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TALES VINYL TELLS PODCAST Episode 186: It Was A New Year, 2023! Salute To Christine McVie And More April 8, 2025 Looks like we made it to a new year. I was beginning to wonder. Last year had some good, some sad but the best thing is that is ended. I had a Covid Christmas, lost a couple really good people, like my 30 year old niece, my 62 year old friend, had a melanoma on my head and it was just a weird year. I did though get my chance to bring Tales Vinyl Tells to RadioFreeNashville and the world. Now a chance to regain momentum. Here we have a salute to Christine McVie and her time in public performance. She had a distinctive voice, you could probably tell the songs she penned and she brought life to the rock world. She is missed. One tune she did in her time with Chicken Shack in 1968 is here and I think you'll recognize it. All in all, here's some great music to kick the year off with. I want to say thank you to all the financial supporters of Tales Vinyl Tells. Whether a small amount monthly or a very generous donation, each of you listeners are very appreciated and if you can and do give monthly, my deepest gratitude goes to you. If you're not a patron yet and want to know more about becoming a patron of this music program you can go Patron.podbean.com/talesvinyltellssupport. Thank you and rock on! And thanks for listening today. My email is talesvinyltells@gmail.com. If you want to hear a Tales Vinyl Tells when it streams live on RadioFreeNashville.org, we do that at 5 PM central time Wednesdays. The program can also be played and downloaded anytime at podbean.com, Apple podcasts, iHeart podcasts, Player FM podcasts and many other podcast places. And of course you can count on hearing the Tales on studiomillswellness.com/tales-vinyl-tells anytime.
Welcome to Season 4, episode 24 of the I Am Black History podcast brought to you by InTheBlack:Canada (ITBC) and DeeP Visions Media. This is Part 2 of my conversation with Cheryl Whalin where she shares stories of her Great Aunt Hattie and Hattie's Chicken Shack. Cheryl also talks about growing up in Edmonton and why it's so important to gather and share our family histories.
In this episode of Suburban Underground, Steve picked a set of gold songs and a set of silver songs. Here is the rundown on the artists played this week: The Clash, Research Turtles, The Warning, Echo & The Bunnymen, The Pleasure, Rilo Kiley, The Donnas, The Rosenbergs, Razorlight, Robyn Hitchcock & The Egyptians, Echobelly, The Cure, Possum Dixon, Jimmie's Chicken Shack, Depeche Mode. AI-free since 2016! On the Air on Bedford 105.1 FM Radio *** 5pm Friday *** *** 10am Sunday *** *** 8pm Monday *** Stream live at http://209.95.50.189:8178/stream Stream on-demand most recent episodes at https://wbnh1051.podbean.com/category/suburban-underground/ And available on demand on your favorite podcast app! Facebook: SuburbanUndergroundRadio *** Instagram: SuburbanUnderground *** #newwave #altrock #alternativerock #punkrock #indierock
Happy anniversary to the Mouthful of Graffiti Podcast! Can you believe it's been a year? To celebrate, we've got a fantastic show lined up. Today, we're thrilled to welcome the legendary Jimi HaHa of Jimmie's Chicken Shack, the Annapolis band that took the '90s by storm with hits like "High" and "Dropping Anchor." We're also excited to introduce Callum, an aspiring artist with dreams of rock 'n' roll stardom and a shot at American Idol. Join us as these two artists, with different journeys but the same passion, share their stories LIVE from Reb Records. Let's give a warm welcome to Jimi Davies and Callum!Sponsored by the Harford County Cultural Arts Board.
More 90s greatness! Part 2 of JCS All music from Pushing the Salmanilla Envelope by Jimmie's Chicken Shack.
Jimmie's Chicken Shack?! Damn straight Music by Jimmie's Chicken Shack By Your SIde by Svend Knutsen
The Automotive Troublemaker w/ Paul J Daly and Kyle Mountsier
Shoot us a Text.As we wind down another week, we're talking about how NADA and Mike Stanton are winding up their opposition of Scout Motors direct-to-consumer plans. Plus, we're looking at a report that says that EV charging isn't such a cost-effective alternative to gas, and how Shake Shack is introducing its first ever value meal.Show Notes with links:The National Automobile Dealers Association (NADA) has escalated its opposition to Scout Motors' direct-to-consumer sales model, sending a strongly worded letter to Volkswagen Group CEO Oliver Blume and other top executives.In the letter, NADA CEO Mike Stanton argued that the franchise model would give Scout Motors immediate marketplace traction through a network of experienced dealers.The direct sales plan, which establishes Scout-branded experience centers, is set to launch in 2027 with the Traveler SUV and Terra pickup.The letter also highlighted the potential fallout of Scout's strategy, including prolonged legal battles across multiple states and a strained relationship with VW, Audi, and Porsche dealers.Stanton expressed disappointment over a lack of response to a previous letter sent in July 2023, noting that this latest message seeks a direct meeting with VW leadership.“The decision to directly distribute Scout in the United States and compete with your dedicated dealer body is misguided, violates well-established state franchise laws, and is one that I strongly encourage you to revisit.” — NADA CEO Mike StantonEV adoption has been touted as a cost-effective alternative to gasoline, but rising electricity costs in several states are challenging that narrative. While EVs remain cheaper to operate in some regions, escalating residential and public charging rates are narrowing the gap.Charging an EV at home in Massachusetts is 116% the cost of fueling an efficient gas car, while New York and California cost 92% and 90% respectively.Washington and Florida remain the most economical for EV driving, with electricity costs at 38% and 54% of gasoline costs.Public fast charging costs have surpassed gasoline in some areas, diminishing the financial incentive to switch to EVs.Homeowners with access to off-peak EV-specific electricity rates or home solar and battery storage can still find savings, but this requires an upfront investment.Shake Shack, known as the most expensive fast-food chain in America last year, has launched its first-ever budget-friendly combo meal to appeal to price-conscious consumers.The $9.99 combo includes a Chicken Shack sandwich, crinkle-cut fries, and a small soda. Buying the items separately would cost around $8 more.The deal is part of a broader trend in the fast-food industry, with competitors like McDonald's, Burger King, and Wendy's also introducing value meals.Experts say inflation has reduced dining out, prompting restaurants toHosts: Paul J Daly and Kyle MountsierGet the Daily Push Back email at https://www.asotu.com/ JOIN the conversation on LinkedIn at: https://www.linkedin.com/company/asotu/ Read our most recent email at: https://www.asotu.com/media/push-back-email
Jimi Haha is the frontman for the band Jimmie's Chicken Shack that launched in 1993 in Baltimore, MD. His career took off after signing with Elton John's Rocket Records in 1996. The band blends their alternative style with rock and funk to produce their driving sound. They've toured with 311, Live, Everclear, Fuel and others. In September of 2024, Ray White interviews Jimi and touched on the bands history with various record labels, the "Haha" name, their latest album 2econds, his Jarflys band and plans for 2025. In our showcase segment we feature the most popular American band from the 1990's, Pearl Jam whose latest album is Dark Matter. We close out our show with a group that has 2 Platinum and 4 Gold albums, 311, whose new release is titled Full Bloom. Rock music at the core, on this edition from your rockin' friends at the CAT!
