Podcasts about Charlie Poole

Some of the most prominent musicians in North Carolina were co-workers. Furniture, paper, and textiles were products that originated from mills across the state in the early 20th century. However, music was also a byproduct of the mills, as individuals like Charlie Poole, Roy Hall, Tommy Magnus, and the Martin family met at work and played together after business hours.

Some of the most prominent musicians in North Carolina were co-workers. Furniture, paper, and textiles were products that originated from mills across the state in the early 20th century. However, music was also a byproduct of the mills, as individuals like Charlie Poole, Roy Hall, Tommy Magnus, and the Martin family met at work and played together after business hours.

Send us a textIntro song: Bandit Cole Younger by Edward L. Crain (The Texas Cowboy) (1931)Song 1: John Hardy Was a Desperate Little Man by The Carter Family (1928)Song 2: Stackalee by Frank Hutchison (1927)Song 3: White House Blues by Charlie Poole with the North Carolina Ramblers (1926)Song 4: Kassie Jones, Parts 1 & 2 by Furry Lewis (1928)Song 5: Mississippi Boweavil Blues by The Masked Marvel (1929)Outro song: Got the Farm Land Blues by Carolina Tar Heels (1930)

Earning their chops in medicine shows and with minstrel troupes in the late 1890s, brothers Frank and Bert Leighton wrote and/or arranged many ragtime pieces for use in vaudeville.Among their work was a 1912 version of “Frankie and Johnny,” penned with partner Ren Shields, that would set the tone for many future renditions of the song, including a monster hit a decade and half later for Charlie Poole and his North Carolina Ramblers.The song that Poole and his pals released as “Leaving Home” on Columbia Records in May 1927 already was pretty well known by musicians of the day.For instance, on the same label in the same year, popular band leader Ted Lewis recorded the same song with the title "Frankie and Johnny: You'll Miss Me in the Days to Come.” Lewis included only the chorus and not the verses.But it was a half dozen years before that that the first American recording of “Frankie and Johnny” was made by New Orleans-born Al Bernard, one of the first white singers to record blues tunes. (W.C. Handy credited Bernard, in fact, with helping his own career by recording a number of his songs, notably “St. Louis Blues.”)Whew! That's a lot of intersecting stories here, but let's roll it back to Charlie Poole and the Leighton boys. Kinney Rorer, in his seminal biography Rambling Blues: the Life & Songs of Charlie Poole, notes that the banjoist closely follows the version of “Leaving Home” that the Leighton brothers created, though there are some differences in Charlie's chorus.About the LeightonsNow, no one knows just how Poole learned that rendition, but the Leightons were pretty influential. Among the ragtime pieces they wrote was "There's A Dark Man Coming With A Bundle” and "Far Away in Honolulu (They've got the tango craze).” Their most memorable and influential song was "Steamboat Bill" in 1910, a parody of best-selling “Ballad of Casey Jones,” which had itself been based on a song from the Leightons' vaudeville routine. Arthur Collins recorded “Steamboat Bill” in 1911, which would inspire Charles Reisner to write a movie for comedian Buster Keaton called “Steamboat Bill Jr.,” which released as a silent film in 1928.That same year, Walt Disney found inspiration in the movie and in the song to create the first synchronized cartoon with sound, Steamboat Willie.Back to Johnny and His Murderous MistressAll the Frankie and Johnny variations were based on an actual murder. Here are the facts of the case:At 2 in the morning of Oct. 15, 1899, at an apartment building located at 212 Targee Street in St. Louis, 22-year-old Frankie Baker encountered her 17-year-old lover Allen (Albert) Britt as he stumbled back from a cakewalk in the company of a prostitute named Nelly Bly. Albert and Nellie had just won a prize in a slow-dancing contest, but Frankie didn't feel like celebrating. On the contrary, she felt like shooting her lover in the stomach, which she did. Albert died in City Hospital four days later.At trial, Frankie pleaded self-defense at her trial — she claimed Britt had attacked her with a knife prior to the shooting — and she was found not guilty.Weeks after the murder, St. Louis songwriter Bill Dooley composed “Frankie Killed Allen,” a tune that gained some currency. The first published version appeared in 1904, credited to Hughie Cannon (also remembered for his better-known composition “Won't You Come Home Bill Bailey”).That brings up to 1912 and the Frank and Bert Leighton version entitled “Frankie and Johnny” (because, well, “Johnny” apparently flowed better than “Allen” or “Albert”). Since then, there have been more than 250 versions of “Frankie and Johnny” recorded, not to mention several film adaptation over the years.Our Take on the TuneWhen Jack Nuckols switches from drums to fiddle, it often brings back lots of old memories of music parties 50 years ago. This is another song that Dave Peyton, Joe Dobbs and Charlie Bowen first heard at those parties when the good old Kentucky Foothill Ramblers, led by H. David Holbrook, could play a whole evening full of string band songs from the 1920s and ‘30s.This track is from last week's Flood affair, when the group's old band mate Paul Martin and his mandolin sat in with current Floodsters Charlie and Jack, Danny Cox, Randy Hamilton and Sam St. Clair. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

The first time Charlie Poole and his North Carolina Ramblers walked into a recording studio in New York City, they blew the doors off the place.It was July 27, 1925, and the first record by the three of them — banjoist Poole, fiddler Posey Rorer, whom he had met in West Virginia eight years earlier, and guitarist Norman Woodlief — sold more than 100,000 copies.That was raging success in anyone's book. It is especially true, considering that at the time there were only about 6,000 phonographs in the entire American South, the intended market for what Columbia Records called its “Hillbilly series.”It didn't make Charlie and guys rich, though. Alas, in 1925, artists were paid by the song recorded, not by the copies sold. The Ramblers got $75 for the session.About the SongThe song that made all those wave — “Don't Let Your Deal Go Down” — was an old blues that was a favorite of Piedmont pickers from Virginia down to Georgia.A year after Poole's waxing of it, Ernest Stoneman recorded a version. So did Vernon Dalhart. West Virginia singer/guitar Frank Hutchison did it as “The Deal” in 1929.Thirty years later, bluegrass pickers were loving on it. Lester Flatt and Earl Scruggs recorded a rendition in August 1957. Since then there have been tasty takes by Doc Watson, The New Lost City Ramblers, The Grateful Dead, David Bromberg, the Flying Burrito Brothers, Bob Wills and many others.The song apparently has deep roots — a man named Tyler Meeks once told a folklorist that he learned the song in 1911 from a guitarist named Charlie Blackstock — and while “Don't Let Your Deal Go Down” is often referred to a “white blues,” Black Piedmont artists like Etta Baker and John Jackson also have taken swings at the song.The Deal? What Deal?But what “deal” are we supposed to not let go down? The song's title seemed to refer to card playing, but what game?Author Zora Neale Hurston, who beautifully documented much 20th Century culture, recorded in her 1935 book Mules and Men that “Let the deal go down" was a chant associated with what card fanciers used to call “The Georgia Skin Game.” Of this largely forgotten game, Hurston wrote:Any number of “pikers” can play at a time, but there are two principals who do the dealing. Both of them are not dealing at the same time, however. When the first one who deals “falls,” the other principal takes the deal. If he in turn falls, it goes back to the first dealer. The principals draw the first two cards. The pikers draw from the third card on. Unless a player or players want to “scoop one in the rough,” he can choose his own card which can be any card in the deck except the card on top of the deck and that one goes to the dealer. The dealer charges anything he pleases for the privilege of “scooping,” the money being put in sight. It is the player's bet. After the ones who wish to have scooped, then the dealer begins to “turn” the cards. That is, flipping them off the deck face upwards and the pikers choose a card each from among those turned off to bet on. Sometimes several pikers are on the same card. When all have selected their cards and have their bets down, they begin to chant “Turn 'em” to the dealer. He turns them until a player falls. That is, a card like the one he is holding falls. For instance, one hold the 10 of Hearts. When another 10 falls he loses. Then the players cry “hold 'em” until the player selects another clean card, one that has not fallen. The fresh side bets are down and the chant “turn 'em” and the singing “Let de deal go down” [continue] until the deck is run out."Whew! That's a long trip to take to a title, but, hey, now you know….Our Take On the TuneDave Peyton and Charlie Bowen first heard this song back in the mid-1970s when they were lucky enough to regularly sit in with the good folks of The Kentucky Foothill Rambler. Band founder H. David Holbrook already was a walking/talking encyclopedia of all-things Charlie Poole — he still is! — and taught the fledgling Flood so many of those good old tunes.So it was only natural when The Flood got re-energized 30 years ago, this old tune was on the playlist. And it still here, as you can hear in this track from last week's rehearsal. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

