Podcasts about crawdaddy

In this episode of Writing Therapy, SMA Education Committee Vice Chair Dr. Richard Leggett sits down with Dr. Carey Robinson, a retired ophthalmologist whose creative journey has taken him well beyond the exam room. Known by his pen name “Dr. Crawdaddy,” a nod to his Louisiana roots and LSU background, Dr. Robinson shares how writing has become a meaningful outlet in retirement. From a children's book (Yes! That's What I Do Best!) and a collection of life lessons (The Last Sip of Coffee) to an Advent devotional and two upcoming works-in-progress, his projects illustrate his passion for storytelling. Tune in as he discusses the therapeutic power of writing and the inspiration behind his body of work.

Brad Shuksta joins the boys for a Spring/Summer 2025 Preseason Pod.

In this episode, we invite the excellent Gene Sculatti to talk us through his career from Crawdaddy! magazine to the Atomic Cocktail radio show he still hosts at Luxuria Music. Commencing in San Francisco in the summer of 1960 — when Gene first heard Dion's 'Lonely Teenager' — we ask our guest about his lifelong love of surf music and the Beach Boys. From there we jump to his mid-'60s radio show "Blues and Such", then on to the first stirrings of the Haight-Ashbury scene he captured in a landmark 1966 report for Crawdaddy! ... and later in San Francisco Nights, the classic 1985 book he co-wrote with the late Davin Seay. Gene recalls his 1973 move to Los Angeles and his subsequent years as the editorial director of Warner Brothers Records in Burbank. We hear about the company's super-hip in-house publications Circular and Waxpaper, as well as about working under the legendary Derek Taylor. We also discuss his deep love of '80s dance-pop and his 1990 sleevenotes for Madonna's Immaculate Collection. The episode with clips from a 2012 audio with The Band's sainted keyboard genius Garth Hudson, who was lost to us on 21st January, and finally with quotes from Mark's and Jasper's favourite new additions to the RBP library. Pieces discussed: San Francisco Bay Rock, Mojo Navigator: Memories of Mojo, "Home Runs, No Bunts" — Solar Power On The Rise, Madonna: The Immaculate Collection, Barry Goldberg Interviews, Articles and Reviews, Barry Goldberg & Bob Dylan's Secret Gem, The World According to Garth Hudson, The Band's Garth Hudson audio, The Walker Brothers, Pop Eye: The New Jazz, Burt Bacharach, Derek Taylor, Sly & Robbie Come On Like Assassins, Wu-Tang Clan: One of These Men Is God, and Thundercat.

The Yesterday & Today Podcast is celebrating 200 episodes with a special all-new discussion around an exciting collection of Beatles news magazine rarities! In a segment we call WE READ THE NEWS TODAY, hosts Wayne and Paul Kaminski are joined by Take it Away co-founder and co-host Chris Mercer to read, review and examine a selection of contemporaneous Beatles news magazine sources from during and after the band's time together. From John Lennon's illuminating 1974 Crawdaddy feature, to TIME Magazine's exploration of the "new" Beatles in September of 1967, this episode offers a glimpse into the minds of journalists and critics that analyzed the Beatles story in real time at various points in the band's history and beyond. We'd like to thank Chris for joining us in this fun conversation, and a huge thanks to all of you listeners who kept this podcast going for 5+ years, hundreds of thousands of downloads, 190+ countries and 200 episodes & counting! Hosted on Acast. See acast.com/privacy for more information.

Crawdaddy joins me to talk about men's basketball's wins over Portland and Oregon State, and football's win over Wisconsin. Learn more about your ad choices. Visit megaphone.fm/adchoices

Knock 'Em Out the Box - Episode 90 - Crawdaddy Vinnie and Brendan bring you a full breakdown of Saturday's Riyadh Season card. From upsets to Eminem to scoring to matchmaking this episode has it all. Where do Crawford and Madrimov go from here? Will Jared Anderson come back? Is Andy Cruz a future superstar? Will we see Jarrell Miller on another card? Will Rayo Valenzuela become a player at 140? The boys also make their predictions known for Vergil Ortiz / Serhii Bohachuk and Luis Alberto Lopez and Angelo Leo. Tune in for all that and much more on this week's Knock 'Em Out The Box  Write to us at ⁠keotbboxing@gmail.com⁠⁠⁠⁠. Follow us on Instagram @KEOTBBOXING Subscribe to the Youtube page @KEOTBPodcast. Remember to like, subscribe, and review the show!!!

Back on the Marc Kapetan Show, a great friend of the show Keith Korsgaden.  Kieth is the owner of Crawdaddy's in Visalia, a staple for food and music in the south valley.  We mostly talk music and food with Korsgaden but the laughs just kept coming.  See omnystudio.com/listener for privacy information.

Rain City Goaltender "CrawDaddySaves" Brad Shuksta joins the podcast to discuss his hockey/gaming origins and his experience with the UAHL so far. The boys also recap the last two weeks, U-Fantasy, and announce January's Players of the Month.

Here's the exciting conclusion of a two parter that's all about songs with "heart" - in the title, that is. The heart is a nasty lookin' thing, innit? But it's a word that symbolizes so much - love, pain, devotion, longing, passion, energy, excitement, life itself. It's safe to say that it's perhaps the second most essential organ in rock n' roll (insert winky smiley face here). We are thrilled to be joined by Andrea Lewis Jarvis, Harley Farr, and Matt Gray from The Darling Buds! The Buds formed in Newport, Wales in 1986, a band of friends who made great music and experienced amazing adventures together. The new 5-CD Cherry Red Records box set, Killing For Love: Albums, Singles, Rarities, Unreleased 1987-2017 collects the band's three albums recorded for CBS/Sony (1989's Pop Said... , 1990's Crawdaddy, 1992's Erotica), their 2017 EP Evergreen, and plenty of early singles, demos, b-sides, and rarities. During Part 2, you'll hear our top two choices for "heart" songs, the glorious new box set, the pros and cons of the modern music business model, the obscene power of the British music media, US vs. UK crowds, the timelessness of classic alternative, and what drives the band now. Plus, hear the 1987 Leeds demo of "Shame On You" from Killing For Love. If you haven't listened to Part 1 yet, go back and listen! Learn more about your ad choices. Visit megaphone.fm/adchoices

Here's the exciting conclusion of a two parter that's all about songs with "heart" - in the title, that is. The heart is a nasty lookin' thing, innit? But it's a word that symbolizes so much - love, pain, devotion, longing, passion, energy, excitement, life itself. It's safe to say that it's perhaps the second most essential organ in rock n' roll (insert winky smiley face here). We are thrilled to be joined by Andrea Lewis Jarvis, Harley Farr, and Matt Gray from The Darling Buds! The Buds formed in Newport, Wales in 1986, a band of friends who made great music and experienced amazing adventures together. The new 5-CD Cherry Red Records box set, Killing For Love: Albums, Singles, Rarities, Unreleased 1987-2017 collects the band's three albums recorded for CBS/Sony (1989's Pop Said... , 1990's Crawdaddy, 1992's Erotica), their 2017 EP Evergreen, and plenty of early singles, demos, b-sides, and rarities. During Part 2, you'll hear our top two choices for "heart" songs, the glorious new box set, the pros and cons of the modern music business model, the obscene power of the British music media, US vs. UK crowds, the timelessness of classic alternative, and what drives the band now. Plus, hear the 1987 Leeds demo of "Shame On You" from Killing For Love. If you haven't listened to Part 1 yet, go back and listen! Learn more about your ad choices. Visit megaphone.fm/adchoices

Part one of a two parter that's all about songs with "heart" - in the title, that is. The heart is a nasty lookin' thing, innit? But it's a word that symbolizes so much - love, pain, devotion, longing, passion, energy, excitement, life itself. It's safe to say that it's perhaps the second most essential organ in rock n' roll (insert winky smiley face here). We are thrilled to be joined by Andrea Lewis Jarvis, Harley Farr, and Matt Gray from The Darling Buds! The Buds formed in Newport, Wales in 1986, a band of friends who made great music and experienced amazing adventures together. The new 5-CD Cherry Red Records box set, Killing For Love: Albums, Singles, Rarities, Unreleased 1987-2017 collects the band's three albums recorded for CBS/Sony (1989's Pop Said... , 1990's Crawdaddy, 1992's Erotica), their 2017 EP Evergreen, and plenty of early singles, demos, b-sides, and rarities. During Part 1, you'll hear our first three choices for "heart" songs, the thrill of being played on John Peel, Tom Waits in the toilet, major label pressures, a guy who we shall call "Fred", that other Erotica album, LA nights, dalliances with Debbie Harry, Kirsty MacColl, Thompson Twins, Christina Applegate, Cher, Sarah Jessica Parker, the cast of 90210, and getting stuck with Shane MacGowan's bar bills. Plus, hear the previously unreleased demo "Why Bother Now" from Killing For Love. Learn more about your ad choices. Visit megaphone.fm/adchoices

