Podcasts about Chattanooga Choo Choo

Chattanooga is one of our favorite cities that we have visited. This is a charming city, surrounded by the Appalachian Mountains and bordered by the Tennessee River. Chattanooga's history includes several Civil War battles, the Trail of Tears, the Chattanooga Choo Choo, the Tennessee Whiskey Trail and there are several haunted locations. Join us for the history and hauntings of Chattanooga, Tennessee. This Month in History features George Frideric Handel's Messiah. Our location was suggested by listener Matt Liese. Check out the website: http://historygoesbump.com Show notes can be found here: https://historygoesbump.blogspot.com/2026/09/hgb-ep-655-haunted-chattanooga.html Become an Executive Producer: http://patreon.com/historygoesbump Music used in this episode: Main Theme: Creepy Carnival Theme  Created and produced by History Goes Bump Licensed under Creative Commons: By Attribution 4.0 creativecommons.org/licenses/by/4.0/ (This Month in History) "In Your Arms" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Silent Movie 007 by Sascha Ende at ende.app Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/

Adam Kinsey has always had a knack for seeing what a place could become (often long before anyone else does). In this episode, Adam shares how driving past construction sites as a kid shaped the way he sees a city, how Track 29 helped put Chattanooga on the map for touring musicians who used to skip right past us, and what it takes to breathe new life into a property as storied as the Chattanooga Choo Choo. Adam Kinsey is the President of The Kinsey Company and Partner of Kinsey Probasco Hays. You can connect with him on LinkedIn (https://www.linkedin.com/in/adam-kinsey-4741a967/). If you like this episode, we think you'll also like: Andy Wood's Morning Cup (E124) Lucy Rymer's Morning Cup (E155) Barry Courter's Morning Cup (E165) Subscribe to the weekly newsletter and be the first to know who upcoming guests are: http://eepurl.com/iGJzII  My Morning Cup is hosted by Mike Costa of Costa Media Advisors and produced by SpeakEasy Productions.

#175 Planning a Trip to Chattanooga, TN? Tune In! Looking for a Chattanooga getaway to add to your bucket list travel plans? No matter if you're a seasoned traveler or amateur traveler, you'll find something great. In this episode of The Everyday Bucket List Podcast, local guest Liz Pessaran - a therapist and life coach - shares popular attractions, places to stay, dining recommendations, fun things to do, and helpful tips for visiting Chattanooga, Tennessee. Whether you are planning a family vacation, couples getaway, weekend escape, or one of your future bucket list trips, this episode will help you discover what makes Chattanooga worth visiting. In This Episode We discuss: Chattanooga attractions, including the Chattanooga Choo Choo and Ruby Falls The best areas to stay, from the North Shore to downtown Chattanooga Restaurant recommendations, local favorites, and a variety of cuisines Ideas for adults, couples, and families Hotels and accommodations to consider when planning your visit Popular landmarks and unique local experiences Hear a local's perspective on what Chattanooga is known for and why it deserves a spot among your bucket list destinations. Whether you need something fun to do today, ideas for this weekend, or inspiration for a future trip, tune in and start planning. The Everyday Bucket List Podcast is a weekly travel podcast, travel lifestyle podcast, and travel planning podcast featuring approachable ideas for memorable trips and everyday adventures. Read the blog post (show notes): https://karencordaway.com/chattanooga-tennessee-things-to-do/    Binge-listen to my Seasonal Bucket List playlist https://bit.ly/3SPiiVN  Binge-listen to my Episodes about Hobbies playlist  https://spoti.fi/46Q9p4o   Listen to these episodes next: Best Card for Travel with Lee Huffman (Ep 103) Things to Do in Kentucky for Adults, Kids (or Both) (Ep 27) Fun Things to Do in Atlanta, GA Spotify Playlist Fun, Bucket List Things to Do in Charleston. SC (Ep 77) Simple, Fun & Affordable Bucket List Ideas to Do in Everyday Life (Ep 89)   RESOURCES: Grab a copy of  The Everyday Bucket List Book https://amzn.to/3vwxz2K If you'd like to support my work, check out https://buymeacoffee.com/edbl Hire me for VO:  https://www.fiverr.com/s/0D9rdZL?utm_source=CopyLink_Mobile See my UGC Samples on Pinterest: https://www.pinterest.com/EverydayBucketList/user-generated-content-examples/ Hire me as a UGC Video Creator: https://www.fiverr.com/s/99mKB2d?utm_source=CopyLink_Mobile   Connect with the guest: Website: LizPessaran.com now Liz Fast Instagram: Liz Pessaran (Liz Fast Coaching) Facebook: Liz Pessaran (Liz Fast Life Coaching)   Connect with me: Website: KarenCordaway.com Twitter (X): @KarenCordaway https://x.com/karencordaway Pinterest: @Everyday_Bucket_List https://www.pinterest.com/EverydayBucketList/ Tiktok: @Everyday_Bucket_List https://www.tiktok.com/@everyday_bucket_list   If you're enjoying this podcast, please rate and review it here. Let me know what you like about it so I know exactly what content to keep creating for you. Disclaimer: Some of the outbound links financially benefit the podcast. Using our links is a small way to support the show at zero cost to you. I only endorse products, programs, and services I use and would recommend to close friends and family. Thank you for your support.

This week's episode was requested by our listeners, and we couldn't be happier! It's a celebration of the life, music and extraordinary legacy of Johnny Young, and the television phenomenon that became Young Talent Time.Welcome to The 80's Montage! (music, mateys and cool shit from the 80s) Your Hosts Jay Jovi & Sammy HardOn, singers from Australian 80's tribute band Rewind 80's. We take you back to living in the 80's: music, artists, TV commercials and video clips. Please rate, review and enjoy! Music licensed by APRA/AMCOS Theme music ©2019 M. Skerman. Produced & edited by Matty Ray. See Facebook for links to videos & songs mentioned in this episode! Email: Samantha@planet80s.com.auFacebook: the80smontagepodcast twitter: @the80smontage instagram: the80smontageRewind 80's Band - www.rewind80sband.comTickets - www.rewind80smixtape.com.auBookings - samantha@planet80s.com.auPlease Subscribe, Like, Share, Rate (Itunes please)You can join to for only $2 a month (Get On It)$15 for extra episodes in the month https://www.patreon.com/the80smontagepodcast*The views & opinions expressed in this Podcast are solely those of the individuals expressing them & do not represent the views or opinions of any third party.Where guests appear on the Podcast, their views & opinions are solely their own & do not represent the views or opinions of The 80's Montage hosts or team.The 80's Montage does not accept responsibility for the views of its guests & their appearance on this Podcast does not imply an endorsement of them or any entity they represent.*Links: Young Talent Time Episode 1 Up Up And Awayhttps://youtu.be/vTo8tCdnd5g?si=u9TYgsH0Bt8kBm_mRussell Morris - The Real Thing (1969)https://youtu.be/WDel7m72iJU?si=R7p16-omtf-8d4RxTina Arena - Farewell to YTThttps://youtu.be/1gLM6XRFFGc?si=4bPE8U2lPhiPh_tB0011 Telecom Australia Ad from the 1990'shttps://youtu.be/1vztJcdrsmg?si=p_UHwvKjW1Vu60R3Kylie Minogue & Dannii Minogue - Sisters Are Doing It For Themselves (Young Talent Time 1986)https://youtu.be/dgUglimF5w4?si=5Fd8U8De5Y5bnaAfKylie & Dannii Minogue - Sisters Are Doing It For Themselves (Live Young Talent Time 1986):https://www.youtube.com/watch?v=dEYEj7uMVl4&list=RDdEYEj7uMVl4&start_radio=1Dannii Minogue - Dress you up (YTT) #madonnahttps://youtu.be/WevtEHt87n4?si=-Tffm2ew6InYV205ytt contestant 2 lorena novoahttps://youtu.be/4SUthoNYePc?si=-DhfuX02y2yqvQ28Cherish | Young Talent Timehttps://youtu.be/oukNtXwOzp0?si=SnUHmUbbOyvHU_OqSusan Davey and Carolyn Green. Chattanooga Choo Choo on Young Talent Time. 1981https://youtu.be/BaRx38yC6DQ?si=pvkpVxecIWr73cqnDannii Minogue The time of my life Young Talent Timehttps://youtu.be/Q_J4jbgCvxw?si=peKjnAhPpNnwzAKkJohnny Young: Young Talent Time "All My Loving"https://youtu.be/vHqhRrsDlpE?si=XenUUJHgQ6SJMJ5sGood Night Australia -

