Podcasts about devil blues

La anticipación crece en Wall Street antes de la decisión de la Fed. Con el Dow Jones y S&P 500 alcanzando máximos y el Nasdaq en su punto más alto desde abril, los inversores aguardan las indicaciones de Powell sobre posibles recortes de tasas en 2023. La inflación en EE. UU. se estabiliza pero sigue alta, afectando las esperanzas de recortes de tasas por la Fed. Los mercados reaccionan positivamente, pero la política monetaria se mantiene cautelosa ante la presión continua en el mercado de la vivienda y servicios. Netflix revela su primer informe de compromiso, mostrando las horas de visualización de sus programas. "The Night Agent" lidera, con contenido original dominando el top 10. La transparencia en datos marca un cambio significativo en la industria del streaming. Argentina devalúa el peso en un 54% y anuncia recortes de gastos bajo la presidencia de Javier Milei, buscando estabilizar su economía. El FMI acoge las medidas, aunque implican desafíos a corto plazo para los ciudadanos. X, antes Twitter, enfrenta una disminución en ingresos por publicidad bajo Elon Musk. Con $2.5 mil millones esperados en 2023, hay una caída significativa frente a años anteriores, afectada por la preocupación de anunciantes sobre la moderación de contenido. OpenAI, valorada en $86 mil millones, reporta ingresos de solo $44,485, creando confusión sobre su estructura financiera. La reciente turbulencia en su liderazgo y la necesidad de transparencia destacan desafíos únicos para la empresa.

Pacific St Blues & AmericanaOctober 29, 2023Hair'em Scare'em Sunday as we tip the black fedora to Halloween Featuring: Tom Waits, Zeppelin, Muddy, Stevie & Wonder, Trucks, Winter and Son House. Hear Wolf, Kingfish, Stones, Clapton, with Buddy & Wells. It'll be creepy - ooohhhh. a. Otis Redding / Trick or Treatb. BB King / See that My Grave is Kept Cleanc.  Lightin' Hopkins / Black Ghost Blues1. Nina Simone / I Put a Spell on You2. Copeland, Collins, Cray / Blackcat Bone 3. Creedence Clearwater Revival / Tombstone Shadow4. Janiva Magness / Bad Moon Rising 5. Howlin' Wolf / Evil 6. Christone Kingfish Ingram / Ghost of Christmas Past7. Jeff Beck Group (Rod Stewart) Willie Dixon / I Ain't Superstitious 8. Albert King / Born Under a Bad Sign 9. Taj Mahal / Crossroads Blues 10. Rory Block / Preaching Blues (Up Jumped the Devil) 11. Eric Clapton / Me and the Devil Blues 12. Alvin Youngblood Hart & James Cotton / Hellhound on My Trail 13. Larry McCray / Midnight Rambler 14. Billy Boy Arnold / Paint it Black 15. Lucinda Williams / Sympathy for the Devil 16. The Rolling Stones / Too Much Blood 17. Son House / Grinnin' in Your Face 18. Johnhy Winter / Death Letter Blues 19. Tom Waits / John the Revelator 20. Derek Trucks Band (feat Warren Haynes) / Preaching Blues 

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

Trinta anos de carreira (and counting) dão muitas histórias para contar e Rui Miguel Abreu sabe contá-las como poucos. Quem apareceu na Chasing Rabbits no último sábado foi brindado com algumas dessas histórias – a mítica entrevista a Amália, os cupões para ir ao cinema que recortava dos jornais todos do bairro, as peripécias para chegar à fala com David Bowie, a passagem pela Valentim de Carvalho e tantas outras. Mas desengane-se quem acha que só visitámos o passado. Sempre atento ao presente e de olhos – e ouvidos - bem postos no futuro, o Rui fala do concerto de ontem ou da sua mais recente descoberta com o mesmo entusiasmo com que revela as canções que o moldaram ao longo da vida. Afinal, diz-nos logo no início da conversa, não é daqueles que têm sempre um “antigamente é que era!” na ponta da língua. O agora é que é - e sorte a nossa poder ter um Rui Miguel Abreu a testemunhar isso mesmo nas páginas do Expresso, em projetos como o Rimas e Batidas, nos programas que faz para a rádio ou aqui mesmo, neste episódio do Salt Peanuts!Playlist:"Me and The Devil Blues", Robert Johnson"Strange Fruit", Billie Holiday""Povo que Lavas no Rio", Amália Rodrigues"What's Going On", Marvin Gaye

Wherein Eric and John excavate the most significant of heavy metal's musical roots, the blues, exploring the origins and histories of the genre as well as its more direct connections to the history of heavy metal. Throughout these "Roots of Heavy Metal" episodes, we'll dig deep into the many influences that made heavy metal music what it is, with longer episodes, more musical examples, and even more delightful verbal sparring as we uncover the wide array of musical styles that contribute to metal's vast musical family tree. Assigned Listening: Assigned Listening #1: "Down Hearted Blues" (Austin/Hunter) as performed by Bessie Smith- https://www.youtube.com/watch?v=4Ob_sW2_2Zw Assigned Listening #2: "Me and the Devil Blues" by Robert Johnson- https://www.youtube.com/watch?v=p9CDKtc1Cno Assigned Listening #3: "I'm Your Hoochie Coochie Man" (Dixon) as performed by Muddy Waters- https://www.youtube.com/watch?v=AFxrLOVwsEE Assigned Listening #4: "In Ashes" from Devil is Fine by Zeal & Ardor- https://www.youtube.com/watch?v=9xB9czfa6Zs Visit us at: https://anchor.fm/heavymetal101podcast (you can leave us a voicemail if you're so inclined!) Contact us at: heavymetal101podcast@gmail.com Social media: https://www.facebook.com/HeavyMetal101Podcast https://twitter.com/heavy_101 https://www.instagram.com/heavymetal101podcast/ New episodes of Heavy Metal 101 are released monthly on the 3rd Monday of each month. See ya again soon!!! --- Send in a voice message: https://podcasters.spotify.com/pod/show/heavymetal101podcast/message