Part one of a two parter that's all about songs with "heart" - in the title, that is. The heart is a nasty lookin' thing, innit? But it's a word that symbolizes so much - love, pain, devotion, longing, passion, energy, excitement, life itself. It's safe to say that it's perhaps the second most essential organ in rock n' roll (insert winky smiley face here). We are thrilled to be joined by Andrea Lewis Jarvis, Harley Farr, and Matt Gray from The Darling Buds! The Buds formed in Newport, Wales in 1986, a band of friends who made great music and experienced amazing adventures together. The new 5-CD Cherry Red Records box set, Killing For Love: Albums, Singles, Rarities, Unreleased 1987-2017 collects the band's three albums recorded for CBS/Sony (1989's Pop Said... , 1990's Crawdaddy, 1992's Erotica), their 2017 EP Evergreen, and plenty of early singles, demos, b-sides, and rarities. During Part 1, you'll hear our first three choices for "heart" songs, the thrill of being played on John Peel, Tom Waits in the toilet, major label pressures, a guy who we shall call "Fred", that other Erotica album, LA nights, dalliances with Debbie Harry, Kirsty MacColl, Thompson Twins, Christina Applegate, Cher, Sarah Jessica Parker, the cast of 90210, and getting stuck with Shane MacGowan's bar bills. Plus, hear the previously unreleased demo "Why Bother Now" from Killing For Love. Stay tuned for Part 2 next week! Learn more about your ad choices. Visit megaphone.fm/adchoices

Jay and Tim preview their favorite week of the year, the Newport Beach Film Festival. We talk film festival programming, feature films, short films, what we've seen, and what we're looking forward to watching. See the schedule and get tickets here: NEWPORT BEACH FILM FEST(Use the code URSpecialNBFF for $5 off a ticket!)Some of the feature films we mention in this episode: Monster, Vincent Must Die, Exposure, Crawdaddy, American Star, The Michoacan File, Gentleman, Remembering Gene Wilder, William Shatner: You Can Call Me Bill, Nyad, Fingernails, Susan Feniger: Forked, The First Day of My Life, Without Her, The Holdovers, May December, High Class.Some of the short films we mention in this episode: Astor Place: The American Dream, David Se Va, Cherubs, Eat Flowers, Dark Moon, The Ruse, Blood, The Chosen One, English Tutor, #followme, Detox, The Stranger, Baseball Behind Barbed Wire, music videos by The National, Zach Bryan, shame, Sparks.Come find us:WebsiteInstagramFacebookTwitterOpening music: "Let's Start at the Beginning," Lee RosevereClosing music: "Découvre moi," Marc Senet & Simon Grivot

In pt 1 Jay takes us through growing up around the game, the amazing influences of the Werth Family, the Springfield Thunder, and part of his HS career. --- Support this podcast: https://podcasters.spotify.com/pod/show/thepostgamespread/support

In this episode we're delighted to invite Vernon Gibbs to look back on his career as a pioneering soul scribe and A&R man. Vernon begins by describing his early years as a scholarship student who took the G train from Brooklyn to school on Manhattan's Upper East Side — and his formative years at NYC's Columbia University. He describes how he fell in with the counterculture and began writing about music for the Columbia Daily Spectator. A discussion follows of pieces he wrote about the death of Jimi Hendrix and — later, for NME — the decline of Sly Stone. He also talks about contributing to Crawdaddy! and other rock publications in the mid-'70s. The 50th anniversary of Marvin Gaye's Let's Get It On gives Vernon's hosts a chance to ask about the 1974 interview he did with the Motown superstar for Zoo World. He then explains how he was hired for A&R positions at Mercury and — more notably — Clive Davis' Arista label, where he worked with P-Funk offshoot Quazar and 'Disco Nights' hitmakers GQ. Vernon's return to music journalism takes us into a discussion of the downtown New York punk scene and a 1983 Creem interview in which Richard Hell defines "the blank generation". This in turn leads to clips from Jim Sullivan's 1996 audio interview with Talking Heads' Tina Weymouth — and Vernon's thoughts on that most un-punk of CBGB bands — in the week when Jonathan Demme's concert documentary Stop Making Sense is given well-deserved a cinematic re-release. After Mark quotes from archive interviews with Philly International legend Kenny Gamble (1976), L.A. bete noire Kim Fowley (1979) and smoooooth jazz man Kenny G (1988), Jasper rounds off the episode with his thoughts on Lloyd Bradley's celebration of London's Harlesden scene (2001), Def Jam rapper Ludacris (2005) and "jazz-rock" trio the Bad Plus (2013). Many thanks to special guest Vernon Gibbs. Pieces discussed: Jimi Hendrix, Sly Stone, Marvin Gaye, Let's Get It On, Richard Hell, Talking Heads' Tina Weymouth audio, Gamble & Huff, Kenny G, Kim Fowley, Do the Harlesden Shuffle, Ludacris and The Bad Plus.

Greg Mitchell is a filmmaker, author, journalist and more who seems equally interested in the history of the Atomic Bomb and music. It's one of the reasons I'm a fan and enjoy talking with him. He's written a number of books and produced at least one film about the bomb. His book, THE BEGINNING OR THE END: HOW HOLLYWOOD -- AND AMERICA -- LEARNED TO STOP WORRYING AND LOVE THE BOMB is garnering attention again due to the highly anticipated (and equally hyped) release of Christopher Nolan's new film, OPPENHEIMER this week. Greg is one of the few who's seen a screening of OPPENHEIMER. He returns to the show today to talk about the man, the movie, the monstrosity and more. And you know I won't let the interview end without taking a brief musical detour with one of the original writers at CRAWDADDY magazine, the first US music magazine back in the late 60s/early 70s.

A New Orleans retail estate tycoon threatens the city with a weather controlling machine...and Special Agent Chet Phillips is delivering donuts. Written byPaige KlanieckiDirected byJ. Michael DeAngelisStarringChris Klaniecki as Skip GrangerNazli Sarpkaya as Mackenzie McGrathDave Stanger as Bowden MontcriefPaige Klaniecki as Gloria KovakFaith Dowgin as Section Chief Zelda Anderswith Kirk White as Chet Phillipsand Katerina McGrath as The Mission VoiceAlso StarringAshley Banks as Athena O'BrienJean Barry as Quinn CorrinoJill Ivey as Child Star and Elle Mae Sederstromand Bob Killion as The AdmiralGuest StarringDave Serfass as Club ManagerTage Das as Phillipe San-ReniorJay Malarcher as Augustus BaileyJ. Michael DeAngelis as Davin FordNatty Leach as Hypnotic VoicePete Barry as Ted Desoto and Kristatos O'BrienEric Werner as Balthazar MontcriefRebecca Serfass as Luckyand Sarah Rhea Warner as PatMusic, sound mixing and editing byPete BarryCreated and produced byPete Barry & J. Michael DeAngelis & John DowginA complete transcript of this episode can be found here.For a complete list of sound effect attributions, please visit the episode's webpage.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5899346/advertisement

This week we have a wild bunch for you. Darrell is joined by Kalai, Joe, and Crawdaddy to talk Star Wars, Xbox, and other random topics while answering some great community questions. Use promo code "Loot Bros" for 10% of at Ted's Collectibles! https://www.etsy.com/uk/shop/tedscoll...  https://linktr.ee/residentdarrell --- Support this podcast: https://podcasters.spotify.com/pod/show/thelootbrospodcast/support

This week we have a wild bunch for you. Darrell is joined by Kalai, Joe, and Crawdaddy to talk Star Wars, Xbox, and other random topics while answering some great community questions. Use promo code "Loot Bros" for 10% of at Ted's Collectibles! https://www.etsy.com/uk/shop/tedscoll...  https://linktr.ee/residentdarrell --- Support this podcast: https://podcasters.spotify.com/pod/show/thelootbrospodcast/support

This week Darrell is joined by Kalai, Joe, Thomas aka Crawdaddy, and one of the hosts of the PlayStation Collector's Podcast Will, to talk about some great PS3 games. The PlayStation Collectors Podcast - YouTube Use promo code "Loot Bros" for 10% of at Ted's Collectibles! ⁠https://www.etsy.com/uk/shop/tedscollectibles3 ⁠⁠https://linktr.ee/residentdarrell --- Support this podcast: https://podcasters.spotify.com/pod/show/thelootbrospodcast/support

This week Darrell is joined by Kalai, Joe, Thomas aka Crawdaddy, and one of the hosts of the PlayStation Collector's Podcast Will, to talk about some great PS3 games. The PlayStation Collectors Podcast - YouTube Use promo code "Loot Bros" for 10% of at Ted's Collectibles! ⁠https://www.etsy.com/uk/shop/tedscollectibles3 ⁠⁠https://linktr.ee/residentdarrell --- Support this podcast: https://podcasters.spotify.com/pod/show/thelootbrospodcast/support

In this episode we welcome writer, curator and consultant Paul Gorman and ask him about his new book Totally Wired: The Rise and Fall of the Music Press.In a loose and free-ranging conversation, our guest reflects on various eras and aspects of all that Rock's Backpages is about, from the launch of Melody Maker almost 100 years ago to the online ecosystem of Instagram and Tik Tok in the present day.Along the way we cover everything from Crawdaddy! to Smash Hits via marginalised women writers and feuds between musicians and journalists. (Listen out for the unsettling sound of Nick Cave describing his new "hate" song 'Scum' to interviewer Mat Snow.) We also hear clips from Frank Broughton's 1998 audio interview with Time Out's late founder Tony Elliott.By way of paying tribute to the late Christine McVie, there are further audio clips in the episode, this time from John Pidgeon's 1977 interview with Fleetwood Mac, plus we bid a sad farewell to Stax Records co-founder Jim Stewart.Mark selects his highlights from recent additions to the RBP library, quoting from pieces about Marianne Faithfull, Ravi Shankar, Alexis Kornerand the mighty Pat Benatar, after which Jasper concludes matters with remarks on articles about Odd Future and the brilliant Billie Eilish.Many thanks to special guest Paul Gorman; Totally Wired is published by Thames & Hudson and available now from all good bookshops. Visit Paul's website at paulgormanis.com and follow him on Instagram at _paul_gorman_.Pieces discussed: US indie mags, The Decline and Fall of the UK Music Press, From NME to Smash Hits, How to be a Rock Critic, Rock Critics Rule..., Tony Elliott audio, Fleetwood Mac audio, Stax Records, That Memphis Sound, The 1973 Rock Writers Convention, Marianne Faithfull, Alexis Korner, Ravi Shankar, Pat Benatar, Odd Future and Billie Eilish.

