Podcasts about bonzo dog band

Episodio 6.12 de Las Cosas Que Hay Que Escuchar, en el cual nos embarcamos en un subibaja emocional mientras escuchamos la música de Carolina Durante, The Waitresses, R. Stevie Moore & The Breetles, The Pop Group, Anne Clark, Scout Niblett, Randy Newman, Nico Cavi, Portishead, Stick in the Wheel, Chumbawamba, The Bonzo Dog Band, Queen y Art Of Noise. Y, obviamente, todo el delirio habitual de Saurio y las voces que lo atormentan. Si quieren convidar con un cafecito ☕, pueden hacerlo acá: https://cafecito.app/saurio Programa emitido originalmente el 19 de mayo de 2024 por FM La Tribu, 88.7, Buenos Aires, Argentina. Repite el 20 de mayo de 2024 en Radio Asamblea FM 94.1, CABA, y el 21 y 25 de mayo de 2024 en Radio de la Calle, FM 87.9, Bahía Blanca

Episodio 6.08 de Las Cosas Que Hay Que Escuchar, en el cual ponemos la yerba a secar en el microondas junto a la música de Mission of Burma, The Raincoats, Half Japanese, The Danielson Familie, Pylon, The Breeders, Mazzy Star, The Bonzo Dog Band, Fanny, Ally Venable, Jack White, Puerto Muerto, Gi Pegnotti, Pigbag y Lizzy Mercier Descloux Y, obviamente, todo el delirio habitual de Saurio y las voces que lo atormentan. Si quieren convidar con un cafecito ☕, pueden hacerlo acá: https://cafecito.app/saurio Programa emitido originalmente el 21 de abril de 2024 por FM La Tribu, 88.7, Buenos Aires, Argentina. Repite el 22 de abril de 2024 en Radio Asamblea FM 94.1, CABA, y el 23 y 27 de abril de 2024 en Radio de la Calle, FM 87.9, Bahía Blanca

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

As we're in the period between Christmas and New Year, the gap between episodes is going to be longer than normal, and the podcast proper is going to be back on January the ninth. So nobody has to wait around for another fortnight for a new episode, I thought I'd upload some old Patreon bonus episodes to fill the gap. Every year around Christmas the bonus episodes I do tend to be on Christmas songs and so this week I'm uploading three of those. These are older episodes, so don't have the same production values as more recent episodes, and are also shorter than more recent bonuses, but I hope they're still worth listening to. Hello, and welcome to this week's second Patreon bonus episode. I'm recording this on December the twenty-third, so whether you hear this before Christmas is largely down to how quickly we can get the main episode edited and uploaded. Hopefully, this is going up on Christmas Eve and you're all feeling appropriately festive. Normally for the Patreon bonuses in the last week of December I choose a particularly Christmassy record from the time period we're covering in the main podcast -- usually a perennial Christmas hit like something off the Phil Spector Christmas album or the Elvis Christmas album. However, this year we're in the mid sixties, a period when none of the big hits of US or UK Christmas music were released, because it's after the peak of US Christmas music and before the peak of UK Christmas music. There were Christmas albums by people like James Brown, but they weren't major parts of the discography. So today, we're going to have a brief run-through of the Beatles' Christmas records. These were flexi-discs -- which for those of you who are too young to remember them were records pressed on very, very, thin, cheap plastic, which used to be attached to things like kids' comics or cereal boxes as promotional gimmicks -- sent out to members of the group's fan club. In a way, these were the Beatles' very own Patreon bonuses, sent out to fans and supporters, and not essential works, but hopefully interesting and fun. They very rarely had anything like a full song, being mostly made up of sketches and recorded messages, and other than a limited-edition vinyl reissue a few years back they've never been put on general release -- though one song from the discs, "Christmas Time is Here Again", *was* released as a B-side of the CD single of "Free as A Bird" in 1995: [Excerpt: The Beatles, "Christmas Time is Here Again"] Other than that, the Christmas records remain one of those parts of the Beatles catalogue which have never seen a proper widespread release. The first record was made on October the 17th 1963, at the same recording session as "I Want to Hold Your Hand", at the instigation of Tony Barrow, the group's publicist, who also came up with a script for the group to depart from: [Excerpt, the Beatles' first Christmas record] Barrow apparently edited the recording himself, using scissors and tape, and much of that was just taking out the swearing. Incidentally, I've seen some American sources talking about the word "Crimble" being a word that the Beatles made up themselves, but it's actually a fairly standard bit of Scouse slang. The second Christmas record was recorded at the end of the sessions for Beatles For Sale and was much the same kind of thing, though this time they incorporated sound effects: [Excerpt: The Beatles' Second Christmas Record] That was never sent to American fans. Instead, they got a cardboard copy of an edited version of the first record (it's possible to make records out of cardboard, but they can only be played a handful of times). They wouldn't get another Christmas record until 1968, though British fans kept receiving them. The third record sees the group parodying other people's hits, including a brief rendition of "It's the Same Old Song" interrupted by George Harrison saying they can't sing it because of copyright, and an attempt to sing Barry McGuire's "Eve of Destruction" and "Auld Lang Syne" at the same time: [Excerpt: The Beatles' Third Christmas Record] The fourth record, from 1966, was recorded during the early sessions for "Strawberry Fields Forever", and titled "Pantomime: Everywhere It's Christmas". For those outside the UK and its sphere of cultural influence, pantomime is a British Xmas stage tradition which is very hard to explain if you've not experienced it, involving performances that are ostensibly of fairy stories like Cinderella or Snow White, but also usually involving drag performances -- the male lead is usually played by a young woman, while there's usually an old woman character played by a man in drag -- with audience participation, songs, and old jokes of the "I do declare, the Prince's balls get bigger every year!" type. As the title suggests, then, the 1966 Christmas record is an attempt at an actual narrative of sorts, though a surreal, incoherent one. It comes across very much like the Goon show -- though like one of the later episodes where Milligan has lost all sense of narrative coherence: [Excerpt: The Beatles, "Pantomime: Everywhere It's Christmas"] it's probably the best of the group's Christmas efforts, and certainly the most fully realised to this point. The 1967 Christmas record, "Christmas Time is Here Again", is even more ambitious. It's another narrative, which sees the group playing a fictitious group called the Ravellers, auditioning for the BBC: [Excerpt: The Beatles, "Christmas Time is Here Again"] It also features parodies of broadcasting formats, which I've seen a few people suggest were inspired by the Bonzo Dog Band's then-recent Craig Torso Show radio performances, but which seem to me more indicative just of a general shared sense of humour: [Excerpt: The Beatles, "Christmas Time is Here Again"] But that record has become most famous for having one of the closest things on any of these records to a full song, the title track "Christmas Time is Here Again": [Excerpt: The Beatles, "Christmas Time is Here Again"] As well as later being issued as the B-side of a CD single, that was also remade by Ringo as a solo record: [Excerpt: Ringo Starr, "Christmas Time is Here Again"] Although my favourite use of the song is actually as an interpolation, with slightly altered lyrics, in "Xmas Again" by Stew of the Negro Problem, one of my favourite current songwriters: [Excerpt: Stew, "Xmas Again"] "Christmas Time is Here Again" would be the last Christmas record the group would make together. For their final two Christmas releases, they recorded their parts separately and got their friend, the DJ Kenny Everett, who was known at this point for his tricks with tape editing, and who shared their sense of humour (he later went on to become a successful TV comedian) to collage them together into something listenable. The highlight of the 1968 record comes from George's contribution. George, a lover of the ukulele, got Tiny Tim to record his version of "Nowhere Man" for the record: [Excerpt: Tiny Tim, "Nowhere Man"] And for the seventh and final Christmas single, recorded after the group had split up but before the split was announced, Everett once again cobbled it together from separate recordings, this time a chat between John and Yoko, Ringo improvising a song and plugging his new film, and Paul singing an original Christmas song: [Excerpt: Paul McCartney, "Merry, Merry, Year"] George's contribution was a single sentence. In 1970, the fan club members got one final record -- an actual vinyl album, compiling all the previous Christmas records in one place. All the Beatles would in future record solo Christmas singles, some of which became perennial classics, but there would never be another Beatles Christmas record [Excerpt, the end of the third Beatles Christmas record]