Holly and James go back in time, taking us to the world of 1959, when Buddy Holly is dead, and the new world struggles to be born. A Spotify playlist for the UK Top 30 27th Feb 1959 can be listened to here. Protect Black Art petition 500 Songs: The Platters Discussed: TOP 5: Shirley Bassey - As I Love You The Platters - Smoke Gets In Your Eyes Lonnie Donnegan - Does Your Chewing Gum Lose Its Flavour Elvis Presley - One Night/I Got Stung Shirley Bassey - Kiss Me Honey Honey OTHER FEATURED SONGS: Jerry Lee Lewis - High School Confidential Little Richard - Baby Face Chris Barber's Jazz Band - Petite Fleur The Teddy Bears - To Know Him Is To Love Him The Everly Brothers - Problems Lloyd Price - Stagger Lee Buddy Holly - It Doesn't Matter Anymore Full list of all songs used in the episode in order of first appearance: Don McClean - American Pie Little Richard - Baby Face Paul Anka - All Of A Sudden My Heart Sings The Everly Brothers - Problems David Bowie - Queen Bitch Carl Douglas - Kung Fu Fighting (stem) Paul Anka - Have Yourself A Merry Little Christmas Showaddywaddy - Hey Rock And Roll The Temperance Seven - Charleston David Bowie - Absolute Beginners (Dub Mix) David Bowie - Absolute Beginners (Extended Mix) Shirley Bassey - As I Love You Shirley Bassey - Goldfinger The Platters - Smoke Gets In Your Eyes Lonnie Donnegan - Does Your Chewing Gum Lose Its Flavour The Beatles - A Hard Day's Night Lonnie Donnegan - Cumberland Gap Lonnie Donnegan - My Old Man's A Dustman The Kinks - Afternoon Tea Blur - Parklife The Beatles - When I'm 64 (Rock Band version) Deporitaz - I Know Your Name Mick Jagger - Me & The Devil Blues (live) Joe Brown - Crazy Mixed Up Kid Sir Lawrence Olivier - "Now Is The Winter Of Our Discontent" Soliloquy Elvis Presley - One Night Elvis Presley - I Got Stung Carl Douglas - Kung Fu Fighting (again) Elvis Presley - One Night Of Sin Destiny's Child - Survivor Beyoncé - BREAK MY SOUL BTS - 방탄소년단 (No More Dream) Elvis Presley - Heartbreak Hotel Elvis Presley - Suspicious Minds Jerry Lee Lewis - High School Confidential Jerry Lee Lewis - Great Balls of Fire Little Richard - Baby Face Little Richard - Long Tall Sally Billy Fury - Maybe Tomorrow Cliff Richard - Livin' Lovin' Doll Jerry Lee Lewis - What's Made Milwaukee Famous Little Richard - God Is Real Shirley Bassey - Kiss Me Honey Honey Chris Barber's Jazz Band - Petite Fleur The Teddy Bears - To Know Him Is To Love Him Amy Winehouse - To Know Him Is To Love Him The Beatles - To Know Her Is To Love Her Slim Dusty - A Pub With No Beer The Dubliners - A Pub With No Beer The Everly Brothers - Problems The Everly Brothers - Cryin' In The Rain Lloyd Price - Stagger Lee Buddy Holly - It Doesn't Matter Anymore The Beverley Sisters - The Little Drummer Boy Harry Simeon - The Little Drummer Boy Michael Flanders - The Little Drummer Boy David Bowie & Bing Crosby - The Little Drummer Boy

On this episode of Rock is Lit . . .Michael Gaspeny and I talk about Our experiences launching debut novels and the advice we'd give new authors who are about to launch their first booksThe backstory that inspired Michael to write the novel ‘A Postcard From the Delta'Blues as the main character in the novel's religion and what the Blues means to Michael When the Blues first grabbed MichaelHow the British Blues Explosion of the 1960s helped white kids discover classic Blues musicians The appropriation issueMichael's experience visiting Clarksdale, Mississippi in the late 1990sWhy making pilgrimages to music-related sites is so important to music loversRacial issues present in the novelRay Koob and I talk about His podcast, Imbalanced History of Rock and Roll, and some of the episodes he's done on Delta Blues (see the Imbalanced History of Rock and Roll website for more on those episodes)Defining characteristics of Delta Blues and some of the most well-known playersWhy Robert Johnson had the most unique style amongst all the Delta Blues musicians of his era, the legend about him selling is soul to the devil at the crossroads, his mysterious deathThe earliest Delta Blues recordings—facilitated by John and Alan LomaxDelta Blues as inspiration for the Skiffle movement in England in the 1960sThe few recorded female Delta Blues musicians, like Memphis MinnieBessie Smith's tragic death/the effects of racism on the music and artists of the early to mid-20th centuryThe history, lore, and Blues-related sites in Clarksdale, MSContemporary artists playing and recording Delta Blues MUSIC AND MEDIA IN THE EPISODE IN ORDER OF APPEARANCE:(Copyright Free) Acoustic Delta Blues--Instrumental“Modern Love” by David Bowie“Smokestack Lightnin'” by Howlin' Wolf“You Can't Love What You Ain't Never Had” by Muddy Waters“Earth Angel” by The Penguins“Cross Road Blues” by Robert Johnson“I'm Ready” by Muddy Waters“Nothin' But The Devil” by Rory Gallagher“You Got to Move” by Mississippi Fred McDowell“Milk Cow Blues” by Freddie Spruell“Me and the Devil Blues” by Robert Johnson“When the Levee Breaks” by Memphis Minnie and Kansas JoeClip from the movie ‘Crossroads'“Serves Me Right to Suffer” by John Lee Hooker LINKS: Digital Dying Blog post on Michael Gaspeny, https://www.funeralwise.com/digital-dying/the-deathbed-poet-how-one-man-makes-poems-of-lifes-last-hours/North Carolina Writers' Network, articles on Michael Gaspeny, https://www.ncwriters.org/news/blog/tag/michael-gaspeny/ Imbalanced History of Rock and Roll Podcast's website, https://imbalancedhistory.com/Imbalanced History of Rock and Roll Twitter, @ImbalancedHisto Imbalanced History of Rock and Roll Facebook Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/Christy Alexander Hallberg Twitter, @ChristyHallbergChristy Alexander Hallberg Instagram, @christyhallbergChristy Alexander Hallberg YouTube, https://www.youtube.com/channel/UCfSnRmlL5moSQYi6EjSvqag