ESTANDAR SEMANAL.- Tea For Two.-VINILOS BLUE NOTE.-Jimmy Smith • Back at the Chicken Shack.-JAZZACTUALIDAD.-YURI STORIONE-WHERE DO WE START EN VIVO EN BIRD´S EYE VOL.II 0
Lisa Dent loves Geneva! Every week, she'll share her favorite finds in Geneva with listeners. Hear Lisa's recommendations for shopping and dining and you'll see why Geneva, Illinois really does have something for everyone! This week, Lisa is talking about Preservation (513 S. Third Street) and the Atlas Chicken Shack (511 S. Third Street) in […]
Send us a textEverclear, one of the top alternative rock bands to emerge from the ‘90s, is launching their fall headlining tour with special guests Marcy Playground and Jimmie's Chicken Shack. Led by frontman Art Alexakis, the band will be performing their biggest hits from their 30-year career, with a special focus on tracks from their platinum-selling Songs From An American Movie Vol. One, now available on vinyl for the first time via Intervention Records. The tour spans over 30 U.S. cities, wrapping up on November 2nd, and includes stops in major cities like Portland, Los Angeles (September 19th), Denver, Knoxville, Richmond, Boston, Long Island (October 6th), and many more.Songs From An American Movie Vol. One: Learning How To Smile includes fan-favorite tracks like “AM Radio” and “Wonderful.” The vinyl release, featuring a limited-edition transparent yellow pressing, sold out during pre-sales, with a limited number available at independent record stores and on tour. A Coke bottle-clear edition is also available for order.“I am so excited that after 25 years, this album is finally available on vinyl!” said Alexakis. “We'll be playing a lot of tracks we haven't performed live in years, and of course, all the fan favorites.”Since their formation in 1992, Everclear has sold over 6 million records and achieved multiple Gold and Platinum albums. With hits like “Santa Monica” and “Father of Mine,” the band's enduring presence is a testament to their impact on the alternative rock scene. In 2023, Everclear released Live at The Whisky a Go Go, capturing their powerful live performances.www.BetterHelp.com/TheBarnhttp://www.betterhelp.com/TheBarn http://www.betterhelp.com/TheBarnThis episode is sponsored by www.betterhelp.com/TheBarn and brought to you as always by The Barn Media Group. YOUTUBE https://www.youtube.com/@TheBarnPodcastNetwork SPOTIFY https://open.spotify.com/show/09neXeCS8I0U8OZJroUGd4?si=2f9b8dfa5d2c4504 APPLE https://podcasts.apple.com/podcast/id1625411141 I HEART RADIO https://www.iheart.com/podcast/97160034/ AMAZON https://music.amazon.com/podcasts/7aff7d00-c41b-4154-94cf-221a808e3595/the-barn
October 8th, 2024 - Last week Ryan and Tom went out to sample the Denver area's newest chicken concept, Daddy's Chicken Shack, and they were thoroughly impressed. Today we're sitting down with Daddy's President, Tony Adams, and Denver Developer, Noah Pillsbury, to talk about the new franchise's move into the Denver market! As always, we're sharing our favorite upcoming cultural events, art openings, concerts, and all of the things that make Denver the city we're proud to call home. Follow WDG: YouTube: https://www.youtube.com/channel/UC8u8GmvBi6th6LOOMCuwJKw Instagram: https://www.instagram.com/whats_good_denver/ TikTok: https://www.tiktok.com/@whatsgooddenver Do you have a Denver event, cause, opening, or recommendation that you want to share with us? We want to hear from you! Tell us what's good at tom@kitcaster.com. The Goods: Great American Beer Festival @ Colorado Convention Center Ringling Bros. and Barnum & Bailey presents The Greatest Show On Earth @ The Denver Colleseum Red Rocks Schedule MyDenver Day Block Party and Happy Hour @ 16th Street Mall Mexican Ofrendas & Music @ Alpine Arts Center Where Is Denver's Chinatown? Stories Remembered, Reclaimed, Reimagined @ History Colorado Center RiNo Talks: Artful Accessibility @ 3560 Brighton Boulevard La Llorona Festival @ Corky Gonzales Library, 1498 Irving Street Make Your Vote Gigantic @ Levitt Pavillion Our Sponsor: Kitcaster Podcast Agency Music produced by Troy Higgins
Christine McVie - one of only two British girl rock musicians in the ‘60s and part of the greatest pop soap opera of all time. Neither in the backline or the frontline but occupying a unique middle ground. Packed it in for 16 years then returned to the fold. Lesley-Ann Jones' fresh and emotional memoir Songbird follows “the trajectory of a male rock star played by a woman”, the home she was keen to escape, the outer limits of life in Fleetwood Mac's “toxic Camelot” and the rigours of holding her ground in a man's world. We cover all sorts here including … … the lasting effect of not having “an ordinary mother”. … the night in Sunderland that made her think again. … when your best friend sleeps with your fiancée. … supporting the Shadows when she was 15 at the 2I's in Soho. … Etta James, Chicken Shack and playing the Reeperbahn. … why rock stars can never be part of a village community. … Fleetwood Mac's West Coast Elysium: “they were all as bad as each other”. … “cute and dangerous” meets “lifeline and anchor”: the love affair with Dennis Wilson. … why she and John McVie both needed a wife. … and her lifelong connection with the blues, “a sadness you can't cure”. Order Songbird here:https://www.amazon.co.uk/Songbird-Intimate-Biography-Christine-McVie/dp/1789467217Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Christine McVie - one of only two British girl rock musicians in the ‘60s and part of the greatest pop soap opera of all time. Neither in the backline or the frontline but occupying a unique middle ground. Packed it in for 16 years then returned to the fold. Lesley-Ann Jones' fresh and emotional memoir Songbird follows “the trajectory of a male rock star played by a woman”, the home she was keen to escape, the outer limits of life in Fleetwood Mac's “toxic Camelot” and the rigours of holding her ground in a man's world. We cover all sorts here including … … the lasting effect of not having “an ordinary mother”. … the night in Sunderland that made her think again. … when your best friend sleeps with your fiancée. … supporting the Shadows when she was 15 at the 2I's in Soho. … Etta James, Chicken Shack and playing the Reeperbahn. … why rock stars can never be part of a village community. … Fleetwood Mac's West Coast Elysium: “they were all as bad as each other”. … “cute and dangerous” meets “lifeline and anchor”: the love affair with Dennis Wilson. … why she and John McVie both needed a wife. … and her lifelong connection with the blues, “a sadness you can't cure”. Order Songbird here:https://www.amazon.co.uk/Songbird-Intimate-Biography-Christine-McVie/dp/1789467217Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Christine McVie - one of only two British girl rock musicians in the ‘60s and part of the greatest pop soap opera of all time. Neither in the backline or the frontline but occupying a unique middle ground. Packed it in for 16 years then returned to the fold. Lesley-Ann Jones' fresh and emotional memoir Songbird follows “the trajectory of a male rock star played by a woman”, the home she was keen to escape, the outer limits of life in Fleetwood Mac's “toxic Camelot” and the rigours of holding her ground in a man's world. We cover all sorts here including … … the lasting effect of not having “an ordinary mother”. … the night in Sunderland that made her think again. … when your best friend sleeps with your fiancée. … supporting the Shadows when she was 15 at the 2I's in Soho. … Etta James, Chicken Shack and playing the Reeperbahn. … why rock stars can never be part of a village community. … Fleetwood Mac's West Coast Elysium: “they were all as bad as each other”. … “cute and dangerous” meets “lifeline