Colabora Con Biblioteca Del Metal: En Twitter - https://twitter.com/Anarkometal72 Y Donanos Unas Propinas En BAT. Para Seguir Con El Proyecto De la Biblioteca Mas Grande Del Metal. Muchisimas Gracias. La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Journey es una banda de rock creada en 1973 en San Francisco, Estados Unidos, por el teclista Gregg Rolie y el guitarrista Neal Schon, integrantes originales de Santana. De estilo rock progresivo en sus inicios, fue cambiando a un estilo más melódico con la incorporación del vocalista Steve Perry en 1978, quien con su voz convirtió a la banda en una de las más destacadas de los años 1980, con ventas de más de 75 millones de discos en todo el mundo convirtiéndolos en uno de los artistas más exitosos de todos los tiempos​ Journey alcanzó la cima del éxito en 1981 con el álbum Escape, que contenía canciones como «Open Arms», «Who's Crying Now» y «Don't Stop Believin'». Durante ese período, la banda lanzó una serie de canciones de éxito, incluyendo «Don't Stop Believin'» de 1981, el más vendido en la historia de iTunes​​​ Las raíces de Journey se encuentran en San Francisco, donde en 1971 el representante de Carlos Santana, Walter Herbie Herbert, decidió organizar una banda de músicos, originalmente llamada The Golden Gate Rhythm Section. Insatisfecho con la dirección musical que buscaba Santana, el teclista/vocalista Gregg Rolie y el guitarrista Neal Schon dejaron la banda en 1972. Prairie Prince de The Tubes, el bajista Ross Valory de Frumious Bandersnatch, y el guitarrista rítmico George Tickner fueron añadidos al nuevo proyecto. Tras un infructuoso concurso radial que buscaba un nombre para el grupo, Jack Villanueva​ sugirió el nombre "Journey.".​ La primera aparición pública del grupo fue en Winterland en la víspera de año nuevo en 1973. Al día siguiente volaron a Hawái a tocar en el Crater Festival. A comienzos de 1973, Prairie Prince se reunió con su antiguo grupo, The Tubes, así que Herbert trajo a Aynsley Dunbar, un baterista que había tocado con John Lennon, Frank Zappa, John Mayall, Jeff Beck, Bonzo Dog Band, Mothers of Invention, Lou Reed, y David Bowie. El 5 de febrero de 1974, la nueva conformación del grupo debutó en el Great American Music Hall, asegurando un contrato con Columbia Records. Journey lanzó su álbum homónimo en 1975. Ese mismo año Journey invitó a Albert King a uno de sus conciertos. El disco mostraba el considerable talento de la banda para la música jazz-fusión y el rock progresivo. El guitarrista rítmico Tickner dejó la banda poco antes de la grabación del segundo álbum del grupo, Look into the Future (1976), el cual le bajó el tono al sonido progresivo del primer disco, pero retuvo su base de jazz-fusión. El siguiente disco, Next, intentó reducir la duración de sus canciones para apelar a una mayor audiencia, e incluyó a Neal Schon cantando varias de las canciones, pero aun así, el éxito comercial seguía eludiéndoles. Con las ventas mediocres de Next el grupo fue presionado por el estudio para cambiar de dirección y buscar un nuevo cantante. Como resultado, Journey trajo a Robert Fleischman. Nativo del sur de California, Fleischman había estado tocando con un grupo de Chicago cuando su representante, Barry Fey, lo trajo a Denver en 1977 para una entrevista con ejecutivos de un estudio. "Estaba nevando mucho y no sabíamos si los ejecutivos iban a lograr llegar a la reunión, pero luego aparecieron muchas personas de la Costa Oeste y de la Costa Este" recuerda Fleischman.​​ Él fue "descubierto" por un ejecutivo de la CBS en dicha reunión, y un par de semanas después, fue enviado a San Francisco para una audición con Journey. A Fleischman le fue notificado que la banda buscaba un estilo más popular, similar al de Foreigner o Boston, por lo que Fleischman supo que su vocalización inspirada por Robert Plant de Led Zeppelin sería un extra. Sin embargo, la potencia de la banda a la que él se intentaba unir, lo impresionó. En su primera sesión de estudio juntos, Fleishman señala, "Era como... tener fuegos artificiales en la bolsa de atrás. Ellos llevaban tanto tiempo tocando juntos, y lo hacían tan bien, que era grandioso tocar con gente así".​ Dichas sesiones produjeron el tema "For You," que luego aparecería en Time, y "Wheel in the Sky," que luego fue re-editada sin Fleischman para el disco Infinity. Fleischman salió de gira con la banda a inicios del año siguiente, pero su lugar en el grupo tenía las horas contadas. Mantuvo a su propio representante, Barry Fey, lo cual demostró ser una constante confrontación con el representante de Journey, Herbie Herbert. Adicionalmente, Herbert parecía no estar dispuesto a dejar que la nueva dirección de la banda saliera a relucir de inmediato, lo cual terminó en situaciones como que Fleischman tenía que agitar una pandereta mientras el resto del grupo seguía tocando sus canciones antiguas para su grupo de seguidores jazz-fusión. Fleischman también chocó con otros miembros del grupo debido a que, aparentemente, no era un escritor de canciones muy productivo.​ El representante Herbie Herbert había oído mencionar al cantante Steve Perry, quien había pasado recientemente por la ruptura de su grupo Alien Project. Tras oír una demo de Perry (que Jack Villanueva le había hecho llegar), Herbie supo que había que hacer un cambio. Tras un interesante entretiempo durante el que Perry fue presentado a la banda (se le dijo a Fleischman que Perry era el primo portugués de Villanueva), Fleischman fue despedido. Perry hizo su debut público con Journey en el Old Waldorf en San Francisco, el 28 de octubre de 1977. Perry conoció a Schon, y la pareja rápidamente escribió su primera canción, "Patiently", que aparecería en el disco Infinity de 1978. Perry aportó su voz de contratenor, limpia y poderosa, a canciones como "Lights," "Wheel in the Sky," y "Anytime." Además, el productor de Queen, Roy Thomas Baker (originalmente traído por Fleischman) ayudó a darle más capas al sonido de la banda. Los cambios funcionaron, y Journey saltó al estrellato. Infinity llegó al puesto Nº 21 en ventas de discos y le dio a Journey su primer disco de platino. Sin embargo, no todos los miembros del grupo estaban felices con la nueva dirección musical. En septiembre de 1978, el baterista Aynsley Dunbar fue despedido y reemplazado por Steve Smith,​​ quien había estudiado jazz en la prestigiosa escuela Berklee en Boston, Massachusetts. El siguiente álbum de la banda, Evolution produjo el primer sencillo Top 20 de Journey, "Lovin', Touchin', Squeezin.'" El álbum Departure (1980) extendió el ascenso del grupo, llegando al n.º 8 en ventas de discos. «Any Way You Want It» fue un éxito Top 25 con amplia difusión en la radio. Luego, Journey fue a Japón a grabar la banda sonora de la película Dream After Dream, a petición del director de dicho filme. En este punto, los conciertos en vivo eran llenados por fanáticos que favorecían la nueva dirección musical del grupo, con algunos celebrando a Perry como alguna vez se hizo con Elvis Presley (sin embargo, el grupo tocaba sus viejas canciones durante los descansos de Perry tras bambalinas). Journey estaba destinado al éxito en gran escala, y a inicios de 1981 lanzó un disco en vivo llamado Captured, grabado durante los conciertos de la gira Departure en 1980. Las primeras 5 canciones del disco fueron del concierto del 8 de agosto en el Fórum de Montreal (Quebec). Otras 2 fueron de conciertos en Tokio y el resto del Cobo Hall en Detroit. Exhausto de tanto salir de gira, Rolie dejó el grupo, siendo esta la segunda vez que abandonaba una banda exitosa en su carrera.​ Recomendó a Jonathan Cain de The Babys para que lo reemplazara.​ Como si pudiera predecir el ambiente musical de los 1980s, Cain favoreció el uso del sintetizador por encima del órgano Hammond de Rolie. El grupo sabía que se les estaba uniendo un gran teclista, pero ignoraban lo poderoso de las habilidades de Cain para escribir canciones. En 1981, el séptimo disco de estudio de Journey, Escape llegó al n.º 1 de las listas, y finalmente se convirtió en su disco más vendido y popular, siendo 9 veces disco de platino. Los sencillos «Who's Crying Now», «Don't Stop Believin'» y «Open Arms» llegaron al Top 10. El trabajado sonido de la banda, encabezada por el distintivo sonido (y pronto, ampliamente imitado) de Steve Perry, se convirtió en una presencia popular en la radio. El canal MTV grabó uno de sus dos conciertos a sala llena en Houston, Texas, el 6 de noviembre de 1981 en frente de más de 20.000 aficionados.​ En particular, «Don't Stop Believin'» mostraba lo bien logrado del rango de contratenor de Perry en conjunto con el piano de Cain y la dinámica guitarra de Schon. «Open Arms», que estuvo 6 semanas en el n.º 2 en las listas de popularidad, ayudaron a establecer a Journey como el estándar del rock de los años ochenta. Tal éxito le valió poco a Journey con los críticos de música. La Rolling Stone Record Guide de 1983 le dio a cada uno de sus discos solo una estrella, y el crítico Dave Marsh escribió que «Journey era un callejón sin salida para el rock de San Francisco... excesiva trivialidad... banalidad... una explotación de un acto cínico». Marsh luego añadió Escape como uno de los peores discos en llegar al n.º 1 en la historia. Con justicia o no, los críticos a menudo categorizaban a Journey con otros actos de rock corporativo como Foreigner, Asia y Survivor. Journey también fue uno de los primeros grupos en ser patrocinado por una empresa grande, Budweiser, al cual mencionaban en las portadas de sus discos. Esto contribuyó a su imagen negativa de rock corporativo, o más precisamente, rock patrocinado por empresas. El representante Herbie Herbert, sin embargo, comentó al respecto que «se debe sembrar mientras dure la primavera»[11] La banda claramente había cortado con sus raíces hippies de Haight-Ashbury. En 1982, la banda aportó la canción «Only Solutions» a la película Tron de Disney. Casualmente, ese mismo año Journey se volvió el primer grupo en inspirar un videojuego: el arcade Journey por Bally/Midway, y Journey Escape de Data Age, para el Atari 2600. El próximo disco de Journey, Frontiers (1983), continuó su éxito comercial. Llegó al n.º 2 de ventas, y produjo 4 sencillos exitosos, de los cuales «Faithfully» y «Separate Ways» llegaron a n.º 12 y 8, respectivamente. La presencia de Cain continuó siendo fuerte en este disco, tanto por ser cantautor (él solo escribió «Faithfully») como por su uso de sintetizadores. Había llegado la era de MTV, y la popularidad de Journey se incrementó por un vídeo musical de corte documental acerca de «Faithfully», que mostraba a varios miembros del grupo con sus familias de gira, y que ayudó a que la canción se ganara un lugar, junto con «Turn the Page» de Bob Seger y «The Load's Out» de Jackson Browne, como una canción favorita para conciertos. Las escenas del documental fueron rodadas en Estadio JFK en Filadelfia, Pensilvania, con más de 80.000 aficionados presentes.​ Poco tiempo después, la banda recibió una petición de un joven moribundo de 16 años llamado Kenny Sykaluk, quien luchaba contra la fibrosis quística. Kenny quería conocer a la banda. Journey honró el deseo de Kenny, y no sólo lo visitaron en su cama, sino que le obsequiaron un walkman con su último sencillo, «Only the Young». Kenny murió en menos de un día después. En el episodio de Behind the Music de Journey, Jonathan Cain lloró al recordar la visita a Kenny, mientras que Neal Schon dijo que dicha visita «cambió mi forma de ver la vida». El cantante Steve Perry recibió mucho del crédito por el éxito de Journey. En 1984, lanzó un disco como solista, Street Talk, el cual tuvo éxito y lanzó un sencillo popular, cuyo vídeo fue emitido en MTV, llamado «Oh Sherrie». Perry también grabó Don't Fight It (1982), con Kenny Loggins. El guitarrista Neal Schon produjo dos discos con Jan Hammer en 1981 y 1983, y en 1985 fue parte del proyecto Hagar Schon Aaronson Shrieve (junto a Sammy Hagar, Kenny Aaronson y Michael Shrieve). Tras el lanzamiento de su disco en solitario, Perry tomó el control de la dirección musical en estudio de la banda. Para decepción del representante Herbie Herbert, el bajista Ross Valory y el baterista Steve Smith fueron despedidos de la banda por diferencias musicales y profesionales, y en 1986 Journey lanzó su álbum Raised on Radio como un trío Perry, Schon, y Cain. Varios músicos de estudio llenaron las dos vacantes, entre ellos el ahora jurado de American Idol, Randy Jackson y el establecido músico de estudio Larrie Londin. La producción se detuvo constantemente, debido a la decadente salud de la madre de Perry, Mary Pereira. Al final, el álbum vendió dos millones de copias. Una truncada gira le siguió, presentando a Jackson en el bajo y a Mike Baird en la batería. Luego, Perry, exhausto de tantas giras, sufriendo por la reciente muerte de su madre (con quien tuvo una relación muy cercana) y el colapso de su relación de 6 años con Sherrie Swafford, dejó Journey en 1987, terminando el recorrido de la banda en la cima. A pesar de trabajar en un proyecto en solitario en 1989 titulado Against The Wall, el cual finalmente fue desechado, Steve Perry abandonó la industria musical por varios años antes de grabar «For the Love of Strange Medicine» en 1994 y lanzar un compilado de grandes éxitos en 1998. Neal Schon y Jonathan Cain hicieron equipo con los ex-Babys (la antigua banda de Cain), John Waite y Ricky Phillips, formando Bad English con el baterista Deen Castronovo en 1988. Además, cada uno grabó discos en solitario. Luego, Schon y Castronovo se unieron al grupo del cuñado de Schon, Hardline. Steve Smith se metió de lleno en su proyecto de jazz, Vital Information, el cual eventualmente llegó a desarrollar un grupo de fanáticos de tamaño respetable. En 1991, Ross Valory, Steve Smith, y Greg Rolie se unieron a The Storm con el cantante Kevin Chalfant y el guitarrista Josh Ramos. De 1987 a 1995, Journey observó cómo crecía la venta de sus discos. Lanzaron tres recopilatorios, los cuales lograron excelentes ventas. En 1993, Kevin Chalfant (de The Storm) tocó con los miembros de Journey en algunos conciertos, y Schon, Cain, Valory, Smith y Rolie consideraron brevemente una reunión bajo el nombre de Journey con Chalfant como cantante, pero al final tal proyecto no fructificó. Ese año, Steve Perry propuso volver a la banda bajo la condición de que se cambiara de representante. Herbie Herbert fue despedido y se eligió a Irving Azoff, y en 1995 Perry volvió una vez más a Journey. En 1995, la formación que tenía Journey en 1981 volvió a juntarse. Perry, Schon, Smith, Cain, y Valory volvieron al estudio y produjeron el famoso disco Trial by Fire en 1996, que incluye los éxitos «When You Love a Woman» y «Message of Love», nominado a un Grammy. Tras el éxito de Trial by Fire, los miembros de Journey se prepararon para una gira prometedora. La sensación causada en los medios y la emoción alrededor de volver a ver a la banda de gira fueron intensas, pero todo esto llegó a un abrupto final cuando Perry se lastimó la cadera en una caminata en Háwai. Perry probablemente iba a necesitar un reemplazo de cadera. A pesar de esto, le fue difícil tomar una decisión respecto a su estado de salud (pues le era imposible presentarse en el escenario sin someterse a dicha cirugía), pero en 1998 la banda lo presionó para que tomara una decisión. Cuando Perry rehusó a operarse, Cain y Schon decidieron continuar la banda sin él. El baterista Steve Smith decidió dejar la banda en esa misma época, para volver a Vital Information. En febrero de 2001, la banda participó en un episodio de Behind the Music en VH1, pero algunos comentarios hechos durante la grabación del programa contribuyeron a calentar los ánimos entre Perry y el resto de la banda. Ese mismo año, Herbie Herbert ofreció una entrevista en la que él daba su propia opinión acerca de la historia del grupo.[12] Luego, en 2003, Robert Fleischman comentó su propia participación en el grupo.[13] En 1998 Journey se vio buscando baterista y cantante. La plaza de baterista fue llenada por Deen Castronovo, compañero de Schon y Cain en Bad English, y que entonces tocaba con Hardline. El nuevo cantante fue Steve Augeri, anteriormente de Tyketto y Tall Stories. Augeri había abandonado el negocio de la música y trabajaba como gerente en una tienda de The Gap en Nueva York. Augeri recibió una llamada telefónica de Schon, quien había escuchado su demo. Schon lo invitó a audicionar para la banda y, a pesar de no haber cantado mucho en tiempos recientes, impresionó a los miembros de Journey lo suficiente como para obtener el trabajo. El parecido de Augeri con Perry, tanto visual, vocal, y hasta en su nombre, causó cierto revuelo entre los fanáticos más antiguos, ayudado por la popularidad de internet y sus foros. Algunos fanes rechazaron a un Journey sin Steve Perry. Otros se volvieron verdaderos fanes de Steve Augeri, culpando a Perry por la decaída popularidad de la banda. Pero la mayoría de los fanáticos dudaron del cambio y (tras oírlo en vivo o en disco) aceptaron a Steve Augeri. Además de su talento, esto tenía mucho que ver con la personalidad del nuevo cantante: era extremadamente amable y simpático con cada nuevo fanático que conocía. La nueva formación de Journey rápidamente volvió a trabajar, grabando una canción para la película Armageddon llamada «Remember Me». En 2001, lanzaron su siguiente disco de estudio, Arrival. El disco originalmente fue publicado en Japón a finales de 2000, pero debido a que algunas de las canciones del disco se filtraron y terminaron en internet con comentarios mayormente negativos de los fanes por su sonido de balada, Journey decidió demorar un poco el lanzamiento de dicho disco en Estados Unidos y añadir dos canciones más pesadas para la versión estadounidense. «All the Way», de dicho disco, se convirtió en un éxito menor. En 2003, la banda lanzó un CD con cuatro canciones titulado Red 13, cuyo diseño de portada fue escogido en un concurso de fanes. En 2005, la banda se embarcó en su gira de 30 aniversario, regalando copias promocionales de su último lanzamiento de estudio, Generations para ganadores seleccionados en cada concierto. Tales conciertos, que duraban tres horas, eran divididos en dos partes: la primera con material de la época de su mayor fama (algunas de esas canciones, tocadas en vivo por primera vez en décadas), mientras que la segunda parte comprendía Escape y otros. La reputación de Journey ante la crítica no mejoró al cabo del tiempo: la edición de 2004 del Rolling Stone Album Guide llama a Journey el «acto de karaoke perfecto», y no le da más de dos estrellas y media (de cinco posibles) a ninguno de sus discos. Varias bandas tributo de Journey se han formado por todo Estados Unidos, con distintos grados de éxito (usualmente en escala local), y el cantante Kevin Chalfant de The Storm ocasionalmente se juntaba con The Gregg Rolie Band para tocar algunos éxitos de Journey de la época 1978-1980. Aunque ha sido criticado como un grupo de orden corporativo, Journey ha retenido una masa de fanes fiel a lo largo de su carrera; su música aparece en programas de TV y películas. La radio a menudo toca sus éxitos, exponiendo su música a nuevas generaciones de oyentes. Journey ganó nuevas atenciones en la década del 2000, debido a que Randy Jackson, tras su participación con Journey, se convirtió en un ejecutivo musical muy exitoso, y luego en juez de American Idol. Vídeos de Jackson con la banda se han mostrado en el programa, y varios de los participantes han intentado cantar canciones de Journey. Los más recordados han sido Clay Aiken cantando «Open Arms» en una semifinal (y luego a dúo con Kelly Clarkson en una gira de conciertos), y Elliott Yamin, también con dicha canción, en la semifinal de 2006. Judy Torres lanzó una versión del sencillo «Faithfully» en 2005. La canción «Don't Stop Believin'» se convirtió en un himno de batalla de la Serie Mundial de 2004, donde los campeones Medias Rojas de Boston ganaron la serie tras ir abajo 3 juegos a 0 contra los Yankees en la serie de división de la Liga Americana y también en 2005, donde en el desfile de la victoria de los Chicago White Sox, Steve Perry fue invitado para que cantara con miembros del equipo. El 6 de febrero de 2005 «Don't Stop Believin'» salió en un anuncio de FedEx, en el que salía Burt Reynolds y que fue programado durante el Super Bowl XXXIX. En diciembre de 2005, «Don't Stop Believin'» llegó al n.º 13 en la lista Hot Digital Songs, y fue nominada para dos categorías en unos premios de VH1. En julio de 2007, la canción apareció en la escena final de la serie de HBO The Sopranos. Petra Haden lanzó un cover de la canción en septiembre de 2007. En 2003, Journey fue admitido al Salón de la Fama de la Música de San Francisco. A la ceremonia asistieron Gregg Rolie, Jonathan Cain, Steve Smith, Ross Valory, Neal Schon, Aynsley Dunbar, Deen Castronovo, y Steve Augeri. Dos años más tarde, el 21 de enero de 2005, Journey recibió una estrella en el Paseo de la Fama de Hollywood, y Steve Perry apareció de sorpresa en la ceremonia. Las relaciones con el resto del grupo mejoraron, pero Perry dijo que no había posibilidad de una reunión con su antigua banda en el futuro cercano. Diez miembros de Journey se juntaron ese día: Perry, Augeri, Cain, Castronovo, Dunbar, Fleischman, Schon, Smith, George Tickner, y Valory. En 2009, la serie Glee, del canal Fox, hace varias referencias a Journey en diferentes capítulos de la primera temporada, siendo Don't Stop Believin' la canción principal del primer capítulo de la serie. En la temporada final, se realiza un «Journey Medley». En julio de 2006, Steve Augeri comenzó a experimentar problemas con su voz y fue obligado a renunciar. Anunció que dejaría la banda por un tiempo debido a una infección en la garganta que requería que dejara descansar a sus cuerdas vocales.  La banda trajo a Jeff Scott Soto para sustituirlo. Además, Deen Castronovo, quien llevaba tiempo cantando los coros e incluso sustituyendo a Augeri como cantante, cantó en power ballads como «Faithfully» y «Open Arms». El 19 de diciembre de 2006 la banda emitió un comunicado en su página oficial, donde nombraban a Soto como vocalista permanente.​ Sin embargo, el 12 de junio de 2007, Journey anunció la salida de Soto.​ El breve periodo de Jeff Scott Soto como vocalista se parece al igualmente breve periodo de Robert Fleischman en la misma posición en 1977, de la cual salió la decisión de contratar a Steve Perry. Los fanes especulan​ que la banda persigue la misma cadena de sucesos que hace 30 años les dio resultado. En septiembre de 2007, empezaron a circular fotos del poco conocido cantante Arnel Pineda con Journey. En el sitio oficial de Journey se da el comunicado oficial que Arnel Pineda será el nuevo vocalista oficial. Pineda tocaba con el grupo The Zoo​ el cual se dedicaba a tocar versiones de varias bandas. Neal Schon lo encontró por YouTube. Se contactó con él y luego de una soberbia audición fue incorporado a la banda. Su primera presentación oficial con Journey se realizó el 21 de febrero del 2008 en el Festival Internacional de la Canción de Viña del Mar en Chile con una transmisión televisiva en conjunto para 80 países y en vivo por señales locales, de cable y el afamado canal A&E. Pineda derrochó energía y logró cautivar a todo el público con su voz muy parecida a la de Steve Perry y su gran presencia escénica, rejuveneciendo a la banda y dejando en segundo plano su carácter de absoluto novato. Los periódicos y sitios de Internet de foros audiovisuales tipo YouTube se plagaron a los pocos minutos de sendos elogios para el nuevo vocalista y a su vez la prensa especializada nacional como extranjera alabó la presentación del grupo.​ Journey dio luego un concierto en el Estadio San Carlos de Apoquindo de Santiago, Chile, el 23 de febrero del 2008 junto a Peter Frampton y Earth, Wind & Fire, constituyéndose Chile en la única parada que se realizaría en Sudamérica con un gran éxito. Su siguiente álbum, Revelation, debutó en el n.º 5 en las listas de Billboard, vendiendo más de 196.000 unidades en sus dos primeras semanas y manteniéndose en el top 20 durante 6 semanas.​Journey también encontró el éxito en las listas contemporáneas, donde el sencillo «After All These Years» pasó más de 23 semanas alcanzando el número 9.​ Los ingresos procedentes de la gira del 2008 la convirtieron en una de las más taquilleras del año, recaudando más de 35 millones de dólares.​ El 18 de diciembre de 2008, el álbum Revelation fue certificado disco de platino por la RIAA.​​ El segundo álbum de la banda con Pineda, Eclipse, fue lanzado el 24 de mayo de 2011, y debutó en el n.º 13 en el Billboard 200.​ En noviembre de 2011, Journey lanzó su segunda recopilación de grandes éxitos, titulada Journey: Greatest Hits: Volume 2, que incluye canciones escogidas por el exvocalista Steve Perry. Durante la gira del año 2015, el baterista Deen Castronovo fue reemplazado por el músico de sesión Omar Hakim.​ Luego la banda anunció que Steve Smith retornaría nuevamente a ocupar el puesto de baterista en Journey. 25 de Junio 2021 nuevo single de Journey «The Way We Used To Be» es la primera canción que se estrena con la formación actual de Journey, compuesta por el guitarrista Neal Schon, el cantante Arnel Pineda y el teclista Jonathan Cain junto con las últimas incorporaciones: el batería Narada Michael Walden, el bajista Randy Jackson y teclista y cantante Jason Derlatka. A lo largo de diferentes entrevistas, el guitarrista Neal Schon ha dado a entender que esta nueva entrega discográfica está bastante avanzada, y que con suerte verá la luz antes de que termine el presente ejercicio. “Ya tenemos como seis temas rockeros», comentaba Schon en una entrevista con Rock & Review de FOX17 a finales del pasado año, y añadía que publicaran unos tres singles antes de estrenar el álbum completo e iniciar su gira de presentación. 29 de Julio de 2021 Deen Castronovo vuelve a Journey El guitarrista de Journey, Neal Schon, ha confirmado en las redes sociales que el ex baterista Deen Castronovo se ha reincorporado a la banda. Schon confirmó el regreso de Castronovo en una serie de comentarios en Facebook debajo de una historia del San Francisco Chronicle sobre Journey, que compartió el miércoles. Un fan comentó en la publicación, «Entonces, ¿Deen Castronovo está de vuelta en la banda ahora a tiempo completo?» a lo que Schon respondió simplemente, «Sí». Respondiendo a otro fan que imploró a la banda que «traigan de vuelta a Deen de nuevo», escribió Schon, «Deen ha vuelto. Ahora somos dobles (2) bateristas con Narada [Michael Walden, que se unió a la banda en 2020]». Schon no reveló hasta qué punto Castronovo participará en los espectáculos de Journey inmediatos y futuros. El guitarrista insinuó del regreso de Castronovo el martes cuando tuiteó una foto que parecía ser de los ensayos del concierto del viernes por la noche de la banda en el Aragon Ballroom en Chicago, que precede a la actuación del domingo de Journey en Lollapalooza. «Ok … Doble problema Chicago @NaradaMWalden @DeenTheDrummer Narada Michael Walden y el regreso de Deen Castronovo a la batería @AragonBallroom @lollapalooza», subtituló Schon en su publicación.​ Don't stop believin Monster «Any Way You Want It» - Caddyshack (1980)