On this episode of Rock is Lit . . . Michael Gaspeny and I talk about  Our experiences launching debut novels and the advice we'd give new authors who are about to launch their first books The backstory that inspired Michael to write the novel ‘A Postcard From the Delta' Blues as the main character in the novel's religion and what the Blues means to Michael When the Blues first grabbed Michael How the British Blues Explosion of the 1960s helped white kids discover classic Blues musicians The appropriation issue Michael's experience visiting Clarksdale, Mississippi in the late 1990s Why making pilgrimages to music-related sites is so important to music lovers Racial issues present in the novel Ray Koob and I talk about  His podcast, Imbalanced History of Rock and Roll, and some of the episodes he's done on Delta Blues (see the Imbalanced History of Rock and Roll website for more on those episodes) Defining characteristics of Delta Blues and some of the most well-known players Why Robert Johnson had the most unique style amongst all the Delta Blues musicians of his era, the legend about him selling is soul to the devil at the crossroads, his mysterious death The earliest Delta Blues recordings—facilitated by John and Alan Lomax Delta Blues as inspiration for the Skiffle movement in England in the 1960s The few recorded female Delta Blues musicians, like Memphis Minnie Bessie Smith's tragic death/the effects of racism on the music and artists of the early to mid-20th century The history, lore, and Blues-related sites in Clarksdale, MS Contemporary artists playing and recording Delta Blues   MUSIC AND MEDIA IN THE EPISODE IN ORDER OF APPEARANCE: (Copyright Free) Acoustic Delta Blues--Instrumental “Modern Love” by David Bowie “Smokestack Lightnin'” by Howlin' Wolf “You Can't Love What You Ain't Never Had” by Muddy Waters “Earth Angel” by The Penguins “Cross Road Blues” by Robert Johnson “I'm Ready” by Muddy Waters “Nothin' But The Devil” by Rory Gallagher “You Got to Move” by Mississippi Fred McDowell “Milk Cow Blues” by Freddie Spruell “Me and the Devil Blues” by Robert Johnson “When the Levee Breaks” by Memphis Minnie and Kansas Joe Clip from the movie ‘Crossroads' “Serves Me Right to Suffer” by John Lee Hooker   LINKS:  Digital Dying Blog post on Michael Gaspeny, https://www.funeralwise.com/digital-dying/the-deathbed-poet-how-one-man-makes-poems-of-lifes-last-hours/ North Carolina Writers' Network, articles on Michael Gaspeny, https://www.ncwriters.org/news/blog/tag/michael-gaspeny/   Imbalanced History of Rock and Roll Podcast's website, https://imbalancedhistory.com/ Imbalanced History of Rock and Roll Twitter, @ImbalancedHisto  Imbalanced History of Rock and Roll Facebook   Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/ Christy Alexander Hallberg Twitter, @ChristyHallberg Christy Alexander Hallberg Instagram, @christyhallberg Christy Alexander Hallberg YouTube, https://www.youtube.com/channel/UCfSnRmlL5moSQYi6EjSvqag Learn more about your ad choices. Visit megaphone.fm/adchoices

Intro Song –  Janiva Magness, “Strong As Steel”, Hard To Kill

 First Set - 
 Mike Guldin, “Tumblin'”, Tumblin'
 Jim Dan Dee, “Real Blues”, Real Blues
 Johnny Sansone, “Blowin' Fire”, Into Your Blues
 Horojo Trio, “Ragman Blues”, Set The Record 
 Second Set – Delbert McClinton, “Connecticut Blues”, Outdated Emotion 
 Nick Schnebelen, “Panther Pants Stomp”, Blues Cures Studio Jam 13 Rosedale Junction, “Chasin' The Devil Blues”, Stompin' On The Front Porch

 Third Set – WIB 
Mizz Lowe Featuring Bobby Rush, “Take My Love”, Single
 Eliza Neals, “Got A Gun (Featuring Billy Davis)”, Badder To The Bone
 Gina Sicilia, “Don't Be Afraid To Be Wrong”, Unchange
 Sue Foley, “Pinkey's Blues”, Pinkey's Blues 
 Fourth Set – Anthony Geraci, “I Ain't Going To Ask (Featuring Sugar Ray Norcia)”, Blues Called My Name  
 Charlie Musselwhite, “When The Frisco Left The Shed”, Mississippi Son
 Dave Weld & The Imperial Flames, “Red Hot Tabasco”, Nightwalk

Our first show of 2022 (?!?) and we hit the ground running with a great interview with former Panic taper, guitar tech, and band member, Sam Holt, who shares with us some of his favorite moments from spring 1992, recalls some special moments from Mikey's last full tour in spring 2002, what it was like to sit in with Jerry Joseph, and looks ahead with great excitement to three Sam Holt Band shows he has coming up in May that will pay tribute to Mikey and Todd Nance. After Sam exits, Jeff and Harvey get caught up with each other, look back at the first few shows of 2022, and ahead to what is shaping up to be a pretty robust 2022 tour. ***Learn more about the upcoming Remembering Mikey shows at RememberingMikey.comSam Holt Band Presents Remembering Mikey – A Musical Celebration of Michael Houser & Todd NanceMay, 12 Isis – Asheville, NC (Buy Tickets)May, 13 The Pour House – Charleston, SC (Buy Tickets)May, 14 Avondale Brewing – Birmingham, AL (Buy Tickets)*Links below go to whole show streams on Relisten powered by Panicstream*Jerry Joseph and the Jackmormons03 May 2002 - Athens, GA - The Georgia TheatreThree Mile Island (with Sam Holt)Widespread Panic27 February 1992 - Atlanta, GA - The MasqueradeEliza's Apt., FishwaterWidespread Panic21 March 1992 - Denver CO - Herman's HideawayDriving Song > Me & the Devil Blues > Driving Song > DiscoWidespread Panic25 May 1992 - Winston-Salem, NC - Ziggy'sEntering a Blackhole Backwards > Chilly Water See acast.com/privacy for privacy and opt-out information.

Steve Wojciechowski, former Duke point guard l North Carolina with ultimate bragging rights on the line l Should the Lakers shut down LeBron?

