Podcasts about Chris Barber

 | Artist  | Title  | Album Name  | Album Copyright  | Bernard Allison  | Change Your Way Of Living  | Luther's Blues CD2  |   | Kat Danser  | Frenchman Street Shake  | One Eye Open  |   | Ben Harper  | Never Leave Lonely Alone  | Both Sides Of The Gun  | Tiny Flaws  | Get That Girl  | Iimperfection Blues  |   | Albert Castiglia  | Double Down  | I Got Love  |   |   | Polly O'Keary and The Rhythm Method  | I Don't Understand  | As Live As It Gets  |   | Guy Belanger  | Four Little Words (We Need To Talk)  | Eldorado  |   |   | Jerimiah Marques  | Heavy Load  | Down By The River  |   | Chris Duarte Group  | Alabama  | Live [CD2]  |   | Katy Guillen & The Girls  | Slingshot  | Remember What You Knew Before-MP3  | Shane Fenton & the Fentones  | Walk Away  | John, Paul, George, Dave, Brian, Tony & More; The Birth of the   | Jimmy Rogers  | Little Store Blues  |   |   | Reverend Shawn Amos& The Brotherhood  | Her Letter  | Blue Sky  |   |   | Eric Sardinas  | Goin' To The River  | Treat Me Right  |   | Butch Cage And Willie Thomas  | He's Got The Whole World In His Hands  | Goodbye Newport [Newport Blues Festival July 1960]  | Chris Barber featuring Rory Gallagher  | Can't Be Satisfied  | Memories Of My Trip  |   | Proven Ones  | Milinda  | You Ain't Done  | Gulf Coast Records  | Louis Jordan and his Tympany Five  | Swinging In A Coconut Tree  | Louis Jordan and his Tympany Five CD 1

In this episode, Paul Heming and Chris Barber challenge the view of Quantity Surveyors as mere cost controllers — and makes the case for QSs to step up as strategic commercial advisors.Through personal stories (including a classic misunderstanding in Italy), Paul explores why QSs are often misunderstood, and what it takes to shift from passive cost reporter to trusted advisor. Whether you're a junior QS or commercial director, this episode offers practical tips to transform how you're perceived by clients, project teams, and the wider business.

In our latest listener-driven Question Time episode, Paul Heming and Chris Barber return to tackle your commercial, contractual, and career questions—this time covering subcontracting from both sides of the fence, AI's impact on QS, and how the industry needs to rethink risk allocation.Register your interest for the Strategy Summit Event at the Churchill War Rooms on June 26th here - https://c-link.com/C-Link-Churchill-War-Rooms-Event

Chris Barber is an entrepreneur/researcher. He co-founded an executive coaching marketplace for startups, and a place for engineers to discover good startups to join. His primary focus is AI preparation & emotional regulation. He's the inventor of a simple but highly effective method for processing emotions called Resonance. It's a way of speaking that helps others regulate their emotions and feel better. In this episode he teaches us how to do it.Resources:* Chris Barber's twitter (DMs encouraged!)* A guide to ResonanceYouTube: This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit themetagame.substack.com

Been a couple weeks - I had to replace my old desktop that was starting to crash too frequently and move all the music files etc to the new machine. Back up now with an episode I recorded a week or so ago! Just a few longer tracks from recent records found and purchased. Hope to be back on schedule soon! Enjoy. Tracklist: Keifer Trio, Pete Jolly, Chris Barber, Les DeMerle, Airmen of Note.

In our latest listener-driven Question Time episode, Paul Heming and Chris Barber dive into your pressing Quantity Surveying and construction challenges. From late payments to navigating design disputes, this episode is packed with actionable advice for industry professionals.

The Spotlight on Muddy Waters! Pacific Street Blues & AmericanaMay 4, 2025Part 1 of 3 - Special PODCAST ONLY showSupport our Show and get the word out by wearin' our gear 1. Paul Rodgers / Muddy Water Blues2. John Hiatt / Crossing Muddy Water3. Van Morrison / Cleaning Windows4. Jeff Healey / Come Together5. Big Joe Williams / Baby Please Don't Go (Aerosmith, 6. Big Bill Broonzy / Night Time is the Right Time (Ray Charles) 7. Mississippi Shieks / Sitting On Top of the World8. Lead Belly / Midnight Special9. Muddy Waters (Lomax) / I Be's Troubled (I Can't Be Satisfied) 10. Ann Cole / I Got My Mojo Working (1956/1957) 11. Bo Diddley / I'm a Man 12. Earl Hooker / Blue Guitar 13. Led Zeppelin / You Shook MeSpotlights Shows14. BB King / Rock Me Baby 15. Buddy Guy / She's 19 Years Old 16. Chuck Berry / Maybellene17. Bob Wills & the Texas Playboys / Ida RedPlanting the Seed in England18. (1979) Chris Barber w/ Muddy Waters / Kansas City19. (1954) Cyril Davis w/ Alexis Korner / Hoochie Coochie Man20. (1951) John Mayall / Long Distance CallTest your Music Knowledge, Play What's the Common Thread, The Music Trivia Game

Two key organizers of the ⁠Freedom Convoy⁠, which succeeded in ending the ongoing Covid lockdowns and mandates in 2022, have been found ⁠guilty ⁠of mischief for their role in the protests.Ontario Court Justice Heather Perkins-McVey said the evidence shows that Chris Barber and Tamara Lich “encouraged people to join or remain at the protest, despite knowing the adverse effect it was having on downtown residents and businesses.”In this episode, ⁠Meghan Murphy⁠ speaks with Gord Magill, a trucker who has been following and covering the persecution of Convoy participants via his work at ⁠Autonomous Truck(er)s⁠ and his podcast, ⁠Voice of Go(r)d⁠. The video version of this interview has been made available in full and for early access to paid subscribers and patrons only. An edited version of the audio will be made available to the public on⁠⁠⁠ The Same Drugs podcast ⁠⁠⁠at a later date.