In an episode first aired September 5, 2022: DJ Andrew Sandoval surveys the five summer editions of his show and selects his favorite tracks alongside a handful of more recent discoveries. Artists include: Bruce & Terry; The Ragamuffins; Mark Eric; The Stephen Crane Village; Freddie Cannon; Brian Hyland; Harmony Grass; The Higher Elevation; The Hot Dog Stand; Teddy & The Pandas; The Fresh Windows; The Gibsons; The Chocolate Watch Band (UK); The Bystanders; Los Iberos; The Pyramid; The Love Generation; Nancy Sinatra with Lee Hazlewood; Johnny Rivers; The Two Of Each; The Kinks; Love; The Monkees; Little Anthony & The Imperials; The 5th Dimension; The Six Pents; Jan & Dean; The Shangri-Las; Skeeter Davis; The Street Corner Society; Lesley Gore; The Beach Boys; The Dave Clark Five; David Kerr; The California Poppy Pickers; The Fortunes; The Imaginations; Floyd & Jerry with The Counterpoints; Toast; The Peppermint Trolley Company; The Seeds; The Bonzo Dog Band; Bill Fay; Ray Chafin; Sonny & Cher; Mournin' Do; Marianne Faithfull; Reparata & The Delrons; Saturday's Photograph; Tuesday's Children; Twice As Much; The Bee Gees; Del Shannon; Chad & Jeremy and Dusty Springfield