In our circle of talented friends back in the 1970s, whenever the moment called for a Charlie Poole song, we knew exactly on whom to call. H. David Holbrook and his powerful, popular Kentucky Foothill Ramblers string band covered the best of the Charlie Poole North Carolina Ramblers songbook, introducing so many of us to that marvelous old-time music of the 1920s.And despite KFR's pronounced Poole supremacy in our extended musical family, the fledgling Flood occasionally could swipe a tune off that same table.In fact, in the antediluvian era before The Flood was even a gleam in our eye, band progenitors David Peyton and Roger Samples — playing as a duet in the late-'60s — already had worked up a version of the 1928 Poole novelty number called “Took My Gal a-Walking.” Dave and Rog regularly played in coffeehouses at Marshall University and elsewhere around the region.Flash Forward to 1975The tune was still bobbing to the surface a few years later when The Flood began. That was in those halcyon days after Peyton teamed up with Charlie Bowen, after the two of them met Joe Dobbs and interested him in jamming with them, after Roger was drawn back into the mix following his brief sojourn in the eastern part of the state.The summer of 1975, then, was fertile period for the guys. They gathered almost every week — usually an evening at Peyton Place, Dave and Susan's beautiful Mount Union Road home just outside Huntington — to work out new tunes.On those summer nights, everybody brought songs to suggest; many of them got their first public performances at the next Bowen Bash that autumn. In the short film at the top of this report, the pictures and audio are from the Sept. 5-6, 1975, do, the first bash attended by fiddlin' Joe, incidentally.About That Song“Took My Gal a-Walkin'” came late in Charlie Poole's remarkable career. When Poole and his North Carolina Ramblers — with Roy Harvey on guitar and Lonnie Austin on fiddle — entered the Columbia Records studios in New York on July 23, 1928, the band already was nationally known. The group by then had had a half dozen recording sessions — two thirds of those that would produce its 60 sides over five years — and already had waxed their best seller. “Don't Let Your Deal Go Down Blues,” recorded in 1925, sold more than 106,000 copies at a time when there were estimated to be only 6,000 phonographs in the entire southern U.S.The Summer 1928 session was a marathon — in the single day, Poole, Harvey and Austin recorded a dozen sides — but it also was a lackluster one. None of the monsters hits of Poole's earlier days emerged from this outing, no "Good-Bye Booze" or "Leaving Home,” no "White House Blues" or "Hungry Hash House.”Instead, most of the tunes on the set list this time were old folk songs (such as “Hangman, Hangman”) and highly forgettable ballads (like "A Young Boy Left His Home One Day").The exception was the happy novelty tune that Peyton and Samples later sampled. “Took My Gal a-Walkin'” has some of the better, most ironic lyrics in the Poole catalog: I ain't got nobody, I′m just as blue as can be I ain′t got nobody to make a big fuss over me If I don't get somebody I′ll go back to the farm Milk the cows and chickens, I don't give a golly gosh darnPoole's biographer and great-nephew Kinney Rorrer, who wrote Rambling Blues: The Life and Songs of Charlie Poole in 1982, has found no source for this tune, leading many to speculate that Poole might have created the piece himself.FootnoteAs noted, Peyton, Samples, Dobbs and Bowen rolled out their rendition of the tune at the September 1975 edition of the Bowen Bashes. That magical weekend is commemorated in a full-length hour-long episode of the Flood's “Legacy Films” series, viewable for free on YouTube: This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Ours is a band that was born at a party and born TO party. Whether we're at home in our band room at the Bowen House, settled in the living room of somebody else's house or on stage at a gig, the party tradition that started more than a half century ago continues today. And our next opportunity for a public party will be this very weekend when we launch the Spring Floodango this Sunday afternoon at Huntington's Alchemy Theater. Here's a tune we have on tap for the afternoon. Take a listen and you'll be ready for the sing-along when you join us at Alchemy Theater!About the SongIt was 50 years ago when we first heard “Didn't He Ramble?” Dave Peyton and Charlie Bowen learned it from the great local string band, The Kentucky Foothill Ramblers, whose leader, banjoist H. David Holbrook, seemed to know the entire Charlie Poole songbook.Bowen and Peyton started doing their own version of the song, teaching it to Roger Samples and Joe Dobbs and giving “Didn't He Ramble?” a decidedly jug band spin.After that, whenever the band played the song — which was just about every time they got together — they called it their Charlie Poole song, just assuming the song originated with that 1920s North Carolina superstar.Actually, though, the song has a longer history, as we reported in a Flood Watch article last year. Click here for a deeper dive into the song's story.Our Latest Take on the TuneIf you want to hear a “live” take on the tune, join us this Sunday afternoon at Alchemy Theater, 68 Holley Ave, in the beautiful hills of Huntington.The fun starts at 2:30 p.m. Tickets are $20 and all the proceeds go to support the good work of Alchemy Theater. Guests, We've Got Guests!We'll have a whole slew of guest artists on stage with us Sunday. Floodster Emerita Michelle Hoge is driving in from Loveland, Ohio, near Cincinnati to sing with her old band mates. You know a room just can't help but rock whenever Da Chick Singer is on the premises.And our old buddy singer/songwriter Douglas Eye (aka Doug Imbrogno) will be helping us. We in The Flood've been digging Doug for … what? Decades! We've shared the stage with him at more shows than we can remember, and earlier this week, Doug joined Charlie and Alchemy's Mike Murdock to chat about the show on WSAZ-TV. For Sunday, Doug has crafted a 30-minute set, a show-within-a-show, as it were.And that's not all! Also on hand will be our visiting hoodoo guru of kazoo. Ed Light is coming in from the Washington, D.C., area with a whole bag of tricks. As you'll recall, Ed sat in with us last month at the Bowen House, and we knew right away we were going to have to introduce him to the wider Family Flood. Ed will Sunday afternoon's visiting professor of kazoory. You don't want to miss this.Get You Tickets Online!So come on out to the Spring Floodango. Tickets will be available at the door or you can order them right here online. Here's the link for online ordering. For more information, visit our web site at Floodat50.com. See ya Sunday! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

1. (Intro) Ian A Anderson : Goblets & Elms from the CD Onwards (Ghosts From The Basement)2. Altan : The Barley And The Rye from the CD Donegal (Compass)3. The Taj Mahal Sextet : Corrina from the CD Swingin' Live At The Church In Tulsa (Lightning Rod)4. Marry Waterson & Aidan Cowley : Distant Music from the CD Cuckoo Storm (One Little Independent)5. Ma Polaine's Great Decline : Audrey from the CD Molecules (OMH)6. Jack Kelly's South Memphis Jug Band : Highway No.61 Blues from the CD The Jug Band Special (Frog)7. Charlie Poole & The North Carolina Ramblers : White House Blues from the LP Rough Guide To Murder Ballads (World Music Network)8. Magic Tuber Stringband : A Dance On A Sunday Night from the DL/LP Needlefall (Thrill Jockey)9. Pete Morton : Die For Love from the CD Fair Freedom (Further)10. Ben Nicholls feat. Kris Drever : The Greenland Whale Fisheries from the CD Duets (Hudson)11. Session A9 : Rachel's Graduation Day from the CD The Magic Roundabout (Raj)12. Louise Bichan : Pinnacle from the CD Lost Summer (Adhyâropa)13. Karolina Wegrzyn : Rozczesala Rozpuscila (Wedding Song) from the DL Single (Karolina Wegrzyn)14. Maliheh Moradi & Ehsan Matoori : Since I Became Your Prey from the CD Our Sorrow (ARC)15. The Zawose Queens : Maisha from the CD Maisha (Real World)16. Olivia Chaney : Bogeyman from the CD Circus Of Desire (Olivia Chaney)17. Phoebe Rees : Take Back The Night from the CD Bring In The Light (Strictly Country)18. Zaiko Langa Langa : Femme Ne Pleure Pas from the CD Congo Funk! (Analog Africa)19. Ngwaka Son Systéme : Dondwa from the DL album Iboto Ngenge (Eck Echo)20. Craig Joiner : Lark And Grey from the CD A Kind Of Calm (Molano Music)21. Oisin Leech : Malin Gales from the CD Cold Sea (Outside/ Tremone)22. The Folklorkestra : My Cousin The Spy from the DL album A Strange Day In June (Smiling Fez)23. Schnieke : Schnieke Oro from the DL album Hediye (Asphalt Tango)24. Ann Savoy feat. Rhiannon Giddens : Stolen Car from the CD Another Heart (Smithsonian Folkways)25. Wanda & Stephanie Pietrzak : Play Musicians Play from the CD The Best Of Wanda & Stephanie Volume 2 (Bel-Aire)26. Fraser Fifield w. Chris Stout & Catriona McKay : Finding Nicole from the CD One Great Circle (Tanar)27. Erwan Menguy Quartet : Vaccum / Imago from the CD SPI (Klam)28. Kitchen Cynics & Grey Malkin : The Melancholy Ghost Of Powis House from the CD We Are All Ghosts (Fenny Compton)29. Living With Machines (feat. Alice Jones) : A New Song On The Strike At Stockport from the CD Living With Machines (Living With Machines)30. Banter : Morgan Rattler from the CD Eroes (Mrs Casey)You can find more details including past playlists and links to labels at www.podwireless.comPodwireless can also be heard streamed live on Mixcloud.

In Season One of Down the Road on the Blue Ridge Music Trails of NC, we introduced you to banjo stylist Charlie Poole. In Season 5, we're excited to bring you a reading of Louise Wright Price's children's book, Charlie & His Banjo: The Story of Charlie Pool. 

In Season One of Down the Road on the Blue Ridge Music Trails of NC, we introduced you to banjo stylist Charlie Poole. In Season 5, we're excited to bring you a reading of Louise Wright Price's children's book, Charlie & His Banjo: The Story of Charlie Pool. 

En un día tan señalado como el de Reyes nada mejor que esta nueva entrega de sus Melodías Pizarras caseras. Con regalitos tan refinados, entre otras sorpresas, como “If The River Was Whiskey" de Charlie Poole with The North Carolina Ramblers"; “Medley Of Hulas” de Kalama's Quartette y “Oh Sweet Daddy, Oh Pshaw” de los Hartman's Heartbreakers. A partir de las ocho de la mañana del sábado en la sintonía de Radio 3.Escuchar audio

Sit back and enjoy an episode featuring some choice records from the stacks. Early country, western swing, jazz, rockabilly, Mexican string band music, blues and old time music. We're going to hit it all in this episode. Please subscribe to the show if you haven't done so already and share with family and friends. If you could be so kind, leave a review over at Apple podcasts as well as over at Spotify. Spotify has enabled a five star review system similar to Apple podcasts. Positive rankings sure do help the show. Also, go take a visit to the show's new website https://www.olddingyjukebox.com/home and have a look around. I appreciate the support.Thanks for listening and I hope you enjoy this episode of the Old Dingy Jukebox: “Big Leg Women, Spiked Ovaltine and Shortnin' Free Bread”Donate to the podcast: https://paypal.me/christiangallo1?locale.x=en_USWebsite: https://www.olddingyjukebox.com/homeYouTube Channel: https://www.youtube.com/channel/UCHjCwOFEjcXC_Qh-oGbPQgAFacebook: https://www.facebook.com/olddingyjukeboxpodcastInstagram: @olddingyjukeboxpodcastE-mail: olddingyjukebox@gmail.comSister O.M. Terrell- “Going To That City” Columbia, 1953Bob WIlls and his Texas Playboys “This Is Southland” Columbia, 1945Carolina Chocolate Drops “Boodle Bum Bum” Nonesuch 2012 (buddy miller pr.)Charlie Poole and his North Carolina Ramblers “Leavin' Home” Columbia 1927R. Crumb and the Cheap Suit Serenaders “Dream Of Heaven”.....”Pedal Your Blues Away”... Blue Goose #3 1978Chicago Black Swans “Don't You tear My Clothes #2” Conqueror 1935Frank Fairfield “Cumberland Gap” Tompkins Square 2011El Ciego Melquiades “Viva Laredo” Bluebird 1936Joe Thompson “Georgia Buck” Rounder Records 1999Gene O'Quin “You Name It (She's Got It)” Capitol 1954Hackberry Ramblers “Rice City Stomp” Bluebird 1937Hoke Rice & His Hoky Poky Boys “I Don't Love Nobody” Brunswick 1930Harry “The Hipster” Gibson “Who Put The Benzadrine In Mrs. Murphy's Ovaltine” Musicraft 1946Cootie Williams & His Rug Cutters “Ol Man River (Smoke A Little Tea)” Vocalion 1938Jimmie Rodgers “Miss The Mississippi & You” Bluebird 1932Johnny Temple “Big Leg Woman” Decca 1938King Oliver & His Orchestra “St. James Infirmary” Victor 1930Support the show