We ventured once again into the Rat's lair - otherwise known as the South Beach studio of Frank 'Rat Bastard' Falestra - and sat down with Miami-via-Pennsylvania singer/songwriter Nick Mencia a.k.a. Nick County to discuss the stunning "Car Wheels on a Gravel Road" by Lucinda Williams. The soul-baring songs of Williams transcend any alt-country/American roots-rock labels, and the album is truly a stone cold genre-defying masterpiece!  Songs featured in this episode: If You Still Love Me - Nick County; Mexico - Rachel Angel; Cold Cold Heart - Hank Williams; Right In Time, Car Wheels on a Gravel Road, 2 Kool 2 Be 4-Gotten, Drunken Angel, Concrete and Barbed Wire, Lake Charles, Can't Let Go, I Lost It, Metal Firecracker, Greenville, Still I long For Your Kiss, Joy, Jackson - Lucinda Williams; Me and the Devil Blues - Robert Johnson; Return of the Grievous Angel - Gram Parsons; Can't Let Go - Robert Plant & Alison Krauss; Daddy's Robe - Oly; I Wanna Be Your Boyfriend - Ramones; Simple Twist of Fate - Bob Dylan; You Got To Walk That Lonesome Valley - Mississippi John Hurt; Jesus Is Dead - Nick County

On Part II of our Misfits series, we are covering lots of Horror Business! We kick off with a lengthy bit on the history of horror in music including Louis Armstrong's Skeleton in the Closet from the film Pennies from Heaven, the man who allowed the devil to tune his guitar in exchange for his soul - Robert Johnson's Me and the Devil Blues, the first true shock rock persona - Screaming' Jay Hawkins' I Put a Spell on You, Bobby “Boris” Pickett and the many variations of the Monster Mash, Splatter Platters and America's fascination with the morbid, Alice Cooper and Ozzy Osbourne's animal mishaps, the Universal madman Dwight Fry, The Cramps and a small rundown on Psychobilly, Horrorbilly, and Gothabilly, 45 Grave and Riboflavin-Flavored Non-Carbonated, Polyunsaturated Blood, Bauhaus and The Damned. Then, we pick up from last week with the Crimson Ghost and Horror Business, the deaths of Nancy Spungeon and Sid Vicious, Tammy, Hitchcock, Bernard Herrmann and the infamous shower scene in Psycho, the documentary 78/52 and the Bomb Under the Table Technique, Diabolique's influence on Psycho and the sequels, Vera Clouzot's untimely death and her work on The Wages of Fear - remade as Sorcerer, Scarface and Raging Bull scenes that copy Psycho, Night of the Living Dead, George A. Romero and his work with the Misfits on Bruiser, the Famous Monster's album and the singles from the movie Bruiser, 3 Hits from Hell and the Fiend Club, Horror Hotel aka the City of the Dead, Jason Statham, King Diamond's Sleepless Nights, White and Rob Zombie, Fanatic aka Die, Die My Darling! with Tallulah Bankhead, Vincent Price and the Oblong Box, Herschell Gordon Lewis and his Blood Feast's inspiration on the slasher genre, Earth A.D./Wolfs Blood and the Psychopath aka Schizo, and last but not least…Mommy, Can I Go Out and Kill Tonight!?! Check out all of the music from this episode on this week's SPOTIFY PLAYLIST HERE. Our sources for this episode: This Music Leaves Stains: The Complete History of the Misfits by James Greene Jr., Going to Pieces: The Rise and Fall of the Slasher Film, 1978-1986 by Adam Rockoff, Hammer Films: An Exhaustive Filmography by Tom Johnson and Deborah Del Vecchio, Book of the Dead: The Complete History of Zombie Cinema by Jamie Russell, and The Price of Fear: The Film Career of Vincent Price in His Own Words by Joel Eisner. Follow and hit us up on Instagram and Facebook or @last3rowspodcast@gmail.com. Thank you for listening!

Eine mysteriöse Legende ist eng mit dem Leben und Wirken des berühmten Blues-Gitarristen Robert Johnson verbunden. Stand er in Verbindung mit dunklen Mächten? Welche Theorien ranken sich um seinen frühen Tod? Diese und andere spannende Fragen werden wir euch in dieser Folge beantworten.  Shownotes: Fotos von Robert Johnson https://bit.ly/3Dcpxgn (veröffentlich 1986 im Rolling Stone) https://bit.ly/3BYbavD (entdeckt 2020, im Besitz von Annye Anderson) Song “Hellhound on my trail” https://bit.ly/3BPkpOg Wir übernehmen keine Haftung für die Inhalte externer Links. Ein fettes Dankeschön an Thilo für die fachmännische Unterstützung! Und wie immer natürlich ein Dankeschön an Peter für Sound und Mastering.

In this episode, Phillip and Eric are talking manga with the underrated and criminally ignored Me and the Devil Blues by Akira Hiramoto. They talk the blues legend Robert Johnson, their gateways into manga, and how Eric will finally get canceled this time! Reach us by email at theomnibuscomicspodcast@gmail.com. Music by rodneyretro. https://traktrain.com/rodneyretro

A flawed-but-fascinating take on a legendary bluesman from one of the last creators you'd expect!

Jules and the crew of Hope's Tour confront the Deltan spy. Can they find an escape from Delta Earth before the Arch Authority can capture them?

"Early this mornin', ooh, when you knocked upon my door, and I said, 'Hello, Satan, I believe it's time to go.' Me and the devil, was walkin' side by side." — Me and the Devil Blues by Robert JohnsonWho exactly is blues musician Robert Johnson, and how is he the most influential musician you've never heard of? How did Robert Johnson go from a racket who couldn't hold a tune in a bucket, to The King of the Delta Blues whose skill surpassed the likes of Son House, in the time span of one year? And what was the cost of his success?This week, we discuss the founding member of the 27 club. Even if the name doesn't sound familiar, you have heard him. We end the episode with a thrilling, trolling scary story from 4chan.Sources for this week include:King of the Delta Blues Vol 1 & 2ReMastered: Devil at the CrossroadsRobert Johnson sold his soul to the devil in Rosedale, Mississippithedarkpiano.com

Another rainy evening brings us a great setting for a lo-fi story. A bit about Robert Johnson's chilling "Me and the Devil Blues", and the psychology of evil.