and anchor”: the love affair with Dennis Wilson. … why she and John McVie both needed a wife. … and her lifelong connection with the blues, “a sadness you can't cure”. Order Songbird here:https://www.amazon.co.uk/Songbird-Intimate-Biography-Christine-McVie/dp/1789467217Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Send us a textToday I'm talking with a great up and coming blues player from the U.K - Thomas Heppell From the vibrant South Coast of the UK to stages across the nation, join Thomas as he crafts the next chapter in UK blues. With a style encapsulating the heart of Blues, the energy of Rock & Roll, and the sophistication of Jazz (sometimes if you're lucky), Thomas can command a solo stage or drive the rhythm in his dynamic three-piece ensemble. His musical journey has seen him share the limelight with established acts such as Albert Lee, Dan Patlanksy, Chicken Shack, Catfish, Alice Armstrong, Connor Selby, Brave Rival and The Cinelli Brothers. In 2022, he graced stages alongside household names like Anton du Beke of Strictly Come Dancing fame. He's also left his mark at illustrious venues and events such as The 100 Club, Tuesday Night Club, Ronnie Scotts, Lincoln Jazz Cafe, Broadstairs Blues Bash, Swanage Blues Festival, and Weyfest. His EP, 'Be My Home', not only received airwaves love from Jazz FM and Blues Radio UK but also secured him nominations at the UK Blues Awards 2023. With nods for Best Young, Emerging, and Acoustic Blues Artist, it's evident Thomas is a force to be reckoned with in British Blues.Become a plus member now: https://www.buzzsprout.com/950998/subscribe Download the Triad Method: https://thebluesguitarshow.com/the-triad-method/Support the showTo get your hands on THE TRIAD METHOD: https://thebluesguitarshow.com/product/the-triad-method/Become a Blues Guitar Show Member: https://www.buzzsprout.com/950998/subscribeHead over to www.thebluesguitarshow.com to subscribe to the mailing list
Send us a Text Message.Jimmie's Chicken Shack is an American alternative rock band formed in Annapolis, Maryland, in the early 1990s. The band was founded by Jimi Haha (Jimi Davies), who serves as the lead vocalist and guitarist. Known for their eclectic blend of alternative rock, funk, and punk, Jimmie's Chicken Shack has garnered a loyal fanbase and critical acclaim for their energetic performances and innovative sound.The band's name, Jimmie's Chicken Shack, reflects their quirky and unconventional style. It originated from a combination of Jimi Haha's nickname and a nod to the cultural icon of Southern fried chicken restaurants, adding a unique and memorable twist to their identity. The band's lineup has seen various changes over the years, with Jimi Haha being the constant driving force behind its creative direction.Jimmie's Chicken Shack first gained significant attention with their debut album, "Pushing the Salmanilla Envelope," released in 1997. The album was a commercial success, propelled by the hit single "High," which received substantial airplay on alternative rock radio stations and MTV. The song's catchy riff and relatable lyrics resonated with a wide audience, establishing the band as a formidable presence in the late 90s rock scene. The success of this album allowed them to tour extensively, sharing stages with prominent bands and further expanding their reach.Following the success of their debut, Jimmie's Chicken Shack released several more albums, including "Bring Your Own Stereo" in 1999 and "Re.Present" in 2004. Each release showcased the band's versatility and willingness to experiment with different musical styles. Tracks like "Do Right" and "Lazy Boy Dash" demonstrated their ability to blend infectious melodies with introspective lyrics, earning them praise from both fans and critics alike.Despite changes in the music industry and shifts in popular music trends, Jimmie's Chicken Shack has remained a steadfast entity. Their live performances are renowned for their high energy and interactive nature, with Jimi Haha's charismatic stage presence and humorous banter creating an engaging experience for audiences. The band's dedication to their craft and their fans is evident in their consistent touring schedule and their commitment to delivering memorable shows.In addition to their musical endeavors, Jimmie's Chicken Shack has also been involved in various philanthropic efforts. They have participated in charity events and supported causes such as environmental conservation and mental health awareness, reflecting their desire to make a positive impact beyond the realm of music.Jimmie's Chicken Shack continues to be a beloved and influential band within the alternativwww.BetterHelp.com/TheBarnhttp://www.betterhelp.com/TheBarn http://www.betterhelp.com/TheBarnThis episode is sponsored by www.betterhelp.com/TheBarn and brought to you as always by The Barn Media Group. YOUTUBE https://www.youtube.com/@TheBarnPodcastNetwork SPOTIFY https://open.spotify.com/show/09neXeCS8I0U8OZJroUGd4?si=2f9b8dfa5d2c4504 APPLE https://podcasts.apple.com/podcast/id1625411141 I HEART RADIO https://www.iheart.com/podcast/97160034/ AMAZON https://music.amazon.com/podcasts/7aff7d00-c41b-4154-94cf-221a808e3595/the-barn
With the 25th anniversary of Jimmie's Chicken Shack's album Bring Your Own Stereo upon us, we're diving into their eclectic catalog, spotlighting their 1999 single "Do Right." Known for running the full gamut of musical styles—sometimes to the point where it might be too much—the band's versatility is both a strength and a challenge. Depending on your perspective, Jimmie's Chicken Shack might be a one-hit wonder, a two-hit wonder, or a no-hit wonder. Join us this week as we explore what they did right and what they did wrong. One Hit Thunder is brought to you by DistroKid, the ultimate partner for taking your music to the next level. Our listeners get 30% off your first YEAR with DistroKid by signing up at http://distrokid.com/vip/onehitthunder Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode we sit down with Jimmie's Chicken Shack frontman Jimi Haha to recap his 30+ year music career, find out where he's going next, and to pay homage to a DMV legend. CONNECT WITH JIMMIE'S CHICKEN SHACK: - Facebook: https://www.facebook.com/JimmiesChickenShack - Instagram: https://www.instagram.com/jimmieschickenshack/ - YouTube: https://www.youtube.com/c/JimmiesChickenShack420 - Bandcamp: https://jimmieschickenshack.bandcamp.com/album/2econds CHECK OUT THE CLUB 937 PLAYLIST https://open.spotify.com/playlist/0wkJUSPfr0E5r5Ni8LDZtW?si=33264d92b5c74306 CONNECT WITH US: https://club937podcast.com --- Support this podcast: https://podcasters.spotify.com/pod/show/937-podcast/support
https://youtu.be/nyav8Sk9Crc Exclusive Interview with Legendary Bob Daisley For over 50 years, bassist Bob Daisley has laid the foundation for some of the greatest rock and roll ever recorded. From blues and metal to ballads and progressive rock, Bob has worked with the biggest names in the music industry. Early Career At 21, Australian-born Daisley moved to London, joining Stan Webb's band Chicken Shack in 1972. In 1973, he joined Mungo Jerry, recording the hit single "Alright, Alright, Alright." Rise to Fame In 1975, Daisley co-founded Widowmaker, releasing two albums. In 1977, Ritchie Blackmore invited him to join Rainbow, featuring Ronnie James Dio and Cozy Powell, promoting the album Long Live Rock 'n' Roll. Blizzard of Ozz In 1979, Daisley met Ozzy Osbourne and formed Blizzard of Ozz with guitarist Randy Rhoads. Their debut album reached #7 in the UK charts and went platinum in the US, followed by Diary of a Madman in 1981, which also went platinum. Continued Success After parting ways with Osbourne, Daisley joined Uriah Heep and later rejoined Osbourne to record Bark at the Moon (1983). Gary Moore Collaboration Daisley contributed to Gary Moore's Victims of the Future and Still Got the Blues (1990), Moore's biggest selling album. Later Career Daisley worked with artists like Jeff Watson, Yngwie Malmsteen, and Ozzy Osbourne on No Rest for the Wicked (1988). In 1991, he co-wrote and performed on Osbourne's No More Tears. He formed Mother's Army with Jeff Watson and released several albums. Recent Years Daisley continued collaborating into the 2000s, forming Living Loud and revisiting classic Blizzard of Ozz songs. His autobiography, For Facts Sake, was published in 2013. Legacy Though retired from touring, Bob Daisley's passion for music continues to inspire musicians worldwide, ensuring his legacy in rock and roll history. #bobdaisley #randyRhoads #ozzyosbourne #johnnybeaneTV
