Podcasts about Decca Records

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! EL PADRE DEL ROCK AND ROLL William John Clifton "Bill" Haley (Highland Park, Detroit, Míchigan; 6 de julio de 1925-Harlingen, Texas; 9 de febrero de 1981) fue un músico estadounidense, uno de los propulsores del rock and roll, que popularizó grandemente este tipo de música a principios de 1950 con su grupo Bill Haley & His Comets, teniendo hits con ventas millonarias como "Rock Around the Clock", "See You Later, Alligator", "Shake, Rattle and Roll", "Rocket 88", "Skinny Minnie" y "Razzle Dazzle". Vendió más de 25 millones de discos en todo el mundo. A Haley se le considera el padre del rock and roll. Rock Around the Clock y el estallido del rock and roll En 1953, Haley tuvo su primer éxito nacional con una canción de su coautoría (con Marshall Lytle) titulada "Crazy Man, Crazy", una frase que Haley dijo oía decir a su público adolescente. "Crazy Man, Crazy" fue la primera canción de rock & roll en ser televisada por una cadena nacional cuando fue utilizada ese mismo año como banda de sonido de un programa de televisión protagonizado por James Dean. A comienzos de 1954, Haley sumó a Joey Ambrose como saxo tenor y poco después dejó el sello Essex por el más importante Decca Records de Nueva York. El 12 de abril de 1954, en su primera sesión para el nuevo sello, acompañados por Danny Cedrone en guitarra eléctrica y Billy Gussak en batería (reemplazando a Boccelli), Bill Haley y sus Comets grabaron "Rock Around the Clock". Se trata del más grande éxito de Haley y una de las canciones más importantes de la historia del rock and roll. Aunque su éxito inicial fue moderado, se estima que se vendieron 25 millones de copias según el Libro Guinness de los récords. Inicialmente "Rock Around the Clock" fue un éxito modesto. En su momento fue mucho más importante "Shake, Rattle and Roll", grabado a comienzos de 1954, con el que vendieron un millón de copias, anticipando el estallido que la banda protagonizaría al año siguiente. A fines de 1954, Haley grabó un nuevo éxito, "Dim, Dim The Lights". Estos éxitos impulsaron a algunos DJ, entre ellos Alan Freed, a redescubrir y difundir anteriores grabaciones de la banda, entre ellas "Rock Around the Clock".. El 25 de marzo de 1955 se estrenó la película Semilla de maldad ("Blackboard Jungle", cuya traducción textual es Jungla de Pizarrones), en la que Bill Haley y sus Cometas interpretan Rock Around the Clock como primera escena. El impacto fue grande en todo el país: el tema se convirtió en N.º 1 en las listas estadounidenses y se mantuvo en ese lugar durante ocho semanas. Era la primera canción de rock and roll en hacerlo. Los movimientos acrobáticos de Ambrose al tocar el saxo y Lytle montando el contrabajo como si fuera un potro, fueron marcas personales de la banda en sus presentaciones en vivo. A fines de 1954, Haley y sus Cometas aparecieron en un film corto titulado Round Up of Rhythm, tocando tres temas. Se trata de la primera película de rock and roll. Bill Haley y sus Cometas (nombre original Bill Haley & His Comets) fue una banda estadounidense de rock and roll creada en 1952 que continuó hasta la muerte de Haley en 1981. La banda, también conocida como Bill Haley and The Comets y Bill Haley's Comets u otras variaciones similares, fue uno de los primeros grupos de músicos blancos en tocar rock and roll atrayendo la atención del público de su país y de todo el mundo hacia ese nuevo estilo musical, de origen afroamericano. El líder del grupo, Bill Haley, había sido previamente un intérprete de música country y western (folclore norteamericano). Después de grabar en 1951 una versión "country" del tema "Rocket 88" (una de las canciones consideradas como iniciadoras del rock and roll), cambió su estilo para adoptar el nuevo sonido que terminaría llamándose unos años después "rock and roll". Si bien varios de los Cometas se volvieron famosos, Bill Haley permaneció como la estrella, con su rulo sobre la frente y la banda con trajes de etiqueta y su comportamiento enérgico sobre el escenario. Fueron considerados en su tiempo tan revolucionarios como Los Beatles o Los Rolling Stones en la década de 1960. Después de la muerte de Haley, no menos de seis grupos diferentes se han formado bajo el nombre de Cometas, todos ellos reclamando para sí ser la histórica continuación de aquel que dirigía Haley.😎Escucha este episodio completo y accede a todo el contenido exclusivo de EDITORIAL GCO. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/2313218

The guys just can't stay away from Rod Stewart who always has a creepy one in the chamber. This time, it's a blues cover called Good Morning Little Schoolgirl; his first single for Decca Records. Surprisingly, this isn't the creepiest song he does though it does raise the ol' hackles.

Folklorist John A. Lomax found this song in 1909 when he made his first field trip to the Brazos area of Texas for Harvard University.“I found Dink scrubbing her man's clothes in the shade of their tent across the Brazos River from the A. & M. College,” Lomax wrote when he and his son Alan published the song 25 years later in their seminal 1934 work, American Ballads and Folk Songs.Harvest Professor James C. Nagle had been the supervising engineer of a levee-building company during that first trip, and he invited the senior Lomax to come along and bring his new Edison recording machine.Among the levee workers who had traveled from Mississippi to work on the Brazos, Lomax found one who pointed out Dink, saying she “knows all the songs.”But Dink was uninterested in helping — “'Today ain't my singin' day,” she said — until “I walked a mile to a farm commissary,” Lomax wrote, “and bought her a pint of gin. As she drank the gin, the sounds from her scrubbing board increased in intensity and in volume. She worked as she talked.”“That little boy there ain't got no daddy an' he ain't got no name,” Dink told Lomax. “I comes from Mississippi and I brung along my little boy. My man drives a four-wheel scraper down there where you see the dust risin'. I keeps his tent, cooks his vittles and washes his clothes. Some day I gonna wrap up his wet breeches and shirts, roll 'em up in a knot, put 'em in the middle of the bed and tuck down the covers right nice. Then I'm going on up the river where I belong.”The TuneLomax's original record of “Dink's Song” — which the storyteller eventually sang for him — got broken long ago, but not before John, Alan and others in the Lomax family all learned the words and melody.Poet Carl Sandburg, who included the song in his New American Songbag in 1950, compared Dink's lyrics to the best fragments from the Greek poetess Sappho. “As you might expect,” Lomax commented, “Carl prefers Dink to Sappho.”The elder Lomax lost track of Dink after his 1909 field trip. "When I went to find her in Yazoo, Mississippi, some years later,” he wrote, “her women friends, pointing to a nearby graveyard, told me, ‘Dink's done planted up there.' I could find no trace of her little son.”The first commercial recording of “Dink's Song” came eight years after the Lomaxes published it in their songbook, when Libby Holman waxed it as “Fare Thee Well” in a recording with Josh White for Decca Records.Oh? You say you don't know who Libby Holman was? Oh boy, do we have a story for you!Libby's LifeA Cincinnati-born actress and singer — her career began as a torch singer on Broadway in the 1920s and ‘30s — Libby Holman was a controversial figure, known for her turbulent personal life as well as for her activism, which included unstinting support for civil rights.When she was in her late 20s, Holman was at the center of a highly publicized case surrounding the death of her first husband. Zachary Smith Reynolds, heir to the R.J. Reynolds tobacco fortune, who died of a gunshot wound at their estate in 1932. Initially, Libby was accused of murder, but the charges eventually were dropped. The coroner ruled Smith's death a suicide. For her part, Holman said she couldn't remember exactly what happened, telling a friend, “I was so drunk last night I don't know whether I shot him or not.”RelationshipsHolman was known for her intimate affairs with both men and women, including a significant relationship with DuPont heiress Louisa d'Andelot Carpenter. The tabloids of the day had a ball with Libby's openness about her bisexuality.Folk/blues artist Josh White also has a significant professional and personal connection with Holman. In the 1940s they became the first mixed-race male and female artists to perform together, to record together and to tour throughout the United States.Together they challenged segregationist policies in the entertainment industry, breaking down racial barriers in many previously segregated venues. During World War II, the two tried to organize performances for servicemen, but they were rejected due to the prevailing segregation in the U.S. Armed Forces, despite a recommendation from Eleanor Roosevelt.As “Fare Thee Well,” “Dink's Song” was among a half dozen songs Holman and White recorded for Decca in 1942. Three years later, White recorded the tune again on his first solo album, Songs by Josh White, for Asch Records, a predecessor of Folkways. He recorded it at least once more later in his career, on the 1957 Mercury album called Josh White's Blues.Our Take on the TuneIn the Floodisphere, Randy Hamilton has reinvented this century-old tune into something as fresh and sweet as a summer breeze.And if listening to it has you hankering for more music from Randy, just swing on by the free Radio Floodango music streaming service and tune in the Randy Channel. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Kerry Ellis is one of the biggest stars of musicals from the West End to Broadway. She originated the role of Meat, in Queen's We Will Rock You and was the first British Elphaba in the West End smash, Wicked, for which Kerry won the 2008 Whatsonstage.com Award for ‘Best Takeover in a Role'. She then immediately transferred to Broadway and played Elphaba at the Gershwin Theatre for 6 months, where she won the Broadway.com Audience Award for Favourite Female Breakthrough Performance. Her many other leading role credits include Nancy in Oliver! at Drury lane, Eliza Doolittle My Fair Lady, Ellen in Miss Saigon, Fantine in Les Miserables and Grizabella in Cats at the London Palladium. Kerry's first major CD release was the amazing Wicked in Rock, a collaboration with long time friend and Queen guitarist, Brian May. Her debut album Anthems was released in 2010 on Decca Records. The success of the album, which reached No.15 in the UK album chart, and No.10 in the UK pop club charts, led to a major tour which kicked off at the Royal Albert Hall. She has performed internationally, including performances at the Royal Variety Performance, at the Laurence Olivier Awards, duetting with Barry Manilow on BBC Television and Radio, at G.A.Y., on Loose Women, Alan Titchmarsh Show, BBC Breakfast, at the Henley Festival alongside John Barrowman and the Queen's Jubilee Concert at Buckingham Palace .Kerry Ellis is our guest in episode 503 of My Time Capsule and chats to Michael Fenton Stevens about the five things she'd like to put in a time capsule; four she'd like to preserve and one she'd like to bury and never have to think about again .For Kerry's tour dates, music, book and more, visit. - https://kerryellis.com .Follow Kerry Ellis on Instagram: @kerryellis79 & Twitter/X: @kerryjaneellis1 .Follow My Time Capsule on Instagram: @mytimecapsulepodcast & Twitter/X & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter/X: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people .To support this podcast, get all episodes ad-free and a bonus episode every Wednesday of "My Time Capsule The Debrief', please sign up here - https://mytimecapsule.supercast.com. All money goes straight into the making of the podcast. Hosted on Acast. See acast.com/privacy for more information.

Show #1105 Wine Time 01. Miss Lily Moe - Wine Is Fine (2:02) (Wine Is Fine, Rhythm Bomb Records, 2018) 02. Big Harp George - Wine Is My Friend (3:46) (Cooking With Gas, Blues Mountain Records, 2024) 03. Floyd Dixon - Wine Wine Wine (2:40) (78 RPM Shellac, Aladdin Records, 1952) 04. Shemekia Copeland - Wine O'Clock (4:02) (Blame It On Eve, Alligator Records, 2024) 05. Blood Sweat & Tears - Gimme That Wine (5:03) (Brand New Day, ABC Records, 1977) 06. Georgie Fame - Gimme That Wine (3:11) (Fame At Last, Columbia Records, 1964) 07. The Little Red Rooster Blues Band - Drinkin' Wine On My Dime (5:38) (Lock Up The Liquor, self-release, 2018) 08. Cirkus Prütz - Water Into Wine (5:33) (Manifesto, Metalville Records, 2025) 09. Rusty Ends & Hillbilly Hoodoo - Cheap Wine (2:19) (The Last Of The Boogiemen, self-release, 2020) 10. Jeff Rogers - Saving This Bottle Of Wine (4:28) (Dream Job, self-release, 2024) 11. Eight O'Five Jive - One More Glass Of Wine (3:41) (Swing Set, Red Rudy Too Tunes, 2017) 12. Johnny Wright - Wine Head (2:25) (45 RPM Single, Magnificent Records, 1962) 13. Bob Lanza Blues Band - Drinking Wine Spo Dee O Dee (3:21) (Breadman's Blues, MoMojo Records, 2025) 14. The Electric Flag - Wine (3:13) (A Long Time Comin', Columbia Records, 1968) 15. Q65 - Sour Wine (2:57) (45 RPM Single, Decca Records, 1968) 16. Reform The Hounds - Sweet Wine (7:08) (Reform The Hounds, Woodshed Resistance, 2021) 17. Omar Coleman - Raspberry Wine (4:34) (Live!, Delmark Records, 2016) 18. Sean Chambers - Cherry Red Wine (4:35) (Welcome To My Blues, American Showplace Music, 2018) 19. Heavydrunk & Watermelon Slim - New Wine (2:54) (Bluesland Theme Park, Heavydrunk Records, 2025) 20. Liz Mandeville - Reefer And A Glass Of Wine (3:06) (The Stars Motel, Blue Kitty Music, 2016) 21. Rod Piazza & The Mighty Flyers - Wine, Wine, Wine (3:57) (Almighty Dollar, Delta Groove Records, 2011) 22. Yates McKendree - Wine, Wine, Wine (2:49) (Buchanan Lane, Qualified Records, 2022) 23. Danny Gatton - Apricot Brandy (3:18) (Rubáiyát (Elektra's 40th Anniversary), Elektra Records, 1990) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Sadie and Jeanne dive into the world of Tommy Wallach to discuss writing musicals, plays, screenplays, novels, the value of being a pianist, why bread is not happening, and so much more. This one is a must-listen for all artists who want to dive into multiple mediums and find a path of sanity while juggling 12 balls in the air. Just read his bio below ... yeah, he pivots like none other. *****Tommy Wallach is the author of the Anchor & Sophia trilogy, Thanks for the Trouble, and the New York Times bestselling We All Looked Up, which has been translated into over a dozen languages. His writing has appeared in McSweeney's, Tin House, Wired, and other magazines, and he is a MacDowell Fellow. He was signed to Decca Records as a singer-songwriter, and has independently released two full-length albums, including We All Looked Up: The Album, a companion record to his first novel. He currently lives in Los Angeles, where he recently opened up his first escape room, and is working on bringing his novels to various sorts of screens. Grok more at TommyWallach.com.Resources from this episode: Tommy Wallach's websiteTommy on IG: @tommywallachPipeline Podcasts:All OG Pipeline Artists podcasts can be found on pipelineartists.com/listen.YouTube:Watch full (read that as "most ... maybe not any" because Jeanne is tired) episodes on YouTube.Follow us on X:@recklesscr8tive@SadieKDean@jeannevb@pipelineartistsFollow us on IG:@recklesscr8tive@_thesadiedean@jeannevb_@pipelineartistsEnter Pipeline's Contests:Script Pipeline (Screenwriting, TV, First Look, Pitch Contest)Film Pipeline (Short Scripts and Short Films)Book Pipeline (Unpublished and Adaptation)

Welcome, Mwalim (AKA Daphunkee Professor AKA Morgan James Peters), who has been studying music since he was ten years old. He is formally trained in classical, jazz, and is a fourth-generation musician on his mother's side. Mwalim's first instrument was the viola, and he performed at Carnegie Hall with an orchestra before he was 14. He also started studying piano and composition with his grandfather, the noted jazz arranger, band leader, and producer for Southern Records and Decca Records, Allan Nurse. Mwalim went to the Music & Art High School (LaGuardia) in New York City, and later earned his BA in Music and an MS in Film from Boston University. He earned an MFA in Writing from Goddard College. Mwalim spoke with The Artists Index's cofounder, documentarian, and podcast host, Ron Fortier, recently about his passion, his life, and his journey as an artist. This episode was recorded at our recording studio at Spectrum Marketing Group at Howland Place in New Bedford. Representative Work OUT OF THE WOODS (Black Squirrel Version) LET OURSELVES GO 7 GHOSTS THIEF IN THE NIGHT 01-7 CANDLES GEMINI - BY THEMSELVES   Mwalim - Daphunkee Professor (Morgan James Peters) New Bedford, Massachusetts 02746 Email | Website | Facebook | Instagram | Linktree | Other   Please consider donating whatever you can to help and assure us in our mission to continue documenting the legacies of South Coast Artists. If you would like to be a guest on The Artists Index or have a suggestion, please let us know!    