"Sounds of '91: Jerry Garcia Band Live and Marijuana News Unveiled"Larry Mishkin  focuses on Jerry Garcia music and breaking stories related to marijuana. He introduces a Jerry Garcia Band performance from November 15, 1991, at Madison Square Garden and delves into the details of the songs performed, particularly highlighting "How Sweet It Is To Be Loved By You" and a cover of Bob Dylan's "Simple Twist of Fate." Amidst the music commentary, Larry also addresses significant marijuana-related news, emphasizing recent studies suggesting a potential connection between marijuana use and heart issues. He, however, points out limitations in the studies and emphasizes the need for a more comprehensive examination of the subject..Produced by PodConx  Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast   Jerry Garcia BandNovember 15, 1991MSGNY, NYJerry Garcia Band 1991-11-15 FOB Schoeps Brotman Metchick Anon Noel t-flac1648 : Joe Noel : Free Download, Borrow, and Streaming : Internet Archive  INTRO:               How Sweet It Is To Be Loved By You                           Track No. 2                           0:00 – 1:30 How Sweet It Is (To Be Loved by You)" is a song recorded by American soul singer Marvin Gaye from his fifth studio album of the same name (1965). It was written in 1964 by the Motown songwriting team of Holland–Dozier–Holland, and produced by Brian Holland and Lamont Dozier. The song title was inspired by one of the actor and comedian Jackie Gleason's signature phrases, "How Sweet It Is!"  Released on Nov. 4, 1964 with Forever on the B-side. Cash Box described it as "a medium-paced, rollicking chorus-backed ode about a fella who's on top of the world since he met up with Miss Right."[4]AllMusic critic Jason Ankeny described the song as a "radiant pop confection," noting that it was unusual for Gaye in being a "straightforward love song" that doesn't reflect Gaye's usual demons.[5] Ankeny commented on the soulfulness of the song, and particularly noted the piano riff. James Taylor released his version of "How Sweet It Is (To Be Loved by You)" as the lead single from his album Gorilla (1975).[11]Taylor's 1975 single has been the most successful remake of the song to date, hitting number one on the Easy Listening chart and number five on the US Billboard Hot 100 chart. Long a staple of the JGB's set lists, First played on September 18, 1975 a Sophie's in Palo AltoLast played on April 23, 1995 at the Warfield Theater in S.F.Total played 373 times, by far the JGB's most played tune (Midnight Moonlight is 2d at 344) Usually a show opener.   There are three Dead shows on Nov. 13 and six JGB shows.  Of those six, none are available on Archivd.org.  So I am dong a JGB show two days later on Nov. 15, 1991 from MSG.  The standard JGB lineup for that time: Jerry Garcia; guitar, vocals- John Kahn; bass- Melvin Seals; keyboards- David Kemper; drums- Jaclyn LaBranch; backing vocals- Gloria Jones; backing vocals Great musicians, great vocals, its 1991, but Jerry is rocking. A fun night with Blues Traveler as the opening act. This show was released as Garcia Live Vol. 16 SHOW #1:                        Simple Twist of Fate                                         Track No. 5                                         3:00 – 4:40               In 1975, Bob Dylan released his album Blood on the Tracks, which included the song “Simple Twist of Fate.” The song is a haunting ballad about a failed relationship, and many fans have speculated about who Dylan wrote it about. While Dylan has never confirmed the identity of the song's subject, many believe that he wrote it about his former girlfriend, Joan Baez. Bob Dylan's message is one of hope and change. He speaks of a world that is better than the one we currently live in and urges people to work together to make it a reality. He also advocates for peace and love, and has said that these are the only things that can truly change the world. Always a big fan of Dylan, Garcia played this song 217 times, the first on July 4, 1976 at the Great American Music Hall in S.F. and the last on April 23, 1995 at the Warfield in S.F.  If you are wondering why that April 23, 1995 dates keeps popping up, that was the last JGB show. SHOW #2:                        Lay Down Sally                                         Track No. 6                                         1:40 – 3:15 "Lay Down Sally" is a song performed by Eric Clapton, and written by Clapton, Marcy Levy, and George Terry. It appeared on his November 1977 album Slowhand, and reached No. 3 on the BillboardHot 100 chart.  It was released as a single with Cocaine on the B-side, quite the heavy hitting release.  It was the song of the summer of 1978 and always one of Slow Hand's favorite songs. "Lay Down Sally" is a country blues song performed in the style of J. J. Cale. Clapton explained, "It's as close as I can get, being English, but the band being a Tulsa band, they play like that naturally. You couldn't get them to do an English rock sound, no way. Their idea of a driving beat isn't being loud or anything. It's subtle."Billboard magazine described Clapton's vocal as "low key but earthy" and also praised Marcy Levy's backing vocals.[5]Cash Box praised Clapton's "guitar finesse."JGB covered the tune 54 timesFirst: November 20, 1990 Warfield, SFLast: March 4, 1995 Warfield, SF Gets a great crowd reaction and Jerry loves jamming on Clapton tunes. Link to picture of Garcia and Clapton from back in the day:  Jerry Garcia & Eric Clapton Pose | Grateful Dead Clapton interviewed on the Dead in 1968:Have you heard the Grateful Dead record?A:  “Yeah, it's great.” Peter Townshend said he saw the Dead at the Pop Festival, and called them “one of the original ropeys.” A:   “Ropey! That means a drag. I don't think the quality of their music is as high as a lot of other good recording bands. People are more concerned with live music, maybe, than with recording. I'm not sure of that. I'm guessing. If the Grateful Dead are one of the best, they're not doing a very good job on record.”What do you think of the guitar playing? Jerry Garcia's synthesis of blues, jazz and country and western, with a little jug band thrown in?A:   “It's very good, and very tight, but it's not really my bag.” SHOW #3:       Deal                        Track No. 9                        2:46 – 4:15 Finally, a Garcia tune!  And one of his best.One of the Grateful Dead's live staples, and many gambling songs is the Robert Hunter and Jerry Garcia collaboration, “Deal”. First performed on February 19th, 1971, the song was in regular rotation until the end, both for the Dead and the Jerry Garcia Band.“Deal” saw studio release as the opening track to Jerry Garcia's 1972 debut solo album, Garcia, which also contained several other classic Grateful Dead live songs including “Sugaree”, “Bird Song”, “Loser”, and “The Wheel”. It's also worth noting that the classic folk song, “Don't Let Your Deal Go Down”, first recorded in 1925 by Charlie Poole and the North Carolina Ramblers contains many similarities to the Grateful Dead song. Hunter was known to pull references from a wide variety of sources in his songwriting, and it is highly likely he was familiar with the tune. JGB played it 291 times in concert.  First on March 4, 1978 at the Keystone in Palo Alto, CALast time on April 23, 1995 at the Warfield Grateful Dead played it 422 timesFirst on Feb. 19, 1971 at the Capitol Theater in Port Chester, NYLast on June 18, 1995 at Giant's Stadium in East Rutherford, NJ.Longest absence from the rotation was 29 shows from Oct. 2, 1988 at Shoreline in lovely Mountain View, CA and then not again until April 11, 1989 at the Rosemont Horizon in Rosemont, IL You had to be trying really hard, or just be really unlucky to never catch this tune during those days.  I still say it is the best Garcia tune, great music, great tempo, Jerry loved to jam on this tune and his voice really made the song.  Almost always a first set closer.  SHOW #4:               Ain't No Bread In The Breadbox                                Track No. 14                                1:22 – 3:02 Written by Phillip Jackson (September 28, 1951[1] – October 30, 2009),[2] best known as Norton Buffalo, was an American singer-songwriter, countryand blues harmonica player, record producer, bandleader and recording artist who was a versatile proponent of the harmonica, including chromatic[3] and diatonic. In early 1976 Buffalo joined the "farewell" European tour of Commander Cody and His Lost Planet Airmen, and was recorded on the band's final live album We've Got a Live One Here!,[5] which included Buffalo's song "Eighteen Wheels." After the tour, Buffalo returned to California, briefly played with a number of local bands, and later in 1976 he joined the Steve Miller Band's Fly Like an Eagle Tour. He also played harmonica on the band's hit follow-up album Book of Dreams, released in May 1977. Buffalo appeared on the tracks "Winter Time" and "The Stake." By the late 1970s Buffalo had formed his own band, The Stampede, and recorded two Capitol Records albums: Lovin' in the Valley of the Moon and Desert Horizon. In 1977 his harmonica work appeared on Bonnie Raitt's Sweet Forgiveness and The Doobie Brothers' Livin' on the Fault Line albums. He was a member of the Mickey Hart band High Noon in the late 70s and early 80s with Merl Saunders, Mike Hinton, Jim McPhearson, Vicki Randle, and Bobby Vega, and played with Saunders on the Rainforest Band album It's in the Air in 1993. Ain't No Bread In The Breadbox was performed 65 times by the Jerry Garcia Band.First time on Nov. 6, 1991at the Cap Center in Landover, MD (just 9 days earlier but this was already the band's 7th performance of the tune.  Jerry really liked it. The song was played by Phil Lesh with Norton Buffalo, Boz Scaggs and others in 2004. The song was also played by Billy & The Kids in 2021.                        OUTRO:                  What A Wonderful World                                Track No. 19                                1:55 – 3:37 "What a Wonderful World" is a song written by Bob Thiele (as "George Douglas") and George David Weiss. It was first recorded by Louis Armstrong and released in 1967 as a single. In April 1968, it topped the pop chart in the United Kingdom,[2] but performed poorly in the United States because Larry Newton, the president of ABC Records, disliked the song and refused to promote it.After it was heard in the film Good Morning, Vietnam, it was reissued as a single in 1988, and rose to number 32 on the Billboard Hot 100.[3] Armstrong's recording was inducted to the Grammy Hall of Fame in 1999.In Graham Nash's book Off the Record: Songwriters on Songwriting, George Weiss says he wrote the song specifically for Louis Armstrong, as he was inspired by Armstrong's ability to bring together people of different races. JGB played the song 12 times in concertFirst was on Nov. 6. 1991 at the Cap Centre in Maryland (again, just 9 days before this show, this was the band's 4th performance of the tuneLast Oct. 31, 1992 at Oakland Alameda County Colisium.Just in the rotation for one year.But who can't love Jerry channeling his inner Louis Armstrong and harmonizing the Jackie and Gloria.  A great way to end a show and send everyone home with a smile and warm fuzzy feeling.A perfect night with Jerry.  Mishkin Law, LLC500 Skokie Blvd.Suite 325Northbrook, IL  60062Cell: (847) 812-1298Office Direct: (847) 504-1480lmishkin@mishkin.law