It's Episode 488 and no one is appreciating Chattanooga Choo Choo like we are. Today Em covers the haunted Hotel Holly in Michigan and its ghost dog named Leona! Then Christine covers serial killer Gerard Schaefer which has us communally sighing in frustration. And will we ever be able to make MacGALver happen? …and that's why we drink!**One quick note! Next week there will be no main episode on Sunday 7/5 but we will return again on 7/12/2026!**Want to listen ad-free? Join our Certified Yapper tier for $10/month on Patreon! Ad-free episodes starting at E469 at: http://patreon.com/ATWWDPodcast !Catch our bonus Yappy Hour intermissions on Apple Podcasts: https://apple.co/3L28lDw or subscribe on Patreon!___________________Get $10 off your first month's subscription and free shipping at https://nutrafol.com with promo code DRINK.Get 50% off your first box plus free shipping for a year at https://tryfirstleaf.com/DRINK .Go to https://zenni.com/podcast and use code PODCAST15 for 15% off your first order.Try ZipRecruiter for free at https://ziprecruiter.com/drink to find enthusiastic, qualified candidates fast.If you think you or someone you know might be struggling with OCD, go to https://learn.nocd.com/ATTWD and book a free call with their team to learn more. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Send a textIntro: Cruising Down the River by Russ Morgan and His Orchestra (1949)10. I'll Never Smile Again by Tommy Dorsey and His Orchestra with Frank Sinatra (1940)9. Nature Boy by Nat "King" Cole (1948)8. Don't Fence Me In by Bing Crosby & The Andrews Sisters (1944)7. Chattanooga Choo Choo by Glenn Miller and His Orchestra (1941)6. Buttons and Bows by Dinah Shore (1948)

Back on this day in 1942 Glen Miller were awarded the first Gold Record. The song that won, "Chattanooga Choo Choo," was recorded a year before.

Eine Fahrt mit einer Dampflok von New York nach Tennessee als Big-Band-Swing.

For the holidays, we asked diplomats to share their tales. We have Ken Quinn whose young kids' Christmas in Austria was saved by a team including the Chattanooga Choo Choo, a muslim Santa and a temporary North Korean "daugther". We have Peter Pham who, on his way home for the holidays from his post in the Democratic Republic of the Congo was diverted to Paris due to the US government shutdown, which turn of events led him to ensure the safety return of a recent Congolese Nobel Prize winner. And we have Kent Logsdon who shares a moving tale of singing in an ambassadors' version of a barbershop quartet the song War Is Over, when indeed, war had only just ended in that country. Have a lovely holiday season, everyone!

更多活动和周边信息，请订阅公众号：SMFM20168月依旧是二次元的天下，国漫也在这个月爆炸式上映。我们和「青年度日指南」的拉帝一起盘一盘这个月又有什么二次元可以看？01:36 7月动画电影repo01:45 去日本看《鬼灭之刃 无限城篇第一章 猗窝座再来》19:00 《罗小黑战记2》真的挺好看的29:10 已经上映29:17 《浪浪山的小妖怪》36:32 即将上映36:42 《疯狂动物城》重映40:42 《玛丽和麦克斯》44:46 《妖怪森林》45:42 《非人哉 限时玩家》48:37 《坏蛋联盟2》50:52 《蜗牛回忆录》52:43 顺便聊聊这个月特别出彩的番剧单集52:53 《小城日常》第五集54:46 《新吊带袜天使》第四集【走近超人】付费节目正在持续更新中，欢迎大家扫码购买「什么电苔」出了全新付费专辑《有什么好笑的？》，大家可以直接选择点击如下链接购买完整专辑，收听所有后续更新，https://www.xiaoyuzhoufm.com/podcast-topic/673ac195f373fe5d4d1f7d2f「什么电苔」定制“阴阳怪气”票夹正在上线，欢迎大家支持！让我们一起为文明观影呐喊！本期背景音乐：Aimer – 太陽が昇らない世界 – A World Where the Sun Never Rises細野晴臣 – Chattanooga Choo Choo細野晴臣 – Hurricane Dorothy細野晴臣 – Hyoryuki細野晴臣 – Kinu Kaido細野晴臣 – Nettai-ya細野晴臣 – Pekin Duck細野晴臣 – Honey Moon細野晴臣,鈴木茂,山下達郎 – パッション･フラワー細野晴臣,鈴木茂,山下達郎 – コーラル･リーフ細野晴臣,鈴木茂,山下達郎 – キスカ鈴木弘 – シュリンプ・ダンス鈴木弘 – シュリンプ・ダンス鈴木弘 – ウォーク・トール想做嘉宾，联系我们：whatfmmovie@163.com孔老师微博@做着学生的孔老师王老师微博@浩浩很含蓄什么电台官方微博@什么电苔某老师B站：什么电苔孔老师 本期阵容：小宋、拉帝

Jack Nuckols was heading off for a couple weeks of vacation and his band mates wanted to give him a proper sendoff. Pamela Bowen videoed it, the last tune of this week's rehearsal, a saucy little number that rocked many a party back in Grandad's day.“Lulu's Back in Town” — first performed by The Mills Brothers in 1935, the same year it also was recorded by Fats Waller — was written by Harry Warren. You're right, that's not a household name (journalist William Zinsser once called Warren the entertainment world's “invisible man,” despite his million-dollar portfolio).But in a career spanning six decades, Warren wrote more than 800 songs, primarily for films, including Oscar-winners like “Lullaby of Broadway” in 1935, “You'll Never Know” in 1943 and “On the Atchison, Topeka and the Santa Fe” in 1946.Warren's better known pieces include novelty tunes like “Jeepers Creepers,” “You Must Have Been a Beautiful Baby” and “Chattanooga Choo Choo” (which was the first gold record in history). And ballads like “I Only Have Eyes for You” and “There Will Never Be Another You.”He also penned signature tunes like “That's Amore,” which Dean Martin claimed as his own, and — best of all! — “At Last,” which simply belonged to the great Etta James.To learn more about this little-known American master, see our earlier Flood Watch article by clicking here. 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

Songs include:  Songs include: Chattanooga Choo Choo  by Glenn Miller, Boogie Woogie Bugle Boy by the Andrews Sisters, God Bless The Child by Billie Holiday, Take the A Train by Duke Ellington and Stardust by Artie Shaw. 

