Podcasts about dew drop inn

Chaz and AJ were disappointed that the entire state seemed to shut down for just a few inches of snow, and took calls from the Tribe about the road conditions. (0:00)   Vince Berry made it in, and Ayesheh Mae was on the phone to go through the TOp 10 wild and wacky moments in Philadelphia Eagles history. (15:58) DOT spokesperson Josh Morgan was on with Chaz and AJ to talk about the snow, and then Jay from the Dew Drop Inn was on to talk about the 9 tons of wings he expects to sell this weekend. (28:24)  Live Nation's Jimmy Koplik was on the phone with Chaz and AJ to talk about the recent Ozzy Osbourne announcement, his last-ever show in Birmingham with the original Black Sabbath lineup. (43:37) 

New Orleans has given the world all kinds of music. We refer to ourselves as the birthplace of jazz. We’re one of the principal breeding grounds of funk, bounce, and brass band music. And then there’s a style of piano playing that’s so identifiably from here it’s simply called, “New Orleans piano.” Generations of legendary New Orleans piano players became identified with the places they played. Fats Domino at the Dew Drop Inn. Professor Longhair at Tipitina’s. James Booker at The Maple Leaf. Today you can hear masters of New Orleans piano like Jon Cleary, Tom McDermott, Joe Krown, and others at clubs around town, like Chickie Wah Wah, The Bon Temps, and Buffa’s. Or, you can hear them at your place. You can have an A-list New Orleans piano player show up at your place - with a grand piano - and play your birthday party, wedding, or just a random Friday night, thanks to Jacques Ferland’s business, Piano On A Truck. Piano On A Truck is pretty much what it sounds like. It’s a grand piano on the back of a yellow, 1972 International pick-up truck.And it comes with, or without, a piano player. In our seemingly never-ending attempt to place order on a chaotic world, we like to categorize things into twos - either/or. Tall or short. Black or white. On the rocks or straight up. Today, for a lot of white-collar occupations, the either/or distinction is either working in the office or working from home. Well, like so many things in life, it turns out there’s a 3rd way. Billy Schell describes himself as CEO, owner and van driver of an apparel company called NOLA Shirts. NOLA Shirts designs and manufactures New Orleans themed Polo shirts, T-shirts, and hats, and sells them online or at various brick-and-mortar stores around New Orleans. The “van driver” in Billy’s job description is a reference to the company’s headquarters which are also Billy’s living quarters – a Mercedes Sprinter van that’s been his principal home and office since 2021. Around 5,525 years ago - it was probably a Thursday - in ancient Mesopotamia, the wheel was invented. To say it was a revolutionary invention is not just a bad pun, it’s also the understatement of several millennia. And just when you think every possible use of the wheel has already been thought of, along comes the 21st Century - and hashtag-van-life and Piano On A Truck, two New Orleans entrepreneurs discovering yet more places the revolutions of a wheel can take us. Out to Lunch was recorded live over lunch at Columns in Uptown New Orleans. You can find photos from this show by Jill Lafleur at itsneworleans.com.See omnystudio.com/listener for privacy information.

Ring in the New Year Montana-style! From Whitefish Mountain Resort's torchlight parade and fireworks to the Lil Smokies rocking the Great Northern Bar, there's no shortage of ways to celebrate. Dance the night away at Whitefish's DJ-fueled party at the O'Shaughnessy Center, catch a 1920s-themed bash at the Dew Drop Inn, or solve a neon-drenched murder mystery at Kalispell's Waters Edge Winery. Whether it's jazz, bluegrass, or a daring Polar Plunge in Bigfork, we've got all the details to make your New Year unforgettable. Let's toast to 2025! Events mentioned in this episode:New Year's Eve Torchlight Parade and Fireworks TicketsNew Year's Eve Celebration at The Boat Club New Year's Eve Party at The Firebrand Daily Inter Lake  Lil SmokiesNYE with Defunk and Amp LiveNew Years Eve 1999 Bash at Waters Edge Winery & Bistro! New Year's Eve party at the Blue Moon-music by Whiskey RoseA big thank you to our headline sponsor for the News Now podcast, Loren's Auto Repair! They combine skill with integrity resulting in auto service & repair of the highest caliber. Discover them in Ashley Square Mall at 1309 Hwy 2 West in Kalispell Montana, or learn more at lorensauto.com. Check out Season 2 of Daily Inter Lake's Deep Dive podcast, dropping on 10/27/24! Reporter Kate Heston presents a four-part series on the Endangered Species Act, exploring the species most at-risk in northwest Montana. Discover how the law has helped some recover from near extinction and the challenges when federal and state protections overlap.Visit DailyInterLake.com to stay up-to-date with the latest breaking news from the Flathead Valley and beyond. Support local journalism and please consider subscribing to us. Watch this podcast and more on our YouTube Channel. And follow us on Facebook, Instagram and X. Got a news tip, want to place an ad, or sponsor this podcast? Contact us! Subscribe to all our other DIL pods! Keep up with northwest Montana sports on Keeping Score, dig into stories with Deep Dive, and jam out to local musicians with Press Play.

Louisiana is facing a Black infant and maternal mortality crisis.  Black infants in Louisiana are more than three times as likely to die from premature birth as white infants and Black mothers are more than twice as likely to die from pregnancy-related causes as their white counterparts, according to the Centers for Disease Control and Prevention, . Legislation before the Legislature this session seeks to address this crisis. Advocate groups and survivors have been sharing their concerns at the Capitol as lawmakers hear proposed bills.   Frankie Robertson, a consultant with the Amandla Group, joins us for more on potential solutions. The legendary Dew Drop Inn has reopened its doors. The two-story music venue in New Orleans drew huge crowds in the 1950's and 60's, when it was a safe haven for Black performers during Jim Crow segregation.  Musical greats including Ray Charles, Etta James and Aretha Franklin performed and stayed at the Dew Drop in its heyday. Dew Drop closed down after Hurricane Katrina, when it suffered major damage. With the venue finally back open, reporter Matt Bloom takes us there to listen to some music. Passover wraps up Tuesday at sundown. The holiday celebrates Jewish liberation from slavery in Egypt. This year, many Jews have grappled with how to celebrate the holiday amid Israel's ongoing war in Gaza. Last week, one Jewish community group in New Orleans held a “liberation Seder,” or ceremonial dinner outside on X street. Drew Hawkins, with the Gulf States Newsroom, was there and brings us a non-narrated piece. The New Orleans chapter of Jewish Voice for Peace, a grassroots organization that advocates for Palestinian freedom, organized the event.  Rory Michelen, a New Orleans resident and membership manager for the group, and Marlana Fireman, a student at the University of New Orleans and member, tell us more about the action. ___ Today's episode of Louisiana Considered was hosted by Karen Henderson. Our managing producer is Alana Schrieber. Matt Bloom and Aubry Procell are assistant producers. Our engineer is Garrett Pittman. You can listen to Louisiana Considered Monday through Friday at 12 and 7 p.m. It's available on Spotify, Google Play and wherever you get your podcasts.  Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to. Louisiana Considered is made possible with support from our listeners. Thank you!See omnystudio.com/listener for privacy information.

