlist;(sintonía) FREDDIE McCOY “Collard greens”MERL SAUNDERS “My train”CHRIS COLUMBO “You can’t sit down”LITTLE JOHN TAYLOR “You win, I lose”WILLIS JACKSON “Brother Ray”THE YOUNG HOLT TRIO “Ain’t there something that money can’t buy”WOODY HERMAN “Hush”COUNT BASIE “Hang on sloopy”JACKIE WILSON and COUNT BASIE “Uptight (Everything's alright)”ELLA FITZGERALD “Get ready”SHARON CASH “Fever”THE CALS “Another plan for school mix up”ERMA FRANKLIN “Light my fire”MARK MURPHY “Senor blues”BOBBY BLAND “Honey child”B.B. KING “Bad luck soul”LOU DONALDSON “Musty Rusty”RICHARD GROOVE HOLMES “Livin’ soul” Escuchar audio

Danny Molina of Danny's Custom Cycle & Amber Romero of Harley Davidson spread the word about the TeddyBear Cancer Foundation Classic Car & Cycle Show October 22nd. Shaleena Tareen founder of Childhood Matters Checking in front the front lines of Lahaina Maui with Bobby Bland. --- Send in a voice message: https://podcasters.spotify.com/pod/show/alynettework/message Support this podcast: https://podcasters.spotify.com/pod/show/alynettework/support

Danny Molina of Danny's Custom Cycle & Amber Romero of Harley Davidson spread the word about the TeddyBear Cancer Foundation Classic Car & Cycle Show October 22nd. Shaleena Tareen founder of Childhood Matters Checking in front the front lines of Lahaina Maui with Bobby Bland. --- Send in a voice message: https://podcasters.spotify.com/pod/show/alynettework/message Support this podcast: https://podcasters.spotify.com/pod/show/alynettework/support

ARETHA FRANKLIN  SO SOON.ETTA JAMES  CAN'T SHAKE IT.DAVID RUFFIN  ONE LUCKY DAY I FOUND YOU.FONTELLA BASS  JOY OF LOVE.MARVIN GAYE  I WISH I DIDN'T LOVE YOU SO.JALEN NGONDA  COME AROUND AND LOVE ME.MONOPHONICS  LOVE YOU BETTER.APHROSE  YA YA (RADIO EDIT).EMILIE  IF I DIDN'T SAY (NIGEL LOWIS REMIX).G. C. CAMERON  LIVE FOR LOVE.GEORGE JACKSON  ONE MORE HURT.THE DREAM TEAM  THERE HE IS.PERCY SLEDGE  BABY, BABY, BABY.CASTELLA  INTOXICATED LOVE.NATASHA WATTS  I AM ME.CHRIS BALLIN  BEAUTIFUL.RITA RAY  NEEDLESS TO SAY.BOBBY BLAND  THIS TIME I'LL BE TRUE.JOHNNY BRISTOL  TELL ME HOW TO FORGET A TRUE LOVE.THE VELVELETTES  YOUR HEART BELONGS TO ME.ETTA JAMES  IT'S HERE FOR YOU.BRENDA HOLLOWAY  LOVE WOKE ME UP THIS MORNING.GARY B. POOLE  REVIVAL (EXTENDED MIX).REGI MYRIX FEAT. LINA LOI  LET IT GO.CARMICHAEL MUSICLOVER  BRING IT HOME.DAWN JOSEPH  IMITATION LOVE (GEORGIE B REMIX).CJ'S CONNECTION  THANKFUL.HELEN BRUNER & TERRY JONES  DEEPER.BETTYE LAVETTE  HARD TO BE A HUMAN.G.C. CAMERON  THANK YOU BABY.DAVID RUFFIN  YOU OUGHT TO KNOW ME.ARETHA FRANKLIN  IT WAS YOU.SPENCER MORALES FEAT. PHEBE EDWARDS  WHATCHA GONNA DO WITH MY LOVIN'? (RADIO EDIT).KINSMAN DAZZ BAND  FEAT. EDDIE B. SANDS  GHETTO PREACHER.ACANTHA LANG  KEEP ON.JANICE  WAKE UP SMILING.PERCY SLEDGE  YOU CAN ALWAYS GET IT WHERE YOU GOT IT.GEORGE JACKSON  HOLD THAT FEELING.GEORGE JACKSON  BACK IN YOUR ARMS.MONOPHONICS  THE SHAPE OF MY TEARDROPS.KIM TAVAR  LAST NIGHT.BRIAN POWER & CORNELL CC CARTER  SOMETIMES.REGI MYRIX FEAT. LAMAR KELSEY  IF YOU DON'T MIND.ROGER HILL MUSIC  I WILL LOVE YOU.BONNIE BLANCHARD & ANDY AARON & THE MEAN MACHINE  YOU'RE THE ONLY ONE.GEORGE SOULE  MIDNIGHT AFFAIR.GEORGE SOULE  CROSS MY HEART.PERCY SLEDGE  SAME OLD LOVERMAN.ETTA JAMES  I NEVER MEANT TO LOVE HIM. 

Film and TV composer Debbie Wiseman OBE and musician and fiddler Sam Sweeney, formerly of the folk group Bellowhead, join Cerys Matthews and Jeffrey Boakye as they choose the next five tracks, in the penultimate episode of the current series. This week's journey takes us from a popular Sunday evening TV theme to an Etta James classic via the 1984 Winter Olympics. Producer Jerome Weatherald Presented, with music direction, by Cerys Matthews and Jeffrey Boakye The five tracks in this week's playlist: Pop Goes Bach (the Ski Sunday theme) by Sam Fonteyn We Will be Absorbed by Spiro Ponto Das Caboclas by Moça Prosa Boléro by Maurice Ravel I'd Rather Go Blind by Etta James (Jeffrey) Other music in this episode: Mack the Knife by Louis Armstrong Alleluia by Debbie Wiseman, sung by The Ascension Choir A far l'amore comincia tu by Raffaella Carrà Bach Street Prelude. performed by Vanessa-Mae Stairway to Heaven by Led Zeppelin These Arms of Mine by Otis Redding I've Been Wrong So Long by Bobby Bland