MONOLOGUE A Decade Lost, a Nation Betrayed, and the Fight for Canada's Soul Carney challenged to denounce his father as ‘residential school denialist' https://www.westernstandard.news/opinion/giesbrecht-carney-challenged-to-denounce-his-father-as-residential-school-denialist/63722   Brian Giesbrecht – Retired Manitoba Judge, senior fellow with the Frontier Centre for Public Policy OPEN LINES THE SOFA CINFEILE Nick Soter reviews the 1953 Biblical Epic, "The Robe" starring Richard Burton, Jean Simmons, Victor Mature THE LIMRIDDLER Scorpion's Sting Pulsate in pain from the scorpion's sting. Eagles allow tiny songbirds to sing. Tolerate fools Who won't follow the rules. Cope with a consequence peril can bring. MONOLOGUE The Fall of the Davos Despot: A Thunderous Requiem for Klaus Schwab and the Globalist Cabal NEWSMAKER Tamara Lich and Chris Barber, Guilty of Mischief https://nationalpost.com/news/canada/freedom-convoy-organizers-to-hear-verdict-in-mischief-trial   Sheila Gunn Reid – Alberta Bureau Chief for Rebel News, Host of “The Gunn Show” Wednesdays 8pm ET_ OPEN LINES THERE'S SOMETHING HAPPENING HERE! Canada slaps 25% counter-tariffs on U.S.-made cars, but not parts https://nationalpost.com/news/politics/federal_election/new-auto-tariff-april-2-liberation-day-reaction-carney   Greg Carrasco – Host of The Greg Carrasco Show, Saturday Mornings 8-11am Sauga 960AM LIMRIDDLE ANSWER AND WINNERS   The Answer to this week's Limriddle was: Suffer The first 5 to answer correctly were: 1. Will McNair, Ottawa, Ontario 2. Paul Eldridge, Toronto, Ontario 3. Linda Blee, Oakville, Ontario 4. Nicholas Cole, York, Ontario 5. Matthew Saczawa, Toronto, Ontario Pulsate in pain from the scorpion's sting. Suffer means to agonize in pain. The scorpion's sting can be painful and venomous. Eagles allow tiny songbirds to sing. Suffer can mean “allow,” though it's an older usage of the word. Shakespeare used the line: “The Eagle suffers little birds to sing.” The Bible uses the line: “Suffer little children, and forbid them not to come unto me.” Tolerate fools Who won't follow rules. Suffer can mean tolerate. The phrase “suffer fools gladly” is also attributable to the bible. Cope with a consequence peril can bring. Suffer can mean to “experience” or “befall,” as in “suffer the consequences.” Learn more about your ad choices. Visit megaphone.fm/adchoices

Come join us for service!Move The Mission Kick Off Service At The Pentecostals Of Dothan.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/Podothan

Today, we're looking at the new global tariffs rolled out by President Donald Trump on Wednesday and how this announcement is reverberating around the world. Plus, the two men vying to become Canada's next prime minister have shared their vision for how the country should respond. We'll look at what Conservative Leader Pierre Poilievre and Liberal Leader Mark Carney are saying on the campaign trail. And finally, Freedom Convoy organizers Tamara Lich and Chris Barber are receiving rulings today for their mischief trial stemming from the 2022 Freedom Convoy, with the judge finally bringing an end to the three-year ordeal. Special Guest: Lise Merle.

The Rebel News podcasts features free audio-only versions of select RebelNews+ content and other Rebel News long-form videos, livestreams, and interviews. Monday to Friday enjoy the audio version of Ezra Levant's daily TV-style show, The Ezra Levant Show, where Ezra gives you his contrarian and conservative take on free speech, politics, and foreign policy through in-depth commentary and interviews. Wednesday evenings you can listen to the audio version of The Gunn Show with Sheila Gunn Reid the Chief Reporter of Rebel News. Sheila brings a western sensibility to Canadian news. With one foot in the oil patch and one foot in agriculture, Sheila challenges mainstream media narratives and stands up for Albertans. If you want to watch the video versions of these podcasts, make sure to begin your free RebelNewsPlus trial by subscribing at http://www.RebelNewsPlus.com

In our latest listener-driven Question Time episode, Paul Heming and Chris Barber dive into your pressing Quantity Surveying and construction challenges. From late payments to navigating design disputes, this episode is packed with actionable advice for industry professionals.