Charles Cleveland “Charlie” Poole embodied the wild and reckless spirit of the 1920s. Known as a rambler and a rounder, banjo player, singer, and bandleader, Poole was a popular recording star from 1925-1931, With his group the North Carolina Ramblers, Poole made notable and influential recordings of “Don't Let Your Deal Go Down Blues,” “White House Blues,” “If I Lose, I Don't Care,” “Sweet Sunny South,” and many other well-known songs and tunes. Though few today play in his banjo style, Poole's three-finger picking technique was influential amongst the next generation of banjo players, who developed the bluegrass style. 

We have great memories of attending folk festivals over the years. One of the fondest is the time we heard the original Red Clay Ramblers back in 1977. That was just a few years after that great old band formed, and it drove up to play a festival in Grayson County, Ky.We in the fledgling Flood had bought The Ramblers' new album, and we were simply blown away by its second track. How astounding it was to discover that one of the best new songs about West Virginia was recorded by a North Carolina band. What??! Only when we dug a little deeper did we find out why that song was so good. "Twisted Laurel" — the title track of The Ramblers' 1976 disc — was written by none other than Tommy Thompson, who was born and raised just a few miles away from us in St. Albans, WV. Today we still remember that summer night in Grayson, sitting on the ground in the front of the stage and hanging on every single note Tommy sang. Ever since then, "Twisted Laurel" has been deep in The Flood's own musical DNA.Celebrating TommyNative son Tommy Thompson is lovingly remembered in The Mountain State. In fact, he was posthumously inducted into the West Virginia Music Hall of Fame in October 2011. As the announcement at the time noted, “After a stint as a Coast Guard officer in New Orleans where he heard many of the great old-time jazz players and was introduced to Cajun music, Thompson entered the graduate program in philosophy at the University of North Carolina at Chapel Hill in 1963. He divided his time between five-string banjo and academia.”By 1966, Tommy was deep into old-time tunes with the Hollow Rock String Band. When that group dissolved five years later, Thompson continued performing locally and at folk festivals, including the prestigious gathering at Union Grove, NC, where in 1971 he took first prize in the World Champion Old-Time Banjo contest.That same year, back in Chapel Hill, Tommy joined fiddler Bill Hicks and multi-instrumentalist Jim Watson to form The Red Clay Ramblers, which he would anchor for the next 22 years. In those decades, the band did a lot more than play at little festivals like our Grayson, Ky., gathering. The group toured North America, Europe, the Middle East and Africa, doing four separate U.S. State Department tours. In 1974, The Ramblers began its long involvement with American musical theater, writing and performing in a number of off-Broadway plays. The group's music also was featured on Garrison Keillor's “A Prairie Home Companion,” in Sam Shepard's work, and on TV shows such as Northern Exposure and Ryan's Hope.Originally, The Ramblers stuck with the tunes they learned from 78s by pioneers like The Skillet Lickers and Charlie Poole. However, they quickly tired of this and developed a style that Thompson once called "new-timey music; a bridge that connects the past and present."Their approach was simple. "We like to make a big noise,” as Thompson put it. “We're entertainers, not preachers or poets. We get people hopping, laughing and feeling good."The year 1985 found the band in New York, performing incidental music for Sam Shepard's A Lie of the Mind. They later collaborated with the playwright on two of his films, Far North (1989) and Silent Tongue (1993).But by the time the latter was released, it was clear that Tommy was experiencing serious health problems. Diagnosed with the early stages of dementia, he was forced to retire from performing in 1994. Twenty years ago this year, at age 66, he passed away.Our Take on the TuneWell, this has been Bowen's Banjo Summer. At the beginning of June, on an impulse, Charlie got a five-string from Paul Callicoat at Route 60 Music and started studying the videos and audios of Dr. Josh Turknett of Brainjo Academy.He's still learning — probably always will be (an old song says, “I can be the doctor ‘til the doctor comes” and that also applies to banjo pickers) — but after three months he was ready this week to try this bit of banjocity with The Flood at its weekly rehearsal. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

 “Bright Star” — the musical in which we've been honored to be perform as the house band this summer — wraps up this weekend, and we'll be performing the last of our nightly pre-shows starting this evening. For our little pre-show sets, we've sought out old folk songs that complement the play's new original music. Here's the song we like to end our set with, a rollicking, silly number about a ramblin' rascal named Buster. We learned it from a 1920s recording by the great Charlie Poole, but the song actually dates back the late 19th Century.

Looking for songs to play in our nightly pre-show set as Alchemy Theater's wonderful Bright Star musical enters its final weekend tonight, we hit on one of the oldest tunes in The Flood's repertoire, a rollicking number that relates the deeds and misadventures of a rambling ne'er-do-well named Buster.It was nearly 50 years ago when we first heard “Didn't He Ramble?” Dave Peyton and Charlie Bowen learned it from the great local string band, The Kentucky Foothill Ramblers, whose leader, banjoist H. David Holbrook, seemed to know the entire Charlie Poole songbook. Bowen and Peyton started doing their own version of the song, teaching it to Roger Samples and Joe Dobbs and giving “Didn't He Ramble?” a decidedly jug band spin.After that, whenever the band played the song — which was just about every time they got together — they called it their Charlie Poole song, just assuming the song originated with that North Carolina superstar. The Real Story … SortaIt was only decades later, as The Flood began fraternizing with those remarkable traditional jazz fans of the Coon Sanders Nighthawks Fan Reunion Bash, that we learned the truth. When Poole recorded it in 1929, the song already was more than 25 years old. In fact, it turns out that “Didn't He Ramble?” has been around the block so many times, it doesn't know where it came from. Louis Armstrong used to do it. So did Jelly Roll Morton. Rowdy college boys sang it in the 1920s and ‘30s, making up their own verses. It was a New Orleans jazz standard, but even before that ragtime players had their own version of it.Go back far enough, you'll learn that the song was copyrighted in 1902 by brothers J. Rosamond and James Weldon Johnson and by Bob Cole, but they probably didn't write the song's most memorable lines. We know that in 1888 a Texas work song was published with that distinctive chorus (Didn't he ramble? Didn't he ramble? / Oh, he rambled till the butcher cut him down!).In their copyrighted version, Cole and the Johnsons adapted the chorus and then added a narrative, telling the story of Buster Beebe, whose adventures led him to a jail sentence and the loss of his money through gambling.It didn't take long for “Didn't He Ramble?” to became a New Orleans classic. It maybe even surpassed “When the Saints Go Marching In” and “Muskrat Ramble” in popularity, notes The Syncopated Times, “since it is traditionally played on the way back from the cemetery following a New Orleans funeral, in contrast to the slower, sadder spirituals that are played on the way to a burial.”The joyous tune, the newsletter notes, “suggests the deceased should have no regrets because he ‘rambled all around, in and out of town.'”A Goat ConnectionSome researchers have traced the song — or at least that distinctive chorus — back even further, to an English folk song called “The Derby Ram” about a mythic goat (whose wool reaches up to the sky, his teeth are like a regiment of men, and whose space between the horns is as wide as a man can reach). And you guessed it: The Derby ram rambled until a fatal meet-up with a butcher.The Syncopated Times quotes James Weldon Johnson as pointing out that early ragtime songs frequently were based on folk tunes that had been “sung for years all through the South.” Nowadays Bob Cole is less well-known than the Johnson brothers, but his partnership with them was a productive one, resulting in more than 200 songs in the early years of the 20th Century.Our Take on the TuneBright Star — the musical in which we've been honored to be performing as the house band this summer — wraps up this weekend, and we'll be doing the last of our nightly pre-shows starting this evening. For our little pre-show sets, we've sought out old songs like this one that complement the play's bright new original music.The last three performances of Bright Star are tonight, Saturday and Sunday nights at Alchemy Theater, 68 Holley Avenue in Huntington's beautiful hills. For details, visit the theater's website at www.alchemytheatretroupe.org.Sampling the Pre-ShowOut-of-town friends — sorry they couldn't make any of those sold-out performances in Huntington — asked what the band's nightly pre-shows were like. Well, because of video that Pamela and Danny's wife, Tami, shot on the last night of the show, we can give you a 10-minute taste of how we started many of our July 2023 nights. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Weekly Unofficial Leyton Orient Podcast by @stevienuss & @supero1881. This episode includes: *Our final show of the season is made for your summer holiday sunbathing as we look back over the 2022/23 season game by game picking out key highlights *End of season poll results *GK coach Simon Royce's views *Matt Hiscock from Orient commentary team views *John McIntyre from Carole Langley Florists and Charlie Poole from Town & Country Harlow thoughts on the season *Your views & reactions *Ladies Team update *Positives & Negatives Of The Week *Hero Of The Week *Fantasy Football Update *Plus lots more... Listen now to the most comprehensive round of Orient news and views anywhere in the world. Up the O's and thank you for listening to The Orient Outlook Podcast in 2022/23!