This week, paying a little homage to the world of soul! The Temptations, Stevie Wonder, Diana Ross, Bobby Bland and many others.Adrian also pays a visa to the world of hip hop on our journey during this weeks show begins!Tune into new broadcasts of Sounds From Within, LIVE, Wednesday from 4- 6 PM EST / 9 - 11 PM GMTFor more info visit: https://thefaceradio.com/sounds-from-within///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Episode 165 of A History of Rock Music in Five Hundred Songs looks at “Dark Stat” and the career of the Grateful Dead. This is a long one, even longer than the previous episode, but don't worry, that won't be the norm. There's a reason these two were much longer than average. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Codine" by the Charlatans. Errata I mispronounce Brent Mydland's name as Myland a couple of times, and in the introduction I say "Touch of Grey" came out in 1988 -- I later, correctly, say 1987. (I seem to have had a real problem with dates in the intro -- I also originally talked about "Blue Suede Shoes" being in 1954 before fixing it in the edit to be 1956) Resources No Mixcloud this week, as there are too many songs by the Grateful Dead, and Grayfolded runs to two hours. I referred to a lot of books for this episode, partly because almost everything about the Grateful Dead is written from a fannish perspective that already assumes background knowledge, rather than to provide that background knowledge. Of the various books I used, Dennis McNally's biography of the band and This Is All a Dream We Dreamed: An Oral History of the Grateful Dead by Blair Jackson and David Gans are probably most useful for the casually interested. Other books on the Dead I used included McNally's Jerry on Jerry, a collection of interviews with Garcia; Deal, Bill Kreutzmann's autobiography; The Grateful Dead FAQ by Tony Sclafani; So Many Roads by David Browne; Deadology by Howard F. Weiner; Fare Thee Well by Joel Selvin and Pamela Turley; and Skeleton Key: A Dictionary for Deadheads by David Shenk and Steve Silberman. Tom Wolfe's The Electric Kool-Aid Acid Test is the classic account of the Pranksters, though not always reliable. I reference Slaughterhouse Five a lot. As well as the novel itself, which everyone should read, I also read this rather excellent graphic novel adaptation, and The Writer's Crusade, a book about the writing of the novel. I also reference Ted Sturgeon's More Than Human. For background on the scene around Astounding Science Fiction which included Sturgeon, John W. Campbell, L. Ron Hubbard, and many other science fiction writers, I recommend Alec Nevala-Lee's Astounding. 1,000 True Fans can be read online, as can the essay on the Californian ideology, and John Perry Barlow's "Declaration of the Independence of Cyberspace". The best collection of Grateful Dead material is the box set The Golden Road, which contains all the albums released in Pigpen's lifetime along with a lot of bonus material, but which appears currently out of print. Live/Dead contains both the live version of "Dark Star" which made it well known and, as a CD bonus track, the original single version. And archive.org has more live recordings of the group than you can possibly ever listen to. Grayfolded can be bought from John Oswald's Bandcamp Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Tuning from "Grayfolded", under the warnings Before we begin -- as we're tuning up, as it were, I should mention that this episode contains discussions of alcoholism, drug addiction, racism, nonconsensual drugging of other people, and deaths from drug abuse, suicide, and car accidents. As always, I try to deal with these subjects as carefully as possible, but if you find any of those things upsetting you may wish to read the transcript rather than listen to this episode, or skip it altogether. Also, I should note that the members of the Grateful Dead were much freer with their use of swearing in interviews than any other band we've covered so far, and that makes using quotes from them rather more difficult than with other bands, given the limitations of the rules imposed to stop the podcast being marked as adult. If I quote anything with a word I can't use here, I'll give a brief pause in the audio, and in the transcript I'll have the word in square brackets. [tuning ends] All this happened, more or less. In 1910, T. S. Eliot started work on "The Love Song of J. Alfred Prufrock", which at the time was deemed barely poetry, with one reviewer imagining Eliot saying "I'll just put down the first thing that comes into my head, and call it 'The Love Song of J. Alfred Prufrock.'" It is now considered one of the great classics of modernist literature. In 1969, Kurt Vonnegut wrote "Slaughterhouse-Five, or, The Children's Crusade: A Duty-Dance with Death", a book in which the protagonist, Billy Pilgrim, comes unstuck in time, and starts living a nonlinear life, hopping around between times reliving his experiences in the Second World War, and future experiences up to 1976 after being kidnapped by beings from the planet Tralfamadore. Or perhaps he has flashbacks and hallucinations after having a breakdown from PTSD. It is now considered one of the great classics of modernist literature or of science fiction, depending on how you look at it. In 1953, Theodore Sturgeon wrote More Than Human. It is now considered one of the great classics of science fiction. In 1950, L. Ron Hubbard wrote Dianetics: The Modern Science of Mental Health. It is now considered either a bad piece of science fiction or one of the great revelatory works of religious history, depending on how you look at it. In 1994, 1995, and 1996 the composer John Oswald released, first as two individual CDs and then as a double-CD, an album called Grayfolded, which the composer says in the liner notes he thinks of as existing in Tralfamadorian time. The Tralfamadorians in Vonnegut's novels don't see time as a linear thing with a beginning and end, but as a continuum that they can move between at will. When someone dies, they just think that at this particular point in time they're not doing so good, but at other points in time they're fine, so why focus on the bad time? In the book, when told of someone dying, the Tralfamadorians just say "so it goes". In between the first CD's release and the release of the double-CD version, Jerry Garcia died. From August 1942 through August 1995, Jerry Garcia was alive. So it goes. Shall we go, you and I? [Excerpt: The Grateful Dead, "Dark Star (Omni 3/30/94)"] "One principle has become clear. Since motives are so frequently found in combination, it is essential that the complex types be analyzed and arranged, with an eye kept single nevertheless to the master-theme under discussion. Collectors, both primary and subsidiary, have done such valiant service that the treasures at our command are amply sufficient for such studies, so extensive, indeed, that the task of going through them thoroughly has become too great for the unassisted student. It cannot be too strongly urged that a single theme in its various types and compounds must be made predominant in any useful comparative study. This is true when the sources and analogues of any literary work are treated; it is even truer when the bare motive is discussed. The Grateful Dead furnishes an apt illustration of the necessity of such handling. It appears in a variety of different combinations, almost never alone. Indeed, it is so widespread a tale, and its combinations are so various, that there is the utmost difficulty in determining just what may properly be regarded the original kernel of it, the simple theme to which other motives were joined. Various opinions, as we shall see, have been held with reference to this matter, most of them justified perhaps by the materials in the hands of the scholars holding them, but none quite adequate in view of later evidence." That's a quote from The Grateful Dead: The History of a Folk Story, by Gordon Hall Gerould, published in 1908. Kurt Vonnegut's novel Slaughterhouse-Five opens with a chapter about the process of writing the novel itself, and how difficult it was. He says "I would hate to tell you what this lousy little book cost me in money and anxiety and time. When I got home from the Second World War twenty-three years ago, I thought it would be easy for me to write about the destruction of Dresden, since all I would have to do would be to report what I had seen. And I thought, too, that it would be a masterpiece or at least make me a lot of money, since the subject was so big." This is an episode several of my listeners have been looking forward to, but it's one I've been dreading writing, because this is an episode -- I think the only one in the series -- where the format of the podcast simply *will not* work. Were the Grateful Dead not such an important band, I would skip this episode altogether, but they're a band that simply can't be ignored, and that's a real problem here. Because my intent, always, with this podcast, is to present the recordings of the artists in question, put them in context, and explain why they were important, what their music meant to its listeners. To put, as far as is possible, the positive case for why the music mattered *in the context of its time*. Not why it matters now, or why it matters to me, but why it matters *in its historical context*. Whether I like the music or not isn't the point. Whether it stands up now isn't the point. I play the music, explain what it was they were doing, why they were doing it, what people saw in it. If I do my job well, you come away listening to "Blue Suede Shoes" the way people heard it in 1956, or "Good Vibrations" the way people heard it in 1966, and understanding why people were so impressed by those records. That is simply *not possible* for the Grateful Dead. I can present a case for them as musicians, and hope to do so. I can explain the appeal as best I understand it, and talk about things I like in their music, and things I've noticed. But what I can't do is present their recordings the way they were received in the sixties and explain why they were popular. Because every other act I have covered or will cover in this podcast has been a *recording* act, and their success was based on records. They may also have been exceptional live performers, but James Brown or Ike and Tina Turner are remembered for great *records*, like "Papa's Got a Brand New Bag" or "River Deep, Mountain High". Their great moments were captured on vinyl, to be listened back to, and susceptible of analysis. That is not the case for the Grateful Dead, and what is worse *they explicitly said, publicly, on multiple occasions* that it is not possible for me to understand their art, and thus that it is not possible for me to explain it. The Grateful Dead did make studio records, some of them very good. But they always said, consistently, over a thirty year period, that their records didn't capture what they did, and that the only way -- the *only* way, they were very clear about this -- that one could actually understand and appreciate their music, was to see them live, and furthermore to see them live while on psychedelic drugs. [Excerpt: Grateful Dead crowd noise] I never saw the Grateful Dead live -- their last UK performance was a couple of years before I went to my first ever gig -- and I have never taken a psychedelic substance. So by the Grateful Dead's own criteria, it is literally impossible for me to understand or explain their music the way that it should be understood or explained. In a way I'm in a similar position to the one I was in with La Monte Young in the last episode, whose music it's mostly impossible to experience without being in his presence. This is one reason of several why I placed these two episodes back to back. Of course, there is a difference between Young and the Grateful Dead. The Grateful Dead allowed -- even encouraged -- the recording of their live performances. There are literally thousands of concert recordings in circulation, many of them of professional quality. I have listened to many of those, and I can hear what they were doing. I can tell you what *I* think is interesting about their music, and about their musicianship. And I think I can build up a good case for why they were important, and why they're interesting, and why those recordings are worth listening to. And I can certainly explain the cultural phenomenon that was the Grateful Dead. But just know that while I may have found *a* point, *an* explanation for why the Grateful Dead were important, by the band's own lights and those of their fans, no matter how good a job I do in this episode, I *cannot* get it right. And that is, in itself, enough of a reason for this episode to exist, and for me to try, even harder than I normally do, to get it right *anyway*. Because no matter how well I do my job this episode will stand as an example of why this series is called "*A* History", not *the* history. Because parts of the past are ephemeral. There are things about which it's true to say "You had to be there". I cannot know what it was like to have been an American the day Kennedy was shot, I cannot know what it was like to be alive when a man walked on the Moon. Those are things nobody my age or younger can ever experience. And since August the ninth, 1995, the experience of hearing the Grateful Dead's music the way they wanted it heard has been in that category. And that is by design. Jerry Garcia once said "if you work really hard as an artist, you may be able to build something they can't tear down, you know, after you're gone... What I want to do is I want it here. I want it now, in this lifetime. I want what I enjoy to last as long as I do and not last any longer. You know, I don't want something that ends up being as much a nuisance as it is a work of art, you know?" And there's another difficulty. There are only two points in time where it makes sense to do a podcast episode on the Grateful Dead -- late 1967 and early 1968, when the San Francisco scene they were part of was at its most culturally relevant, and 1988 when they had their only top ten hit and gained their largest audience. I can't realistically leave them out of the story until 1988, so it has to be 1968. But the songs they are most remembered for are those they wrote between 1970 and 1972, and those songs are influenced by artists and events we haven't yet covered in the podcast, who will be getting their own episodes in the future. I can't explain those things in this episode, because they need whole episodes of their own. I can't not explain them without leaving out important context for the Grateful Dead. So the best I can do is treat the story I'm telling as if it were in Tralfamadorian time. All of it's happening all at once, and some of it is happening in different episodes that haven't been recorded yet. The podcast as a whole travels linearly from 1938 through to 1999, but this episode is happening in 1968 and 1972 and 1988 and 1995 and other times, all at once. Sometimes I'll talk about things as if you're already familiar with them, but they haven't happened yet in the story. Feel free to come unstuck in time and revisit this time after episode 167, and 172, and 176, and 192, and experience it again. So this has to be an experimental episode. It may well be an experiment that you think fails. If so, the next episode is likely to be far more to your taste, and much shorter than this or the last episode, two episodes that between them have to create a scaffolding on which will hang much of the rest of this podcast's narrative. I've finished my Grateful Dead script now. The next one I write is going to be fun: [Excerpt: Grateful Dead, "Dark Star"] Infrastructure means everything. How we get from place to place, how we transport goods, information, and ourselves, makes a big difference in how society is structured, and in the music we hear. For many centuries, the prime means of long-distance transport was by water -- sailing ships on the ocean, canal boats and steamboats for inland navigation -- and so folk songs talked about the ship as both means of escape, means of making a living, and in some senses as a trap. You'd go out to sea for adventure, or to escape your problems, but you'd find that the sea itself brought its own problems. Because of this we have a long, long tradition of sea shanties which are known throughout the world: [Excerpt: A. L. Lloyd, "Off to Sea Once More"] But in the nineteenth century, the railway was invented and, at least as far as travel within a landmass goes, it replaced the steamboat in the popular imaginary. Now the railway was how you got from place to place, and how you moved freight from one place to another. The railway brought freedom, and was an opportunity for outlaws, whether train robbers or a romanticised version of the hobo hopping onto a freight train and making his way to new lands and new opportunity. It was the train that brought soldiers home from wars, and the train that allowed the Great Migration of Black people from the South to the industrial North. There would still be songs about the riverboats, about how ol' man river keeps rolling along and about the big river Johnny Cash sang about, but increasingly they would be songs of the past, not the present. The train quickly replaced the steamboat in the iconography of what we now think of as roots music -- blues, country, folk, and early jazz music. Sometimes this was very literal. Furry Lewis' "Kassie Jones" -- about a legendary train driver who would break the rules to make sure his train made the station on time, but who ended up sacrificing his own life to save his passengers in a train crash -- is based on "Alabamy Bound", which as we heard in the episode on "Stagger Lee", was about steamboats: [Excerpt: Furry Lewis, "Kassie Jones"] In the early episodes of this podcast we heard many, many, songs about the railway. Louis Jordan saying "take me right back to the track, Jack", Rosetta Tharpe singing about how "this train don't carry no gamblers", the trickster freight train driver driving on the "Rock Island Line", the mystery train sixteen coaches long, the train that kept-a-rollin' all night long, the Midnight Special which the prisoners wished would shine its ever-loving light on them, and the train coming past Folsom Prison whose whistle makes Johnny Cash hang his head and cry. But by the 1960s, that kind of song had started to dry up. It would happen on occasion -- "People Get Ready" by the Impressions is the most obvious example of the train metaphor in an important sixties record -- but by the late sixties the train was no longer a symbol of freedom but of the past. In 1969 Harry Nilsson sang about how "Nobody Cares About the Railroads Any More", and in 1968 the Kinks sang about "The Last of the Steam-Powered Trains". When in 1968 Merle Haggard sang about a freight train, it was as a memory, of a child with hopes that ended up thwarted by reality and his own nature: [Excerpt: Merle Haggard, "Mama Tried"] And the reason for this was that there had been another shift, a shift that had started in the forties and accelerated in the late fifties but had taken a little time to ripple through the culture. Now the train had been replaced in the popular imaginary by motorised transport. Instead of hopping on a train without paying, if you had no money in your pocket you'd have to hitch-hike all the way. Freedom now meant individuality. The ultimate in freedom was the biker -- the Hell's Angels who could go anywhere, unburdened by anything -- and instead of goods being moved by freight train, increasingly they were being moved by truck drivers. By the mid-seventies, truck drivers took a central place in American life, and the most romantic way to live life was to live it on the road. On The Road was also the title of a 1957 novel by Jack Kerouac, which was one of the first major signs of this cultural shift in America. Kerouac was writing about events in the late forties and early fifties, but his book was also a precursor of the sixties counterculture. He wrote the book on one continuous sheet of paper, as a stream of consciousness. Kerouac died in 1969 of an internal haemmorage brought on by too much alcohol consumption. So it goes. But the big key to this cultural shift was caused by the Federal-Aid Highway Act of 1956, a massive infrastructure spending bill that led to the construction of the modern American Interstate Highway system. This accelerated a program that had already started, of building much bigger, safer, faster roads. It also, as anyone who has read Robert Caro's The Power Broker knows, reinforced segregation and white flight. It did this both by making commuting into major cities from the suburbs easier -- thus allowing white people with more money to move further away from the cities and still work there -- and by bulldozing community spaces where Black people lived. More than a million people lost their homes and were forcibly moved, and orders of magnitude more lost their communities' parks and green spaces. And both as a result of deliberate actions and unconscious bigotry, the bulk of those affected were Black people -- who often found themselves, if they weren't forced to move, on one side of a ten-lane highway where the park used to be, with white people on the other side of the highway. The Federal-Aid Highway Act gave even more power to the unaccountable central planners like Robert Moses, the urban planner in New York who managed to become arguably the most powerful man in the city without ever getting elected, partly by slowly compromising away his early progressive ideals in the service of gaining more power. Of course, not every new highway was built through areas where poor Black people lived. Some were planned to go through richer areas for white people, just because you can't completely do away with geographical realities. For example one was planned to be built through part of San Francisco, a rich, white part. But the people who owned properties in that area had enough political power and clout to fight the development, and after nearly a decade of fighting it, the development was called off in late 1966. But over that time, many of the owners of the impressive buildings in the area had moved out, and they had no incentive to improve or maintain their properties while they were under threat of demolition, so many of them were rented out very cheaply. And when the beat community that Kerouac wrote about, many of whom had settled in San Francisco, grew too large and notorious for the area of the city they were in, North Beach, many of them moved to these cheap homes in a previously-exclusive area. The area known as Haight-Ashbury. [Excerpt: The Grateful Dead, "Grayfolded"] Stories all have their starts, even stories told in Tralfamadorian time, although sometimes those starts are shrouded in legend. For example, the story of Scientology's start has been told many times, with different people claiming to have heard L. Ron Hubbard talk about how writing was a mug's game, and if you wanted to make real money, you needed to get followers, start a religion. Either he said this over and over and over again, to many different science fiction writers, or most science fiction writers of his generation were liars. Of course, the definition of a writer is someone who tells lies for money, so who knows? One of the more plausible accounts of him saying that is given by Theodore Sturgeon. Sturgeon's account is more believable than most, because Sturgeon went on to be a supporter of Dianetics, the "new science" that Hubbard turned into his religion, for decades, even while telling the story. The story of the Grateful Dead probably starts as it ends, with Jerry Garcia. There are three things that everyone writing about the Dead says about Garcia's childhood, so we might as well say them here too. The first is that he was named by a music-loving father after Jerome Kern, the songwriter responsible for songs like "Ol' Man River" (though as Oscar Hammerstein's widow liked to point out, "Jerome Kern wrote dum-dum-dum-dum, *my husband* wrote 'Ol' Man River'" -- an important distinction we need to bear in mind when talking about songwriters who write music but not lyrics). The second is that when he was five years old that music-loving father drowned -- and Garcia would always say he had seen his father dying, though some sources claim this was a false memory. So it goes. And the third fact, which for some reason is always told after the second even though it comes before it chronologically, is that when he was four he lost two joints from his right middle finger. Garcia grew up a troubled teen, and in turn caused trouble for other people, but he also developed a few interests that would follow him through his life. He loved the fantastical, especially the fantastical macabre, and became an avid fan of horror and science fiction -- and through his love of old monster films he became enamoured with cinema more generally. Indeed, in 1983 he bought the film rights to Kurt Vonnegut's science fiction novel The Sirens of Titan, the first story in which the Tralfamadorians appear, and wrote a script based on it. He wanted to produce the film himself, with Francis Ford Coppola directing and Bill Murray starring, but most importantly for him he wanted to prevent anyone who didn't care about it from doing it badly. And in that he succeeded. As of 2023 there is no film of The Sirens of Titan. He loved to paint, and would continue that for the rest of his life, with one of his favourite subjects being Boris Karloff as the Frankenstein monster. And when he was eleven or twelve, he heard for the first time a record that was hugely influential to a whole generation of Californian musicians, even though it was a New York record -- "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Garcia would say later "That was an important song. That was the first kind of, like where the voices had that kind of not-trained-singer voices, but tough-guy-on-the-street voice." That record introduced him to R&B, and soon he was listening to Chuck Berry and Bo Diddley, to Ray Charles, and to a record we've not talked about in the podcast but which was one of the great early doo-wop records, "WPLJ" by the Four Deuces: [Excerpt: The Four Deuces, "WPLJ"] Garcia said of that record "That was one of my anthem songs when I was in junior high school and high school and around there. That was one of those songs everybody knew. And that everybody sang. Everybody sang that street-corner favorite." Garcia moved around a lot as a child, and didn't have much time for school by his own account, but one of the few teachers he did respect was an art teacher when he was in North Beach, Walter Hedrick. Hedrick was also one of the earliest of the conceptual artists, and one of the most important figures in the San Francisco arts scene that would become known as the Beat Generation (or the Beatniks, which was originally a disparaging term). Hedrick was a painter and sculptor, but also organised happenings, and he had also been one of the prime movers in starting a series of poetry readings in San Francisco, the first one of which had involved Allen Ginsberg giving the first ever reading of "Howl" -- one of a small number of poems, along with Eliot's "Prufrock" and "The Waste Land" and possibly Pound's Cantos, which can be said to have changed twentieth-century literature. Garcia was fifteen when he got to know Hedrick, in 1957, and by then the Beat scene had already become almost a parody of itself, having become known to the public because of the publication of works like On the Road, and the major artists in the scene were already rejecting the label. By this point tourists were flocking to North Beach to see these beatniks they'd heard about on TV, and Hedrick was actually employed by one cafe to sit in the window wearing a beret, turtleneck, sandals, and beard, and draw and paint, to attract the tourists who flocked by the busload because they could see that there was a "genuine beatnik" in the cafe. Hedrick was, as well as a visual artist, a guitarist and banjo player who played in traditional jazz bands, and he would bring records in to class for his students to listen to, and Garcia particularly remembered him bringing in records by Big Bill Broonzy: [Excerpt: Big Bill Broonzy, "When Things Go Wrong (It Hurts Me Too)"] Garcia was already an avid fan of rock and roll music, but it was being inspired by Hedrick that led him to get his first guitar. Like his contemporary Paul McCartney around the same time, he was initially given the wrong instrument as a birthday present -- in Garcia's case his mother gave him an accordion -- but he soon persuaded her to swap it for an electric guitar he saw in a pawn shop. And like his other contemporary, John Lennon, Garcia initially tuned his instrument incorrectly. He said later "When I started playing the guitar, believe me, I didn't know anybody that played. I mean, I didn't know anybody that played the guitar. Nobody. They weren't around. There were no guitar teachers. You couldn't take lessons. There was nothing like that, you know? When I was a kid and I had my first electric guitar, I had it tuned wrong and learned how to play on it with it tuned wrong for about a year. And I was getting somewhere on it, you know… Finally, I met a guy that knew how to tune it right and showed me three chords, and it was like a revelation. You know what I mean? It was like somebody gave me the key to heaven." He joined a band, the Chords, which mostly played big band music, and his friend Gary Foster taught him some of the rudiments of playing the guitar -- things like how to use a capo to change keys. But he was always a rebellious kid, and soon found himself faced with a choice between joining the military or going to prison. He chose the former, and it was during his time in the Army that a friend, Ron Stevenson, introduced him to the music of Merle Travis, and to Travis-style guitar picking: [Excerpt: Merle Travis, "Nine-Pound Hammer"] Garcia had never encountered playing like that before, but he instantly recognised that Travis, and Chet Atkins who Stevenson also played for him, had been an influence on Scotty Moore. He started to realise that the music he'd listened to as a teenager was influenced by music that went further back. But Stevenson, as well as teaching Garcia some of the rudiments of Travis-picking, also indirectly led to Garcia getting discharged from the Army. Stevenson was not a well man, and became suicidal. Garcia decided it was more important to keep his friend company and make sure he didn't kill himself than it was to turn up for roll call, and as a result he got discharged himself on psychiatric grounds -- according to Garcia he told the Army psychiatrist "I was involved in stuff that was more important to me in the moment than the army was and that was the reason I was late" and the psychiatrist thought it was neurotic of Garcia to have his own set of values separate from that of the Army. After discharge, Garcia did various jobs, including working as a transcriptionist for Lenny Bruce, the comedian who was a huge influence on the counterculture. In one of the various attacks over the years by authoritarians on language, Bruce was repeatedly arrested for obscenity, and in 1961 he was arrested at a jazz club in North Beach. Sixty years ago, the parts of speech that were being criminalised weren't pronouns, but prepositions and verbs: [Excerpt: Lenny Bruce, "To is a Preposition, Come is a Verb"] That piece, indeed, was so controversial that when Frank Zappa quoted part of it in a song in 1968, the record label insisted on the relevant passage being played backwards so people couldn't hear such disgusting filth: [Excerpt: The Mothers of Invention, "Harry You're a Beast"] (Anyone familiar with that song will understand that the censored portion is possibly the least offensive part of the whole thing). Bruce was facing trial, and he needed transcripts of what he had said in his recordings to present in court. Incidentally, there seems to be some confusion over exactly which of Bruce's many obscenity trials Garcia became a transcriptionist for. Dennis McNally says in his biography of the band, published in 2002, that it was the