(S4 EP23) Moody Blues - “Days of Future Past” (Derem Records)Released November 17, 1967. Recorded May 9-Nov 3, 1967 Days of Future Passed (1967) by The Moody Blues is a landmark concept album that fused rock with orchestral music, marking a pivotal moment in the evolution of progressive rock. Initially commissioned by Decca Records to showcase stereo sound with a rock adaptation of Dvořák's New World Symphony, the band instead created an original work that follows a symbolic day from dawn to night. Featuring the London Festival Orchestra and pioneering use of the Mellotron by Mike Pinder, the album blends lush orchestration with introspective songwriting. Highlights include Justin Hayward's “Nights in White Satin” and “Tuesday Afternoon,” both emotionally resonant and enduringly popular. The album's innovative structure, poetic lyrics, and seamless integration of classical elements redefined the LP as an artistic format. Days of Future Passed remains a foundational piece in the history of progressive music, influencing bands like Genesis and Yes, while solidifying The Moody Blues' legacy as sonic visionaries.Signature Songs: "Dawn: Dawn is A Feeling", "The Afternoon: Forever Afternoon" "The Night: Nights In White Satin" Full Album: YouTube, Spotify Playlist: YouTube, Spotify

Six decades after they stormed the British and American charts in 1964, The Zombies are possibly more popular than ever. Their biggest hits, ‘She's Not There', ‘Tell Her No' and ‘Time of the Season' have been played more than 14 million times on U.S. radio alone. Praised by critics, discovered by a new generation of fans, and inducted into the Rock and Roll Hall of Fame, The Zombies returned in the 2000s to establish themselves as a top-class touring act still driven to create new music. Based largely on author Robin Platts' interviews with the five original band members, Times and Seasons – The Rise and Fall and Rise of The Zombies (Hozac Books) tells the whole story from the mid-‘60s Decca Records hits and misses through the break-up, to the creation of their orch pop masterwork, Odessey and Oracle, to the solo years, and their unexpected revival in the 21st century. For more info, check out my review of the book published by PopMatters - https://www.popmatters.com/the-zombies-inhuman-staying-power "Reading is Funktamental" is a monthly one-hour show about great books written about music and music-makers. In each episode, host Sal Cataldi speaks to the authors of some of the best reads about rock, jazz, punk, world, experimental music, and much more. From time to time, the host and authors will be joined by notable musicians, writers, and artists who are die-hard fans of the subject matter covered. Expect lively conversation and a playlist of great music to go with it. "Reading Is Funktamental" can be heard the second Wednesday of every month from 10 – 11 AM on Wave Farm: WGXC 90.7 FM and online at wavefarm.org. It can also be found as a podcast on Apple, Spotify and other platforms. Sal Cataldi is a musician and writer based in Saugerties. He is best known for his work with his genre-leaping solo project, Spaghetti Eastern Music, and is also a member of the ambient guitar duo, Guitars A Go Go, the poetry and music duo, Vapor Vespers, and the quartet, Spaceheater. His writing on music, books and film has been featured in The New York Times, Rolling Stone, PopMatters, Seattle Times, Huffington Post, Inside+Out Upstate NY, and NYSMusic.com, where he is the book reviewer.

Matt Sergiou – The Beatles, The Stones, the 60's and Mind Control.Dec 6, 2022Matt Sergiou has made a big effort to research not only the Beatles and their occult references and connections, but also the infiltration of the 60s counter culture and psychodelic influences.Were the Beatles and the Stones involved, albeit indirectly, in Decca Records funnelling money into military research? Were they coerced into giving an illusion that the peace movement could achieve it's stated aims? How were the drugs which were responsible for one of the most creative and anarchic periods in music and art, so readily available to so many people?In a concise interview, Matt puts forward his case that much of the more successful music and acts were unwitting pawns in a game of distraction; at best they were innocent contributors for sinister operators, at worst they were willingly complicit in a mind control operation which altered the course of history.Website : Conspiro Media/ Occult BeatlesTwitter : Matt SergiouFacebook : Conspiro MediaBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

Welcome to Season 04 Episode 4.13 - the "Triple Play" edition - of Notes from the Aisle Seat, the podcast featuring news and information about the arts in  northern Chautauqua County NY, sponsored by the 1891 Fredonia Opera House. Your host is Tom Loughlin, SUNY Distinguished Teaching Professor and Chair Emeritus of Theatre and Dance at SUNY Fredonia. Guests on this episode include: Dr. Robert Strauss, Artistic Director of the Buffalo Gay Men's Chorus; Mr. Paul Preston aka "The Movie Guy,"; and Ms. Briana Kelly and Ms. Ava Sargente from the Fredonia Dance Ensemble, Dept. of Theatre and Dance. Notes from the Aisle Seat is available from most of your favorite podcast sites, as well as on the Opera House YouTube Channel. If you enjoy this podcast, please spread the word through your social media feeds, give us a link on your website, and consider becoming a follower by clicking the "Follow" button in the upper right-hand corner of our home page. If you have an arts event you'd like to publicize, hit us up at operahouse@fredopera.org and let us know what you have! Please give us at least one month's notice to facilitate timely scheduling. And don't forget to enter the giveaway for a $25 gift card from Domus Fare and 2 tickets to any Arts in the Afternoon event! Entries must be received by Friday May 9th at 12 noon! Listen to the podcast for the question and answer. Then email your answer to operahouse@fredopera.org. Make sure you put the word "Giveaway" in the subject line and include your preferred contact information. Thanks for listening! Time Stamps (Approximate) 01:56 - Dr. Robert Strauss/Live at the Met Preview 19:55 - Mr. Paul Preston "The Movie Guy"/Cinema Series Preview 37:06 - Arts Calendar 41:00 - Ms. Briana Kelly & Ms. Ava Sargente/Fredonia Dance Ensemble Media "Boogie Woogie Bugle Boy"; performed by the Andrew Sisters; Don Raye and Hughie Prince, composers; Decca Records, January 1941 "Largo al factotum della citte", from the opera Il Barbiere de Siviglia, Gioachino Rossini, composer; Caesare Sterbini, libretto; from the 2011-12 Metropolitan Opera season; Peter Mattei, baritone "Give Your Love"' from the soundtrack of the motion picture The Ballad of Wallis Island; written by Tom Basden, performed by Tom Basden and Cary Mulligan, March 2025 Overture to Le Nozze de Figaro; Wolfgang Amadeus Mozart, composer; performed by the Frankfurt Radio Symphony Orchestra, Tarmo Peltokowski, conductor; August 2023 music from A Choreographic Offering by José Limon; J.S. Bach, composer (The Musical Offering, 1737) Artist Links Dr Robert Strauss - Buffalo Gay Men's Chorus Paul Preston - The Movie Guy Briana Blair Kelly Box Office at SUNY Fredonia Lake Shore Center for the Arts (Agnes of God) Main Street Studios Ticket Website (Little Women) WCVF Fredonia WRFA Jamestown   BECOME AN OPERA HOUSE MEMBER!   Saturday, May 17th at 7:30pm at Lafayette Presbyterian Church at 875 Elmwood Avenue Buffalo 14222 Sunday, May 18th at 3pm at University Presbyterian Church at 3330 Main Street Buffalo 14214   Tickets available presale at tickets.thebgmc.org or at the door.   The Buffalo Gay Men's Chorus, a chorus for tenors and basses, welcomes the Nickel City Treble Makers, a chorus for sopranos and altos, to the family.  This new group will perform on the concert, LOUDER THAN WORDS, which features the choruses singing separately and together songs about the LGBTQ+ community, living and loving your authentic self, and how to advocate for yourself and for those you love.     For more information, visit thebgmc.org      

Global treasure and Hollywood icon Jeff Goldblum joins us in the Dream Restaurant this week. But the food will need to be served quickly… Jeff Goldblum & The Mildred Snitzer Orchestra's new album ‘Still Blooming' is out on 25th April on Decca Records. Buy it here. Follow Jeff on Instagram @jeffgoldblum Off Menu is a comedy podcast hosted by Ed Gamble and James Acaster.Produced, recorded and edited by Ben Williams for Plosive.Video production by Megan McCarthy for Plosive.Artwork by Paul Gilbey (photography and design).Follow Off Menu on Twitter and Instagram: @offmenuofficial.And go to our website www.offmenupodcast.co.uk for a list of restaurants recommended on the show.Watch Ed and James's YouTube series 'Just Puddings'. Watch here. Hosted on Acast. See acast.com/privacy for more information.

On New Year's Day in 1962, a four-man band from Liverpool arrived at Decca Records in London to record a demo tape. The band's 15-song audition was apparently underwhelming: The Beatles were rejected from the label in favour of a group called Brian Poole and the Tremeloes. The audition tapes, too, were soon forgotten, aside from some incomplete bootlegs that circulated among die-hard fans and five songs released on the 1995 compilation album Anthology 1. So when Rob Frith, the owner of Neptoon Records in Vancouver, and the man we interview today, brought a tape labeled “Beatles '60s demos” to his friend's studio on a whim, he didn't know the value of what he possessed. Impossible Way of Life is created by musicians, for musicians—diving deep into the grind, the glory, and the gritty truth of life in the music world. Just like you need us, we need you. Please consider supporting our podcast through our Patreon at www.patreon.com/animpossiblewayoflife for an extra bonus episode every week. $5 a month - that's less than a cup of coffee. Thanks again Rob for this interview.

Show #1097 All Pretty Pretty 01. Hollywood Fats Band - All Pretty Women (3:05) (Rock This House, PBR International, 1979) 02. Dayna Kurtz - That's a Pretty Good Love (2:56) (Lulu and the Broadsides, Kismet Records, 2022) 03. Joseph Veloz - Pretty Is as Pretty Does (3:48) (Joseph and the Velozians, Big O Records, 2021) 04. Dave Thomas - Pretty In Pink (3:21) (Road To The Blues, Blonde On Blonde Direct, 2022) 05. Gary Cain - Pretty (3:26) (Outside The Lines, self-release, 2024) 06. The BB King Blues Band - Hey There Pretty Woman (4:09) (The Soul Of The King, Ruf Records, 2019) 07. The Nighthawks - Pretty Girls and Cadillacs (3:23) (Backtrack, Varrick Records, 1988) 08. Val Starr & The Blues Rocket - Pretty Girl Blues (3:38) (Healing Kind of Blues, Sandwich Factory Records, 2022) 09. David Barrett & John Garcia - Pretty Girls Everywhere (5:45) (Serious Fun, self-release,2003) 10. Ben Racine Band - Too Busy Being Pretty (5:22) (Live à Montréal, self-release, 2019) 11. Sugaray Rayford - Pretty Fine Mama (4:50) (Dangerous, Delta Groove Records, 2013) 12. Tomcats - Pretty Baby (4:29) (Tomcats, Rivera Records, 1984) 13. Kim Wilson - Pretty Baby (3:35) (That's Life, Antone's Records, 1994) 14. Rick Vito - Pretty Women (3:46) (Mojo On My Side, Delta Groove Records, 2015) 15. John Mayall's Bluesbreakers - Oh Pretty Woman (3:37) (Crusade, Decca Records, 1967) 16. Albert King - Oh Pretty Woman (2:47) (45 RPM Single, Stax Records, 1966) 17. Spencer Davis Group - Oh Pretty Woman [1966] (3:19) (Eight Gigs A Week-The Steve Winwood Years, Chronicles Records, 1996) 18. The Underdogs Blues Band - Oh Pretty Woman (3:28) (The Underdogs Blues Band, Zodiac Records, 1968) 19. Jacksons Garden - Pretty Woman [1968] (2:33) (How Do I Get into Jacksons Garden?, Frost Records, 2002) 20. Los Buenos - Oh Pretty Woman (3:07) (45 RPM Single, Acción Records, 1969) 21. Moohah (AC Williams) - Candy (2:34) (78 RPM Shellac, Starmaker Records, 1954) 22. Blues Karloff - Oh Pretty Woman (4:13) (Ready For Jugement Day, Blues Boulevard Records, 2014) 23. Al Corté - Pretty Woman (4:01) (Seasoned Soul, self-release, 2015) 24. Moohah (AC Williams) - All Shook Out (2:51) (78 RPM Shellac, Starmaker Records, 1954) 25. Steve Cropper - Oh Pretty Woman (3:37) (With A Little Help From My Friends, Volt Records, 1969) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

DescriptionCarnegie Hall: A Stage for Legends in 60 Seconds. Take a minute to get the scoop!Fun FactIn 1962, The Beatles were rejected by Decca Records, who claimed "guitar groups are on the way out." Two years later, they rocked Carnegie Hall in a sold-out show, proving just how wrong Decca was! Their performance was so wild that police had to hold back screaming fans.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

Down Home Cajun Music- Pre War Cajun On Decca RecordsBy 1934, the Great Depression forced major recording companies, such as Paramount and Columbia, to rethink their efforts in "French Arcadian" music. It would be left to only three major companies, one of them was Decca Records. Louisiana Rounders- Allons Kooche KoocheJoseph Falcon- Ne Buvez Plus JamaisLeo Soileau's Four Aces- Louisiana BluesSons of Acadians- En Jour A VenirAmedie Ardoin- Les Blues De La PrisonJolly Boys Of Lafayette- AbbevilleJoseph Falcon- Le Nouveau LafayetteCleoma Falcon- Blues NegresJolly Boys Of Lafayette- Old Man CripLeo Soilea's Four Aces-  A UteJoseph Falcon- Louisiana SpecialLeo Soileau's Four Aces- T'Est Petite Et T'Est Mignonne* All selections from the original 78 rpm records.