The ASHEVILLE SHELLAC BASH is by far the most eclectic gathering of pre-war Blues, Country and Jazz 78 rpm record collectors and musicians . This year's "Bash" - the first since a covid shut down of a few years, was one for the books. This show is dedication to Brody Hunt and Hunter Holmes, the event's organizers and the many collectors who traveled the world to attend. I will only play 78's acquired at that great event that now have a place in my collection.....Shellac by BLIND WILLIE, LOUIS' HOT 5, SISTER ROSETTA, WEST VIRGINIA OWLS, SAM COLLINS , CHARLIE POOLE and more will be featured! --- Support this podcast: https://podcasters.spotify.com/pod/show/american-grooves-hour/support

This is the story of a song's evolution from ragtime composition to folk song, then from blues to bluegrass.We begin in 1900. Danish-born American violinist/composer Jens Bodewalt Lampe, inspired by Scott Joplin's hot new “Maple Leaf Rag,” composed his own syncopated piece, which he called “Creole Belles,” published in Detroit by Whitney-Warner.A child prodigy (he became the first chair violinist for the Minneapolis Symphony when he was just 16), Lampe was exploring this exciting new type of music. What later came to be called “ragtime” was at the time variously described as “cakewalk,” “march” or “two-step” music.Lampe's “Creole Belles” was a hit, performed widely by pianists, ragtime bands, brass bands and military bands. In 1902, when John Phillip Sousa championed this piece by recording it, Lampe became one of the country's best-known ragtime composers, second only to his hero, Joplin.The Evolution Begins with The FiddlersLampe's work had one of the most amazing cultural cross-pollinations in music history.The catchy melody of the second section or strain of “Creole Belles” first was picked up by fiddlers, who also adopted alternative names for their newly borrowed tune, including “Back Up and Push,” “Rubber Dolly” and “Rubber Dolly Rag.”Then came the string bands. The tune was so popular with them, in fact, that most Appalachian bands that were recording in the 1920s and ‘30s released some version of it. Under the title “Back Up and Push,” the song was recorded twice in mid-1929, just days apart. It was waxed in Richmond, Indiana, by a little-known group called The Augusta Trio, then in Atlanta by a fiddle band with the unlikely name of “The Georgia Organ Grinders.”Five years later, the better-known Gid Tanner and The Skillet Lickers did the song in San Antonio for Bluebird.Meanwhile, the earliest version in which the tune was called “Rubber Dolly Rag” was recorded by Uncle Bud Landress for Victor, also in Atlanta, in November 1929. The song broke out of the hillbilly genre with a 1931 Columbia Records release by Perry Bechtel and His Boys. (Bechtel, a virtuoso guitarist and tenor banjoist, called it “Little Rubber Dolly.”)Footnote: In 1926 banjoist Charlie Poole and his North Carolina Ramblers used the same melody for “Goodbye Booze,” itself based on a 1901 novelty vaudeville number by Jean Constant Havez.The Blues and FolkMeanwhile, the melody was ready for yet another evolutionary turn.Beloved blues guitarist and singer Mississippi John Hurt, who in the early 1920s often collaborated with fiddler Willie Narmour, brought Lampe's original title back to the forefront by adding lyrics, calling it “My Creole Belle” and giving it a smoother new rhythm. Hurt sang:My Creole Belle, I love her wellMy darling baby, my Creole BelleWhen the stars shine, I'll call her mineMy darling baby, my Creole Belle.Known for playing square dance and ragtime music during the same period that he was recording early blues for Okey Records, Hurt's interest in different musical styles meant the melody was heard by a much wider audience. (Incidentally, Hurt also used essentially the same tune for his “Richland Woman.”) Subsequently, Woody Guthrie and other folkies were to record it as “My Creole Belle.”Swing (Western and Otherwise)Soon Western swing bands and Texas-style fiddlers popularized four or five versions of the tune with characteristic dance rhythms.And in 1939, Ella Fitzgerald and The King Sisters each released "Wubba Dolly" with novelty vocals. Bluegrass and BeyondWhen bluegrass and early rock developed, each genre gave the song still more new treatments. For Bluebird, for instance, Bill Monroe recorded an instrumental version in 1940.Fiddler Tommy Jackson brought out his take in 1951, followed by The Stanley Brothers and then by …. well, by everybody.Finally, there were rock renditions. Curiously, for example, 10 years after Bill Black died, the Bill Black Combo still was touring, and the group charted as late as 1975 with “Back Up and Push” on its World's Greatest Honky Tonk Band album.Our Take on the TuneDanny Cox learned his version of the song from a recording by his hero Chet Atkins on the 1965 More of That Guitar Country album. This Flood track was recorded at a recent gig at Sal's Speakeasy in Ashland, Ky.Here you'll hear Dan and harmonicat Sam St. Clair trading choruses on the tune as we call folks back to the bandstand to begin our second set. By the way, The Flood will be back at Sal's next week. We're playing Saturday, April 22, from 6 to 9, and, as a special treat, our dear friend, Floodster Emerita Michelle Hoge, will be back as the evening's guest artist. Come on out and party with us! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Two hundred and two years after a massive war re-shaped the world, two outcasts from an isolated society, along with their former combat training mentor, head out to secure a future for their people in the weird, wild wasteland beyond!Vault 122 is a Real Play Games Podcast production.  Fallout is © 2021 Bethesda Softworks LLC. FALLOUT and related logos are trademarks or registered trademarks of ZeniMax Media Inc. or its affiliates in the U.S and/or other countries. Any trademarked names are used in a fictional manner; no infringement is intended. This is a work of fiction. Any similarity with actual people and events, past or present, is purely coincidental and unintentional except for those people and events described in an historical context. The Modiphius Entertainment logo is a trademark of Modiphius Entertainment. All Rights Reserved to their respective owners. The 2d20 system and Modiphius Logos are copyright Modiphius Entertainment Ltd. 2015-2023.The  songs 'Don't Let Your Deal Go Down Blues' by Charlie Poole and ‘Six Cold Feet in the Ground' by Leroy Carr, exist within the public domain, and were found via www.openmusicarchive.orgIf you'd like to contact the show,  you can email us at realplaygamespodcast@gmail.com, or find us online at Twitter @realplaypod or on Tumblr at RealPlayGamesPodcast.  If you'd like to support the show, you can find us at www.patreon.com/realplaygamespod and get early access to episodes as well as exclusive content!Support the show

Flood fan Orville Picklesimer had a kind comment on a recent podcast. “Well done!” he wrote after listening to the Feb. 17 broadcast of our take on “I Am a Pilgrim,” adding, “ I was fortunate to see Doc (Watson) do this one, and The Flood's cover pays homage to Doc and adds its own personal flavor.”“It doesn't need more cowbell,” he said, “but I'd like to hear more resonator on future projects.”Well, you don't have to ask us twice! But FirstIf you're not up on your grand guitar history, you might not know that the resonator guitar — that is, an acoustic guitar that produces sound by conducting string vibrations through the bridge to one or more spun metal cones (“resonators”) — was invented about a century ago. It all started in the mid-1920s, in the days before electric instruments. The idea was to create a new kind of guitar that would be louder than its regular acoustic cousins, which were being overwhelmed by the horns and drums in the dance orchestras of the day.But developers like the legendary John Dopyera and his brothers Rudy and Emil did much more than that. The resonator that the Dopyera brothers and others created had such a distinctive tone that it found lifelong fans among blues and folk aficionados, and that love affair has continued long after the arrival of roaring electric guitars.Floodifying It Of course, “blues” and “folk” are a combination that has “Flood” written all over it. That's why about a month ago, Charlie brought a resonator into The Flood's mix in the form of a wood-framed “boxcar” style resonator from Gretsch. Slowly but surely this new guitar — which Charlie has christened “Chessie” (get it? Boxcar? Chessie? … Never mind…) — has started working its way into the band's repertoire, beginning with that “I Am a Pilgrim” rendition that Orville liked a few weeks ago.Now, answering his request for a bit more resonator action, we've incorporated Chessie into our latest take on the old Carter Family tune, “Solid Gone.” Orville, this one's for you, old friend!Our Take on the TuneAs we noted in earlier article in the newsletter, “Solid Gone” has a long, LONG history in The Flood's story. It was, in fact, the first song that Dave Peyton suggested to Charlie when the two of them first started picking together at that New Year's Eve party in 1973. Since then, the tune has come back in every iteration of The Flood, and it has never sounded better than in this latest version, with Danny Cox and Sam St. Clair double-dipping on the solos and Randy Hamilton singing all that rock-solid harmony. Click here for the the long, curious history on this song, as it weaves its way through the Carter Family and Charlie Poole, by way of Furry Lewis and Mississippi John Hurt, right up to folksinger Tom Rush. What a yarn! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Weekly Unofficial Leyton Orient Podcast by @stevienuss & @supero1881. This episode includes: *Paul has failed a fitness test due to illness, so Charlie Poole joins Steve for this one *We review our draw away to Grimsby *Plenty of your views & reactions *News from around the club from the past week *Ladies team update *Prediction League update *Positives and negatives of the week *Hero Of The Week *Plus lots more... Listen now to the most comprehensive round of Orient news and views anywhere in the world. Up the O's!

Weekly Unofficial Leyton Orient Podcast by @stevienuss & @supero1881. This episode includes: *IT'S THE 2021/2022 Season Finale *We have a chat all about the season that was at #LOFC *We have the views of The Orient Live commentators Dave Victor and Matt Hiscock *We have chats with Charlie Poole from social media sponsors Town & Country Estate Agents and with John McIntyre from Prediction League & Hero Of The Week sponsors Carole Langley Florists *Your views and reactions *The last week of O's news *Positives & Negatives Of The Season *Our End Of Season Twitter Poll Results *@Carole Langley Prediction League Update *Fantasy Football Round Up *Plus lots more... Listen now to the most comprehensive round of Orient news and views anywhere in the world. Wishing you all a great summer. Up the O's!