New Orleans food writer Ian McNulty on the return of the legendary Dew Drop Inn, now a hotel, venue, restaurant and bar.

A fire in Milford this week claimed the home of longtime listeners and friends of the show, Marty and his son, Ryan. Chaz and AJ invited them in studio this morning, happy that everyone was able to make it out safely, but offering help in any way possible. (0:00) Jay Carlucci is the owner of the Dew Drop Inn in Derby, consistently ranked as some of the best wings in the state of Connecticut. Jay took a few minutes out of his busiest week of the year to explain how high the demand is for wings ahead of the Super Bowl, why they offer so many different flavors, and the Super Bowl foods he looks forward to after making thousands of wings for everyone. (17:22) Las Vegas is playing host this year for the Super Bowl. Jen G, the VegasStarfish, was on to explain what it looks like in Vegas right now, and why there is a big push to make the Super Bowl in Vegas every season. (30:51) Image Credit: Kyle Terada-USA TODAY Sports

Questions and Answers Today's episode is a Q&A show with questions from listeners like you. As always, questions from our Patreon supporters come first, followed by those from our Facebook Group. Timestamps 05:10 - Jeffrey Hubbard - French Quarter Fest paid pass 07:02 - Joseph Grillo - 2nd edition of BBS book? Dew Drop Inn 09:00 - Mark Wingfield - Most Romantic places in NOLA 11:15 - Mark Wingfield - March Madness 13:45 - James Redmond - Festivals/events in August 16:35 - Hannah Voss - Busker payment 18:00 - DC Big Papa - Easier Krewes to ride in or join 21:30 - Michael Kaufman - Where else in the US do you want to visit? 22:45 - Eric Boyle - Documentary Films about New Orleans 26:30 - John Nordike - Discuss the process of your book - ep157 27:20 - John Nordike - James Lee Burke interview 28:30 - Maggie Macgyver - photography in your book 31:25 - Christy Johnson - the magic of New Orleans  

Honoring Musical Legends: Curtis Doucette and the Restoration of the Dew Drop Inn Does the story of a forgotten cultural landmark, at the crossroads of history and music, resonate with you? Preservationist developer Curtis Doucette breathes life into the historic Dew Drop Inn, fighting to restore its musical legacy and create a space that honors the past while embracing a diverse future. In this episode, you will be able to: Unearth the transformative journey of the Dew Drop Inn and its rebirth in New Orleans. Gain insights into how the Dew Drop Inn shaped the civil rights movement. Learn how the restoration project is empowering small, disadvantaged businesses. Appreciate the dedicated efforts to preserve the pulsating cultural and musical heritage of New Orleans. Discover how the Dew Drop Inn will serve as an interactive history hub for visitors. "Our goal with the Dew Drop Inn project is to restore it to its former glory and be as close to what it used to be as possible." - Curtis Doucette

Today's Stunt or Stupid started by looking like AJ had pulled a fast one on all of us. The "spicy wing challenge" ramps up the heat intensity, starting pretty basic, and AJ is guy who loves spicy food. By wing number 5, he was guzzling milk and barely able to speak. Chaz and AJ welcomed Jay from the Dew Drop Inn to the studio, as he admitted to bringing a special sauce out of retirement, as it had sent too many people to the hospital. 

In this episode of Truth In This Art, host Rob Lee sits down with David Kunian, the Music Curator for the New Orleans Jazz Museum and Louisiana State Museum. Kunian's career began as a freelance musicologist, producing award-winning documentaries on legendary musicians such as James Booker, Earl King, James Black, and the Dew Drop Inn, as well as writing and producing radio shows on a variety of musical genres.In this conversation, Kunian shares his earliest musical memories and discusses how he became interested in pursuing music as a profession. He explains the role of a musicologist and how he balances his roles as both creator and curator.Kunian describes his work as the music curator for the New Orleans Jazz Museum and the mission of the museum, which aligns with his own professional values. He goes on to discuss his approach to curation and the guiding principles he follows when putting together exhibits.The focus then turns to the memorable exhibits Kunian has worked on over the years, including "Me Got Fiyo: The Professor Longhair Centennial," and he shares advice for new music curators looking to achieve success. Kunian also reflects on his proudest moment in his career and reveals some of the exhibits he's planning for the future.Join Rob Lee as he explores the fascinating world of music curation with David Kunian, a true expert in the field Jazz. Creators & Guests Rob Lee - Host New Orleans Jazz Museum - Guest The Truth In This Art, hosted by Rob Lee, explores contemporary art and cultural preservation through candid conversations with artists, curators, and cultural leaders about their work, creative processes and the thinking that goes into their creativity. Rob also occasionally interviews creatives in other industries such as acting, music, and journalism. The Truth In This Art is a podcast for artists, art lovers and listeners interested in the creative process.To support the The Truth In This Art: Buy Me Ko-fiUse the hashtag #thetruthinthisartFollow The Truth in This Art on InstagramLeave a review on Apple Podcasts, Spotify or wherever you get your podcasts.THE TRUTH IN THIS ART IS SUPPORTED IN PART BYThe Gutierrez Memorial FundThe Robert W. Deutsch Foundation ★ Support this podcast ★

Damian Browne is a unique human being. He has chosen to spend his life taking on some of the worlds toughest challenges. This is Damians third time on the podcast and this episode is unique, the first was after he rowed for the first time across the Atlantic Ocean, and the second was the very first interview for Project Empower We met in Damian's native home town Galway on the west coast of Ireland in the Dew Drop Inn and thanks to Galway Bay Brewery for organising some space for us and we spoke about everything, from his emotional experience over the 112 days on the ocean to the challenge of losing his rowing partner on day 13 and he speaks openly and honestly as always. I ask Damian about the life of an adventurer and how people may perceive it to be a selfish lifestyle especially with a young family and we delve into the emotions of that and what it means to him and his wonderful partner and child. Damian is a man who meets challenge head on while accepting the importance of showing vulnerability and emotion. He see this as a massive strength and something we can all work on developing. Damian also believes that the mind can push the body through far more struggle than we realise and he taps into some of the times on the ocean when he needed to. We speak about his hallucinations, dealing with loss, the crew and people in the background that took the brunt of his frustrations in their stride and we regaled the funny story around the moment he tried to pull away from New York harbour and instead rowed towards it. This is episode is long, but fruitful. It is two friends sharing a beer, exploring a world that so many of us will never experience, yet for Damian Browne, he has conquered the ocean twice and earned time now to take a breath and reap some of the rewards from his gallant efforts. This episode is full of emption, honesty and without a doubt a deep insight into the mind of Ireland's ultimate adventurer - @AuldStock - Damian Browne. Thanks once again to ProCoffeDrinks for partnering with me on this season and for all the support they provide. If you are looking to balance your caffeine love and get the protein you need to rebuild and strengthen your body, head to https://procoffeedrinks.com and enter in WMYT10 for a 10% discount.