My guest, Eddie Ray, is truly a giant, a pioneer in the music industry. He started working at Decca Records in 1943, he worked with such diverse at from R & B giant Fats Domino to teen idol Ricky Nelson to Country Star Slim Whitman. He become Chairman of the US Copyright Royalty Tribunal, appointed by President Ronald Reagan. He was Vice Chairman/ Operation Director of the NC Music hall of Fame. A wonder Video. Mr Ray is join by Logan Westbrooks, Hiliary Johnson, Deborah McPhatter and Michael FrisbyProduced, directed, written and hosted by Stephen E Davis.

Show #1092 20th Century Revisited 01. Eddie Boyd - The Big Question (3:02) (Five Long Years, Fontana Records, 1965) 02. John Mayall & the Bluesbreakers - Someday After A While (Tou'll Be Sorry) (3:01) (A Hard Road, Decca Records, 1967) 03. Eric Clapton - Someday After A While (4:28) (From The Cradle, Reprise Records, 1994) 04. Fleetwood Mac - No PLace To Go (3:24) (Fleetwood Mac, Blue Horizon Records, 1968) 05. Buddy Guy - Stick Around [1963] (3:52) (Blues Rarities, Chess Records, 1984) 06. Dana Gillespie - Tongue In Cheek (4:54) (Blues It Up, Ace Records, 1990) 07. Red Devils - Quarter To Twelve (6:54) (King King, American Recordings, 1992) 08. Little Walter - Mellow Down Easy (2:40) (45 RPM Single B-side, Checker Records, 1954) 09. Tony Joe White - Did Somebody Make A Fool Out Of You (4:46) (Homemade Ice Cream, Warner Bros Records, 1973) 10. Paul Butterfield Blues Band - Blues With A Feeling (4:24) (The Paul Butterfield Blues Band, Elektra Records, 1965) 11. Spencer Davis Group - Blues In F (3:24) (45 RPM Single B-side, Fontana Records, 1966) 12. Blood Sweat & Tears - I Love You More Than You'll Ever Know (5:54) (Child Is Father To The Man, CBS Records, 1968) 13. Johnny Winter - It's My Life Baby (4:12) (Guitar Slinger, Alligator Records, 1984) 14. David Bromberg - Suffer To Sing The Blues [1979] (5:43) (Long Way From Here, Fantasy Records, 1986) 15. Sonny Boy Williamson II - Fattening Frogs For Snakes (2:22) (Down And Out Blues, Checker Records, 1959) 16. Canned Heat - Help Me (3:06) (Canned Heat, Liberty Records, 1967) 17. Electric Flag - Texas (4:45) (A Long Time Comin', CBS Records, 1968) 18. Bonnie Raitt - Everybody's Cryin' Mercy (3:23) (Takin' My Time, Warner Bros Records, 1973) 19. Omar & the Howlers - Everybody Knows About My Good Thing (5:45) (Big Leg Beat, Amazing Records, 1980) 20. ZZ Hill - Everybody Knows About My Good Thing (4:53) (Down Home, Malaco Records, 1981) 21. Chicken Shack - San-Ho-Zay (3:05) (40 Blue Fingers Freshly Packed And Ready To Serve, Blue Horizon Records, 1968) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Con Chawki Senouci approfondiamo " Choke Enough", ultimo album di Oklou, parliamo di "Saya", il nuovo disco di Saya Grey, e con Muireann Bradley parliamo di "I Kept these Old Blues", il suo disco d'esordio, alla vigilia della sua ripubblicazione per Decca Records

Rockshow episode 210 The Story of Phil Lynott and Thin LizzyPhilip Parris Lynott, born on August 20, 1949, in West Bromwich, England, and raised in Dublin, Ireland, was the charismatic frontman, bassist, and primary songwriter of Thin Lizzy—one of the most influential rock bands of the 1970s and early 80s. Known for his poetic lyrics, distinctive voice, and commanding stage presence, Lynott played a crucial role in shaping the band's signature sound, blending hard rock with Celtic influences and storytelling.The Formation of Thin Lizzy (1969-1972)Lynott formed Thin Lizzy in Dublin in 1969, along with drummer Brian Downey, guitarist Eric Bell, and organist Eric Wrixon (who left shortly after). The band was named after a character from a comic book (The Dandy's “Tin Lizzie”). They signed with Decca Records and released their self-titled debut album in 1971, but mainstream success eluded them at first.Their breakthrough came in 1972 with their reworking of the traditional Irish folk song “Whiskey in the Jar,” which became a major hit in Ireland and the UK. However, after their next few albums underperformed, Eric Bell left the band, leading to a major lineup change that would define their classic sound.The Classic Thin Lizzy Lineup (1974-1980)After Bell's departure, Thin Lizzy transitioned into a twin-guitar rock powerhouse. Lynott recruited Scott Gorham and Brian Robertson, forming the band's legendary dual-guitar attack. Their first major success in this era came with “The Boys Are Back in Town” (1976) from the Jailbreak album, which remains their most famous song.Notable Albums & Songs:•Jailbreak (1976) – “The Boys Are Back in Town,” “Jailbreak” •Johnny the Fox (1976) – “Don't Believe a Word” •Bad Reputation (1977) – “Dancing in the Moonlight,” “Bad Reputation”•Live and Dangerous (1978) – Regarded as one of the greatest live rock albums of all time•Black Rose: A Rock Legend (1979) – “Do Anything You Want To,” “Waiting for an Alibi,” “Black Rose”Thin Lizzy became known for their explosive live performances, poetic lyrics, and blending of hard rock with Irish storytelling. However, internal tensions, particularly with Brian Robertson's unreliability, led to lineup changes.The Later Years & Decline (1980-1983)Thin Lizzy disbanded in 1983 after a farewell tour, marking the end of an era.Phil Lynott's Solo Career & Tragic DeathAfter Thin Lizzy, Lynott pursued a solo career, releasing two albums:•Solo in Soho (1980) – “King's Call,” “Dear Miss Lonelyhearts”•The Philip Lynott Album (1982) He also collaborated with musicians like Gary Moore (“Out in the Fields”) and worked on various projects. However, his drug addiction worsened, and in late 1985, he collapsed due to complications from heroin and alcohol abuse.Phil Lynott passed away on January 4, 1986, at the age of 36.Thin Lizzy's LegacyDespite Lynott's passing, Thin Lizzy's influence remains strong. Various members have carried on the band's music, with Scott Gorham leading tribute tours. Lynott's lyrical storytelling, stage presence, and fusion of Celtic themes with hard rock inspired countless musicians, including Metallica, Iron Maiden, and U2.Today, Lynott is celebrated as Ireland's first great rock star, with statues, documentaries, and tributes keeping his legacy alive.Essential Listening for New Fans: Phil Lynott remains one of rock's most beloved and tragic figures—a poet, a rocker, and a legend whose music still resonates today.http://www.thinlizzy.org/phil.htmlhttps://youtube.com/@thinlizzyofficial?si=HtxqVIFF3_AuRiWrhttps://www.thinlizzyofficial.com/https://www.facebook.com/share/15serR1qV2/?mibextid=wwXIfrhttps://x.com/thinlizzy_?s=21&t=Mzw5de5zsR-SDDbhyzH0Lghttps://www.instagram.com/thinlizzy?igsh=bjE3aXRvdnhnMDVh#ThinLizzy #PhilLynott #RockLegends #ClassicRock #IrishRock #TheBoysAreBackInTown #Jailbreak #LiveAndDangerous #70sRock #HardRock #WhiskeyInTheJar #BlackRose #DancingInTheMoonlight #RockNRoll #LegendaryBands

pWotD Episode 2831: Marianne Faithfull Welcome to Popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 482,580 views on Friday, 31 January 2025 our article of the day is Marianne Faithfull.Marianne Evelyn Gabriel Faithfull (29 December 1946 – 30 January 2025) was an English singer and actress. She achieved popularity in the 1960s with the release of her UK top 5 single "As Tears Go By" and became one of the leading female artists of the British Invasion in the United States.Born in Hampstead, London, Faithfull began her career in 1964 after attending a party for the Rolling Stones, where she was discovered by Andrew Loog Oldham. Her 1965 debut studio album Marianne Faithfull, released simultaneously with her studio album Come My Way, was a huge success and was followed by further albums on Decca Records. From 1966 to 1970 she had a highly publicised romantic relationship with Mick Jagger. Her popularity was enhanced by roles in films, including I'll Never Forget What's'isname (1967), The Girl on a Motorcycle (1968) and Hamlet (1969). But her popularity was overshadowed by personal problems in the 1970s, when she became anorexic, homeless and addicted to heroin.During her 1960s musical career, Faithfull was noted for her distinctive melodic, high-register vocals. But, in the subsequent decade, her voice was altered by severe laryngitis and persistent drug abuse, which left her sounding permanently raspy, cracked and lower in pitch. The new sound was praised as "whisky soaked" by some critics and was seen as having helped to capture the raw emotions expressed in her music.After a long absence, Faithfull made a musical comeback in 1979 with the release of a critically acclaimed seventh studio album, Broken English. The album was a commercial success and marked a resurgence of her musical career. Broken English earned Faithfull a nomination for a Grammy Award for Best Female Rock Vocal Performance and is regarded as her "definitive recording". She followed this with a series of studio albums including Dangerous Acquaintances (1981), A Child's Adventure (1983) and Strange Weather (1987). Faithfull wrote three books about her life: Faithfull: An Autobiography (1994), Memories, Dreams & Reflections (2007) and Marianne Faithfull: A Life on Record (2014).Faithfull received the World Lifetime Achievement Award at the 2009 Women's World Awards, and in 2011 she was made a Commandeur of the Ordre des Arts et des Lettres by the government of France.This recording reflects the Wikipedia text as of 02:36 UTC on Saturday, 1 February 2025.For the full current version of the article, see Marianne Faithfull on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Kimberly.

Show #1086 More Good Music 01. Dennis Spencer - Cheap Entertainment (4:00) (Bluesman From Jupiter, self-release, 2024) 02. Piney Woods - You Got Me Where You Want Me (2:34) (The Piney Woods Record, self-release, 2024) 03. Heavydrunk & Watermelon Slim - Little Bighorn (3:26) (Bluesland Theme Park, Heavydrunk Records, 2025) 04. Jennifer Porter - Stop Your Talkin' (4:12) (Sun Come And Shine Redux, Overton Music, 2025) 05. Steve Howell & the Mighty Men - One Mint Julep (2:38) (Yeah Man, Out Of The Past Music, 2025) 06. Sunny Bleau & the Moons - S-H-E-E-E W-O-M-A-N (5:21) (Passion & Regrets, Endless Blues Records, 2025) 07. Mark Muleman Massey - She's Married To The Streets (3:28) (Been A Long Long Time, MuleTone Records, 2025) 08. Giles Robson & John Primer - Let Me Explain (2:43) (Ten Chicago Blues Classics, self-release, 2024) 09. Ed Alstrom - Fruitcake (4:00) (Flee Though None Pursue, Haywire Records, 2025) 10. Ollee Owens - Solid Ground (2:47) (Nowhere To Hide, Ollee Owens Music, 2024) 11. Hitman Blues Band - Back To The Blues (3:22) (Calling Long Distance, Nerus Records, 2024) 12. Robbert Duijf - First Train Out (3:30) (Silver Spoon, Naked Productions, 2025) 13. Reckoners - Woman's Woman (3:34) (Reckoners, Vintage League Music/Uptown Sound, 2024) 14. Greg Nagy - Never Mine (2:48) (The Real You, self-release, 2024) 15. Carly Harvey - Worth Waiting For (2:55) (Kamama, self-release, 2024) 16. The Band - Chest Fever (5:15) (Music From Big Pink, Capitol Records, 1968) 17. Dinah Washington (with Eddie Chamblee Orchestra) - Trouble In Mind (2:26) (45 RPM Single, Mercury Records, 1952) 18. Thelma La Vizzo - Trouble In Mind (3:01) (78 RPM Shellac, Paramount Records, 1924) 19. Bertha "Chippie" Hill - Trouble In Mind (2:51) (78 RPM Shellac, Okeh Records, 1926) 20. Georgia White - Trouble In Mind (2:35) (78 RPM Shellac, Decca Records, 1936) 21. Richard M. Jones - Trouble In Mind (2:40) (78 RPM Shellac, Bluebird Records, 1936) 22. Nina Simone - Trouble in Mind (2:45) (Pastel Blues, Philips Records, 1965) 23. Big Bill Broonzy - Trouble In Mind [1957] (2:36) (Black Brown And White, Mercury Records, 1991) 24. Two Men From Earth - Trouble In Mind (3:30) (Walkin' To New Orleans, self-release, 2009) 25. Misses Satchmo - Trouble In Mind (2:35) (The Sun Will Shine, Disques Bros Records, 2011) 26. Mose Allison - Trouble In Mind (3:15) (Local Color, Prestige Records, 1958) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Brenda Lee spent the early years of her life in Georgia, and though her family didn't have a lot of money, they always made sure she had batteries to run the radio so she could listen to the Grand Ole Opry. Between that and singing at their Baptist church, her interest in music became clear, and her extraordinary talent became even clearer. She was still a kid when her mother moved the family to Missouri so she could be a part of a TV program called Ozark Jubilee, and she was signed to Decca Records soon after that. Over the next handful of years, she set a record for the number of top 10 hits by a woman, and she also recorded one of the most famous Christmas songs of all time when she was just 13 years old: “Rockin' Around the Christmas Tree.” Sid talks to Brenda about her own Christmas traditions, her friendships with artists like Tanya Tucker and the late Kris Kristofferson, and her thoughts on the increased prominence of women in music over the course of her long career. For more info visit: southernliving.com/biscuitsandjam Biscuits & Jam is produced by: Sid Evans - Editor-in-Chief, Southern Living Krissy Tiglias - GM, Southern Living Lottie Leymarie - Executive Producer Michael Onufrak - Audio Engineer & Editor/Producer Jeremiah McVay - Producer Jennifer Del Sole - Director of Audio Growth Strategy & Operations Learn more about your ad choices. Visit podcastchoices.com/adchoices

Sup Vo1ceHeads!This episode is an ode to the Rolling Stone's original promoter, marketing specialist, pop psychologist, record producer, AKA Impresario extraordinare, Mr. Andrew Loog Oldham of Decca Records' fame.It was Andrew who put me onto the concept of artists-in-business not being Entrepreneurs, but rather greater success is in thinking of themselves as Impresarios.  I delve into this powerful distinction and how it can help inform you shape your career, whether you're a singer, songwriter, voice talent, promoter, producer, or any combination therein.Enjoy, like, follow, comment, hit me up @vo1cehead!-Ian Temple CampbellFor joy, power and a voice-centric worldviewallvoicemedia.com

