Podcasts about chambers brothers

A show spotlighting songs with more cowbell! Artists include Blue Oyster Cult, The Chambers Brothers, The Rolling Stones, War, The Beatles, The Bee Gees, Nazareth, ELO, Fleetwood Mac, Van Halen and more!

"Seem like every time you stop and turn aroundSomething else just hit the groundBroken cutters, broken saws, broken buckles, broken lawsBroken bodies broken bones, broken voices on broken phonesTake a deep breath feel like you're chokin'Everything is broken."Well, not quite everything, please join me for 2 hours of fixing, joining us are Pat Metheny, Laura Nyro, The Doors, Rascals, Beatles, Chambers Brothers, Joe Farrell Quartet, War, Traffic, Dr. John, King Crimson, Love, John Lennon, J. Geils Band, Tim Buckley, Leon Russell, Ian Hunter & Bob Dylan.

William Luck is the guest host this week, with topical selections on the mood of the nation. Tracks from the Salem Travelers (pictured), Capitalaires, Curtis Carrington Family, Alberta Kay Sanders, Barbara Dane feat. the Chambers Brothers, and others.

"It's my own design,It's my own remorseHelp me to decideHelp me make the mostOf freedom and of pleasureNothing ever lasts foreverEverybody wants to rule the world"No autocracy here, just good tunes...Please join me on this week's "Whole 'Nuther Thing" musical journey on KXFM 104.7. Joining us are Chick Corea & Return To Forever, The Black Keys, The Guess Who, Traffic, Buffalo Springfield, Alan Parsons The Alan Parsons Project, Mahavishnu Orchestra, Paul McCartney & Wings, Quicksilver Messenger Service, The Chambers Brothers, Pink Floyd, Steely Dan, Jeff Buckley, U2, Atlanta Rhythm Section, Led Zeppelin, R.E.M., Stanley Clarke and Tears For Fears...

Playlist mensuelle de Sophian Fanen, de Kit Sebastian à Barbara Dane et le duo instrumental Hadouk dans la #SessionLive. Tous les mois Sophian Fanen chronique 5 nouveautés. Voici son choix pour cette fin octobre :- Kit Sebastian, Metropolis, tiré de l'album New Internationale (Brainfeeder, 2024)- Avec pas d'casque, Accepter le mystère, tiré de l'album Cardinal (Bravo musique, 2024)- Broadcast, Valerie, tiré de la compilation «Distant Call - Collected Demos 2000-2006» (Warp Records, 2024)- Cheb, B'lil F'sma, single (ZRMOMIYAPHONE, 2024)- Barbara Dane (1927-2024) and the Chambers Brothers, It Isn't Nice, tiré de l'album Barbara Dane and the Chambers Brothers (Folkways Records, 1966).  Puis nous recevons Hadouk dans la #SessionLive pour la sortie de l'album Le Concile des Oiseaux, incluant Le Bal des Oiseaux (1996) donc double album !L'ultime album du duo Hadouk célèbre 30 ans de carrière : une poésie instrumentale, une ode au vivant et à la nature par les magiciens Didier Malherbe et Loy Ehrlich.  En toute liberté, l'histoire de ces deux instrumentistes hors normes s'est écrite sur plusieurs décennies. Didier Malherbe et Loy Ehrlich se rencontrent en 1970. Le premier fait partie du légendaire groupe de rock progressif Gong ; le second se fond dans les musiques africaines avec les groupes West African Cosmos, Touré Kunda et de Youssou N'Dour. Ensemble, sur le socle d'une amitié indéfectible et d'une grande complicité artistique, ils fondent Hadouk en 1995. Un premier disque a vu le jour en 1996, Le Bal des Oiseaux. Réédité en 2024, il entre en résonance avec Le Concile des Oiseaux, le dixième et dernier album du duo publié cette même année. De l'un à l'autre, Hadouk boucle harmonieusement un cycle initié il y a trente ans. Hadouk incarne une poésie soutenue par une curiosité des sons et des instruments, des rythmes inspirés par la nature et le vivant. Une symphonie conjuguant l'Orient, l'Afrique et l'Occident, les mélodies traditionnelles et l'improvisation du jazz. Amoureux du verbe et des fusions, artisans de la fantaisie, leur philosophie est celle du voyage intérieur. Les flûtes, ocarinas, le doudouk et le soprano de Didier Malherbe se marient aux claviers, vièles, à la kora et au guembri de Loy Ehrlich, produisant une musique métisse et organique, dans un langage onirique célébrant le Tout-monde. Des mélopées ancestrales aux transes gnawa, des effluves arméniennes au blues malien, Hadouk est un conte qui s'écoute grâce à l'imaginaire sans limite de ces deux magiciens. Après une dizaine d'albums à son actif et avec ce nouvel et dernier opus Le Concile des Oiseaux, Hadouk renoue avec la forme de ses origines : le duo. Didier Malherbe et Loy Ehrlich proposent une musique épurée où l'on retrouve tous les ingrédients qui ont fait l'originalité et la saveur du groupe : des mariages insolites d'instruments et de sonorités, créant la possibilité d'un folklore du monde… imaginaire. Conçu comme le miroir de leur premier disque, le morceau Hadouk Song en ouverture, sur un duo kora / doudouk, est une reprise du thème Hadouk qui inaugurait l'album Le Bal des Oiseaux. De la même manière, le percussionniste Steve Shehan, qui avait participé à l'enregistrement d'un morceau en 1996, apporte cette fois sa contribution sur le titre éponyme Le Concile des Oiseaux. Dix compositions pour un voyage intemporel avec la compagnie “Air Hadouk” : zéro émission de CO2 et dépaysement garanti !  Titres interprétés au grand studio- Hadouk Song Live RFI  Loy : kora, Didier : doudouk- Loukoumotive, extrait Le bal des Oiseaux- LHaj Bawu Blues Live RFI   Loy : gumbri hajouj, Didier: flûte chinoise bawu. Line Up : Didier Malherbe (doudouk, flûte), Loy Erhlich (kora, guembri).Son : Mathias Taylor, Benoît Letirant.► Album Le Concile des Oiseaux (DuNose Prod, sortie 25 octobre 2024).CD 1 ⎮ Le Concile des Oiseaux (2024) Didier Malherbe : doudouk, flûtes, flûte Bawu, ocarinas, khaen. Loy Ehrlich : hajouj, awicha, gumbass, kora, ribab, cellito d'amore, laouto, percussions, osmose keyboard. Le Concile des Oiseaux Steve Shehan : balais berbères. Tao Ehrlich: cymbales.CD 2 ⎮ Le Bal des Oiseaux (1996) Didier Malherbe : doudouk, flûtes, ocarinas, soprano, clarinette bambou, guimbarde, zeff, percussions. Loy Ehrlich : hajouj, awicha, kora, sanza M'bira, bolong, ukulélé, claviers, tablas, percussions Marsyas Steve Shehan : calebasse, shekéré.  YouTube - Facebook - Site.Hadouk en concert le 5 décembre 2024 au New Morning, Paris.

Playlist mensuelle de Sophian Fanen, de Kit Sebastian à Barbara Dane et le duo instrumental Hadouk dans la #SessionLive. Tous les mois Sophian Fanen chronique 5 nouveautés. Voici son choix pour cette fin octobre :- Kit Sebastian, Metropolis, tiré de l'album New Internationale (Brainfeeder, 2024)- Avec pas d'casque, Accepter le mystère, tiré de l'album Cardinal (Bravo musique, 2024)- Broadcast, Valerie, tiré de la compilation «Distant Call - Collected Demos 2000-2006» (Warp Records, 2024)- Cheb, B'lil F'sma, single (ZRMOMIYAPHONE, 2024)- Barbara Dane (1927-2024) and the Chambers Brothers, It Isn't Nice, tiré de l'album Barbara Dane and the Chambers Brothers (Folkways Records, 1966).  Puis nous recevons Hadouk dans la #SessionLive pour la sortie de l'album Le Concile des Oiseaux, incluant Le Bal des Oiseaux (1996) donc double album !L'ultime album du duo Hadouk célèbre 30 ans de carrière : une poésie instrumentale, une ode au vivant et à la nature par les magiciens Didier Malherbe et Loy Ehrlich.  En toute liberté, l'histoire de ces deux instrumentistes hors normes s'est écrite sur plusieurs décennies. Didier Malherbe et Loy Ehrlich se rencontrent en 1970. Le premier fait partie du légendaire groupe de rock progressif Gong ; le second se fond dans les musiques africaines avec les groupes West African Cosmos, Touré Kunda et de Youssou N'Dour. Ensemble, sur le socle d'une amitié indéfectible et d'une grande complicité artistique, ils fondent Hadouk en 1995. Un premier disque a vu le jour en 1996, Le Bal des Oiseaux. Réédité en 2024, il entre en résonance avec Le Concile des Oiseaux, le dixième et dernier album du duo publié cette même année. De l'un à l'autre, Hadouk boucle harmonieusement un cycle initié il y a trente ans. Hadouk incarne une poésie soutenue par une curiosité des sons et des instruments, des rythmes inspirés par la nature et le vivant. Une symphonie conjuguant l'Orient, l'Afrique et l'Occident, les mélodies traditionnelles et l'improvisation du jazz. Amoureux du verbe et des fusions, artisans de la fantaisie, leur philosophie est celle du voyage intérieur. Les flûtes, ocarinas, le doudouk et le soprano de Didier Malherbe se marient aux claviers, vièles, à la kora et au guembri de Loy Ehrlich, produisant une musique métisse et organique, dans un langage onirique célébrant le Tout-monde. Des mélopées ancestrales aux transes gnawa, des effluves arméniennes au blues malien, Hadouk est un conte qui s'écoute grâce à l'imaginaire sans limite de ces deux magiciens. Après une dizaine d'albums à son actif et avec ce nouvel et dernier opus Le Concile des Oiseaux, Hadouk renoue avec la forme de ses origines : le duo. Didier Malherbe et Loy Ehrlich proposent une musique épurée où l'on retrouve tous les ingrédients qui ont fait l'originalité et la saveur du groupe : des mariages insolites d'instruments et de sonorités, créant la possibilité d'un folklore du monde… imaginaire. Conçu comme le miroir de leur premier disque, le morceau Hadouk Song en ouverture, sur un duo kora / doudouk, est une reprise du thème Hadouk qui inaugurait l'album Le Bal des Oiseaux. De la même manière, le percussionniste Steve Shehan, qui avait participé à l'enregistrement d'un morceau en 1996, apporte cette fois sa contribution sur le titre éponyme Le Concile des Oiseaux. Dix compositions pour un voyage intemporel avec la compagnie “Air Hadouk” : zéro émission de CO2 et dépaysement garanti !  Titres interprétés au grand studio- Hadouk Song Live RFI  Loy : kora, Didier : doudouk- Loukoumotive, extrait Le bal des Oiseaux- LHaj Bawu Blues Live RFI   Loy : gumbri hajouj, Didier: flûte chinoise bawu. Line Up : Didier Malherbe (doudouk, flûte), Loy Erhlich (kora, guembri).Son : Mathias Taylor, Benoît Letirant.► Album Le Concile des Oiseaux (DuNose Prod, sortie 25 octobre 2024).CD 1 ⎮ Le Concile des Oiseaux (2024) Didier Malherbe : doudouk, flûtes, flûte Bawu, ocarinas, khaen. Loy Ehrlich : hajouj, awicha, gumbass, kora, ribab, cellito d'amore, laouto, percussions, osmose keyboard. Le Concile des Oiseaux Steve Shehan : balais berbères. Tao Ehrlich: cymbales.CD 2 ⎮ Le Bal des Oiseaux (1996) Didier Malherbe : doudouk, flûtes, ocarinas, soprano, clarinette bambou, guimbarde, zeff, percussions. Loy Ehrlich : hajouj, awicha, kora, sanza M'bira, bolong, ukulélé, claviers, tablas, percussions Marsyas Steve Shehan : calebasse, shekéré.  YouTube - Facebook - Site.Hadouk en concert le 5 décembre 2024 au New Morning, Paris.

Remembering the recently departed Greg Kihn, Jack Russell of Great White and Joe Chambers of the Chambers Brothers.

"You got a lotta nerve to say you are my friendWhen I was down you just stood there grinningYou got a lotta nerve to say you got a helping hand to lendYou just want to be on the side that's winning"Hopefully, you have no one in your life like that and you can join me on the Sunday edition of Whole 'Nuther Thing on Planetary Jam on the Morning Breeze.Org. Joining us are Dar Williams, Rotary Connection, America, Mamas & Papas, Will Ackerman, John Prine, Joni Mitchell, Frank Sinatra, Simon & Garunkel, John Lennon, John Coltrane, Paul Simon, The Doors, Counting Crows, Al Stewart, Eva Cassidy, The Chambers Brothers, Charles Minus, Seals & Crofts, Blind Faith, Dave Mason, Donovan, Bob Dylan, Donovan, Peter Gabriel and Johnny Rivers.

"One is the loneliest number that you'll ever doTwo can be as bad as oneIt's the loneliest number since the number oneNo is the saddest experience you'll ever knowYes, it's the saddest experience you'll ever know'Cause one is the loneliest number that you'll ever doOne is the loneliest number, whoa-oh, worse than two"Don't be alone this afternoon,, join us on the Saturday Edition of Whole 'Nuther Thing. Coming along are Lee Michaels, Spirit, The Byrds, Turtles, Wilson Pickett, Eric Burdon & The Animals, The Electric Flag, Rhinoceros, The Chambers Brothers, Miles Davis, The Buckinghams, Paul Revere & The Raiders, Blood Sweat & Tears, The Doors, Arthur Lee & Love, Quincy Jones, Tommy James & The Shondells, Sugarloaf, The Illusion, Creedence Clearwater Revival and Three Dog Night.