This episode is part of Pledge Week 2022. Every day this week, I'll be posting old Patreon bonus episodes of the podcast which will have this short intro. These are short, ten- to twenty-minute bonus podcasts which get posted to Patreon for my paying backers every time I post a new main episode -- there are well over a hundred of these in the archive now. If you like the sound of these episodes, then go to patreon.com/andrewhickey and subscribe for as little as a dollar a month or ten dollars a year to get access to all those bonus episodes, plus new ones as they appear. Click below for the transcript Transcript A few episodes back, we took a look at the Who's early records, and in passing we talked about the Ivy League, the studio group who sang backing vocals on their first single under that name. In this bonus episode, we're going to look at one of the biggest hits any of the members of the Ivy League were involved in -- a record that became a massive hit, won a Grammy, and changed the career direction of one of the most important comedy bands in Britain. We're going to look at "Winchester Cathedral" by the New Vaudeville Band: [Excerpt: The New Vaudeville Band, "Winchester Cathedral"] In his book Revolution in the Head, Ian MacDonald makes the point that the quintessential line in British psychedelia is from George Harrison's "It's All Too Much", where Harrison sings "Show me that I'm everywhere, and get me home for tea". Whereas American psychedelia is often angry and rebellious -- understandably, since it was often being made by people who were scared of being drafted to fight in a senseless war, and who were living through a time of great instability more generally -- British psychedelia was tinged with nostalgia, both for childhood and for a lost past of the Empire that had now ended. Now, we're going to get into that in much, much, greater detail when we look at the records the Beatles, the Kinks, the Who and others made in this period, but suffice to say that *one* of the several streams of thought that shaped the youth culture of Britain in the 1960s was a nationalistic one, partly in reaction to a perceived dominance by American culture and a belief that there were things about British culture that deserved celebrating too. And part and parcel of that was a celebration of the popular culture of the 1920s and thirties, the height of Britain's influence in the world. This nationalism, incidentally, was *not* necessarily an entirely regressive or reactionary thing, though it certainly had those elements -- there was a strong progressive element to it, and we'll be unpacking the tensions in it in future episodes. For the moment, just take it that we're not talking about the sort of flag-waving xenophobia that has tainted much of modern politics, but something more complicated. This complex relationship with the past had been evident as early as the very early 1960s, with acts like the Alberts and the Temperance Seven reviving 1920s novelty songs in what would now be considered a postmodern style: [Excerpt: The Temperance Seven, "You're Driving Me Crazy "] That had temporarily gone into abeyance with the rise of the Beatles and the bands that followed in their wake, making guitar music inspired by American Black musicians the new popular thing in British culture. But that stream of the culture was definitely there, and it was only a matter of time before music business professionals would notice it again and start to try to capitalise on it. And Geoff Stephens did just that. Stephens was an odd character, who had entered the music business at a relatively late age. Until the age of thirty he worked in a variety of jobs, including as a teacher and an air traffic controller, but he was also involved in amateur theatrics, putting on revues with friends for which he co-wrote songs and sketches. He then went on to write satirical sketches for radio comedy, writing for a programme hosted by Basil Boothroyd, the editor of Punch, and started submitting songs to Denmark Street publishers. Through his submissions, he got a job as a song plugger with a publishing company, and from there moved into writing songs professionally himself. His first hit, co-written as many of his songs were with Les Reed, was "Tell Me When", the debut single for the Applejacks, which made the top ten: [Excerpt: The Applejacks, "Tell Me When"] Many hits as a writer and producer soon followed, including writing "The Crying Game" for Dave Berry: [Excerpt: Dave Berry, "The Crying Game"] And signing Donovan and co-producing his first two albums and earliest hit singles: [Excerpt: Donovan, "Catch the Wind"] Stephens had been making hits for a couple of years when he conceived the novelty record "Winchester Cathedral", which he recorded with John Carter of the Ivy League on lead vocals, imitating the style of Rudy Vallee, one of the most popular singers of the 1920s, who sang through a megaphone -- he became popular before electronic amplification was a big thing. The record was made by session players, and released under the name "The New Vaudeville Band": [Excerpt: The New Vaudeville Band, "Winchester Cathedral"] The record immediately began to sell. It became a massive, massive, worldwide hit, selling three million copies and inspiring a cover version by Rudy Vallee himself: [Excerpt: Rudy Vallee, "Winchester Cathedral"] Oddly, this wasn't the last time in the sixties that a major hit would be inspired by the sound of Rudy Vallee... But Stephens had a problem. People wanted the New Vaudeville Band to tour, and he didn't actually have a touring act. So he turned to the next best thing. The Bonzo Dog Doo-Dah Band were a band of dadaist comedy performers who had a wonderful stage act, which among other things involved their lead singer Vivian Stanshall wearing a gold lame Elvis suit, their drummer Sam Spoons playing spoons and washboard, and comedy moments like band members holding up speech bubbles, so for example when someone took a solo, one of the other members might hold up a cardboard speech bubble saying "Wow! I'm really expressing myself!" Their repertoire largely consisted of novelty tunes -- some from the fifties, but mostly songs they'd learned from old 78s from the 1920s, like their first single: [Excerpt: The Bonzo Dog Doo-Dah Band, "My Brother Makes the Noises for the Talkies"] As Bonzos guitarist Neil Innes always told the story, Geoff Stephens was friends with the band's trumpet player Bob Kerr, and called him up asking if the Bonzo Dog  Doo-Dah Band wanted to be the touring New Vaudeville Band. Kerr was excited -- his band would get to be proper pop stars! But when he went to talk to the rest of the group, they were dismissive. They were conceptual artists and creative people, and didn't want to be a manufactured pop band. Bob Kerr, on the other hand, thought that being paid vastly more money to do exactly the same stuff he was doing for next to nothing sounded like a great idea, and quit the band. The next thing the rest of his bandmates knew, they were watching him on Top of the Pops, performing with a band with a spoons player, a lead singer who wore a gold lame suit, and band members holding up cardboard speech bubbles. Kerr had taken the group's entire act, and they had to reinvent themselves, turning from 1920s pastiche to modern rock music -- and the chances are very good that we'll be following them up in the future. But of course, as well as an act, the new group needed a singer, and for that Stephens turned to Alan Klein. Now, this is not the Allen Klein who we've mentioned in the main podcast, and who will be coming up again in future episodes. This Alan Klein was someone who had been on the margins of the music industry as a writer and performer for some time. He'd made records with Joe Meek: [Excerpt: Alan Klein, "Striped Purple Shirt"] and he'd co-written the musical What A Crazy World, which had been made into a film which featured his songs being sung by Joe Brown, Marty Wilde, Freddie and the Dreamers, and...Harry H Corbett: [Excerpt: Harry H Corbett: "Things We Never Had"] He'd also made a single solo album, "Well, At Least it's British", which took a satirical look at British life in the 1960s that was hugely influential on Britpop in the 1990s, though the record sold almost nothing at the time: [Excerpt: Alan Klein, "Twentieth-Century Englishman"] With Klein as the new lead singer, the New Vaudeville Band were a real band. And indeed, they had three more top forty hits in the UK, though their most successful song after "Winchester Cathedral" was a song that Stephens and Les Reed wrote for them which wasn't a hit for them: [Excerpt: The New Vaudeville Band, "There's a Kind of Hush"] That *did*, though, become a big hit for Herman's Hermits: [Excerpt: Herman's Hermits, "There's a Kind of Hush"] The New Vaudeville Band were shortlived -- they only had a handful of hits, and Bob Kerr soon left the group after falling out with their manager, Peter Grant -- another figure who we'll definitely be hearing a lot more from in future episodes of the main podcast. Kerr formed Bob Kerr's Whoopee Band with Sam Spoons and Vernon Dudley Bohay-Nowell, two other former members of the Bonzo Dog Doo Dah Band, and they had a quietly successful career doing the same act that the early Bonzos had -- all three men also joined in Bonzo Dog Doo Dah Band reunion tours in 2006 and 2016. A revived version of the New Vaudeville Band, featuring only the drummer from the touring lineup, performed in the 70s and 80s to little success. But the group's biggest legacy remained their first hit, which actually won the Grammy for Best Contemporary (Rock & Roll) Recording in 1967, beating out a shortlist of "Eleanor Rigby", "Monday Monday", "Cherish", "Good Vibrations", and "Last Train to Clarksville". You can decide for yourselves if "Winchester Cathedral" was, in hindsight, a better record than those. But whether it was or not, it was a fun record that made a lot of people happy. Geoff Stephens, its creator, is unlikely to feature further in this podcast. He wrote many more hit records, but they were almost exclusively for artists like Dana, Tom Jones, Wayne Newton, Ken Dodd, and Mary Hopkin, whose careers lie largely outside the scope of a history of rock music, however broadly defined. He had a long and successful career, but died last Christmas Eve, aged eighty-six, from pneumonia, having been weakened by an earlier bout of covid. So as we enter a second Covid Christmas, I'd just like to say I hope you're all vaccinated, boosted, and otherwise safe. I'm hoping to get one more episode and bonus out before Xmas Eve, and I hope to see you all still here in the New Year. Vo-de-o-do [Excerpt: The New Vaudeville Band, “Winchester Cathedral”]