In 1988 history was made by JCP. A Premium Live Event given away free on TBS showcasing some of the best and brightest for our entertainment. Titles defended. Grudges resolved. Legends are born. Henceforth known as the Clash of the Champions. Join us as the Backbone on this journey recapping these amazing show of shows. Keithie & Big Daddy Shawn continue on with Clash of the Champions IV: Season's Beatings live from the UTC Arena in Chattanooga, Tennessee (the Chattanooga Choo-Choo).  Eddie Gilbert & Ron Simmons vs The Fantastics (United States Tag Team Title Tournament Finals) "Dr. Death" Steve Williams vs The Italian Stallion (not that one, the other one) Paul Jones vs a One-Armed Ivan Koloff Dusty Rhodes vs Road Warrior Animal (the winner of the match gets control of the NWA World Six-Man Tag Team Championship) The Midnight Express with Jim Cornette vs NWA Worlds Heavyweight Champion Ric Flair & NWA United States Heavyweight Champion Barry Windham with J.J. Dillon And stay till the end to hear Jim Cornette's balls to the wall promo.

Join your favorite dysfunctional couple, the MacArthur's, as they take a haunted road trip through the spookiest back roads and hot spots of beautiful Tennessee. The "Volunteer" state has a Bell Witch. Ghosts on the Chattanooga Choo Choo. A haunted bathtub. Civil War soldiers who are still living the same day over and over again. And we end with a creepy mountain town full of ghostly apparitions who love to party. And a bunch of stuff in between. Definitely push play if you like your hauntings with a side of sweet tea and sarcasm.

Totem cofounder and CEO Carter Fowler shares how he transformed a simple idea—a device that helps find friends at festivals without cell service—into a viral sensation and thriving brand. By focusing on founder-market fit, designing for organic sharing, and developing unique brand language, Totem created something people don't just buy, but buy into. Carter reveals how intentional branding from day one, customer conversations, and consistent storytelling through their newsletter ultimately attracted investors and unexpected market segments beyond their initial festival audience. Carter is cofounder and CEO at Totem, one of the fastest-growing consumer tech startups of 2024. His expertise in go-to-market, brand strategy, and product design has taken Totem's debut product from concept to global phenomenon in less than 12 months. In 2024 alone, Totem generated over 20 viral posts (1M+ views) and 130M+ organic views on social media while earning press coverage from NPR, Inc Magazine, and UNILAD under his marketing leadership. After only 5 months of shipping product, Totem has a broad international reach with customers in 60+ countries around the world. Carter is a firm believer in building brands with a "words-first" mentality. He is also an accomplished writer who had a selection of his work archived by the US Library of Congress as an "important cultural artifact" in 2018. He loves the coffee at Frothy Monkey in the historic Chattanooga Choo Choo in the Southside neighborhood of Chattanooga, Tennessee: https://frothymonkey.com/locations/southside-chattanooga-tn/ Connect with Carter Fowler on LinkedIn: https://www.linkedin.com/in/carter-fowler-8835739b/ If you have any questions about brands and marketing, connect with the host of this channel, Itir Eraslan, on LinkedIn: https://www.linkedin.com/in/itireraslan/

Andrew, Kevin and special guest co-host Punam Patel discuss cruises, competing in problem solving tournaments as kids and answer some listener questions! Call or text with your questions at 323-389-RACE and watch the video of this episode at suboptimalpods.com.See omnystudio.com/listener for privacy information.

On this day in 1942, Glen Miller and his Orchestra were awarded the first ever gold record. They sold 1,000,000 copies of "Chattanooga Choo Choo."

What do the Louisville Slugger, Chattanooga Choo Choo, and Allman Brothers Band all have in common? They're part of the rich fabric of the Southern United States that we'll explore in this episode of Traveling with AAA. Today, host Angie Orth welcomes Caroline Eubanks, author of This Is My South: The Essential Travel Guide to the Southern States. She is a seasoned travel writer who has covered the South (and beyond) for publications such as Travel + Leisure, Condé Nast Traveler, National Geographic, Southern Living, Westways, and AAA Explorer. You'll hear about the best places to visit and what to eat in Louisville, Kentucky; Chattanooga, Tennessee; and Macon, Georgia. We'll explore Derby City's famed horse race track and its iconic tasting trail. You'll hear about the Scenic City's famous train depot and its most delicious dessert. You'll also discover where to find Civil War history and Southern rock ‘n' roll in the heart of Georgia.  What You'll Learn:(2:47) The Kentucky Derby experience (4:12) Basking in Bourbon in downtown Louisville (10:20) The quaint Tennessee city with something for everyone(15:27) A must-eat sweet treat in Chattanooga(15:59) Where music, nature, and culture meetConnect with Caroline Eubanks:https://carolineeubanks.com/InstagramXConnect with AAA:Book travel: https://aaa-text.co/travelingwithaaa LinkedIn: https://www.linkedin.com/company/aaa-auto-club-enterprisesInstagram: https://www.instagram.com/AAAAutoClubEnterprisesFacebook: https://www.facebook.com/AAAAutoClubEnterprises