In 1982, the metal scene was rapidly evolving, marked by the raw energy of the New Wave of British Heavy Metal (NWOBHM) and the nascent thrash movement that would soon explode onto the scene. Within this context, the band Accept from Solingen, West Germany, released their groundbreaking fourth studio album, “Restless and Wild.” This album solidified their place in metal history and bridged the gap between traditional heavy metal and the faster, more aggressive sounds that would come to define the genre in the years to come.Thank you for reading Dig Me Out. This post is public so feel free to share it.At this point, Accept was no newcomer. Formed in the late 1960s as Band X and later renamed after Chicken Shack's album “Accept,” the band had undergone numerous lineup changes. By the time of “Restless and Wild,” the lineup featured Udo Dirkschneider on vocals, Wolf Hoffmann on guitar, Peter Baltes on bass, and Stefan Kaufmann on drums. This band had been refining its sound, and “Restless and Wild” represented a pivotal moment in their career.The early 80s were a fertile time for heavy metal, with bands like Iron Maiden and Judas Priest defining the genre's sound and image. Accept, however, brought something uniquely German to the table, blending the melodic sensibilities of NWOBHM with a harder, faster edge that foreshadowed the coming thrash metal wave.“Restless and Wild” opens with “Fast as a Shark”, a track that kicks off with an unexpected twist—a snippet of the traditional German folk song “Ein Heller und ein Batzen”. This playful intro is quickly obliterated by one of the earliest examples of speed metal, a genre-defining moment that influenced countless bands. With its relentless double-kick drumming and rapid-fire riffing, “Fast as a Shark” is often cited as a precursor to thrash metal, pre-dating Metallica's “Kill 'Em All” by several months.The title track, “Restless and Wild,” follows suit with its high-energy delivery and Hoffmann's searing guitar work, a highlight throughout the album. His solos are a masterclass in early 80s metal guitar, blending technical prowess with a keen sense of melody. Tracks like “Neon Nights” and “Princess of the Dawn” showcase the band's versatility, with “Neon Nights” weaving between acoustic passages and heavy riffs, and “Princess of the Dawn” featuring a haunting, epic structure that closes the album on a high note.“Restless and Wild” didn't just solidify Accept's place in the metal pantheon; it also played a crucial role in the genre's development. The album's influence can be heard in the speed and thrash metal movements that followed. Bands like Metallica and Slayer, who released their debuts in 1983, were undoubtedly impacted by Accept's fusion of speed and melody.While “Balls to the Wall” would become their most commercially successful album, “Restless and Wild” remains a favorite among metal purists for its raw energy and pioneering spirit. It's an album that captures a band on the brink of stardom, experimenting with their sound and pushing the boundaries of what metal could be.Songs in this Episode* Intro - Demon's Night * 7:53 - Fast as a Shark * 14:51 - Fast as a Shark * 16:19 - Neon Nights * 17:29 - Don't Go Stealing My Soul Away * 20:48 - Restless and Wild * 25:27 - Shake Your Heads * 28:42 - Get Ready * 31:44 - Princess of the Dawn Outro - Flash Rockin' ManMake Your Metal Voice Heard!In our quest to explore the depths of 80s metal, we rely on you, our listeners. Your suggestions drive our show – be it an underrated classic or a forgotten gem. By joining our DMO Union on Patreon, you help us stay independent and ad-free and gain the power to vote on and choose the albums we dive into each year. Let's unearth the treasures of 80s Metal, one listener-powered episode at a time.Suggest an Album → | Support the Mission → This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit digmeout.substack.com/subscribe
From starting small and leveraging diverse experiences to embracing challenges and making strategic decisions, this story is a testament to the power of resilience and adaptability. In this episode, Sarah is joined by entrepreneurs Pace Webb and Chris Georgalas as they share their journey in the food industry. They discuss their backgrounds, the founding of their businesses, and the challenges they faced, including the impact of COVID-19. Pace talks about her early entrepreneurial experiences and her catering company, Taste of Pace, while Chris shares his transition from Wall Street to co-founding Daddy's Chicken Shack. They highlight the importance of customer feedback, strategic decisions, and forward thinking. With a track record of entrepreneurial success spanning 20 years, Pace has proven herself as a dynamic force in the business world. As the founder of Taste of Pace and Daddy's Chicken Shack, she has a reputation for excellence in the culinary industry. Chris Georgalas is a seasoned professional and entrepreneur with over two decades of experience in business analysis, investment strategy, client relations, and technology. His passion for hospitality, the guest experience, and consumer insights, coupled with an affinity for innovative technologies, has been a driving force throughout his career. Pace and Chris went on to collaborate with Area 15 Ventures to expand the company infrastructure, develop franchise models, and successfully sell 150 units nationwide within 18 months, ultimately leading to the sale of Daddy's Chicken Shack to Area 15 Ventures. In this conversation, you'll hear: How Pace pivoted from high end catering to selling fried chicken sandwiches What the pandemic did to their catering business, and why they knew it was time to pivot Chris's vision for the future of the food industry, and how that played into they way they built Daddy's Chicken Shack from the start How they decided to franchise Daddy's, and when they knew it was time to walk away And so much more! Connect with Taste of Pace LinkedIn: Taste of Pace LinkedIn: Chris Georgalas From Our News Segment: PBS: A Brief but Spectacular take on Painting the People Who Feed America BABOYOT Member Highlight: Wild Muskoka Botanicals Annual Member Chris Gilmour Website: Wild Muskoka Stay Connected! Instagram: @TheGoodFoodCFOYouTube: @thegoodfoodcfo Join us in The Good Food CFO Community
Communique is a verb that refers to an official announcement or statement, especially one made to the media. The Latin word communis (KOE moo noose) means ‘common,' and it's given us words as wide-ranging as ‘Communism' and ‘communication.' It's also given us our word of the day which refers to a specific communication made to one or many media outlets. Here's an example: When I quit my job at Paul's Chicken Shack, I sent out a communique to every media outlet I could find announcing that I was now available for employment. The only problem was that none of these outlets had the slightest bit of interest in my announcement.