In our latest listener-driven Question Time episode, Paul Heming and Chris Barber delve into the most pressing challenges faced by QSs and construction professionals. Covering topics from variations to supply chain fairness, this is your go-to resource for practical advice and expert insights.

In this episode, Paul Heming and Chris Barber reflect on their Quantity Surveying careers, the origins of C-Link, and the evolution of Own the Build.What You'll Learn:Defining the Role of a Commercial DirectorWhat sets a Commercial Director apart from senior commercial managers, and how have the expectations of this role evolved over the years?Lessons from Role ModelsWhat behaviours and traits inspire teams and build credibility in a Commercial Director? Conversely, what hinders their effectiveness?Core Strategies for SuccessSupply Chain Strategy: Building trust-based, long-term relationships with suppliers and delivering greater project profitability.Digital Strategy: The non-negotiable technologies for QS teams and how to drive adoption without overwhelming your team.People Strategy: Developing high-performing teams, fostering the right culture, and balancing technical skills with leadership capabilities.Managing Relationships and ExpectationsLeading Teams: How to motivate, inspire, and manage conflicts effectively within your team.Managing Up: Why managing the board and stakeholders is as important as managing your team, and how to align competing priorities.Defining Success and Building a LegacyWhat does success look like for a Commercial Director beyond financial outcomes, and how can they create a lasting legacy within the organisation?

In our first-ever listener-driven Question Time episode, Paul Heming and Chris Barber tackle your most pressing questions on Quantity Surveying, contract management, variations, and lessons learned.

In this milestone episode, Paul Heming and Chris Barber reflect on their Quantity Surveying careers, the origins of C-Link, and the evolution of Own the Build.What You'll Learn:

From CTV News: "An Ontario judge is slated to deliver verdicts March 12 in the criminal trial of 'Freedom Convoy' organizers Chris Barber and Tamara Lich. Barber and Lich are co-accused of mischief, intimidation and counselling people to break the law for their roles in a 2022 demonstration that blocked Ottawa streets and infuriated residents."We get to talk to Tamara and you get to ask questions, too!

Chris talks with Chris Barber about all things Freedom Convoy and how it's important to get involved in our own political process.December 21, 2024

Chris talks about Chris Barber and Tamara Lich and what's happening in Alberta.December 19, 2024

Two of the Freedom Convoy's organizers are from Saskatchewan. Tamara Lich and Chris Barber don't usually give interviews, but spoke with reporter David Fraser as they await trial.

Do you have a computer at home or work? Listen up! Chris Barber waas on the road to be a homicide detective and took a detour and was a car theft investigator. When he saw how technology was advancing about 20 years ago, he had an idea-- and Cheaper Than A Geek was born. Well, after a battle with Best Buy! Today we talk with Chris about how it all started and what specifically he and his team do. Spoiler: they don't do it all,but if they don't, they know a guy! We spent a lot of time discussing scams and cyber threats that are increasing daily and putting you at risk. Yes, even if you are someone pecking away and playing Candy Crush at home, you are vulnerable. Cheaper Than A Geek helped me out a few months back with a great referral, and that is what the business is built upon--fantastic customer service. And that service has earned Cheaper Than A Geek several awards! Have a listen! LINKS: Cheaper Than A Geek (Website) Cheaper Than A Geek (Facebook) Cheaper Than A Geek (X | Twitter) Cheaper Than A Geek (Linked In) Cheaper Than A Geek (YouTube)

Here is the complete livestream from Monday night where we discussed all the events leading up to the 2024 Saskatchewan Provincial Election. 222 Minutes co-hosted the livestream and we were joined by John Gormley, Chris Barber, Ken Rutherford, Nadine Ness, Lee Harding, Lise Merle, Wayne Peters, Angela Schmitt and Quick Dick McDick.  Cornerstone Forum ‘25https://www.showpass.com/cornerstone25/ Clothing Link:⁠⁠⁠https://snp-8.creator-spring.com/listing/the-mashup-collection⁠⁠ Text Shaun 587-217-8500 Substack:https://open.substack.com/pub/shaunnewmanpodcast E-transfer here: shaunnewmanpodcast@gmail.com Silver Gold Bull Links: Website: https://silvergoldbull.ca/ Email: SNP@silvergoldbull.com Text Grahame: (587) 441-9100

From trucker to freedom fighter: Chris Barber's battle for Canada's soulNeoborn Caveman is joined by Freedom Convoy hero Chris Barber for a raw look at Canada's fight for sovereignty. Chris shares the truth about the peaceful protest that shook the world and exposed what really happened when truckers stood up against government overreach. From frozen bank accounts to court battles, nothing's off limits.Warning: This episode contains dangerous amounts of truth, common sense, and old-school Canadian values. May cause sudden urges to stand up for freedom.We're talking:- How the Freedom Convoy woke up millions worldwide- The real cost of standing up to tyranny- Why censorship laws are just the beginning- What happens when good people stay silentPlus:- Why your small town might save Canada- The power of multi-generational homes- Getting your hands dirty in local politics- Building communities that can't be brokenKey Takeaways:- The Freedom Convoy was more than trucks - it was hope on wheels- Government overreach isn't stopping - it's accelerating- Most Canadians are waking up, but too many are still sleeping- Non-compliance works when we stand together- Local politics and community building are our secret weapons- Family heritage and hard work still matter- Small towns hold the key to Canadian freedomSupport the show and join the resistance on our Patreon: https://www.patreon.com/TheNeobornCavemanShowRemember: you are worthy, you are special, you are one of a kind!........ Hosted on Acast. See acast.com/privacy for more information.

