Podcasts about canned heat

In this week's mixtape rewind, we revisit our motivation mix from the start of 2023, still able to get you going for your 2025 goals.  The motivation mix takes listeners through different facets of achievement, starting with Jamiroquai's "Canned Heat" and its message about releasing your inner fire. We explore self-confidence through DJ Khaled and Drake, persistence through complications with Curtis Mayfield, and Britney Spears' blunt reminder that success requires actual work. When progress feels slow, Matchbox 20 encourages us to look back and acknowledge how far we've already come.Our conversation weaves personal stories throughout – from Sam's marathon training mindset shift to his year-long weight loss journey, offering real-world examples of how these motivational principles apply in daily life. We discuss how proving doubters wrong can fuel ambition (thanks, Jay-Z), the power of staying connected to others during challenging pursuits (Pharrell Williams' "Freedom"), and why sometimes the most motivating thing is simply showing up for yourself day after day (Macklemore's "Fire Breather").The mix closes with Pearl Jam's "Present Tense," reminding us that while goals focus on the future, achievement happens in the present moment. By staying grounded in today's actions rather than yesterday's regrets, we create the future we envision.You can find the playlist on Spotify here:https://open.spotify.com/playlist/77nOZ2Ret4MBtPdiJtaHPP?si=hmBIhVx9R0qHkWL6Vb2k_gYou can also find the motivation mix on Apple Music here:https://music.apple.com/us/playlist/season-3-motivational-mix/pl.u-9N9LX74F1GR9BYeCanned Heat by JamiroquaiTo the Max by DJ Khaled, DrakeMove on Up by Curtis MayfieldWork Bitch by Britney SpearsHow Far We've Come by Matchbox TwentyMy Shot by Lin-Manuel MirandaSo Ambitious by JAY-Z, Pharrel WilliamsFreedom by Pharrel WilliamsMoving On Up by M PeopleTake Back the Power by RauryFirebreather by MacklemorePresent Tense by Pearl Jam Support the showVisit us at https://www.superawesomemix.com to learn more about our app, our merchandise, our cards, and more!

It seems as though the 12 bar blues structure is an immovable object, an obelisk of sacred, ritualistic, totemic authority. But the form contains multitudes of variety. Here are two examples of the plasticity of that container, which holds the magic blues elixir and can pour it smoothly, or have it gush out, uncontrollably, like a tidal wave. So, be careful when you put your lips to the chalice … the edges can be sharp, and the liquid it delivers may be too intoxicating! Up first, we have Harvey Mandel, the “Snake”- a guitar wizard, brandishing and slashing his ax-cutlass like a pirate, as he boards equilibrium's frigate docked inside your ear canal, with his own composition, 4pm; then, JB Hutto and the Hawks stagger through “Too Much Alcohol” like drunkards in search of another, much needed pint of medicine - with his razor sharp slide work JB illustrates those sensations perfectly, with an insistent, whimpering pulse.HARVEY MANDELIn 1967, Samuel Charters, for Vanguard records, in an early effort to reveal and showcase the second generation of Chicago's blues scene,  produced harmonica master, Charley Musselwhite's first album STAND BACK! HERE COMES CHARLEY MUSSELWHITE'S SOUTHSIDE BAND, and caused a literal big bang in the hearts and minds of American youth. This was Harvey Mandel's first recording, and launched the notable guitar slinger for hire's 60 year career, going on to join Canned Heat, John Mayall's Bluesbreakers, recording many solo efforts, and landing one step away from becoming a Rolling Stone.   Known as “the King of Sustain,” our track, 4pm, showcases the longest sustained electric guitar note at age 21, a feat copied by Jimi Hendrix two years later. Harvey's inventive style is trademarked, and you can hear those clarion notes ringing out like a buzz saw, transitioning from one amazing improvisation to the next. JB HUTTO AND THE HAWKSThe next cut, TOO MUCH ALCOHOL, also on the Vanguard label - featured on 1966's Chicago / Blues / Today! Sounds almost like it could have been recorded in the previous century, when, fresh off the farm, players were captured in their first big city outings on lo-fi recordings - it's that raw and spiky. And, yet, both Mandel and Hutto were breathing the same mid-60s Chicago air. JB's slide style was influenced by Elmore James, of DUST MY BROOM acclaim, and he carried that torch forward. The son of a preacher from South Carolina, Hutto made his way to Chicago after his father's death in the early 50s, but ended up working as a janitor for 11 years, until, in the mid 60s, he was discovered and unleashed on the world by Vanguard. 

This week is the seventh volume of our deep dive into the trippy and groovy beginnings of the heavy stuff! Cut your lava lamp on, gaze at that blacklight poster through the haze of smoke, and join your favorite rock n' roll grave robbers as they dig deep into the core of 70s Acid Rock n' Proto Metal crypt to unearth some obscure bands that helped influence and mold what would become known as Heavy Metal. What is it that we do here at InObscuria? Well, we exhume obscure Rock n' Punk n' Metal in one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. This particular episode is planted firmly in the: LOST category, as all of these recordings occurred between 1970 – 1976. As always, our hope is that we turn you on to something new in a genre and decade that you may have thought you already knew everything there was to know.Songs this week include:Agnes Strange - “Messin' Around” from Strange Flavour (1975)Socrates Drank The Conium - “Death Is Going To Die” from On The Wings (1973)Piraña - “Thinking Of You” from Pirana II (1972)Zior - “I Really Do” from Zior (1971)November - “Ganska Långt Från Sergel” from 2:a November (1971)The Power Of Zeus - “It Couldn't Be Me” from The Gospel According To Zeus (1970)Wicked Lester - “She” from Wicked Lester (1972)El Ritual documentary in Spanish on YouTube from 2022 https://youtu.be/K1xz6R9nH3k?si=Gd6I90SC19ZkOLWmPlease subscribe everywhere that you listen to podcasts!Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://x.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/InObscuria?asc=uIf you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/Check out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/

Una sesión de viaje, cocinada con cariño y sin ataduras, pensando en melodías y ritmos que hagan más agradable el trayecto.Playlist;(sintonía) THE WAILERS “Roadrunner”CANNED HEAT “Going up the country”KITTY DAISY and LEWIS “Buggin’ blues”HANK SNOW “I’m moving on”THE ROLLING STONES “You gotta move”STEALERS WHEEL “Stuck in the middle with you”THE GOLLIWOGS “Call it pretending”CREEDENCE CLEARWATER REVIVAL “Croos-tie walker”LOU REED “I’m so free”CREAM “I feel free”THE MORELLS “Nadine”BEN VAUGHN “The man who has everything”NRBQ “The same old thing”NICK LOWE “Love so fine”TRAFFIC “Feelin’ alright”KEVIN AYERS “Shouting in a bucket blues”RONNIE LANE “One for the road”Escuchar audio

En 1976 una cata a ciegas marcaría un antes y un después en la historia y el mapa global del vino. ¿Qué fuerzas se movieron detrás del Juicio de Paris?CITASLos bárbaros, Alessandro Baricco; Judgment of Paris: California vs. France and the Historic 1976 Paris Tasting That Revolutionized Wine, George Taber; Rewriting California wine's ‘herstory,' from Judgment of Paris to today, artículo de Esther Mobley para San Francisco Chronicle. Los extractos de audio son de la presentación de la pintura "The judgment of Paris" en The Vineyard y un discurso de Patricia Gallagher en Napa al cumplirse 45 años de la Cata del Bicentenario.MÚSICAMaxi Martínez , Serge Gainsbourg, Canned Heat, Marc Ribot, Syd Matters, Dan Lebowitz