most famous of them, in autumn 1964, but in a later book, Jerry on Jerry, a book of interviews of Garcia edited by McNally, McNally talks about it being when Garcia was nineteen, which would mean it was Bruce's first trial, in 1961. We can put this down to the fact that many of the people involved, not least Garcia, lived in Tralfamadorian time, and were rather hazy on dates, but I'm placing the story here rather than in 1964 because it seems to make more sense that Garcia would be involved in a trial based on an incident in San Francisco than one in New York. Garcia got the job, even though he couldn't type, because by this point he'd spent so long listening to recordings of old folk and country music that he was used to transcribing indecipherable accents, and often, as Garcia would tell it, Bruce would mumble very fast and condense multiple syllables into one. Garcia was particularly impressed by Bruce's ability to improvise but talk in entire paragraphs, and he compared his use of language to bebop. Another thing that was starting to impress Garcia, and which he also compared to bebop, was bluegrass: [Excerpt: Bill Monroe, "Fire on the Mountain"] Bluegrass is a music that is often considered very traditional, because it's based on traditional songs and uses acoustic instruments, but in fact it was a terribly *modern* music, and largely a postwar creation of a single band -- Bill Monroe and his Blue Grass Boys. And Garcia was right when he said it was "white bebop" -- though he did say "The only thing it doesn't have is the harmonic richness of bebop. You know what I mean? That's what it's missing, but it has everything else." Both bebop and bluegrass evolved after the second world war, though they were informed by music from before it, and both prized the ability to improvise, and technical excellence. Both are musics that involved playing *fast*, in an ensemble, and being able to respond quickly to the other musicians. Both musics were also intensely rhythmic, a response to a faster paced, more stressful world. They were both part of the general change in the arts towards immediacy that we looked at in the last episode with the creation first of expressionism and then of pop art. Bluegrass didn't go into the harmonic explorations that modern jazz did, but it was absolutely as modern as anything Charlie Parker was doing, and came from the same impulses. It was tradition and innovation, the past and the future simultaneously. Bill Monroe, Jackson Pollock, Charlie Parker, Jack Kerouac, and Lenny Bruce were all in their own ways responding to the same cultural moment, and it was that which Garcia was responding to. But he didn't become able to play bluegrass until after a tragedy which shaped his life even more than his father's death had. Garcia had been to a party and was in a car with his friends Lee Adams, Paul Speegle, and Alan Trist. Adams was driving at ninety miles an hour when they hit a tight curve and crashed. Garcia, Adams, and Trist were all severely injured but survived. Speegle died. So it goes. This tragedy changed Garcia's attitudes totally. Of all his friends, Speegle was the one who was most serious about his art, and who treated it as something to work on. Garcia had always been someone who fundamentally didn't want to work or take any responsibility for anything. And he remained that way -- except for his music. Speegle's death changed Garcia's attitude to that, totally. If his friend wasn't going to be able to practice his own art any more, Garcia would practice his, in tribute to him. He resolved to become a virtuoso on guitar and banjo. His girlfriend of the time later said “I don't know if you've spent time with someone rehearsing ‘Foggy Mountain Breakdown' on a banjo for eight hours, but Jerry practiced endlessly. He really wanted to excel and be the best. He had tremendous personal ambition in the musical arena, and he wanted to master whatever he set out to explore. Then he would set another sight for himself. And practice another eight hours a day of new licks.” But of course, you can't make ensemble music on your own: [Excerpt: Jerry Garcia and Bob Hunter, "Oh Mary Don't You Weep" (including end)] "Evelyn said, “What is it called when a person needs a … person … when you want to be touched and the … two are like one thing and there isn't anything else at all anywhere?” Alicia, who had read books, thought about it. “Love,” she said at length." That's from More Than Human, by Theodore Sturgeon, a book I'll be quoting a few more times as the story goes on. Robert Hunter, like Garcia, was just out of the military -- in his case, the National Guard -- and he came into Garcia's life just after Paul Speegle had left it. Garcia and Alan Trist met Hunter ten days after the accident, and the three men started hanging out together, Trist and Hunter writing while Garcia played music. Garcia and Hunter both bonded over their shared love for the beats, and for traditional music, and the two formed a duo, Bob and Jerry, which performed together a handful of times. They started playing together, in fact, after Hunter picked up a guitar and started playing a song and halfway through Garcia took it off him and finished the song himself. The two of them learned songs from the Harry Smith Anthology -- Garcia was completely apolitical, and only once voted in his life, for Lyndon Johnson in 1964 to keep Goldwater out, and regretted even doing that, and so he didn't learn any of the more political material people like Pete Seeger, Phil Ochs, and Bob Dylan were doing at the time -- but their duo only lasted a short time because Hunter wasn't an especially good guitarist. Hunter would, though, continue to jam with Garcia and other friends, sometimes playing mandolin, while Garcia played solo gigs and with other musicians as well, playing and moving round the Bay Area and performing with whoever he could: [Excerpt: Jerry Garcia, "Railroad Bill"] "Bleshing, that was Janie's word. She said Baby told it to her. She said it meant everyone all together being something, even if they all did different things. Two arms, two legs, one body, one head, all working together, although a head can't walk and arms can't think. Lone said maybe it was a mixture of “blending” and “meshing,” but I don't think he believed that himself. It was a lot more than that." That's from More Than Human In 1961, Garcia and Hunter met another young musician, but one who was interested in a very different type of music. Phil Lesh was a serious student of modern classical music, a classically-trained violinist and trumpeter whose interest was solidly in the experimental and whose attitude can be summed up by a story that's always told about him meeting his close friend Tom Constanten for the first time. Lesh had been talking with someone about serialism, and Constanten had interrupted, saying "Music stopped being created in 1750 but it started again in 1950". Lesh just stuck out his hand, recognising a kindred spirit. Lesh and Constanten were both students of Luciano Berio, the experimental composer who created compositions for magnetic tape: [Excerpt: Luciano Berio, "Momenti"] Berio had been one of the founders of the Studio di fonologia musicale di Radio Milano, a studio for producing contemporary electronic music where John Cage had worked for a time, and he had also worked with the electronic music pioneer Karlheinz Stockhausen. Lesh would later remember being very impressed when Berio brought a tape into the classroom -- the actual multitrack tape for Stockhausen's revolutionary piece Gesang Der Juenglinge: [Excerpt: Karlheinz Stockhausen, "Gesang Der Juenglinge"] Lesh at first had been distrustful of Garcia -- Garcia was charismatic and had followers, and Lesh never liked people like that. But he was impressed by Garcia's playing, and soon realised that the two men, despite their very different musical interests, had a lot in common. Lesh was interested in the technology of music as well as in performing and composing it, and so when he wasn't studying he helped out by engineering at the university's radio station. Lesh was impressed by Garcia's playing, and suggested to the presenter of the station's folk show, the Midnight Special, that Garcia be a guest. Garcia was so good that he ended up getting an entire solo show to himself, where normally the show would feature multiple acts. Lesh and Constanten soon moved away from the Bay Area to Las Vegas, but both would be back -- in Constanten's case he would form an experimental group in San Francisco with their fellow student Steve Reich, and that group (though not with Constanten performing) would later premiere Terry Riley's In C, a piece influenced by La Monte Young and often considered one of the great masterpieces of minimalist music. By early 1962 Garcia and Hunter had formed a bluegrass band, with Garcia on guitar and banjo and Hunter on mandolin, and a rotating cast of other musicians including Ken Frankel, who played banjo and fiddle. They performed under different names, including the Tub Thumpers, the Hart Valley Drifters, and the Sleepy Valley Hog Stompers, and played a mixture of bluegrass and old-time music -- and were very careful about the distinction: [Excerpt: The Hart Valley Drifters, "Cripple Creek"] In 1993, the Republican political activist John Perry Barlow was invited to talk to the CIA about the possibilities open to them with what was then called the Information Superhighway. He later wrote, in part "They told me they'd brought Steve Jobs in a few weeks before to indoctrinate them in modern information management. And they were delighted when I returned later, bringing with me a platoon of Internet gurus, including Esther Dyson, Mitch Kapor, Tony Rutkowski, and Vint Cerf. They sealed us into an electronically impenetrable room to discuss the radical possibility that a good first step in lifting their blackout would be for the CIA to put up a Web site... We told them that information exchange was a barter system, and that to receive, one must also be willing to share. This was an alien notion to them. They weren't even willing to share information among themselves, much less the world." 1962 brought a new experience for Robert Hunter. Hunter had been recruited into taking part in psychological tests at Stanford University, which in the sixties and seventies was one of the preeminent universities for psychological experiments. As part of this, Hunter was given $140 to attend the VA hospital (where a janitor named Ken Kesey, who had himself taken part in a similar set of experiments a couple of years earlier, worked a day job while he was working on his first novel) for four weeks on the run, and take different psychedelic drugs each time, starting with LSD, so his reactions could be observed. (It was later revealed that these experiments were part of a CIA project called MKUltra, designed to investigate the possibility of using psychedelic drugs for mind control, blackmail, and torture. Hunter was quite lucky in that he was told what was going to happen to him and paid for his time. Other subjects included the unlucky customers of brothels the CIA set up as fronts -- they dosed the customers' drinks and observed them through two-way mirrors. Some of their experimental subjects died by suicide as a result of their experiences. So it goes. ) Hunter was interested in taking LSD after reading Aldous Huxley's writings about psychedelic substances, and he brought his typewriter along to the experiment. During the first test, he wrote a six-page text, a short excerpt from which is now widely quoted, reading in part "Sit back picture yourself swooping up a shell of purple with foam crests of crystal drops soft nigh they fall unto the sea of morning creep-very-softly mist ... and then sort of cascade tinkley-bell-like (must I take you by the hand, ever so slowly type) and then conglomerate suddenly into a peal of silver vibrant uncomprehendingly, blood singingly, joyously resounding bells" Hunter's experience led to everyone in their social circle wanting to try LSD, and soon they'd all come to the same conclusion -- this was something special. But Garcia needed money -- he'd got his girlfriend pregnant, and they'd married (this would be the first of several marriages in Garcia's life, and I won't be covering them all -- at Garcia's funeral, his second wife, Carolyn, said Garcia always called her the love of his life, and his first wife and his early-sixties girlfriend who he proposed to again in the nineties both simultaneously said "He said that to me!"). So he started teaching guitar at a music shop in Palo Alto. Hunter had no time for Garcia's incipient domesticity and thought that his wife was trying to make him live a conventional life, and the two drifted apart somewhat, though they'd still play together occasionally. Through working at the music store, Garcia got to know the manager, Troy Weidenheimer, who had a rock and roll band called the Zodiacs. Garcia joined the band on bass, despite that not being his instrument. He later said "Troy was a lot of fun, but I wasn't good enough a musician then to have been able to deal with it. I was out of my idiom, really, 'cause when I played with Troy I was playing electric bass, you know. I never was a good bass player. Sometimes I was playing in the wrong key and didn't even [fuckin'] know it. I couldn't hear that low, after playing banjo, you know, and going to electric...But Troy taught me the principle of, hey, you know, just stomp your foot and get on it. He was great. A great one for the instant arrangement, you know. And he was also fearless for that thing of get your friends to do it." Garcia's tenure in the Zodiacs didn't last long, nor did this experiment with rock and roll, but two other members of the Zodiacs will be notable later in the story -- the harmonica player, an old friend of Garcia's named Ron McKernan, who would soon gain the nickname Pig Pen after the Peanuts character, and the drummer, Bill Kreutzmann: [Excerpt: The Grateful Dead, "Drums/Space (Skull & Bones version)"] Kreutzmann said of the Zodiacs "Jerry was the hired bass player and I was the hired drummer. I only remember playing that one gig with them, but I was in way over my head. I always did that. I always played things that were really hard and it didn't matter. I just went for it." Garcia and Kreutzmann didn't really get to know each other then, but Garcia did get to know someone else who would soon be very important in his life. Bob Weir was from a very different background than Garcia, though both had the shared experience of long bouts of chronic illness as children. He had grown up in a very wealthy family, and had always been well-liked, but he was what we would now call neurodivergent -- reading books about the band he talks about being dyslexic but clearly has other undiagnosed neurodivergences, which often go along with dyslexia -- and as a result he was deemed to have behavioural problems which led to him getting expelled from pre-school and kicked out of the cub scouts. He was never academically gifted, thanks to his dyslexia, but he was always enthusiastic about music -- to a fault. He learned to play boogie piano but played so loudly and so often his parents sold the piano. He had a trumpet, but the neighbours complained about him playing it outside. Finally he switched to the guitar, an instrument with which it is of course impossible to make too loud a noise. The first song he learned was the Kingston Trio's version of an old sea shanty, "The Wreck of the John B": [Excerpt: The Kingston Trio, "The Wreck of the John B"] He was sent off to a private school in Colorado for teenagers with behavioural issues, and there he met the boy who would become his lifelong friend, John Perry Barlow. Unfortunately the two troublemakers got on with each other *so* well that after their first year they were told that it was too disruptive having both of them at the school, and only one could stay there the next year. Barlow stayed and Weir moved back to the Bay Area. By this point, Weir was getting more interested in folk music that went beyond the commercial folk of the Kingston Trio. As he said later "There was something in there that was ringing my bells. What I had grown up thinking of as hillbilly music, it started to have some depth for me, and I could start to hear the music in it. Suddenly, it wasn't just a bunch of ignorant hillbillies playing what they could. There was some depth and expertise and stuff like that to aspire to.” He moved from school to school but one thing that stayed with him was his love of playing guitar, and he started taking lessons from Troy Weidenheimer, but he got most of his education going to folk clubs and hootenannies. He regularly went to the Tangent, a club where Garcia played, but Garcia's bluegrass banjo playing was far too rigorous for a free spirit like Weir to emulate, and instead he started trying to copy one of the guitarists who was a regular there, Jorma Kaukonnen. On New Year's Eve 1963 Weir was out walking with his friends Bob Matthews and Rich Macauley, and they passed the music shop where Garcia was a teacher, and heard him playing his banjo. They knocked and asked if they could come in -- they all knew Garcia a little, and Bob Matthews was one of his students, having become interested in playing banjo after hearing the theme tune to the Beverly Hillbillies, played by the bluegrass greats Flatt and Scruggs: [Excerpt: Flatt and Scruggs, "The Beverly Hillbillies"] Garcia at first told these kids, several years younger than him, that they couldn't come in -- he was waiting for his students to show up. But Weir said “Jerry, listen, it's seven-thirty on New Year's Eve, and I don't think you're going to be seeing your students tonight.” Garcia realised the wisdom of this, and invited the teenagers in to jam with him. At the time, there was a bit of a renaissance in jug bands, as we talked about back in the episode on the Lovin' Spoonful. This was a form of music that had grown up in the 1920s, and was similar and related to skiffle and coffee-pot bands -- jug bands would tend to have a mixture of portable string instruments like guitars and banjos, harmonicas, and people using improvised instruments, particularly blowing into a jug. The most popular of these bands had been Gus Cannon's Jug Stompers, led by banjo player Gus Cannon and with harmonica player Noah Lewis: [Excerpt: Gus Cannon's Jug Stompers, "Viola Lee Blues"] With the folk revival, Cannon's work had become well-known again. The Rooftop Singers, a Kingston Trio style folk group, had had a hit with his song "Walk Right In" in 1963, and as a result of that success Cannon had even signed a record contract with Stax -- Stax's first album ever, a month before Booker T and the MGs' first album, was in fact the eighty-year-old Cannon playing his banjo and singing his old songs. The rediscovery of Cannon had started a craze for jug bands, and the most popular of the new jug bands was Jim Kweskin's Jug Band, which did a mixture of old songs like "You're a Viper" and more recent material redone in the old style. Weir, Matthews, and Macauley had been to see the Kweskin band the night before, and had been very impressed, especially by their singer Maria D'Amato -- who would later marry her bandmate Geoff Muldaur and take his name -- and her performance of Leiber and Stoller's "I'm a Woman": [Excerpt: Jim Kweskin's Jug Band, "I'm a Woman"] Matthews suggested that they form their own jug band, and Garcia eagerly agreed -- though Matthews found himself rapidly moving from banjo to washboard to kazoo to second kazoo before realising he was surplus to requirements. Robert Hunter was similarly an early member but claimed he "didn't have the embouchure" to play the jug, and was soon also out. He moved to LA and started studying Scientology -- later claiming that he wanted science-fictional magic powers, which L. Ron Hubbard's new religion certainly offered. The group took the name Mother McRee's Uptown Jug Champions -- apparently they varied the spelling every time they played -- and had a rotating membership that at one time or another included about twenty different people, but tended always to have Garcia on banjo, Weir on jug and later guitar, and Garcia's friend Pig Pen on harmonica: [Excerpt: Mother McRee's Uptown Jug Champions, "On the Road Again"] The group played quite regularly in early 1964, but Garcia's first love was still bluegrass, and he was trying to build an audience with his bluegrass band, The Black Mountain Boys. But bluegrass was very unpopular in the Bay Area, where it was simultaneously thought of as unsophisticated -- as "hillbilly music" -- and as elitist, because it required actual instrumental ability, which wasn't in any great supply in the amateur folk scene. But instrumental ability was something Garcia definitely had, as at this point he was still practising eight hours a day, every day, and it shows on the recordings of the Black Mountain Boys: [Excerpt: The Black Mountain Boys, "Rosa Lee McFall"] By the summer, Bob Weir was also working at the music shop, and so Garcia let Weir take over his students while he and the Black Mountain Boys' guitarist Sandy Rothman went on a road trip to see as many bluegrass musicians as they could and to audition for Bill Monroe himself. As it happened, Garcia found himself too shy to audition for Monroe, but Rothman later ended up playing with Monroe's Blue Grass Boys. On his return to the Bay Area, Garcia resumed playing with the Uptown Jug Champions, but Pig Pen started pestering him to do something different. While both men had overlapping tastes in music and a love for the blues, Garcia's tastes had always been towards the country end of the spectrum while Pig Pen's were towards R&B. And while the Uptown Jug Champions were all a bit disdainful of the Beatles at first -- apart from Bob Weir, the youngest of the group, who thought they were interesting -- Pig Pen had become enamoured of another British band who were just starting to make it big: [Excerpt: The Rolling Stones, "Not Fade Away"] 29) Garcia liked the first Rolling Stones album too, and he eventually took Pig Pen's point -- the stuff that the Rolling Stones were doing, covers of Slim Harpo and Buddy Holly, was not a million miles away from the material they were doing as Mother McRee's Uptown Jug Champions. Pig Pen could play a little electric organ, Bob had been fooling around with the electric guitars in the music shop. Why not give it a go? The stuff bands like the Rolling Stones were doing wasn't that different from the electric blues that Pig Pen liked, and they'd all seen A Hard Day's Night -- they could carry on playing with banjos, jugs, and kazoos and have the respect of a handful of folkies, or they could get electric instruments and potentially have screaming girls and millions of dollars, while playing the same songs. This was a convincing argument, especially when Dana Morgan Jr, the son of the owner of the music shop, told them they could have free electric instruments if they let him join on bass. Morgan wasn't that great on bass, but what the hell, free instruments. Pig Pen had the best voice and stage presence, so he became the frontman of the new group, singing most of the leads, though Jerry and Bob would both sing a few songs, and playing harmonica and organ. Weir was on rhythm guitar, and Garcia was the lead guitarist and obvious leader of the group. They just needed a drummer, and handily Bill Kreutzmann, who had played with Garcia and Pig Pen in the Zodiacs, was also now teaching music at the music shop. Not only that, but about three weeks before they decided to go electric, Kreutzmann had seen the Uptown Jug Champions performing and been astonished by Garcia's musicianship and charisma, and said to himself "Man, I'm gonna follow that guy forever!" The new group named themselves the Warlocks, and started rehearsing in earnest. Around this time, Garcia also finally managed to get some of the LSD that his friend Robert Hunter had been so enthusiastic about three years earlier, and it was a life-changing experience for him. In particular, he credited LSD with making him comfortable being a less disciplined player -- as a bluegrass player he'd had to be frighteningly precise, but now he was playing rock and needed to loosen up. A few days after taking LSD for the first time, Garcia also heard some of Bob Dylan's new material, and realised that the folk singer he'd had little time for with his preachy politics was now making electric music that owed a lot more to the Beat culture Garcia considered himself part of: [Excerpt: Bob Dylan, "Subterranean Homesick Blues"] Another person who was hugely affected by hearing that was Phil Lesh, who later said "I couldn't believe that was Bob Dylan on AM radio, with an electric band. It changed my whole consciousness: if something like that could happen, the sky was the limit." Up to that point, Lesh had been focused entirely on his avant-garde music, working with friends like Steve Reich to push music forward, inspired by people like John Cage and La Monte Young, but now he realised there was music of value in the rock world. He'd quickly started going to rock gigs, seeing the Rolling Stones and the Byrds, and then he took acid and went to see his friend Garcia's new electric band play their third ever gig. He was blown away, and very quickly it was decided that Lesh would be the group's new bass player -- though everyone involved tells a different story as to who made the decision and how it came about, and accounts also vary as to whether Dana Morgan took his sacking gracefully and let his erstwhile bandmates keep their instruments, or whether they had to scrounge up some new ones. Lesh had never played bass before, but he was a talented multi-instrumentalist with a deep understanding of music and an ability to compose and improvise, and the repertoire the Warlocks were playing in the early days was mostly three-chord material that doesn't take much rehearsal -- though it was apparently beyond the abilities of poor Dana Morgan, who apparently had to be told note-by-note what to play by Garcia, and learn it by rote. Garcia told Lesh what notes the strings of a bass were tuned to, told him to borrow a guitar and practice, and within two weeks he was on stage with the Warlocks: [Excerpt: The Grateful Dead, “Grayfolded"] In September 1995, just weeks after Jerry Garcia's death, an article was published in Mute magazine identifying a cultural trend that had shaped the nineties, and would as it turned out shape at least the next thirty years. It's titled "The Californian Ideology", though it may be better titled "The Bay Area Ideology", and it identifies a worldview that had grown up in Silicon Valley, based around the ideas of the hippie movement, of right-wing libertarianism, of science fiction authors, and of Marshall McLuhan. It starts "There is an emerging global orthodoxy concerning the relation between society, technology and politics. We have called this orthodoxy `the Californian Ideology' in honour of the state where it originated. By naturalising and giving a technological proof to a libertarian political philosophy, and therefore foreclosing on alternative futures, the Californian Ideologues are able to assert that social and political debates about the future have now become meaningless. The California Ideology is a mix of cybernetics, free market economics, and counter-culture libertarianism and is promulgated by magazines such as WIRED and MONDO 2000 and preached in the books of Stewart Brand, Kevin Kelly and others. The new faith has been embraced by computer nerds, slacker students, 30-something capitalists, hip academics, futurist bureaucrats and even the President of the USA himself. As usual, Europeans have not been slow to copy the latest fashion from America. While a recent EU report recommended adopting the Californian free enterprise model to build the 'infobahn', cutting-edge artists and academics have been championing the 'post-human' philosophy developed by the West Coast's Extropian cult. With no obvious opponents, the global dominance of the Californian ideology appears to be complete." [Excerpt: Grayfolded] The Warlocks' first gig with Phil Lesh on bass was on June the 18th 1965, at a club called Frenchy's with a teenage clientele. Lesh thought his playing had been wooden and it wasn't a good gig, and apparently the management of Frenchy's agreed -- they were meant to play a second night there, but turned up to be told they'd been replaced by a band with an accordion and clarinet. But by September the group had managed to get themselves a residency at a small bar named the In Room, and playing there every night made them cohere. They were at this point playing the kind of sets that bar bands everywhere play to this day, though at the time the songs they were playing, like "Gloria" by Them and "In the Midnight Hour", were the most contemporary of hits. Another song that they introduced into their repertoire was "Do You Believe in Magic" by the Lovin' Spoonful, another band which had grown up out of former jug band musicians. As well as playing their own sets, they were also the house band at The In Room and as such had to back various touring artists who were the headline acts. The first act they had to back up was Cornell Gunter's version of the Coasters. Gunter had brought his own guitarist along as musical director, and for the first show Weir sat in the audience watching the show and learning the parts, staring intently at this musical director's playing. After seeing that, Weir's playing was changed, because he also picked up how the guitarist was guiding the band while playing, the small cues that a musical director will use to steer the musicians in the right direction. Weir started doing these things himself when he was singing lead -- Pig Pen was the frontman but everyone except Bill sang sometimes -- and the group soon found that rather than Garcia being the sole leader, now whoever was the lead singer for the song was the de facto conductor as well. By this point, the Bay Area was getting almost overrun with people forming electric guitar bands, as every major urban area in America was. Some of the bands were even having hits already -- We Five had had a number three hit with "You Were On My Mind", a song which had originally been performed by the folk duo Ian and Sylvia: [Excerpt: We Five, "You Were On My Mind"] Although the band that was most highly regarded on the scene, the Charlatans, was having problems with the various record companies they tried to get signed to, and didn't end up making a record until 1969. If tracks like "Number One" had been released in 1965 when they were recorded, the history of the San Francisco music scene may have taken a very different turn: [Excerpt: The Charlatans, "Number One"] Bands like Jefferson Airplane, the Great Society, and Big Brother and the Holding Company were also forming, and Autumn Records was having a run of success with records by the Beau Brummels, whose records were produced by Autumn's in-house A&R man, Sly Stone: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Warlocks were somewhat cut off from this, playing in a dive bar whose clientele was mostly depressed alcoholics. But the fact that they were playing every night for an audience that didn't care much gave them freedom, and they used that freedom to improvise. Both Lesh and Garcia were big fans of John Coltrane, and they started to take lessons from his style of playing. When the group played "Gloria" or "Midnight Hour" or whatever, they started to extend the songs and give themselves long instrumental passages for soloing. Garcia's playing wasn't influenced *harmonically* by Coltrane -- in fact Garcia was always a rather harmonically simple player. He'd tend to play lead lines either in Mixolydian mode, which is one of the most standard modes in rock, pop, blues, and jazz, or he'd play the notes of the chord that was being played, so if the band were playing a G chord his lead would emphasise the notes G, B, and D. But what he was influenced by was Coltrane's tendency to improvise in long, complex, phrases that made up a single thought -- Coltrane was thinking musically in paragraphs, rather than sentences, and Garcia started to try the same kind of th