Tonight we sit down with Joey, Jordan, Hank and Ben of Bar Jay Bar. We y'all about the 3rd Ghost Creek Jamboree at The Dew Drop Inn. We also chat them up about road stories, some of their favorite venues and what it's like touring for a year straight! Great episode with some great folks!

Bronx Native, Jay Carlucci is the owner of the Dew Drop Inn, located in Derby, CT and widely known for their multiple flavors of wings, which there are almost 200 of! The Dew Drop has won CT's best wings countless times, was recently featured on Chef Robert Irvines “Cheat Day USA” on the Cooking Channel and is a most stop for wing fans all over the US. Joe Attonito, returning guest from Season 2, Episode 72, is the founder and owner of jjStacks a fun local burger, dog and sandwich joint located on Federal Road in Brookfield, CT, that even features a mini golf course! But besides the incredible breakfast sandwiches, which we enjoyed on this episode, and the dogs and burgers, Joe is also known for his incredibly delicious wings and sauces having learned from his mentor Jay Carlucci. jjStacks is the ultimate place for a fun day with the family or friends. Take it from me! You might just see me there! I had an absolute blast talking to Joe and Jay right here in Brookfield, CT. Everything from wings, to early beginnings, life lessons, ups and downs, renovations, pandemics, wing sauces, the industry and sooooo much more! Huge thanks once again to jjStacks for providing breakfast!

Back in the bad old days, when racial segregation was the law, there were music entertainment clubs throughout the state to accommodate a Black-only crowd. Known as the “Chitlin' Circuit,” some of the biggest names in rhythm and blues, including Ray Charles and James Brown, made the trek from place to place. The swankiest of all the stops was the cleverly named Dew Drop Inn, located in New Orleans on LaSalle Street. There were big name entertainers, including a few female impersonators, plus a bar, food and dancing; and even a hotel. After passage of the Civil Rights bill there were more options for Black people. Some of the old clubs lost their following and fell into disrepair. The good news is that the Dew Drop Inn is making a comeback. Developer Curtis Doucette joins Errol Laborde, Executive Editor of Louisiana Life, along with podcast producer Kelly Massicot to talk about his efforts to revive the Dew Drop and make it better than ever. Oh yes, we also hear about Drag Queen master of ceremonies Patsy Vidalia and her unique presence.

50 episodes ago, beloved hosts Brandy, Jake, and Mike took the microphones and relaunched the DC Beer Show. Since then, it's fair to say that the DC Beer scene has gone through a lot 一 a global pandemic, fighting to keep each other safe while keeping our businesses afloat, and confronting discrimination in our local industry 一  it hasn't been easy. But together, we've overcome much. And in this episode, we celebrate!The gang comes to you live, in-person, TOGETHER from The Dew Drop Inn, the site of the historic Chocolate City Brewing Company, the first black-owned brewery in D.C. We reminisce on the milestones of DC's beer scene over the last two years, have a surprise guest appearance from the DC Beer Daddy himself, revel in delicious in-person pints, and let you know what you should be most excited about in the near future of DC beer. Keep up to date with everything happening at DCBeer.com, @DCBeer on Facebook, Twitter, and Instagram. Email us at beershow@dcbeer.com.Breweries, distilleries, restaurants, and others who want us to announce new releases can provide that information at DC.beer/releases.DC Beer now has great branded gear for you! Check it out at DCBeer.com!

Jason Carlucci, owner of The Dew Drop Inn in Derby, CT, talks about wings, inflation, and staying relevant in the ever-changing tavern world. Recorded during The Valley Indy Great Give Livestream of 2022. Please note Jay is the only 'Navel Gazing' guest to accuse The Valley Indy of stealing ketchup.

Brandy new and just for you! Nate has returned to talk wrapping dogs in velvet, overactive salivary glands, the Salvation Army scam (that just sounds catchy, it's actually about how they use addicts for underpaid labor, wait...that IS a scam!), negative thoughts out to nuke good vibes and the innapropriate way to deal with them, holiday gifting and no longer being hip to hard core. Plus, we throw in all of our other shenanigans free of charge!  Visit our partners: alpinehemp.com northlandvapor.com save 19% off your order at both sites with code sellingout19 wonkyweeds.com deathbygummies.com spunklube.com 

At issue was Black vs. White. In the days of racial segregation many road places were denied to black travelers. For decades, a guidebook offering travel suggestions was called "The Green Book." "The Green Book," named after the publication's founder, provided highway information about motels, restaurants and places to go along the nation's highways. A full length film and a Smithsonian documentary about the topic have been produced and now Louisiana Public Broadcast (LPB) has put together the documentary “Safe Haven – Louisiana's Green Book,” focused on key locations in Louisiana, including New Orleans' Dooky Chase restaurant and the bluesy Dew Drop Inn. The documentary's co-producers Kara St. Cyr and Emma Reid join Louisiana Life Executive Editor Errol Laborde and podcast producer Kelly Massicot to discuss the discoveries from "The Green Book," a few of which still stand. Oh yes, we'll also hear about the impact that the ESSO gasoline company had in supporting black travel.