Alkyone and Alexandrite engage in battle at the Dread Camp! Will they survive? Who even are these people? Is it actually possible for a concentration spell to go ALL TEN ROUNDS? FIND US AT: dungeonwives.com - @dungeonswives - Twitter and Instagram - McKenzie (@mckenziewilkes) & Rachel (@tired_druid) on Twitter. Join our Patreon for and support the show to get some cool bonus content, early access to new episodes, and MORE! We are also now apart of the BE GAY, ROLL DICE network. Follow them @BEGAYROLLDICE and join the network discord to talk about the show and connect with others who love LGBT+ TTRPG shows! Support the show (http://patreon.com/dungeonwives)

Robert Johnson is a legendary figure in blues and rock history. Was his life as crazy as the stories say? Mika learns all of the legends surrounding his talent and playing.    Follow us on Social media!  Facebook: https://www.facebook.com/SoundofHistory/ Twitter: https://twitter.com/soundofhistory_ Videos in This Episode:  "Death Letter Blues" by Son House: https://www.youtube.com/watch?v=NdgrQoZHnNY   "Ramblin on My Mind" by Robert Johnson, potentially written by Ike Zimmerman:  https://www.youtube.com/watch?v=AUyKnEiv70Y   "Me and the Devil Blues" by Robert Johnson: https://www.youtube.com/watch?v=YYsnRc09csQ   "Crossroads Blues" by Robert Johnson: https://www.youtube.com/watch?v=3MCHI23FTP8  

The Doc first complains about Florida man stories, and lets Dave know, that he has come up with a theory of why they exist. Then the Doc invites Ben Wells from Black Stone Cherry on the show! They talk Kentucky, Star Wars, Elvis, Blues, the best food in Glasgow and much much more! Also two tracks from their new album Back 2 Blues 2! Listen now! Monologue: 0:23 Birthday Suit 1: 6:32 Ripped From the Headlines: 9:28 Black Stone Cherry - Me and the Devil Blues: 30:11 Shoutouts: 35:15 Birthday Suit 2: 39:33 The Doc Hates the Ad for Last Christmas: 42:26 Things that Don't Suck: 45:32 Stop Faking the Funk: 51:11 Ben Wells of Black Stone Cherry Interview: 55:05 Black Stone Cherry - Death Letter Blues: 1:10:28 Birthday Suit Three: 1:17:40

Garage Gritty Blues with some newer Southern Rock. Searching for new Emerging Artists and Music around the world for you. Radio worthy tunes!! ~ Live Sunday's 8:00 -11:00 PM EST on www.vwradio.co ~ 1. Dux n Downtown - (Dig the Sun) 2. Muddy Ruckus - (Halcyon) 3. The Outlaw Orchestra - (Country High [Explicit]) 4. John Fairhurst - (The Divided Kingdom) 5. Hermann Posch - (Devils Woman) 6. TONGUE TIED TWIN - (Digging) 7. BLUE MILK - (Lord Knows I'm Trying) 8. Bones Shake - (Cops) 9. Henry's Funeral Shoe - (Mission & Maintenance [Explicit]) 10. Strange Majik - (If 6 Were 4) 11. Chase Walker Band - (Blues Deluxe - Live At The Woodshed) 12. Wizened Tree - (Princess of the Desert) 13. Double Shuffle Blues Band - (Boom Boom) 14. Sean Pinchin - (Devil Got My Women) 15. Cannibal Ramblers - (Parchman Farm) 16. J Lee and the Hoodoo Skulls - (Black Moon) 17. Savoy Brown - (Walking on Hot Stones) 18. Backsliders (Australia) - (Dickhead) 19. Bat Country - (I Don't Even Want You To) 20. Big River - (Hometown Hustler) 21. Left Lane Cruiser - (Do You Know) 22. Markuz Walach - (blonde curly- haired woman) 23. The Bonnevilles - (I Dreamt Of The Dead) 24. The Dee Vees - (What You Need) 25. The Cosmic Trip Advisors - (Firecracker Blues) 26. Black Cadillac Kings - (Sheep) 27. Shaw Davis & the Black Ties - (Hell with Ya) 28. Chilblaine Winters - (Copper Shine) 29. Old Man Jasper - (Pray For Salvation) 30. Otis & the Smokestacks - (Juke Joint Jump) 31. SHIRON THE IRON - (Poison Eve) 32. DIRTY TRAINLOAD - (Too Far Gone) 33. Walking Men - (Cold Day) 34. The Stonecold Hobos - (Cross Eyed Cat) 35. Black Stone Cherry - (Me & The Devil Blues) 36. Otis - (Be Careful) 37. Big Hands Rhythm & Blues Band - (Easy Baby) 38. Dogtooth Blues - (Help Me) 39. Electric Blues Collective - (Down so long) 40. The New Savages - (Seventh Son) 41. ZiqqurHat - (My Thing)

Garage Gritty Blues with some newer Southern Rock. Searching for new Emerging Artists and Music around the world for you. Radio worthy tunes!! ~ Live Sunday's 8:00 -11:00 PM EST on www.vwradio.co ~ 1. Bat Country - (Happy Home) 2. Chris Russell's Chicken Walk - (Cottonmouth) 3. Savoy Brown - (Conjure Rhythm) 4. Chilblaine Winters/Abasand Band - (Stony Mountain Girl) 5. Six Shot Revival - (Snake Eyes) 6. Mudlow - (Crocodile Man) 7. Big River - (Devils Whiskey) 8. 20 Watt Tombstone - (Wisco Disco) 9. Dusk Brothers - (Damage Done) 10. Southbound Snake Charmers - (Ride On 2018) 11. Dux n Downtown - (Stole my Shit) 12. Gumbo Blues - (Come Back Home) 13. John Fairhurst - (Hungry Blues (Slight Return)) 14. GB Roots - (Shady Grove) 15. ZiqqurHat - (Tramkiller) 16. T.K. Reeve - (Been a fool) 17. Radio Moscow - (The escape) 18. The Stonecold Hobos - (Jesus Just Left Chicago) 19. The Cosmic Trip Advisors - (Oh My My My!) 20. Glenn Cannon - (Hello Oblivion) 21. Shanytown - (Brother) 22. J Lee and the Hoodoo Skulls - (2 Bit Lovers) 23. Keith Scott - (Arkansas Blues) 24. Walking Men - (Walking Blues) 25. VOX - (Heavy Blues) 26. The Blues Rebels - (Good enough for the Blues) 27. Old Man Jasper - (Rains That Are Falling) 28. The Maness Brothers - (The Catfish & the Fisherman) 29. The Cold Stares - (White Girl) 30. James Leg/Left Lane Cruiser - (When the Levee Breaks) 31. Mission Brown - (Get High Blues) 32. Santamuerte - (Me and the Devil Blues) 33. The Silver Dimes - (Copper Cat Blues (Live)) 34. The Kenneth Brian Band - (Goin' Down Hard) 35. White Dust - (Rock me babe) 36. Muddy Ruckus - (Naive Pilgrim) 37. Max Tovstyi - (World of Sin) 38. Old Dust Of Hollow - (Doesn't Matter) 39. The Two Percent - (On the Street) 40. Thorbjørn Risager & The Black Tornado - (Rock 'n' Roll Ride)