The far more censored version of the award-winning and unparalleled "A Mediocre Time with Tom and Dan." - "A Corporate Time" is a daily companion and terrestrial radio show heard nationally on iHeartRadio. It's silly.
Top headlines for Tuesday, April 9, 2024In this episode, Pastor Jim Staley connecting a total solar eclipse to a divine warning for America, to Shake Shack's playful nudge at Chick-fil-A with free Chicken Shack sandwiches on Sundays. We also explore the controversy surrounding Seattle Public Schools' decision to phase out advanced placement classes in favor of a more inclusive program, sparking debate among parents. Lastly, we highlight a Florida law praised by a liberal professor and endorsed by Gov. Ron DeSantis, hailed as a potential national blueprint. Subscribe to this PodcastApple PodcastsSpotifyGoogle PodcastsOvercastFollow Us on Social Media@ChristianPost on TwitterChristian Post on Facebook@ChristianPostIntl on InstagramSubscribe on YouTubeGet the Edifi AppDownload for iPhoneDownload for AndroidSubscribe to Our NewsletterSubscribe to the Freedom Post, delivered every Monday and ThursdayClick here to get the top headlines delivered to your inbox every morning!Links to the NewsJim Staley claims solar eclipse will release sixth seal | Church & Ministries NewsIs the solar eclipse a sign of End Times? | VoiceJoe Rogan suggests Ezekiel, Moses high on hallucinogens in Bible | Podcast NewsShake Shack's jab at Chick-fil-A: Free sandwiches on Sundays | Business NewsSeattle Public Schools cancels gifted students program for equity | Education NewsLiberal prof. praises 'model' law signed by DeSantis | Politics NewsBook available at Texas schools talks about giving Jesus oral sex | Education NewsScotland's proposed conversion therapy ban draws legal threats | World NewsTrisha Yearwood quotes Bible verse at CMT Awards | Entertainment News
Episode 130 of the Check Your Six podcast brought Ed Zausch into the GRP Studios to talk about his two business ventures, Daddy's Chicken Shack and The Vitamin Shoppe. Ed already had a successful business in Indiana that he expanded in Florida but like many businesses, the events in 2020 had a serious impact on his business. He closed the Florida expansion but decided against going back and forth to Indiana every week and looked into opening a new business venture in Florida. Today focused mostly on the Daddy's Chicken Shack franchise that he has opened but did also cover The Vitamin Shoppe, his son's fight back from an auto accident, the different styles of the franchise business models for Daddy's Chicken Shack and the The Vitamin Shoppe as well as a look at hiring staff and other challenges of owning a franchise business. You can check out Daddy's Chicken Shack here, https://daddyschickenshack.com/locations/7025-county-road-46a-lake-mary-florida/ to see what they have to offer!!
Joining us in this episode of The Local Marketing Lab is Tony Adams, an entrepreneur with over 20 years of experience across industries like restaurants, real estate, and more. He shares his insights on how to enhance the customer journey with digital marketing tools.Whether launching a new marketing strategy or looking to boost existing efforts, Tony offers tactical advice to help local businesses attract and retain more customers in the digital space. Tune in now to explore how leading with digital enhances that all-important customer journey.Here are some topics discussed in the episode around digital marketing tools to enhance the customer journey:Make your business easy to find onlineUse remarketing to re-engage past site visitorsUnderstand the full customer journey to their purchaseLeverage digital marketing tools to unify your online presenceStart small with quick website updatesResourcesConnect with Tony Adams on LinkedIn.Learn more about Area 15 Ventures.Find a Port of Subs or Daddy's Chicken Shack location near you.Try out Google Search Console and Google Analytics.Other shout-outsCrumbl – Fantastic brand with a great website, app, and in-store experience.