In this episode we welcome writer, curator and consultant Paul Gorman and ask him about his new book Totally Wired: The Rise and Fall of the Music Press.In a loose and free-ranging conversation, our guest reflects on various eras and aspects of all that Rock's Backpages is about, from the launch of Melody Maker almost 100 years ago to the online ecosystem of Instagram and Tik Tok in the present day.Along the way we cover everything from Crawdaddy! to Smash Hits via marginalised women writers and feuds between musicians and journalists. (Listen out for the unsettling sound of Nick Cave describing his new "hate" song 'Scum' to interviewer Mat Snow.) We also hear clips from Frank Broughton's 1998 audio interview with Time Out's late founder Tony Elliott.By way of paying tribute to the late Christine McVie, there are further audio clips in the episode, this time from John Pidgeon's 1977 interview with Fleetwood Mac, plus we bid a sad farewell to Stax Records co-founder Jim Stewart.Mark selects his highlights from recent additions to the RBP library, quoting from pieces about Marianne Faithfull, Ravi Shankar, Alexis Korner and the mighty Pat Benatar, after which Jasper concludes matters with remarks on articles about Odd Future and the brilliant Billie Eilish.Many thanks to special guest Paul Gorman; Totally Wired is published by Thames & Hudson and available now from all good bookshops. Visit Paul's website at paulgormanis.com and follow him on Instagram at _paul_gorman_.Pieces discussed: US indie mags, The Decline and Fall of the UK Music Press, From NME to Smash Hits, How to be a Rock Critic, Rock Critics Rule..., Tony Elliott audio, Fleetwood Mac audio, Stax Records, That Memphis Sound, The 1973 Rock Writers Convention, Marianne Faithfull, Alexis Korner, Ravi Shankar, Pat Benatar, Odd Future and Billie Eilish.

We are out here at Union Jack's with our pal, Matt Shock for some Wednesday shenanigans! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/wakingupinabrewery/support

Discordhttps://discord.gg/wkvu88KvTVCast: Christian Humes, Tom Caswell, Dan Weine & Matt AcevedoPokémon: 342 - CrawdauntOfftopic: NFL, Work, Free Guy, US, BarbarianGames: Deathloop, Call of Duty MW2, Splatoon 3, Fall Guys, Cult of The Lamb, Steam Deck, Disney Dreamlight ValleyPodcast Game: Rate That Game GameQuestions, Comments, Complaints, Corrections!?Call: 805-738-8692Twitter: @UnrankedPodcastEmail@UnrankedPodcast.comDiscordhttps://discord.gg/wkvu88KvTVPatreonhttps://www.patreon.com/unrankedpodcastYouTubehttps://www.youtube.com/unrankedpodcastStreamshttps://twitch.tv/GreatBriTomhttps://twitch.tv/TheChoomsMerchhttps://www.teepublic.com/stores/unranked-podcastHarmony: Echos of Powergetharmonyeop.comHost ContactsTwitter@Christian_Humes, @TunaTargaryen, @BigDan815, @GreatBriTomGamertagsTheChooms, Tuna Targaryen, TheBigDan815, GreatBriTomNintendo Friend CodesChristian: 4405-3172-5821Alex: 5443-2451-6915Dan: 2588-5184-0411Tom: 1369-5857-5388PSN:TunaTaygaryen, BigDan815, GreatBriTom Hosted on Acast. See acast.com/privacy for more information.

Cody Hayes grew up with his Dad and Grandfather showing cattle and pigs and working on their Louisiana family farm. A story quite familiar to many, until in a short matter of time both these mentors passed away unexpectantly and left a young man fresh out of college suddenly in charge of their family heritage.  Listen in to how something discussed with his Dad before passing became a reality and now a way of life some years later. Everyone loves Louisiana crawfish and you are going to love this extremely entertaining episode.       Want to learn more about advertising with the Genuine JBH Podcast?  Contact Lakyn Today! Lakyn Lind- Director of Marketing & Sales P. 507-450-9541 Like listening to the GJBH Podcast? Check out our Sister Podcast- THE BRAND CHAMPION MARKETING NETWORK Join the GJBH Facebook or Instagram Community!

In this episode we welcome the excellent Devon Powers — beamed in from Philadelphia — and ask her to talk about The Village Voice, Red Hot Chili Peppers, the White Stripes… and music journalism since the turn of the century. Devon begins by talking about the music she loved when growing up in her native Michigan — and her first awareness of "rock critics". We hear about her move to New York City in 1999, her early pieces for the PopMatters site, and the Anglophilia that led to umpteen pieces about the likes of Clinic, Starsailor, Badly Drawn Boy and, yes, even Ocean Colour Scene. Citing a great 2003 piece she wrote about Red Hot Chili Peppers, who released a new album the week of this recording, we ask Devon what those punk-funk Californicators meant to her in the '90s and noughties. After a brief discussion of Devon's 2004 thinkpiece 'Is Music Journalism Dead?', we turn our attention to Writing the Record: The Village Voice and the Birth of Rock Criticism, the 2013 book which came out of her doctoral dissertation at NYU. She talks about the vital New York weekly paper, and the "rock critics" who were such a key part of its arts coverage — particularly Richard Goldstein, several of whose '60s Voice pieces we have on RBP. We then pay tribute to another Voice contributor, John Swenson, lost to us a few days before this recording, as well as to Foo Fighter Taylor Hawkins and Mighty Diamonds frontman "Tabby" Shaw. Two clips from Ira Robbins' 2001 audio interview with the White Stripes prompt a general chinwag about Jack, Meg, blues etc., after which Mark zips through the most notable of the interviews & reviews he's just added to the RBP library, including pieces about the Kingston Trio, Paul Revere & the Raiders, Canned Heat and Teddy Pendergrass. Barney then rounds things off by flagging up pieces on Marc Bolan, the Prodigy, Tony Hatch, Jack Good and the Descendents. Many thanks to special guest Devon Powers; visit her website at devonpowers.com and find Writing the Record in all good bookshops. The Rock's Backpages podcast is proud to be part of the Pantheon podcast network. Pieces discussed: The Village Voice and the Birth of Rock Criticism, PJ Harvey, Is Music Journalism Dead?, Red Hot Chili Peppers audio, Blood Sugar Sex Magik, Rick Rubin, The White Stripes audio, Taylor Hawkins audio, Foo Fighters, Crawdaddy, The Mighty Diamonds, Alexis Korner, Paul Revere, Disco, Teddy Pendergrass, Little Richard, Steve Paul, Canned Heat, Curtis Mayfield, Oasis, Marc Bolan audio, The Prodigy, Tony Hatch, Jack Good and the Descendents. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode we welcome the excellent Devon Powers — beamed in from Philadelphia — and ask her to talk about The Village Voice, Red Hot Chili Peppers, the White Stripes… and music journalism since the turn of the century.Devon begins by talking about the music she loved when growing up in her native Michigan — and her first awareness of "rock critics". We hear about her move to New York City in 1999, her early pieces for the PopMatters site, and the Anglophilia that led to umpteen pieces about the likes of Clinic, Starsailor, Badly Drawn Boy and, yes, even Ocean Colour Scene. Citing a great 2003 piece she wrote about Red Hot Chili Peppers, who released a new album the week of this recording, we ask Devon what those punk-funk Californicators meant to her in the '90s and noughties.After a brief discussion of Devon's 2004 thinkpiece 'Is Music Journalism Dead?', we turn our attention to Writing the Record: The Village Voice and the Birth of Rock Criticism, the 2013 book which came out of her doctoral dissertation at NYU. She talks about the vital New York weekly paper, and the "rock critics" who were such a key part of its arts coverage — particularly Richard Goldstein, several of whose '60s Voice pieces we have on RBP. We then pay tribute to another Voice contributor, John Swenson, lost to us a few days before this recording, as well as to Foo Fighter Taylor Hawkins and Mighty Diamonds frontman "Tabby" Shaw.Two clips from Ira Robbins' 2001 audio interview with the White Stripes prompt a general chinwag about Jack, Meg, blues etc., after which Mark zips through the most notable of the interviews & reviews he's just added to the RBP library, including pieces about the Kingston Trio, Paul Revere & the Raiders, Canned Heat and Teddy Pendergrass. Barney then rounds things off by flagging up pieces on Marc Bolan, the Prodigy, Tony Hatch, Jack Good and the Descendents.Many thanks to special guest Devon Powers; visit her website at devonpowers.com and find Writing the Record in all good bookshops.The Rock's Backpages podcast is proud to be part of the Pantheon podcast network.Pieces discussed: The Village Voice and the Birth of Rock Criticism, PJ Harvey, Is Music Journalism Dead?, Red Hot Chili Peppers audio, Blood Sugar Sex Magik, Rick Rubin, The White Stripes audio, Taylor Hawkins audio, Foo Fighters, Crawdaddy, The Mighty Diamonds, Alexis Korner, Paul Revere, Disco, Teddy Pendergrass, Little Richard, Steve Paul, Canned Heat, Curtis Mayfield, Oasis, Marc Bolan audio, The Prodigy, Tony Hatch, Jack Good and the Descendents.