Seja pra lembrar do fim de um relacionamento, ou aquela música para um jantar romântico ou na hora da saudade de um relacionamento que apenas começou. Sempre temos uma trilha sonora pra esses momentos. O famoso, "Para ouvir e amar". E esse é o tema desse nosso "Pelo Gravador" de hoje. O Pelo gravador é um formato de episódio aqui do Silêncio no Estúdio que recebemos áudios de convidados especiais pra montar essa playlist coletiva em cima de um tema. Perguntamos para os convidados, "Qual é a música que você escuta para ouvir e amar?" Ouça, divirta-se, compartilhe e espalhe o amor! -------- Quem são os convidados espalhando o amor nesse episódio? Mayara Godoy (@mayara_godoy), Bruno Ascari (@brunoascari), Bruna Soares (@BrubsBallads), Brunno Lopez (@l_o_p_e_z_b) , Gui Grazziotin (@guigraz), Liliane Ferrari (@lilianeferrari), Vinícius Cabral (@vicabral_vcr), Bárbara Monteiro (@brbara_monteiro), Maria Eduarda "Duds" (@mariaeduardamichael), Márcio Viana (@quasemarcio), Raniele Carvalho (@ranicarvalhoo), e Samir Duarte (@samsworld). -------- Link citados: Playlist com todos as músicas recomendadas: https://spoti.fi/2ZqfBQ1 Crônicas de Categoria: http://cronicasdecategoria.com/ Canal Som de Peso: https://www.youtube.com/somdepeso Podcast We and the Devil Blues: https://wdbpodcast.com/ Liliane Ferrari: https://linktr.ee/lilianeferrari Molett: https://www.molett.com.br/ Canal Red Behaviour: https://www.youtube.com/MariaEduardaMichael Podcast Um Milkshake Chamado Wanda: https://www.papelpop.com/tudo-sobre/um-milkshake-chamado-wanda/ -------- Acompanhem o Silêncio no Estúdio por aí: Nosso Site: http://silencionoestudio.com.br No Instagram: https://www.instagram.com/silenciopodcast No Twitter: https://twitter.com/silenciopodcast

Após amargar uma longa fase de abusos e agressões, por parte de seu marido, Anna Mae, trocou tudo por sua liberdade, pedindo em troca, apenas seu nome artístico: "Tina Turner" e assim, se tornou, a rainha do Rock n' Roll!Seja um colaborador do financiamento coletivo do livro: "Os Delírios Musicais."Acesse:https://catarse.me/osdeliriosmusicaise entenda essa causa.Conheça o podcast "We and the Devil Blues."https://overcast.com.br/wdbO Clube da Música Autoral, é um afiliado do "Overcast," uma rede que busca reunir podcasts com conteúdos originais, que fogem daquele tradicional formato de papo de boteco.Acesse https://overcast.com.br e conheça os programas da casa."SEJA UM SÓCIO DO CLUBE DA MÚSICA AUTORAL"Imagine poder votar no artista que fará parte de um episódio do Clube.Imagine poder fazer parte de um grupo secreto, onde você pode interagir, dar seus pitacos e receber conteúdos extras.Imagine além de tudo isso, você poder receber os novos episódios antes de todo mundo e ainda por cima, levar uma camiseta do Clube da Música Autoral.Acesse a página:https://clubedamusicaautoral.com.br/assinee veja como se tornar um sócio do Clube.Quer receber os episódios do Clube através do WhatsApp? Basta clicar no link:http://bit.ly/2DGdkkYe confirmar a mensagem.Mais informações em:https://clubedamusicaautoral.com.brContato:clubedamusicaautoral@gmail.com

Nesse primeiro episódio no formato bate-papo, conversei com Eduardo Sanna, músico da banda Little Butter, de Minas Gerais, sobre o que é blues? Entramos em definições históricas, musicais e filosóficas. Uma conversa bem descontraída, mas com muita informação relevante sobre o blues e opiniões pessoais. No fim, uma música da Little Butter, claro. ;) Siga o WDB no Twitter: https://twitter.com/wdbpodcast Conheça a Little Butter: http://www.littlebutter.com.br/ Inscreva-se no canal da Little Butter: https://www.youtube.com/channel/UC0goUeW5ZyyHf7yYLvnZokQ E siga no Instagram: https://www.instagram.com/littlebutter_harmonicablues/ Todas as trilhas foram gentilmente cedidas pela banda Distintivo Blue: http://www.distintivoblue.com/ Música final: Little Butter - Little Butter's Boogie O We and the Devil Blues faz parte da rede Overcast. Acesse www.overcast.com.br e confira os outros podcasts da rede.