Low Cut Connie is an American rock and roll band based in Philadelphia, United States, which was formed in 2010. The band has been recognized by various media in the US for their records and high-energy live show, of which the Los Angeles Weekly said "Their ferocious live show...is unmatched in all of rock right now.” Frontman, pianist, songwriter Adam Weiner has been described by NPR music as “masterfully fluent in the foundational languages of Western pop, living at the crossroads where the church house meets the roadhouse, or where the Dew Drop Inn meets CBGB.” Essentially a solo project for Weiner, the band is known for appearing on Barack Obama's list of favorite songs, and their association with Elton John who has called the band one of his favorites.https://lowcutconnie.com/THE CAREER MUSICIAN WEBSITE:https://thecareermusician.com/LISTEN TO THIS PODCAST:https://tinyurl.com/TCM-Podcast-MainPage

Low Cut Connie is an American rock and roll band based in Philadelphia, United States, which was formed in 2010. The band has been recognized by various media in the US for their records and high-energy live show, of which the Los Angeles Weekly said "Their ferocious live show...is unmatched in all of rock right now.” Frontman, pianist, songwriter Adam Weiner has been described by NPR music as “masterfully fluent in the foundational languages of Western pop, living at the crossroads where the church house meets the roadhouse, or where the Dew Drop Inn meets CBGB.” Essentially a solo project for Weiner, the band is known for appearing on Barack Obama's list of favorite songs, and their association with Elton John who has called the band one of his favorites. https://lowcutconnie.com/ THE CAREER MUSICIAN WEBSITE: https://thecareermusician.com/ LISTEN TO THIS PODCAST: https://tinyurl.com/TCM-Podcast-MainPage

It is no exaggeration to say that this one of the finest hours On Target has produced. Quality from start to finish and exciting, dance-inducing tracks to shake your money maker to. ----------------------------------------------- The Playlist Is: "Doin' The Banana Split" The Banana Splits - Kellogg's "Speak To Me" P.P. Arnold - Immediate "Dew Drop Inn" Eskew Reeder - Cross-Tone "I'm Gonna Put a Watch on You" Ruby Lee - Poptone "I'm Gonna Start A War" Barbara & The Browns - Kent Select "Travelin' Man" Joe Simon - Sound Stage 7 "Lies" The Knickerbockers - Challenge "Night Time" The Strangeloves - Bang "A Question Of Temperature" The Balloon Farm - Laurie "Stick Together" Prince & Princess - Bell "Everybody Dance Now" Soul City - Goodtime "Don't Be So Mean" Bobby Patterson & The Mustangs - Jetstar "Don't Say Maybe Baby" The Capitols - Karen "Don't Pity Me" Sue Lynn - RCA-Victor "Hope We Have" The Artistics - Brunswick "Clap Your Hands" Ambertones - Newman "Almost There" The Turtles - White Whale "Any More Than I Do" The Attack - London "Twist And Crawl" The Beat - Go-Feet "Easy Life" The Bodysnatchers - 2Tone "Can You Feel It" The T-K-O's - Ten Star "Liquidator" Harry J All Stars - Harry J

Low Cut Connie is an American rock and roll band based in Philadelphia, United States, which was formed in 2010. The band has been recognized by various media in the US for their records and high-energy live show, of which the Los Angeles Weekly said "Their ferocious live show...is unmatched in all of rock right now.” Frontman, pianist, songwriter Adam Weiner has been described by NPR music as “masterfully fluent in the foundational languages of Western pop, living at the crossroads where the church house meets the roadhouse, or where the Dew Drop Inn meets CBGB.” Essentially a solo project for Weiner, the band is known for appearing on Barack Obama's list of favorite songs, and their association with Elton John who has called the band one of his favorites.https://lowcutconnie.com/https://www.instagram.com/lowcutconnie/?hl=en@thecareermusician@nomadsplace

Low Cut Connie is an American rock and roll band based in Philadelphia, United States, which was formed in 2010. The band has been recognized by various media in the US for their records and high-energy live show, of which the Los Angeles Weekly said "Their ferocious live show...is unmatched in all of rock right now.” Frontman, pianist, songwriter Adam Weiner has been described by NPR music as “masterfully fluent in the foundational languages of Western pop, living at the crossroads where the church house meets the roadhouse, or where the Dew Drop Inn meets CBGB.” Essentially a solo project for Weiner, the band is known for appearing on Barack Obama's list of favorite songs, and their association with Elton John who has called the band one of his favorites. https://lowcutconnie.com/ THE CAREER MUSICIAN WEBSITE: https://thecareermusician.com/ LISTEN TO THIS PODCAST: https://tinyurl.com/TCM-Podcast-MainPage 0:00:00 Low Cut Connie Intro 0:00:50 Blues Count-in! 0:01:00 Profanities... he-he 0:01:30 Keeping is clean for NPR 0:02:00 Elton John,Bruce Springsteen, and Barack Obama love Low Cut Connie 0:03:00 Having an appreciation for working hard for success 0:04:20 Moving to New York to make it in music 0:05:30 Adam making the switch from sideman to artist 0:07:00 Nomad making the switch from sideman to artist 0:07:45 Adam on that one time when he made an album in secret 0:09:30 Getting serious about the music industry 0:10:00 Adam moving to Philadelphia 0:10:30 Adam getting boo'd off stage 0:11:45 Training with hostile audiences 0:13:45 The Shadow Boys album 0:14:30 Adam's favorite book of Prince's daily logs recording Purple Rain (1983-1984) 0:16:00 Finish what you start! 0:18:00 A day in the life of Adam 0:18:50 Mazel Tov Motherfuckers! 0:19:30 Wanna be successful? Get up early! 0:20:00 The Low Cut Connie team 0:20:30 Strategy and being ahead of the curve 0:21:30 Adam's practice regiment 0:24:00 Elton John story 0:25:00 Bon Jovi and Tony Bennett story 0:26:00 How do you find time for yourself? 0:27:50 Low Cut Connie on Seth Myers 0:28:00 Modeling after Mick Jagger, Tina Turner, Little Richard 0:30:00 Mid-roll 0:30:50 Do what you feel, don't try to please people 0:31:30 Adam's quarantine activities 0:32:00 Tough Cookies live stream show 0:36:20 Adam's podcast 0:36:50 Patty Jackson Philadelphia Radio DJ – WDAS 0:38:00 How to be a broadcaster during sensitive times 0:39:00 Interviewing Beyonce's dad, Matthew Knowles 0:40:30 Sam Cooke story 0:41:00 Black culture is the root of American music. 0:41:50 We need to have difficult social conversations in order for music to flourish 0:42:30 Woman are the future of Rock n Roll 0:43:50 What's Low Cut Connie up to in 2021? 0:44:20 10th anniversary vinyl release of "Get Out The Lotion" album 0:44:50 Performance residency at the Rock n Roll Hall of Fame 0:45:00 Sold out "Private Lives" album 0:46:00 Words of wisdom for new artists 0:46:30 Time to face reality! 0:46:50 Beyonce's early days 0:49:00 Dolly Parton, Paul McCartney, Babyface, and Bruce Springsteen 0:50:30 Being an artist is a blessing and a curse 0:52:00 SXSW Kat Graham and Adam story 0:54:00 Rapid fire! 0:55:30 Closing @thecareermusician @nomadsplace

Episode 10 - One Crazy Summer - Rated PG - 1986 - Join us as we take a summer trip to Nantucket! Do Drop in at the Dew Drop Inn with John Cusack and Demi Moore! Collecting shells on the beach, Boat Races & Hilarity ensues! Rewind With Us!