Episode Highlights: awakening to the truth, trucker convoy, impact on society and government, media's role and challenges, legal battles, the Ottawa convoy experience, facing fear, political predictions, future of Canada   Summary: In this Monday's episode of the Awake and Winning Podcast, Kaylor sits down with Chris Barber, a key figure in the Canadian Trucker Convoy, to dive deep into his journey from awakening to the realities of government mandates during the COVID-19 pandemic to becoming a leader in one of the most talked-about movements in recent history. Chris opens up about the grassroots nature of the convoy, the diverse group of people it brought together, and the profound impact it had on both society and the government. He doesn't shy away from discussing the challenges—media misrepresentation, personal legal battles, and the emotional toll it all took. If you've ever wondered what really happened behind the scenes of the convoy, this is an episode you don't want to miss.    Takeaways: The Trucker Convoy was a grassroots protest against government oppression Media misrepresented the movement, despite its focus on freedom Participants, including Barber, faced severe legal and financial challenges Community support was key, and the convoy still inspires resistance Ongoing lawsuits and calls for political reform continue   If you enjoyed the episode, please be sure to take a screenshot and share it out on Instagram and tag @thekaylorbetts. Also, please make sure to give us a review and a five star rating if you're loving what we are doing! _____________________________   RESOURCES & LINKS MENTIONED IN THIS EPISODE:   Instagram | https://www.instagram.com/bigred19755/  TikTok | https://www.tiktok.com/@bigred19755 Facebook | https://www.facebook.com/profile.php?id=100093195807922&sk=reels_tab X | https://x.com/ChrisBarber1975  DONATE HERE | https://www.jccf.ca/  DONATE HERE | https://www.thedemocracyfund.ca/    _____________________________   SPONSORS: Truly Tallow | https://www.trulytallow.com/ Use code “SUNNYBALLS10” at checkout for 10% off your order   The Wellness Company | https://www.twc.health/collections/signature/products/spike-bromelain-turmeric Use code “WINNING” at checkout for 10% off your order _____________________________   IMPORTANT UPDATES:   Check out the Awake & Winning Website | https://awakeandwinning.com/ Join the Awake & Winning Life AW-cademy | https://theawlife.com/ Join the Awake & Winning Business AW-cademy | https://theawbiz.com Join the Awake & Winning POD-cademy | http://yourwinningpodcast.com/ Follow Kaylor on Instagram | https://www.instagram.com/thekaylorbetts/ _____________________________  

Links mentioned: Data Scotland: https://datascotland.org/ Chris Barber: https://www.starschema.co.uk/  Hosts Wyn Hopkins,, Sue Bayes, Giles Male, and Mark Proctor.   YouTube

Transcripts and some chapter headings are AI Generated. They are not authoritative. Always refer to the actual content of the podcast. Please support Tommy's work: Urban Scoop SupportIn this episode of "Silenced with Tommy Robinson," Tommy sits down with Chris Barber, the man behind the famous Canadian trucker convoy that protested against COVID-19 vaccine mandates. Chris shares his personal journey, from growing up in a small village in Saskatchewan to becoming a trucker and eventually organizing a protest that captured global attention. He discusses the challenges he faced, including the severe lockdowns in Canada, the impact of vaccine mandates on his business and family, and the emotional toll it took on him and others.Chris recounts the overwhelming support the convoy received from Canadians, the media's attempts to discredit the movement, and the government's harsh response, including the freezing of bank accounts and the use of the Emergencies Act. He also talks about his arrest, the legal battles he is currently facing, and the ongoing fight for freedom and accountability in Canada.Throughout the episode, Chris emphasizes the importance of standing up for one's rights and encourages others to get involved in local politics to effect change. The conversation sheds light on the broader implications of the trucker convoy and its impact on the global narrative surrounding COVID-19 mandates.

This week on the podcast, I am rejoined by Chris Barber, hero of the Freedom Convoy. Chris and I chat about life since the convoy. The long, drawn out circus that has been trial and how he's been practicing dropping the soap.

 | Artist  | Title  | Album Name  | Album Copyright  | Eric Clapton & Chris Barber et al - John Mayall & The Blues Breakers  | Hideaway  | 70th Birthday Concert  | Eric Clapton & John Mayall & the Bluesbreakers  | Tribute to Elmore  | The Early Years  |   | John Mayall With Buddy Whittington  | Sen-Say-Shun  | Blues From The Lost Days  | Walter Trout  | Mayall's Piano Boogie (Instrumental)  | The Blues Came Callin'  | Blues Breakers  | All Your Love/ Hideaway  | Blues Breakers. John Mayall with Eric Clapton  | John Mayall's Bluesbreakers  | Bye Bye Bird  | Live In 1967 Vol. II  |   | John Mayall & The Blues Breakers And Friends, Mayall, Clapton & Barber  | Please Mr Lofton  | 70th Birthday Concert  | John Mayall & Duster Bennett  | My Babe [John Mayall & Friends, Live At The Palais Des Sport  | Live In France [Disc 1]  | Sonny Terry & Brownie McGhee  | God And Man  | Sonny & Brownie  |   | James Oliver  | Peter Gun  | Less Is More  |   | Stompin' Dave's Rockin' Outfit  | Great Balls Of Fire  | Stompin' Dave's Rockin' Outfit  | John Mayall's Bluesbreakers w Peter Green, John McVie, Mick Fleetwood | Stormy Monday  | Live In 1967 Vol. II  | 