Podcast de janvier 2019 - Le Blues Café Live - On ne présente plus Manu Lanvin qui​, avec ses Devil Blues​, enflamme un public conquis sur toutes les scènes françaises et d’ailleurs. Manu​​ a pris l’habitude de venir nous présenter en avant-première ses sorties d’album. ​​C’est une nouvelle fois le cas avec ce nouveau disque « Grand Casino » à sortir en février 2019 qu’il a dévoilé en live au public du Blues Café et maintenant aux auditeurs ! ​

Apologies in advance as Seamus had to skip this week’s podcast so we changed from our planned retrospective to another Manga in Motion instead. So at darfox’s request we look at the Chinese Animal World based on Gambling Apocalypse Kaiji! Remember to send us emails! mangamachinations@gmail.com Follow us on Twitter! @mangamacpodcast Check out our tumblr! http://mangamachinations.tumblr.com Join our Discord server and come talk to us! http://discord.me/mangamac Timestamps: 00:00:00 - Intro Song: “Mirai wa Bokura no Te no Naka ” by Kaiji and the Redbound Cherries from Kaiji: Ultimate Survivor, Opening, Changes in scheduling, Introductions 00:02:32 - Listener Emails: Manga introduced through the podcast that we love 00:12:44 - Whatchu Been Reading: Transition Song: Dragon Ball Z OST “Prologue”, darfox agrees with Will Eisner’s Comics & Sequential Art that comics count as reading 00:15:15 - dakazu dove into the manga and life of Taeko Uzuki, Shin Kazoku Keikaku may be fiction but Uzuki created it from real personal experiences she went through 00:20:29 - dakazu is moved from learning about Taeko Uzuki’s life as a cult porno star, her struggles with Schizophrenia, multiple suicide attempts, and her hallucination laden recovery back to health that are covered in her memoir Ningen Karimenchu 00:33:21 - dakazu checks out Prison School creator Akira Hiramoto’s Me and the Devil Blues and his brand new RaW Hero 00:39:11 - News: My Lesbian Experience with Loneliness wins the 2018 Harvey Awards for Best Manga, Harold Sakuishi wins the International Spotlight Award 00:42:22 - NANA creator Ai Yazawa drew illustrations for Street Tradition: Men’s Fashion is Learning from the Past 00:44:00 - Next Episode Preview and Rundown: Anime Interlude where we’ll be discussing the past Summer 2018 season of anime and some of our early impressions for Fall 2018 00:45:29 - Main Segment Manga in Motion: Transition Song: “Bad Ass” by Red Light Saints from Animal World, we explain how closely this mirror’s “Kaiji”, ponder why they made the changes from Kaiji to Kaisi, examine the need for the high budget special effects & action scenes, praise the production values of the gambling part, disagree with making some characters more pure good/evil, wonder if Michael Douglas will be in the sequel, and complain about the complete lack of zawa-zawa 01:16:40 - Next Week’s Topic: Anime Interlude, Social Media Rundown, Sign Off Song: “wish men” by sunbrain from Beet the Vandel Buster

- 2018 MLB Season Preview & prediction - Recapping Duke's Elite 8 loss to Kansas - 2017-2018 Duke Season, Success or Disappointment? - 2018 Mets season preview - Fouls of the Week SUBSCRIBE TO THE TECHNICAL FOUL PODCAST: iTunes: https://itun.es/us/lmoUgb.c SoundCloud: https://soundcloud.com/user-180220123 Stitcher: http://www.stitcher.com/s?fid=129933&refid=stpr Google: https://play.google.com/music/listen?u=0#/ps/In2n76j2346k2azopriucjikygao FOLLOW: Facebook: https://www.facebook.com/technicalfoulpodcast/ Twitter: https://twitter.com/theTFpodcast1 Learn more about your ad choices. Visit megaphone.fm/adchoices

"Hope raises spirits sweetheart, it doesn't raise bodies." River finally finds what he's been searching for. In jail. https://www.patreon.com/sixcoldfeet

Episódio X: I. Malforea convida Filipi Junio (Southern Rock Brasil), Gui Grazziotin (We and the Devil Blues) e Gederson Ferreira (Volume Onze) para um bate papo sobre um momento decisivo na história da indústria musical: a Invasão Britânica. Como este movimento revolucionou a cultura mundial através da música? Descubra tudo agora.

Episódio X: I. Malforea convida Filipi Junio (Southern Rock Brasil), Gui Grazziotin (We and the Devil Blues) e Gederson Ferreira (Volume Onze) para um bate papo sobre um momento decisivo na história da indústria musical: a Invasão Britânica. Como este movimento revolucionou a cultura mundial através da música? Descubra tudo agora.

Records left off of earlier podcasts. Songs include: Kisses Sweeter Than Wine, Telephoning the Blues, The Lady In Bed, Me and the Devil Blues, Borodin: Symphony #2, Send Me Away with a Kiss, Alice From Dallas & You Can't Stop Me From Loving You. Performers include: Hot Lips Page, The Weavers, Connee Boswell, Robert Johnson, The New York Philharmonic, Bojangles Robinson, Ethel Waters, Buddy Jones and John MacCormack.

Söngkonan Tiemy Sutton flytur nokkur lög til heiðurs Bill Evans; Blue In Green, Waltz For Debby, Very Early, Detour Ahead, Never let Me Go og Old Devil Called Moon. Hljómsveit bassaleikarans Brian Bromberg flytur lögin Cantaloupe Island, Chameleon, Mercy Mercy Mercy, Cold Turkey og Shag Carpet. Charles Mingus og hljómsveit leika lögin Devil Blues, Duke Ellington's Sound Of Love og Remember Rockefeller At Attica.

Söngkonan Tiemy Sutton flytur nokkur lög til heiðurs Bill Evans; Blue In Green, Waltz For Debby, Very Early, Detour Ahead, Never let Me Go og Old Devil Called Moon. Hljómsveit bassaleikarans Brian Bromberg flytur lögin Cantaloupe Island, Chameleon, Mercy Mercy Mercy, Cold Turkey og Shag Carpet. Charles Mingus og hljómsveit leika lögin Devil Blues, Duke Ellington's Sound Of Love og Remember Rockefeller At Attica.

Ce mois-ci, le Blues Café Live reçoit un habitué ! Manu Lanvin parcourt la France, avec ses fidèles Devil Blues, en long et en large mais n'oublie jamais de poser ses valises au Blues Café Live. Il vient nous présenter en live son tout nouvel album "Blues, Booze and Rock'n'roll". Alright, let's go !