With good food, great beer and strong community spirit, Jason Carlucci established The Dew Drop Inn in Derby as a destination spot for the region. Not he's wondering how long he and his 32 employees can hold out because of the uncertainty surrounding the COVID-19 virus. In this episode of 'Navel Gazing: The Valley Indy Podcast,' Carlucci talks about the challenges and what may lie ahead. The Dew is providing takeout food and beverage. Call the biz at (203) 735-7757 to place an order. Check 'em out on Facebook: https://www.facebook.com/Dewdropinnct/ Sponsored by ValleyGivesBack.org.

Episode thirty-four of A History of Rock Music in Five Hundred Songs looks at “Tutti Frutti” by Little Richard, and at the rather more family-unfriendly subject the song was originally about. Click the full post to read liner notes, links to more information, and a transcript of the episode. (Apologies that this one is a day late — health problems kept me from getting the edit finished). Also, a reminder for those who didn’t see the previous post — my patreon backers are now getting ten-minute mini-episodes every week, and the first one is up, and I guested on Jaffa Cake Jukebox this week, talking about the UK top twenty for January 18 1957. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Most of the information used here comes from The Life and Times of Little Richard: The Authorised Biography by Charles White, which is to all intents and purposes Richard’s autobiography, as much of the text is in his own words. A warning for those who might be considering buying this though — it contains descriptions of his abuse as a child, and is also full of internalised homo- bi- and trans-phobia. This collection contains everything Richard recorded before 1962, from his early blues singles through to his gospel albums from after he temporarily gave up rock and roll for the church. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There are a handful of musicians in the history of rock music who seem like true originals. You can always trace their influences, of course, but when you come across one of them, no matter how clearly you can see who they were copying and who they were inspired by, you still just respond to them as something new under the sun. And of all the classic musicians of rock and roll, probably nobody epitomises that more than Little Richard. Nobody before him sounded like he did, and while many later tried — everyone from Captain Beefheart to Paul McCartney — nobody ever quite sounded like him later. And there are good reasons for that, because Little Richard was — and still is — someone who is quite unlike anyone else. [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] This episode will be the first time we see queer culture becoming a major part of the rock and roll story — we’ve dealt with possibly-LGBT people before, of course, with Big Mama Thornton and Sister Rosetta Tharpe, and with Johnny Ray in the Patreon-only episode about him, but this is the first time that an expression of sexuality has become part and parcel of the music itself, to the extent that we have to discuss it. And here, again, I have to point out that I am going to get things very wrong when I’m talking about Little Richard. I am a cis straight white man in Britain in the twenty-first century. Little Richard is a queer black man from the USA, and we’re talking about the middle of the twentieth century. I’m fairly familiar with current British LGBT+ culture, but even that is as an outsider. I am trying, always, to be completely fair and to never say anything that harms a marginalised group, but if I do so inadvertantly, I apologise. When I say he’s queer, I’m using the word not in its sense as a slur, but in the sense of an umbrella term for someone whose sexuality and gender identity are too complex to reduce to a single label, because he has at various times defined himself as gay, but he has also had relationships with women, and because from reading his autobiography there are so many passages where he talks about wishing he had been born a woman that it may well be that had he been born fifty years later he would have defined himself as a bisexual trans woman rather than a gay man. I will still, though, use “he” and “him” pronouns for him in this and future episodes, because those are the pronouns he uses himself. Here we’re again going to see something we saw with Rosetta Tharpe, but on a much grander scale — the pull between the secular and the divine. You see, as well as being some variety of queer, Little Richard is also a very, very, religious man, and a believer in a specific variety of fundamentalist Christianity that believes that any kind of sexuality or gender identity other than monogamous cis heterosexual is evil and sinful and the work of the Devil. He believes this very deeply and has at many times tried to live his life by this, and does so now. I, to put it as mildly as possible, disagree. But to understand the man and his music at all, you have to at least understand that this is the case. He has swung wildly between being almost the literal embodiment of the phrase “sex and drugs and rock and roll” and being a preacher who claims that homosexuality, bisexuality, and being trans are all works of the literal Devil — several times he’s gone from one to the other. As of 2017, and the last public interview I’ve seen with him, he has once again renounced rock and roll and same-sex relationships. I hope that he’s happy in his current situation. But at the time we’re talking about, he was a young person, and very much engaged in those things. [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] Richard Penniman was the third of twelve children, born to parents who had met at a Pentecostal holiness meeting when they were thirteen and married when they were fourteen. Of all the children, Richard was the one who was most likely to cause trouble. He had a habit of playing practical jokes involving his own faeces — wrapping them up and giving them as presents to old ladies, or putting them in jars in the pantry for his mother to find. But he was also bullied terribly as a child, because he was disabled. One of his legs was significantly shorter than the other, his head was disproportionately large, and his eyes were different sizes. He was also subjected to homophobic abuse from a very early age, because the gait with which he walked because of his legs was vaguely mincing. At the age of fourteen, he decided to leave school and become a performer. He started out by touring with a snake-oil salesman. Snake oil is a traditional Chinese medicine, about which there have been claims made for centuries, and those claims might well be true. But snake oil in the US was usually a mixture of turpentine, tallow, camphor, and capsaicin. It wasn’t much different to Vicks’ VaporRub and similar substances, but it was sold as a cure-all for serious illnesses. Snake-oil salesmen would travel from town to town selling their placebo, and they would have entertainers performing with them in order to draw crowds. The young Richard Penniman travelled with “Doc Hudson”, and would sing the one non-religious song he knew, “Caldonia” by Louis Jordan: [Excerpt: Louis Jordan, “Caldonia”] The yelps and hiccups in Jordan’s vocals on that song would become a massive part of Richard’s own vocal style. Richard soon left the medicine show, and started touring with a band, B. Brown and his orchestra, and it was while he was touring with that band that he grew his hair into the huge pompadour that would later become a trademark, and he also got the name “Little Richard”. However, all the musicians in the band were older than him, so he moved on again to another touring show, and another, and another. In many of these shows, he would perform as a female impersonator, which started when one of the women in one of the shows took sick and Richard had to quickly cover for