 | Artist  | Title  | Album Name  | Album Copyright  | Hats Off Gentlemen It's Adequate  | Skyline (bonus track)  | Feeling Great  |   | Matthew Fox  | Southern Moon  | That Crooked Stage  |   | John Hammond  | Southbound Blues  | You Can't Judge A Book By The Cover - 1993  | Big Creek Slim  | Hyperborean Blues  | Migration Blues  |   | Errol Linton  | City Blues  | Break The Seal  |   | Willie 'Long Time' Smith  | My Buddy Dr Clayton  | Down Home Blues: Chicago 5CD Set CD1  | Wienerworld  | Mean Mary  | Sparrow Alone  | Alone [   | Jan James  | Always the Blues  | Time Bomb  |   | Amos MIlburn  | After Midnite  | Blues. Barrelhouse and Boogie Woogie: The Best Of Amos Milburn   | Robert Hokum  | 30 Days In Jail  | Trippin' Backwards  |   | Wily Bo Walker and Danny Flam  | Long Way To Heaven  | Ain't No Man A Good Man  | Chuck Berry  | Maybellene  | Chuck Berry  |   | Chris Barber featuring Muddy Waters  | Kansas City  | Memories Of My Trip  | Alabama Lovesnakes (Sweden)  | St. James Infirmary Blues  | Nasty Weather  |   | Robert Randolph & The Family Band  | Simple Man  | Brighter Days  |   | Deb Ryder  | Lord Knows I Do  | Grit Grease & Tears  | 

Rays Jazz ShopRays Jazz shop was originally Collets Jazz and Folk Records " The shop moved to Shaftesbury Ave in 1974 and the following year Ray came to an agreement with Chris Barber to store and sell a vast number of mint condition 78s which Chris had picked up from a warehouse in New Jersey. They were on the Savoy, DeeGee and Bop labels, still boxed in original packaging from the late 40s, by Charlie Parker, Dizzy Gillespie, Dexter Gordon, Sonny Stitt, Wardell Gray & others. The publicity raised the profile of the shop, television and radio publicity followed, and Peter Clayton interviewed Ray, with Matthew Wright, for a broadcast on the BBC World Service,In 1983, Collets wanted to move the record shop but the jazz staff – Ray, Matthew and Bob Glass - had no interest in going. Ray decided that as it had been his life for nearly thirty years, he had most to lose and was more committed to it, so he bought the lease from Collets. They closed for a few days, pulled down a wall, repositioned the counter and reopened it as Ray's Jazz Shop, ready for trading. Ray's wife, Wendy, a professional illustrator, designed the cat logo for the shop. It quickly established itself and live music sessions were held there. It was a meeting place for musicians and legendary hipster Slim Gaillard became a regular. In 2002, spiralling costs and ill health forced him to give up the lease, but thanks to the endeavours of Paul Pace, the name lives on at Foyle's in the Charing Cross Road and in the words of Georgie Fame's song “Vinyl”.In his final years he only occasionally moved out of his home area of Camden, but could be seen from time to time at gigs, usually accompanied by close friend and musician Paul Shearsmith. "From Cargo CollectiveLook out for the bonus episode coming soonThis is our website This is our InstagramThis is our Facebook group