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Goodbye Earl by Me First & the Gimme Gimmes (2006)Song 1: Mama Said Knock You Out by LL Cool J (1990)Song 2: On the Road Again by Canned Heat (1968)Song 3: Dark Red by Steve Lacy (2017)Song 4: How Much is That Doggie in the Window by Patti Page (1953)Song 5: Fireworks by Animal Collective (2007)Song 6: Still Frame by Trapt (2002)Song 7: Because the Night by Patti Smith (1978)Song 8: 9Mm Goes Bang by Boogie Down Productions (1987)Song 9: Ladyfingers by Herb Alpert (1965)Song 10: Peanut Butter Jelly Time by Buckwheat Boyz (2004)

Show #1092 20th Century Revisited 01. Eddie Boyd - The Big Question (3:02) (Five Long Years, Fontana Records, 1965) 02. John Mayall & the Bluesbreakers - Someday After A While (Tou'll Be Sorry) (3:01) (A Hard Road, Decca Records, 1967) 03. Eric Clapton - Someday After A While (4:28) (From The Cradle, Reprise Records, 1994) 04. Fleetwood Mac - No PLace To Go (3:24) (Fleetwood Mac, Blue Horizon Records, 1968) 05. Buddy Guy - Stick Around [1963] (3:52) (Blues Rarities, Chess Records, 1984) 06. Dana Gillespie - Tongue In Cheek (4:54) (Blues It Up, Ace Records, 1990) 07. Red Devils - Quarter To Twelve (6:54) (King King, American Recordings, 1992) 08. Little Walter - Mellow Down Easy (2:40) (45 RPM Single B-side, Checker Records, 1954) 09. Tony Joe White - Did Somebody Make A Fool Out Of You (4:46) (Homemade Ice Cream, Warner Bros Records, 1973) 10. Paul Butterfield Blues Band - Blues With A Feeling (4:24) (The Paul Butterfield Blues Band, Elektra Records, 1965) 11. Spencer Davis Group - Blues In F (3:24) (45 RPM Single B-side, Fontana Records, 1966) 12. Blood Sweat & Tears - I Love You More Than You'll Ever Know (5:54) (Child Is Father To The Man, CBS Records, 1968) 13. Johnny Winter - It's My Life Baby (4:12) (Guitar Slinger, Alligator Records, 1984) 14. David Bromberg - Suffer To Sing The Blues [1979] (5:43) (Long Way From Here, Fantasy Records, 1986) 15. Sonny Boy Williamson II - Fattening Frogs For Snakes (2:22) (Down And Out Blues, Checker Records, 1959) 16. Canned Heat - Help Me (3:06) (Canned Heat, Liberty Records, 1967) 17. Electric Flag - Texas (4:45) (A Long Time Comin', CBS Records, 1968) 18. Bonnie Raitt - Everybody's Cryin' Mercy (3:23) (Takin' My Time, Warner Bros Records, 1973) 19. Omar & the Howlers - Everybody Knows About My Good Thing (5:45) (Big Leg Beat, Amazing Records, 1980) 20. ZZ Hill - Everybody Knows About My Good Thing (4:53) (Down Home, Malaco Records, 1981) 21. Chicken Shack - San-Ho-Zay (3:05) (40 Blue Fingers Freshly Packed And Ready To Serve, Blue Horizon Records, 1968) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

A group of scientists embarks on a mission to destroy unstable planets when they find an alien intelligence that begins to question its purpose. Hear the story in this Old Time Radio marathon's episode of MindWebs!Darkness Syndicate members get the ad-free version. https://weirddarkness.com/syndicateInfo on the next LIVE SCREAM event. https://weirddarkness.com/LiveScreamInfo on the next WATCH PARTY event. https://weirddarkness.com/TVCHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Show Open00:02:00.000 = CBS Radio Mystery Theater, “The Special Undertaking” (September 04, 1975) ***WD00:47:54.469 = The Black Mass, “O Mirror Mirror” (February 12, 1964) ***WD01:03:48.229 = MindWebs, “The Dark Star” (July 07, 1978) ***WD01:34:04.769 = Ellery Queen Minute Mysteries, “Canned Heat” (1939-1948)01:35:13.054 = Out Of This World, “Dead of Night” (February 28, 1947) ***WD02:05:55.339 = Mystery In The Air, “Black Cat” (September 18, 1947) ***WD02:32:18.049 = Molle Mystery Theater, “Mathematics For Murder” (February 01, 1946)02:57:28.349 = Mr. District Attorney, “Curious Undertaker” (August 02, 1944) ***WD03:28:41.139 = Murder at Midnight, “Black Curtain” (February 10, 1947) ***WD03:56:08.389 = The Black Museum, “The Shopping Bag” (1952) ***WD04:22:48.109 = Mysterious Traveler, “The Locomotive Ghost” (July 06, 1947) ***WD04:53:04.279 = Show Close(ADU) = Air Date Unknown(LQ) = Low Quality***WD = Remastered, edited, or cleaned up by Weird Darkness to make the episode listenable. Audio may not be pristine, but it will be better than the original file which may have been unusable or more difficult to hear without editing.Weird Darkness theme by Alibi Music Library= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2025, Weird Darkness.= = = = =CUSTOM WEBPAGE: https://weirddarkness.com/WDRR0314

Hyvää uutta vuotta Rock Around The Blogista! Tässä jaksossa Sami Ruokangas ja Juha Kakkuri käyvät läpi vuoden 2024 parhaita levyjä ja keikkoja. Mikä sai kyyneleet silmiin, kosketti ja jäi mieleen? Keskeinen ikuisuusaihe on myös esillä: Rolling Stonesin vuoden 1999 harvinainen pienen teatterin keikka on nyt julkaistu tallenteena ja Juha muistelee keikkaa paikallaolleena. Oma jännittävä tarinansa on se, kuinka Juha sai ajalla ennen internetiä tiedon tuosta keikasta ja lopulta lipun. Kuuntele, viihdy ja sivisty! Seuraa ja kommentoi meitä somessa: https://www.instagram.com/samiruokangas https://www.facebook.com/RockAroundTheBlogFinland Jakson soittolista: https://open.spotify.com/playlist/3Y2txSIyPeCUDwilXIRpnY?si=2b3cd289334e4478 Menossa ovat mukana Emilia Sisco, Helsingin Sanomat, Espoon Kulttuurikeskus, Unna Kortehisto, Aretha Franklin. Billie Holiday, Sami Kantelinen, Seppo Salmi, Jukka Sarapää, Jukka Eskola, Pope Puolitaival, Sellosali, Grammy-palkinto, The Black Crowes, Tavastia, Guns N´Roses, Bruce Springsteen, The Magpie Salute, Rich Robinson, Sven Pipien, Rolling Stones, Faces, Small Faces, Classic Rock, Pearl Jam, Neil Young, The Coward Brothers, Elvis Costello, T Bone Burnett, Ian Hunter, Michael Monroe, Bob Dylan, Mott The Hoople, David Bowie, Benmont Tench, Tom Petty & The Heartbreakers, Taylor Hawkins, Foo Fighters, Jeff Beck, Lucinda Williams, Def Leppard, Phil Collen, Joe Elliott, Cheap Trick, Ross Halfin, Metallica, Slash, Johnny Depp, T. Rex, Marc Bolan, Mick Ronson, The Black Keys, Ohio Players, Sakke Koivula, Peer Günt, Alice Cooper, Flow, New York Dolls, Alexandra Palace, Canned Heat, Robban Hagnäs, Wentus Blues Band, Savoy-teatteri, Tullikamarin Klubi, Fito de la Parra, Count Basie Orchestra, John Lee Hooker, Jimmy Vivino, GA-20, Shepherd's Bush Empire, Keith Richards, Tower Records, Ronnie Wood, Quireboys, Spike, Black Eyed Sons, Nigel Mogg, Luke Morley, Thunder, Chris Johnstone, Frankie Miller, Rod Stewart, Eagles, Cher, Ray Charles, Tom Waits, U2, Radiomafia, Record Store Day, Black Friday, Black And White Records, Bruce Dickinson, Iron Maiden, Judas Priest, Thin Lizzy, Robert Trujillo, Kirk Hammett, Sam Cooke, Muddy Waters, Howlin´Wolf, Jools Holland, Storyville, Helge Tallqvist, 22 Pistepirkko, Ina Forsman, Marjo Leinonen, Kulttuuritalo, Olympiastadion, G Livelab, Malmitalo, Hound Dog Taylor, Tim Carman, Josh Kiggans, Pat Faherty, Cody Nilsen, Matthew Stubbs, Charlie Musselwhite, Canyon Lights, Heather Gillis, Steve Conte, KK's Priest, Barcelona Rock Fest, Deep Purple, Simon McBride, Steve Morse, Bob Ezrin, Pink Floyd, Hanoi Rocks, Ben Granfelt, Ian Gillan, Ian Paice ja Lemmy Kilmister.