In this episode we welcome the excellent Devon Powers — beamed in from Philadelphia — and ask her to talk about The Village Voice, Red Hot Chili Peppers, the White Stripes… and music journalism since the turn of the century.Devon begins by talking about the music she loved when growing up in her native Michigan — and her first awareness of "rock critics". We hear about her move to New York City in 1999, her early pieces for the PopMatters site, and the Anglophilia that led to umpteen pieces about the likes of Clinic, Starsailor, Badly Drawn Boy and, yes, even Ocean Colour Scene. Citing a great 2003 piece she wrote about Red Hot Chili Peppers, who released a new album the week of this recording, we ask Devon what those punk-funk Californicators meant to her in the '90s and noughties.After a brief discussion of Devon's 2004 thinkpiece 'Is Music Journalism Dead?', we turn our attention to Writing the Record: The Village Voice and the Birth of Rock Criticism, the 2013 book which came out of her doctoral dissertation at NYU. She talks about the vital New York weekly paper, and the "rock critics" who were such a key part of its arts coverage — particularly Richard Goldstein, several of whose '60s Voice pieces we have on RBP. We then pay tribute to another Voice contributor, John Swenson, lost to us a few days before this recording, as well as to Foo Fighter Taylor Hawkins and Mighty Diamonds frontman "Tabby" Shaw.Two clips from Ira Robbins' 2001 audio interview with the White Stripes prompt a general chinwag about Jack, Meg, blues etc., after which Mark zips through the most notable of the interviews & reviews he's just added to the RBP library, including pieces about the Kingston Trio, Paul Revere & the Raiders, Canned Heat and Teddy Pendergrass. Barney then rounds things off by flagging up pieces on Marc Bolan, the Prodigy, Tony Hatch, Jack Good and the Descendents.Many thanks to special guest Devon Powers; visit her website at devonpowers.com and find Writing the Record in all good bookshops.The Rock's Backpages podcast is proud to be part of the Pantheon podcast network.Pieces discussed: The Village Voice and the Birth of Rock Criticism, PJ Harvey, Is Music Journalism Dead?, Red Hot Chili Peppers audio, Blood Sugar Sex Magik, Rick Rubin, The White Stripes audio, Taylor Hawkins audio, Foo Fighters, Crawdaddy, The Mighty Diamonds, Alexis Korner, Paul Revere, Disco, Teddy Pendergrass, Little Richard, Steve Paul, Canned Heat, Curtis Mayfield, Oasis, Marc Bolan audio, The Prodigy, Tony Hatch, Jack Good and the Descendents.

In this episode we welcome the excellent Devon Powers — beamed in from Philadelphia — and ask her to talk about The Village Voice, Red Hot Chili Peppers, the White Stripes… and music journalism since the turn of the century. Devon begins by talking about the music she loved when growing up in her native Michigan — and her first awareness of "rock critics". We hear about her move to New York City in 1999, her early pieces for the PopMatters site, and the Anglophilia that led to umpteen pieces about the likes of Clinic, Starsailor, Badly Drawn Boy and, yes, even Ocean Colour Scene. Citing a great 2003 piece she wrote about Red Hot Chili Peppers, who released a new album the week of this recording, we ask Devon what those punk-funk Californicators meant to her in the '90s and noughties. After a brief discussion of Devon's 2004 thinkpiece 'Is Music Journalism Dead?', we turn our attention to Writing the Record: The Village Voice and the Birth of Rock Criticism, the 2013 book which came out of her doctoral dissertation at NYU. She talks about the vital New York weekly paper, and the "rock critics" who were such a key part of its arts coverage — particularly Richard Goldstein, several of whose '60s Voice pieces we have on RBP. We then pay tribute to another Voice contributor, John Swenson, lost to us a few days before this recording, as well as to Foo Fighter Taylor Hawkins and Mighty Diamonds frontman "Tabby" Shaw. Two clips from Ira Robbins' 2001 audio interview with the White Stripes prompt a general chinwag about Jack, Meg, blues etc., after which Mark zips through the most notable of the interviews & reviews he's just added to the RBP library, including pieces about the Kingston Trio, Paul Revere & the Raiders, Canned Heat and Teddy Pendergrass. Barney then rounds things off by flagging up pieces on Marc Bolan, the Prodigy, Tony Hatch, Jack Good and the Descendents. Many thanks to special guest Devon Powers; visit her website at devonpowers.com and find Writing the Record in all good bookshops. The Rock's Backpages podcast is proud to be part of the Pantheon podcast network. Pieces discussed: The Village Voice and the Birth of Rock Criticism, PJ Harvey, Is Music Journalism Dead?, Red Hot Chili Peppers audio, Blood Sugar Sex Magik, Rick Rubin, The White Stripes audio, Taylor Hawkins audio, Foo Fighters, Crawdaddy, The Mighty Diamonds, Alexis Korner, Paul Revere, Disco, Teddy Pendergrass, Little Richard, Steve Paul, Canned Heat, Curtis Mayfield, Oasis, Marc Bolan audio, The Prodigy, Tony Hatch, Jack Good and the Descendents.

He's a Rock and Roll Hall of Famer as a guitarist / producer / composer with the Patti Smith Group. A recording artist, noted journalist (Crawdaddy, Rolling Stone, Creem, Melody Maker), record store clerk (Village Oldies) and archivist/curator for the iconic American garage rock music compilation "Nuggets: Original Artyfacts from the First Psychedelic Era" - hosts David C. Gross and Tom Semioli talk with Lenny about his latest book: "Lighting Striking: Ten Transformative Moments in Rock and Roll!The Lenny Kaye Playlist

This week the boys sit down a Cookeville staple! Crawdaddy's.

In this episode we invite the great Peter Guralnick — Zooming in from his native Massachusetts — to discuss his "adventures in music and writing"… to quote the subtitle of his wonderful 2020 collection Looking to Get Lost.Peter takes his hosts back to his discovery of Delta blues giants Skip James and Robert Johnson in the early '60s — and to the first pieces he wrote for Paul Williams' Crawdaddy! in 1966. He explains his approach to the masterful profiles he collected in Feel Like Going Home and Lost Highway, and the friendships with Charlie Rich and Bobby "Blue" Bland that resulted from them. Conversation leads from Howlin' Wolf to Solomon Burke and southern soul, and from there to the use of Val Wilmer's remarkable photos in Peter's books.Talk of Memphis and Muscle Shoals prompts Mark to introduce the first of three clips from Barney's 1985 audio interview with Atlantic Records legend Jerry Wexler. Peter reminisces about his relationship with "Wex" (and with Ray Charles), then follows up with riveting recall of Joe Tex and Jerry Lee Lewis. Pieces by Memphis writer Andria Lisle — one of many Guralnick disciples — brings us on to discussion of Bobby Bland and the late Hi Rhythm section drummer Howard Grimes. We also remember the brilliant Betty Davis and Syl ('Is It Because I'm Black?') Johnson.Finally, Mark quotes from newly-added library pieces about John Lee Hooker, Nik Venet, the Nazz and Simon Napier-Bell, while Jasper notes articles about Norah Jones and Robert Glasper. Bringing things full circle, Barney quotes from Peter's friend Bill Millar's tribute to recently-deceased soul specialist Bob Fisher.Many thanks to special guest Peter Guralnick. Looking to Get Lost is published by Little, Brown, and you can visit his website at peterguralnick.com.Peter Guralnick interviewed by Bob Ruggiero and by Maud Barthomier, Sweet Soul Music, Jerry Wexler audio, Andria Lisle on Memphis, Mick Hucknall meets Bobby "Blue" Bland, Hi Rhythm, Betty Davis, Syl Johnson, John Lee Hooker, Nik Venet, The Nazz, CBGBs, Hoagy Carmichael, Simon Napier-Bell, 'River Deep, Mountain High', Stephanie Mills, Norah Jones, Robert Glasper and Bob Fisher.