El viernes, 17 de mayo, más de 1,500 estudiantes de HSD, incluyendo los estudiantes de tercer grado de dieciséis escuelas primarias y estudiantes de octavo grado de las escuelas secundarias Poynter y Evergreen, participaron en un Día de las profesiones aeroespaciales durante el Oregon Air Show en el aeropuerto de Hillsboro.  El evento fue creado conjuntamente por el programa Caminos a la Profesión y a la Universidad de HSD para las escuelas primarias y Oregon Air Show Charitable Foundation como una forma de involucrar a los estudiantes en actividades prácticas de aviación, ciencia e ingeniería dirigidas por pilotos, mecánicos de aviación e ingenieros de motores a reacción.  Los estudiantes de las escuelas preparatorias que participan en el programa Profesiones Aeroespaciales de Oregón para Todos de HSD, junto con su maestra, Sheri Brownlie, apoyaron a los participantes mientras se involucraban en actividades como la creación de aviones Harrier de papel y el aprendizaje sobre los fundamentos del vuelo, incluyendo cómo el diseño aerodinámico mantiene a un avión en el aire.  Los estudiantes también tuvieron la oportunidad de conocer y conversar con los encargados de mantenimiento de la Fuerza Aérea sobre los componentes de un motor a reacción, ver y tocar herramientas de mecánica de aviación gracias al programa de aviación de PCC, además de explorar un avión Q-400 en recorridos organizados por Alaska/Horizon Air.  Muchas gracias a Oregon Air Show Charitable Foundation y al capitán Chris Barber por patrocinar y facilitar el evento, con la esperanza de que los estudiantes intenten alcanzar las estrellas para lograr sus sueños. Si desea conectarse con esta visión en el futuro, por favor comuníquese con la maestra en asignación especial de Caminos a la Profesión y a la Universidad para las escuelas primarias Raquel Lemus García. ¡Nuestros estudiantes destacados son los valedictorians y salutatorians de 2024! El martes, 21 de mayo, celebramos a nuestros ochenta y tres estudiantes sobresalientes durante un almuerzo celebrado en el Centro Comunitario Hidden Creek.  El superintendente Travis Reiman, el alcalde Steve Callaway, la directora ejecutiva de Hillsboro Schools Foundation, Aron Carleson, la directora del Programa de la Escuela a la Profesión de la Cámara de Comercio del Condado de Washington, Karen Donaldson, y el presidente de la Mesa Directiva, Mark Watson, felicitaron a los estudiantes por sus logros y los alentaron tanto a ir a la universidad y experimentar nuevas aventuras, como a considerar regresar aquí después para poner sus raíces.  Como es tradición, el evento concluyó con los estudiantes compartiendo un consejo para los nuevos estudiantes freshmen. Visite nuestro sitio web para leer sus comentarios y ver imágenes del evento. La publicación de Noticias de la Semana se elabora y se envía por correo electrónico a las familias y a los miembros del personal de HSD cada semana durante el año escolar. Por favor, agregue esta dirección de correo electrónico a su lista de «remitentes seguros» para asegurarse de recibir siempre la publicación más reciente. Además, por favor no deje de agregar a sus enlaces favoritos el sitio web de nuestro distrito (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠hsd.k12.or.us⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) para mantenerse informado sobre lo que está sucediendo en nuestro distrito y en las escuelas.

SELECCIÓN 07 2024 BLUES SYNDICATE 1- BLUES STAY AWAY FROM ME – CHRIS BARBER & MARK KNOPLER 2- WHEN THE LEVEE BREAKS – CARY MORIN 3- CROSS CREEK ROAD – BIG DADDY WILSON 4- KANSAS CITY BLUES – STEVE HOWELL & JASON WEINHEIMER 5- TAKE ME TO THE COUNTRY – JONTAVIOUS WILLIS 6- BABY´S GOT ANOTHER LOVER – MICK KOLASSA 7- A MAN AND THE BLUES – BUDDY GUY 8- WON´T GET ANY BETTER – MICHAEL VAN MERWYK 9- THE MOON IS RISING – ROBERT NIGHTHAWK 10- DEATH LETTER BLUES – CHRIS THOMAS KING 11- WHISKEY DRINKIN´BLUES – ANDREW JR BOY JONES 12- THREE O´CLOCK BLUES – GARY CLARK JR. 13- IT´S GOOD IN MY NEIGHBORHOOD – BUSTER BENTON 14- DON´T START ME TALKING – JOHN HAMMOND 15- HURRY UP AND WAIT – LITTLE CHARLIE & THE NIGHTCATS

For the first time since their arrests more than two years ago, Tamara and Chris have been cleared by a judge to see each other outside of a courtroom or in the presence of their lawyers. In their first interview since that ruling, we thought we'd sit down in the spirit of our old ‘Coffee with the Convoy' Livestreams that began before they even made it to Ottawa. We found them having a few beers and celebrating this small victory. The mood was hopeful and infused with fellowship and good will. Are there great days ahead? WATCH the video episode on Trish's Substack HERE Support the new Tamara Lich Documentary HERE: https://www.givesendgo.com/GB14C Follow Trish on X (Twitter) Website: www.trishwoodpodcast.com  Shop: https://www.trishwoodpodcast.com/shop  Leave us a voice message

Seven of ten provincial premiers have called on the federal government to scrap its planned carbon tax increase, although Justin Trudeau continues to double down. With Trudeau's government paying no heed to calls from his provincial counterparts and the cash-strapped Canadians they represent, Trudeau is making it clear it's his way or the highway. True North's Andrew Lawton discusses Colin Craig of SecondStreet.org. Also, True North's Rachel Emmanuel was barred from reporting on Trudeau's visit to Calgary yesterday and threatened with arrest if she even stood inside the building hosting the prime minister's press conference. She joins to explain what went down. Plus, from the ongoing trial of Tamara Lich and Chris Barber to the Coutts 4, concerns about politicized prosecutions are abound in the justice system. Former Encana CEO Gwyn Morgan delved into the phenomenon in an essay for C2C journal, on “the worrisome wave of politicized prosecutions.” He joins Andrew to discuss. Learn more about your ad choices. Visit megaphone.fm/adchoices