John Williams, London Symphony Orchstra [00:23] "The Desert and The Robot Auction" Star Wars 20th Century Records 2T-541 1977 Pretty much every aspect of this soundtrack is seared into my Gen X nerd mind. Silver Jews [03:15] "Advice to the Graduate" Starlite Walker Drag City DC55 1994 The debut outing from David Berman and friends, here including partners in crime Steve Malkmus, Bob Nastanovich, and even Steve West. There is also a lovely cover of this song by The Pastels (https://youtu.be/tQ1vuKAGmUo?si=y7G-DZUy094zyJUf) (recorded for a Peel session). Lena Lovich [06:30] "I Think We're Alone Now" Stateless Stiff Records SEEZ 7 1978 (1979 reissue) From the original UK Stiff Records release of Stateless, a very first-wave New Wave version of "I Think We're Alone Now", originally recorded by Tommy James and the Shondells. Also available in Japanese! (https://youtu.be/URPtOAs_eMc?si=zX0h-wST3jcLzadK) Lena Lovich [09:18] "Lucky Number" Stateless Stiff-Epic JE 36102 1979 The US version changes up the track order, and has a number of songs remixed by Roger Bichirian. David Bowie [13:47] "Golden Years" Station to Station RCA Victor AQL1-1327 1976 (1986 reissue) Carlos Alomar and Earl Slick laying down the funky guitars. The cover features a photograph of Bowie by Steve Shapiro from Nicholas Roeg's The Man Who Fell to Earth (1976) (https://youtu.be/KarWCgIw3Wk?si=52k2oqnxkEJ2HNah). Sinéad O'Connor [17:46] "Some Day My Prince Will Come" Stay Awake (Various Interpretations of Music from Vintage Disney Films) A&M Records B0029005-01 1988 (2018 reissue) The late great Sinéad O'Connor interpreting Snow White's ballad accompanied by the late great Andy Rourke from the late great Hal Willner. Willner was one of the most imaginative music producers, responsible for so many excellent tribute albums, and one of the most innovative music shows on network television: Night Music (https://youtu.be/ChPPW6NbsFk?si=AusrNnmpxTl4mWUI). Graham Parker and the Shot [18:55] "Wake Up (Next to You)" Steady Nerves Elektra 9 60388-1 1985 Graham gets all romantic in a Motown sorta way. This single made it as high as 39 on the Hot 100. Graham Parker and the Rumour [24:00] "I'm Gonna Tear Your Playhouse Down" Stick to Me Mercury SRM-1-3706 1977 Graham and company do a fine rendition of this song that was initally a hit for Ann Peebles (https://youtu.be/cyMsvE8UcbI?si=VqkTZdDF9ubuspVT). The Rolling Stones [29:35] "Dead Flowers" Sticky Fingers Rolling Stones Records COC 59100 1972 The first album the Stones recorded after being freed from their Decca Records obligation. This copy has one of the actual working zippers, as designed by Andy Warhol. Many listeners will also be familiar with Townes van Zandt's acoustic version that appears on his live album Roadsongs, and was subsequently used in The Big Lebowski (Coen, 1998). The Aquadolls [33:40] "Tweaker Kidz" Stoked on You Burger Records BRGR390 2014 Fun track from the debut Aquadolls album. Talking Heads [36:06] "Once in a Lifetime" Stop Making Sense Sire 1-25186 1984 There was a very cute promo (https://youtu.be/R2gVgpHIDz0?si=UfreL9mJCNr_K3iC) for the A24 re-release of the film recently. Nadja [42:03] "The Stone" The Stone Is Not Hit by the Sun, Nor Carved with a Knife Gizeh Records GZH70 2016 As usual, more heavy dreamy goodness from one of my favorite duos. Music behind the DJ: "Gomez" by Vic Mizzy

Show #1068 Memorial For Beardo 2023 Last week on September 17 it was 7 years ago that Beardo, founder of Bandana Blues, passed away. So this episode is an eclectic mix of music dedicated to Beardo. 01. Jimmy Thackery with the Cate Brothers - Arky Shuffle (5:37) (In The Natural State, Rykodisc, 2006) 02. Steve Miller Band - Blues Without Blame (5:50) (Rock Love, Capitol Records, 1971) 03. Matt Schofield - Djam (5:59) (Siftin' Thru Ashes, Nugene Records, 2005) 04. Savoy Brown - Time Does Tell (5:28) (Street Corner Talking, Deram Records, 1971) 05. MonkeyJunk - The Marrinator (5:13) (To Behold, Stony Plain Records, 2011) 06. Frank Zappa - Peaches En Regalia (3:38) (Hot Rats, Bizarre/Reprise Records, 1969) 07. Paul Butterfield - Screamin' (4:38) (The Paul Butterfield Blues Band, Elektra Records, 1965) 08. Charles Brown - Hard Times [1951] (3:12) (Cool Blues Singer, Saga Blues Records, 2005) 09. Alexis Korner's Blues Incorporated - Blue Mink (3:32) (Alexis Korner's Blues Incorporated, Ace Of Clubs Records, 1965) 10. Slo Leak - Sold For Parts (4:20) (New Century Blues, Icon Records, 2008) 11. Zoot Money's Big Roll Band - Zoot's Suit (3:29) (45 RPM Single, Decca Records, 1964) 12. Jeff Pevar - Stalagmite St. Blues (3:14) (From The Core, Pet Peev Music, 2012) 13. Albert Castiglia - Sleepless Nights (5:00) (Solid Ground, Ruf Records, 2014) 14. Ronnie Earl & the Broadcasters - Blues For The West Side (3:34) (Still River, Audioquest Records, 1994) 15. Magnus Berg - Drifting (3:48) (Cut Me Loose, Screen Door Records, 2014) 16. Jason Ricci & New Blood - Dodecahedron (5:16) (Rocket Number 9, Eclecto Groove, 2007) 17. Danny Gatton & Joey DeFrancesco - Big Mo (4:43) (Relentless, Big Mo Records, 1994) 18. Al Basile - Reality Show (5:38) (The Goods, Sweetspot Records, 2011) 19. Buddy Whittington - Greenwood (4:09) (Buddy Whittington, self-release, 2007) 20. Oz Noy - Damn This Groove (feat. Dweezil Zappa) (5:49) (Who Gives A Funk, Abstract Logix, 2016) 21. Bugs Henderson - Blues In Reverse (8:28) (Years In The Jungle, Trigger/Taxim Records, 1993) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

This week Sara sits down with country music icon, Bill Anderson! Bill walks Sara through his journey to finding his love for music and how he ended up in Nashville pursuing his dream. The two of them reminisce on Bill presenting Sara her Opry induction and the songs that Bill has written that Sara loves. Bill also offers to take Sara out on his boat, and who knows, maybe the next big country hit will be written on Whispering Bill Anderson's boat. You don't wanna miss the laughs and memories shared in this episode!   About Bill Anderson: Bill Anderson has been using that philosophy for over sixty years to capture the attention of millions of country music fans around the world, en route to becoming a member of the Country Music Hall of Fame and one of the most popular, most enduring entertainers of our time. He's known, in fact as "Whispering Bill," a nickname hung on him years ago as a result of his breathy voice and his warm, soft approach to singing a country song. His credentials, however, shout his prominence: One of the most awarded songwriters in the history of country music, a million-selling recording artist many times over, television game show host, network soap opera star, author of four books, and a consummate onstage performer. His backup group, The Po' Folks Band, has long been considered one of the finest instrumental and vocal groups in the business. Bill Anderson was born in Columbia, South Carolina, but spent most of his growing-up years around Atlanta, Georgia. He graduated from the University of Georgia with a degree in journalism, having worked his way through college as a disc jockey on nearby radio stations. It was while he was still in school that he began performing and writing songs. At the age of nineteen, he composed the country classic, "City Lights," and began rapidly carving his place in musical history. He moved to Nashville, Tennessee, secured a recording contract with Decca Records, and began turning out hit after hit with songs like "Po'Folks," "Mama Sang A Song," "The Tips Of My Fingers," "8X10," and the unforgettable country and pop smash, "Still." His compositions were recorded by such diverse musical talents as Ray Price, Porter Wagoner, James Brown, Debbie Reynolds, Ivory Joe Hunter, Kitty Wells, Faron Young, Lawrence Welk, Dean Martin, Jerry Lee Lewis, Aretha Franklin, Walter Brennan and many others. Bill has been voted Songwriter Of The Year six times, Male Vocalist Of The Year, half of the Duet Of The Year with both Jan Howard and Mary Lou Turner, has hosted and starred in the Country Music Television Series Of The Year, seen his band voted Band Of The Year, and in 1975 was voted membership in the Nashville Songwriters Hall of Fame. Ten years later, the State of Georgia honored him by choosing him as only the 7th living performer inducted into the Georgia Music Hall of Fame. In 1993, he was made a member of the Georgia Broadcasters' Hall of Fame. In 1994, South Carolina inducted him into their Music and Entertainment Hall of Fame. And in 2001, he received the ultimate honor, membership in Nashville's prestigious Country Music Hall of Fame. Bill Anderson continues to paint a broad stroke across the Nashville music scene. He has been a member of the Grand Ole Opry since 1961 and performs there regularly. He continues to write and to record, his latest release being vocal and instrumental versions of some of his best known songs, titled "Bill Anderson - The Hits Re-Imagined." On the personal side, Bill lives on Old Hickory Lake outside Nashville where he spends as much time as possible with his three children and eight grandchildren. He is a boater and sports enthusiast who has been known to adjust his work schedule to fit around a ball game he just "has to see." He is an avid reader, his bookshelves lined with mysteries, biographies, books on religion, sports, and humor.   Listen to Unbroke:...

This week Sara sits down with country music icon, Bill Anderson! Bill walks Sara through his journey to finding his love for music and how he ended up in Nashville pursuing his dream. The two of them reminisce on Bill presenting Sara her Opry induction and the songs that Bill has written that Sara loves. Bill also offers to take Sara out on his boat, and who knows, maybe the next big country hit will be written on Whispering Bill Anderson's boat. You don't wanna miss the laughs and memories shared in this episode!   About Bill Anderson: Bill Anderson has been using that philosophy for over sixty years to capture the attention of millions of country music fans around the world, en route to becoming a member of the Country Music Hall of Fame and one of the most popular, most enduring entertainers of our time. He's known, in fact as “Whispering Bill,” a nickname hung on him years ago as a result of his breathy voice and his warm, soft approach to singing a country song. His credentials, however, shout his prominence: One of the most awarded songwriters in the history of country music, a million-selling recording artist many times over, television game show host, network soap opera star, author of four books, and a consummate onstage performer. His backup group, The Po' Folks Band, has long been considered one of the finest instrumental and vocal groups in the business. Bill Anderson was born in Columbia, South Carolina, but spent most of his growing-up years around Atlanta, Georgia. He graduated from the University of Georgia with a degree in journalism, having worked his way through college as a disc jockey on nearby radio stations. It was while he was still in school that he began performing and writing songs. At the age of nineteen, he composed the country classic, “City Lights,” and began rapidly carving his place in musical history. He moved to Nashville, Tennessee, secured a recording contract with Decca Records, and began turning out hit after hit with songs like “Po'Folks,” “Mama Sang A Song,” “The Tips Of My Fingers,” “8X10,” and the unforgettable country and pop smash, “Still.” His compositions were recorded by such diverse musical talents as Ray Price, Porter Wagoner, James Brown, Debbie Reynolds, Ivory Joe Hunter, Kitty Wells, Faron Young, Lawrence Welk, Dean Martin, Jerry Lee Lewis, Aretha Franklin, Walter Brennan and many others. Bill has been voted Songwriter Of The Year six times, Male Vocalist Of The Year, half of the Duet Of The Year with both Jan Howard and Mary Lou Turner, has hosted and starred in the Country Music Television Series Of The Year, seen his band voted Band Of The Year, and in 1975 was voted membership in the Nashville Songwriters Hall of Fame. Ten years later, the State of Georgia honored him by choosing him as only the 7th living performer inducted into the Georgia Music Hall of Fame. In 1993, he was made a member of the Georgia Broadcasters' Hall of Fame. In 1994, South Carolina inducted him into their Music and Entertainment Hall of Fame. And in 2001, he received the ultimate honor, membership in Nashville's prestigious Country Music Hall of Fame. Bill Anderson continues to paint a broad stroke across the Nashville music scene. He has been a member of the Grand Ole Opry since 1961 and performs there regularly. He continues to write and to record, his latest release being vocal and instrumental versions of some of his best known songs, titled “Bill Anderson – The Hits Re-Imagined.” On the personal side, Bill lives on Old Hickory Lake outside Nashville where he spends as much time as possible with his three children and eight grandchildren. He is a boater and sports enthusiast who has been known to adjust his work schedule to fit around a ball game he just “has to see.” He is an avid reader, his bookshelves lined with mysteries, biographies, books on religion, sports, and humor.   Listen to Unbroke: (https://ffm.to/seunbroke)   LET'S BE SOCIAL:   Follow Bill Anderson: Instagram: (@whisperinbillanderson) Youtube: (@BillAnderson) Website: https://billanderson.com/wired/   Follow Diving in Deep Podcast: Instagram –(@divingindeeppod) TikTok – (@divingindeeppod) Twitter – (@divingindeeppod) Facebook – (@divingindeeppod)   Follow Sara Evans: Instagram – (@saraevansmusic) TikTok – (@saraevansmusic) Twitter – (@saraevansmusic) Facebook – (@saraevansmusic)   Produced and Edited by: The Cast Collective (Nashville, TN) YouTube – ( @TheCastCollective ) Instagram – (@TheCastCollective) Twitter – (@TheCastCollective)   Directed by: Erin Dugan Edited By: Sean Dugan, Corey Williams, & Michaela Dolph https://www.thecastcollective.com  

In Rocker Deaths part 3, Tessa discusses the events that took place that wiped these people off the earth, from a plane crash to a massacre, suicides, a tsunami and much more. CREDITS & LINKS INTRO MUSIC: Bobby Mackey "Johanna" COVER PHOTO/S: The images you see are not my own, I found them on Wikimedia Commons: TOP: (Seventeen) Scenes from a beach in Banten after tsunami struck Indonesian National Armed Forces Public domain Sunda strait tsunami 2.jpg BOTTOM LEFT: (Ricky Nelson) Publicity photo of American entertainer, Ricky Nelson promoting him as a musical artist on Decca Records, circa 1966. Decca Records Public domain BOTTOM MIDDLE: (Miami Showband) Simple Memorial Plaque at location of the Miami Showband Killings in 2019 Bigar Creative Commons Attribution-Share Alike 4.0 BOTTOM RIGHT: (Barry Cowsill) Louise Palanker Creative Commons Attribution 3.0 TheCowsills MUSIC SHOUT OUTS: Alien Manner (Woodland Hills, California) "Listen Official", "Zinger", "Green Dragon" Like what you heard? Click below to listen to more of Alien Manner's amazing music: https://www.instagram.com/alienmanner?igsh=MzRlODBiNWFlZA==  Stick the Landing (Chicago, Illinois) "Headliner", "Heartache" Like what you heard? Click below to listen to more of Stick The Landing's amazing music: http://YouTube.com/@stickthelandingband  Liars Handshake (Pueblo, Colorado) "Stockholm", "Halfway Home" Like what you heard? Click below to listen to more of Liars Handshake's amazing music: https://liarshandshake.com/en-usd/ VOICE OVER SHOUTOUTS: Thomas Jaynes as Pilot Ken and Pilot Don Ruggles Jerry Cooper as Firefighter Louis Glover and Bart Herbison Shawn Curtis as Terry Six and Steve Travers MJ Mauro as Stevie Nicks PART 3 LINE UP: * Ricky Nelson and his band The Stone Canyon Band * The Exploding Hearts - Adam Cox, Jeremy Gage, & Matt Fitzgerald * The Miami Showband - Brian McCoy, Tony Geraghty & Fran O'Toole * Barry Cowsill from The Cowsills * Seventeen - Windu Andi Darmawan, Herman Sikumbang, Awal Bani Purbani, Oki Wijaya & Dylan Sahara SUICIDE HOTLINE: 1-800-273-8255