In this episode we invite the great Peter Guralnick — Zooming in from his native Massachusetts — to discuss his "adventures in music and writing"… to quote the subtitle of his wonderful 2020 collection Looking to Get Lost. Peter takes his hosts back to his discovery of Delta blues giants Skip James and Robert Johnson in the early '60s — and to the first pieces he wrote for Paul Williams' Crawdaddy! in 1966. He explains his approach to the masterful profiles he collected in Feel Like Going Home and Lost Highway, and the friendships with Charlie Rich and Bobby "Blue" Bland that resulted from them. Conversation leads from Howlin' Wolf to Solomon Burke and southern soul, and from there to the use of Val Wilmer's remarkable photos in Peter's books. Talk of Memphis and Muscle Shoals prompts Mark to introduce the first of three clips from Barney's 1985 audio interview with Atlantic Records legend Jerry Wexler. Peter reminisces about his relationship with "Wex" (and with Ray Charles), then follows up with riveting recall of Joe Tex and Jerry Lee Lewis. Pieces by Memphis writer Andria Lisle — one of many Guralnick disciples — brings us on to discussion of Bobby Bland and the late Hi Rhythm section drummer Howard Grimes. We also remember the brilliant Betty Davis and Syl ('Is It Because I'm Black?') Johnson. Finally, Mark quotes from newly-added library pieces about John Lee Hooker, Nik Venet, the Nazz and Simon Napier-Bell, while Jasper notes articles about Norah Jones and Robert Glasper. Bringing things full circle, Barney quotes from Peter's friend Bill Millar's tribute to recently-deceased soul specialist Bob Fisher. Many thanks to special guest Peter Guralnick. Looking to Get Lost is published by Little, Brown, and you can visit his website at peterguralnick.com. Peter Guralnick interviewed by Bob Ruggiero and by Maud Barthomier, Sweet Soul Music, Jerry Wexler audio, Andria Lisle on Memphis, Mick Hucknall meets Bobby "Blue" Bland, Hi Rhythm, Betty Davis, Syl Johnson, John Lee Hooker, Nik Venet, The Nazz, CBGBs, Hoagy Carmichael, Simon Napier-Bell, 'River Deep, Mountain High', Stephanie Mills, Norah Jones, Robert Glasper and Bob Fisher. Learn more about your ad choices. Visit megaphone.fm/adchoices

The boys are joined IN STUDIO today by Ohio University Head Basketball Manager Casey Crawford. The boys pick Crawdaddy's brain about all things Ohio hoops - including who has the worst drip and who is the best trash talker. He also drops a tidbit that he is roommates with our favorite hooper of all-time, the flamethrower himself, Tommy Schmock. It's one hell of an episode, and we hope you all enjoy. Use code “TheBenchPress” for FREE SHIPPING on your NevaRest orders! Make sure to follow us on Instagram (@benchpressmedia) and subscribe to our show on Spotify & Apple Podcasts in order to never miss an episode. Cheers.

In this episode we invite the great Peter Guralnick — Zooming in from his native Massachusetts — to discuss his "adventures in music and writing"… to quote the subtitle of his wonderful 2020 collection Looking to Get Lost.Peter takes his hosts back to his discovery of Delta blues giants Skip James and Robert Johnson in the early '60s — and to the first pieces he wrote for Paul Williams' Crawdaddy! in 1966. He explains his approach to the masterful profiles he collected in Feel Like Going Home and Lost Highway, and the friendships with Charlie Rich and Bobby "Blue" Bland that resulted from them. Conversation leads from Howlin' Wolf to Solomon Burke and southern soul, and from there to the use of Val Wilmer's remarkable photos in Peter's books.Talk of Memphis and Muscle Shoals prompts Mark to introduce the first of three clips from Barney's 1985 audio interview with Atlantic Records legend Jerry Wexler. Peter reminisces about his relationship with "Wex" (and with Ray Charles), then follows up with riveting recall of Joe Tex and Jerry Lee Lewis. Pieces by Memphis writer Andria Lisle — one of many Guralnick disciples — brings us on to discussion of Bobby Bland and the late Hi Rhythm section drummer Howard Grimes. We also remember the brilliant Betty Davis and Syl ('Is It Because I'm Black?') Johnson.Finally, Mark quotes from newly-added library pieces about John Lee Hooker, Nik Venet, the Nazz and Simon Napier-Bell, while Jasper notes articles about Norah Jones and Robert Glasper. Bringing things full circle, Barney quotes from Peter's friend Bill Millar's tribute to recently-deceased soul specialist Bob Fisher.Many thanks to special guest Peter Guralnick. Looking to Get Lost is published by Little, Brown, and you can visit his website at peterguralnick.com.Peter Guralnick interviewed by Bob Ruggiero and by Maud Barthomier, Sweet Soul Music, Jerry Wexler audio, Andria Lisle on Memphis, Mick Hucknall meets Bobby "Blue" Bland, Hi Rhythm, Betty Davis, Syl Johnson, John Lee Hooker, Nik Venet, The Nazz, CBGBs, Hoagy Carmichael, Simon Napier-Bell, 'River Deep, Mountain High', Stephanie Mills, Norah Jones, Robert Glasper and Bob Fisher.

In this episode we invite the great Peter Guralnick — Zooming in from his native Massachusetts — to discuss his "adventures in music and writing"… to quote the subtitle of his wonderful 2020 collection Looking to Get Lost. Peter takes his hosts back to his discovery of Delta blues giants Skip James and Robert Johnson in the early '60s — and to the first pieces he wrote for Paul Williams' Crawdaddy! in 1966. He explains his approach to the masterful profiles he collected in Feel Like Going Home and Lost Highway, and the friendships with Charlie Rich and Bobby "Blue" Bland that resulted from them. Conversation leads from Howlin' Wolf to Solomon Burke and southern soul, and from there to the use of Val Wilmer's remarkable photos in Peter's books. Talk of Memphis and Muscle Shoals prompts Mark to introduce the first of three clips from Barney's 1985 audio interview with Atlantic Records legend Jerry Wexler. Peter reminisces about his relationship with "Wex" (and with Ray Charles), then follows up with riveting recall of Joe Tex and Jerry Lee Lewis. Pieces by Memphis writer Andria Lisle — one of many Guralnick disciples — brings us on to discussion of Bobby Bland and the late Hi Rhythm section drummer Howard Grimes. We also remember the brilliant Betty Davis and Syl ('Is It Because I'm Black?') Johnson. Finally, Mark quotes from newly-added library pieces about John Lee Hooker, Nik Venet, the Nazz and Simon Napier-Bell, while Jasper notes articles about Norah Jones and Robert Glasper. Bringing things full circle, Barney quotes from Peter's friend Bill Millar's tribute to recently-deceased soul specialist Bob Fisher. Many thanks to special guest Peter Guralnick. Looking to Get Lost is published by Little, Brown, and you can visit his website at peterguralnick.com. Peter Guralnick interviewed by Bob Ruggiero and by Maud Barthomier, Sweet Soul Music, Jerry Wexler audio, Andria Lisle on Memphis, Mick Hucknall meets Bobby "Blue" Bland, Hi Rhythm, Betty Davis, Syl Johnson, John Lee Hooker, Nik Venet, The Nazz, CBGBs, Hoagy Carmichael, Simon Napier-Bell, 'River Deep, Mountain High', Stephanie Mills, Norah Jones, Robert Glasper and Bob Fisher.

In this episode, we welcome the great Lenny Kaye — all the way from NYC — and ask him to reminisce about his New Jersey youth; the revelation that was rock 'n' roll; his exposure in 1966 to Crawdaddy! and other pioneering music zines, and of course his first encounters with the inimitable Patti Smith. Along the way we hear about his landmark 1972 anthology Nuggets, and about his thrilling new book Lightning Striking.Clips from John Tobler's 1978 audio interview with Patti prompt Lenny to relive key moments from the '70s, including the pair's engagement with the British punk scene on their band's first London visit in May '76. To mark the 50th anniversary of Led Zeppelin IV, he also talks about his rave Rolling Stone review of that album, a piece he stands by to this day. His hosts also note the imminent release of the follow-up to Robert Plant & Alison Krauss' Americana classic Raising Sand.The RBP team pays its respects to Maureen Cleave, whose crucial early pieces on the Beatles made her part of Fab Four folklore. Lenny mentions his New York mentor Danny Fields (episode 28) whose syndication of Maureen's "more popular than Jesus" Lennon interview sparked an unholy fundamentalist backlash across America. Mark & Jasper talk us out with remarks about "new and notable" library pieces on — among other subjects — Patti Smith (1972) and Led Zeppelin (1969)! And several more great interviews and reviews besides…Many thanks to special guest Lenny Kaye. Lightning Striking is published by White Rabbit and available now.Pieces discussed: Lenny Kaye on music in the '60s, Nuggets, Patti Smith, Patti Smith audio, Lenny on Led Zep IV, Barney on Led Zep IV, Robert Plant and Alison Krauss, The Beatles, John Lennon, Pete Makowski, Thelonius Monk, Maurice White, Anita Baker, The Rolling Stones, Led Zeppelin at the Fillmore West, Patti Smith, Gary Lucas, Vibe magazine and Field Day festival.

In this episode, we welcome the great Lenny Kaye — all the way from NYC — and ask him to reminisce about his New Jersey youth; the revelation that was rock 'n' roll; his exposure in 1966 to Crawdaddy! and other pioneering music zines, and of course his first encounters with the inimitable Patti Smith. Along the way we hear about his landmark 1972 anthology Nuggets, and about his thrilling new book Lightning Striking.Clips from John Tobler's 1978 audio interview with Patti prompt Lenny to relive key moments from the '70s, including the pair's engagement with the British punk scene on their band's first London visit in May '76. To mark the 50th anniversary of Led Zeppelin IV, he also talks about his rave Rolling Stone review of that album, a piece he stands by to this day. His hosts also note the imminent release of the follow-up to Robert Plant & Alison Krauss' Americana classic Raising Sand.The RBP team pays its respects to Maureen Cleave, whose crucial early pieces on the Beatles made her part of Fab Four folklore. Lenny mentions his New York mentor Danny Fields (episode 28) whose syndication of Maureen's "more popular than Jesus" Lennon interview sparked an unholy fundamentalist backlash across America. Mark & Jasper talk us out with remarks about "new and notable" library pieces on — among other subjects — Patti Smith (1972) and Led Zeppelin (1969)! And several more great interviews and reviews besides…Many thanks to special guest Lenny Kaye. Lightning Striking is published by White Rabbit and available now.Pieces discussed: Lenny Kaye on music in the '60s, Nuggets, Patti Smith, Patti Smith audio, Lenny on Led Zep IV, Barney on Led Zep IV, Robert Plant and Alison Krauss, The Beatles, John Lennon, Pete Makowski, Thelonius Monk, Maurice White, Anita Baker, The Rolling Stones, Led Zeppelin at the Fillmore West, Patti Smith, Gary Lucas, Vibe magazine and Field Day festival.