Guitarist and singer-songwriter Andy Roberts talks about his journey in music and his 50 year collaboration with Iain Matthews and Plainsong. In this extensive podcast we also cover his time with The Scaffold and Liverpool Scene in the 1960s and as well as playing with The Bonzo Dog Band, Pink Floyd, Roy Harper and Cat […] The post Andy Roberts appeared first on The Strange Brew  .

Ah, Dad and Willa were having too much fun on this one. We discussed a myriad of topics, but focused most of our attention on The Bonzo Dog Band and The Beatles' White Album. It was a lovely snowy afternoon when we recorded this one, and time was on our side. Please enjoy another rip-roaring episode of Dad's Attic!

Django Nudo and Smut Peddler try recording themselves on camera, rather than just with microphones. This could get interesting, at least if D.N. ever figures out how to use iMovie. In the meantime there is a shameless plug for the Everyman Cult Tuesday that kicks off in UK next week with a screening of the 4K restoration of "Night of the Living Dead" (1968).  This week we are proud to have partnered the British Film Institute (BFI) to showcase some lesser known films, which have been issued on the Flipside label. “BFI Flipside is dedicated to rediscovering the margins of British film, reclaiming a space for forgotten movies and filmmakers who would otherwise be in danger of disappearing from our screens forever. It is a home for UK cinematic oddities, offering everything from exploitation documentaries to B-movies, countercultural curios and obscure classics, If it's weird, British and forgotten, then it's Flipside.” We have four films from Flipside. “Herostratus” (1967) by Don Levy stars Michael Gothard and a 22-year old Helen Mirren, in a story of a young man who has decided to kill himself  spectacularly. Experimental and strange, it influenced directors such as Stanley Kubrick, Nicolas Roeg and Michael Winner. Worth the price of admission alone for the scene of (future Dame) Helen Mirren in a fetching corset and fishnets. (We play her sexy monologue about rubber gloves.)“Requiem for a Village” (1975) is a folk-horror/drama, though not as scary as well observed. Think of it as a genteel Night of the Midsommer Dead. Directed by David Gladwell, who was an editor for the BBC, this story of  the rural past of a Suffolk village coming to life through the memories of an old man. He tends a country graveyard and sees the dead rise up from the graves, living their lives again.  (We play the avantgarde choir.)"Voice Over" (1981) by Christopher Monger stars the great Ian McNeice in the lead. The film is a mix of “Berberian Sound Studio” (2012) and John Candy comedy “Delirious” (1991) in which a radio host see the line between fiction and brutal reality slowly blurring. Made for just £11,000  it became director Chris Monger ticket to Hollywood. (Hear the monologue by Ian McNeice when he starts to lose it.)"Sleepwalker" (1984) by Saxon Logan is the most pure horror of any of the films. Two couples stay in an old victorian house and “a fractious evening of drunkenness and sexual rivalry soon turns bloody as the guests fall victim to an unhinged attacker.” A mix of satire and horror, it is like a cross between the films of Lindsay Anderson and Dario Argento. (We play the eerie intro music.)Featuring two-thirds of the Pythons gang (Palin, Jones, Idle and Gilliam) “Do Not Adjust Your Set” (1967-69) was an influential 60s comedy sketch show with bizarre musical antics of the legendary Bonzo Dog Band. (We play their song Hunting Tigers Out in India.)  “Masters of Venus” (1962) was distributed as a cinema serial about two children accidentally launched into a space in a rocket built by their father (NB: not Elon Musk).Having accidentally crashed half-way through the recording (Smutty's laptop batteries died), we make it to the end and just give a quick name check to this week's other new film, "Frozen Scream" (1975). We end with Bonzo Dog Band's song Death Cab for Cutie, which is where the US indie band took their name from.

Legendary rock and roll magazine Trouser Press was a big part of my musical coming-of-age, so I was super excited to have founding editor/publisher Ira Robbins on the show to discuss a record that expanded HIS artistic horizons as a NY teenager: "Urban Spaceman" by Bonzo Dog Band. A collective as much as a band, the Bonzo's combined an absurdist mix of pop, cabaret, and Dada to create a surrealist portrait of late-60s England and beyond. Spotify episode playlist: https://open.spotify.com/playlist/6oHV5QxS9bYZr8bjFIDbds?si=d10a331b079e4199

Nice Things: https://www.youtube.com/channel/UCEH-fzAL4gqsvkhklMzxY_Q Twitter: https://twitter.com/NiceThingsShow Twitter: https://twitter.com/MichaelLivesley DAILY MAIL STORY: Bonzo Dog Dooda Band https://www.dailymail.co.uk/news/article-7640265/Rock-legends-Bonzo-Dog-Band-win-legal-ding-dong-Doo-Dah-name.html --- Send in a voice message: https://anchor.fm/vox-pop/message

Welcome to The Head Ballet podcast. Paul Abbott invites guests to discuss their favourite novelty songs. This episode marks one year of The Head Ballet's existence and what better way to celebrate than by exploring the band who gave the show its name and one member of that group in particular - the much loved and much missed Neil Innes. Joining Paul to talk about Neil and the Bonzos is Laura Grimshaw - producer for Radio 4 and Radio 4 Extra and presenter/producer of Podcast Radio Hour. Laura oversaw all of the recent Bonzos related documentaries for the BBC and you can listen to Anarchy Must Be Organised here. Thanks to everyone who has been involved with the show and everyone who has listened and said nice things. Reviews and ratings still very much appreciated. Find us on Twitter, Instagram or at gmail.com using the username HeadBalletPod.