Freedom Convoy organizer Chris Barber is suing the federal government and has entered a statement of claims for Ottawa using the Emergencies Act to freeze his bank accounts and credit and debit cards and making the lives of the Barber family, as well as operating their Saskatchewan trucking business exceedingly difficult. The lawsuit follows the Federal Court ruling the Trudeau government violated the Charter rights of all Canadians by invoking the Emergencies Act. According to Barber's lawyers by freezing the bank accounts, credit and debit cards the federal government violated Section 24 of the Charter of Rights and Freedoms. Guest: Chris Barber, owner of C.B. Trucking in Saskatchewan. & Eva Chipiuk. Alberta lawyer representing Barber in his lawsuit against the federal government. Learn more about your ad choices. Visit megaphone.fm/adchoices

Robert Dorion will be joining us today. Robert is a French Canadian from Quebec whose goal is to expose the governments abuse of power and overreach. We will be talking about the recent Emergencies Act decision and other issues facing Canada. Chris Barber will also join the show today. Chris was a part of the Freedom Convoy and is on trial for 7 federal charges and faces 10 years in prison. Sun City Silver and Gold: sovereignize@protonmail.com Zstack Protocol: https://zstacklife.com/?ref=LAURALYNN   ☆ We no longer can trust our mainstream media, which is why independent journalists such as myself are the new way to receive accurate information about our world. Thank you for supporting us – your generosity and kindness to help us keep information like this coming! ☆ ~ L I N K S ~  ➞ DONATE AT: https://www.lauralynn.tv/ or lauralynnlive@protonmail.com ➞ TWITTER: @LauraLynnTT ➞ FACEBOOK: Laura-Lynn Tyler Thompson ➞ RUMBLE: https://rumble.com/c/LauraLynnTylerThompson ➞ BITCHUTE: https://www.bitchute.com/channel/BodlXs2IF22h/ ➞ YOUTUBE: https://www.youtube.com/LauraLynnTyler ➞ TWITCH: https://www.twitch.tv/lauralynnthompson ➞ BRIGHTEON: https://www.brighteon.com/channels/lauralynntv ➞ DLIVE: https://dlive.tv/Laura-Lynn ➞ ODYSEE: https://odysee.com/@LauraLynnTT:9 ➞ GETTR: https://www.gettr.com/user/lauralynn ➞ LIBRTI: https://librti.com/laura-lynn-tyler-thompson

For many Canadians, it felt like their victory too. Yesterday, Justice Mosley ruled that the Emergencies Act, declared by Prime Minister Trudeau, was illegal. After years of feeling that all institutions had failed, finally there is a recognition that the Freedom Convoy was not the heinous enterprise described by the prime minister and portrayed in the media. It's unclear what effect this judgement will have on the criminal charges against Tamara Lich and Chris Barber, but it is the beginning of renewed hope for the country. Watch the VIDEO episode on Substack. Support the new Tamara Lich Documentary HERE: https://www.givesendgo.com/GB14C Follow her on X (Twitter) Website: www.trishwoodpodcast.com  Shop: https://www.trishwoodpodcast.com/shop  Leave us a voice message

We often get messages asking for advice on how to help encourage younger people with space flight. Well our guest this week has been doing that for over 25 years. Chris Barber founded ISSET space in 1998 and has had 60 different astronauts and cosmonauts involved with events around the globe to inspire people.100 Patreons By Show 200: https://www.patreon.com/SpaceandthingsISSET Space: https://www.isset.space/Mission Discovery: https://www.isset.space/pages/missiondiscoveryChris Barber:LinkedIn: https://www.linkedin.com/in/chris-barber-3478361a/ Full show notes: https://spaceandthingspodcast.com/Show notes include links to all articles mentioned and full details of our guests and links to what caught our eye this week.Image Credits: ISSET SpaceSpace and Things:X: https://www.twitter.com/spaceandthings1Instagram: https://www.instagram.com/spaceandthingspodcastFacebook: https://www.facebook.com/spaceandthingspodcast/Merch and Info: https://www.spaceandthingspodcast.comPatreon: https://www.patreon.com/SpaceandthingsBusiness Enquiries: info@andthingsproductions.comSupport this show http://supporter.acast.com/spaceandthings. Hosted on Acast. See acast.com/privacy for more information.

Rebel News is hitting back for the arrest of David Menzies by taking Deputy Prime Minister Chrystia Freeland, the RCMP and York Regional Police to court. Plus, a Nova Scotia sexual health organisation that has received federal and provincial funding offers free-of-charge lubricant, flavoured oral sex dams and other adult products to “all-ages.” And after returning for just one day in the new year, a judge has halted the trial of Freedom Convoy leaders Tamara Lich and Chris Barber. Tune into The Daily Brief with Cosmin Dzsurdzsa and Lindsay Shepherd! Learn more about your ad choices. Visit megaphone.fm/adchoices

Best friends Chris Barber and Alan Johnson fly on in as we discuss Gatorade, George W Bush, the best and worst Punk'd reactions, and what happens when frogs meet fire ants! Bird List: Cormorant Black crowned night heron Belted kingfisher Mallard Domestic duck American coot Pied billed grebe Cassens kingbirds Turkey vulture Western gull Canada geese White pelicans Great egrets Wigeon House finch Osprey Brown headed cowbird White crowned sparrow Common Yellowthroat Black phoebe --- Support this podcast: https://podcasters.spotify.com/pod/show/birder-barely-knowher/support

On tonight's show: Earl Bostic, Chris Barber, Mundell Lowe, Duke Ellington with Ella Fitzgerald, Benny Carter, Art Pepper, Sonny Stitt, Lem Winchester & Ramsey Lewis Trio, Dave Pike, Eddie Jefferson, Cornell Dupree, Steven Mayer, The Spencer Wyatt BIg Band, and Ahmad Jamal  with Yusef Lateef.