For this special Patron-curated episode, we asked our Patrons to send in their favorite song about religion and/or God. We got an eclectic batch of submissions, running the gamut from the holy to the heretical. Joyful noise indeed! Songs discussed in this episode: Old Time Religion - Pete Seeger; Take Care Of All Of My Children - Tom Waits; Jewish - Spirit; Run On For A Long Time - Blind Boys of Alabama; Spirit In The Sky - Norman Greenbaum; Sing About Me, I'm Dying Of Thirst - Kendrick Lamar; Dear God - XTC; There Is No God - Mrs Magician; Drinking With Jesus - Red Elvises; Being Boiled - The Human League; Amen - Otis Redding; Amen - Spacemen 3; Burn In Hell - John Lee Hooker and Canned Heat; Harvest Festival - XTC; Come By Here - Alex Chilton; The Obeah Man - Exuma; I Walk On Gilded Splinters - Dr John; Godsong - The Residents; Four Winds - Bright Eyes; You Spoke To Me - Smoking Popes; Into the Mystic - Van Morrison; Jesus Blood Never Failed Me Yet - Gavin Bryars & Tom Waits; God! Show Me Magic - Super Furry Animals; How a Resurrection Really Feels - The Hold Steady; God - Daniel Johnston; Anti-Pope - The Damned; Jesus Was A Social Drinker - Chuck Prophet; The Holy War - Thin Lizzy; A Christmas Song - Rash Of Stabbings

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: I Do by Wild Rivers (2019)Song 1: Need You Tonight by INXS (1987)Song 2: R.O.C.K. in the U.S.A. by John Cougar Mellencamp (1985)Song 3: Pink (Live Acoustic) by Leon (2019)Song 4: Cry to Me by Solomon Burke (1962)Song 5: Feel Like Makin' Love by Bad Company (1975)Song 6: How Long by Charlie PuthSong 7: Sweet Child O' Mine by Guns N' Roses (1987)Song 8: St. Stephen by Grateful Dead (1969)Song 9: Julia by Mt. Joy (2018)Song 10: Canned Heat by Jamiroquai (1999)

Send us a textAndy assigns Jeremy: Living the Blues by Canned Heat; Alan Wilson (1943-1970)Jeremy assigns Andy: What Makes a Man Start Fires? by Minutemen; D. Boon (1958-1985)AAJLTM Theme Music by Ryan Robinson.Follow him here: https://www.instagram.com/ryrobrawAAJLTM Original Images by Jade Armstrong.Follow her here: https://www.instagram.com/fxmint.art

Show #1081 Xmas Without Spinner 01. Clifford Curry - Christmas Ain't No Time for the Blues (2:39) (Single, Ground Quake Records, 2021) 02. Joe Negri - God Rest Ye Merry Gentlemen (3:21) (Guitars For Christmas, MCG Jazz Records, 2003) 03. Katie Henry - Starting To Believe (4:49) (Single, Ruf Records, 2024) 04. Billy Burnette - Rock And Roll In Christmas (4:14) (Single, self-release, 2011) 05. Hamilton Loomis - Underneath The Tree (4:23) (This Season, self-release, 2019) 06. Lui Krieg & Alien Shamans - Jingle My Bells (4:04) (Single, self-release, 2024) 07. Ben Levin - Regifted (5:25) (Presents a Holiday Blues Revue, VizzTone Records, 2024) 08. Yuri Nakshin - Missing You This Christmas (3:31) (Single, Records DK, 2024) 09. Big Dave McLean - Santa Come Down (2:46) (Stony Plain's Christmas Blues, Stony Plain Records, 2000) 10. Jason Lee McKinney Band - Merry Merry Christmas (4:25) (Unwrapped, Bonfire Music Group, 2021) 11. Canned Heat (ft. Dr. John) - Christmas Blues (Extended) (7:50) (Liberty Records, 1968) 12. Cary Morin - Auld Lang Syne (1:35) (Holiday Tunes, Maple Street Music, 2023) 13. Lisa Biales - Christmas Cheer (4:14) (At Christmas, Big Song Music, 2023) 14. Michael Prins - Christmas Eve (Edward's Song) (4:53) (Single, self-release, 2024)  15. Misty Blues - Jingle No More (2:44) (Single, Guitar One Records, 2024) 16. Elias Bernet Band - White Christmas (2:09) (Christmas Boogie Celebration, self-release, 2023) 17. Mick Kolassa - All I Want For Christmas Is You (4:25) (Uncle Mick's Christmas Album, Endless Blues Records, 2021) 18. Kerry Kearney Band - Santa's Got A Brand New Bag (2:16) (Single, Paradiddle Records, 2024) 19. David Harland - Carol Of The Bells (4:11) (Christmas Presence, self-release, 2023) 20. Stacy Jones Band - Christmas Eve In County (3:01) (Family Christmas, self-release, 2024) 21. Jimmy Witherspoon - How I Hate to See Christmas Come Around (3:02) (78 RPM Shellac, Supreme Records, 1947) 22. Sunny Lowdown & Band - Christmas Eve Blues (5:07) (Single, CoolStreme Records, 2019) 23. The Wave Benders – Joy To The World (3:15) (Surfin' Christmas, Dwell Records, 1996) 24. Big Harp George - Thee Three Kings (4:21) (Does Christmas, Blues Mountain Records, 2023) 25. Jerry Douglas - God Rest Ye Merry Gentlemen (3:53) (Jerry Christmas, Koch Records, 2009) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Jimmy Vivino Live on Game Changers With Vicki Abelson It had been six long, 4 1/2 COVID years since last I sat down with my old friend, multi-instrumentalist, producer, composer, and long-time musical director for Conan O'Brien, Jimmy Vivino. It was like coming home. Almost the same age, we have many shared (unbeknownst to us at the time) memories of concerts at The Filmore East, Watkins Glen, the glory daze of the NY club scene, and a bounty of mutual friends. Talk about being in one's comfort zone. Jimmy talked growing up in New Jersey, his carpenter trumpet-playing father, his talented brothers, Jerry and Floyd, and how they began and evolved - he talked Conan, Laura Nyro, Phoebe Snow, Donald Fagen, John Sebastian, Al Kooper, Levon Helm, The Allman Brothers, Albert King, Tom Petty, Prince, Bruno Mars, Michael McDonald, Johnny Johnson, Hubert Sumlin, Stevie Wonder, Muddy Waters, Pinetop Perkins, John Sebastian, The Dead, The Band, Harry Shearer, Paul Shaffer, whom he credits as his mentor, Leader of the Pack, Broadway, Ronnie Spector, Felix Cavaliere, The Rascals, Frankie Valli, Slash, Sly Stone, The J. Geils Band, Elvis Costello, and the James Brown and Friends Set Fire To The Soul with Aretha, Robert Palmer, and Joe Cocker, that he orchestrated. Incredible stories all around, and this special is available on YouTube… wow - Snuff and I just watched it. Spectacular. We talked about COVID and Jimmy joining Canned Heat, currently touring with them, and Bill Murray, as well as still doing shows with Will Lee and The Fab Faux. His first all-original album, Gonna Be 2 of Those Days, is due to drop in February, signed copies are available for pre-sale at jimmyvmusic.com He treated us to a track to close the show. Life is busy, busy. busy… just the way Jimmy likes it. And so do we who follow and adore him. I so enjoyed every second of this. Jimmy needs to write a book and get all these stories down. He knows and has played with everyone. Such fun! Jimmy Vivino Live on Game Changers With Vicki Abelson Wednesday, 12/11/24, 5 PM PT, 8 PM ET Streamed Live on my Facebook Replay here: https://bit.ly/49vuRwT