Episode 267 of RevolutionZ is, what? Part primal scream. Part an argument for going all in. The title is from The Chambers Brothers. The sentiment is channelled, I hope, from tomorrow to today. The words are equal parts rage, hope, and plain truth. Support the show

On this year's winter, holiday, war on xmas music episode we will hear songs about winter affective disorder, tackle the question of wether santa claus is a hippie, and then get Horny for Hanukkah. We'll also hear one of the worst christmas songs evert written. You'll hear songs by The Chambers Brothers, The Fastbacks, Glam Chops, Redd Kross, Tiny Tim and more!   Main Theme song: Apache by Jorgan Ingmann Instagram: @birp60406 Facebook: @blueislandradio Twitter: @birp60406 Patreon: patreon.com/blueislandradio    

Welcome to women of the northwest where I interview ordinary women leading extraordinary lives.It's my privilege today to interview Susie McLiery, who is an avid folk musician who has had a myriad of fascinating experiences playing with Spud Siegel, Kid Siegel, Polly Norris, David Quinton, holding dances at the Netel Grange in Clatsop County and playing at the Jewell Harvest Festival.She and her partner Jim Boswell played with Michael Zametkin and Jim Fink.Susie was a programmer for KMUN from 1984 until recently with the Gospel Music Show and became a jack of all trades at the station, eventually becoming the program director in '87. As a kid she lived in Vermont and spent summers at Martha's vineyard where they had a house. It was there that she was introduced to folksters such as Tom Rush, Maria Muldar, Chambers Brothers, the Islanders and The Weavers. James Taylor was her neighbor.Be sure to click the link to the transcript where I've put links to most of the people she references. Subscribe to the Women of the Northwest podcast for inspiring stories and adventures.Find me on my website: jan-johnson.com

David Jackson Live on Game Changers with Vicki Abelson What a delight music legend David Jackson is. No surprise. I was warned by his legions of loyal fans, most of whom are his brilliantly talented contemporaries. This was fabulous fun, topped perhaps by pre-fed stories with lots of misinformation which paved the way for the truths, which proved to make it all even more fun. So what if David wasn't actually at Columbia Studios when George Harrison hid the pot from the cops, he told great story! Who cares if David was with Cher in DC, not the Chateau Marmont when she got a call from Jimmy (President Carter), not Henry Kissinger, or when he was offered his own show after being a regular on The Andy Williams Show he didn't turn it down, it just… well… he tells it... and then some… and then some more. Great stories, all. We hear about Hoyt Axton and how they wrote Ringo's No No Song, and Three Dog Night's Joy To The World, and what happened to David in both, there's the Chambers Brothers, Bo Diddley, Jackson Browne, John Denver, Sonny, and Sonny and Cher, Glen Frey, Jimmy Buffett, a GREAT story about Roger Miller and Glen Campbell, The Bohemian Grove, what that gentleman's club is really all about, and his upcoming trip to Marrakesh to play and… play. What a life. Well lived, still living to the max. This man is damn delight. Top to bottom, start to finish. I can't wait for his return to the States and his Friday nights at The Write Off Room with The Deductions. Till then I'll be hitting his Bandcamp https://davidpjackson1.bandcamp.com/album/first-waltz?fbclid=IwAR1FNNSEtyXUFWpxRjACYgs2844fFTyteIwhZUcxmpW0YxaBvfMngJfS_nk. David Jackson has a new huge fan. *raises hand* David Jackson Live on Game Changers with Vicki Abelson Wednesday, Sept 27th, 5 PM PT, 8 PM ET Streamed Live on my Facebook Replay here: https://bit.ly/45ZpZ0l

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of murder, serial killers, gore, blood, child killers, death, homophobia, trauma.. When we watched the original Nightmare on Elm Street for the show, we were only in our 2nd season and were still relative horror newbies. But it's finally time to explore the entire Fred Krueger canon, and this week we start with a film that has no right to be as interesting and good as it is. The acting still isn't great, the dialogue is atrocious, and the producer made the entire process a nightmare for everyone involved. But the intentional undercurrents of homoeroticism coupled with a totally different take on Freddy's abilities makes this a fun but flawed entry in the canon. We're talking about Freddy Knife Hands in A Nightmare on Elm Street 2: Freddy's Revenge this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Time Has Come Today” written by Joseph Chambers and Willie Chambers, and performed by The Chambers Brothers. Copyright 1966, 1967 Sony Music Entertainment, Inc. Excerpt taken from “Main Title” to the movie A Nightmare on Elm Street 2:Freddy's Revenge, composed by Christopher Young. Copyright 1986 New Line Cinema Corporation Excerpt taken from the film A Nightmare on Elm Street 2: Freddy's Revenge. Copyright 1985 New Line Productions, Inc. Excerpt taken from “Dream Warriors,” written by George Lynch and Jeff Pilson and performed by Dokken. Copyright 1987 Elektra/Asylum Records.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of war, racism, grief, trauma, PTSD, explosions, abuse, trauma. We're wrapping up our series with Spike's most recent joint, traveling to Vietnam for a cross between Apocalypse Now and The Treasure of the Sierra Madre. It's another bold swing in the new era of Spike, but yet again, the balance is all off. When this movie is working, it's a masterpiece, but there's so much of it that feels like a slog. And it's not because of anything fundamentally wrong with the story, just that there's far too much of it, and far too much pontificating on the story itself. For the cast alone, though, it's a shame this got buried in the COVID shutdown, because they deserve heaps of recognition. We conclude our director's series with 2020's Da 5 Bloods this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Time Has Come Today” written by Joseph Chambers and Willie Chambers, and performed by The Chambers Brothers. Copyright 1966, 1967 Sony Music Entertainment, Inc. Excerpt taken from “Main Title” to the movie A Nightmare on Elm Street, composed by Charles Bernstein. Copyright 1984 New Line Cinema Corp.

#chambers #gospelmusic #mississippi #blues #musichistoryMark talks with legend and Chambers Brothers founder Willie Chambers about starting the band. Recording with Bob Dylan and Barbara Dane. Turning down Woodstock and performing at Newport. Alice Cooper living in their band house and told by Clive Davis that he would not allow them to record "Time Has Come Today" which became their signature hit.

Date: June 7, 2023Name of podcast: Backstage Pass RadioEpisode title and number:  S4: E17: Dave Schulz (Goo Goo Dolls, Berlin, Wang Chung / Fastball) - The Grand Funkster of the Funk DollsArtist Bio -Dave Schulz is an American keyboardist, vocalist, producer, composer and recording artist well known for his live and studio work with a wide range of notable artists and musicans including Andrew Cole, Andy Vargas, Angelo Moore, Berlin, Bernard Fowler, Bo Diddley, Bonnie Pointer, Bran Van 3000, Brooke Moriber, Bumblefoot, Carmen and Camille, Carmine Rojas, Chambers Brothers, Cherie Currie, Daniel Lanois, Danny Saber, Durga McBroom, English Beat/General Public, Eric Sardinas, Esthero, Fabienne Shine, Fastball, Fernando Perdomo, Fuel, Garry Shider/Andre Foxxe (P-Funk), Glenn Hughes, Goo Goo Dolls, Hensley, Jay-J, Jazz All-Stars w/ Phil Upchurch, Jean-Michel Byron, John Blackwell, Katja Rieckermann, Kristine W., Kristinia Debarge, Lee Sklar, Little Dove. Louis Conte, Maceo Parker, Macy Gray, Maxayne Lewis, Mike/Steve Porcaro, Mitch Perry Group, Nik West, Nikka Costa, One Tribe Nation / Michael Sanders, Pink, Prairie Prince, Randy Cooke, Rick Springfield, Rusty Young, Ryan Cabrera, Sleepy Brown, Sonny Cool, Stacy Michelle, Stevie Wonder, Sweet, Taylor Dayne, The Fizzies, The Rembrandts, Tony Levin, Wang Chung, Warrant, When In Rome, and XYZ.Music was a part of Dave Schulz's life from the beginning. Born in Buffalo NY, his father wore two hats as pianist and conductor of the Buffalo Philharmonic Orchestra. He would seat Dave in the orchestra pit during performances as early as seven years old. Dave's brother Robert would soon become a multiple Grammy-nominated classical percussionist, and his sister an accomplished rock/soul singer. Shortly after his father's passing when Dave was 10, he suddenly took an interest in the piano that was sitting idly in the living room. Osmosis? Within six months Dave had mastered the C Sonata by Mozart,and began an obsession with XTC, Herbie Hancock, Yes, Todd Rundgren and of course, DEVO. Pretty diverse for an 11 year old. He clearly made the right choice. By the age of 17, he was one of the top keyboardists in his hometown, winning multiple awards consistently for seven years. Finally the big break came, when Robby Takac of the Goo Goo Dolls called and left a simple message from sunny LA: “you wanna come out and tour with us for a year?” In a matter of one day Dave went from playing in front of 300 in a local Buffalo bar to playing Woodstock in front of 65000. This led to a two-and-a-half year relationship with the Goo Goo Dolls that took Dave around the world twice as touring keyboardist/vocalist for the “Dizzy Up The Girl” tour, the landmark album that spawned five top ten singles between 98 and 2000. That experience sealed his fate. Where else do you get to open up for the Rolling Stones?Current Projects:Producing / Arranging / Scoring projects for emerging and established artists / filmmakers out of his Los Angeles home recording studio, aptly titled “Dave Cave”Session / Booking info HERECoVideoStars an eclectic series of musical collaborations with various artists Dave has been producing since the pandemic started. Latest video features Cherie Currie of Runaways fame.Into The Frequency world electronica / trip-hop duo project with vocalist / cellist Ruti CelliDave Schulz and the Funk Dolls 10-piece funk / soul band of LA's best female musicians, fronted by Dave

Tune in this week as we sit down with David and Mark Chambers to talk all things offshore fishing. As we approach the 2023 Big Rock Blue Tournament, the guys share stories from the years of their deep sea fishing adventures. If you're new to the sport or have been doing it your whole life, you don't want to miss this episode!#TakinItOutside #SOPodcast #BigRockBlueMarlinTournament

Singer, songwriter, and guitarist Freddie Salem grew up in the Akron Ohio area listening to all styles of music as a kid. He moved to Los Angeles at the age of 18 with his Gibson Les Paul and five hundred dollars, and 6 months later, having almost given up on the dream of being in the music business, he auditioned for the psychedelic soul band “The Chambers Brothers”, and from that moment on, his multi-decade musical journey began.  After leaving the band, he spent time in the Southern California recording studio system as what he called a “creative session player” in those famous Los Angeles and Hollywood studios, and meeting the legendary Tommy Tedesco from “The Wrecking Crew” along the way, while honing his craft.  While touring with Jesse Colin Young and Roberta Flack, The Outlaws management reached out to Freddie, asking if he'd be interested in meeting the members of the band. A year after that, he joined the band as their 3rd guitarist / vocalist on stage, and in the studio.  Freddie helped shape their sound from 1977 thru 1983, by turning the band from a Country Rock feel, to a hard Southern Rock sound that helped create larger audiences. The band went on to perform and tour with such major acts as The Grateful Dead, Boston, and Black Sabbath, selling over 12 million records in the process.  Freddie, in addition to still performing and recording new music these days, is also working on music scores for such films as Top Gun, Dunkirk, and numerous other film scores. He was inducted into the “Rock Godz Hall of Fame” in 2016. Also joining us in the studio is guest host Al Bowman, founder of the LA Music Awards, and the CEO of Nashville PRG. www.freddie-salem.com © 2023 Lotta Dogs Productions LLC Showrunner and Executive Producer Emeritus: Tom Sabella Producer and Host (the guy who has a face for podcasting): Bob Bender Management Representation: Chuck Thompson for Thompson Entertainment Group, LLC Co-Producer - Audio/Video Editor (the man behind the curtain): Mark Sabella Director of Video and Continuity (the brains of the entire operation): Deborah Halle Marketing and Social Media (all knowing): Sarah Fleshner for 362 Entertainment All Around Problem Solver (and Mental Health Therapist for us): Connie Ribas Recorded inside what could be an old beat up Airstream Trailer located somewhere on what's left of Music Row in Nashville TN (Man we sure do miss Noshville, and the Longhorn Steakhouse) Mixed and Mastered at Music Dog Studios in Nashville, TN Editing and Post at Midnight Express Studio located in Olian, NY Production Sound Design: Keith Stark Voice Over and Promo: Lisa Fuson Special Thanks to the creator and founder of the podcast, Tom Sabella, along with Traci Snow for producing and hosting over 100 episodes of the original "Business Side of Music" podcast and trusting us to carry on their legacy. Website: If you would like to be a guest on the show, please submit a request to: musicpodcast@mail.com If you're interested in becoming a sponsor for the show, let us know and we'll send you a media / sponsorship kit to you. Contact us at musicpodcast@mail.com The views, thoughts, and opinions expressed on this show provided by the guest(s), are those of the guest(s) own, and do not necessarily represent the views, thoughts, and opinions of the host or producers of this podcast. The material and information presented here is for general information purposes only. The Business Side of Music's name and all forms and abbreviations are the property of its owner (Lotta Dogs Productions LLC), and its use does not imply endorsement of or opposition to any specific organization, product, or service. Copyright © 2023 Lotta Dogs Productions, LLC, All rights reserved.  