Just in time for Thanksgiving, we are visiting with new Chamber member Jannie Teitelbaum from Great Lakes Pot Pies.She was semi-retired and was experimenting with healthy bars, when she brough a pie to a Women's event. She was told "this should be your business." Jannie's business took off from there, with her pies gaining popularity at the Royal Oak Farmer's Market, which played a crucial role in expanding her customer base and necessitating more staff and kitchen time.We touch complexities of entering the food business, particularly the legal aspects. Jannie credits the MSU Product Center for providing invaluable guidance and resources, likening it to having a private consultant. This support was instrumental in navigating the challenges of starting and growing her business.Jannie's pie varieties have evolved over time, starting with large pies and expanding to personal sizes and hand pies. She caters to various dietary needs, including gluten-free and vegetarian options. Her most popular flavors include the classic chicken pot pie and, currently, a unique Thanksgiving-themed pie, which you HAVE to hear her describe.We also talk about the pivotal moment of opening her storefront in Clawson. Jannie had outgrown her space in a commercial kitchen and decided to take the leap into establishing a physical store. This move was a significant step, supported by her steady sales and customer base. And she had to do some math before taking the plunge!Jannie emphasizes the importance of seeking advice, doing thorough research, and being resilient in the face of skepticism. Listeners can find all flavors of Jannie's Great Lakes Pot Pies at her Clawson store, offering nationwide shipping. The chicken pot pie is what you'll find in local grocery stores' freezer sections, from Fresh Thyme to Meijer. More:Website:https://greatlakespotpies.com/Phone: 248-266-1160Address: 809 West 14 Mile Road, Clawson (Next to Chicken Shack and Barry's BagelsConnect with our hosts:Trish Carruth from The Personal Jeweler - https://www.thepersonaljeweler.com/Jon Gay from JAG in Detroit Podcasts - http://www.jagindetroit.com/Lisa Bibbee from Keller Williams - http://soldbylisab.com/
Jimi HaHa: Touring through the Decades with Jimmie's Chicken Shack and a Love Letter to Annapolis, MarylandIn the bustling world of rock music, few artists have managed to remain as vibrantly relevant and passionately dedicated as Jimi HaHa of Jimmie's Chicken Shack. Embarking on a musical odyssey that has spanned decades, Jimi has not only entertained millions with his unique blend of funk, punk, and rock but also painted a vivid picture of a life dedicated to music and the ceaseless charm of his beloved hometown, Annapolis, Maryland.The Early Days and the Rise of Jimmie's Chicken ShackIt all started in the vibrant 90s, a golden era for alternative rock, and right at the heart of it was Jimmie's Chicken Shack. With Jimi HaHa at the helm, the band quickly rose to prominence, their sound a distinct echo of the era's spirit. Their music was a bold statement, a fusion that defied genres and captured the essence of a generation looking for something different. As they toured, from coast to coast and beyond, Jimi's connection to his roots in Annapolis remained unshakable. This picturesque city, known for its rich history and maritime heritage, served as an anchor, a constant in the ever-changing landscape of a musician's life on the road.The Evolution of Touring and Keeping Annapolis CloseTouring is an art in itself, and for Jimi HaHa, it has been an evolving journey. From the energetic buzz of early gigs in cramped venues to headlining major festivals, each tour has been a chapter in the band's storied career. But as the venues grew bigger and the tours longer, Jimi's love for Annapolis never waned. In his words and music, one can always find a trace of this Maryland gem, a testament to the power of place in shaping an artist's identity. Jimi's deep connection to Annapolis is evident not just in his music but in his life off-stage. He often speaks fondly of the city's quaint charm, its vibrant arts scene, and the sense of community that has supported him throughout his career. It's this grounding force that has enabled him to navigate the highs and lows of life on the road, maintaining a sense of self amidst the whirlwind of touring.The Legacy of Jimi HaHa and the FutureToday, as we look back at the decades of Jimmie's Chicken Shack's influence in the rock world, it's clear that Jimi HaHa's journey is one of passion, resilience, and unwavering dedication to his craft. His story is not just about the success of a rock band; it's a narrative of a man who, despite the allure of global fame, never lost sight of where he came from.Jimi's love for Annapolis remains a central theme in his life and work, a beacon that continues to guide him. As he continues to tour, create new music, and inspire a new generation of musicians, his story stands as a compelling reminder of the power of roots and the enduring bond between an artist and their hometown.As we eagerly await the next chapter of Jimi HaHa and Jimmie's Chicken Shack's journey, one thing remains certain: the spirit of Annapolis will always be an integral part of their music, and Jimi's legacy as a musician deeply connected to his roots will continue to resonate for years to come.
This week, guest curator Jon Loree, drummer for Tantric, joins me to craft a mixtape filled with the most underrated rock drummers of all time. Now, the word “underrated” means something a little different to everyone else, so let's see where our list stands against yours! We also talk about the band's upcoming slot on the Summer of ‘99 Cruise, featuring Creed, Daughtry, 3 Doors Down, Buckcherry, Tonic, Vertical Horizon, Fuel, The Verve Pipe, Nine Days, Jimmie's Chicken Shack and much more! Be sure to visit MyWeeklyMixtape.com to hear all of the songs we discussed in this episode! FOR MORE ON MY WEEKLY MIXTAPE Website: http://www.myweeklymixtape.com Patreon: https://www.patreon.com/myweeklymixtape Facebook: http://www.facebook.com/myweeklymixtape Twitter: https://twitter.com/myweeklymixtape Instagram: https://www.instagram.com/myweeklymixtape TikTok: https://www.tiktok.com/@myweeklymixtape Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, guest curator Jon Loree, drummer for Tantric, joins me to craft a mixtape filled with the most underrated rock drummers of all time. Now, the word “underrated” means something a little different to everyone else, so let's see where our list stands against yours! We also talk about the band's upcoming slot on the Summer of ‘99 Cruise, featuring Creed, Daughtry, 3 Doors Down, Buckcherry, Tonic, Vertical Horizon, Fuel, The Verve Pipe, Nine Days, Jimmie's Chicken Shack and much more! Be sure to visit MyWeeklyMixtape.com to hear all of the songs we discussed in this episode! FOR MORE ON MY WEEKLY MIXTAPE Website: http://www.myweeklymixtape.com Patreon: https://www.patreon.com/myweeklymixtape Facebook: http://www.facebook.com/myweeklymixtape Twitter: https://twitter.com/myweeklymixtape Instagram: https://www.instagram.com/myweeklymixtape TikTok: https://www.tiktok.com/@myweeklymixtape Learn more about your ad choices. Visit megaphone.fm/adchoices
Ben Maller & his 5th Hour homie Danny G. have some Saturday fun for you! They're talking: Chicken Shack, the Third Monologue, Foodie Fun, Pop Goes the Culture, & more! ...Subscribe, rate & review "The Fifth Hour!" https://podcasts.apple.com/us/podcast/the-fifth-hour-with-ben-maller/id1478163837 Engage with the podcast by emailing us at RealFifthHour@gmail.com ... Follow Ben on Twitter @BenMaller and on Instagram @BenMallerOnFOX ... Danny is on Twitter @DannyGRadio and on Instagram @DannyGRadio #BenMaller #FSRWeekends See omnystudio.com/listener for privacy information.
Ben Maller & his 5th Hour homie Danny G. have some Saturday fun for you! They're talking: Chicken Shack, the Third Monologue, Foodie Fun, Pop Goes the Culture, & more! ...Subscribe, rate & review "The Fifth Hour!" https://podcasts.apple.com/us/podcast/the-fifth-hour-with-ben-maller/id1478163837 Engage with the podcast by emailing us at RealFifthHour@gmail.com ... Follow Ben on Twitter @BenMaller and on Instagram @BenMallerOnFOX ... Danny is on Twitter @DannyGRadio and on Instagram @DannyGRadio #BenMaller #FSRWeekends See omnystudio.com/listener for privacy information.
Ben Maller & his 5th Hour homie Danny G. have some Saturday fun for you! They're talking: Chicken Shack, the Third Monologue, Foodie Fun, Pop Goes the Culture, & more! ...Subscribe, rate & review "The Fifth Hour!" https://podcasts.apple.com/us/podcast/the-fifth-hour-with-ben-maller/id1478163837 Engage with the podcast by emailing us at RealFifthHour@gmail.com ... Follow Ben on Twitter @BenMaller and on Instagram @BenMallerOnFOX ... Danny is on Twitter @DannyGRadio and on Instagram @DannyGRadio #BenMaller #FSRWeekends See omnystudio.com/listener for privacy information.