Randy Resnick, an American guitarist, songwriter, and saxophonist, has had a long and illustrious career in the music industry. He has jammed with a who's who of famous blues and jazz musicians, including Don "Sugarcane" Harris, John Lee Hooker, John Mayall, Canned Heat, and Freddie King. Resnick's musical journey began in the early 1970s when he started experimenting with his one- and two-handed tapping style. This innovative technique, tapping the guitar strings with both hands, allowed Resnick to create unique and complex soundscapes.Listen to the sounds of Randy Resnick HERECould you say hello on Instagram?Sign up for our occasional newsletter Come Back To EarthFollow the show and review us on Apple Podcasts: nottodaymedia.com/earthTheme music by: Lincoln ParishSign up for the Storyteller Society to join a supportive community of listeners and more. Learn more and sign up here.Join our DiscordWe also make Dads Cry Too and What's Your Story?Check out our online shop.Episode transcripts are posted on our website.______________ Show Sponsor:* BetterHelp: https://betterhelp.com/fragilemoments for 10% off your first month.* WHOOP: join.whoop.com/storyteller for a FREE WHOOP 4.0 and one month FREE. Get full access to Come Back To Earth at comebacktoearth.substack.com/subscribe

Two of the finest blues bands are featured on this episode. Paul Butterfield Blues Band and Canned Heat were embraced by the new counterculture, and both played the two prestigious festivals of the time, Monterey Pop and Woodstock. Bothe bands leave a respected legacyIf you would, please make a donation of love and hope to St. Jude Children's HospitalMake an impact on the lives of St. Jude kids - St. Jude Children's Research Hospital (stjude.org)Also:Kathy Bushnell Website for Emily Muff bandHome | Kathy Bushnell | Em & MooListen to previous shows at the main webpage at:https://www.buzzsprout.com/1329053Pamela Des Barres Home page for books, autographs, clothing and online writing classes.Pamela Des Barres | The Official Website of the Legendary Groupie and Author (pameladesbarresofficial.com)Listen to more music by Laurie Larson at:Home | Shashké Music and Art (laurielarson.net)View the most amazing paintings by Marijke Koger-Dunham (Formally of the 1960's artists collective, "The Fool").Psychedelic, Visionary and Fantasy Art by Marijke Koger (marijkekogerart.com)For unique Candles have a look at Stardust Lady's Etsy shopWhere art and armor become one where gods are by TwistedByStardust (etsy.com)For your astrological chart reading, contact Astrologer Tisch Aitken at:https://www.facebook.com/AstrologerTisch/Tarot card readings by Kalinda available atThe Mythical Muse | FacebookEmma Bonner-Morgan Facebook music pageThe Music Of Emma Bonner-Morgan | FacebookFor booking Children's parties and character parties in the Los Angeles area contact Kalinda Gray at:https://www.facebook.com/wishingwellparties/I'm listed in Feedspot's "Top 10 Psychedelic Podcasts You Must Follow". https://blog.feedspot.com/psychedelic_podcasts/Please feel free to donate or Tip Jar the show at my Venmo account@jessie-DelgadoII

To usher in a new cycle on "Politics", Julian, Emilio and Madeline soft pedal their way into the theme by way of discussing Jared Hess's 2004 debut feature film 'Napoleon Dynamite', a high school movie featuring socially maladjusted yet charming teenagers, tater tots, rural Idaho, airborne food, fraudulent internet purchases, non-fraudulent internet dating, and yes, an election for class president!  After a conversation about the film's gentle, family-friendly humor and off-beat style that continues to win over audiences of all ages and generations, the trio dives deep into the specifics of presidential race of Summer Wheatley vs Pedro Sanchez.  Their campaigns, their platforms, the speeches, the outcome, the electorate of Preston High, other political comparisons - no stone is left unturned.  Stick around for a lively Unlikely Shared Universe, and for real time contributions from Dougie about the cast's love lives and an eBay purchase that influenced one of the movie's wackiest scenes.       If you enjoy our podcast, please rate and review us on your podcast platform of choice.  This really helps us find new listeners and grow!Follow us on IG and TikTok: @sleeplesscinematicpodSend us an email at sleeplesscinematicpod@gmail.comOn Letterboxd? Follow Julian at julian_barthold and Madeline at patronessofcats

Along with hulking muscles, Paulo has another thing in common with Lou Ferrigno - neither of them know their social media log ins. Morrissey must have a new publicist because he's back in the news and this time he's taking on The Vatican. Dori finds a tenuous link for her ''80s'' movie recommendation but it involves Jamiroquai so it was allowed - meantime Paulo makes a huge shout about Spaceballs. Sting is redoing Roxanne - but you won't believe who his collaborator is and Heaven 17 don't need video game money. Tools and Websites Courthouse News: "00:08:32" Wikipedia: "00:36:01" YouTube: "00:59:21" Comic-Con: "00:02:14" Lou Ferrigno: "00:04:21" Morrissey: "00:17:26" Rick Moranis: "00:54:15" James Earl Jones: "00:54:47" Book on Catholic Church's Condemnations: "00:20:30" "Emergency on Planet Earth" by Jamiroquai: "00:41:21" "Travelling Without Moving": "00:41:21" "Canned Heat": "00:41:21" Morrissey - "I Have Forgotten You, Jesus" (2004): "00:21:25" Jamiroquai's Lockdown Video: "00:40:33" The Goonies: "00:22:50" Back to the Future: "00:23:17" Gremlins: "00:23:05" Napoleon Dynamite: "00:35:54" Spaceballs: "00:54:24" Ghostbusters: "00:54:15" Head Office: "00:56:12" #Rick Astley, #Lou Ferrigno, #Incredible Hulk, #1980s pop culture, #Comic-Con South Africa, #cochlear implant, #elder abuse, #Morrissey, #Pope Francis, #bullfighting, #The Goonies, #Napoleon Dynamite, #80s snacks, #Rick Moranis, #Danny DeVito, #Spaceballs, #James Earl Jones, #Grand Theft Auto V, #Heaven 17, #music licensing, #nostalgia, #cult classic, #film recommendations, #quirky characters, #high school life, #comedy films, #celebrity culture, #family dynamics, #podcast community, #retro vibes, #80s fashion, #animal rights, #cultural significance, #youth adventure market, #corporate satire, #unique storytelling, #memorable experiences, #humor, #personal anecdotes, #pop culture insights.