Ronnie Earl and The Broadcasters (Imagination); Big Head Blues Club (You Need Love); John Primer (Trouble No More); Tinsley Ellis (Party Of One); Fiona Boyes (Lay Down With Dogs); Smokin' Joe Kubek and Bnois King (K9 Blues); Vaneese Thomas (Revelation); Annika Chambers (Raggedy And Dirty); Chris James and Patrick Rynn (Someone To Love Me); Joe Williams (Mr. Devil Blues); Kokomo Arnold (Back Door Blues); Valerie Wellington (A Fool For You); Liz Mandeville (Bad Blues Habit); Sleepy John Estes (Mailman Blues); The McKee Brothers (Enjoy It While You Can).

Neste episódio Diego Magalhães, Marcos Dantas, Marco Aurélio e Sr. JM recebem Gui Grazziotin, do Podcast “We and the Devil Blues” para conversar sobre… BLUES! Considerado como o tataravô da […] O post #054 | BLUES – O TATARAVÔ DA MÚSICA apareceu primeiro em UNIVERSO 404.

This podcast, the first from Skidompha Owl's good friend, Mark Addison of Damariscotta Mills, is the first in a series that explores blues music from the Mississippi Delta in the 1920s to Chicago in the 1940s to England and the US in the 1960s and 1970s to contemporary blues musicians. This podcast introduces the series and the Mississippi Delta, the music of Robert Johnson and others. Many of Johnson's tunes have been covered by many contemporary musicians. Let us know what you think! Playlist: All songs by Robert Johnson. 2:57: Come on in My Kitchen 8:27: I Believe I’ll Dust My Broom 11:25: 32-20 Blues 14:25: Walkin’ Blues 17:41: Sweet Home Chicago 20:38: Kind Hearted Woman Blues 23:28: Terraplane Blues 26:28: Hellhound On My Trail 29:55: Cross Road Blues 32:28: Stop Breakin’ Down Blues 34:50: If I Had Possession Over Judgement Day 37:28: Love In Vain 40:10: Preachin’ Blues (Up Jumped the Devil) 43:00 Phonograph Blues 45:40 Me and the Devil Blues

Podcast Novembre 2015 - C'est la 100e !!! Pour l'occasion Cédric et Francis reçoivent une invitée exceptionnelle : Sweet Georgia Brown, the "last red hot mama", accompagnée par Manu Lanvin et son gang ! Ahmed Mouici est de passage pour parler de son Live au Blues Café ... Sweet Georgia Brown, c’est l’événement de la rentrée au Blues Café Live ! Légende vivante de la scène Jazz, Blues et Rhythm & Blues, chanteuse hors norme, Sweet Georgia Brown est une incroyable et fougueuse artiste. Pour le Blues Café, elle est accompagnée de Manu Lanvin et son groupe The Devil Blues.

Pink Floyd, The Rolling Stones, 13th Floor Elevators, Jupiter Maçã, Liquid Visions, Gal Costa na Mixtape Psicodélica que o nosso amigo Alípio Raposo preparou, faça o download agora.  (clique com o botão direito e selecione salvar). Para ouvir outras músicas do artista clique nos links. 01 – Interstellar Overdrive – Pink Floyd 02 – Me and the Devil Blues – Dead Meadow 03 – Warpainting – The Myrrors 04 – Section 43 – Country Joe and The Fish 05 – Butterflight – Liquid Visions 06 – Roller coaster – 13th Floor Elevators 07 – 2000 light years from home – The Rolling Stones 08 – Lindo sonho delirante LSD – Fábio 09 – Objeto Sim, Objeto Não – Gal Costa 10 – Sociedade Humanóides Fantásticas – Jupiter Maçã A próxima mixtape vai pro ar no dia 20/02/2015.

In this musical episode of the Spiraken Manga Review, Xan gives a little history on Blues Musician Robert Johnson as he reviews the supernatural Manga, Me and The Devil Blues by Akira Hiramoto They also rant about DC's "New 52", discuss what setting the next Ken Akamatsu manga will have, and other witty banter Hope you enjoy Music For Episode: Intro Music -Me and the Devil Blues by Robert Johnson ( Best of Robert Johnson ), Ending Music -Crossroad Blues by Robert Johnson ( Best of Robert Johnson ) Our Website http://www.spiraken.com Our Forum http://spiraken.darkbb.com Our Email Spiraken@gmail.com Xan's Email xan@spiraken.com Our Twitter Spiraken Xboxlive Gamertag Xan Spiraken Our Amazon Store http://www.amazon.com/shops/spiraken Random Question of the Week: Would you sell your soul to get fame and fortune?

Hosts: Evan "Vampt Vo" Minto, Mitchell "MitchyD" Dyer, Karl "Uncle Yo" Custer Topics: Command & Conquer: Red Alert 3 (Game-PC/360), Me and the Devil Blues (Manga), The Tower of Druaga: The Aegis of Uruk (Anime-Sub) 2009 is finally here, so we're naturally taking a look back at our favorite anime, manga, and video game titles of the past year. The first half of episode #011 (this show) goes in the following order: In Mitchy's segment, he and Evan talk about Mitchy's favorite game, C&C: Red Alert 3. Then the duo moves on to the 2008 manga Evan is currently geeking out over, Me and the Devil Blues. Finally, Karl does a solo recording about The Tower of Druaga: The Aegis of Uruk. Remember to email us (podcast@anigamers.com) with comments on this episode!

Hosts: Evan "Vampt Vo" Minto, Mitchell "MitchyD" Dyer, Karl "Uncle Yo" Custer Topics: Command & Conquer: Red Alert 3 (Game-PC/360), Me and the Devil Blues (Manga), The Tower of Druaga: The Aegis of Uruk (Anime-Sub) 2009 is finally here, so we're naturally taking a look back at our favorite anime, manga, and video game titles of the past year. The first half of episode #011 (this show) goes in the following order: In Mitchy's segment, he and Evan talk about Mitchy's favorite game, C&C: Red Alert 3. Then the duo moves on to the 2008 manga Evan is currently geeking out over, Me and the Devil Blues. Finally, Karl does a solo recording about The Tower of Druaga: The Aegis of Uruk. Remember to email us (podcast@anigamers.com) with comments on this episode! Show notes and links can be found at podcast.anigamers.com.