her by putting on her costume, but soon he was performing in shows that were mostly drag acts, performing to a largely gay crowd. It was while he was performing in these shows that he met the first of his two biggest influences. Billy Wright, like Richard, had been a female impersonator for a while too. Like Richard, he had a pompadour haircut, and he was a fairly major blues star in the period from 1949 through 1951, being one of the first blues singers to sing with gospel-inspired mannerisms: [Excerpt: Billy Wright, “Married Woman’s Boogie”] 5) Richard became something of a Billy Wright wannabe, and started incorporating parts of Wright’s style into his performances. He also learned that Wright was using makeup on stage — Pancake 31 — and started applying that same makeup to his own skin, something he would continue to do throughout his performing career. Wright introduced Richard to Zenas Sears, who was one of the many white DJs all across America who were starting to become successful by playing black music and speaking in approximations of African-American Vernacular English — people like Alan Freed and Dewey Phillips. Sears had connections with RCA Records, and impressed by Richard’s talent, he got them to sign him. Richard’s first single was called “Every Hour”, and was very much a Billy Wright imitation: [Excerpt: Little Richard, “Every Hour”] It was so close to Wright’s style, in fact, that Wright soon recorded his own knock-off of Richard’s song, “Every Evening”. [Excerpt: Billy Wright, “Every Evening”] At this point Richard was solely a singer — he hadn’t yet started to play an instrument to accompany himself. That changed when he met Esquerita. Esquerita was apparently born Stephen Quincey Reeder, but he was known to everyone as “Eskew” Reeder, after his initials, and that then became Esquerita, partly as a pun on the word “excreta”. Esquerita was another gay black R&B singer with a massive pompadour and a moustache. If Little Richard at this stage looked like a caricature of Billy Wright, Esquerita looked like a caricature of Little Richard. His hair was even bigger, he was even more flamboyant, and when he sang, he screamed even louder. And Esquerita also played the piano. Richard — who has never been unwilling to acknowledge the immense debt he owed to his inspirations — has said for years that Esquerita was the person who taught him how to play the piano, and that not only was his piano-playing style a copy of Esquerita’s, Esquerita was better. It’s hard to tell for sure exactly how much influence Esquerita actually had on Richard’s piano playing, because Esquerita himself didn’t make any records until after Richard did, at which point he was signed to his own record deal to be basically a Little Richard clone, but the records he did make certainly show a remarkable resemblance to Richard’s later style: [Excerpt: Esquerita: “Believe Me When I Say Rock And Roll Is Here To Stay”] Richard soon learned to play piano, and he was seen by Johnny Otis, who was impressed. Otis said: “I see this outrageous person, good-looking and very effeminate, with a big pompadour. He started singing and he was so good. I loved it. He reminded me of Dinah Washington. He did a few things, then he got on the floor. I think he even did a split, though I could be wrong about that. I remember it as being just beautiful, bizarre, and exotic, and when he got through he remarked, “This is Little Richard, King of the Blues,” and then he added, “And the Queen, too!” I knew I liked him then.” Otis recommended Richard to Don Robey, of Peacock Records, and Robey signed Richard and his band the Tempo Toppers. In early 1953, with none of his recordings for RCA having done anything, Little Richard and the Tempo Toppers went into the studio with another group, the Deuces of Rhythm, to record four tracks, issued as two singles: [Excerpt: Little Richard and the Tempo Toppers with the Deuces of Rhythm: “Ain’t That Good News”] None of these singles had any success, and Richard was *not* getting on very well at all with Don Robey. Robey was not the most respectful of people, and Richard let everyone know how badly he thought Robey treated his artists. Robey responded by beating Richard up so badly that he got a hernia which hurt for years and necessitated an operation. Richard would record one more session for Peacock, at the end of the year, when Don Robey gave him to Johnny Otis to handle. Otis took his own band into the studio with Richard, and the four songs they recorded at that session went unreleased at the time, but included a version of “Directly From My Heart To You”, a song Richard would soon rerecord, and another song called “Little Richard’s Boogie”: [Excerpt: Little Richard with Johnny Otis and his Orchestra, “Little Richard’s Boogie”] Nobody was very happy with the recordings, and Richard was dropped by Peacock. He was also, around the same time, made to move away from Macon, Georgia, where he lived, after being arrested for “lewd conduct” — what amounted to consensual voyeurism. And the Tempo Toppers had split up. Richard had been dumped by two record labels, his father had died recently, he had no band, and he wasn’t allowed to live in his home town any more. Things seemed pretty low. But before he’d moved away, Richard had met Lloyd Price, and Price had suggested that Richard send a demo tape in to Specialty Records, Price’s label. The tape lay unlistened at Specialty for months, and it was only because of Richard’s constant pestering for them to listen to it that Bumps Blackwell, who was then in charge of A&R at Specialty, eventually got round to listening to it. This was an enormous piece of good fortune, in a way that neither of them fully realised at the time. Blackwell had been a longtime friend and colleague of Ray Charles. When Charles’ gospel-influenced new sound had started making waves on the charts, Art Rupe, Specialty’s owner, had asked Blackwell to find him a gospel-sounding R&B singer of his own to compete with Ray Charles. Blackwell listened to the tape, which contained two songs, one of which was an early version of “Wonderin'”, and he could tell this was someone with as much gospel in his voice as Ray Charles had: [Excerpt: Little Richard, “Wonderin'”] Blackwell and Rupe made an agreement with Don Robey to buy out his contract for six hundred dollars — one gets the impression that Robey would have paid *them* six hundred dollars to get rid of Richard had they asked him. They knew that Richard liked the music of Fats Domino, and so they decided to hold their first session at Cosimo Matassa’s studio, where Domino recorded, and with the same session musicians that Domino used. Blackwell also brought in two great New Orleans piano players, Huey “Piano” Smith and James Booker, both of whom were players in the same style as Domino. You can hear Smith, for example, on his hit “The Rockin’ Pneumonia and the Boogie-Woogie Flu” from a couple of years later: [Excerpt: Huey “Piano” Smith, “The Rockin’ Pneumonia and the Boogie-Woogie Flu”] All of these people were veterans of sessions either for Domino or for artists who had worked in Domino’s style, like Lloyd Price or Smiley Lewis. The only difference here was that it would be Bumps Blackwell who did the arrangement and production, rather than Dave Bartholomew like on Domino’s records. However, the session didn’t go well at all. Blackwell had heard that Richard was an astounding live act, but he was just doing nothing in the studio. As Blackwell later put it “If you look like Tarzan and sound like Mickey Mouse it just doesn’t work out.” They did record some usable material — “Wonderin'”, which we heard before, came out OK, and they recorded “I’m Just a Lonely, Lonely, Guy” by a young songwriter called Dorothy LaBostrie, which seemed to go OK. They also cut a decent version of “Directly From My Heart to You”, a song which Richard had previously recorded with Johnny Otis: [Excerpt: Little RIchard, “Directly From My Heart to You”] So they had a couple of usable songs, but usable was about all you could say for them. They didn’t have anything that would make an impact, nothing that would live up to Richard’s potential. So Blackwell called a break, and they headed off to get themselves something to eat, at the Dew Drop Inn. And something happened there that would change Little RIchard’s career forever. The Dew Drop Inn had a piano, and it had an audience that Little Richard could show off in front of. He went over to the piano, started hammering the keys, and screamed out: [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] On hearing Richard sing the song he performed then, Bumps Blackwell knew two things pretty much instantly. The first was that that song would definitely be a hit if he could get it released. And the second was that there was no way on Earth that he could possibly put it out. “Tutti Frutti” started as a song that Richard sang more or less as a joke. There is a whole undercurrent of R&B in the fifties which has very, very, sexually explicit lyrics, and I wish I was able to play some of those songs on this podcast without getting it dumped into the adult-only section on iTunes, because some of them are wonderful, and others are hilarious. “Tutti Frutti” in its original form was part of this undercurrent, and had lyrics that were clearly not broadcastable — “A wop bop a loo mop, a good goddam/Tutti Frutti, good booty/If it don’t fit, don’t force it, you can grease it, make it easy”. But Bumps Blackwell thought that there was *something* that could be made into a hit there. Handily, they had a songwriter on hand. Dorothy LaBostrie was a young woman he knew who had been trying to write songs, but who didn’t understand that songs had to have different melodies — all her lyrics were written to the melody of the same song, Dinah Washington’s “Blowtop Blues”: [Excerpt: Dinah Washington, “Blowtop Blues”] But her lyrics had showed promise, and so Blackwell had agreed to record one of her songs, “I’m Just a Lonely Lonely Guy”, with Richard. LaBostrie had been hanging round the studio to see how her song sounded when it was recorded, so Blackwell asked her to do a last-minute rewrite on “Tutti Frutti”, in the hope of getting something salvageable out of what had been a depressing session. But there was still a problem — Richard, not normally a man overly known for his modesty, became embarrassed at singing his song to the young woman. Blackwell explained to him that he really didn’t have much choice, and Richard eventually agreed to sing it to her — but only if he was turned to face the wall, so he couldn’t see this innocent-looking young woman’s face. (I should note here that both Richard and LaBostrie have told different stories about this over the years — both have claimed on several occasions that they were the sole author of the song and that the other didn’t deserve any credit at all. But this is the story as it was told by others who were there.) LaBostrie’s new lyrics were rudimentary at best. “I got a girl named Sue, she knows just what to do”. But they fit the metre, they weren’t about anal sex, and so they were going to be the new lyrics. The session was running late at this point, and when LaBostrie had the lyrics finished there was only fifteen minutes to go. It didn’t matter that the lyrics were trite. What mattered was that they got a track cut to salvage the session. Blackwell didn’t have time to teach the piano players the song, so he got Richard to play the piano himself. They cut the finished track in three takes, and Blackwell went back to California happy he at last had a hit: [Excerpt: Little Richard, “Tutti Frutti”] “Tutti Frutti” was, indeed, a massive hit. It went to number twenty-one on the pop charts. But… you know what comes next. There was an inept white cover version, this time by Pat Boone. [excerpt: Pat Boone, “Tutti Frutti”] Now, notice that there, Boone changes the lyrics. In Richard’s version, after all, he seems interested in both Sue and Daisy. A good Christian boy like Pat Boone couldn’t be heard singing about such immorality. That one-line change (and a couple of other spot changes to individual words to make things into full sentences) seems to be why a songwriter called Joe Lubin is also credited for the song. Getting a third of a song like “Tutti Frutti” for that little work sounds like a pretty good deal, at least for Lubin, if not for Richard. Another way in which Richard got less than he deserved was that the publishing was owned by a company owned by Art Rupe. That company licensed the song to Specialty Records for half the normal mechanical licensing rate — normally a publishing company would charge two cents per record pressed for their songs, but instead Specialty only had to pay one cent. This sort of cross-collateralisation was common with independent labels at the time, but it still rankled to Richard when he figured it out. Not that he was thinking about contracts at all at this point. He was becoming a huge star, and that meant he had to *break* a lot of contracts. He’d got concert bookings for several months ahead, but those bookings were in second-rate clubs, and he had to be in Hollywood to promote his new record and build a new career. But he also didn’t want to get a reputation for missing gigs. There was only one thing to do — hire an impostor to be Little Richard at these low-class gigs. So while Richard went off to promote his record, another young singer from Georgia with a pompadour and a gospel feel was being introduced with the phrase “Ladies and gentlemen—the hardest-working man in showbusiness today—Little Richard!” When James Brown went back to performing under his own name, he kept that introduction… Meanwhile, Richard was working on his second hit record. He and Blackwell decided that this record should be louder, faster, and more raucous than “Tutti Frutti” had been. If Pat Boone wanted to cover this one, he’d have to work a lot harder than he had previously. The basis for “Long Tall Sally” came from a scrap of lyric written by a teenage girl. Enotris Johnson had written a single verse of lyric on a scrap of paper, and had walked many miles to New Orleans to show the lyric to a DJ named Honey Chile. (Bumps Blackwell describes her as having walked from Opelousas, Mississippi, but there’s no such place — Johnson appears to have lived in Bogalusa, Louisiana). Johnson wanted to make enough money to pay for hospital for her sick aunt — the “Aunt Mary” in the song, and thought that Little Richard might sing the song and get her the money. What she had was only a few lines, but Honey Chile had taken Johnson on as a charity project, and Blackwell didn’t want to disappoint such an influential figure, so he and Richard hammered something together: [Excerpt: Little Richard, “Long Tall Sally”] The song, about a “John” who “jumps back in the alley” when he sees his wife coming while he’s engaged in activities of an unspecified nature with “Sally”, who is long, tall, and bald, once again stays just on the broadcastable side of the line, while implying sex of a non-heteronormative variety, possibly with a sex worker. Despite this, and despite the attempts to make the song uncoverably raucous, Pat Boone still sold a million copies with his cover version: [Excerpt: Pat Boone, “Long Tall Sally”] So Little Richard had managed to get that good clean-cut wholesome Christian white boy Pat Boone singing songs which gave him a lot more to worry about than whether he was singing “Ain’t” rather than “Isn’t”. But he was also becoming a big star himself — and he was getting an ego to go along with it. And he was starting to worry whether he should be making this devil music at all. When we next look at Little Richard, we’ll see just how the combination of self-doubt and ego led to his greatest successes and to the collapse of his career.  