Acclaimed genre-crossing songwriter and interpreter Madeleine Peyroux takes stock of her songwriting over the years and shares insights into the creation of her latest album. PART ONEPaul and Scott talk music books, the value of recording, and whether or not performers should stick to a strict or loose interpretation of a song when performing live. PART TWOOur in-depth conversation with Madeleine PeyrouxABOUT MADELEINE PEYROUXMadeleine Peyroux moved to Paris with her mother at the age of 12 and began singing with street musicians while still a teenager. She eventually joined the Lost Wandering Blues and Jazz Band, with whom she toured Europe. After being discovered by Atlantic Records she released her debut album, Dreamland, in 1996. Madeleine's commercial breakthrough came with the Gold-selling album Careless Love in 2004 and it's single, the self-penned “Don't Wait Too Long,” which was released by Rounder Records and topped the jazz charts. The follow-up album, Half the Perfect World, hit the Top 40 on Billboard's US album chart. Her 2009 album, Bare Bones, was the first to feature all original material. She moved to Decca Records for the Standing on the Rooftop album in 2011 and has since released four additional studio albums. Her latest effort, Let's Walk, features all original material and continues to showcase her masterful blending of jazz, blues, folk, pop, and more. 

Mares and Jen have enjoyed playing  a game of luck called “Underground Roulette.”  The game is easy to play. Just select a tube stop at random, keep a curious mind, and hit the streets!  It's an engaging way to get a sense of place and all that the city offers. But, what if we could add the dimension of time, seeing not only the neighborhood as it is, but as it was?In this episode, we explore the underground stops with stories involving the theme of luck. London: a city where fame and fortune may await, given talent, drive, privilege, connections, and sometimes it comes down to luck. Our three stories feature: horseshoes, normally associated with good luck, but not this time,counteracting the bad luck of the number 13, and, when what seems like bad luck can be the best fortune yet. Along the way, we'll visit an iconic location synonymous with luxury and spend time with some of the most famous people in modern history.  Follow along on our SHOW NOTES. You'll find photos, recordings, sources, and ways to find us. Enjoy playing Underground Roulette. With a little luck, you'll have a lot of fun!

If you were a game show fan in your youth, you'll remember Garry Moore. It was on this day in 1952 that the TV panel game “I've Got a Secret” premiered.  Garry hosted that show and “To Tell the Truth.” He also had his own program, “The Garry Moore Show.” At that time, he introduced comedienne Carol Burnett. After the show ended, Burnett became a star on her own with “The Carol Burnett Show.” Moore started his career as a radio announcer on WBAL in Baltimore. His popularity on the game shows led to a cameo appearance in a film with Doris Day, named “It Happened to Jane.” Garry also made some radio monologues for Decca Records, including “Hugh, The Blue Gnu” and a triple speed reading of “Little Red Riding Hood.”

Matt Sergiou – The Beatles, The Stones, the 60's and Mind Control.Dec 6, 2022Matt Sergiou has made a big effort to research not only the Beatles and their occult references and connections, but also the infiltration of the 60s counter culture and psychodelic influences.Were the Beatles and the Stones involved, albeit indirectly, in Decca Records funnelling money into military research? Were they coerced into giving an illusion that the peace movement could achieve it's stated aims? How were the drugs which were responsible for one of the most creative and anarchic periods in music and art, so readily available to so many people?In a concise interview, Matt puts forward his case that much of the more successful music and acts were unwitting pawns in a game of distraction; at best they were innocent contributors for sinister operators, at worst they were willingly complicit in a mind control operation which altered the course of history.Website: Conspiro Media/ Occult BeatlesTwitter: Matt SergiouFacebook: Conspiro MediaBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

Show #1053 From Choices To Decisions 01. Big Dave McLean - I Best Choose to Pick the Blues (4:41) (Faded But Not Gone, Black Hen Music, 2014) 02. John "Juke" Logan - Life on the Center Divider (Go Figure) (4:38) (Juke Rhythm, Sky Ranch Records, 1995) 03. Coyote Kings - Bad Decision (4:15) (Hot Mess, TwinLion Records, 2023) 04. Jeff Finlin - Crossing The Great Divide (4:16) (Soul On The Line, Bentwheel Records, 2022) 05. Eddie Martin - Too Much Choice (4:27) (Black White And Blue, BlueBlood Records, 2016) 06. Coco Robicheaux - Decision Blues (4:22) (Hoodoo Party, Sky Ranch Records, 2000) 07. Jan James - Dangerous Decision (3:26) (Justify, Blue Palace Records, 2020) 08. James Harman - Decisions (5:25) (Takin' Chances, Cannonball Records, 1998) 09. Duster Bennett - I Choose To Sing The Blues/Just Like I Treat You (6:46) (I Choose To Sing The Blues, Indigo Records, 1998) 10. Southside Johnny & the Asbury Jukes - I Choose to Sing the Blues (2:40) (I Don't Want to Go Home, Epic Records, 1976) 11. Derrick Procell - Why I Choose To Sing The Blues (6:05) (Why I Choose To Sing The Blues, Hear And Now Music, 2016) 12. The Band - Across The Great Divide (2:54) (The Band, Capitol Records, 1969) 13. Jim Allchin - Bad Decisions (3:06) (Decisions, Sandy Key Music, 2017) 14. Anthony Geraci - Too Many Bad Decisions (4:06) (Why Did You Have To Go, Shining Stone Records, 2018) 15. Marion Abernathy - Undecided [1948] (2:06) (Rare Blues Girls From King, Sing Records, 1988) 16. John Kirby & the Onyx Club Boys - Undecided (2:57) (78 RPM Shellac, Decca Records, 1938) 17. Ames Brothers (with Les Brown & his Band Of Renown) - Undecided (2:57) (45 RPM Single, Coral Records, 1951) 18. Chick Webb & his Orchestra (with vocal by Ella Fitzgerald) - Undecided (3:18) (78 RPM Shellac, Decca Records, 1939) 19. Django Reinhardt & le Quintette du Hot Club de France - Undecided (2:35) (78 RPM Shellac, Decca Records, 1939) 20. Al Hirt (with Henri René & his Orchestra) - Undecided (2:19) (The Greatest Horn In The World, RCA Victor, 1961) 21. Paul Butterfield Blues Band - Last Hope's Gone (4:50) (In My Own Dream, Elektra Records, 1968) 22. Michael Stanley Band - Choice And Sanborn (2:24) (Ladies' Choice, Epic Records, 1976) 23. Sideshow Tramps - Buck Dansers Choice (1:00) (Medicine Show, self-release, 2007) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

My guest, Eddie Ray, is truly a giant, a pioneer in the music industry. He started working at Decca Records in 1943, he worked with such diverse at from R & B giant Fats Domino to teen idol Ricky Nelson to Country Star Slim Whitman. He become Chairman of the US Copyright Royalty Tribunal, appointed by President Ronald Reagan. He was Vice Chairman/ Operation Director of the NC Music hall of Fame. A wonder Video. Mr Ray is join by Logan Westbrooks, Hiliary Johnson, Deborah McPhatter and Michael FrisbyProduced, directed, written and hosted by Stephen E Davis.

Show #1051 What A Shame 01. The Rolling Stones - What A Shame (3:06) (The Rolling Stones No. 2, Decca Records, 1965) 02. Curtis Salgado - Low Down Dirty Shame (3:18) (The Beautiful Lowdown, Alligator Records, 2016) 03. Mighty Reapers - It's A Shame (7:00) (Trouble People, Terra Nova Records, 1996) 04. Billy T. Band - Shame Shame (3:33) (Reckoning, Big H Records, 2016) 05. Teskey Brothers - Crying Shame (3:52) (Half Mile Harvest, Decca Records, 2018) 06. Stinky Lou & the Goon Mat - It's A Shame (2:26) (Fat Sausage For Dinner, Voodoo Rhythm Records, 2004) 07. Bridget Kelly Band - It's A Shame (3:58) (Blues Warrior, Alpha Sun Records, 2018) 08. Veldman Brothers - Cryin' Shame (4:32) (Livin' By The Dat, self-release, 2014) 09. Billy Jones - Ain't That A Shame (3:50) (Tha' Bluez, Black And Tan Records, 2005) 10. Nick Curran & the Nitelifes - Low Down Dirty Shame (2:30) (Nitelife Boogie, Texas Jamboree Records, 2001) 11. Sugar Ray Norcia - It's A Low Down Dirty Shame (4:17) (Sweet & Swingin', Bullseye Blues, 1998) 12. Louis Jordan & His Tympany Five - It's A Low Down Dirty Shame (2:49) (78 RPM Shellac, Decca Records, 1942) 13. Ollie Shepard & His Kentucky Boys - It's A Low Down Dirty Shame (3:18) (78 RPM Shellac, Decca Records, 1937) 14. Moanin' Bernice Edwards - Low Down Dirty Shame Blues (2:57) (78 RPM Shellac, Paramount Records, 1929) 15. Big Bill Broonzy - It's A Low Down Dirty Shame (2:56) (78 RPM Shellac, Vocalion Records, 1938) 16. George Barnes - I Can't Believe That You're In Love With Me (2:58) (78 RPM Shellac, Okeh Records, 1940) 17. Shari Puorto - It's A Damn Shame (4:08) (My Obsession, Blues Rock Music, 2015) 18. Dyer Davis - Cryin' Shame (4:47) (Dog Bites Back, Wildroots Records, 2023) 19. Phantom Blues Band - Shame Shame (4:16) (Inside Out, VizzTone Records, 2012) 20. Omar & the Howlers - Shame Shame Shame (3:44) (Too Much Is Not Enough, Big Guitar Music, 2012) 21. Screamin' John & TD Lind - Shame Shame Shame (3:11) (Mr Little Big Man, Down In The Alley Records, 2019) 22. Sunday Wilde - Crying Shame (5:20) (He Digs Me, self-release, 2014) 23. R&B Caravan - What A Shame (3:53) (Completely Locked In, Styx Records, 2006) 24. George Barnes - I'm Forever Blowing Bubbles (2:54) (78 RPM Shellac, Okeh Records, 1940) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Matt Sergiou – The Beatles, The Stones, the 60's and Mind Control.Matt Sergiou has made a big effort to research not only the Beatles and their occult references and connections, but also the infiltration of the 60s counter culture and psychodelic influences.Were the Beatles and the Stones involved, albeit indirectly, in Decca Records funnelling money into military research? Were they coerced into giving an illusion that the peace movement could achieve it's stated aims? How were the drugs which were responsible for one of the most creative and anarchic periods in music and art, so readily available to so many people?In a concise interview, Matt puts forward his case that much of the more successful music and acts were unwitting pawns in a game of distraction; at best they were innocent contributors for sinister operators, at worst they were willingly complicit in a mind control operation which altered the course of history.Website: Conspiro Media/ Occult BeatlesTwitter: Matt SergiouFacebook: Conspiro MediaBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

Show #1048 With Some Side Steppin' Kind of regular, but Spinner also does some side steppin' to pay tribute to Duane Eddie who passed away on April 30. 01. Bart Bryant - Whiskey Beer And Wine (4:53) (Backstage II, Horizon Music Group, 2024) 02. JC Covey - Brothers First Not Last (3:41) (Strumcussion Blues, self-release, 2024) 03. Judy Sings The Blues  - Tricks (6:59) (Backstage Pass Live, self-release, 2024) 04. Rick Estrin & The Nightcats - I Finally Hit The Bottom (5:09) (The Hits Keep Coming, Alligator Records, 2024) 05. Muddy Husky Duo - I Can't Be Satisfied (3:22) (Single, Luppa Records, 2024) 06. Billy Price - Change Your Mind (5:31) (Person of Interest, Little Village Records, 2024) 07. Roy Buchanan - Rodney's Song (4:29) (That's What I Am Here For, Polydor Records, 1973) 08. Canned Heat - One Last Boogie (3:58) (Finyl Vinyl, Ruf Records, 2024) 09. Val Starr & The Blues Rocket - The Blues That Move Me (4:21) (To The Blues and Back Again, Sandwich Factory Records, 2024) 10. Robert Jon & the Wreck - Give Love (4:57) (Red Moon Rising, Journeyman Records, 2024) 11. Matthew Chaffey - Waiting On You (2:56) (Hotel Texas, Gypsy Soul Records, 2024) 12. Bastards Of Soul - Woman Of Hell (6:46) (Give It Right Back, Skylark Soul Co., 2024) 13. Anthony Geraci - Owl's Nest (3:05) (Tears In My Eyes, Blue Heart Records, 2024) 14. The B. Christopher Band - Everybody Needs Somebody To Love (3:51) (106 Miles To Chicago, Guitar One Records, 2024) 15. Solomon Burke - Everybody Needs Somebody To Love (2:50) (45 RPM Single, Atlantic Records, 1964) 16. Rolling Stones - Everybody Needs Somebody To Love (3:00) (The Rolling Stones No. 2, Decca Records, 1965) 17. Wilson Pickett - Everybody Needs Somebody To Love (2:20) (45 RPM Single, Atlantic Records, 1967) 18. Small Faces - Whatcha Gonna Do About It (2:00) (45 RPM Single, Decca Records, 1965) 19. The Blues Brothers Band - Peter Gunn Theme (3:48) (The Blues Brothers Soundtrack, Atlantic Records, 1980) 20. Henry Mancini - Peter Gunn (2:05) (45 RPM Single, RCA Victor, 1959) 21. Duane Eddie - Peter Gunn (2:30) (Especially For You, Jamie Records, 1959) 22. Duane Eddie - Movin' 'n' Groovin' (2:06) (Have 'Twangy' Guitar Will Travel, Jamie Records, 1958) 23. Duane Eddie - Rebel-'Rouser (2:21) (Have 'Twangy' Guitar Will Travel, Jamie Records, 1958) 24. Duane Eddie - Because They're Young (2:08) (45 RPM Single, Jamie Records, 1960) 25. Karate Boogaloo - Incredible Wonderful (3:10) (Hold Your Horses, Colemine Records, 2024) 26. The Blues Brothers Band - Closing - I Can't Turn You Loose (0:32) (Briefcase Full Of Blues, Atlantic Records, 1978) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Label: Decca 32362Year: 1968Condition: M-Price: $32.00This is a particularly nice copy of this especially great Who single. Besides the classic A side that everyone knows and loves, you get a superfine, quite catchy Entwistle rocker that hardly anyone knows on the flip side. Check it out! Note: This copy comes in a vintage Decca Records factory sleeve. It has pristine Mint sound. (This scan is a representative image from our archives; this copy does not have a drillhole.)