Another 2 Hours of great music from the 60's 70's and 80's. Including The Beatles, Nancy Sinatra, The Kinks, Edwin Starr, Bobby Bland and loads more!

Sinead O´Connor, versiones de Hallelujah, también de Cucurrucucú Paloma, la saga familiar de Loudon Wainwright III y sus hijos, Rufus y Martha Wainwright , Bobby Bland, la BSO de Funny Woman con Bettye Swann y Rosetta Hightower, Susanna Hoffs, Astrud Gilberto y Herp Albert, Jakob Dylan y Norah Jones.

Darrayl Keith Simmons love for music started when he attended Rowan Jr. High school in his hometown of Jakson, Mississippi. One day he tried out for the football team and got hit very hard, immediately after he Joined the band .He mastered the trumpet and became a well rspected trumpet player, Participating in various performances and events. This led him to create his own group with his best friend Willie C. Dishmon (Spark of Love) Rip) During his senior year he began to tour with his brother's band. Funk and R&B called (Sho Nuff) he played trumpet on various gigs.  He then became a Road Manager. In 1993 while attending a local music fest Darrayl met  sound enggineer, Johnnie Mcgee who asked if he would be interested in working with him as a stage tech and that was the beginning of Darrayl's career in production management. Which led him to establish "OnMy Stage Productions. That allowed him to work with legends like . BB KIng, Johnnie Taylor, Tyrone Davis, Little Milton, Bobby Rush, Bobby Bland, Willie Clayton, The Jackson music award association, and many more.   He worked as a production tech with the Jackson music Awards association many years in 2010 He became a production Manager.ad serve on the JMMA Executive committee.  In 2017 He created a face book page called SoulMusicSession. Soul Music Session's mission is to helppromote music venues and showcase all soul music artist through Live recored performances and interviews as well as music videos . In 2016 Darrayl was honored for his role as Production Manager for the (JMMA) in 2020 Darrayl received the prestigious King Mose award. From the Jackson Music Awards Association. for his support of Local, national and international artist. Currently he is a division director for the state of Mississippi. Darrayl is married to Elisa J. Simmons he has 5 children 7 grandchilden and 2 great grandchildren.