On this episode of Tent Show Radio, enjoy an invigorating hour of jazz as the world-famous Glenn Miller Orchestra showcase the unforgettable musical legacy of one of the most iconic bandleaders of all time. Considered to be one of the greatest bands of all time, the world-famous Glenn Miller Orchestra continues to keep Miller's legendary jazzy sound alive onstage for old-time fans and new generations alike. Known for timeless classics like “In the Mood”, “Moonlight Serenade”, “Chattanooga Choo Choo”, and “Tuxedo Junction” the iconic bandleader's famous orchestra proves his unforgettable music is alive and well nearly 80 years after his passing. While the first Glenn Miller Orchestra was a total and absolute economic failure, Miller was dedicated to his dreams and relentlessly worked until he succeeded. He launched his second band in March of 1938, and The Glenn Miller Orchestra became the most sought-after big band in the world. A matchless string of hit records, the constant impact of radio broadcasts and the drawing power at theaters, hotels and dance pavilion, built and sustained the momentum of popularity. After joining the army in 1942, the band was temporarily disbanded while Miller organized and led the famous Glenn Miller Army Air Force Band which traveled through Europe to entertain servicemen. After disappearing on a flight mission in 1944, the army declared Miller dead in 1945. Following the release of the movie The Glenn Miller Story in 1954, there was growing and renewed interest in Miller's music legacy. Miller's estate authorized the formation of the present Glenn Miller Orchestra under the direction of drummer Ray McKinley, and since 1956, the band has been touring consistently, playing an average of 300 live shows around the world every year. Revered for its own unique and distinctive big band sound, The Glenn Miller Orchestra has always been very musical, disciplined, and visually entertaining. That sound is created by the clarinet holding the melodic line, doubled or coupled with the tenor sax playing the same notes; and the harmonies produced by three other saxophones, while growling trombones and wailing trumpets add their oo-ahs. Led by tenor saxophonist Erik Stabnau, the 18-member ensemble continue to play many of Miller's original arrangements both from the civilian band and the AAFB libraries. The band also plays more modern selections arranged and performed in the Miller style and sound. Just as it was in Glenn's day, the Glenn Miller Orchestra is still the most sought-after big band in the world.       EPISODE CREDITSMichael Perry - Host Phillip Anich - Announcer Keenan McIntyre - Engineer Gina Nagro - Marketing Support FOLLOW BIG TOP CHAUTAUQUA https://www.facebook.com/bigtopchautauqua/ https://www.instagram.com/bigtopchautauqua/ https://www.tiktok.com/@bigtopchautauqua https://twitter.com/BigBlueTent FOLLOW HOST MICHAEL PERRYhttps://sneezingcow.com/ https://www.facebook.com/sneezingcow https://www.instagram.com/sneezingcow/ https://twitter.com/sneezingcow/ 2024 TENT SHOW RADIO SPONSORSAshland Area Chamber of Commerce - https://www.visitashland.com/   Bayfield Chamber and Visitor Bureau - https://www.bayfield.org/   Bayfield County Tourism - https://www.bayfieldcounty.wi.gov/150/Tourism   The Bayfield Inn - https://bayfieldinn.com/   Cable Area Chamber of Commerce - https://www.cable4fun.com/   Kylmala Truss - https://www.kylmalatruss.com/  SPECIAL THANKSWisconsin Public Radio - https://www.wpr.org/  

On this week's show we have all the action and reaction from the first home game of the season with Birmingham City the visitors at Adams Park, plus Chairboys fan Miriam Payne joins us for Till Death Us Do Part.

Frank Murphy is joined by his friend Mitch Moore, who is a freelance writer.  Mitch likes to solve the Sunday and Monday crossword puzzles. Both he and Frank try to solve the Monday puzzle as fast as possible. Frank has broken the five-minute barrier but Mitch has yet to go “sub 5.”  Mitch and his wife went to Glacier National Park and Yellowstone National Park. They spent several days at Yellowstone. Frank and his wife would like to go back and spend more than a day at Yellowstone.  Frank and Jere visited Tom Kent, one of Frank's radio mentors, in Cleveland on the day after the eclipse in April. Tom died of cancer in June. On Tom's birthday in August, hundreds of his Facebook friends wished him a happy birthday, obviously unaware that he had died.  This episode is sponsored by BoneZones.com (don't forget the S). Buy books and other merchandise autographed by Body Farm founder Dr. Bill Bass at https://bonezones.com/ including Body Farm t-shirts. Contact BoneZones to hire Frank to give a presentation about Dr. Bass and the Body Farm.  Jere attempted to take two grandsons to McKay's used bookstore but it happened to be the same day as the store's anniversary. The store was overrun with fans trying to win prizes by driving to all five McKay's stores in North Carolina and Tennessee.  Mitch points out that the store used to be known as McKay Books and that in the South, people tend to add an S to store names like Kroger, Walmart, and others.  Mitch recently finished the first draft of a book. He set the book in rural Arkansas during the same time period that he was growing up there.  Frank had a poster printed using the image of an East Tennessee PBS monthly program guide that included him among some actual celebrities.  Every time Frank buys a package of 700 coffee filters, he wonders if he will be able to use them all.  The Tennessee Valley Fair asked Frank and Becca James to emcee the Fair Food Throwdown on Saturday, September 7 and the Sweet Goodness Doughnut Challenge on Thursday, September 12, 2024.  Frank used bonus points to get a free Frappuccino but rather than drink it, he saved it in the freezer. A couple of weeks later he bought a Frappuccino to earn 75 bonus points. He put it in the freezer to save it for another day and then realized the first one was still there.  Frank's grandson Artie chastised him for not saying “excuse me” after a gastrointestinal outburst. Frank started saying “Pardon me boys, is that the Chattanooga Choo Choo” every time it happened again. Frank explained the reference, which made Artie want to watch The Glenn Miller Story starring James Stewart.  Frank will be checking in the audience members at Marble City Opera's “Tenors, Tuxedos, and Stalactites” concert on Saturday, August 17, 2024. The gate opens at 4:00 p.m. and the one-hour concert starts at 5:00 p.m. Get tickets at https://www.marblecityopera.com/tickets before they sell out.  Mitch is the drummer in an ‘80s cover band called Vinyl Tap. The band will perform at Ale' Rae's, 937 N. Broadway, on Saturday, August 24, 2024 starting at 7:00 p.m. The Facebook event listing is https://www.facebook.com/events/326532536987376/  Support the Frank & Friends Show by purchasing some of our high-quality merchandise at https://frank-friends-show.creator-spring.com  Sign up for a 30-day trial of Audible Premium Plus and get a free premium selection that's yours to keep. Go to http://AudibleTrial.com/FrankAndFriendsShow  Find us online https://www.FrankAndFriendsShow.com/  Please subscribe to our YouTube channel at https://YouTube.com/FrankAndFriendsShow  and hit the bell for notifications.  Find the audio of the show on major podcast apps including Spotify, Apple, iHeart, Podbean, and Audible.  Thanks!