In celebration of National Lumpy Rug Day, Truth in this Art podcast host Rob Lee sits down with Omari Martin of Way Too Tuft to discuss his unique approach to rug making. Omari is a custom rug maker who specializes in creating one-of-a-kind tuft rugs that draw inspiration from pop culture, streetwear, and sports.Listeners will have the opportunity to learn about Omari's creative process, his influences, and the challenges he faces as a small business owner in a competitive industry. Omari's rugs are not only functional but also serve as works of art that can transform any space.During the interview, Omari shares his experiences as a rug maker and entrepreneur, and he provides valuable insights into the world of custom rug design. Listeners will also have the opportunity to check out Omari's work on his website, https://waytootuft.com/.This special interview is a must-listen for anyone interested in art, design, or entrepreneurship. Omari's passion for his craft is contagious, and his commitment to creating unique and high-quality products is truly inspiring. Tune in to Truth in this Art on National Lumpy Rug Day to discover the artistry behind Way Too Tuft's lumpy rugs.National Lumpy Rug Day is an annual observance held on May 3rd that celebrates the unique texture and character of lumpy rugs. This quirky holiday encourages people to embrace imperfections and appreciate the beauty in things that may not be perfectly smooth or uniform. Whether you have a lumpy rug in your home or simply want to appreciate the charm of these unconventional floor coverings, National Lumpy Rug Day is a fun way to celebrate the unexpected.Creators & Guests Rob Lee - Host Rob Lee & The Truth in This Art present "Summer of Soul"Attention all movie lovers and fans of "The Truth In This Art" podcast (www.thetruthinthisart.com)! Host Rob Lee is thrilled to partner with Pratt Library for a four-part Black Cinema series at Pratt Library from March through June 2023, starting with Thompson's 2022 Oscar-winning documentary, Summer of Soul. Summer of Soul reclaims the legacy of 1969's Harlem Cultural Festival, which promoted Black pride and culture with musical performances by Nina Simone, Stevie Wonder, B.B. King, the Chambers Brothers, Gladys Knight & the Pips, and Sly & the Family Stone.Join Rob for a night of trivia and conversation as he breaks down movies connected to Black history, culture, music and cinema. The three other films in the series - all directed by Spike Lee -  include The BlacKKKlansman (April 26), Do the Right Thing (May 25) and He Got Game (June 22). April 26 at 5:30pm for more information and to secure ticketsMay 25 at 5:30pmfor more information and to secure ticketsJune 22 at 5:30pmfor more information and to secure tickets To support the The Truth In This Art: Buy Me Ko-fiUse the hashtag #thetruthinthisartFollow The Truth in This Art on InstagramLeave a review on Apple Podcasts, Spotify or wherever you get your podcasts. ★ Support this podcast ★

In this interview, we speak with Raymond J Spence, a multi-talented individual who is a musician, writer, marketing expert, and brand consultant. Raymond is widely known for his work on "Spence_START," a platform that empowers creative minds to develop and share their original ideas. Throughout the interview, we delve into Raymond's background and explore how he has honed his craft as a musician and writer, while also developing his marketing and branding expertise. Additionally, we discuss his vision for "Spence_START" and how it is changing the way that creative professionals collaborate and innovate. Raymond's insights and experiences offer a fascinating look into the creative process and how it can be harnessed to bring about meaningful change in the world of art and beyond.Creators & Guests Rob Lee - Host Rob Lee & The Truth in This Art present "Summer of Soul"Attention all movie lovers and fans of "The Truth In This Art" podcast (www.thetruthinthisart.com)! Host Rob Lee is thrilled to partner with Pratt Library for a four-part Black Cinema series at Pratt Library from March through June 2023, starting with Thompson's 2022 Oscar-winning documentary, Summer of Soul. Summer of Soul reclaims the legacy of 1969's Harlem Cultural Festival, which promoted Black pride and culture with musical performances by Nina Simone, Stevie Wonder, B.B. King, the Chambers Brothers, Gladys Knight & the Pips, and Sly & the Family Stone.Join Rob for a night of trivia and conversation as he breaks down movies connected to Black history, culture, music and cinema. The three other films in the series - all directed by Spike Lee -  include The BlacKKKlansman (April 26), Do the Right Thing (May 25) and He Got Game (June 22). April 26 at 5:30pm for more information and to secure ticketsMay 25 at 5:30pmfor more information and to secure ticketsJune 22 at 5:30pmfor more information and to secure tickets To support the The Truth In This Art: Buy Me Ko-fiUse the hashtag #thetruthinthisartFollow The Truth in This Art on InstagramLeave a review on Apple Podcasts, Spotify or wherever you get your podcasts. ★ Support this podcast ★

In this episode of Truth In This Art, host Rob Lee interviews Kenneth B. Morris, Jr., a descendant of two of the most influential names in American history, Frederick Douglass and Booker T. Washington. Morris is the cofounder and president of the Frederick Douglass Family Initiatives, a nonprofit organization based in Rochester, New York, which is dedicated to anti-slavery and educational work. He has been recognized with numerous accolades and awards, including being a keynote speaker at the United Nations and receiving an Honorary Doctor of Humane Letters degree from the University of La Verne in California. In this inspiring conversation, Morris shares his mission to build strong children and end systems of exploitation and oppression, emphasizing the importance of education as the pathway to freedom. Join us for this insightful and powerful conversation with a leader in the fight against exploitation and oppression.Creators & Guests Rob Lee - Host FDFI - Guest Kenneth B. Morris, Jr. - Guest Rob Lee & The Truth in This Art present "Summer of Soul"Attention all movie lovers and fans of "The Truth In This Art" podcast (www.thetruthinthisart.com)! Host Rob Lee is thrilled to partner with Pratt Library for a four-part Black Cinema series at Pratt Library from March through June 2023, starting with Thompson's 2022 Oscar-winning documentary, Summer of Soul. Summer of Soul reclaims the legacy of 1969's Harlem Cultural Festival, which promoted Black pride and culture with musical performances by Nina Simone, Stevie Wonder, B.B. King, the Chambers Brothers, Gladys Knight & the Pips, and Sly & the Family Stone.Join Rob for a night of trivia and conversation as he breaks down movies connected to Black history, culture, music and cinema. The three other films in the series - all directed by Spike Lee -  include The BlacKKKlansman (April 26), Do the Right Thing (May 25) and He Got Game (June 22). April 26 at 5:30pm for more information and to secure ticketsMay 25 at 5:30pmfor more information and to secure ticketsJune 22 at 5:30pmfor more information and to secure tickets To support the The Truth In This Art: Buy Me Ko-fiUse the hashtag #thetruthinthisartFollow The Truth in This Art on InstagramLeave a review on Apple Podcasts, Spotify or wherever you get your podcasts. ★ Support this podcast ★

Join us for an insightful conversation with Chanel Compton, a respected non-profit Executive Director, community artist, and cultural administrator. With extensive arts programming and management experience for museums and community arts initiatives, Chanel is a true champion of the arts. In this episode, Chanel shares her inspiring journey from a love for museums and art as a child to completing a Bachelor of Fine Arts at Mason Gross School of the Arts at Rutgers University and a Master of Arts Management at American University.As the Executive Director of the Maryland Commission on African American History and Culture and the Banneker-Douglass Museum, Chanel is responsible for leading the programmatic plans and operations of the state's official museum of African American heritage. Through exhibitions, programs, and projects, she aims to promote African American history and culture (particularly in Maryland) to improve the understanding and appreciation of America's rich cultural diversity for all.Join us as we delve into Chanel's work, her beliefs around the healing power of art, and the importance of fostering community partnerships. This is an episode not to be missed, with valuable insights into the world of museum and cultural center management.Creators & Guests Chanel Compton - Guest Banneker-Douglass Museum - Guest Rob Lee - Host Rob Lee & The Truth in This Art present "Summer of Soul"Attention all movie lovers and fans of "The Truth In This Art" podcast (www.thetruthinthisart.com)! Host Rob Lee is thrilled to partner with Pratt Library for a four-part Black Cinema series at Pratt Library from March through June 2023, starting with Thompson's 2022 Oscar-winning documentary, Summer of Soul. Summer of Soul reclaims the legacy of 1969's Harlem Cultural Festival, which promoted Black pride and culture with musical performances by Nina Simone, Stevie Wonder, B.B. King, the Chambers Brothers, Gladys Knight & the Pips, and Sly & the Family Stone.Join Rob for a night of trivia and conversation as he breaks down movies connected to Black history, culture, music and cinema. The three other films in the series - all directed by Spike Lee -  include The BlacKKKlansman (April 26), Do the Right Thing (May 25) and He Got Game (June 22). April 26 at 5:30pm for more information and to secure ticketsMay 25 at 5:30pmfor more information and to secure ticketsJune 22 at 5:30pmfor more information and to secure tickets To support the The Truth In This Art: Buy Me Ko-fiUse the hashtag #thetruthinthisartFollow The Truth in This Art on InstagramLeave a review on Apple Podcasts, Spotify or wherever you get your podcasts. ★ Support this podcast ★

Mark Anthony Thomas is the President & CEO of the Greater Baltimore Committee with more than two decades of experience leading competitive economic development strategies and public-private partnerships for the nation's largest and most complex metropolitan areas, and a lifelong passion for communications, public policy, and cities. He also has a background in creative writing, having published two poetry books and produced commissioned works for elected officials, business leaders, and many causes, including domestic violence, civil rights, child abuse, poverty, and global peace.Creators & Guests Rob Lee - Host Greater Baltimore Committee - Guest Mark Anthony Thomas - Guest Rob Lee & The Truth in This Art present "Summer of Soul"Attention all movie lovers and fans of "The Truth In This Art" podcast (www.thetruthinthisart.com)! Host Rob Lee is thrilled to partner with Pratt Library for a four-part Black Cinema series at Pratt Library from March through June 2023, starting with Thompson's 2022 Oscar-winning documentary, Summer of Soul. Summer of Soul reclaims the legacy of 1969's Harlem Cultural Festival, which promoted Black pride and culture with musical performances by Nina Simone, Stevie Wonder, B.B. King, the Chambers Brothers, Gladys Knight & the Pips, and Sly & the Family Stone.Join Rob for a night of trivia and conversation as he breaks down movies connected to Black history, culture, music and cinema. The three other films in the series - all directed by Spike Lee -  include The BlacKKKlansman (April 26), Do the Right Thing (May 25) and He Got Game (June 22). April 26 at 5:30pm for more information and to secure ticketsMay 25 at 5:30pmfor more information and to secure ticketsJune 22 at 5:30pmfor more information and to secure tickets To support the The Truth In This Art: Buy Me Ko-fiUse the hashtag #thetruthinthisartFollow The Truth in This Art on InstagramLeave a review on Apple Podcasts, Spotify or wherever you get your podcasts. ★ Support this podcast ★

PipemanRadio Interviews Crazy TomesCrazy Tomes: A Truly Crazy Story in MusicCrazy Tomes: “Crazy on the Island” Album ReleaseGenre-shattering and boundary-breaking artist Crazy Tomes has revolutionized the Rock and Blues scene in a very unexpected way since his start in music. Crazy Tomes just released his first album since 2015 on January 6th, 2023 and it promises to blow audiences away as Tomes has been known to do since the beginning. The album, “Crazy on the Island” will include the track “King of Pot” featuring 1960's music icons The Chambers Brothers and legendary Soul singer and producer Jerry "Swamp Dogg" Williams, who also co-produced the track. "King of Pot" also has some of the last recorded guitar work by Blues legend and Jimi Hendrix's mentor, the late Guitar Shorty. This track has been a work in progress for Tomes for many years, as he wrote it about a friend who was a Vietnam veteran who was discharged for smoking pot. It speaks to the world's need to focus on enjoying life rather than arresting people for victimless "crimes.” Both "King of Pot" and the upcoming album “Crazy on the Island” have musical contributions from Remi Kabaka (Rolling Stones, Paul Simon), as well as members of Ambrosia, Three Dogs Night and Cameo. Listen to the album “Crazy on the Island” https://open.spotify.com/album/6jlnh5RvyrtzOVzcH2eNFO Listen to the featured track “King of Pot” https://youtu.be/zTyZ4E0nEz8 Growing up in Israel, Tomes began his musical journey in classical piano, but became inspired by American Rock N' Roll legends like Elvis Presley, David Bowie and The Beatles. From there, he decided to switch his focus to the guitar and soon picked up jazz when he moved to Virginia in 1998. His unexpected journey continued when legendary American musician - and Tomes's idol - Little Richard invited Tomes on stage to perform a song with him, where he was given his iconic name. This event validated Tomes's path in jazz guitar, and thus he went on to study it at The College of William and Mary. Tomes's career exploded from there, headlining the “Kenya Feel the Rock '' festival with Blues-Rock band Burning Wagon, as well as performing at the Bruce Hornsby festival before moving to Los Angeles. There, he joined the Pop-Rock band “Arrest My Sister” and performed at Carnegie Hall, and shortly after joined the band Gundriver - and soon after was hired as a bass player (and later guitar) for another Blues icon, Guitar Shorty. His story doesn't stop there - Tomes soon began playing guitar for Willie Chambers, and eventually for The Chambers Brothers, and now is lead guitar for R&B and Soul artist Swampp Dog, performing with him every New Year's Eve at the Roxy Theater since 2017, as well as at the Ryman Auditorium with Bon Iver.According to Tomes, his style is best described as a unique combination of “Blues, Funk, Rock, Pop, Jazz, RnB, Reggae and Country,” and to some, it is described as “a bluesy Rock'n'Roll with a touch of insanity.” Fans praise him for his “energetic live shows, virtuoso guitar playing, distinctive soulful vocals, and musical versatility.” Drawing inspiration from a large list of names such as The Beatles, Chuck Berry, Jimi Hendrix, David Bowie, James Brown, Marvin Gaye, Eric Clapton, The Doors, Elton John, The Rolling Stones, Stevie Wonder, Bob Dylan, The Animals, Rod Stewart, P-Funk, The Who, Bob Marley, Sublime, Led Zeppelin, Aretha Franklin, Ray Charles, Lou Reed, Nirvana, The Zombies, Howlin' Wolf, Louis Armstrong, just to name a few - it only makes sense that Tomes's music is a thing entirely his own. A sound that truly cannot be placed into one genre, Tomes's discography explores nearly every musical style known to man, without exaggeration. For more information on Crazy Tomes, please visitInstagram | Facebook | Spotify | YouTube | Apple Music | WebsiteListen to the album “Crazy on the Island” https://open.spotify.com/album/6jlnh5RvyrtzOVzcH2eNFOListen to the featured track “King of Pot” https://youtu.be/zTyZ4E0nEz8https://crazytomes.com/ https://www.facebook.com/CrazyTomesTrio/ https://open.spotify.com/artist/5F670cDPiu4GbxsDRi7MnC?autoplay=trueTake some zany and serious journeys with The Pipeman aka Dean K. Piper, CST on The Adventures of Pipeman also known as Pipeman Radio syndicated globally “Where Who Knows And Anything Goes”. Listen to & Watch a show dedicated to motivation, business, empowerment, inspiration, music, comedy, celebrities, shock jock radio, various topics, and entertainment. The Adventures of Pipeman is hosted by Dean K. Piper, CST aka “The Pipeman” who has been said to be hybrid of Tony Robbins, Batman, and Howard Stern. The Adventures of Pipeman has received many awards, media features, and has been ranked for multiple categories as one of the Top 6 Live Radio Shows & Podcasts in the world. Pipeman Radio also consists of multiple podcasts showing the many sides of Pipeman. These include The Adventures of Pipeman, Pipeman in the Pit, and Positively Pipeman and more. You can find all of the Pipeman Podcasts anywhere you listen to podcasts. With thousands of episodes that focus on Intertainment which combines information and entertainment there is something for everyone including over 5000 interviews with celebrities, music artists/bands, authors, speakers, coaches, entrepreneurs, and all kinds of professionals.Then there is The Pipeman Radio Tour where Pipeman travels the country and world doing press coverage for Major Business Events, Conferences, Conventions, Music Festivals, Concerts, Award Shows, and Red Carpets. One of the top publicists in music has named Pipeman the “King of All Festivals.” So join the Pipeman as he brings “The Pipeman Radio Tour” to life right before your ears and eyes.The Adventures of Pipeman Podcasts are heard on The Adventures of Pipeman Site, Pipeman Radio, Talk 4 Media, Talk 4 Podcasting, iHeartRadio, Pandora, Amazon Music, Audible, Spotify, Apple Podcast, Google Podcasts and over 100 other podcast outlets where you listen to Podcasts. The following are the different podcasts to check out and subscribe to:• The Adventures of Pipeman• Pipeman Radio• Pipeman in the Pit• Positively PipemanFollow @pipemanradio on all social media outletsVisit Pipeman Radio on the Web at linktr.ee/pipemanradio, theadventuresofpipeman.com, pipemanradio.com, talk4media.com, w4cy.com, talk4tv.com, talk4podcasting.comDownload The Pipeman Radio APPPhone/Text Contact – 561-506-4031Email Contact – dean@talk4media.com The Adventures of Pipeman is broadcast live daily at 8AM ET.The Adventures of Pipeman TV Show is viewed on Talk 4 TV (www.talk4tv.com).The Adventures of Pipeman Radio Show is broadcast on W4CY Radio (www.w4cy.com) and K4HD Radio (www.k4hd.com) – Hollywood Talk Radio part of Talk 4 Radio (www.talk4radio.com) on the Talk 4 Media Network (www.talk4media.com). The Adventures of Pipeman Podcast is also available on www.theadventuresofpipeman.com, Talk 4 Media (www.talk4media.com), Talk 4 Podcasting (www.talk4podcasting.com), iHeartRadio, Amazon Music, Pandora, Spotify, Audible, and over 100 other podcast outlets.