A new poll shows that not only most Canadians favour Pierre Poilievre to Justin Trudeau, but even those who voted for Trudeau in 2021 are split on whether he should step down ahead of the next election. While the polls have consistently bad for the Liberals, Trudeau has been unequivocal that he plans to contest the next election – and his caucus has been in lockstep behind him. Do you think he should run or resign? Also, Trudeau has told Alberta Premier Danielle Smith the federal government will fight Alberta's proposed withdrawal from the Canada Pension Plan, prompting Smith to tell Ottawa to butt out. True North's Andrew Lawton discusses with Aaron Wudrick of the Macdonald-Laurier Institute. Plus, the criminal mischief trial of Tamara Lich and Chris Barber continues, with testimony this week from Ottawa residents opposed to the Freedom Convoy. Epoch Times reporter Matthew Horwood joins the show to give the latest. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Rebel News podcasts features free audio-only versions of select RebelNews+ content and other Rebel News long-form videos, livestreams, and interviews. Monday to Friday enjoy the audio version of Ezra Levant's daily TV-style show, The Ezra Levant Show, where Ezra gives you his contrarian and conservative take on free speech, politics, and foreign policy through in-depth commentary and interviews. Wednesday evenings you can listen to the audio version of The Gunn Show with Sheila Gunn Reid the Chief Reporter of Rebel News. Sheila brings a western sensibility to Canadian news. With one foot in the oil patch and one foot in agriculture, Sheila challenges mainstream media narratives and stands up for Albertans. If you want to watch the video versions of these podcasts, make sure to begin your free RebelNewsPlus trial by subscribing at http://www.RebelNewsPlus.com

Rebel News reporter Robert Kraychik joins Ezra Levant to provide an update on what he's learning while covering the ongoing trial of Freedom Convoy organizers Tamara Lich and Chris Barber.

Documents recently obtained under FOIPOP by associates of Jeremy Mackenzie, Canada's number one Enemy of The State, have begun to be analyzed and show an alarming level of malfeasance on the part of the Canadian Government and its security services, The RCMP and CSIS, as well as the media, and a state funded activist group called The Canadian Anti-Hate Network (CAHN). Voice of GO(r)D is joined by Toronto based Lawyer and independent journalist Caryma Sa'd, who has reviewed these very recently released documents, and with Elisa Hategan, another victim of CAHN and their penchant for smear campaigns, has drafted a deep expose and summary of this nexus where agents of the security state met a government incentivized to engage in a witch hunt by a client group driven by toxic identity politics, whom have afforded themselves illegitimate credentials as 'experts'. In essence, everything you read in the media about Diagolon, Coutts, and the rationale behind the invocation of The Emergency Measures Act, was high level misinformation, grossly so, and built on a pack of lies. The report/expose is a damning indictment of everyone involved, and is worth your time to read; in a normally functioning political culture heads would roll because of it. This is, however, Justin Trudeau's Canada, and democracy ain't what it used to be. And all of this with the backdrop of political prisoners in Alberta, and the current and ongoing trials of Tamara Lich and Chris Barber, who were prominent leaders of the Ottawa component of The Freedom Convoy Read the Expose here - https://static1.squarespace.com/static/64febd50f4fd8674296b61ae/t/6500bae1dced033b736564a4/1694546659244/The+HateGate+Affair.pdf https://crier.co/the-hategate-affair-unmasking-canadas-hate-industry/ You can read all of the released documents here yourself - https://truthpedia.ca/the-diagolon-files.html Follow this unfolding story - http://hategate.ca/ You can find Caryma on Twitter - https://twitter.com/carymarules If you want to find out more about Political Prisoners in Canada, I have recorded two podcasts and written extensively on the matter. https://www.newsweek.com/justin-trudeaus-political-prisoners-opinion-1812866 https://autonomoustruckers.substack.com/p/regime-stenography-and-the-maple https://open.spotify.com/episode/17bFkaB7NAiNErJc2eBzaS?si=f37bbe4096b24350 https://open.spotify.com/episode/5G7xofPQYCgaD0xEaYLf5t?si=7680ad9ddef7497e If you want to help with legal defense for the Coutts Men, please donate here - https://www.givesendgo.com/G9HX4 Feel free to contact the show - gordilocks@protonmail.com Subscribe to my Substack - https://autonomoustruckers.substack.com/

Tamara Lich and Chris Barber were at the forefront of the convoy protest that rolled into Ottawa on Jan. 29, 2022. As leaders, they encouraged supporters blocking the downtown to both ‘hold the line' and protest peacefully. On Feb. 17, 2022, they were arrested. Now they are standing trial for their actions.Kristy Kirkup is a parliamentary reporter for the Globe and she went to the first week of their trial. She explains why this trial is expected to uncover new details about the convoy protest and catches us up on what happened in the opening days.Questions? Comments? Ideas? Email us at thedecibel@globeandmail.com

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