Originally Broadcast December 25, 2022It's a Christmas Day soul radio dance party! We kept the holiday content to a minimum, and played some all-year-round bangers by Terry Callier, Syl Johnson, the Marvellos, Bobby Bland, Homer Banks, the Walker Brothers, James Brown, and more! So, this is good listening, whatever day you play it.Willie Mitchell-That Driving BeatOvella and the Overtures-That's All You Gotta DoThe Cameos-Merry ChristmasJr. Walker & The All Stars-Pucker Up ButtercupThe Marvellos-We Go TogetherThe Preparations-It Won't Be a Dance (If You're Not There)Howard Tate-Half A ManBobby Bloom-Where Are We GoingThe Blue-Belles-I Sold My Heart To The JunkmanThe Walker Brothers-Tell The TruthDarlene Love-Christmas (Baby Please Come Home)James Brown & The Fabulous Flames-Mashed Potatoes U.S.A.Bobby Bland-Getting Used To The BluesBill Black's Combo-My BabeRichard Brown-Don't Listen To The GrapevineThe Flirtations-Christmas Time Is Here AgainHenrietta And The Hairdooz-You Got a Lot to LearnCharley and the Jaguars-In The Middle Of A HeartacheRichard Berry-Everybody's Got A Lover But MeDave Dee, Dozy, Beaky, Mick & Tich-The Sun Goes DownSound Foundation-Morning Dew (Walk Me Out In The)The Special A.K.A.-GangstersFun Boy Three-The Tunnel Of LoveThe Lovables-Take Me For A Little WhileTerry Callier-Look At Me NowWayne Champion-It's Christmas TimeOtis Redding-Merry Christmas, BabyJerry Woodard-Sweet Sweet WomanHomer Banks-A Lot of LoveThe Masqueraders-I Got ItMaxine Brown-Think Of MeSyl Johnson-Back For A Taste Of Your LoveJ.J. Barnes-Baby Please Come Back Home Hosted on Acast. See acast.com/privacy for more information.

| Miss Independent  | TK Soul feat. Willie Clayton  | 2023 | I'm Going To Treat You Good  | The Donations  | 1973 | Ain't No Love In The Heart Of The City  | Bobby Bland  | 1974 | You Need Love (feat. Ali Woodson)  | Bostick  | 2003 | It's Got To Be Tonight  | Willie Johnson  | 1972 | Nowhere To Go  | Heart To Heart  | 1982 | Just Be Yourself  | Topazz feat. Lonnie Hill  | 1976 | Love To Make Love To You  | Energy MC2  | 2023 | You And Only You  | Energy MC2  | 2023 | Feeling You Feeling Me  | Curtis  | 2020 | Happy Being Lonely  | The Chi-Lites  | 1976 | Don't Let Me Down  | The Velvet Touch  | 1989 | After You Love Me, Why Do You Leave Me  | Harold Melvin & The Blue Notes  | 1976 | Tell Me Why (Can't We Be Friends)  | Four Below Zero  | 1974 | The Recipe (This Heart) (feat. Ruben Moreno)  | Baby Bash & The BashTones  | 2022 | Only You (feat. Bobby Ross Avila)  | Baby Bash & The BashTones  | 2022 | Love Can Be  | The Saints  | 1973 | Rockin' You Tonite  | Gary  | 1995 | I Can't Help Myself  | Rodney Stith  | 2022 | For The Love Of You  | Wade C. Long  | 2023 | One Of Many Nights  | The S.O.S. Band  | 1991 | Facts Of Life  | Ripple  | 1977 | Black Pearl  | Parkes Stewart  | 2022 | Calling Out Your Name  | The Temptations  | 2022 | Destination  | The Mad Lads  | 1973 | Stay In My Corner  | The Dells  | 1968 | I'll Show You With Love  | The Young Divines  | 1977 | I Thank God  | The Coalitions  | 2013

“Hold On Baby” - Sam Hawkins; “Honey Child” - Bobby Bland; “Come On Back Jack” - Nina Simone; “You’re Losing Me” - Ann Sexton; “Breakin’ Bread” - Fred & The New J.B.’s; “Jim Dandy” - Margie Hendrix; “True Love” - Little Johnny Taylor; “If You Don’t Come Back” - The Drifters; “Give It Up” - Jerry Butler; “Aprieta” - Joe Cuba; “Corazón” - Percy Faith; “Like It Stands” - Robert Ramsey; “I Can’t See My Way” - Erma Franklin; “The Masterkey” - Harold Burrage; “Fever” - Earl Grant; “Bésame mucho” - The Ray-O-Vacs Todas las músicas extraídas de la recopilación “Soulsugar, vol. 2” (Columbia/Sony, 2005) Escuchar audio

Bobby Bland and the panel recap the Patriots thrilling win over the Jets. The Commish gives his definitive list of why the Pats offense sucks. Thanksgiving day traditions, Bergy gets 1,000, the World Cup is warped, PLUS the greatest upset in the history of the world. Patriots vs Jets recapCommish's definitive list why the offense sucksHEADLINES with The OBVIOUS ONEThanksgiving day football and traditionsBergy hits 1,000The World CupPLUS Ray crawls right under Rich's skin

Aclamada pelo New York Times como "uma das grandes intérpretes de soul de sua geração", Bettye LaVette é uma vocalista que pega qualquer tipo de música e torna completamente sua. Bettye é uma das poucas que estava gravando durante o nascimento da soul music em 1960 Nasceu Betty Jo Haskins em 29 de janeiro de 1946, em Muskegon, Michigan. A família dela mudou-se para Detroit quando tinha seis anos. Seus pais vendiam licor de milho e sua sala de estar era visitada por muitos grupos gospel Ao contrário de muitos de seus contemporâneos, Bettye não começou na igreja, mas naquela sala de estar, onde havia uma jukebox, cheia de discos de blues e soul da época. Dinah Washington, Bobby Bland, Red Foley, ... suas raízes. Aos 16 anos, Betty Jo se apaixonou pelo showbiz. Ela decidiu mudar seu nome para algo mais dramático. Ela conhecia uma groupie local chamada Sherma Lavett, gostava do som do nome, e assim, Bettye LaVette nasceu. O cantor Timmy Shaw a trouxe para Johnnie Mae Matthews, notório produtor musical de Detroit. O primeiro single de Bettye foi "My Man – He's a Loving Man", no outono de 1962. O registro foi rapidamente captado pela Atlantic para distribuição nacional e a colocou em sua primeira turnê nacional, com Ben E. King, Clyde McPhatter, e outro recém-chegado, Otis Redding. "Let Me Down Easy", escrito por Dee Dee Ford, foi uma obra-prima atmosférica. A voz suplicante de Bettye, contra o arranjo de cordas mal-humorado de Dale Warren, produziu dos maiores discos de soul de todos os tempos. Seu ressurgimento no século 21 é uma incrível história de perseverança. Playlist: https://open.spotify.com/playlist/4AHk83rhQyhHDrI1io8BWc?si=a0af604b01ae4505 --- Send in a voice message: https://anchor.fm/garimpandobolachas/message

Old 97's "I Don't Wanna Die In This Town"Valerie June "Workin' Woman Blues"Mary Wells "The One Who Really Loves You"The Replacements "Alex Chilton"The Hold Steady "Entitlement Crew"Joe Tex "Hold What You Got"Fiona Apple "Sleep to Dream"Mavis Staples "If All I Was Was Black"Esther Phillips "Release Me"Lucero "That Much Further West"Shaver "Live Forever"Gillian Welch "Caleb Meyer"Ray Charles "I've Got A Woman"Nicole Atkins "Brokedown Luck"James Brown "Please Please Please"Will Johnson "A Solitary Slip"Slobberbone "Pinball Song"Will Johnson "Cornelius"The O "Candy"Eilen Jewell "I'm Gonna Dress In Black"Willie Nelson/Waylon Jennings "Good Hearted Woman"Charlie Parr "Empty Out Your Pockets"Aretha Franklin "Dr. Feelgood (Love Is Serious Business)"Mississippi John Hurt "Monday Morning Blues"JD McPherson "Bridgebuilder"Little Richard "The Girl Can't Help It"Johnny Cash "Sea of Heartbreak"Etta James "At Last"R.E.M. "So. Central Rain"Tom Petty and the Heartbreakers "Learning To Fly"Tom Petty & The Heartbreakers "Room At The Top"Bobby Bland "I Pity The Fool"Ruth Brown "Mama He Treats Your Daughter Mean"Two Cow Garage "My Concern"Patterson Hood "Better Off Without"Ramones "Do You Remember Rock And Roll Radio"Ike & Tina Turner "Proud Mary"Sierra Ferrell "Jeremiah"James Carr "The Dark End of the Street"New Moon Jelly Roll Freedom Rockers feat. Alvin Youngblood Hart "She's About a Mover"Wilson Pickett "634-5789"Willie Mae 'Big Mama' Thornton "Hound Dog"Jason Isbell and the 400 Unit "The Blue"Magnolia Electric Co. "Northstar Blues"Brook Benton "Rainy Night in Georgia"The Devil Makes Three "Car Wreck"

Reggae icon & award winning artist Jay Douglas joins the DTP to discuss his first ever Blues album “Confession”!   Jay Douglas' new 14 -song album is a testament to his long love of Jump Blues and the type of Rhythm and Blues that came out in the 50's from artists such as Roscoe Gordon, Johnny Ace, Bobby Bland, Dave Bartholomew and Ray Charles. In the spirit of his influencers Jay penned three originals that includes a toast to his city ("I Love Toronto") and a big band holiday song ("Merry Christmas") with the latter reminiscent of a Quincy Jones arrangement for Joe Williams with the Count Basie Orchestra. Throughout his time of entertaining, Jay has developed into an Internationally idolized musical renaissance man thanks to his wide-ranging repertoire of Reggae, American blues, West Indian rhythms, and jazz standards   Connect with Jay Douglas —       —   Support Colton Gee and Desert Tiger ----- Check out our webstore @ Follow the Desert Tiger Podcast @   Follow Colton Gee @   -----  

Primera sesión "náufrago-veraniega". Anclada entre 1971 y 1974. Suenan: AARON NEVILLE - "HERCULES" (1973) / BOBBY BLAND - "THE END OF THE ROAD" ("DREAMER", 1974) / STEELY DAN - "ANY MAJOR DUDE WILL TELL YOU" ("PRETZEL LOGIC", 1974) / CAPTAIN BEEFHEART - "MY HEAD IS MY ONLY HOUSE UNLESS IT RAINS" ("CLEAR SPOT", 1972) / KEVIN AYERS - "SHOUTING IN A BUCKET BLUES" ("BANANAMOUR", 1973) / DOUG SAHM & THE TEXAS TORNADOES - "GIVE BACK THE KEY TO MY HEART" ("TEXAS ROCK FOR COUNTRY ROLLERS", 1976) / DAN PENN - "TEARJOINT" ("NOBODY'S FOOL", 1973) / SHUGGIE OTIS - "AHT UH MI HED" ("INSPIRATION INFORMATION", 1974) / LEO NOCENTELLI - "I WANT TO CRY" ("ANOTHER SIDE", 1972/2021) / BILL WITHERS - "AIN'T NO SUNSHINE" ("JUST AS I AM", 1971) / GENE CLARK - "ONE IN A HUNDRED" ("GENE CLARK", 1971) / TONY JOE WHITE - "THE FAMILY" ("THE TRAIN I'M ON", 1972) / CURTIS MAYFIELD - "KEEP ON KEEPING ON" ("ROOTS", 1972) / BRUCE SPRINGSTEEN & THE E. STREET BAND - "NEW YORK SERENADE" ("THE WILD, THE INNOCENT & THE E. STREET SHUFFLE", 1973) / Escuchar audio

Making a Scene Presents an Interview with John Nemeth of the Love Light OrchestraThough born from the desire to rekindle enthusiasm for the grand, orchestral sound of mid-20th century blues, Love Light Orchestra is much more than a nostalgia act. Formed in 2016 as a nod to the sound and visual flair prevalent early in careers of beloved Memphis stalwarts B.B. King and Bobby Bland, the Love Light Orchestra is as much a manifestation of the current moment as it is a throwback to a bygone era of nightclubs packed to the brim with partygoers eager to take in an evening of down-home musicality with a touch of class.

In this episode we invite the great Peter Guralnick — Zooming in from his native Massachusetts — to discuss his "adventures in music and writing"… to quote the subtitle of his wonderful 2020 collection Looking to Get Lost.Peter takes his hosts back to his discovery of Delta blues giants Skip James and Robert Johnson in the early '60s — and to the first pieces he wrote for Paul Williams' Crawdaddy! in 1966. He explains his approach to the masterful profiles he collected in Feel Like Going Home and Lost Highway, and the friendships with Charlie Rich and Bobby "Blue" Bland that resulted from them. Conversation leads from Howlin' Wolf to Solomon Burke and southern soul, and from there to the use of Val Wilmer's remarkable photos in Peter's books.Talk of Memphis and Muscle Shoals prompts Mark to introduce the first of three clips from Barney's 1985 audio interview with Atlantic Records legend Jerry Wexler. Peter reminisces about his relationship with "Wex" (and with Ray Charles), then follows up with riveting recall of Joe Tex and Jerry Lee Lewis. Pieces by Memphis writer Andria Lisle — one of many Guralnick disciples — brings us on to discussion of Bobby Bland and the late Hi Rhythm section drummer Howard Grimes. We also remember the brilliant Betty Davis and Syl ('Is It Because I'm Black?') Johnson.Finally, Mark quotes from newly-added library pieces about John Lee Hooker, Nik Venet, the Nazz and Simon Napier-Bell, while Jasper notes articles about Norah Jones and Robert Glasper. Bringing things full circle, Barney quotes from Peter's friend Bill Millar's tribute to recently-deceased soul specialist Bob Fisher.Many thanks to special guest Peter Guralnick. Looking to Get Lost is published by Little, Brown, and you can visit his website at peterguralnick.com.Peter Guralnick interviewed by Bob Ruggiero and by Maud Barthomier, Sweet Soul Music, Jerry Wexler audio, Andria Lisle on Memphis, Mick Hucknall meets Bobby "Blue" Bland, Hi Rhythm, Betty Davis, Syl Johnson, John Lee Hooker, Nik Venet, The Nazz, CBGBs, Hoagy Carmichael, Simon Napier-Bell, 'River Deep, Mountain High', Stephanie Mills, Norah Jones, Robert Glasper and Bob Fisher.

In this episode we invite the great Peter Guralnick — Zooming in from his native Massachusetts — to discuss his "adventures in music and writing"… to quote the subtitle of his wonderful 2020 collection Looking to Get Lost. Peter takes his hosts back to his discovery of Delta blues giants Skip James and Robert Johnson in the early '60s — and to the first pieces he wrote for Paul Williams' Crawdaddy! in 1966. He explains his approach to the masterful profiles he collected in Feel Like Going Home and Lost Highway, and the friendships with Charlie Rich and Bobby "Blue" Bland that resulted from them. Conversation leads from Howlin' Wolf to Solomon Burke and southern soul, and from there to the use of Val Wilmer's remarkable photos in Peter's books. Talk of Memphis and Muscle Shoals prompts Mark to introduce the first of three clips from Barney's 1985 audio interview with Atlantic Records legend Jerry Wexler. Peter reminisces about his relationship with "Wex" (and with Ray Charles), then follows up with riveting recall of Joe Tex and Jerry Lee Lewis. Pieces by Memphis writer Andria Lisle — one of many Guralnick disciples — brings us on to discussion of Bobby Bland and the late Hi Rhythm section drummer Howard Grimes. We also remember the brilliant Betty Davis and Syl ('Is It Because I'm Black?') Johnson. Finally, Mark quotes from newly-added library pieces about John Lee Hooker, Nik Venet, the Nazz and Simon Napier-Bell, while Jasper notes articles about Norah Jones and Robert Glasper. Bringing things full circle, Barney quotes from Peter's friend Bill Millar's tribute to recently-deceased soul specialist Bob Fisher. Many thanks to special guest Peter Guralnick. Looking to Get Lost is published by Little, Brown, and you can visit his website at peterguralnick.com. Peter Guralnick interviewed by Bob Ruggiero and by Maud Barthomier, Sweet Soul Music, Jerry Wexler audio, Andria Lisle on Memphis, Mick Hucknall meets Bobby "Blue" Bland, Hi Rhythm, Betty Davis, Syl Johnson, John Lee Hooker, Nik Venet, The Nazz, CBGBs, Hoagy Carmichael, Simon Napier-Bell, 'River Deep, Mountain High', Stephanie Mills, Norah Jones, Robert Glasper and Bob Fisher. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode we invite the great Peter Guralnick — Zooming in from his native Massachusetts — to discuss his "adventures in music and writing"… to quote the subtitle of his wonderful 2020 collection Looking to Get Lost.Peter takes his hosts back to his discovery of Delta blues giants Skip James and Robert Johnson in the early '60s — and to the first pieces he wrote for Paul Williams' Crawdaddy! in 1966. He explains his approach to the masterful profiles he collected in Feel Like Going Home and Lost Highway, and the friendships with Charlie Rich and Bobby "Blue" Bland that resulted from them. Conversation leads from Howlin' Wolf to Solomon Burke and southern soul, and from there to the use of Val Wilmer's remarkable photos in Peter's books.Talk of Memphis and Muscle Shoals prompts Mark to introduce the first of three clips from Barney's 1985 audio interview with Atlantic Records legend Jerry Wexler. Peter reminisces about his relationship with "Wex" (and with Ray Charles), then follows up with riveting recall of Joe Tex and Jerry Lee Lewis. Pieces by Memphis writer Andria Lisle — one of many Guralnick disciples — brings us on to discussion of Bobby Bland and the late Hi Rhythm section drummer Howard Grimes. We also remember the brilliant Betty Davis and Syl ('Is It Because I'm Black?') Johnson.Finally, Mark quotes from newly-added library pieces about John Lee Hooker, Nik Venet, the Nazz and Simon Napier-Bell, while Jasper notes articles about Norah Jones and Robert Glasper. Bringing things full circle, Barney quotes from Peter's friend Bill Millar's tribute to recently-deceased soul specialist Bob Fisher.Many thanks to special guest Peter Guralnick. Looking to Get Lost is published by Little, Brown, and you can visit his website at peterguralnick.com.Peter Guralnick interviewed by Bob Ruggiero and by Maud Barthomier, Sweet Soul Music, Jerry Wexler audio, Andria Lisle on Memphis, Mick Hucknall meets Bobby "Blue" Bland, Hi Rhythm, Betty Davis, Syl Johnson, John Lee Hooker, Nik Venet, The Nazz, CBGBs, Hoagy Carmichael, Simon Napier-Bell, 'River Deep, Mountain High', Stephanie Mills, Norah Jones, Robert Glasper and Bob Fisher.