Episode 126 of A History of Rock Music in Five Hundred Songs looks at “For Your Love", the Yardbirds, and the beginnings of heavy rock and the guitar hero.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "A Lover's Concerto" by the Toys. 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/ Resources As usual, I've created a Mixcloud playlist, with full versions of all the songs excerpted in this episode. The Yardbirds have one of the most mishandled catalogues of all the sixties groups, possibly the most mishandled. Their recordings with Giorgio Gomelsky, Simon Napier-Bell and Mickie Most are all owned by different people, and all get compiled separately, usually with poor-quality live recordings, demos, and other odds and sods to fill up a CD's running time. The only actual authoritative compilation is the long out-of-print Ultimate! . Information came from a variety of sources. Most of the general Yardbirds information came from The Yardbirds by Alan Clayson and Heart Full of Soul: Keith Relf of the Yardbirds by David French. Simon Napier-Bell's You Don't Have to Say You Love Me is one of the most entertaining books about the sixties music scene, and contains several anecdotes about his time working with the Yardbirds, some of which may even be true. Some information about Immediate Records came from Immediate Records by Simon Spence, which I'll be using more in future episodes. Information about Clapton came from Motherless Child by Paul Scott, while information on Jeff Beck came from Hot Wired Guitar: The Life of Jeff Beck by Martin Power. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to take a look at the early career of the band that, more than any other band, was responsible for the position of lead guitarist becoming as prestigious as that of lead singer. We're going to look at how a blues band launched the careers of several of the most successful guitarists of all time, and also one of the most successful pop songwriters of the sixties and seventies. We're going to look at "For Your Love" by the Yardbirds: [Excerpt: The Yardbirds, "For Your Love"] The roots of the Yardbirds lie in a group of schoolfriends in Richmond, a leafy suburb of London. Keith Relf, Laurie Gane, Paul Samwell-Smith and Jim McCarty were art-school kids who were obsessed with Sonny Terry and Jimmy Reed, and who would hang around the burgeoning London R&B scene, going to see the Rolling Stones and Alexis Korner in Twickenham and at Eel Pie Island, and starting up their own blues band, the Metropolis Blues Quartet. However, Gane soon left the group to go off to university, and he was replaced by two younger guitarists, Top Topham and Chris Dreja, with Samwell-Smith moving from guitar to bass. As they were no longer a quartet, they renamed themselves the Yardbirds, after a term Relf had found on the back of an album cover, meaning a tramp or hobo. The newly-named Yardbirds quickly developed their own unique style -- their repertoire was the same mix of Howlin' Wolf, Bo Diddley, Jimmy Reed and Chuck Berry as every other band on the London scene, but they included long extended improvisatory  instrumental sequences with Relf's harmonica playing off Topham's lead guitar. The group developed a way of extending songs, which they described as a “rave-up” and would become the signature of their live act – in the middle of a song they would go into a long instrumental solo in double-time, taking the song twice as fast and improvising heavily, before dropping back to the original tempo to finish the song off. These “rave-up” sections would often be much longer than the main song, and were a chance for everyone to show off their instrumental skills, with Topham and Relf trading phrases on guitar and harmonica. They were mentored by Cyril Davies, who gave them the interval spots at some of his shows -- and then one day asked them to fill in for him in a gig he couldn't make -- a residency at a club in Harrow, where the Yardbirds went down so well that they were asked to permanently take over the residency from Davies, much to his disgust. But the group's big break came when the Rolling Stones signed with Andrew Oldham, leaving Giorgio Gomelsky with no band to play the Crawdaddy Club every Sunday. Gomelsky was out of the country at his father's funeral when the Stones quit on him, and so it was up to Gomelsky's assistant Hamish Grimes to find a replacement. Grimes looked at the R&B scene and the choice came down to two bands -- the Yardbirds and Them. Grimes said it was a toss-up, but he eventually went for the Yardbirds, who eagerly agreed. When Gomelsky got back, the group were packing audiences in at the Crawdaddy and doing even better than the Stones had been. Soon Gomelsky wanted to become the Yardbirds' manager and turn the group into full-time musicians, but there was a problem -- the new school term was starting, Top Topham was only fifteen, and his parents didn't want him to quit school. Topham had to leave the group. Luckily, there was someone waiting in the wings. Eric Clapton was well known on the local scene as someone who was quite good on guitar, and he and Topham had played together for a long time as an informal duo, so he knew the parts -- and he was also acquainted with Dreja. Everyone on the London blues scene knew everyone else, although the thing that stuck in most of the Yardbirds' minds about Clapton was the time he'd seen the Metropolis Blues Quartet play and gone up to Samwell-Smith and said "Could you do me a favour?" When Samwell-Smith had nodded his assent, Clapton had said "Don't play any more guitar solos". Clapton was someone who worshipped the romantic image of the Delta bluesman, solitary and rootless, without friends or companions, surviving only on his wits and weighed down by troubles, and he would imagine himself that way as he took guitar lessons from Dave Brock, later of Hawkwind, or as he hung out with Top Topham and Chris Dreja in Richmond on weekends, complaining about the burdens he had to bear, such as the expensive electric guitar his grandmother had bought him not being as good as he'd hoped. Clapton had hung around with Topham and Dreja, but they'd never been really close, and he hadn't been considered for a spot in the Yardbirds when the group had formed. Instead he had joined the Roosters with Tom McGuinness, who had introduced Clapton to the music of Freddie King, especially a B-side called "I Love the Woman", which showed Clapton for the first time how the guitar could be more than just an accompaniment to vocals, but a featured instrument in its own right: [Excerpt: Freddie King, "I Love the Woman"] The Roosters had been blues purists, dedicated to a scholarly attitude to American Black music and contemptuous of pop music -- when Clapton met the Beatles for the first time, when they came along to an early Rolling Stones gig Clapton was also at, he had thought of them as "a bunch of wankers" and despised them as sellouts. After the Roosters had broken up, Clapton and McGuinness had joined the gimmicky Merseybeat group Casey Jones and his Engineers, who had a band uniform of black suits and cardboard Confederate army caps, before leaving that as well. McGuinness had gone on to join Manfred Mann, and Clapton was left without a group, until the Yardbirds called on him. The new lineup quickly gelled as musicians -- though the band did become frustrated with one quirk of Clapton's. He liked to bend strings, and so he used very light gauge strings on his guitar, which often broke, meaning that a big chunk of time would be taken up each show with Clapton restringing his guitar, while the audience gave a slow hand clap -- leading to his nickname, "Slowhand" Clap-ton. Two months after Clapton joined the group, Gomelsky got them to back Sonny Boy Williamson II on a UK tour, recording a show at the Crawdaddy Club which was released as a live album three years later: [Excerpt: The Yardbirds and Sonny Boy Williamson II, "Twenty-three Hours Too Long"] Williamson and the Yardbirds didn't get along though, either as people or as musicians. Williamson's birth name was Rice Miller, and he'd originally taken the name "Sonny Boy Williamson" to cash in on the fame of another musician who used that name, though he'd gone on to much greater success than the original, who'd died not long after the former Miller started using the name. Clapton, wanting to show off, had gone up to Williamson when they were introduced and said "Isn't your real name Rice Miller?" Williamson had pulled a knife on Clapton, and his relationship with the group didn't get much better from that point on. The group were annoyed that Williamson was drunk on stage and would call out songs they hadn't rehearsed, while Williamson later summed up his view of the Yardbirds to Robbie Robertson, saying "Those English boys want to play the blues so bad -- and they play the blues *so bad*!" Shortly after this, the group cut some demos on their own, which were used to get them a deal with Columbia, a subsidiary of EMI. Their first single was a version of Billy Boy Arnold's "I Wish You Would": [Excerpt: The Yardbirds, "I Wish You Would"] This was as pure R&B as a British group would get at this point, but Clapton was unhappy with the record -- partly because hearing the group in the studio made him realise how comparatively thin they sounded as players, and partly just because he was worried that even going into a recording studio at all was selling out and not something that any of the Delta bluesmen whose records he loved would do. He was happier with the group's first album, a live recording called Five Live Yardbirds that captured the sound of the group at the Marquee Club. The repertoire on that album was precisely the same as any of the other British R&B bands of the time -- songs by Howlin' Wolf, Bo Diddley, Chuck Berry, John Lee Hooker, Slim Harpo, Sonny Boy Williamson and the Isley Brothers -- but they were often heavily extended versions, with a lot of interplay between Samwell-Smith's bass, Clapton's guitar, and Relf's harmonica, like their five-and-a-half-minute version of Howlin' Wolf's "Smokestack Lightning": [Excerpt: The Yardbirds, "Smokestack Lightning"] "I Wish You Would" made number twenty-six on the NME chart, but it didn't make the Record Retailer chart which is the basis of modern chart compilations. The group were just about to go into the studio to cut their second single, a version of "Good Morning Little Schoolgirl", when Keith Relf collapsed. Relf had severe asthma and was also a heavy smoker, and his lung collapsed and he had to be hospitalised for several weeks, and it looked for a while as if he might never be able to sing or play harmonica again. In his absence, various friends and hangers-on from the R&B scene deputised for him -- Ronnie Wood has recalled being at a gig and the audience being asked "Can anyone play harmonica?", leading to Wood getting on stage with them, and other people who played a gig or two, or sometimes just a song or two, with them include Mick Jagger, Brian Jones, and Rod Stewart. Stewart was apparently a big fan, and would keep trying to get on stage with them -- according to Keith Relf's wife, "Rod Stewart would be sitting in the backroom begging to go on—‘Oh give us a turn, give us a turn.'” Luckily, Relf's lung was successfully reinflated, and he returned to singing, harmonica playing... and smoking. In the early months back with the group, he would sometimes have to pull out his inhaler in the middle of a word to be able to continue singing, and he would start seeing stars on stage. Relf's health would never be good, but he was able to carry on performing, and the future of the group was secured. What wasn't secure was the group's relationship with their guitarist. While Relf and Dreja had for a time shared a flat with Eric Clapton, he was becoming increasingly distant from the other members. Partly this was because Relf felt somewhat jealous of the fact that the audiences seemed more impressed with the group's guitarist than with him, the lead singer; partly it was because Giorgio Gomelsky had made Paul Samwell-Smith the group's musical director, and Clapton had never got on with Samwell-Smith and distrusted his musical instincts; but mostly it was just that the rest of the group found Clapton rather petty, cold, and humourless, and never felt any real connection to him. Their records still weren't selling, but they were popular enough on the local scene that they were invited to be one of the support acts for the Beatles' run of Christmas shows at the end of 1964, and hung out with the group backstage. Paul McCartney played them a new song he was working on, which didn't have lyrics yet, but which would soon become "Yesterday", but it was another song they heard that would change the group's career. A music publisher named Ronnie Beck turned up backstage with a demo he wanted the Beatles to hear. Obviously, the Beatles weren't interested in hearing any demos -- they were writing so many hits they were giving half of them away to other artists, why would they need someone else's song? But the Yardbirds were looking for a hit, and after listening to the demo, Samwell-Smith was convinced that a hit was what this demo was. The demo was by a Manchester-based songwriter named Graham Gouldman. Gouldman had started his career in a group called the Whirlwinds, who had released one single -- a version of Buddy Holly's "Look at Me" backed with a song called "Baby Not Like You", written by Gouldman's friend Lol Creme: [Excerpt: The Whirlwinds, "Baby Not Like You"] The Whirlwinds had split up by this point, and Gouldman was in the process of forming a new band, the Mockingbirds, which included drummer Kevin Godley. The song on the demo had been intended as the Mockingbirds' first single, but their label had decided instead to go with "That's How (It's Gonna Stay)": [Excerpt: The Mockingbirds, "That's How (It's Gonna Stay)"] So the song, "For Your Love", was free, and Samwell-Smith was insistent -- this was going to be the group's first big hit. The record was a total departure from their blues sound. Gouldman's version had been backed by bongos and acoustic guitar, and Samwell-Smith decided that he would keep the bongo part, and add, not the normal rock band instruments, but harpsichord and bowed double bass: [Excerpt: The Yardbirds, "For Your Love"] The only part of the song where the group's normal electric instrumentation is used is the brief middle-eight, which feels nothing like the rest of the record: [Excerpt: The Yardbirds, "For Your Love"] But on the rest of the record, none of the Yardbirds other than Jim McCarty play -- the verses have Relf on vocals, McCarty on drums, Brian Auger on harpsichord, Ron Prentice on double bass and Denny Piercy on bongos, with Samwell-Smith in the control room producing. Clapton and Dreja only played on the middle eight. The record went to number three, and became the group's first real hit, and it led to an odd experience for Gouldman, as the Mockingbirds were by this time employed as the warm-up act on the BBC's Top of the Pops, which was recorded in Manchester, so Gouldman got to see mobs of excited fans applauding the Yardbirds for performing a song he'd written, while he was completely ignored. Most of the group were excited about their newfound success, but Clapton was not happy. He hadn't signed up to be a member of a pop group -- he wanted to be in a blues band. He made his displeasure about playing on material like "For Your Love"  very clear, and right after the recording session he resigned from the group. He was convinced that they would be nothing without him -- after all, wasn't he the undisputed star of the group? -- and he immediately found work with a group that was more suited to his talents, John Mayall's Bluesbreakers. The Bluesbreakers at this point consisted of Mayall on keyboards and vocals, Clapton on guitar, John McVie on bass, and Hughie Flint on drums. For their first single with this lineup, they signed a one-record deal with Immediate Records, a new independent label started by the Rolling Stones' manager Andrew Oldham. That single was produced by Immediate's young staff producer, the session guitarist Jimmy Page: [Excerpt: John Mayall and the Bluesbreakers, "I'm Your Witch Doctor"] The Bluesbreakers had something of a fluid lineup -- shortly after that recording, Clapton left the group to join another group, and was replaced by a guitarist named Peter Green. Then Clapton came back, for the recording of what became known as the "Beano album", because Clapton was in a mood when they took the cover photo, and so read the children's comic the Beano rather than looking at the camera: [Excerpt: John Mayall's Bluesbreakers, "Bernard Jenkins"] Shortly after that, Mayall fired John McVie, who was replaced by Jack Bruce, formerly of the Graham Bond Organisation, but then Bruce left to join Manfred Mann and McVie was rehired. While Clapton was in the Bluesbreakers, he gained a reputation for being the best guitarist in London -- a popular graffito at the time was "Clapton is God" -- and he was at first convinced that without him the Yardbirds would soon collapse. But Clapton had enough self-awareness to know that even though he was very good, there were a handful of guitarists in London who were better than him. One he always acknowledged was Albert Lee, who at the time was playing in Chris Farlowe's backing band but would later become known as arguably the greatest country guitarist of his generation. But another was the man that the Yardbirds got in to replace him. The Yardbirds had originally asked Jimmy Page if he wanted to join the group, and he'd briefly been tempted, but he'd decided that his talents were better used in the studio, especially since he'd just been given the staff job at Immediate. Instead he recommended his friend Jeff Beck. The two had known each other since their teens, and had grown up playing guitar together, and sharing influences as they delved deeper into music. While both men admired the same blues musicians that Clapton did, people like Hubert Sumlin and Buddy Guy, they both had much more eclectic tastes than Clapton -- both loved rockabilly, and admired Scotty Moore and James Burton, and Beck was a huge devotee of Cliff Gallup, the original guitarist from Gene Vincent's Blue Caps. Beck also loved Les Paul and the jazz guitarist Barney Kessel, while Page was trying to incorporate some of the musical ideas of the sitar player Ravi Shankar into his playing. While Page was primarily a session player, Beck was a gigging musician, playing with a group called the Tridents, but as Page rapidly became one of the two first-call session guitarists along with Big Jim Sullivan, he would often recommend his friend for sessions he couldn't make, leading to Beck playing on records like "Dracula's Daughter", which Joe Meek produced for Screaming Lord Sutch and the Savages: [Excerpt: Screaming Lord Sutch and the Savages, "Dracula's Daughter"] While Clapton had a very straightforward tone, Beck was already experimenting with the few effects that were available at the time, like echoes and fuzztone. While there would always be arguments about who was the first to use feedback as a controlled musical sound, Beck is one of those who often gets the credit, and Keith Relf would describe Beck's guitar playing as being almost musique concrete. You can hear the difference on the group's next single. "Heart Full of Soul" was again written by Gouldman, and was originally recorded with a sitar, which would have made it one of the first pop singles to use the instrument. However, they decided to replace the sitar part with Beck playing the same Indian-sounding riff on a heavily-distorted guitar: [Excerpt: The Yardbirds, "Heart Full of Soul"] That made number two in the UK and the top ten in the US, and suddenly the world had a new guitar god, one who was doing things on records that nobody else had been doing. The group's next single was a double A-side, a third song written by Gouldman, "Evil Hearted You", coupled with an original by the group, "Still I'm Sad". Neither track was quite up to the standard of their previous couple of singles, but it still went to number three on the charts. From this point on, the group stopped using Gouldman's songs as singles, preferring to write their own material, but Gouldman had already started providing hits for other groups like the Hollies, for whom he wrote songs like “Bus Stop”: [Excerpt: The Hollies, “Bus Stop”] His group The Mockingbirds had also signed to Immediate Records, who put out their classic pop-psych single “You Stole My Love”: [Excerpt: The Mockingbirds, “You Stole My Love”] We will hear more of Gouldman later. In the Yardbirds, meanwhile, the pressure was starting to tell on Keith. He was a deeply introverted person who didn't have the temperament for stardom, and he was uncomfortable with being recognised on the street. It also didn't help that his dad was also the band's driver and tour manager, which meant he always ended up feeling somewhat inhibited, and he started drinking heavily to try to lose some of those inhibitions. Shortly after the recording of "Evil Hearted You", the group went on their first American tour, though on some dates they were unable to play as Gomelsky had messed up their work permits -- one of several things about Gomelsky's management of the group that irritated them. But they were surprised to find that they were much bigger in the US than in the UK. While the group had only released singles, EPs, and the one live album in the UK, and would only ever put out one UK studio album, they'd recorded enough that they'd already had an album out in the US, a compilation of singles, B-sides, and even a couple of demos, and that had been picked up on by almost every garage band in the country. On one of the US gigs, their opening act, a teenage group called the Spiders, were in trouble. They'd learned every song on that Yardbirds album, and their entire set was made up of covers of that material. They'd gone down well supporting every other major band that came to town, but they had a problem when it came to the Yardbirds. Their singer described what happened next: "We thought about it and we said, 'Look, we're paying tribute to them—let's just do our set.' And so, we opened for the Yardbirds and did all of their songs. We could see them in the back and they were smiling and giving us the thumbs up. And then they got up and just blew us off the stage—because they were the Yardbirds! And we just stood there going, 'Oh…. That's how it's done.' The Yardbirds were one of the best live bands I ever heard and we learned a lot that night." That band, and later that lead singer, both later changed their name to Alice Cooper. The trip to the US also saw a couple of recording sessions. Gomelsky had been annoyed at the bad drum sound the group had got in UK studios, and had loved Sam Phillips' drum sound on the old Sun records, so had decided to get in touch with Phillips and ask him to produce the group. He hadn't had a reply, but the group turned up at Phillips' new studio anyway, knowing that he lived in a flat above the studio. Phillips wasn't in, but eventually turned up at midnight, after a fishing trip, drunk. He wasn't interested in producing some group of British kids, but Gomelsky waved six hundred dollars at him, and he agreed. He produced two tracks for the group. One of those, "Mr. You're a Better Man Than I", was written by Mike Hugg of Manfred Mann and his brother: [Excerpt: The Yardbirds, "Mister, You're a Better Man Than I"] The backing track there was produced by Phillips, but the lead vocal was redone in New York, as Relf was also drunk and wasn't singing well -- something Phillips pointed out, and which devastated Relf, who had grown up on records Phillips produced. Phillips' dismissal of Relf also grated on Beck -- even though Beck wasn't close to Relf, as the two competed for prominence on stage while the rest of the band kept to the backline, Beck had enormous respect for Relf's talents as a frontman, and thought Phillips horribly unprofessional for his dismissive attitude, though the other Yardbirds had happier memories of the session, not least because Phillips caught their live sound better than anyone had. You can hear Relf's drunken incompetence on the other track they recorded at the session, their version of "Train Kept A-Rollin'", the song we covered way back in episode forty-four. Rearranged by Samwell-Smith and Beck, the Yardbirds' version built on the Johnny Burnette recording and turned it into one of the hardest rock tracks ever recorded to that point -- but Relf's drunk, sloppy, vocal was caught on the backing track. He later recut the vocal more competently, with Roy Halee engineering in New York, but the combination of the two vocals gives the track an unusual feel which inspired many future garage bands: [Excerpt: The Yardbirds, "Train Kept A-Rollin'"] On that first US tour, they also recorded a version of Bo Diddley's "I'm a Man" at Chess Studios, where Diddley had recorded his original. Only a few weeks after the end of that tour they were back for a second tour, in support of their second US album, and they returned to Chess to record what many consider their finest original. "Shapes of Things" had been inspired by the bass part on Dave Brubeck's "Pick Up Sticks": [Excerpt: Dave Brubeck Quartet, "Pick Up Sticks"] Samwell-Smith and McCarty had written the music for the song, Relf and Samwell-Smith added lyrics, and Beck experimented with feedback, leading to one of the first psychedelic records to become a big hit, making number three in the UK and number eleven in the US: [Excerpt: The Yardbirds, "Shapes of Things"] That would be the group's last record with Giorgio Gomelsky as credited producer -- although Samwell-Smith had been doing all the actual production work -- as the group were becoming increasingly annoyed at Gomelsky's ideas for promoting them, which included things like making them record songs in Italian so they could take part in an Italian song contest. Gomelsky was also working them so hard that Beck ended up being hospitalised with what has been variously described as meningitis and exhaustion. By the time he was out of the hospital, Gomelsky was fired. His replacement as manager and co-producer was Simon Napier-Bell, a young dilettante and scenester who was best known for co-writing the English language lyrics for Dusty Springfield's "You Don't Have to Say You Love Me": [Excerpt: Dusty Springfield, "You Don't Have to Say You Love Me"] The way Napier-Bell tells the story -- and Napier-Bell is an amusing raconteur, and his volumes of autobiography are enjoyable reads, but one gets the feeling that he will not tell the truth if a lie seems more entertaining -- is that the group chose him because of his promotion of a record he'd produced for a duo called Diane Ferraz and Nicky Scott: [Excerpt: Diane Ferraz and Nicky Scott, "Me and You"] According to Napier-Bell, both Ferraz and Scott were lovers of his, who were causing him problems, and he decided to get rid of the problem by making them both pop stars. As Ferraz was Black and Scott white, Napier-Bell sent photos of them to every DJ and producer in the country, and then when they weren't booked on TV shows or playlisted on the radio, he would accuse the DJs and producers of racism and threaten to go to the newspapers about it. As a result, they ended up on almost every TV show and getting regular radio exposure, though it wasn't enough to make the record a hit. The Yardbirds had been impressed by how much publicity Ferraz and Scott had got, and asked Napier-Bell to manage them. He immediately set about renegotiating their record contract and getting them a twenty-thousand-pound advance -- a fortune in the sixties. He also moved forward with a plan Gomelsky had had of the group putting out solo records, though only Relf ended up doing so. Relf's first solo single was a baroque pop song, "Mr. Zero", written by Bob Lind, who had been a one-hit wonder with "Elusive Butterfly", and produced by Samwell-Smith: [Excerpt: Keith Relf, "Mr. Zero"] Beck, meanwhile, recorded a solo instrumental, intended for his first solo single but not released until nearly a year later.  "Beck's Bolero" has Jimmy Page as its credited writer, though Beck claims to be a co-writer, and features Beck and Page on guitars, session pianist Nicky Hopkins, and Keith Moon of the Who on drums. John Entwistle of the Who was meant to play bass, but when he didn't show to the session, Page's friend, session bass player John Paul Jones, was called up: [Excerpt: Jeff Beck, "Beck's Bolero"] The five players were so happy with that recording that they briefly discussed forming a group together, with Moon saying of the idea "That will go down like a lead zeppelin". They all agreed that it wouldn't work and carried on with their respective careers. The group's next single was their first to come from a studio album -- their only UK studio album, variously known as Yardbirds or Roger the Engineer. "Over Under Sideways Down" was largely written in the studio and is credited to all five group members, though Napier-Bell has suggested he came up with the chorus lyrics: [Excerpt: The Yardbirds, "Over Under Sideways Down"] That became the group's fifth top ten single in a row, but it would be their last, because they were about to lose the man who, more than anyone else, had been responsible for their musical direction. The group had been booked to play an upper-class black-tie event, and Relf had turned up drunk. They played three sets, and for the first, Relf started to get freaked out by the fact that the audience were just standing there, not dancing, and started blowing raspberries at them. He got more drunk in the interval, and in the second set he spent an entire song just screaming at the audience that they could copulate with themselves, using a word I'm not allowed to use without this podcast losing its clean rating. They got him offstage and played the rest of the set just doing instrumentals. For the third set, Relf was even more drunk. He came onstage and immediately fell backwards into the drum kit. Only one person in the audience was at all impressed -- Beck's friend Jimmy Page had come along to see the show, and had thought it great anarchic fun. He went backstage to tell them so, and found Samwell-Smith in the middle of quitting the group, having finally had enough. Page, who had turned down the offer to join the group two years earlier, was getting bored of just being a session player and decided that being a pop star seemed more fun. He immediately volunteered himself as the group's new bass player, and we'll see how that played out in a future episode...