In this episode of "The Truth in This Art," host Rob Lee sits down with Melissa Hunter Davis, the founder of Sugarcane Magazine. Sugarcane is an online journal dedicated to the art of Africa and the African diaspora, covering everything from literature to performance. Melissa is a creative entrepreneur with a passion for all things related to African arts and culture. Tune in to hear about her journey starting Sugarcane, the importance of representation in the arts, and her insights on the thriving creative scene within the African diaspora. Whether you're an avid art enthusiast or simply curious about the intersection of culture and creativity, this episode is not to be missed.About Sugarcane MagazineSugarcane Magazine is a Black art and culture media company. Black culture is the most recognized culture in the world and influences every corner of humanity. With the rise in Black visual art along with music, dance, design, and literature, Sugarcane Magazine controls the cultural currency of Black people. We connect thousands of readers globally with the world's leading visual and performing artists, with a focus on making the most popular and imitated culture accessible. Started in 2006 by Melissa Hunter, our founder saw the opportunity for media that focuses on the visual and performing arts from Africa and the African diaspora. Today, her vision includes a print publication, video, social media, and our website.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episodeCreators & Guests Rob Lee - Host Melissa Hunter Davis - Guest Rob Lee & The Truth in This Art present "Summer of Soul"Attention all movie lovers and fans of "The Truth In This Art" podcast (www.thetruthinthisart.com)! Host Rob Lee is thrilled to partner with Pratt Library for a four-part Black Cinema series at Pratt Library from March through June 2023, starting with Thompson's 2022 Oscar-winning documentary, Summer of Soul. Summer of Soul reclaims the legacy of 1969's Harlem Cultural Festival, which promoted Black pride and culture with musical performances by Nina Simone, Stevie Wonder, B.B. King, the Chambers Brothers, Gladys Knight & the Pips, and Sly & the Family Stone.Join Rob for a night of trivia and conversation as he breaks down movies connected to Black history, culture, music and cinema. The three other films in the series - all directed by Spike Lee -  include The BlacKKKlansman (April 26), Do the Right Thing (May 25) and He Got Game (June 22). Thursday, March 9 at 5:30pm for more information and to secure tickets ★ Support this podcast ★

T.K. Mills is an art journalist based in New York City. After receiving a Master's Degree in Global Affairs, he discovered a love for graffiti while backpacking through Cuba. T.K. has written for several art publications including SOLD, Global Street Art, and Arte Fuse. Additionally, he manages the street art blog, Well Pleased We Dream. Beyond art, T.K. loves reading and traveling.About UPUP is a NYC-based magazine that centers on street art, graffiti, and creative urban culture. Each issue of UP focuses on a single subject, exploring a wide range of artists, interviews, and ideas around the theme.Our mission is to provide the art community with nuanced, provocative, and critical writing that navigates the questions of our generation. We pride ourselves on serving our readers high-quality articles that investigate, inform, and entertain. Like good art, UP Magazine is made to make you think and make you feel.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episodeCreators & Guests Rob Lee - Host T.K. Mills - Guest Rob Lee & The Truth in This Art present "Summer of Soul"Attention all movie lovers and fans of "The Truth In This Art" podcast (www.thetruthinthisart.com)! Host Rob Lee is thrilled to partner with Pratt Library for a four-part Black Cinema series at Pratt Library from March through June 2023, starting with Thompson's 2022 Oscar-winning documentary, Summer of Soul. Summer of Soul reclaims the legacy of 1969's Harlem Cultural Festival, which promoted Black pride and culture with musical performances by Nina Simone, Stevie Wonder, B.B. King, the Chambers Brothers, Gladys Knight & the Pips, and Sly & the Family Stone.Join Rob for a night of trivia and conversation as he breaks down movies connected to Black history, culture, music and cinema. The three other films in the series - all directed by Spike Lee -  include The BlacKKKlansman (April 26), Do the Right Thing (May 25) and He Got Game (June 22). Thursday, March 9 at 5:30pm for more information and to secure tickets ★ Support this podcast ★

In this episode of "The Truth in This Art", host Rob Lee interviews Hrag Vartanian, editor-in-chief and co-founder of Hyperallergic. With expertise in contemporary art and its intersection with politics, Hrag shares insights on his journey as an art critic, curator, and lecturer. He talks about his founding of Hyperallergic in 2009 and how it has grown to reach over a million readers and listeners a month through its award-winning reporting, informed opinions, and quality conversations about art. Hrag also discusses his interest in decolonization and shares details about some of his notable curatorial projects, including the world's first multi-disciplinary exhibition of social media-related art. Listeners will gain a deeper understanding of the power of journalism and the cultural and economic realities that shape the world of art, culture, and politics. About HyperallergicHyperallergic is an online arts magazine, based in Brooklyn, New York. Founded by the art critic Hrag Vartanian and his husband Veken Gueyikian in October 2009, the site describes itself as a "forum for serious, playful, and radical thinking".The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episodeCreators & Guests Rob Lee - Host Hrag Vartanian - Guest Rob Lee & The Truth in This Art present "Summer of Soul"Attention all movie lovers and fans of "The Truth In This Art" podcast (www.thetruthinthisart.com)! Host Rob Lee is thrilled to partner with Pratt Library for a four-part Black Cinema series at Pratt Library from March through June 2023, starting with Thompson's 2022 Oscar-winning documentary, Summer of Soul. Summer of Soul reclaims the legacy of 1969's Harlem Cultural Festival, which promoted Black pride and culture with musical performances by Nina Simone, Stevie Wonder, B.B. King, the Chambers Brothers, Gladys Knight & the Pips, and Sly & the Family Stone.Join Rob for a night of trivia and conversation as he breaks down movies connected to Black history, culture, music and cinema. The three other films in the series - all directed by Spike Lee -  include The BlacKKKlansman (April 26), Do the Right Thing (May 25) and He Got Game (June 22). Thursday, March 9 at 5:30pm for more information and to secure tickets ★ Support this podcast ★

Rob Lee interviewed Chad Gauss, the executive chef and restaurateur of The Food Market, La Food Marketa, Quality Snowballs, The Hall CP and Hoopla Catering, and they discuss his career and the local food industry.Photo credit:  Justin Tsucalas About The Food Market HampdenLocated on "The Ave." in Hampden, The Food Market offers awesome eats and outstanding service from Chef Chad Gauss and his talented team. The Food Market focuses on approachable, seriously good comfort food, in a smartly designed industrial-modern space.Creators & Guests Rob Lee - Host Chad Gauss - Guest Rob Lee & The Truth in This Art present "Summer of Soul"Attention all movie lovers and fans of "The Truth In This Art" podcast (www.thetruthinthisart.com)! Host Rob Lee is thrilled to partner with Pratt Library for a four-part Black Cinema series at Pratt Library from March through June 2023, starting with Thompson's 2022 Oscar-winning documentary, Summer of Soul. Summer of Soul reclaims the legacy of 1969's Harlem Cultural Festival, which promoted Black pride and culture with musical performances by Nina Simone, Stevie Wonder, B.B. King, the Chambers Brothers, Gladys Knight & the Pips, and Sly & the Family Stone.Join Rob for a night of trivia and conversation as he breaks down movies connected to Black history, culture, music and cinema. The three other films in the series - all directed by Spike Lee -  include The BlacKKKlansman (April 26), Do the Right Thing (May 25) and He Got Game (June 22). Thursday, March 9 at 5:30pm for more information and to secure tickets ★ Support this podcast ★

Roberto Max Dyea (Tsi YOO Nah), a tribal citizen of the Pueblo of Laguna, Mesita, is a passionate Indigenous illustrator with a deep connection to his heritage. Born in Barstow, California, Roberto's love for Manga inspired him to create pieces that blend traditional Pueblo of Laguna pottery designs with contemporary storytelling. His scenario project, "Rage Against Mayhem," which began in 2018 in Redlands, California, showcases the creativity and vision of Indigenous manga characters in the 21st century.Roberto's preferred mediums are ink, graphic, and colored markers, and he uses Adobe Photoshop and Procreate to bring his art to life. He is always experimenting with different line weights, forms, stencil techniques, and 2-D expressions to improve his work and have a meaningful interaction with his audience. Roberto's ultimate goal as an Indigenous artist is to have his name recognized and respected, and to continue to nurture a deep connection to his tribe, loved ones, and the culture of his people.Creators & Guests Rob Lee - Host Roberto Dyea (Tsi YOO Nah) - Guest Rob Lee & The Truth in This Art present "Summer of Soul"Attention all movie lovers and fans of "The Truth In This Art" podcast (www.thetruthinthisart.com)! Host Rob Lee is thrilled to partner with Pratt Library for a four-part Black Cinema series at Pratt Library from March through June 2023, starting with Thompson's 2022 Oscar-winning documentary, Summer of Soul. Summer of Soul reclaims the legacy of 1969's Harlem Cultural Festival, which promoted Black pride and culture with musical performances by Nina Simone, Stevie Wonder, B.B. King, the Chambers Brothers, Gladys Knight & the Pips, and Sly & the Family Stone.Join Rob for a night of trivia and conversation as he breaks down movies connected to Black history, culture, music and cinema. The three other films in the series - all directed by Spike Lee -  include The BlacKKKlansman (April 26), Do the Right Thing (May 25) and He Got Game (June 22). Thursday, March 9 at 5:30pm for more information and to secure tickets ★ Support this podcast ★

Dulcina Abreu is a Dominican-born independent curator, artist, and museum advocate. She graduated with a MFA in Curatorial Practice from the Maryland Institute College of Art, focused on digital platforms and a BFA in Fine Arts and Media from Parsons, The New School. Prior to living in New York, Dulcina studied at The National School of Visual Arts and Altos de Chavon School of Design, both in the Dominican Republic. Abreu's work explores 21st century visual and material culture from the Caribbean Diaspora in the US, immigration, community organizing, mutactivism. She serves as the Consulting Curator for the September 11th,2001: An Evolving Legacy project at the National Museum of American History; Co-founder of the International Coalition of Museum Professionals and Communities alongside Armando Perla. Abreu currently manages the NYC Latino 9-11 collecting initiative and NYC Latino COVID-19 project which aims to expand the national narrative with Latino/a new yorker stories and material culture; and will be joining the Latinx Youth Movements project this upcoming august to support lead curator Margaret Salazar-Porzio with a curatorial assistant position at the Molina Family Latino Gallery in collaboration with Smithsonian Latino Center and the National Museum of American History.Creators & Guests Rob Lee - Host Dulcina Abreu - Guest Rob Lee & The Truth in This Art present "Summer of Soul"Attention all movie lovers and fans of "The Truth In This Art" podcast (www.thetruthinthisart.com)! Host Rob Lee is thrilled to partner with Pratt Library for a four-part Black Cinema series at Pratt Library from March through June 2023, starting with Thompson's 2022 Oscar-winning documentary, Summer of Soul. Summer of Soul reclaims the legacy of 1969's Harlem Cultural Festival, which promoted Black pride and culture with musical performances by Nina Simone, Stevie Wonder, B.B. King, the Chambers Brothers, Gladys Knight & the Pips, and Sly & the Family Stone.Join Rob for a night of trivia and conversation as he breaks down movies connected to Black history, culture, music and cinema. The three other films in the series - all directed by Spike Lee -  include The BlacKKKlansman (April 26), Do the Right Thing (May 25) and He Got Game (June 22). Thursday, March 9 at 5:30pm for more information and to secure tickets ★ Support this podcast ★

Ash Grove Alumni band members Steve Moos, Wendy Waldman and Joe Chambers of the Chambers Brothers

On this episode of Comes A Time Oteil and Mike sit down with legendary singer Lester Chambers of the Chambers Brothers. Lester talks with the guys about how to instill habits of happiness instead of negativity within one's self, the incredible story about how he escaped from a sharecropper's farm with his family to move to Los Angeles and begin his music career, and why you need to always put yourself first in life. Lester also tells the guys about how the Chambers Brothers had to sneak into the studio at night to record "The Time Has Come" with no overdubs, how his brother gave Lightning Hopkins the idea for his signature slicked back hair look, and much more.Lester Chambers is the lead singer of the 1960s soul rock group, The Chambers Brothers. The Chambers Brothers are a psychedelic soul band best known for their eleven-minute 1967 hit, "Time Has Come Today" (ring any bells?). He has released multiple albums as a solo artist, and was recently featured in Questlove's Summer of Soul documentary. Lester keeps the spirit of the Chambers Brothers alive in The New Chambers Brothers alongside his son Dylan.-----------*DISCLAIMER: This podcast does NOT provide medical advice. The information contained in this podcast is for informational and entertainment purposes only. No material in this podcast is intended to be a substitute for professional medical advice, diagnosis or treatment. Always seek the advice of your physician or other qualified healthcare provider with any questions you may have regarding a medical condition or treatment and before undertaking a new health care regimen*-----------This podcast is available on Apple Podcasts, Spotify, or wherever you get your podcasts. Please leave us a rating or review on iTunes!Comes A Time is brought to you by Osiris Media. Hosted and Produced by Oteil Burbridge and Mike Finoia. Executive Producers are Christina Collins and RJ Bee. Production, Editing and Mixing by Eric Limarenko and Matt Dwyer. Theme music by Oteil Burbridge. Production assistance by Matt Bavuso. To discover more podcasts that connect you more deeply to the music you love, check out osirispod.com-------Visit SunsetlakeCBD.com and use the promo code TIME for 20% off premium CBD products Hosted on Acast. See acast.com/privacy for more information.