This week, we looked at Thief (Michael Mann, 1981), Saving Private Ryan (Steven Spielberg, 1998), and Caligula (Tinto Brass, Giancarlo Lui, Bob Guccione, 1979). This is the first time we've watched porn. Intro Music: "Hale Makame," 1930, Unknown author / Public domain Outro Music: "Fool Me Some More," 1930, Gus Arnheim / Public domain Off the Menu Outro Music: "White House Blues," Charlie Poole and the North Carolina Ramblers (1926) --- Support this podcast: https://anchor.fm/whatsyourdungeon/support

In this episode we play the audio from a recent panel discussion co-sponsored by UNC TraCS, Duke University and Wake Forest U CTSA Biostatistics, Epidemiology and Research Design (BERD) Cores. The panelists were Charles Poole (Associate Professor of Epidemiology, UNC) Lucy D'Agostino McGowan, and Charles Scales (Associate Professor of Surgery, Duke University) and it was facilitated by Marcella Boynton (Assistant Professor, General Internal Medicine, UNC/NC TraCS).

On his birthday, we celebrated the music of Charlie Poole, some of which he sang and some of which we picked others performing his songs. We also had other birthdays to celebrate and some great new music. Enjoy and stay safe!

From Mother Maybelle Carter and Charlie Poole to modern day country and bluegrass artists Tammy Rogers and Thomm Jutz, the circle has been made complete with their collaboration Surely Will Be Singing. Host Joe Kendrick talks with them in a wide ranging conversation that includes live music they performed on public radio WNCW.

The image of bluegrass is mountain music played and heard at high altitudes and towns like Deep Gap and remote mountain hollers across the Appalachians. But the earliest form of the music originated at lower elevations, in textile towns across the North Carolina Piedmont. As far back as the 1920s, old-time string bands like Charlie Poole's North Carolina Ramblers were playing an early form of the music in textile towns, like Gastonia, Spray, and Shelby - in Cleveland County west of Charlotte.In this second episode of Carolina Calling, we visit the small town of Shelby: a seemingly quiet place, like most small Southern towns one might pass by in their travels. Until you see the signs for the likes of the Don Gibson Theatre and the Earl Scruggs Center, you wouldn't guess that it was the town that raised two of the most influential musicians and songwriters in bluegrass and country music: Earl Scruggs, one of the most important musicians in the birth of bluegrass, whose banjo playing was so innovative that it still bears his name, “Scruggs style,” and Don Gibson, one of the greatest songwriters in the pop & country pantheon, who wrote “I Can't Stop Loving You,” “Sweet Dreams,” and other songs you know by heart. For both Don Gibson and Earl Scruggs, Shelby is where it all began.Subscribe to Carolina Calling to follow along as we journey across the Old North State, visiting towns like Greensboro, Durham, Wilmington, Asheville, and more.Brought to you by The Bluegrass Situation and Come Hear NCMusic featured in this episode:Charlie Poole & The North Carolina Ramblers - "Take a Drink On Me"Flatt & Scruggs - "Ground Speed"Don Gibson - "I Can't Stop Loving You"Andrew Marlin - "Erie Fiddler" (Carolina Calling Theme)Hedy West - "Cotton Mill Girl"Blind Boy Fuller - "Rag Mama, Rag"Don Gibson - "Sea Of Heartbreak"Patsy Cline - "Sweet Dreams "Ray Charles - "I Can't Stop Loving You"Ronnie Milsap - "(I'd Be) A Legend In My Time"Elvis Presley - "Crying In The Chapel"Hank Snow - "Oh Lonesome Me"Don Gibson - "Sweet Dreams"Don Gibson - "Oh Lonesome Me"Chet Atkins - "Oh Lonesome Me"Johnny Cash - "Oh, Lonesome Me"The Everly Brothers - "Oh Lonesome Me"Neil Young - "Oh Lonesome Me"Flatt & Scruggs - "Foggy Mountain Breakdown"Bill Preston - "Holy, Holy, Holy"Flat & Scruggs - "We'll Meet Again Sweetheart"Snuffy Jenkins - "Careless Love"Bill Monroe - "Uncle Pen"Bill Monroe - "It's Mighty Dark to Travel"The Earl Scruggs Revue - "I Shall Be Released"The Band - "I Shall Be Released"Nitty Gritty Dirt Band - "Will The Circle Be Unbroken"The Country Gentlemen - "Fox on the Run"Sonny Terry - "Whoopin' The Blues"Sonny Terry & Brownie McGee - "Born With The Blues (Live)"Nina Simone - "I Wish I Knew How It Would Feel To Be Free"Cover image courtesy of the Don Gibson TheatreAdvertising Inquiries: https://redcircle.com/brands

Weekly Unofficial Leyton Orient Podcast by @stevienuss & @supero1881. This episode includes: *Tis the season to be jolly with Christmas messages from Dave Victor, Matt Hiscock, Dean Cox, John Mackie, Kevin Lisbie, Matt Lockwood, Coley Parry, Nick Semaca, Matt Porter, Marshall Taylor, Kent Teague, Nigel Travis, Charlie Poole, John McIntyre & Adam Francis *We chat to O's CEO Danny Macklin about all things Orient *Tranmere Rovers match review *Your views and reactions *All the latest O's news *Positives & Negatives Of The Week *The @CaroleLangley Hero Of The Week *@Carole Langley Prediction League Update *Fantasy Football Round Up *Supporters Club Update *Plus lots more in our final episode of 2021... Listen now to the most comprehensive round of Orient news and views anywhere in the world. Up the O's!

Frank Dorritie, Charlie Poole, and Tom Lizotte take us behind the scenes for the 27th Lancers 1986 show “A Sondheim Suite.”

Welcome to the 25th edition of the County Sales Radio Hour with our host Kinney Rorrer. On this show, we will be featuring new releases and classic recordings of the finest bluegrass and old time music. Recent releases from Jesse McReynolds, Michael Cleveland & Tim O'Brien, Special Consensus, Audie Blaylock, Carolina Blue, David Davis & the Warrior River Boys, and Thomm Jutz. Plus more great music from Tony Rice, Dave Evans, Molly O'Day, Charlie Poole, Blind Alfred Reed, Flatt & Scruggs, and more! Recordings featured on this program are available for purchase through the County Sales website and the County Sales store located in downtown Floyd, VA. You can also hear the County Sales Radio Hour at Radio Bristol every Monday at 12:00 pm and again on Saturdays at 3:00 pm.

Emmy Award winning creative duo Jack and Kitty dig deep into their archives to present a random collection of audio adventures just for you! Vintage musicology insights, strange experiences from the road, poetry, comedy and more. You never know what you'll hear next, because after all...the only constant is chaos! Visit us: https://www.jackandkitty.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Songs include: Baltimore Fire, I Don't Want To Set the World On Fire, Fireworks, Swamp Fire, Ritual Fire Dance, Setting the Woods On Fire and I'm Playing With Fire. Performers include: Charlie Poole, Jo Stafford, Leopold Stokowski, Larry Adler, The Ink Spots, Jimmy Dorsey and Donald Thorne.  

In this episode we welcome the great blues & country writer Tony Russell, who talks about his new Rural Rhythm: The Story of Old-Time Country Music in 78 Records — and the joys of the original Americana sound from the '20s to the '40s. Tony also talks us through his writing career from the late '60s to the present, with a particular nod to a 1972 Cream piece about B.B. King.The focus on the "Old-Time" country of Fiddlin' John Carson & Uncle Dave Macon carries through to discussion of those compelling revivalists Gillian Welch & David Rawlings, big faves of the RBP crew — and then to clips we hear from a 1983 audio interview with Phil Everly of peerless country-pop harmonists the Everly Brothers. Phil talks about the strained relationship with brother Don and the prospect of the Everlys reunion that happened in the fall of that year.For those less smitten by Appalachia and "high lonesome" close-harmony singing, there are heartfelt farewells to roots reggae icon Bunny Wailer & trad-jazzer turned "Father of British R&B" Chris Barber, both of whom were lost to the music world last week. There's effusive appreciation of the Wailers co-founder's classic 1976 solo debut Blackheart Man, while RBP's co-founder Martin Colyer pitches in with reminiscences of his uncle Ken's bandmate Barber.Mark talks us through his highlights from recent additions to the RBP Library, including the great Derek Taylor holding forth on the Stones' drug bust in 1967 and the recently-departed Chick Corea discussing his Return To Forever group with Zoo World's John Swenson in 1974. Barney namechecks a Kandia Crazy Horse hymn to the L.A. Canyons from 2009 and Jasper rounds things off with remarks on Danger Mouse's Rome project, from 2011, and London MC Sway's 2006 album This is My Demo.Many thanks to special guest Tony Russell, whose new book Rural Rhythm is published by OUP and available now.Pieces discussed: Charlie Poole, Uncle Dave Macon, B.B. King, Gillian Welch, Gillian Welch, Phil Everly, Bunny Wailer, The Wailers, Chris Barber, Chris Barber, Ben Webster, Peter Green, Curtis Mayfield, Roky Erickson, Rolling Stones, Chick Corea, The Time, L.L. Cool J, L.A. Canyons, Dave Edmunds, Valerie June, Sway and Danger Mouse.

In this episode we welcome the great blues & country writer Tony Russell, who talks about his new Rural Rhythm: The Story of Old-Time Country Music in 78 Records — and the joys of the original Americana sound from the '20s to the '40s. Tony also talks us through his writing career from the late '60s to the present, with a particular nod to a 1972 Cream piece about B.B. King.The focus on the "Old-Time" country of Fiddlin' John Carson & Uncle Dave Macon carries through to discussion of those compelling revivalists Gillian Welch & David Rawlings, big faves of the RBP crew — and then to clips we hear from a 1983 audio interview with Phil Everly of peerless country-pop harmonists the Everly Brothers. Phil talks about the strained relationship with brother Don and the prospect of the Everlys reunion that happened in the fall of that year.For those less smitten by Appalachia and "high lonesome" close-harmony singing, there are heartfelt farewells to roots reggae icon Bunny Wailer & trad-jazzer turned "Father of British R&B" Chris Barber, both of whom were lost to the music world last week. There's effusive appreciation of the Wailers co-founder's classic 1976 solo debut Blackheart Man, while RBP's co-founder Martin Colyer pitches in with reminiscences of his uncle Ken's bandmate Barber.Mark talks us through his highlights from recent additions to the RBP Library, including the great Derek Taylor holding forth on the Stones' drug bust in 1967 and the recently-departed Chick Corea discussing his Return To Forever group with Zoo World's John Swenson in 1974. Barney namechecks a Kandia Crazy Horse hymn to the L.A. Canyons from 2009 and Jasper rounds things off with remarks on Danger Mouse's Rome project, from 2011, and London MC Sway's 2006 album This is My Demo.Many thanks to special guest Tony Russell, whose new book Rural Rhythm is published by OUP and available now. Pieces discussed: Charlie Poole, Uncle Dave Macon, B.B. King, Gillian Welch, Gillian Welch, Phil Everly, Bunny Wailer, The Wailers, Chris Barber, Chris Barber, Ben Webster, Peter Green, Curtis Mayfield, Roky Erickson, Rolling Stones, Chick Corea, The Time, L.L. Cool J, L.A. Canyons, Dave Edmunds, Valerie June, Sway and Danger Mouse.