Skip Taylor's life and times are part of rock legend. He cut his teeth in the LA music scene in the 60s working with the who's who of rock at the time. However, Skip is best known as Canned Heat's manager and has been managing the band since the mid-60s, shortly after discovering them playing at a UCLA frat party. Also playing at that fateful frat party were The Doors, and he shares how he got both bands a record deal. Skip was in the center of it all at Woodstock and Monterey Pop, and recounts his adventures in opening Kaleidoscope, the hot nightclub in Hollywood that became a short-lived dream thanks to some greedy LA gangsters. This interview is packed with great stories from a guy who was in the middle of some of the greatest rock moments of the time, so let's get into it! For upcoming gigs and Canned Heat's discography, check out the links below: https://cannedheatmusic.com https://www.facebook.com/dontforgettoboogie And don't forget to follow My Rock Moment on Instagram: https://www.instagram.com/la_woman_rocks/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Skip Taylor's life and times are part of rock legend. He cut his teeth in the LA music scene in the 60s working with the who's who of rock at the time. However, Skip is best known as Canned Heat's manager and has been managing the band since the mid-60s, shortly after discovering them playing at a UCLA frat party. Also playing at that fateful frat party were The Doors, and he shares how he got both bands a record deal. Skip was in the center of it all at Woodstock and Monterey Pop, and recounts his adventures in opening Kaleidoscope, the hot nightclub in Hollywood that became a short-lived dream thanks to some greedy LA gangsters. This interview is packed with great stories from a guy who was in the middle of some of the most memorable rock moments of the time, so let's get into it! For upcoming gigs and Canned Heat's discography, check out the links below: https://cannedheatmusic.com https://www.facebook.com/dontforgettoboogie And don't forget to follow My Rock Moment on Instagram: https://www.instagram.com/la_woman_rocks/ Learn more about your ad choices. Visit megaphone.fm/adchoices

In a concerted effort to put the world to rights, David and Mark ruminate upon the following …… Kylie and the Wiggles? Canned Heat and the Chipmunks? Real or invented pop star/childrens' entertainer collaborations... the charmed life of Greg Kihn.… will the BBC have any archive left if it keeps cancelling presenters?… why Inside Llewyn Davis works and so many other biopics fail.… the full story of the statement Springsteen made with the Born To Run cover shoot.… Stewart Lee's long-running beef with Ricky Gervais.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In a concerted effort to put the world to rights, David and Mark ruminate upon the following …… Kylie and the Wiggles? Canned Heat and the Chipmunks? Real or invented pop star/childrens' entertainer collaborations... the charmed life of Greg Kihn.… will the BBC have any archive left if it keeps cancelling presenters?… why Inside Llewyn Davis works and so many other biopics fail.… the full story of the statement Springsteen made with the Born To Run cover shoot.… Stewart Lee's long-running beef with Ricky Gervais.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In a concerted effort to put the world to rights, David and Mark ruminate upon the following …… Kylie and the Wiggles? Canned Heat and the Chipmunks? Real or invented pop star/childrens' entertainer collaborations... the charmed life of Greg Kihn.… will the BBC have any archive left if it keeps cancelling presenters?… why Inside Llewyn Davis works and so many other biopics fail.… the full story of the statement Springsteen made with the Born To Run cover shoot.… Stewart Lee's long-running beef with Ricky Gervais.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Andy eases you in this week with a classic from Radiohead and a beauty from Kate Bush; The usual Monday melange takes us from Nick Cave to Canned Heat to Nancy Sinatra via Oasis, Georgie Fame, Procul Harem, Diana Ross,Ray Lamontagne and a whole lot more besides. Enjoy!! Tune into new broadcasts of Uncorked LIVE, Mondays from 8-10 AM EST / 1 - 3 PM GMTFor more info visit: https://thefaceradio.com/uncorked//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Americana, Roots, Folk, Blues and Country music. Featured Artists . New and classic tracks.A WOODSTOCK SPECIAL.Includes Creedence Clearwater Revival, CSN, Canned Heat and Joan Baez.

This 2-hour episode has been around the world on FM and online stations.  Music in this show contains new music from Canned Heat, Chris cain, Sue Foley, RB Stone and many others.  Please check it out and consider following Blues Therapy Radio Worldwide on Facebook Peace! Biggdaddy Ray Hansen

O espaço intitulado “Atacama Blues” vai, como o nome sugere, ocupar o território musical dos blues e os seus afluentes. Todas as semanas uma nova sugestão. Com André Gonçalves

 | Artist  | Title  | Album Name  | Album Copyright  | Steve Cropper & The Midnight Hour  | I Leave You In Peace  | Friendlytown  |   | Mark Hummel  | Mr Two-Thirds  | True Believer  |   | Ilana Katz Katz  | Woman, Play the Blues  | In My Mind  |   | Steve Cropper & The Midnight Hour  | Lay It On Down  | Friendlytown  |   | Errol Linton  | Bo Diddit  | Break The Seal  |   | Hubert Sumlin With James Cotton & Little Mike And The Tornadoes  | Juke  | Heart And Soul  |   | Joe Louis Walker  | Keep The Faith  | Hornet's Nest  |   | Samantha Fish  | Let's Have Some Fun  | Black Wind Howlin'  |   | Albert Ammons  | Ammons Stomp (Young)  | Albert Ammons 1946-1948  | Steve Cropper & The Midnight Hour  | Too Much Stress (feat Brian May)  | Friendlytown  |   | Seasick Steve & The Level Devils  | Sorry My Jesus  | Cheap  |   |   | Fats Domino  | Don't Lie to Me  | Roots of Rock N' Roll Vol 7 1951  | Son Of Dave  | Rock & Roll Talent Show  | Shake A Bone  |   | Steve Cropper & The Midnight Hour  | Reality Check  | Friendlytown  |   | Tyler Bryant & The Shakedown  | Trick Up My Sleeve  | Electrified  |   | Canned Heat  | So Sad  | Finyl Vinyl  | 

This week is the sixth volume of our deep dive into the trippy and groovy beginnings of the heavy stuff! Cut your lava lamp on, gaze at that blacklight poster through the haze of smoke, and join your favorite rock n' roll grave robbers as they dig deep into the core of 70s Acid Rock n' Proto Metal crypt to unearth some obscure bands that helped influence and mold what would become known as Heavy Metal. What is it that we do here at InObscuria? Well, we exhume obscure Rock n' Punk n' Metal in one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. This particular episode is planted firmly in the: LOST category, as all of these recordings occurred between 1970 – 1976. As always, our hope is that we turn you on to something new in a genre and decade that you may have thought you already knew everything there was to know.Songs this week include:El Ritual - “Mujer Facil - Prostituda” from El Ritual (1971)Fury- “Flying” from Sonny Vincent – Primitive 1969-1976 (1972)P2O5 - “All Right” from P2O5 (1976)Atomic Rooster - “Save Me” from Nice ‘N' Greasy (1973)Yesterday's Children - “Paranoia” from Yesterday's Children (1970)Warpig - “Rock Star” from Warpig (1973)Sudden Death - “My Time Is Over” from Suddenly (1972)El Ritual documentary in Spanish on YouTube from 2022 https://youtu.be/K1xz6R9nH3k?si=Gd6I90SC19ZkOLWmPlease subscribe everywhere that you listen to podcasts!Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://x.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/InObscuria?asc=uIf you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/Check out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/

Diane and Sean discuss...a ballet movie. That's it. It's ballet. Center Stage, the Nicholas Hytner ballet movie. Episode music is, "Canned Heat" by Jamiroquai, from the OST.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:-  IG: @whydoweownthisdvd- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplants- Watch Sean be bad at video games on TwitchSupport the Show.