In this episode we invite the great Peter Guralnick — Zooming in from his native Massachusetts — to discuss his "adventures in music and writing"… to quote the subtitle of his wonderful 2020 collection Looking to Get Lost. Peter takes his hosts back to his discovery of Delta blues giants Skip James and Robert Johnson in the early '60s — and to the first pieces he wrote for Paul Williams' Crawdaddy! in 1966. He explains his approach to the masterful profiles he collected in Feel Like Going Home and Lost Highway, and the friendships with Charlie Rich and Bobby "Blue" Bland that resulted from them. Conversation leads from Howlin' Wolf to Solomon Burke and southern soul, and from there to the use of Val Wilmer's remarkable photos in Peter's books. Talk of Memphis and Muscle Shoals prompts Mark to introduce the first of three clips from Barney's 1985 audio interview with Atlantic Records legend Jerry Wexler. Peter reminisces about his relationship with "Wex" (and with Ray Charles), then follows up with riveting recall of Joe Tex and Jerry Lee Lewis. Pieces by Memphis writer Andria Lisle — one of many Guralnick disciples — brings us on to discussion of Bobby Bland and the late Hi Rhythm section drummer Howard Grimes. We also remember the brilliant Betty Davis and Syl ('Is It Because I'm Black?') Johnson. Finally, Mark quotes from newly-added library pieces about John Lee Hooker, Nik Venet, the Nazz and Simon Napier-Bell, while Jasper notes articles about Norah Jones and Robert Glasper. Bringing things full circle, Barney quotes from Peter's friend Bill Millar's tribute to recently-deceased soul specialist Bob Fisher. Many thanks to special guest Peter Guralnick. Looking to Get Lost is published by Little, Brown, and you can visit his website at peterguralnick.com. Peter Guralnick interviewed by Bob Ruggiero and by Maud Barthomier, Sweet Soul Music, Jerry Wexler audio, Andria Lisle on Memphis, Mick Hucknall meets Bobby "Blue" Bland, Hi Rhythm, Betty Davis, Syl Johnson, John Lee Hooker, Nik Venet, The Nazz, CBGBs, Hoagy Carmichael, Simon Napier-Bell, 'River Deep, Mountain High', Stephanie Mills, Norah Jones, Robert Glasper and Bob Fisher.

El fin de septiembre, ya con el otoño tímidamente instalado en el sureste, nos muestra el camino para el blues y el soul, desde la versión de los Lobos de los Thee Midniters, de amor juvenil, pasando por la diva Deb Ryder (B.L.U.E.S. es todo lo que tengo), hasta el profesor Robben Ford con su cerveza barata (¿será china o alemana low cost?) que dejan la pista vacía para Tito Jackson, (uno de los 5 Jacksones) que muestra su experiencia en las cosas básicas de la vida (amar y ser amado ¿no era eso Michael?). Y quietos parados todos con Kingsfish que, aupado por el polvo de los cruces de caminos de Mississippi donde Robert Johnson aprendió del diablo, nos cuenta su primer concierto con 11 años!!!!! Bob Malone es un brujo de los teclados de lujo, los Cruzados son, well you know, inevitables en los últimos días, y Elles Baileys aspira a serlo en los próximos con sus british blues. Nos vamos con Rodd Bland y su soul, que desde Memphis homenajea a su padre, el gran Bobby Bland, colega de B.B. King entre otros. De bonus fuera de programa, déjate las pastillas (salvo que sean absolutamente necesarias), canta Willie Nile.Los Lobos, Love Special DeliveryDeb Ryder, Hold OnDeb Ryder, Blues Is All I GotRobben Ford, White Rock Beer...8 CentsTito Jackson, Wheels Keep TurningTito Jackson, Rock Me BabyChristone "Kingfish" Ingram, I Got To See YouChristone "Kingfish" Ingram, Something In The DirtBob Malone, Tangled up in BlueCruzados, Son Of The BluesElles Bailey, Cheat and LiarsRodd Bland And The Members Only Band, I Wouldn't Treat A Dog (The Way You Treated Me)Willie Nile, Off My MedicationAcho, visita nuestro Facebook y déjanos tus peticiones, comentarios, canciones...O escríbenos un email aquí.

Label: Malaco 2122Year: 1985Condition: MPrice: $14.00From a warehouse find, this is a new, unplayed stock copy. It's a crime to Soul radio that this one wasn't a huge hit for the veteran Mr. Bobby Bland. It's a wonderful recording fully deserving our highest rating of 2 stars. We just had to put up an mp3 "snippet" so you can hear it for yourself... Enjoy! Note: This beautiful copy It has no notable flaws, grading Mint across the board (Labels, Vinyl, Audio).

It's time to add some overlooked songs into the Hall of Songs nominee pool. They are: "Think," "Turn on Your Lovelight," "Up on the Roof" and "She Thinks I Still Care." After the nominations, Tim and Chris turn to chatter about music from 1959 to 1962, especially Ray Charles, Roy Orbison, The Nashville Sound, the evolution of Motown, and the influence of the Brill Building. Visit our website at hallofsongs.com and follow us on social media at @hallofsongs.Hosts: Tim Malcolm and Chris JonesGenre: Music Commentary

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

Konstantin Kovalev emigrated from Russia to Helsinki a decade ago and made himself an indispensible figure in the stylish retro blues scene there with his first band The Firebugs. His latest project is a long-term labor of love: eight neo-soul tunes meticulously crafted over years, recorded all-analog at the well-known Finnish guitarist Tomi Leino's studio. As they wrote on their Bandcamp site: "We began our musical journey in 2012 and after playing different types of venues for 9 years, several years of exploring the world of 40's-50's blues and r/n/b and finally settled for 60's soul/blues sound influenced by the likes of Bobby Bland, James Carr, Isaac Hayes and The Miracles." Follow this young soul band on Bandcamp, Youtube and hear for yourself. Take a blues journey with No Border Blues, the only blues podcast focused on international blues artists and hidden blues scenes around the world. Delmark recording artist Johnny Burgin and producer Stephanie Tice shine a spotlight on notable international blues performers, discuss the blues scenes in their home countries, and present intimate and exclusive musical performances. Stef couldn't make this interview, sorry!-- but she will be back in the next episode. Sponsored by Chicago Blues Network, bringing Chicago Blues to the world. noborderblues.com - chicagobluesnetwork.com - johnnyburgin.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Sintonía: "(Do The) Mashed Potatoes, Pt. 1" - Nat Kendrick & The Swans "Last Night" - The Mar Keys; "Just a Little Bit" - Rosco Gordon; "Watch Your Step" - Bobby Parker; "When You See Me Hurt" - Carl Lester & The Showstoppers; "Hurricane" - Dave "Baby" Cortez; "Turn On Your Love Light" - Bobby Bland; "If You Gotta Make a Fool of Somebody" - James Ray; "I Like It Like That (Part 1)" - Chris Kenner; "Whole Lotta Woman" - The Contours; "My Girl Josephine" - Bill Black; "Hey! Baby" - Bruce Channel; "The Hunch" - Paul Gayten; "Bye Bye Baby" - Mary Wells; "Gonzo" - James Booker; "You Better Move On" - Arthur Alexander; "Baby It´s You" - The Shirelles; "Well, I Told You" - The Chantels; "You Can´t Sit Down (Part One)" - Phil Upchurch Escuchar audio

DJ Khaled has been promoting Khaled Khaled since his last album dropped in 2019. No one really knows why and how Khaled is able to have more guest appearances than an Obama All Black White House party. But he keeps getting them. Khaled Khaled is a 14 track effort by We The Best/ Epic Records, a division of Sony Music Entertainment. A legacy project, Khaled kneels in the Garden of Holy Mountain on the cover in prayer surrounded by his two sons Asahd and Aalam who along with Allah are executive producers. The album soberingly starts off with the Ain’t No Love sample and the haunting but resurrecting sound of negro spirituals. A grateful Lil Wayne and a recovering Jeremih croon survival at all cost as the choir’s melody sets the tone for a wild ride. The irony and artistry of a song named Thankful, sampling Bobby Bland’s Ain’t No Love track, released in 1974 and famously sampled by Jay-Z in 2001 for his Blueprint Album cut of the same name, affirms Khaled’s ability to resurrect familiar sounds and make them new. --- Send in a voice message: https://anchor.fm/worldmusicviews/message Support this podcast: https://anchor.fm/worldmusicviews/support

Un chanteur illettré, un producteur gangster, des affaires qui marchent et beaucoup de gospel ...  Ce n'est pas un scénario de film mais le programme de notre émission d'aujourd'hui.  Pousse toi de là que je signe cette semaine dans Bon Temps Rouler…      Playlist :   Today I Started Loving You Again - Bobby "Blue" Bland - Greatest Hits, Vol. 2: The ABC-Dunhill   3 O'Clock Blues - B.B. King, Bobby "Blue" Bland - Together For The First Time... Live At Western Recorders Studio1/1974   Ain't No Love In The Heart Of The City - Single Version - Bobby "Blue" Bland - Dreamer   They Call Me Big Mama - Big Mama Thornton - Precious & Rare: Big Mama Thornton   Move On Up A Little Higher - The Dixie Hummingbirds - Golden Gospel Classics   Homework - Otis Rush – I'm Satisfied   Further Up on the Road - David "Honeyboy" Edwards - Missisippi Delta Bluesman   Yield Not To Temptation - Single Version - Bobby "Blue" Bland - The Definitive Collection   In the Ghetto - Bobby "Blue" Bland - Members Only   Pity the Fool - The Paul Butterfield Blues Band - The Resurrection Of Pigboy Crabshaw   Drivin' Wheel - Little Junior Parker - The Best Of Duke-Peacock Blues   Turn on Your Love Light - Delbert McClinton - Live From Austin, TX   Stormy Monday Blues - Bobby "Blue" Bland - The Best Of Duke-Peacock Blues   Today I Started Loving You Again - Bobby "Blue" Bland - Greatest Hits, Vol. 2: The ABC-Dunhill   3 O'Clock Blues - B.B. King, Bobby "Blue" Bland - Together For The First Time... Live At Western Recorders Studio1/1974   Ain't No Love In The Heart Of The City - Single Version - Bobby "Blue" Bland - Dreamer   They Call Me Big Mama - Big Mama Thornton - Precious & Rare: Big Mama Thornton   Move On Up A Little Higher - The Dixie Hummingbirds - Golden Gospel Classics   Homework - Otis Rush – I'm Satisfied   Further Up on the Road - David "Honeyboy" Edwards - Missisippi Delta Bluesman   Yield Not To Temptation - Single Version - Bobby "Blue" Bland - The Definitive Collection   In the Ghetto - Bobby "Blue" Bland - Members Only   Pity the Fool - The Paul Butterfield Blues Band - The Resurrection Of Pigboy Crabshaw   Drivin' Wheel - Little Junior Parker - The Best Of Duke-Peacock Blues   Turn on Your Love Light - Delbert McClinton - Live From Austin, TX   Stormy Monday Blues - Bobby "Blue" Bland - The Best Of Duke-Peacock BluesHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

This show first broadcast on the 30th of April, 2021In New York at the time of this broadcast it's 4am and so as part of the coverage of International Jazz Day, Andy starts things mellow to ease you in to your day with some classic jazz, some African vibes plus the distinctive voices of Nina Simone, Bobby Bland, Frank Sinatra and Sammy Davis Jr Support The Face Radio with Patreon See acast.com/privacy for privacy and opt-out information.

No programa falámos de um um bluesman: Bobby Bland cujo seu nome de baptismo é Robert Calvin Brooks… natural de Rosemark, Tennessee… EUA.

The Dirty Dozen Brass Band's founding baritone sax player logged years playing with Fats Domino, Irma Thomas, and Deacon John and the Ivories before the formation of the groundbreaking group. He's spent over 40 years with the Dozen since they revolutionized the genre by adding bebop, pop, and the avant garde to the traditional second-line repertoire and helped spread New Orleans brass band music around the globe. Roger's known as the Dirty Old Man. He should fit right in with the Troubled Men. Topics include Super Blow weekend, “Black Sunday,” Bruce Dern, “Wild At Heart,” Laura Dern, “Blue Velvet,” a virtual hearing, a machete incident, Mardi Gras restrictions, childhood music education, Fred Kemp, Mary's Tavern, Marvin Gaye, Bobby Bland, Vegas with Fats, hotel room cooking, Redd Foxx, Liberace, lost legends, Kidd Jordan, Charles and Kirk Joseph, Frog Joseph, a big bang, N.O. drummers, Baritone Bliss, Widespread Panic, Norah Jones, and much more. Subscribe, review, and rate (5 stars) on Apple Podcasts, Spotify, or almost any podcast aggregator. Follow on social media, share with friends, and spread the Troubled Word. Intro music: Styler/Coman Break and outro music: “Caravan” and “Blackbird Special” from “My Feet Can't Fail Me Now” by the Dirty Dozen Brass Band

The Dirty Dozen Brass Band’s founding baritone sax player logged years playing with Fats Domino, Irma Thomas, and Deacon John and the Ivories before the formation of the groundbreaking group. He’s spent over 40 years with the Dozen since they revolutionized the genre by adding bebop, pop, and the avant garde to the traditional second-line repertoire and helped spread New Orleans brass band music around the globe. Roger’s known as the Dirty Old Man. He should fit right in with the Troubled Men. Topics include Super Blow weekend, “Black Sunday,” Bruce Dern, “Wild At Heart,” Laura Dern, “Blue Velvet,” a virtual hearing, a machete incident, Mardi Gras restrictions, childhood music education, Fred Kemp, Mary’s Tavern, Marvin Gaye, Bobby Bland, Vegas with Fats, hotel room cooking, Redd Foxx, Liberace, lost legends, Kidd Jordan, Charles and Kirk Joseph, Frog Joseph, a big bang, N.O. drummers, Baritone Bliss, Widespread Panic, Norah Jones, and much more. Subscribe, review, and rate (5 stars) on Apple Podcasts, Spotify, or almost any podcast aggregator. Follow on social media, share with friends, and spread the Troubled Word. Intro music: Styler/Coman Break and outro music: “Caravan” and “Blackbird Special” from “My Feet Can’t Fail Me Now” by the Dirty Dozen Brass Band

Welcome to Episode #75 of the Blue-in-Green:PODCAST which sees Imran flying solo for the second in his Misery Loves Company series. Gil Scott-Heron released his 13th and final album, 'I'm New Here', through XL Recordings back in 2010. His first album of original material in 16 years, the project boasted a collection of remarkable numbers but something about the cover of Bobby Bland's 'Ill Take Care of You' resonated with people so much it spawned a journey all of its own. This episode of Misery Loves Company explores the song's journey from Gil Scott-Heron's 2010 version and its continual evolution at the hands of Jamie xx, Drake & Rihanna, Florence + The Machine and Makaya McCraven. This is geek radio at its finest so bask in this wonderous swan song from one of the genre's most revered icons and take the journey with us. www.blueingreenradio.com TuneIn: bit.ly/2LBK0BD The Blue-in-Green:PODCAST unveils new episodes on the first, second and third Mondays of the month. This podcast series runs in conjunction with the online radio station, Blue-in-Green:RADIO which celebrates 21st century soul, jazz, funk, Latin & hip-hop music. These shows are designed to give you some insight into the incredible range of talented presenters we're so lucky to host from all over the world and to geek out musically with us.