  In this episode, the FAQ is: How can I take a walking tour when I arrive in a city? . Today's Destination is: Chattanooga, Tennessee Today's Misstep- Getting stopped by TSA security Travel Advice: Plan for the unexpected   FAQ:  How can I get the walking tour when I get to a city?   Response: A guided walking tour of a city is a treat for a solo traveler, especially for a woman who is interested in its history.   The more popular ones are through platforms like Viator, TripAdvisor, Airbnb, and FreeWalkingtoursbylocals.com, but there are many ways to score a tour from someone who truly cares about the experience for you.  Be sure to read the reviews and book in advance during a busy season. Some are free, and suggest a tip at the end if you liked it. Your hotel could also gook you a tour. The Visitor Center or Tourism office can also give you guidance on this. You may also find a walking tour app for a self-guided tour, with maps and points of interest. You can GPS my city or check Detour. I found some walking tours on YouTube that were pretty fun to watch also.   https://freewalkingtoursbylocals.com/ Today's destination: Chattanooga, Tennessee My first visit here was in 1974, on a bus of young women heading to Florida. It was called Junior Trip. We were 80 women, two bus loads. I remember very little about Chattanooga from that visit. I returned to see it in 2024, which made a more significant impression. This time, I was visiting the future Dr. Travelbest, who lives there now. We are currently working on a Planner for travel guidance, so look for that in the future. It's a central travel hub, especially for the railroads. A bridge crosses the railroad tracks, which are dozens of tracks wide. It may be one of the largest railroad hubs that I have experienced. You can see the city and the Moccasin Bend from the infamous Lookout Mountain. Listen to the episode on Chickamauga to learn about President Abraham Lincoln's campaign to gain control of the South in the 1860s. It was a place of both Confederate and Union victories. https://www.visitchattanooga.com/things-to-do/ https://www.visitchattanooga.com/plan/transportation/   The Zoo was a highlight, with a giraffe named George gladly accepting lunch from my hands to his 18-inch tongue. It seems that George loves romaine lettuce. Who would have guessed that? That experience was a treat. Kids like it, too. An assortment of other animals makes for a few hours of seeing wildlife at the Chattanooga Zoo. Walk across the Pedestrian Bridge and the riverfront along the Tennessee River to get a flavor of the city. I walked the bridge at night, and it was a sparkling river with no watercraft because the weather was rainy and threatened winds. The Northshore District has trendy boutiques, galleries, and food choices; you can walk everywhere. You can also learn much about the Civil War from an organized guided walking tour of the area. I did get to see the historic train station, the Chattanooga Choo Choo. Parts of the terminal building were recently sold, so check the show notes for the latest. https://www.local3news.com/local-news/preserve-chattanooga-sells-part-of-chattanooga-choo-choo-complex/article_a8d7781e-dbe5-11ee-abba-0b98f22b8f70.html I also enjoyed Ruby Falls and will create a special episode about that destination soon. On my next visit, I plan to Explore the Tennessee Aquarium and dive into the fascinating world of marine life at one of the top-rated aquariums in the country. From river otters to penguins, the Tennessee Aquarium showcases various aquatic animals. I did a few hikes on this trip, but most of the days, it rained, so I will return and hike more. Chattanooga is a paradise for outdoor enthusiasts. You can go hiking on nearby trails like Stringers Ridge or Raccoon Mountain or try rock climbing at the Tennessee Wall, if you have that talent, or just go and watch the climbers. Next time I come, I may also Attend a Performance at the Tivoli Theatre: Catch a show at the beautifully restored Tivoli Theatre, which hosts concerts, Broadway shows, and ballets. My last item on the next time list is to Relax at Coolidge Park: Spend a leisurely afternoon at Coolidge Park, located along the riverfront. Picnic in the grass, ride the antique carousel, or simply enjoy the scenic views. Today's Misstep- Getting stopped by TSA security How did I know that carrying a squash in my bag would keep me from getting through security the first time? It took an extra five minutes to get my bag checked. And then I did it again. I brought a squash on a second trip, and TSA stopped me for a short while Next time, don't bring fresh squash on the trip in your carry on. Today's Travel Advice- Plan for the unexpected. There's no such thing as being fully prepared, so prepare for what could happen, and in your mind how you may deal with that. Connect with Dr. Travelbest 5 Steps to Solo Travel website Dr. Mary Travelbest X Dr. Mary Travelbest Facebook Page Dr. Mary Travelbest Facebook Group Dr. Mary Travelbest Instagram Dr. Mary Travelbest Podcast Dr. Travelbest on TikTok Dr.Travelbest onYouTube In the news  

GEORGIA RADIO - Grammy®, AMA, ACM, and CMA award-winning country music singer and Grand Ole Opry member Crystal Gayle has joined forces with The Glenn Miller Orchestra for a new rendition of the classic “Sentimental Journey,” which is the first single from the new album on Hindsight Records, The Glenn Miller Orchestra: 80th Anniversary Of The Army Air Force Band which contains fifteen hits newly recorded with strings. Initially recorded by Doris Day and Les Brown, “Sentimental Journey” became a massive hit during World War II and continues to stand the test of time. Premiered by People.com, “Sentimental Journey” features the timeless vocals of Crystal Gayle combined with the unforgettable arrangements of The Glenn Miller Orchestra. The Glenn Miller Orchestra: 80th Anniversary Of The Army Air Force Band is available for pre-order and will be released on April 5th."I am honored and excited to be invited to sing "Sentimental Journey" with The Glenn Miller Orchestra," smiles Crystal Gayle. "I am a longtime fan of Glenn Miller and the big band era.""We are excited and pleased to present alongside Hindsight Records our new recording celebrating the 80th Anniversary of Glenn Miller's Army Air Force Band," shares Charles De Stefano, CEO of Glenn Miller Productions, Inc. "We are equally thrilled to have the wonderful Crystal Gayle join the Glenn Miller Orchestra on our recording of the great classic “Sentimental Journey.” We hope Glenn Miller Orchestra fans and Crystal's fans around the world enjoy this new dynamic recording."Between 1939 and 1942, Glenn Miller led The Glenn Miller Orchestra, which became one of the most recognized names globally during the “Swing” era. Boasting an unmatched series of chart-topping records, The Glenn Miller Orchestra surpassed the sales of Benny Goodman, Artie Shaw, Duke Ellington, Count Basie, Jimmie Lunceford, Tommy Dorsey, and Harry James combined. Throughout three and a half years, Miller produced 16 chart-toppers and 72 top-ten hits, including a remarkable 31 in 1940 alone and earning the first-ever gold record for “Chattanooga Choo Choo.” Miller's music not only defined the era of World War II but has endured as a timeless soundtrack, with bands carrying his legacy performing to enthusiastic crowds over the 80 years since his passing. Today, under the direction of Erik Stabnau, the current Glenn Miller Orchestra maintains a rigorous schedule, standing as one of the few full-time big bands still thriving in the contemporary music scene."Crystal Gayle and The Glenn Miller Orchestra are a natural together on "Sentimental Journey" - a trip back in time to revisit the sounds of the 1940s and the perfect introduction to The Glenn Miller Orchestra: 80th Anniversary Of The Army Air Force Band." - Erik Stabnau - Music Director for The Glenn Miller OrchestraTo purchase/stream, visit CGayleGlennMillerOrch.lnk.to/SentimentalJourneySupport this podcast at — https://redcircle.com/georgia-radio/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Between 1939 and 1942, Glenn Miller led The Glenn Miller Orchestra, which became one of the most recognized names globally during the “Swing” era. Boasting an unmatched series of chart-topping records, The Glenn Miller Orchestra surpassed the sales of Benny Goodman, Artie Shaw, Duke Ellington, Count Basie, Jimmie Lunceford, Tommy Dorsey, and Harry James combined. Throughout three and a half years, Miller produced 16 chart-toppers and 72 top-ten hits, including a remarkable 31 in 1940 alone and earning the first-ever gold record for “Chattanooga Choo Choo.” Miller's music not only defined the era of World War II but has endured as a timeless soundtrack, with bands carrying his legacy performing to enthusiastic crowds over the 80 years since his passing. Today, under the musical direction of Erik Stabnau, the current Glenn Miller Orchestra maintains a rigorous schedule, standing as one of the few full-time big bands still thriving in the contemporary music scene. The Glenn Miller Orchestra is celebrating the 80th Anniversary Of The Army Air Force Band. #orchestra #bigband #bigbandmusic #swingband #swingbandmusic #swingmusic #glennmiller #glennmillerorchestra #royalalberthall 