This season on my podcast, Baring It All with Call Me Adam, I am highlighting My Entertainment Idols.Today, I am going back in time and Behind-The-Curtain to bring you this blast from the past, my 2019 interview with Olivia Newton-John, 4-time Grammy award winner and Sandy from the mega hit movie musical Grease.This was my third, and what turned out to be my final time interviewing Olivia. I was given 10 minutes to conduct a telephone interview with her. Now, here's a little Behind-The-Curtain Story….When this interview took place, I did not have a podcast, so I had to transcribe the interview into print format. Now I do have a podcast, and I am so excited to share with you my original phone conversation with the one, the only Olivia Newton-John.At the time of this interview, Olivia's autobiography, Don't Stop Believin' was recently released, which is what brought us back together.In this interview, Olivia is Baring It All with Call Me Adam about:How she keeps her positive outlookWhat she learned about herself from writing her autobiographyHow she has adapted to the changes in the music industryWhat she still hopes to achieveSo much moreIf you want to read the interview, and see some photos of Olivia, you can do that here!Special Thanks:Michael Caprio, Caprio Media DesignTheme Song by Bobby CroninPodcast Logo by Liam O'DonnellEdited by Adam RothenbergConnect with Me:Website: www.callmeadam.comFacebook: @CallMeAdamNYCInstagram: @CallMeAdamNYCMore on Olivia Newton-John:Olivia Newton-John's appeal seems to be timeless. With a career spanning more than five decades she is still a vibrant, creative individual adored by fans around the globe. Born in Cambridge, England in 1948, the youngest child of Professor Brin Newton-John and Irene, daughter of Nobel Prize winning physicist, Max Born, Olivia moved to Melbourne, Australia with her family when she was five. Her first big break was winning a talent contest on the popular TV show, Sing, Sing, Sing, which earned Olivia a trip to London. By the age of fifteen she had formed an all-girl group called Sol 4 and, in 1963, Olivia was appearing on local daytime TV shows and weekly pop music programs in Australia. When she eventually took her prize-winning trip to London, she teamed up with her friend from Melbourne, Pat Carroll (now Pat Farrar), to create a double act, “Pat & Olivia,” and the duo toured army bases and clubs throughout the UK and Europe. Olivia cut her first single for Decca Records in 1966, a version of Jackie DeShannon's "Till You Say You'll Be Mine,” and in 1971, she recorded a cover of Bob Dylan's "If Not For You," co-produced by Bruce Welch and fellow Aussie and friend, John Farrar, whom she continues to collaborate with today.Olivia's U.S. album debut, Let Me Be There, produced her first top ten single of the same name, with Olivia being honored by the Academy Of Country Music as “Most Promising Female Vocalist” and a Grammy Award as “Best Country Vocalist.” This proved to be only the beginning of a very exciting career. With more than 100 million albums sold, Olivia's successes include...

Show #1047 Ramblin' (Man) On My Mind Spinner plays mostly new music and pays tribute to Dicket Betts who passed away on April 18. 01. The Allman Brothers Band - Jessica (7:03) (Brothers And Sisters, Capricorn Records, 1973) 02. John Mayall with Eric Clapton - Ramblin' On My Mind (3:09) (Bluesbreakers, Decca Records, 1966) 03. Big Harp George - Awkward Me (3:43) (Cooking With Gas, Blues Mountain Records, 2024) 04. Misty Blues - Shake These Blues (4:28) (Silver Lining, Guitar One Records, 2024) 05. Guy Verlinde - My Little Girl (3:48) (Single, R&S Music, 2024) 06. Bad Boy Leroy - Cast A Spell (2:50) (Single, Barbed Wire Music, 2024) 07. Alastair Greene - Am I To Blame? (3:42) (Standing Out Loud, Ruf Records, 2024) 08. Vintage Dutch - Mister People (3:48) (Single, self-release, 2024) 09. Jeff Slate - Movin' On (3:03) (The Last Day Of Summer, Schnitzel Records, 2024) 10. Gary Cain - I Don't Care What You Say (3:20) (Outside The Lines, self-release, 2024) 11. Deb Ryder - Guilty As Sin (5:21) (Live And Havin' Fun, VizzTone Records, 2024) 12. The Reverend Shawn Amos - Cicles (3:22) (Soul Brother No. 1, Immediate Family Records, 2024) 13. Altered Five Blues Band - Whiskey Got Me Married (3:53) (Testifyin', Blind Pig Records, 2024) 14. The Commoners - See You Again (4:43) (Single, Gypsy Soul Records, 2024) 15. Krissy Matthews - Mr. Brown's Blues (6:20) (Krissy Matthews & Friends, Ruf Records, 2024) 16. Lady Adrena - Beautiful Disaster (4:02) (Single, Sweet Success Records, 2024) 17. Left Lane Cruiser - Big Momma Shake (3:08) (Bayport BBQ Blues, Alive Naturalsound Records, 2024) 18. Paul Steward - You Can Dance to My Blues (3:38) (Single, 2XG Records, 2024) 19. Beau Gris Gris & the Apocalypse - Middle Of The Night (3:20) (Hot Nostalgia Radio, Grow Vision Music & Records, 2024) 20. Bywater Call - Roll (4:33) (Shepherd, Gypsy Soul Records, 2024) 21. John Akapo - Ramblin' On My Mind (3:24) (Paradise Blues, Mensch House Records, 2018) 22. The Allman Brothers Band - Pegasus (7:32) (Enlightened Rogues, Capricorn Records, 1979) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

This week on Echoes of Indiana Avenue, learn about the life and music of Enoch “Sonny Boy” Williams, a rhythm & blues pianist and vocalist from Indianapolis.  Williams cut a series of popular R&B recordings for Decca Records during the early 1940s. He's best remembered for his 1943 single “Reverse the Charges”. That song was a minor hit for Williams and was covered by artists including Bud Powell and Etta Jones.  Williams was born in London, Kentucky in 1917, but he was raised in Indianapolis. Williams began performing in 1935. He appeared often at Avenue venues, including The Cotton Club, The Rhumboogie, and Sunset Terrace.

Label: Decca 32896 djYear: 1971Condition: MPrice: $14.00Here's a beautiful promo copy of this amazing single by Who bassist John Entwistle. If you haven't heard the amazing hard-rocker on the A side, you're definitely missing out on one of the best rarities in classic rock! Have a listen to the mp3 snippet in our jukebox to hear what I'm talking about. The flip is a more typical Who-sounding outing. Note: This copy comes in a vintage Decca Records factory sleeve. It has pristine Mint vinyl and audio, and the labels grade very close to Mint. (Note: This scan is a representative image from our archives.)

En MetalProgPop Cast nos juntamos 4 amigos para hablar y discutir sobre música. Guido Vilariño (el Rey Tut) es el fanático del Metal, Angel Appiani es el fanático del Rock Progresivo, Gonzalo Ares (El Colo, El Colorado, ex-Bombi) es el fanático del Pop, y Santi Grillo es el fanático del podcast.  Nosotros la pasamos muy bien, y esperamos que Uds también. En el día de hoy analizamos.... Mirage es el segundo álbum de estudio del grupo británico de rock progresivo Camel con nueva discográfica, el sello Deram perteneciente a Decca Records. Con el tiempo sería uno de los álbumes más emblemáticos del grupo que llegó a editarse en una versión doble junto a su siguiente The Snow Goose. 