On this episode of Comes A Time Oteil and Mike sit down with legendary singer Lester Chambers of the Chambers Brothers. Lester talks with the guys about how to instill habits of happiness instead of negativity within one's self, the incredible story about how he escaped from a sharecropper's farm with his family to move to Los Angeles and begin his music career, and why you need to always put yourself first in life. Lester also tells the guys about how the Chambers Brothers had to sneak into the studio at night to record "The Time Has Come" with no overdubs, how his brother gave Lightning Hopkins the idea for his signature slicked back hair look, and much more. Lester Chambers is the lead singer of the 1960s soul rock group, The Chambers Brothers. The Chambers Brothers are a psychedelic soul band best known for their eleven-minute 1967 hit, "Time Has Come Today" (ring any bells?). He has released multiple albums as a solo artist, and was recently featured in Questlove's Summer of Soul documentary. Lester keeps the spirit of the Chambers Brothers alive in The New Chambers Brothers alongside his son Dylan. ----------- *DISCLAIMER: This podcast does NOT provide medical advice. The information contained in this podcast is for informational and entertainment purposes only. No material in this podcast is intended to be a substitute for professional medical advice, diagnosis or treatment. Always seek the advice of your physician or other qualified healthcare provider with any questions you may have regarding a medical condition or treatment and before undertaking a new health care regimen* ----------- Visit SunsetlakeCBD.com and use the promo code TIME for 20% off premium CBD products Learn more about your ad choices. Visit megaphone.fm/adchoices

Lester Chambers is part of the legendary Chambers Brothers, whose blend of folk, rock and psychedelic soul broke minds and barriers from the 1960s on, and who are at the forefront of Questlove's award-winning 2021 documentary, Summer of Soul. This week we're covering The Chambers Brothers' absolutely iconic track "Time Has Come Today" in all its 11-minute glory, and spotlighting Lester's current involvement in Moonalice, a record-breaking group in their own right. Get ready for a real trip and some real talk! Thanks for listening! Join us on PATREON for early access, extended interviews, weekly reaction mini-sodes, full bonus shows, and more ways to be part of the show! patreon.com/greatsongpod Visit greatsongpodcast.com for archives, merch, and more! Connect with us on Facebook, Twitter, and Instagram @greatsongpod, and join the Facebook group at Facebook.com/groups/greatsongpod. Patreon Producers: Andrea Konarzewski, Brad Callahan, Ari Marucci, Michael Conley, Peter Mark Campbell, David Steinberg, Randy Hodge, Chaz Bacus, Juan Lopez, Jason Arrowood, Howard Passey, Micah Murphy, and Tim Jahr --- Send in a voice message: https://anchor.fm/greatsongpod/message

Una nueva temporada Suave, la música sigue en Radiopolis. Gervi Navío y Raúl Gallego os saludan desde el río Guadalquivir. Ponemos a toda ostia el loro para escuchar a los Manowar, Cai, Barón Rojo, Swingin´ Neckbreakers, Rammstein y muchos más. 1 – Stratovarius - Survive 2 – Swingin´ Neckbreakers – I´m the mailman 3 – Barón Rojo – Concierto para ellos 4 –Tom Waits - Way down in the hole – 5 – Rammstein - Zick Zack 6 – Odetta – Ain´t no grave can hold my body down 7 - Children of Bodom - Everytime I die 8 – Cai – Más allá de nuestras mentes diminutas 9 – Deep Purple - Nothing at all 10 – Donovan – Barabajagal (Love is hot) 11 - El Drogas - Con pinturas de Guerra 12 –Chambers Brothers – So fine

On a very special Episode 10, we delve into the lives of The Chambers Brothers, a group of 4 brothers born in Lee County Arkansas that migrated to the Midwest and took over the crack game in Detroit, becoming one of the most interesting and multi faceted drug trafficking organizations that the state of Michigan has ever seen in the process, I hope everyone enjoys today's episode and tunes back in next Wednesday for Episode 11PLEASE give us a follow on our socials-Instagram and Twitter: @theblackhandpodBackground Music:Music: Dark Flashes by Shane Ivers - https://www.silvermansound.comIntro Music:Music: Void Glider by Shane Ivers - https://www.silvermansound.comIntro audio sources:Lufthansa clip belongs to The Fox Corporation“New York City is a warzone” clip belongs to CBS Broadcasting Inc.Joey Gallo and “Leave by violence” clip belongs to the American Broadcasting Company  

With a nod to the 60's includes The Beatles, The Lovin' Spoonful, The Kinks, Dave Mason, Janis Joplin, Buffalo Springfield, Gary U.S. Bonds, Martha & The Vandellas, Electric Flag, The Chambers Brothers, Ray Charles, Jr. Walker & The All-Stars, The Hollies, The Byrds, The Doors and Bob Dylan.

Joe Uehlein is the founding President of Voices for a Sustainable Future and the Labor Network for Sustainability. Joe is the former Secretary-Treasurer of the AFL-CIO's Industrial Union Department and former director of the AFL-CIO's Center for Strategic Campaigns. Joe spent 35 years doing bargaining, organizing, public policy, and strategic campaign work in the labor movement. Joe also served on the United Nations first commission on global warming from its founding in 1988 until 2003. In the early 1970's he worked in an aluminum mill in Mechanicsburg, PA as a member of the United Steelworkers of America, and then on heavy and highway construction projects as a member of the Laborer's International Union of North America. Joe is most often seen fronting The U-Liners, his band of 19 years: www.uliners.com. Joe's been playing (guitar & vocals) in bands for nearly 54 years, since the age of 13, and has played all across the U.S., as well as in Japan, Germany, Switzerland, Canada, Great Britain, and Venezuela. Joe's music over the years has spanned genres from rock'n roll to bluegrass, folk to jazz, country to Motown, and more. From his early days growing up along the banks of the great Lake Erie, and working in an aluminum mill in Central Pennsylvania and on heavy and highway construction, and playing with Billy Wray & the Expressions, Joe developed a keen interest in Rock & Roll, Soul, and the Folk and Country sounds of working class music. Joe has performed with Pete Seeger, Lester Chambers of The Chambers Brothers, Dave Alvin, Steve Earle, Tom Morello, Boots Riley, Jill Sobule, Cathy Fink & Marcy Marxer, Emma's Revolution, John Kadlecik, Billy Bragg, John McCutcheon, Si Kahn, and with the punk band, the Dropkick Murphys. Joe has also performed at all of Washington, DC's finest venues, including Gypsy Sally's, the Kennedy Center's Millennium Stage, The Birchmere, Strathmore Music Hall, IOTA Club, Jammin' Java, the Hamilton, Howard Theater, the Black Cat, and more. Joe has also played NYC's Knitting Factory, Starlight Ballroom, The Rock & Roll Hall of Fame in Cleveland, Bally's in Las Vegas, among other fine venues. http://joeuehlein.com/

Today, we speak with Lester Chambers from the legendary band "The Chambers Brothers" about the highs and lows of his life and music career. He and his son Dylan talk about how their current band "Moonalice" has given them life. Then, baseball legend Orlando Cepeda shares what it was like to grow up in the sport. And, we'll check out an old-time ballgame with wool uniforms, tiny gloves, and good sportsmanship.

Even by the lofty standards of the late '60s, The Chambers Brothers were visionaries, blending rock, gospel and psychedelia into a musical bouillabaisse seasoned with social awareness. Lester is the third of the four Brothers, who were joined by a white drummer named Brian Keenan.The Chambers family is from Mississippi, but they formed their band in Los Angeles after the oldest brother, George, was discharged from the Army and settled there. "He went to California because he no longer wanted his brothers and sisters to grow up in a place like Mississippi," Lester says. "We got in the car one night and drove up. And, after two-and-a-half to three days we wound up in California, but it was a struggle getting out of Mississippi on the road."They started performing in 1961 and added Keenan in 1965, the year they earned great acclaim with a performance at the Newport Folk Festival, where they went electric hours before Bob Dylan. Their first album, The Time Has Come, was released in 1967 and includes their masterpiece "Time Has Come Today," a song that still rings true five decades later. That album also includes "Uptown," a song you can see the band perform in the documentary Summer Of Soul.We touch on all these topics in this conversation with Lester, who also talks about his latest venture, the band Moonalice.https://www.moonalice.com/splashhttps://www.songfacts.com/https://www.facebook.com/songfactshttps://twitter.com/Songfactshttp://pantheonpodcasts.com/https://twitter.com/pantheonpodsHosted and Edited by Corey O'Flanaganhttps://twitter.com/ofe1818https://www.instagram.com/coreyofe/corey@songfacts.comSongfacts Podcast Spotify Playlisthttps://open.spotify.com/playlist/3IThMW5yB8XnFh5cS2gTxR?si=KAhiqWRcSIy5uxb2sZPFTAThis show is part of Pantheon Podcasts.

Even by the lofty standards of the late '60s, The Chambers Brothers were visionaries, blending rock, gospel and psychedelia into a musical bouillabaisse seasoned with social awareness. Lester is the third of the four Brothers, who were joined by a white drummer named Brian Keenan. The Chambers family is from Mississippi, but they formed their band in Los Angeles after the oldest brother, George, was discharged from the Army and settled there. "He went to California because he no longer wanted his brothers and sisters to grow up in a place like Mississippi," Lester says. "We got in the car one night and drove up. And, after two-and-a-half to three days we wound up in California, but it was a struggle getting out of Mississippi on the road." They started performing in 1961 and added Keenan in 1965, the year they earned great acclaim with a performance at the Newport Folk Festival, where they went electric hours before Bob Dylan. Their first album, The Time Has Come, was released in 1967 and includes their masterpiece "Time Has Come Today," a song that still rings true five decades later. That album also includes "Uptown," a song you can see the band perform in the documentary Summer Of Soul. We touch on all these topics in this conversation with Lester, who also talks about his latest venture, the band Moonalice. https://www.moonalice.com/splash https://www.songfacts.com/ https://www.facebook.com/songfacts https://twitter.com/Songfacts http://pantheonpodcasts.com/ https://twitter.com/pantheonpods Hosted and Edited by Corey O'Flanagan https://twitter.com/ofe1818 https://www.instagram.com/coreyofe/ corey@songfacts.com Songfacts Podcast Spotify Playlist https://open.spotify.com/playlist/3IThMW5yB8XnFh5cS2gTxR?si=KAhiqWRcSIy5uxb2sZPFTA This show is part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Even by the lofty standards of the late '60s, The Chambers Brothers were visionaries, blending rock, gospel and psychedelia into a musical bouillabaisse seasoned with social awareness. Lester is the third of the four Brothers, who were joined by a white drummer named Brian Keenan.The Chambers family is from Mississippi, but they formed their band in Los Angeles after the oldest brother, George, was discharged from the Army and settled there. "He went to California because he no longer wanted his brothers and sisters to grow up in a place like Mississippi," Lester says. "We got in the car one night and drove up. And, after two-and-a-half to three days we wound up in California, but it was a struggle getting out of Mississippi on the road."They started performing in 1961 and added Keenan in 1965, the year they earned great acclaim with a performance at the Newport Folk Festival, where they went electric hours before Bob Dylan. Their first album, The Time Has Come, was released in 1967 and includes their masterpiece "Time Has Come Today," a song that still rings true five decades later. That album also includes "Uptown," a song you can see the band perform in the documentary Summer Of Soul.We touch on all these topics in this conversation with Lester, who also talks about his latest venture, the band Moonalice.https://www.moonalice.com/splashhttps://www.songfacts.com/https://www.facebook.com/songfactshttps://twitter.com/Songfactshttp://pantheonpodcasts.com/https://twitter.com/pantheonpodsHosted and Edited by Corey O'Flanaganhttps://twitter.com/ofe1818https://www.instagram.com/coreyofe/corey@songfacts.comSongfacts Podcast Spotify Playlisthttps://open.spotify.com/playlist/3IThMW5yB8XnFh5cS2gTxR?si=KAhiqWRcSIy5uxb2sZPFTAThis show is part of Pantheon Podcasts.