That's all there is --- 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/having-fun7/message Support this podcast: https://anchor.fm/having-fun7/support

Blues 1977 --- 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/having-fun7/message Support this podcast: https://anchor.fm/having-fun7/support

The songwriter and producer of modern soul music known as Darnell Da'Bachelor have released his latest official single, “Seduction.” The single has been bundled with a second original Darnell Da'Bachelor track, “Obama,” It has been proudly published as an independent release without the involvement of the corporate music industry. Bluesy, classy, sonorous, and riddled with style. With the release of his new single titled "Someone” will surely show the versatility and greatness of this young rising star!Decatur, Mississippi's Darnell Da'Bachelor cites as main artistic influences Bobby Rush (who is on the top of that list) Bobby Bland, BB King, Tyrone Davis, Marvin Sease, Little Milton, and Sir Small World. Darnell Da'Bachelor's own sound takes elements from each of these and adds something fresh and unique for a result, unlike anything today's music fans have heard before. With an emphasis on smooth vocal performances, chill melody lines, and solid backbeats, “Mr. Rogers, A Woman Like You, Maintenance Man, Obama, and The County” by Darnell Da'Bachelor have a little something for everybody. Today, Darnell Da'Bachelor is mostly known for playing and singing blues music. This also has deep roots in his childhood. Darnell Da'Bachelor says of this, “I was born in a small town Decatur, Mississippi. I grew up singing in church … I've been a blues lover all my life. I started writing songs when I was in high school.” “Seduction” and “Obama” are the most prominent official releases from Darnell Da'Bachelor since his popular 2010 gospel album. “Mississippi Roots” by Darnell Da'Bachelor is available from over 600 quality digital music stores online worldwide now

“I can’t stand it” Beth Anderson “I must be doing something right” Irene Reid “Mystifying mama” Marva Broome & Art Ensemble of Chicago “Scotland” Area Code 615 “Dust to dust” Ginger Baker “Amen” The Impressions “Gimme some” Nina Simone “Signs” Tune-Yards “Empire State” Fleetwood Mac “Cake” The B-52’s “Give you all the love (inside of me)” Mother’s Finest “Compared to what” Jerry Jones “Grinding halt” The Cure “Laugh, clown, laugh” Abbey Lincoln “Bleu cobalt” Annkrist “Two steps from the blues” Bobby Bland

One of the brightest stars on today’s Chicago blues scene, Ronnie Baker Brooks joins Dave for both an audio and Zoom video interview sharing stories from his fascinating career. Ronnie talks about his early days growing up and learning from his dad Lonnie Brooks, shares great stories from Chicago and his life on the road, working in the studio with Steve Jordan, Eddy Clearwater, Bobby Bland and much more.

1.5hrs of great blues music. Artist include: Albert King, B.B. King, Lucky Peterson, Bobby Bland, Albert King, John Mayall, Muddy Waters, Robert Cray, Stevie Ray Vaughn, John Lee Hooker & Carlos Santana, ZZ Top, Tavana, Ron Artis ll, Key Largo ft Pat McAuliffe (my Uncle) and Mitch Mitchell (my Dad). Enjoy and PLEASE Share. * Disclaimer: I don't own the rights to this music. I play songs from both emerging artists and established artists to help promote their work. All the music featured has been purchased from legal platforms such as iTunes because I believe that artists should get recognition and any payments and royalties due to them.Support the show (https://djbenniejames.com/podcast)

Sintonía: "Cool" - Cal Tjader "Hip Soul" - Shirley Scott; "Green Onions" - Tom & Jerry; "Willie Jean" - Jimmy Drew; "Just a Little Bit" - Rosco Gordon; "Cool Turkey" - James Booker; "Work Song" - Tommy Hunt; "Night Train" - King Curtis; "My Book" - Bruce Cloud; "I´m Gonna Go Fishin´" - Peggy Lee; "Fever" - Eddie Cooley; "Watch Your Step" - Bobby Parker; "Crawl (Part 1)" - Willie Mitchell; "You Came Along Way from St. Louise" - Etta Jones; "Take Five" - Carmen McRae & Dave Brubeck; "The Search Goes On" - Trini Lopez; "One Mint Julep" - Sarah Vaughan; "Baby Lou" - Jimmy Drew; "36-22-36" - Bobby Bland; "Teasin´" - Jon Thomas; "La La La La La" - The Blendells Escuchar audio

Les Paul -kitaroihin ja niiden soittajiin liittyy monta tarinaa ja mielenkiintoista historiaa. Sami Ruokangas ja Pauli Kauppila keskustelevat niistä. Mukana mm. Jimmy Page, Eric Clapton, Keith Moon, Peter Green, Steve Lukather, Jimi Hendrix, Cream, Firm, Chris Slade, Tony Franklin, Paul Rodgers, Black Crowes, David Coverdale, Paul Kossoff, Free, John Mayall´s Bluesbreakers, Freddie King, Jethro Tull, Black Sabbath, Slash, Gary Moore, AC/DC, Albert King, Booker T & MG´s, Andy Fraser, Alexis Korner, Simon Kirke, Blind Faith, Iron Maiden, Dave Murray, Steve Harris, Billy Gibbons, ZZ Top, Kari Nieminen, Saku Vuori, B.B. King, Miles Davis, Muddy Waters, Slim Harpo, Mike Flanigin, The Red Devils, Mick Jagger, James Harman, Lynyrd Skynyrd, Gary Rossington, Ed King, Ronnie Van Zant, Allen Collins, Dale Krantz-Rossington, Rickey Medlocke, Blackfoot, Keith Christopher, Dan Baird & the Homemade Sin, Georgia Satellites, Bob Marley & the Wailers, Bunny Wailer, Peter Tosh, Mott The Hoople, Ian Hunter, Mick Ralphs, David Bowie, Jason Bonham, Swan Song, Brian Howe, Robert Hart, Foreigner, Thunder, Bernie Marsden, Jack Bruce, Steve Vai, Adrian Vandenberg, John Sykes, Animals, Bobby Bland, Don Airey, Whitesnake, Allman Brothers Band, Micky Moody, Bob Seger, Little Feat, Martin Birch, Wild Turkey, Andy Summers, The Police, Ringo Starr, David Gilmour, Keith Richards, Leo Kottke, Testament, Alex Skolnick ja Heritage. Jaksoon liittyvä soittolista: https://open.spotify.com/playlist/5oq9t3cdIDwZPGq3gsNzT3?si=TBPEwP57Q2GG1IjzqxG3MA

This week, music from Larry Williams, Brothers Of Soul, Carol Kay, Gwen Owens, The Montclairs, to name a few.Artist of the week is Bobby Bland, Tune of the week from The Impressions, as well as the Chillout zone.Tune into Tizzy Terrell's Eastside Soul, every Thursday from 1 PM - 3 PM EST / 6 PM - 8 PM GMT.For a complete track listing, visit: https://thefaceradio.com Instagram: https://www.instagram.com/eastside.soulMixcloud: https://www.mixcloud.com/tizzyeastsidesoul/Twitter: https://twitter.com/eastsidesoulWeb: http://eastsidesoul.co.uk Support The Face Radio with Patreon See acast.com/privacy for privacy and opt-out information.

Nowhere To Run recaps 5 years of shows with some of the tracks most popular with our listeners. With music from Sandi Sheldon, Jacqueline Taieb, Bobby Bland and more.Catch Nowhere to Run Live every Sunday from Brisbane Australia from 1 - 3 AM EST / 6 - 8 AM GMT / 3 - 5 PM AEST, and again from 6 - 8 PM EST / 11 PM - 1 AM GMT, in association with 4ZZZ Brisbane.For a complete track listing, visit: https://thefaceradio.com Facebook: https://www.facebook.com/Nowhere-to-Run-Brisbane-1559841480929448/Instagram: https://www.instagram.com/nowhere_to_run_brisbane/Mixcloud: https://www.mixcloud.com/matt-ward15/Twitter: https://twitter.com/ntrbrisbaneEmail: nowheretorun@thefaceradio.com Support The Face Radio with Patreon See acast.com/privacy for privacy and opt-out information.

This week features a TOP 7 from long-time listener, Dave Davidson. Chris also plays records by artists such as Bobby Patterson, Bobby Bland, Otis Clay and Jackie Wilson.New broadcasts of Dab Of Soul every Tuesday from 7-9PM EST / 12-2AM GMT (Wednesday).Facebook: Dab Of Soul (Group)Mixcloud: dabofsoulEmail: dabofsoul@thefaceradio.com Support The Face Radio with Patreon See acast.com/privacy for privacy and opt-out information.

Camelids rule, Puritans drool.This weeks subjects:1. Here's the Man! 1962 album by Bobby Bland, 2. Stephen Sewall, judge in colonial Massachusetts. 3. The Llama. Next Week's Subjects: 1. List of the prehistoric life of North Dakota 2. Kloka Anna 3. Interceptor AircraftTheme and Interstital music by Apache Tomcat: http://freemusicarchive.org/music/Apache_Tomcat/Have any questions, comments, concerns, or corrections? tweet at us @wikiwheelor email us at wikiwheelpod@gmail.com

CW: Our middle subject today involves some discussion of serious illness including cancer, HIV, and eating disorders from 20:35 to 35:40.Today's subjects: Holy War (football rivalry), Society on Sarcopenia, Cachexia, and Wasting Disorders and Defiance, Ohio.Next Week's Subjects: Stephen Sewall (colonial judge), Here's the man! (1962 album by Bobby Bland) and The Llama(animal)Theme and Interstitial Music by Apache TomcatIf you like the show, rate us on Itunes, if you dont, keep it between you and the lord.