Between 1939 and 1942, Glenn Miller led The Glenn Miller Orchestra, which became one of the most recognized names globally during the “Swing” era. Boasting an unmatched series of chart-topping records, The Glenn Miller Orchestra surpassed the sales of Benny Goodman, Artie Shaw, Duke Ellington, Count Basie, Jimmie Lunceford, Tommy Dorsey, and Harry James combined. Throughout three and a half years, Miller produced 16 chart-toppers and 72 top-ten hits, including a remarkable 31 in 1940 alone and earning the first-ever gold record for “Chattanooga Choo Choo.” Miller's music not only defined the era of World War II but has endured as a timeless soundtrack, with bands carrying his legacy performing to enthusiastic crowds over the 80 years since his passing. Today, under the musical direction of Erik Stabnau, the current Glenn Miller Orchestra maintains a rigorous schedule, standing as one of the few full-time big bands still thriving in the contemporary music scene. The Glenn Miller Orchestra is celebrating the 80th Anniversary Of The Army Air Force Band. #orchestra #bigband #bigbandmusic #swingband #swingbandmusic #swingmusic #glennmiller #glennmillerorchestra #royalalberthall 

On this episode of Tent Show Radio, enjoy an invigorating hour of jazz as the world-famous Glenn Miller Orchestra showcase the unforgettable musical legacy of one of the most iconic bandleaders of all time. Considered to be one of the greatest bands of all time, the world-famous Glenn Miller Orchestra continues to keep Miller's legendary jazzy sound alive onstage for old-time fans and new generations alike. Known for timeless classics like “In the Mood”, “Moonlight Serenade”, “Chattanooga Choo Choo”, and “Tuxedo Junction” the iconic bandleader's famous orchestra proves his unforgettable music is alive and well nearly 80 years after his passing. While the first Glenn Miller Orchestra was a total and absolute economic failure, Miller was dedicated to his dreams and relentlessly worked until he succeeded. He launched his second band in March of 1938, and The Glenn Miller Orchestra became the most sought-after big band in the world. A matchless string of hit records, the constant impact of radio broadcasts and the drawing power at theaters, hotels and dance pavilion, built and sustained the momentum of popularity. After joining the army in 1942, the band was temporarily disbanded while Miller organized and led the famous Glenn Miller Army Air Force Band which traveled through Europe to entertain servicemen. After disappearing on a flight mission in 1944, the army declared Miller dead in 1945. Following the release of the movie The Glenn Miller Story in 1954, there was growing and renewed interest in Miller's music legacy. Miller's estate authorized the formation of the present Glenn Miller Orchestra under the direction of drummer Ray McKinley, and since 1956, the band has been touring consistently, playing an average of 300 live shows around the world every year. Revered for its own unique and distinctive big band sound, The Glenn Miller Orchestra has always been very musical, disciplined, and visually entertaining. That sound is created by the clarinet holding the melodic line, doubled or coupled with the tenor sax playing the same notes; and the harmonies produced by three other saxophones, while growling trombones and wailing trumpets add their oo-ahs. Led by tenor saxophonist Erik Stabnau, the 18-member ensemble continue to play many of Miller's original arrangements both from the civilian band and the AAFB libraries. The band also plays more modern selections arranged and performed in the Miller style and sound. Just as it was in Glenn's day, the Glenn Miller Orchestra is still the most sought-after big band in the world.       EPISODE CREDITSMichael Perry - Host Phillip Anich - Announcer Keenan McIntyre - Engineer Gina Nagro - Marketing Support FOLLOW BIG TOP CHAUTAUQUA https://www.facebook.com/bigtopchautauqua/ https://www.instagram.com/bigtopchautauqua/ https://www.tiktok.com/@bigtopchautauqua https://twitter.com/BigBlueTent FOLLOW HOST MICHAEL PERRYhttps://sneezingcow.com/ https://www.facebook.com/sneezingcow https://www.instagram.com/sneezingcow/ https://twitter.com/sneezingcow/ 2024 TENT SHOW RADIO SPONSORSAshland Area Chamber of Commerce - https://www.visitashland.com/   Bayfield Chamber and Visitor Bureau - https://www.bayfield.org/   Bayfield County Tourism - https://www.bayfieldcounty.wi.gov/150/Tourism   The Bayfield Inn - https://bayfieldinn.com/   Cable Area Chamber of Commerce - https://www.cable4fun.com/   Kylmala Truss - https://www.kylmalatruss.com/  SPECIAL THANKSWisconsin Public Radio - https://www.wpr.org/  

Ian and Amy sift through this week's red tops to find you the best stories from up north. Top stories this week include a man who travels to Yorkshire all the way from Chattanooga USA to watch his new favourite football team, and a woman in Hull who is not impressed with a local mural. Featuring guest correspondent comedian Dan Tiernan.Dan is on tour with his Edinburgh Award nominated stand-up comedy show 'Going Under'. For Tickets and information head to showandtellpresents.com.Want Extra! Extra! content? Join our Patreon or Apple Subscription for weekly bonus content.Got a juicy story from t'North? Email it to northernnewspod@gmail.com.Follow Northern News on Twitter @NorthernNewsPod and Instagram @NorthernNewsPodcastAnd follow Dan on Twitter and Instagram @tiernancomedianRecorded and edited by Aniya Das for Plosive.Artwork by Welcome Studio.Photography by Jonathan Birch. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