James starts the third hour discussing sending funds to nations engaged in war such as Ukraine and Israel. He also discusses the contentious debate of hot vs cold weather. Learn more about your ad choices. Visit megaphone.fm/adchoices

Concept of Peace: Siva discusses peace as a profound state of consciousness that goes beyond the absence of conflict. It involves a sense of awe and connection with the beauty of creation and the presence of the divine in the world.Path to Peace and Creativity: Siva shares that his journey to inner peace began in childhood through imaginative play. As an adult, he continues to achieve this state through creative endeavors such as music, art, and writing, viewing life itself as an art form.Illusions and Materialism: He talks about the illusions of the material world (Maya) and how they can be distracting and distressing. Engaging in creative activities helps transcend these illusions and connect with a deeper reality.Spiritual Practices: Emphasizing non-violence (Ahimsa), Siva highlights the importance of cultivating love, kindness, and compassion. He also discusses the need to understand different perspectives and resolve conflicts through reconciliation and understanding.Role of Music and Nature: Siva reflects on how music and nature have been central to his life and well-being. Immersing oneself in nature and creative pursuits helps maintain balance and counter the disturbances of modern, materialistic life.--Stephen (Siva) Longfellow FiskeBorn into a musical and artistic family in New York City, Stephen was a natural in singing and acting, andperformed in school plays and musicals from elementary school through college. He wrote poems andsongs in his head and on paper before becoming a self-taught guitarist at the High School of Music andArt during the folkmusic era of the 60's. After attending Civil Rights Marches in New York City, Stephentravelled to Washington DC in August, 1963, to take part in the Great March on Washington whereMartin Luther King Jr. gave the “I Have A Dream” Speech which greatly impacted Stephen towards hispeace and justice activism. Greatly influenced by the songs of freedom and equality and the call forsocial justice of the Civil Rights Movement, Stephen developed his own unique folk music style, andwhile in college, did his first public performances in the Greenwich Village coffee houses, such asGerde's Folk City and the Bitter End. After college, he travelled to San Francisco where he became thelead singer and writer with an acid-rock band, “The Bycycle.” The Bycycle became booked by a majoragency and performed with such acts as Crosby, Stills, Nash, and Young, Taj Mahal, Canned Heat, andJimi Hendrix. When the band broke up, Stephen began his solo career and over the years has writtenhundreds of songs and produced a dozen albums of his music. He has performed widely across the U.S.and overseas, has sung and done voice-overs on commercials, and his music has been in films and videosoundtracks. An award-winning songwriter, his songs have been covered by such well known artists asJose Feliciano and Luther Vandross. Stephen has been primarily an independent artist selling hisproducts directly to his audiences and keeping a contact list. He is an engaging performer who loves tointeract with his audiences and encourages people to sing-along. Accompanying himself on acousticguitar, he is a peace and environmental activist whose timely message in song, stories, and poetry havemade him a popular performer, always warmly and enthusiastically received by his audiences.--Jerusalem Prayer ProjectStephen Fiske Music Hosted on Acast. See acast.com/privacy for more information.

Hey Jimmy V is in the house. It don't get much better than this!!

Jimmy Vivino is an All-Star Guitarist, Keyboard Player and Bandleader. He was the bandleader of Conan O'Brien's various television show bands; a member of the Fab Faux, the world's greatest Beatles tribute band, and currently a member of Canned Heat blues band. He talks about playing Tevye in “Fiddler On The Roof” in High School, his 15 year affiliation with Al Kooper of Blood Sweat and Tears and SuperSession fame, meeting and recording with Laura Nyro, and much more!My featured song is “I Wanna Be Your Girl” from the album East Side Sessions by my band, Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“LOU'S BLUES” is Robert's new single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Intro/Outro Voiceovers courtesy of:Jodi Krangle - Professional Voiceover Artisthttps://voiceoversandvocals.com Audio production:Jimmy RavenscroftKymera Films Connect with Jimmy at:www.cannedheatmusic.comwww.facebook.com/JimmyVivino Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Pacific St Blues & AmericanaMay 5, 2024What's the Common Thread - segment fivehttps://www.Facebook.com/PSBlues  1. Rick Estrin & the Night Cats / I Ain't Worried About Nuthin'2. Chris O'Leary / Who Robs a Musician? 3. Keb Mo & Taj Mahal / Shake Me In Your Arms4. Mark Knopfler / One Deep River5. Dave Alvin & Jimmie Dale Gilmore / Borderland 6. Canned Heat w/ Dave Alvin / Blind Owl7. Canned Heat / One Last Boogie8. Buddy Guy w/ Joss Stone/ You Got What It Takes9. Samatha Fish / She Don't Live Around Here 10. Roy Buchanan / Mrs Pressure11. Jimmy Thacker / Devil's Toolbox 12. Johnny Adams / This Time I'm Gone for Good 13. Bonnie Raitt / Blame It One Me 14. Robert Cray / Smokin' Gun15. BB King / Bad Case of Love16. Odetta / Midnight Special17. Lead Belly / Pick a Bale of Cotton18. Mike Zito / Run Through the Jungle 19. Smokin' Joe Kubick / Run Through the Jungle 20. Creedence Clearwater Revival / Tombstone Shadow

[From April 20, 2020] Alex and Bobby are joined once again by Washington Nationals closer Sean Doolittle to break down Game 5 of the 1999 ALDS between the Boston Red Sox and Cleveland Indians. It's a game that features plenty of dingers, plenty of Hall of Famers, and vintage Pedro Martínez in the tightest pants imaginable. Plus: a dive into the story of Albert Belle and the greatest heist in baseball history. Follow Sean on Twitter at ⁠@whatwouldDOOdo⁠. Links: ⁠Watch along with Tipping Pitches Classics⁠ Songs featured in this episode: Jamiroquai — "Canned Heat"  • Booker T. & the M.G.'s — “Green Onions” --- Send in a voice message: https://podcasters.spotify.com/pod/show/tipping-pitches/message

Napoleon Dynamite, a film that gently meanders through the life of an awkward high schooler in rural Idaho, has remarkably carved itself into the hearts of a cult following since its release in 2004. In the latest episode of the Born to Watch Podcast, hosts Whitey and Damo are joined by none other than "Australia's Best Look Back Actor," Croaksey, to unpack the nuances of this peculiar yet endearing cinematic piece.At first glance, Napoleon Dynamite appears to be a series of loosely connected events showcasing the mundane life of its eponymous character, played with impeccable awkwardness by Jon Heder. However, as the trio delved deeper into their discussion, it became evident that the film's charm lies in its unassuming portrayal of the trials and tribulations of adolescence. Director Jared Hess, alongside co-writer Jerusha Hess, crafts a world so painfully relatable that one cannot help but find pieces of their own high school experience mirrored in the characters on screen.The narrative, if one can call it that, meanders through Napoleon's life, showcasing his interactions with an array of characters that could only exist in the offbeat universe the Hesses have created. From his aloof older brother Kip (Aaron Ruell), who is in an online romance with the equally peculiar LaFawnduh (Shondrella Avery), to his friend Pedro (Efren Ramirez), who decides to run for class president against the popular girl, each character adds a layer of complexity and humour to the story.Croaksey pointed out that the film's beauty lies in its subtlety and the genuine portrayal of its characters. Despite their quirks and oddities, they are never the butt of the joke. Instead, the film invites the audience to laugh along with them, embracing their individualities. The dialogue, sparse yet impactful, includes lines that have since become iconic. Phrases like "Vote for Pedro" and "Gosh!" resonate with audiences even decades later, underscoring the film's lasting impact.The podcast discussion also touched on the film's distinctive aesthetic. The choice of costumes, Napoleon's moon boots, and his ever-present afro, set against the backdrop of the Idaho landscape, contribute to the film's timeless feel. This visual strategy cleverly sidesteps the pitfall of dating itself, allowing the story and its characters to remain relevant.The soundtrack, an eclectic mix that complements the film's tone, was another point of discussion. From the memorable opening sequence featuring White Stripes' "We're Going to Be Friends" to the unforgettable dance sequence set to Jamiroquai's "Canned Heat," the music plays a pivotal role in defining the film's atmosphere.One of the most memorable moments discussed was Napoleon's dance performance. This scene, which could have easily been played for laughs, instead serves as a triumphant moment of self-expression. It encapsulates the film's overarching message about the importance of being true to oneself, regardless of others' opinions.Whitey, Damo, and Croaksey also praised the film for its lack of a conventional plot. The absence of a clear beginning, middle, and end allows the audience to experience the film as a slice of life, further enhancing its authenticity. This narrative choice invites viewers to fill in the gaps with their own interpretations, making each viewing a unique experience.In reflecting on the film's legacy, the trio acknowledged how Napoleon Dynamite has influenced not only indie filmmaking but also pop culture at large. Its success demonstrated that a film doesn't need a blockbuster budget or A-list stars to resonate with audiences. Instead, it's the authenticity of its characters and the universality of its themes that truly matter.As the podcast episode drew to a close, Whitey, Damo, and Croaksey agreed that Napoleon Dynamite is a testament to the power of storytelling. It's a film that celebrates the ordinary, finds humour in the every day, and, most importantly, teaches us to embrace our individual quirks. In a world that often values conformity, Napoleon Dynamite stands as a reminder that there is greatness in being unapologetically oneself.The Born to Watch Podcast episode on Napoleon Dynamite not only revisits the film's unique charm but also provides insightful commentary that enhances our appreciation of this cinematic gem. Through their engaging discussion, Whitey, Damo, and Croaksey remind us why this "little movie that could" continues to capture the imagination of audiences worldwide, making it a beloved classic that transcends time. Please follow the Podcast and join our community at https://linktr.ee/borntowatchpodcast If you are looking to start a podcast and want a host or get guests to pipe in remotely, look no further than Riverside.fmClick the link below https://riverside.fm/?utm_campaign=campaign_1&utm_medium=affiliate&utm_source=rewardful&via=matthew