Since 1995, Howi Spangler, alongside his brother Donald Spangler, and their reggae rock group, BALLYHOO!, have been crisscrossing the United States and bringing their unique brand of #MarylandBeachRock to bars, clubs and vacation towns all across the shoreline and beyond. For nearly three decades they've been inspiring the locals and reminding us that rock n' roll is a lifestyle and the importance of just having a little bit of fun in our lifetime. They've reached the perfect level of success; they're able to make the music the want on their own terms, while still selling out venues everywhere they go. Ballyhoo! are heading out on tour with Jimmie's Chicken Shack on September 19th, but tonight I'm lucky enough to have the voice, Mr. Howi Spangler, on the show. Join me in welcoming Howi to the Mouthful of Graffiti podcast.Ballyhoo! on Spotify: https://open.spotify.com/artist/6py4uFIC7T6RdrZnH6hFYJ?si=Xloq_RzXRna-cVOsqnF3XwSpecial thanks to: Double Groove Brewing, Vagabond Sandwich Company, Music Land Store, Heather Sipes - Baltimore Decal Gal, Black Eyed Suzie's, REB Records-MD & Caprichos Books
The VFW Chicken Shack of Bethany Beach has been grilling world famous chicken for generations (step aside Royal Farms) -- and it's all about community. It was a privilege to sit down with "pit-master" Ken -- for a chat on the last chicken BBQ of the summer -- see ya next Memorial Day!And -- thank you for your service ,Ken and all the vets at the Bethany VFW -- we salute you (and your world famous chicken)!w/ love,Billy G
Episode #168 Jimi Davies aka Jimi Haha from Jimmie's Chicken Shack is a singer, guitarist, painter, magazine publisher, and so much more. As the band gets ready to release their new album '2econds' on BandCamp he sat down with Mistress Carrie to talk about his name, his love of Maryland, 90's rock, Gen X, parenting, Mutt Rock, hitchhiking, being an artist, post covid Rock music, traveling vs. touring and so much more! Episode Notes Check out the custom playlist for Episode #168 here Find the new album '2econds' here! Find Jimi Haha Online: Facebook Instagram Upstart Visual Art Website Find Jimmie's Chicken Shack Online Website Facebook Instagram Twitter Youtube Find Mistress Carrie online: Official Website The Mistress Carrie Backstage Pass on Patreon Twitter Facebook Instagram Threads YouTube Cameo Pantheon Podcast Network Find The Mistress Carrie Podcast online: Instagram Threads Learn more about your ad choices. Visit megaphone.fm/adchoices
This week Jeremy interviews Justice Tripp of Angel Du$t and Trapped Under Ice On this episode Jeremy and Justice talk psychedelic mushrooms, Guns 'n Roses, Terminator 2, Korn, Space Jam, Jimmie's Chicken Shack, HFStival, losing friends at a young age, youth group, confidence in your ideas, NickXFury, Flatspot Records, Dirty Money / High Vis, early shows together, working with Dean Baltulonis, making The Big Kiss Goodnight, starting Angel Du$t, their new album "Brand New Soul", and so much more! SUBSCRIBE TO THE PATREON to hear a bonus episode where Justice answered questions that were submitted by subscribers! Follow the show on INSTAGRAM and TWITTER Want some First Ever Podcast merch? Click here!
The Big Curve Podcast interview w/ Jimi Haha of Jimmie's Chicken Shack. Jimi talks about crowd funding their latest record, their upcoming tour, and so much more! The guys also discuss the music of 1996.
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 --
A fast-growing chicken sandwich concept has a new owner. Casual-dining is back. Sort of. And Chick-fil-A's salad dressing is coming to grocery stores.
Morgan Wallen defeated Metallica at the billboard charts. Even more impressive, his blood alcohol content was 0.24 while he did it. / Nu metal, as a genre, isn't coming back, zoomers just like KoRn. / Crazytown: not popular with zoomers, each other. I blame Dr. Drew. / Trey from Morbid Angel is going through it on an extremely cursed tour. / Tim “Ripper” Owens is a racist old dipshit and Iced Earth is almost certainly gonna try for a comeback / Air conditioning is like kryptonite to Ronnie Radke's weak ass voice / Liquid Death has another stupid publicity stunt. Hate this fucking company, man. / A bunch of metal festivals in fucked up pretty bad and had to cancel. Folks, it's a good one. Music featured on this ‘sode: Agriculture – Look, Pt. 1 This program is available on Spotify. It is also available on iTunes or whatever they call it now, where you can rate, review, and subscribe. Give us money on Patreon to get exclusive bonus episodes and other cool shit.
Today's podcast opens on a sad note, Eric Sandler alongside Michael Fulmer and Matt Harris remember longtime Houston restaurateur Lee Ellis who passed away last Monday (3/6) at the age of 63. The guys reflect on Lee's career, his impact on the Houston restaurant scene, and share their memories of Lee. Eric and Matt get into other news from the week that was including Hobby airport's new concessions contract that has Killen's BBQ among it's new options for food and Kraftsmen Café closing in The Heights. In the Restaurants of the Week portion Jun is featured. In the Guest of the Week section Eric is joined by Pace Webb of Daddy's Chicken Shack. Pace speaks with Eric about getting into the food business, coming from a family of entertainers, becoming a chef, the life changing events that led her to the culinary world, making the leap from catering to leaning into the chicken sandwich side of things, the early chicken sandwich grind, how their chicken sandwich is different, developing the different types of sandwiches they offer, educating customers, growing from a 100 foot to go counter to what they are today, bringing the business to Houston, why it was nostalgic for her to come back to Houston, the response so far, expansion plans for Houston, and much more! Follow Eric on Instagram and Twitter, plus check out some of his latest articles at Culturemap.com: Pappas Exits Hobby Airport as City Council Approves Controversial, $470 Million Restaurant Deal Heights Favorite Bakery's In-House Cafe Announces Surprise Closing After 12-Year Run Piping-Hot Houston Pizzeria Fires Up Second Locale in Buzzy Garden Oaks Destination Wildly Popular All-Day Brunch Restaurant Snoozes Into West U Area with Benedicts, Bloody Marys, and More Uchi Rolls Out Opening Date for Cool New Omakase Counter in Montrose with Curated, 15-Course Menu 9 Best Houston Bars for 2023 Mix Legendary Local Faves with Must-Visit Newcomers