For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the first part of a multi-episode look at the Byrds in 1966-69 and the birth of country rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode on "My World Fell Down" by Sagittarius. 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 No Mixcloud at this time as there are too many Byrds songs in this chunk, but I will try to put together a multi-part Mixcloud when all the episodes for this song are up. My main source for the Byrds is Timeless Flight Revisited by Johnny Rogan, I also used Chris Hillman's autobiography, the 331/3 books on The Notorious Byrd Brothers and The Gilded Palace of Sin, For future parts of this multi-episode story I used Barney Hoskyns' Hotel California and John Einarson's Desperadoes as general background on Californian country-rock, Calling Me Hone, Gram Parsons and the Roots of Country Rock by Bob Kealing for information on Parsons, and Requiem For The Timeless Vol 2 by Johnny Rogan for information about the post-Byrds careers of many members. Information on Gary Usher comes from The California Sound by Stephen McParland. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we left the Byrds at the end of the episode on "Eight Miles High", they had just released that single, which combined folk-rock with their new influences from John Coltrane and Ravi Shankar, and which was a group composition but mostly written by the group's lead singer, Gene Clark. And also, as we mentioned right at the end of the episode, Clark had left the group. There had been many, many factors leading to Clark's departure. Clark was writing *far* more material than the other band members, of whom only Roger McGuinn had been a writer when the group started, and as a result was making far more money than them, especially with songs like "She Don't Care About Time", which had been the B-side to their number one single "Turn! Turn! Turn!" [Excerpt: The Byrds, "She Don't Care About Time"] Clark's extra income was making the rest of the group jealous, and they also didn't think his songs were particularly good, though many of his songs on the early Byrds albums are now considered classics. Jim Dickson, the group's co-manager, said "Gene would write fifteen to twenty songs a week and you had to find a good one whenever it came along because there were lots of them that you couldn't make head or tail of.  They didn't mean anything. We all knew that. Gene would write a good one at a rate of just about one per girlfriend." Chris Hillman meanwhile later said more simply "Gene didn't really add that much." That is, frankly, hard to square with the facts. There are ten original songs on the group's first two albums, plus one original non-album B-side. Of those eleven songs, Clark wrote seven on his own and co-wrote two with McGuinn. But as the other band members were starting to realise that they had the possibility of extra royalties -- and at least to some extent were starting to get artistic ambitions as far as writing goes -- they were starting to disparage Clark's work as a result, calling it immature. Clark had, of course, been the principal writer for "Eight Miles High", the group's most experimental record to date: [Excerpt: The Byrds, "Eight Miles High"] But there he'd shared co-writing credit with David Crosby and Roger McGuinn, in part because that was the only way he could be sure they would agree to release it as a single. There were also internal rivalries within the band unrelated to songwriting -- as we've touched on, Crosby had already essentially bullied Clark off the guitar and into just playing tambourine (and McGuinn would be dismissive even of Clark's tambourine abilities). Crosby's inability to get on with any other member of any band he was in would later become legendary, but at this point Clark was the major victim of his bullying. According to Dickson "David understood when Gene left that ninety-five percent of why Gene left could be brought back to him." The other five percent, though, came from Clark's fear of flying. Clark had apparently witnessed a plane crash in his youth and been traumatised by it, and he had a general terror of flying and planes -- something McGuinn would mock him for a little, as McGuinn was an aviation buff. Eventually, Clark had a near-breakdown boarding a plane from California to New York for a promotional appearance with Murray the K, and ended up getting off the plane. McGuinn and Michael Clarke almost did the same, but in the end they decided to stay on, and the other four Byrds did the press conference without Gene. When asked where Gene was, they said he'd "broken a wing". He was also increasingly having mental health and substance abuse problems, which were exacerbated by his fear, and in the end he decided he just couldn't be a Byrd any more. Oddly, of all the band members, it was David Crosby who was most concerned about Clark's departure, and who did the most to try to persuade him to stay, but he still didn't do much, and the group decided to carry on as a four-piece and not even make a proper announcement of Clark's departure -- they just started putting out photos with four people instead of five. The main change as far as the group were concerned was that Hillman was now covering Clark's old vocal parts, and so Crosby moved to Clark's old centre mic while Hillman moved from his position at the back of the stage with Michael Clarke to take over Crosby's mic. The group now had three singer-instrumentalists in front, two of whom, Crosby and McGuinn, now thought of themselves as songwriters. So despite the loss of their singer/songwriter/frontman, they moved on to their new single, the guaranteed hit follow-up to "Eight Miles High": [Excerpt: The Byrds, "5D (Fifth Dimension)"] "5D" was written by McGuinn, inspired by a book of cartoons called 1-2-3-4 More More More More by Don Landis, which I haven't been able to track down a copy of, but which seems to have been an attempt to explain the mathematical concept of higher dimensions in cartoon form. McGuinn was inspired by this and by Einstein's theory of relativity -- or at least by his understanding of relativity, which does not seem to have been the most informed take on the topic. McGuinn has said in the past that the single should really have come with a copy of Landis' booklet, so people could understand it. Sadly, without the benefit of the booklet we only have the lyrics plus McGuinn's interviews to go on to try to figure out what he means. As far as I'm able to understand, McGuinn believed -- completely erroneously -- that Einstein had proved that along with the four dimensions of spacetime there is also a fifth dimension which McGuinn refers to as a "mesh", and that "the reason for the speed of light being what it is is because of that mesh." McGuinn then went on to identify this mesh with his own conception of God, influenced by his belief in Subud, and with a Bergsonian idea of a life force. He would talk about how most people are stuck in a materialist scientific paradigm which only admits to  the existence of three dimensions, and how there are people out there advocating for a five-dimensional view of the world. To go along with this mystic view of the universe, McGuinn wanted some music inspired by the greatest composer of sacred music, and he asked Van Dyke Parks, who was brought in to add keyboards on the session, to play something influenced by Bach -- and Parks obliged, having been thinking along the same lines himself: [Excerpt: The Byrds, "5D (Fifth Dimension)"] Unfortunately for the group, McGuinn's lyrical intention wasn't clear enough and the song was assumed to be about drugs, and was banned by many radio stations. That plus the track's basically uncommercial nature meant that it reached no higher than number forty-four in the charts. Jim Dickson, the group's co-manager, pointed to a simpler factor in the record's failure, saying that if the organ outro to the track had instead been the intro, to set a mood for the track rather than starting with a cold vocal open, it would have had more success. The single was followed by an album, called Fifth Dimension, which was not particularly successful. Of the album's eleven songs, two were traditional folk songs, one was an instrumental -- a jam called "Captain Soul" which was a version of Lee Dorsey's "Get Out My Life Woman" credited to the four remaining Byrds, though Gene Clark is very audible on it playing harmonica -- and one more was a jam whose only lyrics were "gonna ride a Lear jet, baby", repeated over and over. There was also "Eight Miles High" and the group's inept and slightly-too-late take on "Hey Joe". It also included a third single, a country track titled "Mr. Spaceman": [Excerpt: The Byrds, "Mr. Spaceman"] McGuinn and, particularly, Hillman, had some country music background, and both were starting to think about incorporating country sounds into the group's style, as after Clark's departure from the group they were moving away from the style that had characterised their first two albums. But the interest in "Mr. Spaceman" was less about the musical style than about the lyrics. McGuinn had written the song in the hopes of contacting extraterrestrial life -- sending them a message in his lyrics so that any aliens listening to Earth radio would come and visit, though he was later disappointed to realise that the inverse-square law means that the signals would be too faint to make out after a relatively short distance: [Excerpt: The Byrds, "Mr. Spaceman"] "Mr. Spaceman" did better on the charts than its predecessor, scraping the lower reaches of the top forty, but it hardly set the world alight, and neither did the album -- a typical review was the one by Jon Landau, which said in part "This album then cannot be considered up to the standards set by the Byrds' first two and basically demonstrates that they should be thinking in terms of replacing Gene Clark, instead of just carrying on without him." Fifth Dimension would be the only album that Allen Stanton would produce for the Byrds, and his replacement had actually just produced an album that was a Byrds record by any other name: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] We've looked at Gary Usher before, but not for some time, and not in much detail. Usher was one of several people who were involved in the scene loosely centred on the Beach Boys and Jan and Dean, though he never had much time for Jan Berry and he had got his own start in the music business slightly before the Beach Boys. As a songwriter, his first big successes had come with his collaborations with Brian Wilson -- he had co-written "409" for the Beach Boys, and had also collaborated with Wilson on some of his earliest more introspective songs, like "The Lonely Sea" and "In My Room", for which Usher had written the lyrics: [Excerpt: The Beach Boys, "In My Room"] Usher had built a career as a producer and writer for hire, often in collaboration with Roger Christian, who also wrote with Brian Wilson and Jan Berry. Usher, usually with Christian, and very occasionally Wilson wrote the songs for several of American International Pictures' Beach Party films: [Excerpt: Donna Loren, "Muscle Bustle"] And Usher and Christian had also had bit parts in some of the films, like Bikini Beach, and Usher had produced records for Annette Funicello, the star of the films, often with the Honeys (a group consisting of Brian Wilson's future wife Marilyn plus her sister and cousin) on backing vocals. He had also produced records for the Surfaris, as well as a whole host of studio-only groups like the Four Speeds, the Super Stocks, and Mr. Gasser and the Weirdoes, most of whom were Usher and the same small group of vocalist friends along with various selections of Wrecking Crew musicians making quick themed albums. One of these studio groups, the Hondells, went on to be a real group of sorts, after Usher and the Beach Boys worked together on a film, The Girls on the Beach. Usher liked a song that Wilson and Mike Love had written for the Beach Boys to perform in the film, "Little Honda", and after discovering that the Beach Boys weren't going to release their version as a single, he put together a group to record a soundalike version: [Excerpt: The Hondells, "Little Honda"] "Little Honda" made the top ten, and Usher produced two albums for the Hondells, who had one other minor hit with a cover version of the Lovin' Spoonful's "Younger Girl". Oddly, Usher's friend Terry Melcher, who would shortly produce the Byrds' first few hits, had also latched on to "Little Honda", and produced his own version of the track, sung by Pat Boone of all people, with future Beach Boy Bruce Johnston on backing vocals: [Excerpt: Pat Boone, "Little Honda"] But when Usher had got his version out first, Boone's was relegated to a B-side. When the Byrds had hit, and folk-rock had started to take over from surf rock, Usher had gone with the flow and produced records like the Surfaris' album It Ain't Me Babe, with Usher and his usual gang of backing vocalists augmenting the Surfaris as they covered hits by Dylan, the Turtles, the Beach Boys and the Byrds: [Excerpt: The Surfaris, "All I Really Want to Do"] Usher was also responsible for the Surfaris being the first group to release a version of "Hey Joe" on a major label, as we heard in the episode on that song: [Excerpt: The Surfaris, "Hey Joe"] After moving between Capitol, Mercury, and Decca Records, Usher had left Decca after a round of corporate restructuring and been recommended for a job at Columbia by his friend Melcher, who at that point was producing Paul Revere and the Raiders and the Rip Chords and had just finished his time as the Byrds' producer. Usher's first work at Columbia was actually to prepare new stereo mixes of some Byrds tracks that had up to that point only been issued in mono, but his first interaction with the Byrds themselves came via Gene Clark: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] On leaving the Byrds, Clark had briefly tried to make a success of himself as a songwriter-for-hire in much the same mould as Usher, attempting to write and produce a single for two Byrds fans using the group name The Cookie Fairies, while spending much of his time romancing Michelle Phillips, as we talked about in the episode on "San Francisco". When the Cookie Fairies single didn't get picked up by a label, Clark had put together a group with Bill Rinehart from the Leaves, Chip Douglas of the Modern Folk Quartet, and Joel Larson of the Grass Roots. Just called Gene Clark & The Group, they'd played around the clubs in LA and cut about half an album's worth of demos produced by Jim Dickson and Ed Tickner, the Byrds' management team, before Clark had fired first Douglas and then the rest of the group. Clark's association with Douglas did go on to benefit him though -- Douglas went on, as we've seen in other episodes, to produce hits for the Turtles and the Monkees, and he later remembered an old song by Clark and McGuinn that the Byrds had demoed but never released, "You Showed Me", and produced a top ten hit version of it for the Turtles: [Excerpt: The Turtles, "You Showed Me"] Clark had instead started working with two country singers, Vern and Rex Gosdin, who had previously been with Chris Hillman in the country band The Hillmen. When that band had split up, the Gosdin Brothers had started to perform together as a duo, and in 1967 they would have a major country hit with "Hangin' On": [Excerpt: The Gosdin Brothers, "Hangin' On"] At this point though, they were just Gene Clark's backing vocalists, on an album that had been started with producer Larry Marks, who left Columbia half way through the sessions, at which point Usher took over. The album, titled Gene Clark with the Gosdin Brothers, featured a mix of musicians from different backgrounds. There were Larson and Rinehart from Gene Clark and the Group, there were country musicians -- a guitarist named Clarence White and the banjo player Doug Dillard. Hillman and Michael Clarke, the Byrds' rhythm section, played on much of the album as a way of keeping a united front, Glen Campbell, Jerry Cole, Leon Russell and Jim Gordon of the Wrecking Crew contributed, and Van Dyke Parks played most of the keyboards. The lead-off single for Gene Clark with the Gosdin Brothers, "Echoes", is one of the tracks produced by Marks, but in truth the real producer of that track is Leon Russell, who wrote the orchestral arrangement that turned Clark's rough demo into a baroque pop masterpiece: [Excerpt: Gene Clark, "Echoes"] Despite Clark having quit the band, relations between him and the rest were still good enough that in September 1966 he temporarily rejoined the band after Crosby lost his voice, though he was gone again as soon as Crosby was well. But that didn't stop the next Byrds album, which Usher went on to produce straight after finishing work on Clark's record, coming out almost simultaneously with Clark's and, according to Clark, killing its commercial potential. Upon starting to work with the group, Usher quickly came to the conclusion that Chris Hillman was in many ways the most important member of the band. According to Usher "There was also quite a divisive element within the band at that stage which often prevented them working well together. Sometimes everything would go smoothly, but other times it was a hard road. McGuinn and Hillman were often more together on musical ideas. This left Crosby to fend for himself, which I might add he did very well." Usher also said "I quickly came to understand that Hillman was a good stabilising force within the Byrds (when he wanted to be). It was around the time that I began working with them that Chris also became more involved in the songwriting. I think part of that was the fact that he realised how much more money was involved if you actually wrote the songs yourself. And he was a good songwriter." The first single to be released from the new sessions was one that was largely Hillman's work. Hillman and Crosby had been invited by the great South African jazz trumpeter Hugh Masekela to play on some demos for another South African jazzer, singer Letta Mbulu. Details are sparse, but one presumes this was for what became her 1967 album Letta Mbulu Sings, produced by David Axelrod: [Excerpt: Letta Mbulu, "Zola (MRA)"] According to Hillman, that session was an epiphany for him, and he went home and started writing his own songs for the first time. He took one of the riffs he came up with to McGuinn, who came up with a bridge inspired by a song by yet another South African musician, Miriam Makeba, who at the time was married to Masekela, and the two wrote a lyric inspired by what they saw as the cynical manipulation of the music industry in creating manufactured bands like the Monkees -- though they have both been very eager to say that they were criticising the industry, not the Monkees themselves, with whom they were friendly. As Hillman says in his autobiography, "Some people interpreted it as a jab at The Monkees. In reality, we had immense respect for all of them as singers and musicians. We weren't skewering the members of the Monkees, but we were taking a shot at the cynical nature of the entertainment business that will try to manufacture a group like The Monkees as a marketing strategy. For us, it was all about the music, and we were commenting on the pitfalls of the industry rather than on any of our fellow musicians." [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track continued the experimentation with sound effects that they had started with the Lear jet song on the previous album. That had featured recordings of a Lear jet, and "So You Want to be a Rock 'n' Roll Star?" featured recordings of audience screams. Those screams were, according to most sources, recorded by Derek Taylor at a Byrds gig in Bournemouth in 1965, but given reports of the tepid response the group got on that tour, that doesn't seem to make sense. Other sources say they're recordings of a *Beatles* audience in Bournemouth in *1963*, the shows that had been shown in the first US broadcast of Beatles footage, and the author of a book on links between the Beatles and Bournemouth says on his blog "In the course of researching Yeah Yeah Yeah: The Beatles & Bournemouth I spoke to two people who saw The Byrds at the Gaumont that August and neither recalled any screaming at all, let alone the wall of noise that can be heard on So You Want To Be A Rock 'n' Roll Star." So it seems likely that screaming isn't for the Byrds, but of course Taylor had also worked for the Beatles. According to Usher "The crowd sound effects were from a live concert that Derek Taylor had taped with a little tape recorder in London. It was some outrageous crowd, something like 20,000 to 30,000 people. He brought the tape in, ran it off onto a big tape, re- EQ'd it, echoed it, cleaned it up and looped it." So my guess is that the audience screams in the Byrds song about the Monkees are for the Beatles, but we'll probably never know for sure: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track also featured an appearance by Hugh Masekela, the jazz trumpeter whose invitation to take part in a session had inspired the song: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] While Hillman was starting to lean more towards folk and country music -- he had always been the member of the band least interested in rock music -- and McGuinn was most interested in exploring electronic sounds, Crosby was still pushing the band more in the direction of the jazz experimentation they'd tried on "Eight Miles High", and one of the tracks they started working on soon after "So You Want to be a Rock 'n' Roll Star?" was inspired by another jazz trumpet great. Miles Davis had been partly responsible for getting the Byrds signed to Columbia, as we talked about in the episode on "Mr. Tambourine Man", and so the group wanted to pay him tribute, and they started working on a version of his classic instrumental "Milestones": [Excerpt: Miles Davis, "Milestones"] Sadly, while the group worked on their version for several days -- spurred on primarily by Crosby -- they eventually chose to drop the track, and it has never seen release or even been bootlegged, though there is a tiny clip of it that was used in a contemporaneous documentary, with a commentator talking over it: [Excerpt: The Byrds, "Milestones (TV)"] It was apparently Crosby who decided to stop work on the track, just as working on it was also apparently his idea. Indeed, while the biggest change on the album that would become Younger Than Yesterday was that for the first time Chris Hillman was writing songs and taking lead vocals, Crosby was also writing more than before. Hillman wrote four of the songs on the album, plus his co-write with McGuinn on "So You Want to be a Rock 'n' Roll Star?", but Crosby also supplied two new solo compositions, plus a cowrite with McGuinn, and Crosby and McGuinn's "Why?", the B-side to "Eight Miles High", was also dug up and rerecorded for the album. Indeed, Gary Usher would later say "The album was probably 60% Crosby. McGuinn was not that involved, nor was Chris; at least as far as performing was concerned." McGuinn's only composition on the album other than the co-writes with Crosby and Hillman was another song about contacting aliens, "CTA-102", a song about a quasar which at the time some people were speculating might have been evidence of alien life. That song sounds to my ears like it's had some influence from Joe Meek's similar records, though I've never seen McGuinn mention Meek as an influence: [Excerpt: The Byrds, "CTA-102"] Crosby's growing dominance in the studio was starting to rankle with the other members. In particular two tracks were the cause of conflict. One was Crosby's song "Mind Gardens", an example of his increasing experimentation, a freeform song that ignores conventional song structure, and which he insisted on including on the album despite the rest of the group's objections: [Excerpt: The Byrds, "Mind Gardens"] The other was the track that directly followed "Mind Gardens" on the album. "My Back Pages" was a song from Dylan's album Another Side of Bob Dylan, a song many have seen as Dylan announcing his break with the folk-song and protest movements he'd been associated with up to that point, and his intention to move on in a new direction: [Excerpt: Bob Dylan, "My Back Pages"] Jim Dickson, the Byrds' co-manager, was no longer on speaking terms with the band and wasn't involved in their day-to-day recording as he had been, but he'd encountered McGuinn on the street and rolled down his car window and suggested that the group do the song. Crosby was aghast. They'd already recorded several songs from Another Side of Bob Dylan, and Fifth Dimension had been their first album not to include any Dylan covers. Doing a jangly cover of a Dylan song with a McGuinn lead vocal was something they'd moved on from, and he didn't want to go back to 1964 at the end of 1966. He was overruled, and the group recorded their version, a track that signified something very different for the Byrds than the original had for Dylan: [Excerpt: The Byrds, "My Back Pages"] It was released as the second single from the album, and made number thirty. It was the last Byrds single to make the top forty. While he was working with the Byrds, Usher continued his work in the pop field, though as chart pop moved on so did Usher, who was now making records in a psychedelic sunshine pop style with acts like the Peanut Butter Conspiracy: [Excerpt: The Peanut Butter Conspiracy, "It's a Happening Thing"] and he produced Chad and Jeremy's massive concept album Of Cabbages and Kings, which included a five-song "Progress Suite" illustrating history from the start of creation until the end of the world: [Excerpt: Chad and Jeremy, "Editorial"] But one of the oddest projects he was involved in was indirectly inspired by Roger McGuinn. According to Usher "McGuinn and I had a lot in common. Roger would always say that he was "out of his head," which he thought was good, because he felt you had to go out of your head before you could really find your head! That sums up McGuinn perfectly! He was also one of the first people to introduce me to metaphysics, and from that point on I started reading everything I could get my hands on. His viewpoints on metaphysics were interesting, and, at the time, useful. He was also into Marshall McLuhan; very much into the effects of electronics and the electronic transformation. He was into certain metaphysical concepts before I was, but I was able to turn him onto some abstract concepts as well" These metaphysical discussions led to Usher producing an album titled The Astrology Album, with discussions of the meaning of different star signs over musical backing: [Excerpt: Gary Usher, "Leo"] And with interviews with various of the artists he was working with talking about astrology. He apparently interviewed Art Garfunkel -- Usher was doing some uncredited production work on Simon and Garfunkel's Bookends album at the time -- but Garfunkel declined permission for the interview to be used. But he did get both Chad and Jeremy to talk, along with John Merrill of the Peanut Butter Conspiracy -- and David Crosby: [Excerpt: Gary Usher, "Leo"] One of the tracks from that album, "Libra", became the B-side of a single by a group of studio musicians Usher put together, with Glen Campbell on lead vocals and featuring Bruce Johnston of the Beach Boys prominently on backing vocals. "My World Fell Down" was credited to Sagittarius, again a sign of Usher's current interest in astrology, and featured some experimental sound effects that are very similar to the things that McGuinn had been doing on recent Byrds albums: [Excerpt: Sagittarius, "My World Fell Down"] While Usher was continuing with his studio experimentation, the Byrds were back playing live -- and they were not going down well at all. They did a UK tour where they refused to play most of their old hits and went down as poorly as on their previous tour, and they were no longer the kings of LA. In large part this was down to David Crosby, whose ego was by this point known to *everybody*, and who was becoming hugely unpopular on the LA scene even as he was starting to dominate the band. Crosby was now the de facto lead vocalist on stage, with McGuinn being relegated to one or two songs per set, and he was the one who would insist that they not play their older hit singles live. He was dominating the stage, leading to sarcastic comments from the normally placid Hillman like "Ladies and gentlemen, the David Crosby show!", and he was known to do things like start playing a song then stop part way through a verse to spend five minutes tuning up before restarting. After a residency at the Whisky A-Go-Go where the group were blown off the stage by their support act, the Doors, their publicist Derek Taylor quit, and he was soon followed by the group's co-managers Jim Dickson and Eddie Tickner, who were replaced by Crosby's friend Larry Spector, who had no experience in rock management but did represent Peter Fonda and Dennis Hopper, two young film stars Crosby was hanging round with. The group were particularly annoyed by Crosby when they played the Monterey Pop Festival. Crosby took most lead vocals in that set, and the group didn't go down well, though instrumentally the worst performer was Michael Clarke, who unlike the rest of the band had never become particularly proficient on his instrument: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star (live at Monterey)"] But Crosby also insisted on making announcements from the stage advocating LSD use and describing conspiracy theories about the Kennedy assassination: [Excerpt: David Crosby on the Warren Commission, from the end of "Hey Joe" Monterey] But even though Crosby was trying to be the Byrds' leader on stage, he was also starting to think that they maybe didn't deserve to have him as their leader. He'd recently been spending a lot of time hanging out with Stephen Stills of the Buffalo Springfield, and McGuinn talks about one occasion where Crosby and Stills were jamming together, Stills played a blues lick and said to McGuinn "Can you play that?" and when McGuinn, who was not a blues musician, said he couldn't, Stills looked at him with contempt. McGuinn was sure that Stills was trying to poach Crosby, and Crosby apparently wanted to be poached. The group had rehearsed intensely for Monterey, aware that they'd been performing poorly and not wanting to show themselves up in front of the new San Francisco bands, but Crosby had told them during rehearsals that they weren't good enough to play with him. McGuinn's suspicions about Stills wanting to poach Crosby seemed to be confirmed during Monterey when Crosby joined Buffalo Springfield on stage, filling in for Neil Young during the period when Young had temporarily quit the group, and performing a song he'd helped Stills write about Grace Slick: [Excerpt: Buffalo Springfield, "Rock 'n' Roll Woman (live at Monterey)"] Crosby was getting tired not only of the Byrds but of the LA scene in general. He saw the new San Francisco bands as being infinitely cooler than the Hollywood plastic scene that was LA -- even though Crosby was possibly the single most Hollywood person on that scene, being the son of an Oscar-winning cinematographer and someone who hung out with film stars. At Monterey, the group had debuted their next single, the first one with an A-side written by Crosby, "Lady Friend": [Excerpt: The Byrds, "Lady Friend"] Crosby had thought of that as a masterpiece, but when it was released as a single, it flopped badly, and the rest of the group weren't even keen on the track being included on the next album. To add insult to injury as far as Crosby was concerned, at the same time as the single was released, a new album came out -- the Byrds' Greatest Hits, full of all those singles he was refusing to play live, and it made the top ten, becoming far and away the group's most successful album. But despite all this, the biggest conflict between band members when they came to start sessions for their next album wasn't over Crosby, but over Michael Clarke. Clarke had never been a particularly good drummer, and while that had been OK at the start of the Byrds' career, when none of them had been very proficient on their instruments, he was barely any better at a time when both McGuinn and Hillman were being regarded as unique stylists, while Crosby was writing metrically and harmonically interesting material. Many Byrds fans appreciate Clarke's drumming nonetheless, saying he was an inventive and distinctive player in much the same way as the similarly unskilled Micky Dolenz, but on any measure of technical ability he was far behind his bandmates. Clarke didn't like the new material and wasn't capable of playing it the way his bandmates wanted. He was popular with the rest of the band as a person, but simply wasn't playing well, and it led to a massive row in the first session: [Excerpt: The Byrds, "Universal Mind Decoder (alternate backing track)"] At one point they joke that they'll bring in Hal Blaine instead -- a reference to the recording of "Mr. Tambourine Man", when Clarke and Hillman had been replaced by Blaine and Larry Knechtel -- and Clarke says "Do it. I don't mind, I really don't." And so that ended up happening. Clarke was still a member of the band -- and he would end up playing on half the album's tracks -- but for the next few sessions the group brought in session drummers Hal Blaine and Jim Gordon to play the parts they actually wanted. But that wasn't going to stop the bigger problem in the group, and that problem was David Crosby's relationship with the rest of the band. Crosby was still at this point thinking of himself as having a future in the group, even as he was increasingly convinced that the group themselves were bad, and embarrassed by their live sound. He even, in a show of unity, decided to ask McGuinn and Hillman to collaborate on a couple of songs with him so they would share the royalties equally. But there were two flash-points in the studio. The first was Crosby's song "Triad", a song about what we would now call polyamory, partly inspired by Robert Heinlein's counterculture science fiction novel Stranger in a Strange Land. The song was meant to portray a progressive, utopian, view of free love, but has dated very badly -- the idea that the *only* reason a woman might be unhappy with her partner sleeping with another woman is because of her mother's disapproval possibly reveals more about the mindset of hippie idealists than was intended. The group recorded Crosby's song, but refused to allow it to be released, and Crosby instead gave it to his friends Jefferson Airplane, whose version, by having Grace Slick sing it, at least reverses the dynamics of the relationship: [Excerpt: Jefferson Airplane, "Triad"] The other was a song that Gary Usher had brought to the group and suggested they record, a Goffin and King song released the previous year by Dusty Springfield: [Excerpt: Dusty Springfield, "Goin' Back"] Crosby was incandescent. The group wanted to do this Brill Building pap?! Hell, Gary Usher had originally thought that *Chad and Jeremy* should do it, before deciding to get the Byrds to do it instead. Did they really want to be doing Chad and Jeremy cast-offs when they could be doing his brilliant science-fiction inspired songs about alternative relationship structures? *Really*? They did, and after a first session, where Crosby reluctantly joined in, when they came to recut the track Crosby flat-out refused to take part, leading to a furious row with McGuinn. Since they were already replacing Michael Clarke with session drummers, that meant the only Byrds on "Goin' Back", the group's next single, were McGuinn and Hillman: [Excerpt: The Byrds, "Goin' Back"] That came out in late October 1967, and shortly before it came out, McGuinn and Hillman had driven to Crosby's home. They told him they'd had enough. He was out of the band. They were buying him out of his contract. Despite everything, Crosby was astonished. They were a *group*. They fought, but only the way brothers fight. But McGuinn and Hillman were adamant. Crosby ended up begging them, saying "We could make great music together." Their response was just "And we can make great music without you." We'll find out whether they could or not in two weeks' time.