Welcome to episode twenty-three of A History of Rock Music in Five Hundred Songs. Today we’re looking at “Pledging My Love” by Johnny Ace Click the full post to read liner notes, links to more information, and a transcript of the episode. Also, remember I’m three-quarters of the way through the Kickstarter for the first book based on this series.  —-more—-   Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. I’ve used two main books for the information in this episode — The Late Great Johnny Ace and Transition from R&B to Rock ‘n’ Roll by James Salem is an exemplary biography, which gets far more detail about its subject than I would have though possible given his short, underdocumented, life, and which also provided some of the background material about Memphis. Big Mama Thornton: Her Life and Music by Michael Spörke  is the only biography of Thornton. It’s very well researched, but suffers somewhat from English not being its author’s first language. I got some additional details about the overlap between Ace and Thornton, and some of the information about Don Robey, from that. The Patreon-only Christmas episode I mention is here, for Patreon backers. Normally when I’m recommending a way to buy the music I discuss, I link to things available as a CD. This time, I’m going to link to a digital-only release, but it’s worth it. Ace’s Wild! The Complete Solo Sides and Sessions contains every track ever recorded and released by Ace, including the posthumous overdubbed tracks; every released track he played on for other Beale Streeters including classics from B.B. King and Bobby “Blue” Bland; and a selection of the tribute records I talk about. I know of no physical release that’s anywhere near as comprehensive. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A content warning: this episode contains a description of a death by gunshot. I am not using any of the more explicit descriptions of this death, though I do describe some aspects of it, but talking about that subject at all can be upsetting, so if you’re likely to be disturbed by that, please turn off now. If you’re unsure whether you’ll be upset, remember that there are blog posts at 500songs.com containing the full text of every episode, and you can read the text there before listening if you wish. Johnny Ace was born John Alexander Jr — he used a stage name because his mother didn’t approve of secular music — and he was part of a group of musicians called the Beale Streeters. To understand the importance of this group of people, you have to understand Memphis and why it was important. American regional musical culture could be incredibly specific, and different cities had different specialities. That’s changed somewhat now, as transport and communications have got so much better, but certainly in the first half of the twentieth century you’d find that cities a hundred or so miles apart had taken a lot of the same musical influences but put them together in radically different ways. And Memphis, in particular, was an unusual city for the southern US. It was still an intensely racist city by any normal standards, and it was segregated, and thus still home to countless horrors and crimes against humanity. But for the Southern US black people led comparatively comfortable lives, simply because Memphis was very close to fifty percent black in the early decades of the twentieth century — and was actually majority-black in the late nineteenth. In 1878, there was a plague — yellow fever swept the city — and it took an immense toll. Before the 1878 plague, there were fifty-five thousand people living in Memphis. Afterward there were fourteen thousand, and twelve thousand of those were black. The plague killed seventy-five percent of the white people living in Memphis, but only seven percent of the black people. Even though white people moved back into the city and eventually became the majority again, and even though they had all the institutional power of a racist state on their side, there was less of a power imbalance in Memphis, and the white ruling classes simply couldn’t keep black people down as thoroughly as in other Southern cities. Memphis’ regional speciality is the blues, and its first great musical hero was W.C. Handy. Even though Handy only lived in Memphis for a few years, having been born in Alabama and later moving to New York, he is indelibly associated with Memphis, and with Beale Street in particular. Handy claimed to have invented the blues, though his blues wasn’t much like what we’d call “the blues” these days, and often had an element of the tango about it. And he was certainly the first person to have any kind of hit with blues songwriting, back in a time when hits in music were measured by sheet music sales, before recorded music had become more than an interesting novelty. [excerpt: “Beale Street Blues” by W.C. Handy] So Memphis was, as far as the wider world was concerned, and certainly as far as anyone in Memphis itself was concerned, the birthplace of the blues. And Beale Street, more than any other part of Memphis, was the blues area. Everyone knew it. Beale Street was the centre of black culture, not just for Memphis, but for the whole of Tennessee, in the late forties and early fifties. It wasn’t actually called Beale Street on the maps until 1955, but everyone referred to it as “Beale Street” anyway. By 1950 people were already complaining about the fact that the “old” Beale Street had gone. Beale Street was where Lansky’s was — the place where the coolest people bought their clothes. There was Schwab’s Dry Good Store, where you could buy everything you wanted. And there was the Beale Street Blues Boys, or the Beale Streeters — accounts vary as to what they actually called themselves. They weren’t a band in a traditional sense, but there were a few of them who got together a lot, and when they would make records, they would often play on each others tracks. There was the harmonica player Junior Parker, who would go on to record for every Memphis-based label, often recording in the Sun Studios, and who would write songs like “Mystery Train”. There was the piano player Roscoe Gordon, who had a unique off-beat way of playing that would later go on to be a massive influence on ska and reggae music. There was the singer Bobby “Blue” Bland, one of the most important blues singers of all time, and there was guitarist Riley King, who would later be known as “the blues boy”, before shortening that and becoming just “B.B.” King. And there was Johnny Ace, another piano player and singer. But the Beale Street Blues Boys slowly drifted apart. Riley King went off and started cutting his own records for RPM, one of the myriad tiny labels that had sprung up to promote R&B music. And Bobby Bland got drafted, but before he had to go off to be in the armed forces, he went into Sam Phillips’ studio and cut a few sides, which were released on Duke Records, backed by the Beale Streeters: [excerpt “Lovin’ Blues” by Bobby “Blue” Bland and the Beale Streeters] That has BB King on guitar and Johnny Ace on the piano, along with George Joyner on bass, Earl Forest on drums, and Adolph Billy Duncan on the saxophone. Shortly after this, Ace’s first single came out almost by accident. He was playing piano at a session for Bobby Bland, and Bland couldn’t get the lyrics to his song right. In the session downtime, Ace started singing Ruth Brown’s hit “So Long”: [excerpt: Ruth Brown, “So Long”] Dave Mattis, Duke Records’ owner, thought that what Ace was doing sounded rather better than the song they were meant to be recording, and so they changed it up just enough for it to count as “an original”, with Ace coming up with a new melody and Mattis writing new lyrics, and “My Song” by Johnny Ace was created: [Excerpt Johnny Ace: “My Song”] This would be how all Ace’s records would be created from that point on. They would take a pop standard or another song that Ace knew, someone would write new lyrics, and then Ace would come up with a new melody while keeping the chord progression and general feel the same. It was a formula that would lead to a string of hits for Ace. “My Song” might not sound very rock and roll, but the B-side was a jump boogie straight out of the Big Joe Turner style — “Follow The Rules” [Excerpt Johnny Ace: “Follow the Rules”] The A-side went to number one on the R&B charts, and was the first of eight hits in a row. Ace’s singles would typically have a ballad on the A-side and a boogie number on the B-side. This was a typical formula for the time — you might remember that Cecil Gant had a similar pattern of putting a ballad on one side and a boogie on the other. The idea was to maximise the number of buyers for each single by appealing to two different audiences. And it seemed to work. Ace became very, very popular. In fact, he became too popular. Duke Records couldn’t keep up with the demand for his records, and Don Robey, the owner of Peacock Records, stepped in, buying them out. Don Robey had a reputation for violence. He was also, though, one of the few black businessmen in a white-dominated industry, and it might be argued that you can only get to that kind of status with a certain amount of unethical practices. Robey’s business manager and unacknowledged partner, Evelyn Johnson, was by all accounts a far nicer person than Robey. She did the day-to-day running of the businesses, drew up the business plans, and basically did everything that an owner would normally be expected to, while Robey took the money. Johnson did everything for Robey. When he’d decided to put out records, mostly to promote the blues singer Clarence “Gatemouth” Brown, who he managed, Johnson asked him how they were going to go about this, and Robey said “Hell, I don’t know! That’s for you to find out!” So Johnson figured out what to do — you call the Library of Congress. They had all the forms necessary for copyright registration, and whenever they didn’t have something, they would give her the details of the organisation that did. She got every copyright and record-related form from the Library of Congress, BMI, and other organisations, and looked over them all. Everything that looked relevant, she filled out. Everything that didn’t, she kept in case it was useful later, in a file labelled “It could be in here”. Johnson ran the record label, she ran the publishing company, and she ran *and owned* the booking agency. The booking agency started the model that companies like Motown would later use — cleaning the acts up, giving them lessons in performance, buying them clothes and cars, giving them spending money. She lost money on all the artists that were recording for Robey’s labels, where the performances turned into a loss-leader for the record labels, but she made the money back on artists like B.B. King or Ike and Tina Turner, who just turned up and did their job and didn’t have to be groomed by the Johnson/Robey operation. She never got the credit, because she was a black woman, while Don Robey was a man, but Evelyn Johnson pretty much single-handedly built up the careers of every black artist in Texas, Tennessee, Mississippi or California during the early part of the 1950s. From this point on, Duke became part of the Don Robey empire, run by Evelyn Johnson. For a while, Dave Mattis was a silent partner, but when he noticed he was getting neither money nor a say, he went to see Robey to complain. Robey pulled a gun on Mattis, and bought out Mattis for a tiny fraction of what his share of the record company was actually worth. Once Robey had bought Duke, Ace started working with Johnny Otis as many of the other Duke and Peacock artists did, and his records from then on were recorded in Houston, usually with the Johnny Otis band, and with Otis producing, though sometimes Ace’s own touring band would play on the records instead. Ace’s formula owed a lot to Charles Brown’s sophisticated West Coast blues. For those who haven’t heard the Patreon-only bonus Christmas episode of this podcast, Brown was the missing link between the styles of Nat King Cole and Ray Charles, and his smooth lounge blues was an important precursor to a lot of the more laid back kinds of soul music. Here’s a clip of “Merry Christmas Baby” by Johnny Moore’s Three Blazers, with Brown on lead vocals, so you can see what I mean about the resemblance: [Excerpt “Merry Christmas Baby” Johnny Moore’s Three Blazers] Now, there is a very important point to be made here, and that is that Johnny Ace’s music was extremely popular with a black audience. He didn’t get a white audience until after his death, and that audience was largely only interested in one record — “Pledging My Love”. It’s important to point this out because for much of the time after his death his music was dismissed by white music critics precisely because it didn’t fit their ideas of what black music was, and they assumed he was trying to appeal to a white audience. In fact there’s a derogatory term for the smooth-sounding blues singers, which I won’t repeat here, but which implies that they were “white on the inside”. Nothing could be further from the truth. As Johnny Otis said, Ace was “too smooth for the white critics and white writers for a long time.” He pointed out that this was “white arrogance”, suggesting that “black people are not the best judge of what was the best art to come out of the community, but the white writers are.” Otis’ point, which I agree with, was that, in his words, “you have to take your cue from the people of the community. They know better than you what they like and what is black artistry.” Ace’s music — yearning ballads about unrequited love, sung in a smooth, mellow, voice — didn’t fit with white preconceptions about the proper music that black men should be making, and so for decades his work was more or less airbrushed out of history. It was inconvenient for the white mythmakers to have a black man playing sophisticated music. But that music was hugely popular among black audiences. “The Clock”, for example, went to number one on the R&B charts, and stayed on the charts from June through October 1953. [excerpt: Johnny Ace: “The Clock”] His follow-ups to “The Clock” weren’t as big, and there was a sign he was entering diminishing returns, but his records stayed on the charts for longer than most, and as a result his releases were also less frequent. Don Robey stockpiled his recordings, putting out just one single every six months, waiting for the previous single to fall off the charts before releasing the next one. This stockpiling would prove very lucrative for him. Because while Ace was a sophisticated performer, he lived a less sophisticated life. One of his hobbies was to drive at top speed, while drunk, and shoot the zeroes out of road signs. With a lifestyle like that, it is probably not all that surprising that Ace didn’t live to a ripe old age, but the story of his death is still one that might be shocking or upsetting, and one that is still sad even though it was probably inevitable. The last song Johnny Ace played live was “Yes, Baby” — a duet with Big Mama Thornton, who had been his regular touring partner for quite a while. The two would tour together and Thornton would be backed by Ace’s band, with another pianist. Ace would take over from the pianist for his own set, and then the two of them would duet together: [excerpt “Yes Baby” — Johnny Ace and Big Mama Thornton] As you can hear, that wasn’t one of his mellow ballads. Ace’s live shows were a big draw. Evelyn Johnson said on several occasions that Ace was so popular that she used his popularity to make deals on less popular acts — if you wanted to book Johnny Ace you had to book B.B. King or Bobby “Blue” Bland as well, and those acts built their own followings through playing those gigs, often on the same bill as Ace and Big Mama Thornton. By all accounts the show in Houston on Christmas Day was a massively enjoyable one — right up until the point that it very suddenly wasn’t. The rumour that went round in the days after his death was that he was killed playing Russian roulette. That’s still what most people who talk about him think happened. This would have been a tragic way to go, but at least he would have known the possible consequences, and you have to think that no-one is going to play Russian roulette unless they have some sort of death wish. And there were other rumours that went around — one that persists to this day, and that I inadvertantly repeated in episode ten, is that Little Esther was present. She wasn’t, as far as I can tell. And the darkest rumours, repeated by people who like to sensationalise things, claim that it was a hit from Don Robey, that Ace was planning on changing record labels. But that’s not what actually happened. What happened is much more upsetting, and even more pointlessly tragic. Johnny Ace was backstage in Houston with a bunch of people — Big Mama Thornton and the band’s bass player Curtis Tilman were there, as were Ace’s girlfriend and some other people. It was Christmas day, they were killing time between sets, and they’d been drinking. Ace was waving a gun around and making people nervous. He was in a bad mood because he had a toothache, and he was feeling tired and annoyed. Accounts vary slightly as to what happened next, but Big Mama Thornton’s was given as a legal deposition only a couple of hours after his death, before exaggeration set in. “Johnny was pointing this pistol at Mary Carter and Joe Hamilton. He was kind of waving it around. I asked Johnny to let me see the gun. He gave it to me and when I turned the chamber a .22 cal. Bullet fell out in my hand. Johnny told me to put it back in where it wouldn’t fall out. I put it back and gave it to him. I told him not to snap it to nobody. After he got the pistol back, Johnny pointed the pistol at Mary Carter and pulled the trigger. It snapped. Olivia was still sitting on his lap. I told Johnny again not to snap the pistol at anybody. Johnny then put the pistol to Olivia’s head and pulled the trigger. It snapped. Johnny said, ‘I’ll show you that it won’t shoot.’ He held the pistol up and looked at it first and then put it to his head. I started towards the door and heard the pistol go off. I turned around and saw Johnny falling to the floor. I saw that he was shot and I run on stage and told the people in the band about it.” According to Evelyn Johnson, Ace’s hair stood on end from the shock, and he died with “a smirky little grin on his face, and his expression was ‘What’d I say?'” He was only twenty-five, and he’d been the most successful rhythm and blues singer of the previous year. When Cash Box, the trade paper, polled disc jockeys in December 1954 to find out who the most played artist of 1954 had been, Ace was the clear favourite. Shortly after his death, Duke Records announced that he had had three records top one and three quarter million sales the previous year. That is, to put it bluntly, a ludicrous amount — almost nothing sold that much, and one is tempted to believe that Duke were slightly manipulating the figures — but that it’s at all plausible says a lot about how popular Johnny Ace was at the time. After Ace’s death, “Pledging My Love” instantly became his biggest hit: [excerpt: “Pledging My Love”, Johnny Ace] “Pledging My Love” is credited to Fats Washington, the lyricist behind many of B.B. King’s songs from this period, and Don Robey as songwriters, but it’s safe to say that Ace himself wrote the music, with Robey taking the credit. Robey apparently never wrote a song in his life, but you wouldn’t believe it from the songwriting credits of any record that was put out by Duke or Peacock records. There, Don Robey, or his pseudonym Deadric Malone, would appear to be one of the most prolific songwriters of all time, writing in a whole variety of different styles — everything from “Love of Jesus” to “Baby, What’s Your Pants Doing Wet?” In total, he’s credited as writer for 1200 different songs. “Pledging My Love” was released only days before Ace’s death, and the initial expectation was that it would follow the diminishing returns that had set in since “The Clock”, becoming a modest but not overwhelming hit. Instead, it became a massive smash hit, and his biggest record ever, and it gained him a whole new fanbase — white teenagers, who had previously not been buying his records in any large numbers. Black people in the fifties mostly still bought 78s, because they tended to be poorer and so not buying new hi-fi equipment when they could still use their old ones. 45s, in the R&B market, were mostly for jukeboxes. But for the first time ever, the pressing plant that dealt with Duke’s records couldn’t keep up with the demand for 45s — so much so that the record was held back on the jukebox charts, because the label couldn’t service the demand. The records were being bought by young white teenagers, instead of his previous older black audiences — although that other audience still bought the record. Ace’s death came at a crucial transition point for the acceptance of rhythm and blues among white record buyers, and “Pledging My Love” acted as a catalyst. Until a couple of years earlier, songs owned by ASCAP, the performing rights society that dealt only with “respectable” composers for the Tin Pan Alley publishing houses, made up about eight times as many hits as songs owned by BMI, who dealt with the blues and hillbilly musicians. But in early 1955, eight of the ten biggest hits were BMI songs. “Pledging My Love” came at precisely the right moment to pick up on that new wave. There were white cover versions of the record, but people wanted the original, and Johnny Ace’s version made the *pop* top twenty. What none of this did was give Ace’s family any money. Don Robey told them, after Ace’s death, that Ace owed him money rather than the other way round. And Ace and his family didn’t receive even the songwriting royalties Ace was owed for the few songs he was credited with. While Robey was registered with BMI, and registered the songs with them, he had a policy of keeping his artists as ignorant as possible of the business side of things, and so he didn’t let Ace know that Ace would also have to register with BMI to receive any money. Because of this, his widow didn’t even know that BMI existed until James Salem, Ace’s biographer, told her in the mid-nineties, and it was only then that she started to get some of the songwriting royalties she and her children had been entitled to for forty-plus years worth of sales and radio play. Robey wasn’t the only one making money from Ace. Cash-in tribute records were released, including two separate ones by Johnny Moore’s Blazers, and records by Johnny Fuller, Vanetta Dillard, the Five Wings and the Rovers. All of these records were incredibly tasteless — usually combining a bunch of quotes from Ace’s lyrics to provide his “last letter” or a letter from heaven or similar, and backing them with backing tracks that were as close as possible to the ones Ace used. This is a typical example, “Why Johnny Why” by Linda Hayes with Johnny Moore’s Blazers [excerpt: “Why Johnny Why” by Linda Hayes] And after Don Robey had completely scraped the barrel of unreleased Ace recordings, he tried to sign Johnny Ace’s brother, St. Clair Alexander, to a record deal, but eventually decided that Alexander wasn’t quite good enough (though Alexander would spend the next few decades performing a tribute show to his brother, which many people thought was quite decent). Instead, Robey persuaded a blues singer named Jimmie Lee Land to perform as “Buddy Ace” in the hope of milking it some more, and put out press releases claiming that “Buddy” was Johnny Ace’s brother. Buddy Ace’s first record was released simultaneously with the last tracks from Johnny that were in the vault, putting out adverts talking about “the last record on the immortal Johnny Ace to complete your collection” and “the first record on the versatile Buddy Ace to start your collection”. Buddy Ace actually made some very strong records, but he didn’t really sound much like Johnny: [excerpt: Buddy Ace: “What Can I Do”] Buddy Ace did not duplicate Johnny’s success, though he continued as a moderately successful performer until the day he died – which was, rather eerily, while performing in Texas, forty years to the day after Johnny Ace died. But Robey wanted to milk the catalogue, and tried in 1957 to resuscitate the career of his dead star by getting the Jordanaires, famous for backing Elvis Presley, to overdub new backing vocals on Ace’s hits: [excerpt: Johnny Ace with the Jordanaires: “Pledging My Love”] This musical graverobbing was not successful, and all it did was sour Johnny Otis on Robey, as Robey had agreed that Otis’ productions would remain untouched. Even forty years afterwards — and twenty years after Robey’s death — it would still infuriate Otis. But probably the most well-known of all the posthumous releases to do with Johnny Ace came in 1983, when Paul Simon wrote and recorded “The Late Great Johnny Ace”, a song which linked Ace with two other Johns who died of gunshot wounds — Lennon and Kennedy: [excerpt: Paul Simon “The Late Great Johnny Ace”] That’s from Simon’s “Hearts and Bones”, an album that was steeped in nostalgia for the music of the period when rhythm and blues was just starting to turn into rock and roll. The period defined by the late, great, Johnny Ace.