SHOW NOTES It's like she's in the room with us! Enjoy the incomparable Christine Pedi…or, perhaps, the real Liza Minnelli answering “Vogue's” 73 questions. Tommy's never seen it, have you? Enjoy The Simpsons musical Springfield Springfield. Come along with Jay Armstrong Johnson as he takes us on a tour of the newly re-renovated Lyric Theatre for the 2014 production. Did he mention the pit? It's for the big orchestra. It's really big. And they have it. In this show. And they really want you to know about it. The Boettcher Concert Hall (home of the Colorado Symphony) is truly a magnificent space. Next time you're in Denver, see if you can grab some tickets! Or if you end up in Glasgow instead, come and enjoy one of Acquire's musical theatre sing-throughs! Maybe you'll spy a familiar (single!) podcaster in the company… We owe a good chunk of research for this episode to Dr. Katherine Baber and her article "Manhattan Women": Jazz, Blues, and Gender in On the Town and Wonderful Town. If you're doing work in this area, this is a publication worth a read. And then here's something for our boys on the front lines! Chattanooga CHOO CHOO! Or maybe this is why you're in the show notes: enjoy a baby-faced Lea DeLaria and an even babier-faced Jessee Tyler Ferguson on the Rosie O'Donnell show. Can't get enough of Lea DeLaria? Here she is at the Newport Jazz Festival with a swingin' take on The Ballad of Sweeney Todd. And, if you want to join Tommy on his whirlwind cab tour of places-that-don't-exist-anymore in NYC, here's our itinerary. Buckle up! Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the Instant Trivia podcast episode 1029, where we ask the best trivia on the Internet. Round 1. Category: Fair Fare 1: This carnival treat is threads of spun sugar, often pink. cotton candy. 2: This fried treat is named for the cone-shaped utensil through which the batter is poured. a funnel cake. 3: These cheese semi-solids are supposed to squeak when you bite into them. curds. 4: Dusted with sugar and cinnamon, these slender pastries have a Spanish name that may refer to their place of origin. churros. 5: Roll a caramel apple in marshmallows, nuts and chocolate and you have this variation, also an ice cream flavor. rocky road. Round 2. Category: Transportation In Song 1: In "The Christmas Song, "They know that Santa's on his way, he's loaded lots of toys and goodies on" this. his sleigh. 2: A hotel party inspired Steven Tyler to write, "Love In" one of these, "livin' it up when I'm goin' down". an elevator. 3: Day-o! This Harry Belafonte calypso favorite was featured in a raucous dinner scene in the film "Beetlejuice". the "Banana Boat" (song). 4: Macklemore and Ryan Lewis buy these vehicles that can be pedaled or driven with a gas engine and head "Downtown". mopeds. 5: On this, "You leave the Pennsylvania station 'bout a quarter to four, read a magazine and then you're in Baltimore". the "Chattanooga Choo Choo". Round 3. Category: Rock E. With E in quotes 1: Earth joined Wind and Fire and he joined Lake and Palmer. Keith Emerson. 2: In titles it preceded Eddie Money's "Nights" and Richard Marx's "Summer Nights". Endless. 3: This botanical tune grew up to No. 1 in 1988. "Every Rose Has Its Thorn" (by Poison). 4: Though this Art Alexakis band was formed in Portland, its first hit was about Santa Monica. Everclear. 5: The Eurythmics were on the bill in 2000 at the grand opening celebration of this Seattle rock museum. Experience Music Project. Round 4. Category: Great Expectations. With Great in quotation marks 1: In the newspaper, Marmaduke is a funny one. Great Dane. 2: Clingmans Dome is the highest peak in this Appalachian range. Great Smoky Mountains. 3: As it's the nickname of Greg Norman, you're gonna need a bigger -- golf cart. "Great White Shark". 4: A Montana city is named for these on the Missouri, which Meriwether Lewis called the grandest sight he'd ever beheld. Great Falls. 5: Now extinct, we know what these look like from ones mounted in museums and drawings like this by Audubon. great auk. Round 5. Category: Words Containing Silent Letters 1: A land mass surrounded on all sides by water. an island. 2: It follows "Ash" in the name of the first day of Lent. Wednesday. 3: From the Greek for "soul", it's someone who can foresee the future or read minds. a psychic. 4: February 2013 has 672 of these units. hours. 5: A Bowie one is long and dangerous. a knife. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

This week, we go back to the 1984 summer movie season, with one of the most forgotten movies of the decade, for good reason: Chattanooga Choo Choo, starring Barbara Eden, George Kennedy, Melissa Sue Anderson, Christopher McDonald, Joe Namath, and Joe Namath's 1969 Super Bowl III championship ring.

This week, we go back to the 1984 summer movie season, with one of the most forgotten movies of the decade, for good reason: Chattanooga Choo Choo, starring Barbara Eden, George Kennedy, Melissa Sue Anderson, Christopher McDonald, Joe Namath, and Joe Namath's 1969 Super Bowl III championship ring.

Expressions welcomes the Blue Velvet Big Band to the Director's Cut Podcast! This swing band has kept the Southern Tier dancing for over 25 years with an extensive setlist that will take you back in time! Setlist: 1) Blue Velvet Theme 2) Chattanooga Choo Choo 3) Woodchopper's Ball 4) Frenesi 5) What Kind Of Fool Am 6) Kansas City 7) Sway 8) Tuxedo Junction 9) I Got You (I Feel Good) 10) Over The Rainbow 11) Stray Cat Strut 12) In The Mood 13) Don't Get Around Much Anymore 14) Moon River 15) Tangerine 16) Liechtensteiner Polka 17) My Way 18) American Patrol 19) Arrivederci Roma 20) Bandstand Boogie Audio Engineer: Mike Micha | Please visit yourpublicradio.org for more information about this and all the other podcast and music streams available through WSKG.

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

Though best-known because of the Glenn Miller hit Chattanooga Choo-Choo, the city is nestled on the banks of the Tennessee River and surrounded by Lookout and Signal Mountains, among others. Summer outdoor activities range from mountain climbing and mountain biking to whitewater rafting, kayaking, and exploring rivberside parks and athletic facilities. Hear more on Thursday, June 8, when Sean Phipps of Chattanooga Tourism joins TRAVEL ITCH RADIO. Listen live on iTunes or BlogTalkRadio at 8p EDT as Dan Schlossberg and Maryellen Nugent Lee host the 507th episode in the 12-year history of the show. Or check out the archived show anytime on Facebook.  

Tayler rambles about Nashville, Chattanooga, and other nonsense. 

Die Maus zum Hören - Lach- und Sachgeschichten. Heute: mit der Geschichte von Chattanooga Choo Choo, Klanglupe, einem Verkehrthinweis, mit Verena und natürlich mit der Maus und dem Elefanten Von Verena Specks-Ludwig.

怪物房大喇叭提示：Here comes a new challenger。上届怪物房存活选手包括：SonicMemory SM2，Widing 锃，以及已经外壳带伤的水月雨KATO。如果你喜欢「声波飞行员」，请在「爱发电」平台为我们打赏，增加它继续飞行下去的动力，谢谢。时间轴： [00:00:03] BGM#1. 細野晴臣 - Chattanooga Choo Choo.mp3 [00:00:25] 节目开始；新阵容feat. King Tsui @RKTALLK；继续这个系列的原因； [00:02:51] 怪物房的新情况；旧选手近况； [00:04:48] 阿思翠am850mk2 和它的正确打开方式； [00:12:46] W+G T2pro 调音剑走偏锋的优势与代价； [00:29:54] 千元定位动圈耳塞的调音取向，给NF Audio 品牌和老羊的Respect； [00:34:11] SuperTFZ Force 5 / Force King [00:41:02] 威泽 Whizzer HE03d 的补充； [00:46:23] 兴歌 Simgot EA2000 引出的「怪物房+」概念；以及Simgot EN1000； [00:50:56] 奥斯特锐 OSTRY KC10 以及该品牌的其他产品； [00:59:14] BGM#2. Sufjan Stevens - Decatur, or, Round of Applause for Your Stepmother! [01:00:52] 试图为老产品进入怪物房的补票提名（剧透：最后没提出来）； [01:11:45] 「未来的达音科」的某个争议产品；争议可以去补听2月份的新年节目； [01:14:11] 三个主播怪物房产品喜好分级； [01:22:08] 为什么是动圈； [01:25:35] 不想得罪人的包雪龙被迫补充自己的排名；水月雨KATO 的新近况； [01:35:41] BGM#3. Youssou N'Dour - Ob-La-Di, Ob-La-Da Beatles cover [01:36:22] 2022年新品基本结束；看看明年怎么卷；祝大家身体健康往期节目相关： #202. 千元动圈怪物房 #耳塞演义s2e01 参与录音： 飞行员：包雪龙 / vineland 嘉宾：King Tsui @RKTALLK