In this episode we welcome the great blues & country writer Tony Russell, who talks about his new Rural Rhythm: The Story of Old-Time Country Music in 78 Records — and the joys of the original Americana sound from the '20s to the '40s. Tony also talks us through his writing career from the late '60s to the present, with a particular nod to a 1972 Cream piece about B.B. King. The focus on the "Old-Time" country of Fiddlin' John Carson & Uncle Dave Macon carries through to discussion of those compelling revivalists Gillian Welch & David Rawlings, big faves of the RBP crew — and then to clips we hear from a 1983 audio interview with Phil Everly of peerless country-pop harmonists the Everly Brothers. Phil talks about the strained relationship with brother Don and the prospect of the Everlys reunion that happened in the fall of that year. For those less smitten by Appalachia and "high lonesome" close-harmony singing, there are heartfelt farewells to roots reggae icon Bunny Wailer & trad-jazzer turned "Father of British R&B" Chris Barber, both of whom were lost to the music world last week. There's effusive appreciation of the Wailers co-founder's classic 1976 solo debut Blackheart Man, while RBP's co-founder Martin Colyer pitches in with reminiscences of his uncle Ken's bandmate Barber. Mark talks us through his highlights from recent additions to the RBP Library, including the great Derek Taylor holding forth on the Stones' drug bust in 1967 and the recently-departed Chick Corea discussing his Return To Forever group with Zoo World's John Swenson in 1974. Barney namechecks a Kandia Crazy Horse hymn to the L.A. Canyons from 2009 and Jasper rounds things off with remarks on Danger Mouse's Rome project, from 2011, and London MC Sway's 2006 album This is My Demo. Many thanks to special guest Tony Russell, whose new book Rural Rhythm is published by OUP and available now. Pieces discussed: Charlie Poole, Uncle Dave Macon, B.B. King, Gillian Welch, Gillian Welch, Phil Everly, Bunny Wailer, The Wailers, Chris Barber, Chris Barber, Ben Webster, Peter Green, Curtis Mayfield, Roky Erickson, Rolling Stones, Chick Corea, The Time, L.L. Cool J, L.A. Canyons, Dave Edmunds, Valerie June, Sway and Danger Mouse.

In this episode we welcome the great blues & country writer Tony Russell, who talks about his new Rural Rhythm: The Story of Old-Time Country Music in 78 Records — and the joys of the original Americana sound from the '20s to the '40s. Tony also talks us through his writing career from the late '60s to the present, with a particular nod to a 1972 Cream piece about B.B. King. The focus on the "Old-Time" country of Fiddlin' John Carson & Uncle Dave Macon carries through to discussion of those compelling revivalists Gillian Welch & David Rawlings, big faves of the RBP crew — and then to clips we hear from a 1983 audio interview with Phil Everly of peerless country-pop harmonists the Everly Brothers. Phil talks about the strained relationship with brother Don and the prospect of the Everlys reunion that happened in the fall of that year. For those less smitten by Appalachia and "high lonesome" close-harmony singing, there are heartfelt farewells to roots reggae icon Bunny Wailer & trad-jazzer turned "Father of British R&B" Chris Barber, both of whom were lost to the music world last week. There's effusive appreciation of the Wailers co-founder's classic 1976 solo debut Blackheart Man, while RBP's co-founder Martin Colyer pitches in with reminiscences of his uncle Ken's bandmate Barber. Mark talks us through his highlights from recent additions to the RBP Library, including the great Derek Taylor holding forth on the Stones' drug bust in 1967 and the recently-departed Chick Corea discussing his Return To Forever group with Zoo World's John Swenson in 1974. Barney namechecks a Kandia Crazy Horse hymn to the L.A. Canyons from 2009 and Jasper rounds things off with remarks on Danger Mouse's Rome project, from 2011, and London MC Sway's 2006 album This is My Demo. Many thanks to special guest Tony Russell, whose new book Rural Rhythm is published by OUP and available now. Pieces discussed: Charlie Poole, Uncle Dave Macon, B.B. King, Gillian Welch, Gillian Welch, Phil Everly, Bunny Wailer, The Wailers, Chris Barber, Chris Barber, Ben Webster, Peter Green, Curtis Mayfield, Roky Erickson, Rolling Stones, Chick Corea, The Time, L.L. Cool J, L.A. Canyons, Dave Edmunds, Valerie June, Sway and Danger Mouse.

Episode 159: Tennessee snuggles up against North Carolina at the apex of the Appalachian Mountains, together making a mid-South band from the Atlantic to the Mississippi River. It also defines possibly the most musically consequential pair of states in the nation. In a new history, veteran Raleigh journalist David Menconi describes NC music from Charlie Poole to the Avett Brothers and beyond. After a talk with him, we dive in with one of the most important and admired talents of our time from the state, songwriter M.C. Taylor who plays as Hiss Golden Messenger. His album Terms of Surrender is up for an Americana album Grammy Award. 

This week, host Jason Jefferies is joined by David Menconi, author of Step It Up and Go: The Story of North Carolina Popular Music from Blind Boy Fuller and Doc Watson to Nina Simone and Superchunk, which is published by our friends at University of North Carolina Press.  Topics of discussion include Charlie Poole's inexcusable absence from the Country Music Hall of Fame, Durham, North Carolina's indifference to its own blues history, how Earl Scruggs was like Beethoven and Bach, Mitch Easter's responsibility for bringing David to North Carolina, The Squirrel Nut Zippers and Ben Folds Five as Chapel Hill's claim to fame in the era of grunge, 9th Wonder's production on Kendrick Lamar's DAMN, American Idol, and much more.  Signed copies of Step It Up and Go can be purchased here with FREE SHIPPING.

In deze aflevering van The Originals staat één man centraal: old timey banjospeler Charlie Poole uit North Carolina die van grote invloed was op een waaier van artiesten: Van Bob Dylan tot The Flying Burrito Brothers. Ook Loudon Wainwright en de McGarrigle Sisters zijn brengen zijn werk. Maar we beginnen met de oerversie van Duelling Banjo's, bekend uit de film Deliverance.

Welcome to the thirteenth edition of the County Sales Radio Hour with our host Kinney Rorrer. On this show, we will be featuring classic old time recordings from the legends of old time mountain music. This episode is dedicated to the legends of old time music, including Ernest East, John Ashby, The Camp Creek Boys, Fred Cockerham, Kyle Creed, Eck Robertson, The Carter Family, Dock Boggs, Charlie Poole and many more. It also features some of the modern heroes of old time music such as Foghorn Stringband. Most of the recordings featured on this program are available for purchase through the County Sales website and the County Sales store located in downtown Floyd, VA. You can also hear the County Sales Radio Hour at Radio Bristol every Monday at 12:00 noon and again on Saturdays at 3:00 pm.

We continue to mark the release of Dylan's new album ROUGH & ROWDY WAYS by featuring one of its songs, "Key West," playing songs that both help to place it in context and that also are akin to it in theme and sound. This week on "Who Did It Better?" we go from the flatlands of "Key West" to the lowlands and feature two versions of "Sad-eyed Lady of the Lowlands": the Bob Dylan classic from BLONDE ON BLONDE & a stirring version from Joan Baez from ANY DAY NOW (1968), both recorded in Nashville and both featuring the same drummer, Kenneth Buttrey, and the same pianist, Hargus ”Pig” Robbins. Go to our Twitter page @RainTrains and vote for who did it better!

Round 1: Maker’s Sour – Maker’s Mark Cask Strength Bourbon (109.6), simple syrup, lemon juice, cherry, lemon peel Round 1B: Bulleit Sour – Bulleit Bourbon Barrel Strength (125.4), less simple syrup, more lemon juice Round 2: The Scofflaw – Knob Creek Cask Strength Rye (127), dry vermouth, grenadine, lemon juice, orange bitters, lemon peel Round 3: Bourbon 76 – Old Ezra 7 Year Bourbon (117), Champagne, honey, lemon juice Tangents: The history of the traditional Whiskey Sour • The ubiquitous and terrible Whiskey Sours everyone made in the 1970s • Ed’s Aunt Scottie: The Last of the Classy Dames • Dry vermouth is terrible by itself • Scott’s Aunt Oceana: Vodka Martini Aficionado • The history of the Scofflaw (the word and the drink) • Old Ezra’s distillery also produces Blood Oath • Murder hornets do not make honey • Bee is for belligerence • Scott stole his ex’s Champagne flutes (shhh) • New name for the Bourbon 76: The French Foreplay! • The history of the French 75 (the drink and the war cannon) • The terrible conditions of World War I • Spoiler Alert: We just had the first and last Bourbon 75s in our lives Interlude Music Credits: “One Dime Blues” by Blind Lemon Jefferson (1927, public domain) • “Ragtime Annie” by Charlie Poole and the North Carolina Ramblers Group (1926, public domain) • “Deep Sea Blues” by Clara Smith (1923, public domain) • “Titanic Blues” by Virginia Liston (1924, public domain)

This episode is about the crazy drinkin banjo pickin Charlie Poole

“Beale Street Blues” has been in our musical blood stream for a very long time. In fact, by the time we finally got this wonderful jazz number onto a Flood CD — it’s on our 2003 “I’d Rather Be Flooded” album — we’d been doing the song in shows for quite some time. That was in part because we were hooked on the version that one of our string band heroes, the great Charlie Poole, worked up. Poole called his 1928 version “Ramblin’ Blues.” But even then the tune was an old-timer. Composer W.C. Handy had published it 11 years later — in 1917 — and immediately all the hot new jazz bands started playing it. And, boy, has the song had a long life, recorded in the past 70 years by everybody from Duke Ellington and Tommy Dorsey to Ella Fitzgerald and Nat King Cole. In 1974, writer James Baldwin used the song’s key line — “If Beale Street could talk” — as the title for one of his classic novels, which a couple of years ago director Barry Jenkins brought to the screen in an Academy Award-winning movie. Here then, from a recent rehearsal, is our revisiting of the song, with with great solos by Doug Chaffin, Paul Martin, Sam St. Clair and Vanessa Coffman. It’s “Beale Street Blues.”