Learn to make Mussels bursting with flavor.

I'm glad this week is over. I can't even recite the mass shootings and cops who killed Black men (or boys) in the past week, because this shit has reached pandemic proportions. Or, more accurately, epidemic, as it's only here in the US. I did check in with The Intercept's Ryan Grim who broke the story this week about Democrats introducing legislation to expand the number of justices on the Supreme Court. He'll give us the story on that, plus weigh in on the PRO Act and DC Statehood. Then we'll segue into the weekend, as I'm joined by Greg Mitchell. The former writer for The Nation and second in command at Crawdaddy has roots in both the news/politics and music worlds. His newish newsletter, "Between Rock and a Hard Place" embraces both beautifully. Subscribe (for free) at gregmitchell.substack.com.

We go over our tier list for fast food restaurants. Enjoy! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/lb-podcast1345/support

Welcome to the SELAH DUBBcast on the show tonight original Blues artist and comantator as well as former drummer in Selah Dubb. Ths is by far the best Dubbcast ever. Pops goes deep on his health, life with his bues orchestra, the old days on the road with Selah Dubb as well as his upbringing in NYC. CEEBEE GEEBEES, the son of Sam, the NYC black out, all of it.. Don't miss the fun here on the Dubbcast! The Dubbcast comes to you weekly here on the Selah Dubb Channel. Come say hi on Instagram, facebook or Twitter. for more info check us out at www.selahdubb.com for merch come to www.teespring.com/selahmusic1 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/thedubbcast/support

In this episode Carl is sick, we sing Cher, we blow the Gumlog County Wikipedia Conspiracy wide open! We also talk about Space Penguins. Hot sauce and Hallelujah! It's Episode 7: The Mississippi Regular Crawdaddy Revival!

This transmission was recorded 20 years ago on a spaceship blasting through the cosmos and only recently found its way to Earth. It is the private audio diary of two podcasters known as Beardo and Crawdaddy - two intergalactic podcasters with one mission: seek out and discuss every single film in director John Carpenter's canon. This entry is entitled: "Dark Star," and appears to be a conversation of the director's earliest know piece of feature-length filmmaking.

Stop sippin' your gin and juice for two seconds and listen up turd burglars. I'm only going to let you read this once: Frank Sinatra had a CIA double that strangled Marilyn Monroe to death. Now on to the show... #improv #comedy #sketch #smoking #podernfamily #thehateflow