Even by the lofty standards of the late '60s, The Chambers Brothers were visionaries, blending rock, gospel and psychedelia into a musical bouillabaisse seasoned with social awareness. Lester is the third of the four Brothers, who were joined by a white drummer named Brian Keenan. The Chambers family is from Mississippi, but they formed their band in Los Angeles after the oldest brother, George, was discharged from the Army and settled there. "He went to California because he no longer wanted his brothers and sisters to grow up in a place like Mississippi," Lester says. "We got in the car one night and drove up. And, after two-and-a-half to three days we wound up in California, but it was a struggle getting out of Mississippi on the road." They started performing in 1961 and added Keenan in 1965, the year they earned great acclaim with a performance at the Newport Folk Festival, where they went electric hours before Bob Dylan. Their first album, The Time Has Come, was released in 1967 and includes their masterpiece "Time Has Come Today," a song that still rings true five decades later. That album also includes "Uptown," a song you can see the band perform in the documentary Summer Of Soul. We touch on all these topics in this conversation with Lester, who also talks about his latest venture, the band Moonalice. https://www.moonalice.com/splash https://www.songfacts.com/ https://www.facebook.com/songfacts https://twitter.com/Songfacts http://pantheonpodcasts.com/ https://twitter.com/pantheonpods Hosted and Edited by Corey O'Flanagan https://twitter.com/ofe1818 https://www.instagram.com/coreyofe/ corey@songfacts.com Songfacts Podcast Spotify Playlist https://open.spotify.com/playlist/3IThMW5yB8XnFh5cS2gTxR?si=KAhiqWRcSIy5uxb2sZPFTA This show is part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Harlem Cultural Festival was a music festival taking place in the same summer of 1969 as Woodstock, and its amazing line-up, and insight into how it happened, is finally presented, 52 years later. Movies about music festivals have a built-in appeal: if you like the kind of music featured, the festival film gives you a variety of different artists in that genre. The gold standard is still Monterey Pop, about the 1967 festival of that name. And of course, there's Woodstock, chronicling the famous gathering in 1969 that was seen as a kind of summing up of the rock and pop music then. Now, just last year, a film was released about a major music festival that took place the same summer when Woodstock was happening. It was the Harlem Cultural Festival, a free event that occurred at Mount Morris Park on six successive weekends from June to August of '69. This did not get very much attention. I, for one, had never heard of it. The film is called Summer of Soul, and my jaw dropped when I saw the list of performers. But first you need to know that Summer of Soul is also a record of a crucial time in the history of the Black community in America, and the production was put together by Ahmir Thompson, more popularly known as Questlove, a major author and producer, and one of the frontmen for the band The Roots, which is The Tonight Show band. Each weekend in the Harlem Cultural Festival highlighted a different type of Black American music. In the course of the film, we watch performances by B.B. King, Stevie Wonder, Sly and the Family Stone, Gladys Knight and the Pips, The Chambers Brothers, and David Ruffin, the lead singer for The Temptations who had just left that group to go solo. We see The Fifth Dimension performing there as well, and two of the members of that group talk about how excited they were to play in Harlem, because their sound was sometimes dismissed as “too white,” but the film showcases their stunning vocal mastery. The jazz portions include Herbie Mann, Abbey Lincoln, and Nina Simone. And a very interesting long middle section shows the strong influence of gospel on the Black music scene, with performances by The Staple Singers, The Edwin Hawkins singers with “Oh Happy Day,” and the Queen of Gospel, Mahalia Jackson. Interspersed with all the great music are clips and interviews profiling the social and political situation in Black America at that time. Dr. King had been murdered only the previous year, and there was a new militancy in the air. Civil rights and social justice were part of the festival, and we are shown a very young Jesse Jackson speaking to the audience about the need to continue the struggle for peace and justice. Interviews with artists and people involved in putting the festival on emphasize the strong sense of togetherness experienced at these events. In such an atmosphere of joy and hope, it is somewhat difficult for us now, over five decades later, not to feel some frustration at how much racism has continued as a political force in our country. But the people being interviewed caution us against despair. The love and solidarity, expressed through music and activism, is still alive today, as we see, for instance, in the Black Lives Matter movement. So why did it take so long for this film to be released? One of the sponsors of the festival, Maxwell House Coffee, filmed all the performances. But after being minimally aired on a couple of TV specials, the footage ended up sitting in a basement for fifty years until it was discovered by an archivist in 2004 who alerted others to take on the task of restoration. Now, thanks to them and to Questlove, this brilliant event has come to life again in Summer of Soul. You owe it to yourself t

Our guest this hour is legendary funk, rock, and blues artist, Lester Chambers. Best known for his work with The Chambers Brothers in the 1960s, with hits including, "Time Has Come Today," and, "All Strung Out Over You." Amy Wright chats with Chambers today about landmark moments in his life, including being backstage at Newport Folk Festival when Bob Dylan went electric, and being greeted by The Beatles when he visited London. They also cover his recent feature in the Questlove documentary, 'Summer of Soul (...Or, When the Revolution Could Not Be Televised).' This is an informative interview with a pioneering and progressive man who we think you need to know more about. Part of Pantheon Podcasts

Our guest this hour is legendary funk, rock, and blues artist, Lester Chambers. Best known for his work with The Chambers Brothers in the 1960s, with hits including, "Time Has Come Today," and, "All Strung Out Over You." Amy Wright chats with Chambers today about landmark moments in his life, including being backstage at Newport Folk Festival when Bob Dylan went electric, and being greeted by The Beatles when he visited London. They also cover his recent feature in the Questlove documentary, 'Summer of Soul (...Or, When the Revolution Could Not Be Televised).' This is an informative interview with a pioneering and progressive man who we think you need to know more about.  Part of Pantheon Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

Our guest this hour is legendary funk, rock, and blues artist, Lester Chambers. Best known for his work with The Chambers Brothers in the 1960s, with hits including, "Time Has Come Today," and, "All Strung Out Over You." Amy Wright chats with Chambers today about landmark moments in his life, including being backstage at Newport Folk Festival when Bob Dylan went electric, and being greeted by The Beatles when he visited London. They also cover his recent feature in the Questlove documentary, 'Summer of Soul (...Or, When the Revolution Could Not Be Televised).' This is an informative interview with a pioneering and progressive man who we think you need to know more about. Part of Pantheon Podcasts