Election fever has gripped Keighley! Or is that the Brasso shakes? Either way we're going to rock out to the June Whitfield-approved likes of Sounds of Swami, NOFX, Alice Cooper, Waving at Dinosaurs, Elton John, The Interrupters, Micky Dey and everyone's favourite Doctor Who Companion. Plus comedy, poetry, event news, stickiness and trouble. Tracklist: NOFX - "MURDER THE GOVERNMENT" (So Long and Thanks for All the Shoes, 1997) http://www.nofxofficialwebsite.com ALICE COOPER - "ELECTED" (Billion Dollar Babies, 1973) https://alicecooper.com SOUNDS OF SWAMI - "PALAVA" (Furniture For Modern Living, 2017) https://soundsofswami.bandcamp.com/merch NICK NICELY - "HILLY FIELDS (1892)" (Single, 1982) https://soundcloud.com/nick-nicely TEENAGE BOTTLEROCKET - "HEADBANGER" (Freak Out!, 2012) https://teenagebottlerocket.com/ WAVING AT DINOSAURS - "INTERNATIONALLY IGNORED" (Single, 2015) https://soundcloud.com/waving-at-dinosaurs THE INTERRUPTERS - "BAD GUY" (Single, 2019) https://wearetheinterrupters.com/ THE GO-BETWEENS - "WAS THERE ANYTHING I COULD DO?" (16 Lovers Lane, 1988) http://go-betweens.net/ MICKY DEY - "KEEP YOUR EYES ON YOUR OWN DESK" (Roam, 2014) https://homonym.bandcamp.com/ ELTON JOHN - "LEVON" (Madman Across The Water, 1971) https://www.youtube.com/watch?v=b-GAksFm7_k SLEEPER - "STATUESQUE" (The It Girl, 1996) https://twitter.com/Sleepertweeting BONZO DOG BAND - "NO MATTER WHO YOU VOTE FOR..." (Single, 1992) https://www.amazon.co.uk/Bonzo-Dog-Band/e/B000ARA152

Greetings & Salutations my inimitable Whizbanger Show listeners! I hope today treats you fine, dandy, well, healthy, and blessed. If you missed Friday’s show, here’s the podcast! It is available for streaming or download.   Don’t miss the very special Sound of the Whizbanger Underground next week, April 2, with my lovely with-woman, Miss Moon & Stars!   Have at it, share it, tag me, and be well. Thank you for tuning in and listening, y’all. S U R V I V E, Perturbator, Erkin Koray, Vieux Fara Toure, Amy Winehouse, The Mops, Shocking Blue, The Knife, John Carpenter, Tinariwen, Bonzo Dog Band, Melanie, Wu-Tang Clan, Outkast, The Parliaments, Bobby Womack, Pam Grier, War, Arlo Guthrie, Erykah Badu, Dr. John, Lady Ehepr, Frank Zappa, Nocturnal Hustle   Tune in to MMH – The Home Of Rock Radio every Friday from 2-4 PST | 10-midnight GMT to hear The Whizbanger Show.   Stream ===>>> www.mmhradio.co.uk   Whizbanger Show Podcasts ===>>> https://mmhradio.co.uk/podcasts/the-whizbanger-show/   Download the app ===>>> Google Play or Apple Store   Tell Alexa ===>>> Hey Alexa, play Midlands Metalheads Radio on TuneIn Tell Google ===>>> Hey Google, play MMH Radio on TuneIn   Get in touch with The Whizbanger: Email: thewhizbangershow@mmhradio.co.uk Facebook: www.facebook.com/whizbangershow Instagram: @sara.whizbanger Xoxo

In which we salute Chris Barber and Bunny Wailer, listen to Robert Fripp's £80-a-pop personal message service, marvel at the Kings Of Leon's new crypto-currency, relive the agony of the Bob Harris vinyl flood, wonder if Bob Weir's was the only decent rock ponytail, reconnect with the Drifters, Lonnie Donegan and Lewis Taylor ("the great undiscovered jewel of 20th C popular music"), and play 'Van Morrison song or Richard Littlejohn headline?', 'Oasis track or children's book?' and '50s wrestler or member of the Bonzo Dog Band?'.Want exclusive early access to every future Word Podcast (and in full audio-visual glory!) alongside a whole host of additional exciting, enlightening and entertaining content and benefits? Of course you do! Make sure you're signed up to our fabulous Patreon for all this and more: https://www.patreon.com/wordinyourear Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

In which we salute Chris Barber and Bunny Wailer, listen to Robert Fripp's £80-a-pop personal message service, marvel at the Kings Of Leon's new crypto-currency, relive the agony of the Bob Harris vinyl flood, wonder if Bob Weir's was the only decent rock ponytail, reconnect with the Drifters, Lonnie Donegan and Lewis Taylor ("the great undiscovered jewel of 20th C popular music"), and play 'Van Morrison song or Richard Littlejohn headline?', 'Oasis track or children's book?' and '50s wrestler or member of the Bonzo Dog Band?'.Want exclusive early access to every future Word Podcast (and in full audio-visual glory!) alongside a whole host of additional exciting, enlightening and entertaining content and benefits? Of course you do! Make sure you're signed up to our fabulous Patreon for all this and more: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In which we salute Chris Barber and Bunny Wailer, listen to Robert Fripp's £80-a-pop personal message service, marvel at the Kings Of Leon's new crypto-currency, relive the agony of the Bob Harris vinyl flood, wonder if Bob Weir's was the only decent rock ponytail, reconnect with the Drifters, Lonnie Donegan and Lewis Taylor ("the great undiscovered jewel of 20th C popular music"), and play 'Van Morrison song or Richard Littlejohn headline?', 'Oasis track or children's book?' and '50s wrestler or member of the Bonzo Dog Band?'.Want exclusive early access to every future Word Podcast (and in full audio-visual glory!) alongside a whole host of additional exciting, enlightening and entertaining content and benefits? Of course you do! Make sure you're signed up to our fabulous Patreon for all this and more: https://www.patreon.com/wordinyourear Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

Lots of blue chip names and games in this one so stand and listen King Velvet of the Crimson Underground.

In this episode we are joined by self-professed "failed musician" and pasta-sauce mogul Loyd Grossman, OBE, to wax nostalgic about the most important years of his illustrious career: those he spent as a contributor to Fusion, Rolling Stone and other American music papers. Loyd reminisces very amusingly about seminal late '60s shows at the Boston tea party, before explaining how he moved to London and reinvented himself as a British national treasure on TV and in every kitchen in the country. He also recounts how he came to play guitar, three times a year, with Jethro Tull. After a digression on the sad passing of Fairport Convention's original singer Judy Dyble, Loyd joins his hosts in hearing clips from a 1982 audio interview with Queen's Brian May in which that poodle-headed plank-spanker describes, among other things , working with David Bowie on the classic 'Under Pressure'. Barney drags Loyd into a discussion of the wrath heaped upon his compatriots the (Dixie) Chicks, whose new album Gaslighter affords the opportunity to examine the close links between country music and hyper-patriotism. Loyd turns out to be a country fan and gives a special thumbs-up to the Chicks' defiant 2006 song 'Not Ready To Make Nice'. Mark brings the episode to the boil with remarks on new library pieces such as Lillian Roxon's 1966 review of James Brown at Madison Square Garden, Roy Carr's day out in Hyde Park in summer 1970 watching Pink Floyd and Kevin Ayers, and David Keeps meeting Madonna at the Hard Rock Café. Jasper's chosen pieces include Ian Penman on hip hop and John Calvert on OK Go…Many thanks to special guest Loyd Grossman.The Rock's Backpages podcast is proud to be part of the Pantheon podcast network.Pieces discussed: Bonzo Dog Band, Beatles, Pink Floyd, Groundhogs, Queen's Brian May audio, (Dixie) Chicks, (Less Dixie) Chicks, (Least Dixie) Chicks, James Brown, Pink Floyd & Kevin Ayers, Mama Michelle, Archie Bell, Sex Pistols, Madonna, Anthony Wilson, High Llamas, Jackson Browne, Hip hop books and OK Go.

In this episode we are joined by self-professed "failed musician" and pasta-sauce mogul Loyd Grossman, OBE, to wax nostalgic about the most important years of his illustrious career: those he spent as a contributor to Fusion, Rolling Stone and other American music papers. Loyd reminisces very amusingly about seminal late '60s shows at the Boston tea party, before explaining how he moved to London and reinvented himself as a British national treasure on TV and in every kitchen in the country. He also recounts how he came to play guitar, three times a year, with Jethro Tull.  After a digression on the sad passing of Fairport Convention's original singer Judy Dyble, Loyd joins his hosts in hearing clips from a 1982 audio interview with Queen's Brian May in which that poodle-headed plank-spanker describes, among other things , working with David Bowie on the classic 'Under Pressure'. Barney drags Loyd into a discussion of the wrath heaped upon his compatriots the (Dixie) Chicks, whose new album Gaslighter affords the opportunity to examine the close links between country music and hyper-patriotism. Loyd turns out to be a country fan and gives a special thumbs-up to the Chicks' defiant 2006 song 'Not Ready To Make Nice'.  Mark brings the episode to the boil with remarks on new library pieces such as Lillian Roxon's 1966 review of James Brown at Madison Square Garden, Roy Carr's day out in Hyde Park in summer 1970 watching Pink Floyd and Kevin Ayers, and David Keeps meeting Madonna at the Hard Rock Café. Jasper's chosen pieces include Ian Penman on hip hop and John Calvert on OK Go… Many thanks to special guest Loyd Grossman. The Rock's Backpages podcast is proud to be part of the Pantheon podcast network. Pieces discussed: Bonzo Dog Band, Beatles, Pink Floyd, Groundhogs, Queen's Brian May audio, (Dixie) Chicks, (Less Dixie) Chicks, (Least Dixie) Chicks, James Brown, Pink Floyd & Kevin Ayers, Mama Michelle, Archie Bell, Sex Pistols, Madonna, Anthony Wilson, High Llamas, Jackson Browne, Hip hop books and OK Go.