Holiday albums have existed since at least 1945, when Bing Crosby released “Merry Christmas,” a collection of 8 Christmas songs for Decca Records. Since then, countless popular music artists have released full holiday albums to share their love of the sounds of the season… or simply to satisfy a record contract, or pay their mortgages. It's a Christmas miracle! There have been dozens of iconic holiday albums released since Bing's nearly 80 years ago. And now, the Great Pop Culture Debate podcast wants to determine: what IS the best holiday album of all time? Join Eric Rezsnyak, Derek Mekita, Jake Pitochelli, and Jonny Minogue as they debate 16 of their favorite holiday albums, ultimately naming the best of all time. Love Pop Culture? Subscribe to Our Free Weekly Newsletter! Every Monday we tell you about the new movies, TV shows, albums, and video games coming up this week, PLUS we spotlight podcast episodes, polls, and more! Subscribe today! EPISODE CREDITS Host: Eric Rezsnyak Panel: Derek Mekita, Jake Pitochelli, Jonny Minogue Producer: Curtis Creekmore Editor: Jeffery Perry Learn more about your ad choices. Visit megaphone.fm/adchoices

Show #1026 Once More It May All Be Mayall Celebrating John Mayall's 90th birthday this week on November 29. 01. John Mayall - Got To Find A Better Way (5:00) (The Sun Is Shining Down, Forty Below Records, 2022) 02. John Mayall - Don't Hang Me Up (4:14) (Ten Years Are Gone, Polydor Records, 1973) 03. John Mayall - Groupie Girl (3:50) (Back To The Roots, Polydor Records, 1971) 04. John Mayall - Dream About The Blues (5:59) (Chicago Line, Island Records, 1988) 05. John Mayall - One Of The Few (2:42) (The Latest Edition, Polydor Records, 1974) 06. John Mayall - Double Crossing Time (3:03) (Blues Breakers With Eric Clapton, Decca Records, 1966) 07. Eric Clapton - When You Got A Good Friend (3:20) (Me And Mr. Johnson, Reprise Records, 2004) 08. John Mayall - It's Over (2:50) (A Hard Road, Decca Records, 1967) 09. John Mayall - Out Of Reach [1967] (4:40) (A Hard Road (reissue), Decca Records, 2006) 10. Fleetwood Mac - No Place To Go (3:24) (Fleetwood Mac, Blue Horizon Records, 1968) 11. Peter Green - A Fool No More (7:43) (In The Skies, PVK Records, 1979) 12. John Mayall - Long Gone Midnight (3:29) (Blues From Laurel Canyon, Decca Records, 1968) 13. Mick Taylor - Blind Willie McTell (8:33) (A Stone's Throw, Cannonball Records, 2000) 14. John Mayall - Taxman Blues (3:08) (New Year New Band New Company, ABC Records, 1975) 15. John Mayall - Loaded Dice (4:27) (Wake Up Call, Silvertone Records, 1993) 16. Coco Montoya - I Was Wrong (3:49) (Writing On The Wall, Alligator Records, 2023) 17. John Mayall - The Mists Of Time (7:56) (Stories, Eagle Records, 2002) 18. Buddy Whittington - Deadwood And Wire (4:17) (Six String Svengali, Manhaton Records, 2011) 19. John Mayall - So Many Roads (8:47) (Live At Montreux Jazz Festival 2008, YouTube) 20. John Mayall - War We Wage (4:14) (Find A Way To Care, Forty Below Records, 2015) 21. Rocky Athas' Lightning - I Will Love Again (3:35) (Lightning Strikes Twice, Armadillo Records, 2007) 22. John Mayall - That's What Love Will Make You Do (3:54) (Nobody Told Me, Forty Below Records, 2019) 23. John Mayall - Snowy Wood (3:32) (Crusade, Decca Records, 1967) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

In this week's episode, Tim and Jeremy welcome writer and academic Gayle Wald to the show to tell us about the life and times of Sister Rosetta Tharpe. Christened on social media ‘the queer black woman who invented rock'n'roll', yet derided in 1970 as ‘a blacked up Elvis in drag', Sister Rosetta's story disrupts the received narrative of rock history. We hear about her religious upbringing, hitting the road with her evangelist mother; playing in the Cotton Club, the Decca Records studios, and from the centre field of a football stadium (in her wedding dress!); and being feted by Johnny Cash at the Rock'n'Roll Hall of Fame. Sister Rosetta's story concerns misogyny, Pentecostalism, the evolution of the electric guitar, gossip, Little Richard and more, and Gayle is the perfect person to share it with us. This is an edited version of the full interview. To hear more about Sister Rosetta as well as about Gayle's book on the television programme ‘Soul!' - a groundbreaking piece of public broadcasting that brought black thinkers, activists and musicians to the TV screen - and her forthcoming work on the eminent children's musician Ella Jenkins, become a patron. Gayle Wald  is a professor of English and American Studies at George Washington University and a Guggenheim Fellow. She is the author of 'Crossing the Line: Racial Passing in U.S. Literature and Culture', ‘Shout, Sister, Shout!: The Untold Story of Rock-and-Roll Trailblazer Sister Rosetta Tharpe' and ‘It's Been Beautiful: Soul! and Black Power Television'. Produced by Matt Huxley.Become a patron at Patreon.com/LoveMessagePod Check out the back catalog, reading lists, playlists and more at our website: https://www.loveisthemessagepod.co.uk/ Produced by Matt Huxley. Tracklist: Sister Rosetta Tharpe - Rock MeSister Rosetta Tharpe - Up Above My Head Sister Rosetta Tharpe and Marie Knight - Didn't It RainSister Rosetta Tharpe - Strange Things Happening Every DayMahalia Jackson - Move On Up a Little HigherSister Rosetta Tharpe - Move On Up a Little Higher

Matt Sergiou – The Beatles, The Stones, the 60's and Mind Control.Matt Sergiou has made a big effort to research not only the Beatles and their occult references and connections, but also the infiltration of the 60s counter culture and psychodelic influences.Were the Beatles and the Stones involved, albeit indirectly, in Decca Records funnelling money into military research? Were they coerced into giving an illusion that the peace movement could achieve it's stated aims? How were the drugs which were responsible for one of the most creative and anarchic periods in music and art, so readily available to so many people?In a concise interview, Matt puts forward his case that much of the more successful music and acts were unwitting pawns in a game of distraction; at best they were innocent contributors for sinister operators, at worst they were willingly complicit in a mind control operation which altered the course of history.Website: Conspiro Media/ Occult BeatlesTwitter: Matt SergiouFacebook: Conspiro Media4 months agoThis 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/1198501/advertisement

Matt Sergiou – The Beatles, The Stones, the 60's and Mind Control.Matt Sergiou has made a big effort to research not only the Beatles and their occult references and connections, but also the infiltration of the 60s counter culture and psychodelic influences.Were the Beatles and the Stones involved, albeit indirectly, in Decca Records funnelling money into military research? Were they coerced into giving an illusion that the peace movement could achieve it's stated aims? How were the drugs which were responsible for one of the most creative and anarchic periods in music and art, so readily available to so many people?In a concise interview, Matt puts forward his case that much of the more successful music and acts were unwitting pawns in a game of distraction; at best they were innocent contributors for sinister operators, at worst they were willingly complicit in a mind control operation which altered the course of history.Website: Conspiro Media/ Occult BeatlesTwitter: Matt SergiouFacebook: Conspiro MediaThis 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/1198501/advertisement