NOTE: This episode went up before the allegations about Dylan, in a lawsuit filed on Friday, were made public on Monday night. Had I been aware of them, I would at least have commented at the beginning of the episode. Episode one hundred and thirty of A History of Rock Music in Five Hundred Songs looks at “Like a Rolling Stone" by Bob Dylan, and the controversy over Dylan going electric, Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Hold What You've Got" by Joe Tex. 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/ Erratum A couple of times I refer to “CBS”. Dylan's label in the US was Columbia Records, a subsidiary of CBS Inc, but in the rest of the world the label traded as “CBS Records”. I should probably have used “Columbia” throughout... Resources No Mixcloud this week, as there are too many songs by Dylan. Much of the information in this episode comes from Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald, which is recommended, as all Wald's books are. I've used these books for all the episodes involving Dylan: Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. The New Yorker article by Nat Hentoff I talk about is here. And for the information about the writing of "Like a Rolling Stone", I relied on yet another book by Heylin, All the Madmen. Dylan's albums up to 1967 can all be found in their original mono mixes on this box set. And Dylan's performances at Newport from 1963 through 1965 are on this DVD. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There's a story that everyone tells about Bob Dylan in 1965, the story that has entered into legend. It's the story that you'll see in most of the biographies of him, and in all those coffee-table histories of rock music put out by glossy music magazines. Bob Dylan, in this story, was part of the square, boring, folk scene until he plugged in an electric guitar and just blew the minds of all those squares, who immediately ostracised him forever for being a Judas and betraying their traditionalist acoustic music, but he was just too cool and too much of a rebel to be bound by their rules, man. Pete Seeger even got an axe and tried to cut his way through the cables of the amplifiers, he was so offended by the desecration of the Newport Folk Festival. And like all these stories, it's an oversimplification but there's an element of truth to it too. So today, we're going to look at what actually happened when Dylan went electric. We're going to look at what led to him going electric, and at the truth behind the legend of Seeger's axe. And we're going to look at the masterpiece at the centre of it all, a record that changed rock songwriting forever. We're going to look at Bob Dylan and "Like a Rolling Stone": [Excerpt: Bob Dylan, "Like a Rolling Stone"] While we've seen Dylan turn up in all sorts of episodes -- most recently the episode on "Mr. Tambourine Man", the last time we looked at him in detail was in the episode on "Blowin' in the Wind", and when we left him there he had just recorded his second album, The Freewheelin' Bob Dylan, but it had not yet been released. As we'll see, Dylan was always an artist who moved on very quickly from what he'd been doing before, and that had started as early as that album. While his first album, produced by John Hammond, had been made up almost entirely of traditional songs and songs he'd learned from Dave van Ronk or Eric von Schmidt, with only two originals, The Freewheelin' Bob Dylan had started out being produced by Hammond, but as Hammond and Dylan's manager Albert Grossman had come to find it difficult to work together, the last few tracks had been produced by Tom Wilson. We've mentioned Wilson briefly a couple of times already, but to reiterate, Wilson was a Black Harvard graduate and political conservative whose background was in jazz and who had no knowledge of or love for folk music. But Wilson saw two things in Dylan -- the undeniable power of his lyrics, and his vocals, which Wilson compared to Ray Charles. Wilson wanted to move Dylan towards working with a backing band, and this was something that Dylan was interested in doing, but his first experiment with that, with John Hammond, hadn't been a particular success. Dylan had recorded a single backed with a band -- "Mixed-Up Confusion", backed with "Corrina, Corrina", a version of an old song that had been recorded by both Bob Wills and Big Joe Turner, but had recently been brought back to the public mind by a version Phil Spector had produced for Ray Peterson. Dylan's version of that song had a country lope and occasional breaks into Jimmie Rodgers style keening that foreshadow his work of the late sixties: [Excerpt: Bob Dylan, "Corrina, Corrina (single version)"] A different take of that track was included on The Freewheelin' Bob Dylan, an album that was made up almost entirely of originals. Those originals fell into roughly two types -- there were songs like "Masters of War", "Blowin' in the Wind", and "A Hard Rain's Gonna Fall" which dealt in some way with the political events of the time -- the fear of nuclear war, the ongoing conflict in Vietnam, the Civil Rights movement and more -- but did so in an elliptical, poetic way; and there were songs about distance in a relationship -- songs like "Don't Think Twice, It's Alright", which do a wonderful job at portraying a young man's conflicted feelings -- the girl has left him, and he wants her back, but he wants to pretend that he doesn't.  While it's always a bad idea to look for a direct autobiographical interpretation of Dylan's lyrics, it seems fairly safe to say that these songs were inspired by Dylan's feelings for his girlfriend, Suze Rotolo, who had gone travelling in Europe and not seen him for eight months, and who he was worried he would never see again, and he does seem to have actually had several conflicting feelings about this, ranging from desperation for her to come back through to anger and resentment. The surprising thing about The Freewheelin' Bob Dylan is that it's a relatively coherent piece of work, despite being recorded with two different producers over a period of more than a year, and that recording being interrupted by Dylan's own travels to the UK, his separation from and reconciliation with Rotolo, and a change of producers. If you listened to it, you would get an impression of exactly who Dylan was -- you'd come away from it thinking that he was an angry, talented, young man who was trying to merge elements of both traditional English folk music and Robert Johnson style Delta blues with poetic lyrics related to what was going on in the young man's life. By the next album, that opinion of Dylan would have to be reworked, and it would have to be reworked with every single album that came out.  But The Freewheelin' Bob Dylan came out at the perfect time for Dylan to step into the role of "spokesman for a generation" -- a role which he didn't want, and to which he wasn't particularly suited. Because it came out in May 1963, right at the point at which folk music was both becoming hugely more mainstream, and becoming more politicised. And nothing showed both those things as well as the Hootenanny boycott: [Excerpt: The Brothers Four, “Hootenanny Saturday Night”] We've talked before about Hootenanny, the folk TV show, but what we haven't mentioned is that there was a quite substantial boycott of that show by some of the top musicians in folk music at the time. The reason for this is that Pete Seeger, the elder statesman of the folk movement, and his old band the Weavers, were both blacklisted from the show because of Seeger's Communist leanings. The Weavers were --- according to some sources -- told that they could go on if they would sign a loyalty oath, but they refused. It's hard for those of us who weren't around at the time to really comprehend both just how subversive folk music was considered, and how seriously subversion was taken in the USA of the early 1960s. To give a relevant example -- Suze Rotolo was pictured on the cover of The Freewheelin' Bob Dylan. Because of this, her cousin's husband, who was in the military, lost his security clearance and didn't get a promotion he was in line for. Again,  someone lost his security clearance because his wife's cousin was pictured on the cover of a Bob Dylan album. So the blacklisting of Seeger and the Weavers was considered a serious matter by the folk music community, and people reacted very strongly. Joan Baez announced that she wouldn't be going on Hootenanny until they asked Seeger on, and Dylan, the Kingston Trio, Dave van Ronk, Ramblin' Jack Elliott, and Peter, Paul, and Mary, among many others, all refused to go on the show as a result. But the odd thing was, whenever anyone *actually asked* Pete Seeger what he thought they should do, he told them they should go on the TV show and use it as an opportunity to promote the music. So while the Kingston Trio and Peter, Paul, and Mary, two of the biggest examples of the commercialisation of folk music that the serious purists sneered at, were refusing to go on the TV in solidarity with a Communist, that Communist's brother, Mike Seeger, happily went on Hootenanny with his band the New Lost City Ramblers, and when the Tarriers were invited on to the show but it clashed with one of their regular bookings, Pete Seeger covered their booking for them so they could appear. Dylan was on the side of the boycotters, though he was not too clear on exactly why. When he spoke about  the boycott on stage, this is what he had to say: [Excerpt: Dylan talks about the boycott. Transcript: "Now a friend of mine, a friend of all yours I'm sure, Pete Seeger's been blacklisted [applause]. He and another group called the Weavers who are around New York [applause] I turned down that television show, but I got no right [applause] but . . . I feel bad turning it down, because the Weavers and Pete Seeger can't be on it. They oughta turn it down. They aren't even asked to be on it because they are blacklisted. Uh—which is, which is a bad thing. I don't know why it's bad, but it's just bad, it's bad all around."] Hootenanny started broadcasting in April 1963, just over a month before The Freewheelin' Bob Dylan came out, and so it would have been a good opportunity for publicity for him -- but turning the show down was also good publicity. Hootenanny wouldn't be the only opportunity to appear on TV that he was offered. It would also not be the only one he turned down. In May, Dylan was given the opportunity to appear on the Ed Sullivan Show, but he agreed on one condition -- that he be allowed to sing "Talking John Birch Paranoid Blues". For those who don't know, the John Birch Society is a far-right conspiratorial organisation which had a huge influence on the development of the American right-wing in the middle of the twentieth century, and is responsible for perpetuating almost every conspiracy theory that has exerted a malign influence on the country and the world since that time. They were a popular punching bag for the left and centre, and for good reason -- we heard the Chad Mitchell Trio mocking them, for example, in the episode on "Mr. Tambourine Man" a couple of weeks ago.  So Dylan insisted that if he was going to go on the Ed Sullivan Show, it would only be to perform his song about them: [Excerpt: Bob Dylan, "Talking John Birch Paranoid Blues"] Now, the Ed Sullivan Show was not interested in having Dylan sing a song that would upset a substantial proportion of its audience, on what was after all meant to be an entertainment show, and so Dylan didn't appear on the show -- and he got a big publicity boost from his principled refusal to make a TV appearance that would have given him a big publicity boost. It's interesting to note in this context that Dylan himself clearly didn't actually think very much of the song -- he never included it on any of his albums, and it remained unreleased for decades. By this point, Dylan had started dating Joan Baez, with whom he would have an on-again off-again relationship for the next couple of years, even though at this point he was also still seeing Suze Rotolo. Baez was one of the big stars of the folk movement, and like Rotolo she was extremely politically motivated. She was also a fan of Dylan's writing, and had started recording versions of his songs on her albums: [Excerpt: Joan Baez, "Don't Think Twice, It's All Right"] The relationship between the two of them became much more public when they appeared together at the Newport Folk Festival in 1963. The Newport Folk Festival had started in 1959, as a spinoff from the successful Newport Jazz Festival, which had been going for a number of years previously. As there was a large overlap between the jazz and folk music fanbases -- both musics appealed at this point to educated, middle-class, liberals who liked to think of themselves as a little bit Bohemian -- the Jazz Festival had first started putting on an afternoon of folk music during its normal jazz programme, and then spun that off into a whole separate festival, initially with the help of Albert Grossman, who advised on which acts should be booked (and of course included several of the acts he managed on the bill). Both Newport festivals had been shut down after rioting at the 1960 Jazz Festival, as three thousand more people had turned up for the show than there was capacity for, and the Marines had had to be called in to clear the streets of angry jazz fans, but the jazz  festival had returned in 1962, and in 1963 the folk festival came back as well. By this time, Albert Grossman was too busy to work for the festival, and so its organisation was taken over by a committee headed by Pete Seeger.  At that 1963 festival, even though Dylan was at this point still a relative unknown compared to some of the acts on the bill, he was made the headliner of the first night, which finished with his set, and then with him bringing Joan Baez, Peter, Paul and Mary, Pete Seeger and the Freedom Singers out to sing with him on "Blowin' in the Wind" and "We Shall Overcome".  To many people, Dylan's appearance in 1963 was what launched him from being "one of the rising stars of the folk movement" to being the most important musician in the movement -- still just one of many, but the first among equals. He was now being talked of in the same terms as Joan Baez or Pete Seeger, and was also starting to behave like someone as important as them -- like he was a star. And that was partly because Baez was promoting Dylan, having him duet with her on stage on his songs -- though few would now argue that the combination of their voices did either artist any favours, Baez's pure, trained, voice, rubbing up against Dylan's more idiosyncratic phrasing in ways that made both sound less impressive: [Excerpt: Joan Baez and Bob Dylan, "With God On Our Side (live at Newport 1963)"] At the end of 1963, Dylan recorded his third album, which came out in early 1964. The Times They Are A-Changin' seems to be Dylan's least personal album to this point, and seems to have been written as a conscious attempt to write the kind of songs that people wanted and expected from him -- there were songs about particular recent news events, like "The Lonesome Death of Hattie Carroll",  the true story of the murder of a Black woman by a white man, and  "Only a Pawn in Their Game", about the murder of the Civil Rights activist Medgar Evers. There were fictional dramatisations of the kind of effects that real-world social problems were having on people, like "North Country Blues", in which the callous way mining towns were treated by capital leads to a woman losing her parents, brother, husband, and children, or "The Ballad of Hollis Brown", about a farmer driven to despair by poverty who ends up killing his whole family and himself. As you can imagine, it's not a very cheery album, but it's one that impressed a lot of people, especially its title track, which was very deliberately written as an anthem for the new social movements that were coming up: [Excerpt: Bob Dylan, "The Times They Are A-Changin'"] But it was a bleak album, with none of the humour that had characterised Dylan's first two albums. Soon after recording the album, Dylan had a final split with Rotolo, went travelling for a while, and took LSD for the first time. He also started to distance himself from Baez at this point, though the two would remain together until mid 1965. He seems to have regarded the political material he was doing as a mistake, as something he was doing for other people, rather than because that was what he wanted to do.  He toured the UK in early 1964, and then returned to the US in time to record his fourth album, Another Side of Bob Dylan. It can be argued that this is the point where Dylan really becomes himself, and starts making music that's the music he wants to make, rather than music that he thinks other people want him to make.  The entire album was recorded in one session, along with a few tracks that didn't make the cut -- like the early version of "Mr. Tambourine Man" with Ramblin' Jack Elliott that we heard in the episode on that song. Elliott was in attendance, as were a number of Dylan's other friends, though the album features only Dylan performing. Also there was the journalist Nat Hentoff, who wrote a full account of the recording session for the New Yorker, which I'll link in the show notes.  Dylan told Hentoff "“There aren't any finger-pointing songs in here, either. Those records I've already made, I'll stand behind them, but some of that was jumping into the scene to be heard and a lot of it was because I didn't see anybody else doing that kind of thing. Now a lot of people are doing finger-pointing songs. You know—pointing to all the things that are wrong. Me, I don't want to write for people anymore. You know—be a spokesman. Like I once wrote about Emmett Till in the first person, pretending I was him. From now on, I want to write from inside me, and to do that I'm going to have to get back to writing like I used to when I was ten—having everything come out naturally." Dylan was right to say that there were no finger-pointing songs. The songs on Another Side of Bob Dylan were entirely personal -- "Ballad in Plain D", in particular, is Dylan's take on the night he split up with Suze Rotolo, laying the blame -- unfairly, as he would later admit -- on her older sister. The songs mostly dealt with love and relationships, and as a result were ripe for cover versions. The opening track, in particular, "All I Really Want to Do", which in Dylan's version was a Jimmie Rodgers style hillbilly tune, became the subject of duelling cover versions. The Byrds' version came out as the follow-up to their version of "Mr. Tambourine Man": [Excerpt: The Byrds, "All I Really Want to Do"] But Cher also released a version -- which the Byrds claimed came about when Cher's husband Sonny Bono secretly taped a Byrds live show where they performed the song before they'd released it, and he then stole their arrangement: [Excerpt: Cher, "All I Really Want to Do"] In America, the Byrds' version only made number forty on the charts, while Cher made number fifteen. In the UK, where both artists were touring at the time to promote the single, Cher made number nine but the Byrds charted higher at number four.  Both those releases came out after the album came out in late 1964, but even before it was released, Dylan was looking for other artists to cover his new songs. He found one at the 1964 Newport Folk Festival, where he met Johnny Cash for the first time. Cash had been a fan of Dylan for some time -- and indeed, he's often credited as being the main reason why CBS persisted with Dylan after his first album was unsuccessful, as Cash had lobbied for him within the company -- and he'd recently started to let that influence show. His most recent hit, "Understand Your Man", owed more than a little to Dylan's "Don't Think Twice, It's All Right", and Cash had also started recording protest songs. At Newport, Cash performed his own version of "Don't Think Twice": [Excerpt: Johnny Cash, "Don't Think Twice, It's All Right"] Cash and Dylan met up, with June Carter and Joan Baez, in Baez's hotel room, and according to later descriptions they were both so excited to meet each other they were bouncing with excitement, jumping up and down on the beds. They played music together all night, and Dylan played some of his new songs for Cash. One of them was "It Ain't Me Babe", a song that seems at least slightly inspired by "She Loves You" -- you can sing the "yeah, yeah, yeah" and "no, no, no" together -- and which was the closing track of Another Side of Bob Dylan. Cash soon released his own version of the song, which became a top five country hit: [Excerpt: Johnny Cash, "It Ain't Me Babe"] But it wasn't long after meeting Cash that Dylan met the group who may have inspired that song -- and his meeting with the Beatles seems to have confirmed in him his decision that he needed to move away from the folk scene and towards making pop records. This was something that Tom Wilson had been pushing for for a while -- Wilson had told Dylan's manager Albert Grossman that if they could get Dylan backed by a good band, they'd have a white Ray Charles on their hands. As an experiment, Wilson took some session musicians into the studio and had them overdub an electric backing on Dylan's acoustic version of "House of the Rising Sun", basing the new backing on the Animals' hit version. The result wasn't good enough to release, but it did show that there was a potential for combining Dylan's music with the sound of electric guitars and drums: [Excerpt: Bob Dylan, “House of the Rising Sun (electric version)”] Dylan was also being influenced by his friend John Hammond Jr, the blues musician son of Dylan's first producer, and a veteran of the Greenwich Village folk scene. Hammond had decided that he wanted to show the British R&B bands what proper American blues sounded like, and so he'd recruited a group of mostly-Canadian musicians to back him on an electric album. His "So Many Roads" album featured three members of a group called Levon and the Hawks -- Levon Helm, Garth Hudson, and Robbie Robertson -- who had recently quit working for the Canadian rockabilly singer Ronnie Hawkins -- plus harmonica player Charlie Musselwhite and Mike Bloomfield, who was normally a guitarist but who is credited on piano for the album: [Excerpt: John Hammond, Jr. "Who Do You Love?"] Dylan was inspired by Hammond's sound, and wanted to get the same sound on his next record, though he didn't consider hiring the same musicians. Instead, for his next album he brought in Bruce Langhorne, the tambourine man himself, on guitar, Bobby Gregg -- a drummer who had been the house drummer for Cameo-Parkway and played on hits by Chubby Checker, Bobby Rydell and others; the session guitarists Al Gorgoni and Kenny Rankin, piano players Frank Owens and Paul Griffin, and two bass players, Joseph Macho and William Lee, the father of the film director Spike Lee. Not all of these played on all the finished tracks -- and there were other tracks recorded during the sessions, where Dylan was accompanied by Hammond and another guitarist, John Sebastian, that weren't used at all -- but that's the lineup that played on Dylan's first electric album, Bringing it All Back Home. The first single, "Subterranean Homesick Blues" actually takes more inspiration than one might imagine from the old-school folk singers Dylan was still associating with. Its opening lines seem to be a riff on "Taking it Easy", a song that had originally been written in the forties by Woody Guthrie for the Almanac Singers, where it had been a song about air-raid sirens: [Excerpt: The Almanac Singers, "Taking it Easy"] But had then been rewritten by Pete Seeger for the Weavers, whose version had included this verse that wasn't in the original: [Excerpt: The Weavers, "Taking it Easy"] Dylan took that verse, and the basic Guthrie-esque talking blues rhythm, and connected it to Chuck Berry's "Too Much Monkey Business" with its rapid-fire joking blues lyrics: [Excerpt: Chuck Berry, "Too Much Monkey Business"] But Dylan's lyrics were a radical departure, a freeform, stream-of-consciousness proto-psychedelic lyric inspired as much by the Beat poets as by any musician -- it's no coincidence that in the promotional film Dylan made for the song, one of the earliest examples of what would become known as the rock video, the Beat poet Allen Ginsberg makes an appearance: [Excerpt: Bob Dylan, "Subterranean Homesick Blues"] "Subterranean Homesick Blues" made the top forty in the US -- it only made number thirty-nine, but it was Dylan's first single to chart at all in the US. And it made the top ten in the UK -- but it's notable that even over here, there was still some trepidation about Dylan's new direction. To promote his UK tour, CBS put out a single of "The Times They Are A-Changin'", and that too made the top ten, and spent longer on the charts than "Subterranean Homesick Blues". Indeed, it seems like everyone was hedging their bets. The opening side of Bringing it All Back Home is all electric, but the B-side is made up entirely of acoustic performances, though sometimes with a little added electric guitar countermelody -- it's very much in the same style as Dylan's earlier albums, and seems to be a way of pulling back after testing the waters, of reassuring people who might have been upset by the change in style on the first side that this was still the same Dylan they knew.  And the old Dylan certainly still had plenty of commercial life in him. Indeed, when Dylan went to the UK for a tour in spring of 1965, he found that British musicians were trying to copy his style -- a young man called Donovan seemed to be doing his best to *be* Dylan, with even the title of his debut hit single seeming to owe something to "Blowing in the Wind": [Excerpt: Donovan, "Catch the Wind (original single version)"] On that UK tour, Dylan performed solo as he always had -- though by this point he had taken to bringing along an entourage. Watching the classic documentary of that tour, Dont Look Back, it's quite painful to see Dylan's cruelty to Joan Baez, who had come along on the expectation that she would be duetting with him occasionally, as he had dueted with her, but who is sidelined, tormented, and ignored. It's even worse to see Bob Neuwirth,  a hanger-on who is very obviously desperate to impress Dylan by copying all his mannerisms and affectations, doing the same. It's unsurprising that this was the end of Dylan and Baez's relationship. Dylan's solo performances on that tour went down well, but some of his fans questioned him about his choice to make an electric record. But he wasn't going to stop recording with electric musicians. Indeed, Tom Wilson also came along on the tour, and while he was in England he made an attempt to record a track with the members of John Mayall's Bluesbreakers -- Mayall, Hughie Flint, Eric Clapton, and John McVie, though it was unsuccessful and only a low-fidelity fragment of it circulates: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] Also attending that session was a young wannabe singer from Germany who Dylan had taken up with, though their dalliance was very brief. During the session Dylan cut a demo of a song he planned to give her, but Nico didn't end up recording "I'll Keep it With Mine" until a couple of years later. But one other thing happened in England. After the UK tour, Dylan travelled over to Europe for a short tour, then returned to the UK to do a show for the BBC -- his first full televised concert. Unfortunately, that show never went ahead -- there was a party the night before, and Dylan was hospitalised after it with what was said to be food poisoning. It might even actually have been food poisoning, but take a listen to the episode I did on Vince Taylor, who was also at that party, and draw your own conclusions. Anyway, Dylan was laid up in bed for a while, and took the opportunity to write what he's variously described as being ten or twenty pages of stream of consciousness vomit, out of which he eventually took four pages of lyrics, a vicious attack on a woman who was originally the protagonist's social superior, but has since fallen. He's never spoken in any detail about what or who the subject of the song was, but given that it was written just days after his breakup with Baez, it's not hard to guess. The first attempt at recording the song was a false start. On June the fifteenth, Dylan and most of the same musicians who'd played on his previous album went into the studio to record it, along with Mike Bloomfield, who had played on that John Hammond album that had inspired Dylan and was now playing in the Paul Butterfield Blues Band. Bloomfield had been surprised when Dylan had told him that he didn't want the kind of string-bending electric blues that Bloomfield usually played, but he managed to come up with something Dylan approved of -- but the song was at this point in waltz time: [Excerpt: Bob Dylan, "Like a Rolling Stone (early version)"] The session ended, but Joe Macho, Al Gorgoni and Bobby Gregg stayed around after the session, when Tom Wilson called in another session guitarist to join them in doing the same trick he'd done on "House of the Rising Sun", overdubbing new instruments on a flop acoustic record he'd produced for a Greenwich Village folk duo who'd already split up. But we'll hear more about "The Sound of Silence" in a few weeks' time. The next day, the same musicians came back, along with one new one. Al Kooper had been invited by Wilson to come along and watch the session, but he was determined that he was going to play on whatever was recorded. He got to the session early, brought his guitar and amp in and got tuned up before Wilson arrived. But then Kooper heard Bloomfield play, realised that he simply couldn't play at anything remotely like the same standard, and decided he'd be best off staying in the control room after all.  But then, before they started recording "Like a Rolling Stone", which by now was in 4/4 time, Frank Owens, who had been playing organ, switched to piano and left his organ on. Kooper saw his chance -- he played a bit of keyboards, too, and the song was in C, which is the easiest key to play in. Kooper asked Wilson if he could go and play, and Wilson didn't exactly say no, so Kooper went into the studio and sat at the organ.  Kooper improvised the organ line that became the song's most notable instrumental part, but you will notice that it's mixed quite low in the track. This is because Wilson was unimpressed with Kooper's playing, which is technically pretty poor -- indeed, for much of the song, Kooper is a beat behind the rest of the band, waiting for them to change chords and then following the change on the next measure. Luckily, Kooper is also a good enough natural musician that he made this work, and it gave the song a distinctive sound: [Excerpt: Bob Dylan, "Like a Rolling Stone"] The finished record came in at around six minutes -- and here I should just mention that most books on the subject say that the single was six minutes and thirteen seconds long. That's the length of the stereo mix of the song on the stereo version of the album. The mono mix on the mono album, which we just heard, is five minutes fifty-eight, as it has a shorter fade. I haven't been able to track down a copy of the single as released in 1965, but usually the single mix would be the same as the mono album mix. Whatever the exact length, it was much, much, longer than the norm for a single -- the Animals' "House of the Rising Sun" had been regarded as ridiculously long at four and a half minutes -- and Columbia originally wanted to split the song over two sides of a single. But eventually it was released as one side, in full: [Excerpt: Bob Dylan, "Like a Rolling Stone"] That's Bruce Langhorne there playing that rather sloppy tambourine part, high in the mix. The record made the top five in the UK, and reached number two in the US, only being held off from the top spot by "Help!" by the Beatles.  It would, however, be the last track that Tom Wilson produced for Dylan. Nobody knows what caused their split after three and a half albums working together -- and everything suggests that on the UK tour in the Spring, the two were very friendly. But they had some sort of disagreement, about which neither of them would ever speak, other than a comment by Wilson in an interview shortly before his death in which he said that Dylan had told him he was going to get Phil Spector to produce his records. In the event, the rest of the album Dylan was working on would be produced by Bob Johnston, who would be Dylan's regular producer until the mid-seventies. So "Like a Rolling Stone" was a major break in Dylan's career, and there was another one shortly after its release, when Dylan played the Newport Folk Festival for the third time, in what has become possibly the single most discussed and analysed performance in folk or rock music. The most important thing to note here is that there was not a backlash among the folk crowd against electric instruments. The Newport Folk Festival had *always* had electric performers -- John Lee Hooker and Johnny Cash and The Staple Singers had all performed with electric guitars and nobody had cared. What there was, was a backlash against pop music. You see, up until the Beatles hit America, the commercial side of folk music had been huge. Acts like the Kingston Trio, Peter, Paul, and Mary, The Chad Mitchell Trio, and so on had been massive. Most of the fans at the Newport Folk Festival actually despised many of these acts as sell-outs, doing watered-down versions of the traditional music they loved. But at the same time, those acts *were* doing watered-down versions of the traditional music they loved, and by doing so they were exposing more people to that traditional music. They were making programmes like Hootenanny possible -- and the folkies didn't like Hootenanny, but Hootenanny existing meant that the New Lost City Ramblers got an audience they would otherwise not have got. There was a recognition, then, that the commercialised folk music that many of them despised was nonetheless important in the development of a thriving scene. And it was those acts, the Kingston Trios and Peter, Paul, and Marys, who were fast losing their commercial relevance because of the renewed popularity of rock music. If Hootenanny gets cancelled and Shindig put on in its place, that's great for fans of the Righteous Brothers and Sam Cooke, but it's not so great if you want to hear "Tom Dooley" or "If I Had a Hammer". And so many of the old guard in the folk movement weren't wary of electric guitars *as instruments*, but they were wary of anything that looked like someone taking sides with the new pop music rather than the old folk music. For Dylan's first performance at the festival in 1965, he played exactly the set that people would expect of him, and there was no problem. The faultlines opened up, not with Dylan's first performance, but with the performance by the Paul Butterfield Blues Band, as part of a history of the blues, presented by Alan Lomax. Lomax had no objection to rock and roll -- indeed, earlier in the festival the Chambers Brothers, a Black electric group from Mississippi, had performed a set of rock and R&B songs, and Lomax had come on stage afterwards and said “I'm very proud tonight that we finally got onto the Newport Folk Festival our modern American folk music: rock 'n' roll!” But Lomax didn't think that the Butterfield band met his criteria of "authenticity". And he had a point. The Paul Butterfield Blues Band were an integrated group -- their rhythm section were Black musicians who had played with Howlin' Wolf -- and they'd gained experience through playing Chicago blues on the South Side of Chicago, but their leader, Butterfield, was a white man, as was Mike Bloomfield, their guitarist, and so they'd quickly moved to playing clubs on the North side, where Black musicians had generally not been able to play. Butterfield and Bloomfield were both excellent musicians, but they were closer to the British blues lovers who were making up groups like the Rolling Stones, Animals, and Manfred Mann. There was a difference -- they were from Chicago, not from the Home Counties -- but they were still scholars coming at the music from the outside, rather than people who'd grown up with the music and had it as part of their culture. The Butterfield Band were being promoted as a sort of American answer to the Stones, and they had been put on Lomax's bill rather against his will -- he wanted to have some Chicago blues to illustrate that part of the music, but why not Muddy Waters or Howlin' Wolf, rather than this new group who had never really done anything? One he'd never even heard -- but who he knew that Albert Grossman was thinking about managing. So his introduction to the Butterfield Blues Band's performance was polite but hardly rapturous. He said "Us white cats always moved in, a little bit late, but tried to catch up...I understand that this present combination has not only caught up but passed the rest. That's what I hear—I'm anxious to find out whether it's true or not." He then introduced the musicians, and they started to play an old Little Walter song: [Excerpt: The Paul Butterfield Blues Band, "Juke"] But after the set, Grossman was furious at Lomax, asking him what kind of introduction that was meant to be. Lomax responded by asking if Grossman wanted a punch in the mouth, Grossman hurled a homophobic slur at Lomax, and the two men started hitting each other and rolling round in the dirt, to the amusement of pretty much everyone around. But Lomax and Grossman were both far from amused. Lomax tried to get the Festival board to kick Grossman out, and almost succeeded, until someone explained that if they did, then that would mean that all Grossman's acts, including huge names like Dylan and Peter, Paul, and Mary, would also be out.  Nobody's entirely sure whose idea it was, but it seems to have been Grossman who thought that since Bloomfield had played on Dylan's recent single, it might be an idea to get the Butterfield Blues Band to back Dylan on stage, as a snub to Lomax. But the idea seems to have cohered properly when Grossman bumped into Al Kooper, who was attending the festival just as an audience member. Grossman gave Kooper a pair of backstage passes, and told him to meet up with Dylan. And so, for Dylan's performance on the Sunday -- scheduled in the middle of the day, rather than as the headliner as most people expected, he appeared with an electric guitar, backed by the Paul Butterfield Blues Band and Al Kooper. He opened with his recent single "Maggie's Farm", and followed it with the new one, "Like a Rolling Stone": [Excerpt: Bob Dylan, "Like a Rolling Stone (live at Newport)"] After those two songs, the group did one more, a song called "Phantom Engineer", which they hadn't rehearsed properly and which was an utter train wreck. And then they left the stage. And there was booing. How much booing, and what the cause was, is hard to say, but everyone agrees there was some. Some people claim that the booing was just because the set had been so short, others say that the audience was mostly happy but there were just a few people booing. And others say that the booing mostly came from the front -- that there were sound problems that meant that while the performance sounded great to people further back, there was a tremendous level of distortion near the front. That's certainly what Pete Seeger said. Seeger was visibly distraught and angry at the sounds coming from the stage. He later said, and I believe him, that it wasn't annoyance at Dylan playing with an electric band, but at the distorted sound. He said he couldn't hear the words, that the guitar was too loud compared to the vocals, and in particular that his father, who was an old man using a hearing aid, was in actual physical pain at the sound. According to Joe Boyd, later a famous record producer but at this time just helping out at the festival, Seeger, the actor Theodore Bikel, and Alan Lomax, all of whom were on the festival board, told Boyd to take a message to Paul Rothchild, who was working the sound, telling him that the festival board ordered him to lower the volume. When Boyd got there, he found Rothchild there with Albert Grossman and Peter Yarrow of Peter, Paul, and Mary, who was also on the board. When Boyd gave his message, Yarrow responded that the board was "adequately represented at the sound controls", that the sound was where the musicians wanted it, and gave Boyd a message to take back to the other board members, consisting of a single raised middle finger. Whatever the cause of the anger, which was far from universal, Dylan was genuinely baffled and upset at the reaction -- while it's been portrayed since, including by Dylan himself at times, as a deliberate act of provocation on Dylan's part, it seems that at the time he was just going on stage with his new friends, to play his new songs in front of some of his old friends and a crowd that had always been supportive of him. Eventually Peter Yarrow, who was MCing, managed to persuade Dylan to go back on stage and do a couple more numbers, alone this time as the band hadn't rehearsed any more songs. He scrounged up an acoustic guitar, went back on, spent a couple of minutes fiddling around with the guitar, got a different guitar because something was wrong with that one, played "It's All Over Now, Baby Blue", spent another couple of minutes tuning up, and then finally played "Mr. Tambourine Man": [Excerpt: Bob Dylan, "Mr. Tambourine Man (live at Newport)"] But that pause while Dylan was off stage scrounging an acoustic guitar from somewhere led to a rumour that has still got currency fifty-six years later. Because Peter Yarrow, trying to keep the crowd calm, said "He's gone to get his axe" -- using musicians' slang for a guitar. But many of the crowd didn't know that slang. But they had seen Pete Seeger furious, and they'd also seen, earlier in the festival, a demonstration of work-songs, sung by people who kept time by chopping wood, and according to some people Seeger had joined in with that demonstration, swinging an axe as he sang. So the audience put two and two together, and soon the rumour was going round the festival -- Pete Seeger had been so annoyed by Dylan going electric he'd tried to chop the cables with an axe, and had had to be held back from doing so. Paul Rothchild even later claimed to have seen Seeger brandishing it. The rumour became so pervasive that in later years, even as he denied doing it, Seeger tried to explain it away by saying that he might have said something like "I wish I had an axe so I could cut those cables". In fact, Seeger wasn't angry at Dylan, as much as he was concerned -- shortly afterwards he wrote a private note to himself trying to sort out his own feelings, which said in part "I like some rock and roll a great deal. Chuck Berry and Muddy Waters. I confess that, like blues and like flamenco music, I can't listen to it for a long time at a stretch. I just don't feel that aggressive, personally. But I have a question. Was the sound at Newport from Bob's aggregation good rock and roll?  I once had a vision of a beast with hollow fangs. I first saw it when my mother-in-law, who I loved very much, died of cancer... Who knows, but I am one of the fangs that has sucked Bob dry. It is in the hope that I can learn that I write these words, asking questions I need help to answer, using language I never intended. Hoping that perhaps I'm wrong—but if I am right, hoping that it won't happen again." Seeger would later make his own electric albums, and he would always continue to be complimentary towards Dylan in public. He even repeatedly said that while he still wished he'd been able to hear the words and that the guitar had been mixed quieter, he knew he'd been on the wrong side, and that if he had the time over he'd have gone on stage and asked the audience to stop booing Dylan. But the end result was the same -- Dylan was now no longer part of the Newport Folk Festival crowd. He'd moved on and was now a pop star, and nothing was going to change that. He'd split with Suze, he'd split with Joan Baez, he'd split with Tom Wilson, and now he'd split with his peer group. From now on Dylan wasn't a spokesman for his generation, or the leader of a movement. He was a young man with a leather jacket and a Stratocaster, and he was going to make rock music. And we'll see the results of that in future episodes.