In this episode we are joined by self-professed "failed musician" and pasta-sauce mogul Loyd Grossman, OBE, to wax nostalgic about the most important years of his illustrious career: those he spent as a contributor to Fusion, Rolling Stone and other American music papers. Loyd reminisces very amusingly about seminal late '60s shows at the Boston tea party, before explaining how he moved to London and reinvented himself as a British national treasure on TV and in every kitchen in the country. He also recounts how he came to play guitar, three times a year, with Jethro Tull. After a digression on the sad passing of Fairport Convention's original singer Judy Dyble, Loyd joins his hosts in hearing clips from a 1982 audio interview with Queen's Brian May in which that poodle-headed plank-spanker describes, among other things , working with David Bowie on the classic 'Under Pressure'. Barney drags Loyd into a discussion of the wrath heaped upon his compatriots the (Dixie) Chicks, whose new album Gaslighter affords the opportunity to examine the close links between country music and hyper-patriotism. Loyd turns out to be a country fan and gives a special thumbs-up to the Chicks' defiant 2006 song 'Not Ready To Make Nice'. Mark brings the episode to the boil with remarks on new library pieces such as Lillian Roxon's 1966 review of James Brown at Madison Square Garden, Roy Carr's day out in Hyde Park in summer 1970 watching Pink Floyd and Kevin Ayers, and David Keeps meeting Madonna at the Hard Rock Café. Jasper's chosen pieces include Ian Penman on hip hop and John Calvert on OK Go…Many thanks to special guest Loyd Grossman.The Rock's Backpages podcast is proud to be part of the Pantheon podcast network.Pieces discussed: Bonzo Dog Band, Beatles, Pink Floyd, Groundhogs, Queen's Brian May audio, (Dixie) Chicks, (Less Dixie) Chicks, (Least Dixie) Chicks, James Brown, Pink Floyd & Kevin Ayers, Mama Michelle, Archie Bell, Sex Pistols, Madonna, Anthony Wilson, High Llamas, Jackson Browne, Hip hop books and OK Go.

In this episode we are joined by self-professed "failed musician" and pasta-sauce mogul Loyd Grossman, OBE, to wax nostalgic about the most important years of his illustrious career: those he spent as a contributor to Fusion, Rolling Stone and other American music papers. Loyd reminisces very amusingly about seminal late '60s shows at the Boston tea party, before explaining how he moved to London and reinvented himself as a British national treasure on TV and in every kitchen in the country. He also recounts how he came to play guitar, three times a year, with Jethro Tull.  After a digression on the sad passing of Fairport Convention's original singer Judy Dyble, Loyd joins his hosts in hearing clips from a 1982 audio interview with Queen's Brian May in which that poodle-headed plank-spanker describes, among other things , working with David Bowie on the classic 'Under Pressure'. Barney drags Loyd into a discussion of the wrath heaped upon his compatriots the (Dixie) Chicks, whose new album Gaslighter affords the opportunity to examine the close links between country music and hyper-patriotism. Loyd turns out to be a country fan and gives a special thumbs-up to the Chicks' defiant 2006 song 'Not Ready To Make Nice'.  Mark brings the episode to the boil with remarks on new library pieces such as Lillian Roxon's 1966 review of James Brown at Madison Square Garden, Roy Carr's day out in Hyde Park in summer 1970 watching Pink Floyd and Kevin Ayers, and David Keeps meeting Madonna at the Hard Rock Café. Jasper's chosen pieces include Ian Penman on hip hop and John Calvert on OK Go… Many thanks to special guest Loyd Grossman. The Rock's Backpages podcast is proud to be part of the Pantheon podcast network. Pieces discussed: Bonzo Dog Band, Beatles, Pink Floyd, Groundhogs, Queen's Brian May audio, (Dixie) Chicks, (Less Dixie) Chicks, (Least Dixie) Chicks, James Brown, Pink Floyd & Kevin Ayers, Mama Michelle, Archie Bell, Sex Pistols, Madonna, Anthony Wilson, High Llamas, Jackson Browne, Hip hop books and OK Go.

CMU’s Andy Malt and Chris Cooke review key events in music and the music business from the last week, including the Bonzo Dog Doo-Dah Band vow to close what they see as a loophole in UK trademark law that can result in bands losing control of their brands, and the positive and negative effects of COVID-19 on the commercial radio industry. Setlist is sponsored by 7digital. STORIES DISCUSSED THIS WEEK • Bonzo Dog Doo-Dah Band want change in the law after winning “emotionally charged” trademark dispute (https://completemusicupdate.com/article/bonzo-dog-doo-dah-band-want-change-in-the-law-after-winning-emotionally-charged-trademark-dispute/) • Commercial radio listening enjoys huge ‘working from home’ boost during coronavirus lockdown (Radiocentre) (https://www.radiocentre.org/commercial-radio-listening-enjoys-huge-working-from-home-boost-during-coronavirus-lockdown/) • Commercial radio stations could close without extra government support (https://completemusicupdate.com/article/commercial-radio-stations-could-close-without-extra-government-support/) ALSO MENTIONED • Weather presenter goes viral drumming to BBC News theme (https://www.bbc.co.uk/news/video_and_audio/headlines/52297848/weather-presenter-goes-viral-drumming-to-bbc-news-theme) • Bonzo Dog Band full court judgement (https://www.bailii.org/ew/cases/EWHC/Ch/2020/710.html) • CMU’s Lockdown Webinars (https://cmuinsights.com/lockdownwebinars/) • Sign up to receive the CMU Daily news bulletin (https://completemusicupdate.com/signup/) • Buy the Dissecting The Digital Dollar book (http://amzn.to/2Due7th)

In an episode first aired on March 23, 2020: DJ Andrew Sandoval features 20 1960's MONO 45's by The Sundowners; The Peppermint Trolley Company; Roger Denison; The Bonzo Dog Band; The Haystack; Jackie DeShannon; The Flying Burrito Bros.; The Gosdin Brothers; The First Edition; Gordon Lightfoot; Bobby Lile & The El Montes; The Vejtables; Bobby Whiteside; The Sopwith "Camel"; The Buckinghams; Saturday's Children; Jacobson & Tansley; The Springfield Rifle; Peter Janes; Christopher & The Chaps. In Part 2, he turns the Sunshine artist spotlight onto The Rokes - a UK band who found fame in Italy and composed and performed the original song that became the Grass Roots international hit, "Let's Live For Today." Hear a generous assortment of their folk-rock & psych pop 45's, LP tracks and outtakes - presented in English & Italian.

In deze aflevering van The Originals louter liedjes uit de jaren '20 van de vorige eeuw! Waaronder bijvoorbeeld Ramona en The Charleston van een man die de opa van Arnold Rypens nog in Brussel heeft zien optreden: Paul Whiteman. Ook een aantal Originals die in de jaren '60 bekend werden via The Bonzo Dog Band, zoals Ali Baba's Camel of Hunting Tigers Out In Indiah. Het oudste nummer dateert uit 1918 en is van operazanger Emilio de Gogorza.

Our second installment focuses on the music of Monty Python's Neil Innes!(Licensed through ASCAP, BMI, and SESAC)Number6Show - S02E42 - Dead Guy Show 2019 Pt2 Neil Innes Tribute

Fallece Neil Innes, el séptimo Monty Python (Eric Idle, Bonzo Dog Band),Llega Actual, primer festival de 2020 (Second). Pet Shop Boys presentan nuevo adelanto de "Hotspot". Anuncian nueva edición de "Músicas Desencajadas" (AYOHO), Increíbles Ful estrenan el último single de adelanto de "Miss Cosmos", Biznaga, Tarque, Clara Plath.

In dit uur aandacht voor tracks die uit de Top2000 zijn verdwenen, voor de soundtrack van 'Once Upon A Time In Hollywood' van Tarantino en voor de muziek die voorkomt in de autobiografie van Elton John. En een klein eerbetoon aan de op 75-jarige leeftijd overleden Neil Innes, lid van de Bonzo Dog Band.

a cura di Alessandro Achilli. Musiche di Jefferson Airplane, Tim Buckley, Kevin Ayers, Bonzo Dog Band, Colosseum, Manfred Mann Chapter Three

a cura di Alessandro Achilli. Musiche di Jefferson Airplane, Tim Buckley, Kevin Ayers, Bonzo Dog Band, Colosseum, Manfred Mann Chapter Three (prima parte)

a cura di Alessandro Achilli. Musiche di Jefferson Airplane, Tim Buckley, Kevin Ayers, Bonzo Dog Band, Colosseum, Manfred Mann Chapter Three (prima parte)

Met vandaag alleen instrumentale muziek met The Cramps, Andre Brasseur, Casey & His Group, Bonzo Dog Band en Tom Ridgley & His Band.

a cura di Alessandro Achilli. Musiche di Nick Drake, Tim Buckley, Bonzo Dog Band, Creedence Clearwater Revival, Duke Ellington

a cura di Alessandro Achilli. Musiche di Nick Drake, Tim Buckley, Bonzo Dog Band, Creedence Clearwater Revival, Duke Ellington (prima parte)

a cura di Alessandro Achilli. Musiche di Nick Drake, Tim Buckley, Bonzo Dog Band, Creedence Clearwater Revival, Duke Ellington (prima parte)

Musician Scott Erickson discusses the 50th Anniversary of the landmark Beatles double album.