10:04:56 – Frank and his wife Denice in Georgia, Tennessee, and Alabama, plus the Other Side. Topics include: Landed in Atlanta, Die Hard (1988), car rental issues, Center for Puppetry Arts, vegan restaurant, Buc-ee’s, arrived in Chattanooga, cool hotel, music in the park, confusing mall, Chattanooga Choo-Choo, walk to a bar, meaningless dumplings, walk back to the […]

10:04:56 – Frank and his wife Denice in Georgia, Tennessee, and Alabama, plus the Other Side. Topics include: Landed in Atlanta, Die Hard (1988), car rental issues, Center for Puppetry Arts, vegan restaurant, Buc-ee’s, arrived in Chattanooga, cool hotel, music in the park, confusing mall, Chattanooga Choo-Choo, walk to a bar, meaningless dumplings, walk back to the […]

This week we have two call in guests and we got to listen to the stories they had to share with us. I hope you enjoy them as much as we did.  send us your stories @ thecodebrownpodcast@gmail.comfind us on Facebooklisten to us on: Spotify, iHeart Radio, Apple Podcasts, Google Podcasts, Amazon Music and Podchaser.

My guest on this episode is the defending Chattanooga Choo Choo Invitational Champion, Tyler Johnson.  When the tournament is held at Council Fire Golf Club next week, you won't find anyone that has had more success there than Tyler.  Last summer, he won the Tennessee State Amateur AND the Choo Choo on that course and set some records along the way.  Tyler Johnson - University of TennesseeChattanooga Choo Choo Invitational - Official WebsiteSubscribe to The Back of the Range Subscribe in Apple Podcasts and SPOTIFY!Also Subscribe in YouTube,   Google Play , Overcast, Stitcher  Follow on Social Media! Email us:   ben@thebackoftherange.comWebsite: www.thebackoftherange.com  Voice Work by Mitch Phillips 

This week wraps of the set from Time Life records set The Swing Era 1941-1942 Part 2. There is some fantastic music in this set and some of the songs we'll be hearing include Blue Flame, Benny Rides Again, Chattanooga Choo Choo, The Mole, Well Git It and many others. These were some of the most popular songs from those two years. As usual I tried to play the original version rather than the recreations. I you you enjoy these great songs from Time Life The Swing Era 1941-1942 Part 2. I hope you enjoy this program that I originally produced in 2015. Please visit this podcast at http://bigbandbashfm.blogspot.com

The Ed and Bob Show episode #164! What's the best thing to teach your children? What country has the most coal? Was the Chattanooga Choo-Choo a real train? Happy birthday America! Easily listen on Apple Podcasts, Spotify and Alexa with TuneIn, ChicagoTalks.com, NashvillePodcasts.com, KnoxvillePodcast.com, OrlandoPodcasts.com and at KnoxCounty.info! Contact the hosts at EdandBob@yahoo.com

Enjoy a lively hour of the World Famous Glenn Miller Orchestra on this episode of Tent Show Radio.  After the legendary composer's death in 1944, the band re-formed and continued performing Miller's classic pieces including In the Mood, Chattanooga Choo Choo, A String of Pearls, Moonlight Serenade, and Tuxedo Junction. Now regarded as the most sought-after big band in the world, the Glenn Miller orchestra has played an average of 300 shows a year since 1956. This episode revisits the group's 2021 performance under the tent.

It's episode 36 of Muppetsational! with our special guest star Scott Hanson, co-founder of Muppet Wiki! This week, George Burns finds his key on The Muppet Show! And on the podcast, Jade's boarding the Chattanooga Choo Choo, Emma's dancing at the discotheque and Lewis has inspired the deviant artists! Find out more about the podcast at muppetspodcast.com Follow us on Twitter, Instagram, TikTok and Facebook! Follow Scott on Twitter @MuppetWiki And read all about us in The Guardian! Editor: Jade Turner Theme Music: Peppy Pepe by Kevin MacLeod Peppy Pepe License Artwork: Charlotte Rudge (Instagram: @Charlie_r_rudge)

It would take weeks to see everything Tennessee has to offer: from Great Smoky Mountains National Park and Dollywood to the Chattanooga Choo-Choo and Country Music Hall of Fame in Nashville, America's Music City. Join TRAVEL ITCH RADIO on Thursday, May 5, as Roger Noriega (pinch-hitting for traveling host Dan Schlossberg) and Maryellen Nugent Lee interview Mary Katelyn Price about her great state. Listen live at 8p EDT on iTunes or BlogTalkRadio.com or check out the archived show after airing on Facebook.

Is this the most fun transformation Urkel has done? Did you ever believe that one guy would come back? And do we miss Step by Step now? Hell no. We're back to watching Season 6, Episode 17 of Family Matters.Alex Diamond, David Kenny, and John McDaniel heard that the long-running network sitcom Family Matters ends with side character Steve Urkel going to space. And the best way to figure out how that happened - obviously - is to watch the last episode first and make our way backwards through nearly ten years of television.Join our countdown to number one (and our slow descent into madness) in all the places you expect internet people to be:Website: jumpingtheshuttle.spaceEmail: jumpingtheshuttle@gmail.comInstagram: @JumpingTheShuttle / @ThatAlexD / @dak577Twitter: @JumpingShuttle / @ThatAlexD / @dak577TikTok: @JumpingTheShuttle / @dak577Brought to you by Smooth My Balls

Was brave Brittney a tad bit too fearless before encountering an evil ghost at the historic Chattanooga Choo Choo? Although we still believe in being fearless, Ouija boards and low vibrational spirits are a helllllll no (in our Maya Denise Wilkes voice). Again, never focus on fear; but hear us out. We like to put fear in two categories as acronyms. In some situations we may say face everything and rise. In others, we may say forget everything and run. Listen to decide what you would have done in these situations.Happy Halloween! Brandon Wilkins is co-hosting our spooky Halloween marathon with yours truly. Tune in for some hilarious, scary, and controversial content. Disclaimer: this is for entertainment purposes only. Enjoy! www.brittneymack.comIf you liked this episode, you may enjoy learning about the empaths, star seeds (starseeds), light workers (lightworkers), earth angels, different dimensions, various levels of consciousness, spiritual ascension, and spiritual awakening. Moreover, you may find things like the laws of the universe, laws of nature, Acts 17:28, chakras, pineal gland, circle of life, seed of life, egg of life, flower of life, tree of life, and fruit of life interesting.

The WPMT premiere of “Springtime in the Rockies” starring (from the 1942 film) Betty Grable and Carmen Miranda with Dick Powell and Verna Felton is now live on YouTube, Facebook, Apple Podcasts, Spotify and all major podcast platforms! This audio broadcast, as first heard in 1944 on The Lux Radio Theatre features “Run, Little Raindrop, Run,” “Chattanooga Choo Choo,” “I Had the Craziest Dream” and more! AND as a special treat the Radio Preview for the film version on “20th Century Fox is On the Air!”Edited by Remington CleveNew episodes every Tuesday at 1pm CT!

Hear the history of our area's most storied landmark and song, as Dale Mitchell takes you down the sidetracks of The Chattanooga Choo-Choo.