As broadcast August 2, 2021 with extra soul for the podhole.  We open tonight talking a bit about Questo's "Summer of Soul" documentary, covering the events of the Harlem Cultural Festival in 1969.  After that it's almost two full hours of new music with Danno flying solo this week, but only in the studio as Stella is on vacation but did rock the playlist for our Popcast 2nd hour. #feelthegravity Tracklisting:Part I (00:00)The Chambers Brothers – UptownSilk Sonic – SkateYola – Dancing Away In TearsSerena Isioma – Really, ReallyJungle – TruthJelani Aryeh – A Piece of Your MindMild High Club – Me Myself & Dollar Hell Part II (30:14)Peachy! – Your Love 너의 사랑Arlo Parks – Too Good (Unknown Mortal Orchestra remix)Oberhofer – What Does It Mean To Me?Coast Modern – WaterfallsSean McVerry – Right HereZella Day – Golden PawPaw Rod – Thin LinesPart III (57:47)Destiny Rogers - What I LikeBillie Eilish – Billie Bossa NovaSkepta – Nirvana (feat. J Balvin)Terry Presume – Act UpAlok, John Legend – In My MindM Ø - KindnessIsaiah Rashad – Claymore (feat. Smino)Part IV (87:50)Clean Bandit & Topic – Drive (feat. Wes Nelson)AKMU – 낙하(NAKKA) (with. IU)Cynthia Erivo - AliveDermot Kennedy – Better DaysSAINt JHN – Just For Me (ft. SZA)Pyrex Pryce – Not A Love SongLeon Bridges – My Guy