Producer/Host: Natalie Springuel Maine coastal and ocean issues: Portland’s Working Waterfront at a Crossroads What is the history of Portland’s working waterfront and what role does it play in the state’s fishing industry? What changes are fishermen and wharf owners experiencing on the waterfront? How has Portland’s mixed use zoning changed over the last several decades and how has this impacted water dependent industries? What is the status of development on the waterfront in Portland today? What would fishermen and wharf owners like the Portland waterfront to be in the future? Guests: John Bisnette, fisherman Jim Buxton, fisherman Bill Coppersmith, fisherman Keith Lane, fisherman Willis Spear, fisherman Greg Turner, fisherman Charlie Poole, owner of Union Wharf The post Coastal Conversations 2/22/19 first appeared on WERU 89.9 FM Blue Hill, Maine Local News and Public Affairs Archives.

Producer/Host: Natalie Springuel Maine coastal and ocean issues: Portland’s Working Waterfront at a Crossroads What is the history of Portland’s working waterfront and what role does it play in the state’s fishing industry? What changes are fishermen and wharf owners experiencing on the waterfront? How has Portland’s mixed use zoning changed over the last several decades and how has this impacted water dependent industries? What is the status of development on the waterfront in Portland today? What would fishermen and wharf owners like the Portland waterfront to be in the future? Guests: John Bisnette, fisherman Jim Buxton, fisherman Bill Coppersmith, fisherman Keith Lane, fisherman Willis Spear, fisherman Greg Turner, fisherman Charlie Poole, owner of Union Wharf

You're Missing Out took a break from bickering about movies in Brooklyn to cover New York Comic Con 2018! In Part 4, we wrap up our Comic Con coverage with a look at activations: Comic Con exclusive experiences that immerse the attendee in a flight of fancy. We get our eternal judgement from Good Omens, experience some Harry Potter magic with Audible's Pensieve, and become super-powered with Glass. Plus, we pose our final question for our Prize Bag Giveaway. All this on You're Missing Out at New York Comic Con Part 4: Powers Activate! Credits: Correspondents: Mike Natale (@NKOAS) Kyle Lampar (@Theatrikality) Shannyn Cowart (@pizzahutgrl) Music Credits: "You're Missing Out" by Seawolph "Le voyage dans la Lune" by Jacques Offenbach Various Marches by John Philip Sousa "White House Blues" by Charlie Poole "Goodbye My Coney Island Baby" by Joe King and Eddie "Dirty Wallpaper" by Blue Dot Sessions "Hello Central, This Is Heaven" by Frank & James McCravy "Danse Macabre" by Camille Saint-Saëns "Unbreakable Theme" from Unbreakable Find You're Missing Out at: http://youremissingout.simplecast.fm facebook.com/youremissingout Twitter: @YMOPodcast

Songs include: Cotton-Eyed Joe, Wabash Cannonball, Banjo Pickin Girl, Why Don't You Love Me, Time Changes Everything and If the River Was Whisky. Musicians include: Fiddlin John Carson, the Carter Family, Roy Acuff, Bob Wills, the Coon Creek Girls, Hank Williams and Charlie Poole.

In honour of the release of David Davis and the Warrior River Boys' new tribute album to Charlie Poole, we feature two songs from it and two from Charlie Poole himself in our artist feature. Plus we have quite a few birthdays to celebrate, a memorial spin for the late Clarence Fountain of the Five Blind Boys of Alabama and some great new music too! Enjoy!

One of the pioneers of country music, Charlie Poole was born in 1892 in Franklinville, a small town in Randolph County, N.C. He played the banjo from an early age, and developed a distinctive three-finger style to compensate for a baseball injury. Poole was famous for his rough and rowdy ways, and you can hear the voice of experience when he sings songs of drinking and rambling. With his band the North Carolina Ramblers he made dozens of records between 1925 and 1930, mostly for Columbia Records.

One of the pioneers of country music, Charlie Poole was born in 1892 in Franklinville, a small town in Randolph County, N.C. He played the banjo from an early age, and developed a distinctive three-finger style to compensate for a baseball injury. Poole was famous for his rough and rowdy ways, and you can hear the voice of experience when he sings songs of drinking and rambling. With his band the North Carolina Ramblers he made dozens of records between 1925 and 1930, mostly for Columbia Records.

Your host for this edition is Herbert HunckeIt is entitled Up and DownThe ContentFirst Sequence:The Dallas String Band - Dallas RagPolk Miller & His Old South Quartette - Oysters and WineThe Smyth County Ramblers - My Name is Ticklish ReubenThe Johnson Brothers, w. The Tennessee Wildcats - Two Brothers Are WeSmith's Garage Fiddle Band - Cuban Two Step RagSecond Sequence:Jules Allen - The Cowboy's DreamAl Hopkins & His Hillbilly Buckle Busters - Blue BellGene Autry - Stay Away from My Chicken HouseTheron Hale & Daughters - Beautiful ValleyTex Ritter - Take Me Back to My Boots and SaddleThird Sequence:Paul Warmack & His Gully Jumpers - The Little Red Caboose Behind the TrainThe Carolina Twins - When You Go a-Courtin'Charlie Poole w. The North Carolina Ramblers - Sunset MarchGirls of the Golden West - When the Bees Are In the HiveStuart Hamblen - The Big Rock Candy MountainFourth Sequence:Alfred G. Karnes - Where We'll Never Grow OldThe North Carolina Cooper Boys - Daniel in the Den of LionsErnest Phipps & His Holiness Singers - A Little Talk with JesusThe Kentucky Ramblers - Glory Glory Glory to the LambThe Giddens Sisters - There is a Fountain Filled With BloodSummation:The Skillet Lickers - The Kickapoo Medicine Show

We celebrate Country Music Month with songs from the 1920s through the 1940s. Music includes: She'll Be Coming Around the Mountain, Blue Yodel #4, I Don't Care If I Lose, Wildwood Flower, Pistol Packing Mama, South of the Border and Chuckwagon Swing. Performers include: The Skillet Lickers, Jimmie Rodgers, Ernest Tubb, Bob Wills, The Carter Family, The Swift Jewel Cowboys, The Sons of the Pioneers and Charlie Poole.

  The Great Smoky Mountains of Western NC are ancient but alive. The region gave us Charlie Poole, Doc Watson and now a cadre of diverse and important bands and artists working the many strains of regional roots in the venues around Asheville. Town Mountain is doing that for bluegrass music with a sound that's old school and songs that tell a new generation's story. Lead singer Robert Greer is my guest.  The scene around Asheville boasts dozens of bands and artists, songwriting retreats, the basics of a music business - and most importantly an identity. It's a scene that as well as anywhere in the nation enriches tradition, cherishing the ancient tones while letting new expression flourish. It's scenic, sonic and significant. And at the heart of that scene is the bluegrass music of Town Mountain. The 43 year old singer and guitar player grew up in South Georgia and then Brevard NC where he got to know some of today's top regional bluegrassers under some very unexpected circumstances. We'll get into that. And we'll get into the recent album Southern Crescent as well.

Artist feature is Charlie Poole in honour of his birthday!

Charlie Poole (1892-1931), groundbreaking banjoist/songwriter, is known as the "Robert Johnson of country music." With his banjo-fiddle-guitar trio, The North Carolina Ramblers, Poole wrote and recorded country music's first mega-hit single ("Don't Let Your Deal Go Down") and many other classic songs that gave birth to the music of both Bill Monroe and Hank Williams. In this one-hour music intensive documentary, host Laura Cantrell traces the origins of modern country music through the songs of Charlie Poole.Charlie Poole - You Ain't Talkin' to Me.mp3

Songs include: Frankie and Johnny, Down on the Banks of the Ohio, White House Blues, Louis Collins, Pretty Polly, Tom Dooley and Stack O Lee Blues. Performers include: Jimmie Rodgers,  The Coon Creek Girls, Mississippi John Hurt, Charlie Poole,  Woody Guthrie, Grayson & Whitter and Leadbelly.

Bands that influenced the development of bluegrass music.  Artists include: Bill Monroe, The Skillet Lickers, Charlie Poole, The Delmore Brothers, Uncle Dave Macon and Ernest Phipps and His Holiness Singers.  Songs include: Molly and Tenbrooks, Orange Blossom Special, Buddy Won't You Roll Down the Line, Bright Tomorrow and Hand Me Down My Walking Cane.

Travel back to the early 1900s to meet Charlie Poole, a linthead from Eden, and hear his revolutionary approach to banjo.

Travel back to the early 1900s to meet Charlie Poole, a linthead from Eden, and hear his revolutionary approach to banjo. Visit the Haiku Bamboo Nursery, and learn more about this beautiful and often misunderstood plant. Discover writer Katey Schultz's quirky obsession with North Carolina's hidden footbridges, as she leads a roundabout tour through the North Carolina mountains.

Artist feature: Charlie Poole

Musicians from the tar heel state.  Performers include: Charlie Poole, Kathryn Grayson, Earl Scruggs, Kay Kyser, Blind Boy Fuller & Lena Wilson. Songs include: On a Slow Boat to China, Foggy Mountain Breakdown, Time After Time, Goodbye Sweet Liza Jane,  In Walked Bud & On the Sentimatal Side.

Songs include: One Sweet Letter From You, Love Letters In The Sand, I'm Gonna Sit Right Down And Write My Self a Letter and Red Kiss On a Blue Letter. Performers incude:Dorris Day, Jimmie Rodgers, Sophie Tucker, Charlie Poole, Lee Morse and the Boswell Sisters.

Scott gets a rare chance to sit down in person with developers from three .NET Unit Testing Frameworks. Charlie Poole from NUnit, Jeff Brown from MbUnit, Brad Wilson from xUnit.NET as well as Roy Osherove, the author of the upcoming "Art of Unit Testing."