It was a pleasure to interview the last remaining members of the band, Savoy Brown, bassist Patrick DaSalvo and drummer Garnet Grimm.Visit Savoybrown.com to order their latest album and more The History of Savoy Brown Defining the British Blues Boom music scene in London in the mid ‘60'sThe British R ‘n‘ B boom of the early 1960's led directly to the British Blues Explosion in 1968.The London R n B boom led by, for example, The Rolling Stones, The Kinks, The Yardbirds, The Pretty Things and to some extent the Beatles quickly moved into mainstream pop and left a vacuum in the London clubs.This vacuum, in London, was filled in the mid 60's by John Mayall's Bluesbreakers featuring Eric Clapton and Savoy Brown's Blues Band featuring Kim Simmonds.Both these bands became headliners at major London clubs such as The Marquee establishing a “blues night” amongst the mainstream soul and popular music in the charts at that time. As headlining pioneers of the new blues movement Savoy Brown gave a platform to emerging bands in other areas of the U.K. Ten Years After and Jethro Tull both were opening acts to Savoy Brown on blues night at the Marquee.Chicken Shack from Birmingham also came to London and along with the early Fleetwood Mac established themselves on the scene.John Mayall, Savoy Brown, Fleetwood Mac, Jethro Tull, Chicken Shack and Ten Years After became the “big six” blues bands at that time.In fact a 45 single was released by The Liverpool Scene called “I've Got These Fleetwood Mac Chicken Shack John Mayall Can't Fail Blues” and the second chorus has Savoy Brown and Jethro Tull to round off the full song story.Hits soon followed for these bands (Savoy Brown cracking the USA in 1969) and the blues movement quickly gave way to the heavy rock of Black Sabbath, themselves a blues band when they started.The British Blues Boom was a phenomena never to be repeated again and remains one of the foremost U.K. music movements of all time.. So grateful for all the listeners! Check the links below from charities, subscriptions, merch, reading list, and more. Love the show?You can now support the show with a subscription! Click here for all the details.**Want to write a review? Click here for details.** Donate Dachshund Rescue of Houston hereBlog https://tstakaishi.wixsite.com/musicInsta @creative_peacemeal_podcastFB @creativepeacemealpodBonfire Merch https://www.bonfire.com/store/creative-peacemeal/Redbubble Merch CPPodcast.redbubble.comCreative Peacemeal READING list hereInterested in Corrie Legge's content planner? Click here to order!
Give us about fifteen minutes a day and we will give you all the local news, local sports, local weather, and local events you can handle. SPONSORS: Many thanks to our sponsors... Annapolis Subaru, the SPCA of Anne Arundel County, Solar Energy Services, Alpha Engineering and WTMD Today... There is a new (and hopefully more responsive) spokesperson for the Annapolis Police Department. There was an earthquake that no one felt off the coast of Maryland. The Baltimore Banner claimed that Baltimore is the greatest pizza city in Anerica and it did not go over well with me or Reddit. Be sure to vote for your favorite Rams Head show of 2022 in the annual Rammie Awards, we have a link on Eye On Annapolis. And you still can get tickets to see Jimmie's Chicken Shack at Maryland Hall on Saturday MORNING in a special WTMD event. And of course, we have some podcast news as well. And like we do every Friday, Annapolis Subaru and I met up with a fine pooch from the SPCA of Anne Arundel County named Cyrus in this week's Canines & Crosstreks! And as usual, George from DCMDVA Weatheris here with your local weather forecast! Please download their app to keep on top of the local weather scene! The Eye On Annapolis Daily News Brief is produced every Monday through Friday at 6:00 am and available wherever you get your podcasts and also on our social media platforms--All Annapolis and Eye On Annapolis (FB) and @eyeonannapolis (TW) NOTE: For hearing impaired subscribers, a full transcript is available on Eye On Annapolis
Give us about fifteen minutes a day and we will give you all the local news, local sports, local weather, and local events you can handle. SPONSORS: Many thanks to our sponsors… Annapolis Subaru, the SPCA of Anne Arundel County, Solar Energy Services, WTMD, and Alpha Engineering. Today... Anne Arundel County Police are investigating the second murder of the year. Two local businesspeople are headed to Leadership Maryland. St. John's College says that the Annapolis Cup will be invite only and no public tickets will be sold. WRNR is wrapping up it's final two days in Annapolis. There's a Super Bowl and a SOUPer Bowl coming up. A quick contest for tickets to the WTMD show this Saturday with Jimmie's Chicken Shack at Maryland Hall. Pod news and more! Trevor from Annapolis Makerspace is here with your Maker Minute! And as usual, George from DCMDVA Weather is here with your local weather forecast! Please download their app to keep on top of the local weather scene! The Eye On Annapolis Daily News Brief is produced every Monday through Friday at 6:00 am and available wherever you get your podcasts and also on our social media platforms--All Annapolis and Eye On Annapolis (FB) and @eyeonannapolis (TW) NOTE: For hearing impaired subscribers, a full transcript is available on Eye On Annapolis
The Chicken Shack – Luther, Oklahoma – onlyinokshow.com
Give us about ten minutes a day, and we will give you all the local news, local sports, local weather, and local events you can handle. SPONSORS: Many thanks to our sponsors... Annapolis Subaru, the SPCA of Anne Arundel County, Solar Energy Services, Alpha Engineering and Scout & Molly's Today... Inauguration Day! A movie theater closes for good. Annapolis homes and some locals were featured on a PBS series. Crofton is getting a new Giant supermarket. WTMD is hosting a family-friendly concert with Jimmie's Chicken Shack on February 11th. Derek Warfield and the Young Wolfe Tones coming to Killarney House! And the number of $1 million dollars per year earners is significantly on the rise in Maryland, sadly, I am not one of them. Of course some pod news and more! Back with her weekly Annapolis After Dark is BeeprBuzz. She'll keep you up to speed on all of the fantastic live music we have in the area! And as usual, George from DCMDVA Weather is here with your local weather forecast! Please download their APP so you can keep on top of the local weather scene! The Eye On Annapolis Daily News Brief is produced every Monday through Friday at 6:00 am and available wherever you get your podcasts and also on our social media platforms--All Annapolis and Eye On Annapolis (FB) and @eyeonannapolis (TW) NOTE: For hearing impaired subscribers, a full transcript is available on Eye On Annapolis
A slight departure from our regular format. On today's show, Connor and Jack remember the recently departed poet Charles Simic. They read some of his poems, reflect on them, discuss his life and legacy, and even give a shoutout to the Oak Park Public Library. Poems Connor and Jack read in this episode include: "Summer Morning" "Hotel Insomnia" "Watermelons" and "Back at the Chicken Shack." At the end of the episode, hear Simic read his poem "December 21." Check out episodes of Close Talking on YouTube: https://www.youtube.com/@cardboardboxproductionsinc Find us on Facebook at: facebook.com/closetalking Find us on Twitter at: twitter.com/closetalking Find us on Instagram: @closetalkingpoetry Find us on YouTube: www.youtube.com/@cardboardboxproductionsinc You can always send us an email with thoughts on this or any of our previous podcasts, as well as suggestions for future shows, at closetalkingpoetry@gmail.com.
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