Esta semana, en Islas de Robinson, territorio clásico, entre 1968 y 1969. Suenan: BLOOD SWEAT & TEARS - "I CAN'T QUIT HER" ("CHILD IS FATHER TO THE MAN", 1968) / THE IMPRESSIONS - "YOU WANT SOMEBODY ELSE" ("THIS IS MY COUNTRY", 1968) / JIMI HENDRIX EXPERIENCE - "HAVE YOU EVER BEEN (TO ELECTRIC LADYLAND)" ("ELECTRIC LADYLAND",1968) / THE ELECTRIC FLAG - "GROOVIN' IS EASY" ("A LONG TIME COMIN'", 1968) / CANNED HEAT - "TIME WAS" ("HALLELUJAH", 1969 ) / SLY & THE FAMILY STONE - "COLOR ME TRUE" ("DANCE TO THE MUSIC", 1968) / TRAFFIC - "WHO KNOWS WHAT TOMORROW MAY BRING" ("TRAFFIC", 1968) / SPIRIT - "UNCLE JACK" ("SPIRIT", 1968) / NAZZ - "NOT WRONG LONG" ("NAZZ NAZZ", 1969) / LOVE - "I'M WITH YOU" ("FOUR SAIL", 1969) / THE GUESS WHO - "6 A.M. OR NEARER" ("CANNED WHEAT", 1969) / THE CITY - "WHY ARE YOU LEAVING" ("NOW THAT EVERYTHING'S BEEN SAID", 1968) / BUFFALO SPRINGFIELD - "FOUR DAYS GONE" ("LAST TIME AROUND", 1968) / MOBY GRAPE - "HE" ("WOW", 1968) / JEFFERSON AIRPLANE - "GREASY HEART" ("CROWN OF CREATION", 1968) / Escuchar audio

Muddy Waters hizo en los años sesenta toda una declaración de intenciones cuando cantó aquello de "el Blues tuvo un hijo y lo llamaron rock and roll". Sin embargo, a finales de aquella década, el blues volvió a rugir gracias a una nueva generación de músicos blancos que reclamaron el legado de sus mayores. Entre los Doors, Janis Joplin, John Mayall o Johnny Winter se coló una formación de chavales salvajes marcada por su amor a la raíces y la mala suerte que les persiguió: Canned Heat.No es descabellado afirmar que todos los músicos fueron, antes que estrellas, enamorados de la música. El caso de Canned Heat va más allá. El grupo nació directamente de una comunidad de coleccionistas del discos de blues que decidió probar suerte y comenzar a hacer sus propias interpretaciones de las canciones que les volvían locos, pero las cosas, como suele decirse, se les fue de las mano y acabaron tocando en Monterey, Woodstock, Newport y conquistando Europa.Esa cultura de coleccionistas, de tipos forofos con un gran conocimiento del género se plasma es su primer disco, trabajo que graban de la mano de Johnny Otis pero que no vería la luz hasta unos años después de tal modo que su debut oficial es el homónimo de julio de 1967 y con ese disco se presentan en el festival de Monterey con una actuación notable que les valió para ser portada de la prestigiosa revista Downbeat, eso es estar en el sitio adecuado en el momento perfecto.Un punto clave del grupo fue 1968 cuando entre una conquista y la siguiente grabaron Boogie with Canned Heat, un disco con temas propios que fue un paso en una nueva dirección. Un trabajo que los convirtió en una banda con otro poso, un grupo capaz de partir de viejas composiciones perdidas para crear sus propias canciones y su propio sonido.Por todo esto la historia de Canned Heat resulta fascinante y apuntaba alto, pero el grupo estuvo marcado por la muerte y la mala suerte que los condenó cuando el mundo empezaba a rendirse a su música. Esta semana rendimos tributo al grupo recordando sus canciones y su comienzo musical de la mano de Manuel Recio y Lucia Taboada.

Esta semana viajamos a finales de los años sesenta para recordar el álbum más acertado y potente de Canned Heat, una banda diferente con una gran dosis de mala suerte. 

Recorded live on KX FM 104.7 in Laguna Beach, California, today's Keith's Music Box show features Grand Funk Railroad, The Clash, The Plimsouls, U2, The Church, Cat Stevens, Radiohead, Gerry Rafferty, Gomez, Asia, Europe, America, Joe Jackson, Men at Work, Small Faces, Sugarloaf, Arctic Monkeys, INXS, Paul Simon, BTO, Steppenwolf, The Band, Otis Redding, Canned Heat, The Zombies and Queen.

Canned Heat emerged in 1966 and was founded by blues historians and record collectors Alan “Blind Owl” Wilson and Bob “The Bear” Hite. Hite took the name “Canned Heat” from a 1928 recording by Tommy Johnson. They were joined by Henry “The Sunflower” Vestine, another ardent record collector who was a former member of Frank Zappa's Mothers of Invention. Rounding out the band in 1967 were Larry “The Mole” Taylor on bass, an experienced session musician who had played with Jerry Lee Lewis and The Monkees and Adolfo “Fito” de la Parra on drums who had played in two of the biggest Latin American bands of the day. The band attained three worldwide hits, “On The Road Again”, “Let's Work Together” in 1970 and “Going Up The Country” in 1969: all of which became rock anthems. They secured their niche in the pages of rock ‘n roll history with their performances at the 1967 Monterey Pop Festival (along with Jimi Hendrix, Janis Joplin and The Who) and the headlining slot at the original Woodstock Festival in 1969. The band collaborated with John Mayall and Little Richard and later with blues icon, John Lee Hooker. In September 1970, the band was shattered by the suicide of Alan Wilson. His death sparked reconstruction within the group and member changes have continued throughout the past five decades. In 1981, vocalist, Bob Hite collapsed and died of a heart attack and in 1997, Henry Vestine died in Paris, France following the final gig of a European tour. In 2019, original bass player, Larry “The Mole” Taylor passed away with cancer. Despite these untimely deaths, Canned Heat has somehow survived. They have played more festivals, biker gatherings and charity events than any other band in the world. They and/or their music have been featured on television and in films. Now, more than fifty years later and with forty albums to their credit, Canned Heat is still going strong. They have been anchored throughout the past fifty-five years by the steady hand of drummer/band leader and historian, Adolfo “Fito” de la Parra. Fito's book, “LIVING THE BLUES” tells the complete and outrageous Canned Heat story of “Music, Drugs, Death, Sex and Survival” along with over 100 captivating pictures from their past and is available through the band's merchandise page. FIto de la Parra joins us this week to share tales of his incredible journey. I hope you enjoy the story of Canned Heat. If you have any comments, feedback or suggestions for future guests please don't hesitate to get in touch with me through my website https:www.abreathoffreshair.com.au