In an episode first aired on December 3, 2018: DJ Andrew Sandoval spins wonderful foreign 45's from 1964-1970 by The Hollies; Herbie's People; The Bonzo Dog Band; Manfred Mann; The Bats; The Kool; The Good Time Losers; Dave Justin; The Decision; The Mixed Bag; Lloyd Banks; P.J. Proby; The Honeycombs; The Fourmost; Hedgehoppers Anonymous; D'Starlights; Persimmon's Peculiar Shades; Mike Raynor & The Condors; The Household; World Of Oz + a wonderful hour with Britain's The Montanas! Including unissued tracks and wonderful, rare singles.

a cura di Alessandro Achilli. Musiche di Phil Ochs, Bonzo Dog Band, Burt Bacharach, Nico, Incredible String Band

a cura di Alessandro Achilli. Musiche di Phil Ochs, Bonzo Dog Band, Burt Bacharach, Nico, Incredible String Band (prima parte)

a cura di Alessandro Achilli. Musiche di Phil Ochs, Bonzo Dog Band, Burt Bacharach, Nico, Incredible String Band (prima parte)

This week, Ken, Allan and Steve welcome the great Neil Innes, who tells us some inside stories of his career with the Bonzo Dog Band and the Rutles, talks about his upcoming live appearances and also reveals some breaking news in the later part of the show. As always, we welcome your thoughts about this episode of the show or any other episode. We invite you to send your comments about this or any of our other shows to our email address thingswesaidtodayradioshow@gmail.com, join our "Things We Said Today Beatles Fans" Facebook page and comment there, tweet us at @thingswesaidfab or catch us each on Facebook and give us your thoughts. And we thank you very much for listening. You can hear and download our show on Podbean and iTunes and stream us through the Tune In Radio app and from our very own YouTube page.  Our shows appear just about every week. Please be sure and write a review of our show on our iTunes page. If you subscribe to any of our program providers, you'll get the first word as soon as a new show is available. We don't want you to miss us. And thank you very much for your continued support. Our download numbers have been rising steadily each week as more people discover us and it's all because of you! So we thank you very much for supporting us.  

Om 21:00 uur Vic van de Reijt en Frits Jonker met Train To Nowhere. Muzikaal thema is Crocodile Rock - Monsters. Muziek van Elton John, The Bonzo Dog Band, The Velvettes en The Hawkmen.

Thema dit keer is The Intro & The Outro. Bonzo Dog Band, Fats Domino, The Uppertones, King Curtis, Paolo Conte en Bad News.

a cura di Alessandro Achilli. Musiche di Sly and the Family Stone, Bonzo Dog Band, Nico, Pearls Before Swine, Neil, Enzo Rocco & Ferdinando Faraò

a cura di Alessandro Achilli. Musiche di Sly and the Family Stone, Bonzo Dog Band, Nico, Pearls Before Swine, Neil, Enzo Rocco & Ferdinando Faraò (prima parte)

a cura di Alessandro Achilli. Musiche di Sly and the Family Stone, Bonzo Dog Band, Nico, Pearls Before Swine, Neil, Enzo Rocco & Ferdinando Faraò (prima parte)

Zondagavond om 21:00 uur tijd voor een uurtje Train To Nowhere, ditmaal met Maarten Eilander en Frits Jonker. Thema is Dieren. Muziek van Blind Blake & The Royal Victoria Hotel Calypso’s, Joop van de Marel, The Henhouse Five Plus Two, Scream Jay Hawkins en Bonzo Dog Band.

Om 21:00 Train To Nowhere met Vic van de Reijt en Maarten Eilander reist vanavond naar Turkije en wordt omgedoopt tot Radio Ankara. Tobi Rix, The Dukes, Eartha Kitt, The Bonzo Dog Band, Karsu, The New Bomb Turks en het nieuwe partijlied voor Denk.

Thanks to the Million McFly March, I met Jeffrey, who plays George McFly in parts II and III of Back to the Future,  when he generously donated some auction items.  This week, he finally breaks open the Bonzo Dog Doo-Dah … Continue reading →

Radtober returns! This week Kyle and Matthew are joined by the amazing author/producer/podcaster Emily V. Gordon (Indoor Kids, The Meltdown Show) to talk about all things Goth. Emily recounts her Gothy beginnings and teenage years in North Carolina, the struggle of being different, and being "ugly" on your own terms. Check out Emily's new book "Super You: Release Your Inner Superhero"! Weekly Rads: This Is Rad! YouTube Channel, water on Mars, the intensity of Halloween decorations this year Raddendums: Dana Gould's Halloween albums, Bonzo Dog Band, Screamin' Jay Hawkins, Skinny Puppy, The Cure, Marilyn Manson & the Spooky Kids, Nine Inch Nails, Nick Cave, Bela Lugosi's Dead, Bauhaus, The Guest soundtrack, the ABCs of Death, Tales of Halloween, Krampus, Poppy Z. Bright's Love in Vein and Lost Souls, Hot Topic, The Doom Generation, #HealthGoth, Snow Crash by Neal Stephenson, Grant Morrison, @MonkeeArmada

It's the Weird Al-pisode! In this hostful ep, Kyle, Matthew and Producer Natalie dare to be stupid and discuss the master of parody songs and the accordion arts: "Weird Al" Yankovic. They traverse his career from the good and the bad to the young, dumb and ugly, and talk about his cross-generational appeal along the way. Weekly Rads: Working out with Justin Williams, Off Season by Jack Ketchum, Eye on Springfield: A Simpsons Art Show at Meltdown Comics Raddendums: Al TV - interviewing Celine Dion, UHF, The Weird Al Show, Al's Disney Channel documentary, Al's Behind the Music, Dr. Demento, Bonzo Dog Band, Paul, Bad Hair Day, Running with Scissors, The Butthole Surfers, The Steve Austin Show - Unleashed

The beautiful woman who is more than she seems. An entire race victimized by mankind. The cross-dressing werewolf. This week's episode is all about monsters that aren't monsters. Arthouse romance meets monster movie as Darryll and Desmond review the brand new movie Spring. Desmond goes solo on the first volume of the brand new comic Clive Barker's Nightbreed from Boom! Studios. Then Duane joins Desmond for a review of the cross-dressing werewolf movie Der Samurai. Strap in! There are some face-melting monstrous tunes, too! "Leave Your Skin at the Door" by Ringworm, "The Dragonfly" by Clutch, "From Screaming Graves We Rise" by Diemonsterdie, "The Wolf I Feed" by Napalm Death, and "Look Out, There's a Monster Coming" by Bonzo Dog Band. Send feedback to: feedback@dreadmedia.net, or 206.278.5257. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Visit www.stayscary.wordpress.com and www.dreadmedia.bandcamp.com.

The beautiful woman who is more than she seems. An entire race victimized by mankind. The cross-dressing werewolf. This week's episode is all about monsters that aren't monsters. Arthouse romance meets monster movie as Darryll and Desmond review the brand new movie Spring. Desmond goes solo on the first volume of the brand new comic Clive Barker's Nightbreed from Boom! Studios. Then Duane joins Desmond for a review of the cross-dressing werewolf movie Der Samurai. Strap in! There are some face-melting monstrous tunes, too! "Leave Your Skin at the Door" by Ringworm, "The Dragonfly" by Clutch, "From Screaming Graves We Rise" by Diemonsterdie, "The Wolf I Feed" by Napalm Death, and "Look Out, There's a Monster Coming" by Bonzo Dog Band. Send feedback to: feedback@dreadmedia.net, or 206.278.5257. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Visit www.stayscary.wordpress.com and www.dreadmedia.bandcamp.com.

The beautiful woman who is more than she seems. An entire race victimized by mankind. The cross-dressing werewolf. This week's episode is all about monsters that aren't monsters. Arthouse romance meets monster movie as Darryll and Desmond review the brand new movie Spring. Desmond goes solo on the first volume of the brand new comic Clive Barker's Nightbreed from Boom! Studios. Then Duane joins Desmond for a review of the cross-dressing werewolf movie Der Samurai. Strap in! There are some face-melting monstrous tunes, too! "Leave Your Skin at the Door" by Ringworm, "The Dragonfly" by Clutch, "From Screaming Graves We Rise" by Diemonsterdie, "The Wolf I Feed" by Napalm Death, and "Look Out, There's a Monster Coming" by Bonzo Dog Band. Send feedback to: feedback@dreadmedia.net, or 206.278.5257. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Visit www.stayscary.wordpress.com and www.dreadmedia.bandcamp.com.

The beautiful woman who is more than she seems. An entire race victimized by mankind. The cross-dressing werewolf. This week's episode is all about monsters that aren't monsters. Arthouse romance meets monster movie as Darryll and Desmond review the brand new movie Spring. Desmond goes solo on the first volume of the brand new comic Clive Barker's Nightbreed from Boom! Studios. Then Duane joins Desmond for a review of the cross-dressing werewolf movie Der Samurai. Strap in! There are some face-melting monstrous tunes, too! "Leave Your Skin at the Door" by Ringworm, "The Dragonfly" by Clutch, "From Screaming Graves We Rise" by Diemonsterdie, "The Wolf I Feed" by Napalm Death, and "Look Out, There's a Monster Coming" by Bonzo Dog Band. Send feedback to: feedback@dreadmedia.net, or 206.278.5257. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Visit www.stayscary.wordpress.com and www.dreadmedia.bandcamp.com.

Author Jim Berkenstadt discusses "The Beatle Who Vanished", "The Black Market Beatles", "Nevermind Nirvana" and how he became known as "The Rock and Roll Detective".

With this rerun we buy time to give the last of the 15X-Day recordings the attention they deserve. This is a live show from 5-9-04 with Princess Wei, Lonesome Cowboy Dave, and Stang in the station, but it's also the premiere of "The One-Liners Collage" v 01.1 -- an intense collage of collages, mostly by Fernandinande Lemur but also with great cut-ups by Norel Pref, Rev. nu-monet, Rev. Artemia Salina, Heart Ignition, iDRMRSR and others. There are songs by The Bonzo Dog Band and Hank Flloyd & the Swerving Headlights, and music by Norel Pref.

In an episode first aired on September 10, 2012, host Andrew Sandoval celebrates the sixth anniversary of his sixties inspired radio program with a two-hour selection of favorite tracks and rarities by: Grapefruit; The Searchers; Harmony Grass; The Beach Boys; The Zombies; Chad & Jeremy; The Peppermint Trolley Co.; Dion & The Belmonts; The Canterbury Music Festival; Nino Tempo & April Stevens; The Byrds; Gary Lewis; Del Shannon; Sandy Salisbury; Harry Nilsson; George Harrison; Simon & Garfunkel; Sonny Bono; The Kinks; The Beatles; Twice As Much; Billy Nicholls; The Turtles; Pete Dello; The Bee Gees; The Millennium; West Coast Pop Art Experimental Band; Love; Buffalo Springfield; Sal Valentino; Peter & Gordon; Phil Ochs; The Bonzo Dog Band; Bill Fay; Tin Tin; Dino, Desi & Billy; Dusty Springfield; Denny Laine; The Hollies; The Everly Brothers.