This week is the fifth volume of our deep dive into the trippy and groovy beginnings of the heavy stuff! Share a tab and join your favorite rock n' roll grave robbers as they dig deep into the 60s & 70s Acid Rock n' Proto Metal crypt to unearth some obscure bands that helped influence and mold what would become known as Heavy Metal. What is it that we do here at InObscuria? Well, we exhume obscure Rock n' Punk n' Metal in one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. This particular episode is planted firmly in the: LOST category, as all of these recordings occurred between 1969 – 1973. As always, our hope is that we turn you on to something new in a genre and decade that you may have thought you already knew everything there was to know.Songs this week include:Fuse - “Show Me” from Fuse (1970)Stray Dog - “Crazy” from Stray Dog (1973)Taste - “Blister On The Moon” from Taste (1969)White Witch - “Aunti Christy / Harlow” from A Spiritual Greeting (1973)Incredible Hog - “Wreck My Soul” from Volume 1 (1973)Mariani - “Searching For A New Dimension” from Perpetuum Mobile (1970)Juan De La Cruz - “Shake Your Brains” from Himig Natin (1973)Please subscribe everywhere that you listen to podcasts!Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://twitter.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/InObscuria?asc=uIf you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/Check out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/

Roger Mairlot, a retired car mechanic in his 70s, takes center stage in this episode of Seeing Them Live. Renowned for his passionate dedication to live music, Roger's story has attracted the attention of media giants like Vice News, The Guardian, and CBC Radio Canada. With an astonishing personal record of attending over 725 consecutive gigs and accomplishing the feat of attending six gigs in one night at different venues across London, Roger has become an icon in the city's live music scene. His distinctive ornate military jacket, adorned with badges, has earned him the affectionate name "The Gig Slut" from Debbie Smith of the band Blindness.Reflecting on his early music experiences, Roger shares memories of a Joan Baez concert in the 1960s, marking the beginning of his journey through London's rich music scene. The cultural and social aspects of live performances are explored, emphasizing the intimate connection between the audience and the artists. Roger's passion for live music goes beyond attendance; he meticulously documents gig timings and schedules in "The Book of Bands," showcasing his dedication to discovering new bands and genres.The conversation delves into Roger's connection to the Mod Culture, influenced by bands like The Who and The Kinks, and explores his experiences in London's music scene during the 1970s. Notable bands from that era, including Canned Heat and Queen, are mentioned, while Roger reflects on the changing music landscape in the '70s.Roger's transition to retirement in the early 2000s allowed for greater flexibility in attending gigs, leading to a revival of his interest in live music. Charles and Roger discuss the impact of Mod Culture, Roger's favorite band, The Kinks, and his experiences seeing iconic artists like Jimi Hendrix. Roger's signature look, the guard's jacket, is born out of his paper rounds, which he took on to finance his gigging passion during his early waking hours.The episode delves into Roger's mad gigging phase, discussing his gigging routine, how he justified spending money on gigs through his paper round earnings, and the development of detailed schedules for nightly gig adventures. The conversation also touches on Roger's extensive guard's jacket collection and the experiences he had wearing them.In 2014, Roger pushed the limits by attending six gigs in one night, facing challenges in managing multiple venues and early start times. The episode explores Roger's criteria for choosing gigs, post-pandemic changes in the gig scene, and the decline in fan attendance. Despite the challenges, Roger emphasizes the importance of enjoying a gig and shares his diverse taste in music, spanning genres from jazz to chamber rock.BANDS: Adam Ant, Blindness, Blue Crime, Canned Heat, Color TV, Cream, Fleetwood Mac, Jimmy Hendrix, Joan Baez, Ogunquit, The Breeders, The Kinks, The Libertines, The Palpitations, The WhoVENUES: 100 Club, Camden (general reference to the area), Pure Groove, Rough Trade, Royal Festival Hall, Sculpture of St. James, The Clarendon Hotel, The Dublin Castle, The George Robey, The Hammersmith Odeon, The Hope and Anchor, The Kings Head, The Kursal, The Lock Tavern, The Marquee Club, The Monarch, The Old Blue Last, The Purple Turtle, The Roundhouse.More information including photos and links available at https://www.SeeingThemLive.com. PATREON:https://www.patreon.com/SeeingThemLivePlease help us defer the cost of producing this podcast by making a donation on Patreon.WEBSITE:https://seeingthemlive.com/Visit the Seeing Them Live website for bonus materials including the show blog, resource links for concert buffs, photos, materials related to our episodes, and our Ticket Stub Museum.INSTAGRAM:https://www.instagram.com/seeingthemlive/FACEBOOK:https://www.facebook.com/profile.php?id=61550090670708

EPISODE 100 SPECIAL: Matt Cusson is a Grammy nominated pianist, singer, writer, producer and arranger known for his work with luminaries such as Christina Aguilera, Brian McKnight, CeeLo Green and many others. mattcusson.comMark Andes started his musical career in the mid 1960s. He was an original member of Canned Heat, formed Spirit, Jo Jo Gunne, and Firefall. He was a member of Heart from 1982-1992. Toured with Stevie Nicks, Dan Fogelberg and a host of Texas artists. runrunrundocumentary.comMark Farner is an American musician, best known as the original lead singer and lead guitarist for the hard rock band Grand Funk Railroad, which he co-founded in 1969, and later as a contemporary Christian musician. markfarner.comContact us: makingsoundpodcast.comFollow on Instagram: @makingsoundpodcastFollow on Threads: @jannkloseJoin our Facebook GroupPlease support the show with a donation, thank you for listening!

"¡Descubre el fascinante viaje de una de las bandas más icónicas de la escena del acid jazz y funk en Vinyl Radio! En este episodio especial de Mini Biografía, exploramos la historia musical de Jamiroquai, desde sus inicios en la década de 1990 hasta su estatus de superestrellas globales. Con su distintivo sonido funky y el carismático líder, Jay Kay, esta banda británica ha dejado una marca indeleble en la música moderna. Desde "Emergency on Planet Earth" hasta éxitos como "Virtual Insanity," "Canned Heat," y "Space Cowboy," Jamiroquai ha llevado su mezcla única de funk, soul y jazz a las masas. Acompáñanos en este recorrido por la vida y carrera de Jamiroquai, mientras exploramos su legado, influencias y contribuciones a la música contemporánea. Este episodio te sumergirá en el mundo vibrante y enérgico de Jamiroquai y te recordará por qué son una de las bandas más influyentes de su generación. Con George Paz como tu anfitrión, este episodio es un viaje musical inolvidable que no querrás perderte. Sintoniza Vinyl Radio y prepárate para explorar el groove inconfundible de Jamiroquai." --- Send in a voice message: https://podcasters.spotify.com/pod/show/vinylradio/message

Ethan is back on U.S. soil, and this week, he and Chris spend some time talking about Layne Staley on the week he'd turn 56. Later, the duo explain the significance and personal importance of the legendary 60s band, Canned Heat, and the men who made the band. They were absolutely dynamite and could lay the boogie down like no other. "These guys are the literal definition of baked." If you are enjoying the show, becoming a Patron is the most helpful way to support us. If you have gotten more than $2 of satisfaction from this show, click the link here :) https://www.patreon.com/grunge_bible  Support the show, buy some merch! https://grungebible.creator-spring.com/

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 --