Episode thirty-four of A History of Rock Music in Five Hundred Songs looks at “Tutti Frutti” by Little Richard, and at the rather more family-unfriendly subject the song was originally about. Click the full post to read liner notes, links to more information, and a transcript of the episode. (Apologies that this one is a day late — health problems kept me from getting the edit finished). Also, a reminder for those who didn’t see the previous post — my patreon backers are now getting ten-minute mini-episodes every week, and the first one is up, and I guested on Jaffa Cake Jukebox this week, talking about the UK top twenty for January 18 1957. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Most of the information used here comes from The Life and Times of Little Richard: The Authorised Biography by Charles White, which is to all intents and purposes Richard’s autobiography, as much of the text is in his own words. A warning for those who might be considering buying this though — it contains descriptions of his abuse as a child, and is also full of internalised homo- bi- and trans-phobia. This collection contains everything Richard recorded before 1962, from his early blues singles through to his gospel albums from after he temporarily gave up rock and roll for the church. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There are a handful of musicians in the history of rock music who seem like true originals. You can always trace their influences, of course, but when you come across one of them, no matter how clearly you can see who they were copying and who they were inspired by, you still just respond to them as something new under the sun. And of all the classic musicians of rock and roll, probably nobody epitomises that more than Little Richard. Nobody before him sounded like he did, and while many later tried — everyone from Captain Beefheart to Paul McCartney — nobody ever quite sounded like him later. And there are good reasons for that, because Little Richard was — and still is — someone who is quite unlike anyone else. [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] This episode will be the first time we see queer culture becoming a major part of the rock and roll story — we’ve dealt with possibly-LGBT people before, of course, with Big Mama Thornton and Sister Rosetta Tharpe, and with Johnny Ray in the Patreon-only episode about him, but this is the first time that an expression of sexuality has become part and parcel of the music itself, to the extent that we have to discuss it. And here, again, I have to point out that I am going to get things very wrong when I’m talking about Little Richard. I am a cis straight white man in Britain in the twenty-first century. Little Richard is a queer black man from the USA, and we’re talking about the middle of the twentieth century. I’m fairly familiar with current British LGBT+ culture, but even that is as an outsider. I am trying, always, to be completely fair and to never say anything that harms a marginalised group, but if I do so inadvertantly, I apologise. When I say he’s queer, I’m using the word not in its sense as a slur, but in the sense of an umbrella term for someone whose sexuality and gender identity are too complex to reduce to a single label, because he has at various times defined himself as gay, but he has also had relationships with women, and because from reading his autobiography there are so many passages where he talks about wishing he had been born a woman that it may well be that had he been born fifty years later he would have defined himself as a bisexual trans woman rather than a gay man. I will still, though, use “he” and “him” pronouns for him in this and future episodes, because those are the pronouns he uses himself. Here we’re again going to see something we saw with Rosetta Tharpe, but on a much grander scale — the pull between the secular and the divine. You see, as well as being some variety of queer, Little Richard is also a very, very, religious man, and a believer in a specific variety of fundamentalist Christianity that believes that any kind of sexuality or gender identity other than monogamous cis heterosexual is evil and sinful and the work of the Devil. He believes this very deeply and has at many times tried to live his life by this, and does so now. I, to put it as mildly as possible, disagree. But to understand the man and his music at all, you have to at least understand that this is the case. He has swung wildly between being almost the literal embodiment of the phrase “sex and drugs and rock and roll” and being a preacher who claims that homosexuality, bisexuality, and being trans are all works of the literal Devil — several times he’s gone from one to the other. As of 2017, and the last public interview I’ve seen with him, he has once again renounced rock and roll and same-sex relationships. I hope that he’s happy in his current situation. But at the time we’re talking about, he was a young person, and very much engaged in those things. [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] Richard Penniman was the third of twelve children, born to parents who had met at a Pentecostal holiness meeting when they were thirteen and married when they were fourteen. Of all the children, Richard was the one who was most likely to cause trouble. He had a habit of playing practical jokes involving his own faeces — wrapping them up and giving them as presents to old ladies, or putting them in jars in the pantry for his mother to find. But he was also bullied terribly as a child, because he was disabled. One of his legs was significantly shorter than the other, his head was disproportionately large, and his eyes were different sizes. He was also subjected to homophobic abuse from a very early age, because the gait with which he walked because of his legs was vaguely mincing. At the age of fourteen, he decided to leave school and become a performer. He started out by touring with a snake-oil salesman. Snake oil is a traditional Chinese medicine, about which there have been claims made for centuries, and those claims might well be true. But snake oil in the US was usually a mixture of turpentine, tallow, camphor, and capsaicin. It wasn’t much different to Vicks’ VaporRub and similar substances, but it was sold as a cure-all for serious illnesses. Snake-oil salesmen would travel from town to town selling their placebo, and they would have entertainers performing with them in order to draw crowds. The young Richard Penniman travelled with “Doc Hudson”, and would sing the one non-religious song he knew, “Caldonia” by Louis Jordan: [Excerpt: Louis Jordan, “Caldonia”] The yelps and hiccups in Jordan’s vocals on that song would become a massive part of Richard’s own vocal style. Richard soon left the medicine show, and started touring with a band, B. Brown and his orchestra, and it was while he was touring with that band that he grew his hair into the huge pompadour that would later become a trademark, and he also got the name “Little Richard”. However, all the musicians in the band were older than him, so he moved on again to another touring show, and another, and another. In many of these shows, he would perform as a female impersonator, which started when one of the women in one of the shows took sick and Richard had to quickly cover for her by putting on her costume, but soon he was performing in shows that were mostly drag acts, performing to a largely gay crowd. It was while he was performing in these shows that he met the first of his two biggest influences. Billy Wright, like Richard, had been a female impersonator for a while too. Like Richard, he had a pompadour haircut, and he was a fairly major blues star in the period from 1949 through 1951, being one of the first blues singers to sing with gospel-inspired mannerisms: [Excerpt: Billy Wright, “Married Woman’s Boogie”] 5) Richard became something of a Billy Wright wannabe, and started incorporating parts of Wright’s style into his performances. He also learned that Wright was using makeup on stage — Pancake 31 — and started applying that same makeup to his own skin, something he would continue to do throughout his performing career. Wright introduced Richard to Zenas Sears, who was one of the many white DJs all across America who were starting to become successful by playing black music and speaking in approximations of African-American Vernacular English — people like Alan Freed and Dewey Phillips. Sears had connections with RCA Records, and impressed by Richard’s talent, he got them to sign him. Richard’s first single was called “Every Hour”, and was very much a Billy Wright imitation: [Excerpt: Little Richard, “Every Hour”] It was so close to Wright’s style, in fact, that Wright soon recorded his own knock-off of Richard’s song, “Every Evening”. [Excerpt: Billy Wright, “Every Evening”] At this point Richard was solely a singer — he hadn’t yet started to play an instrument to accompany himself. That changed when he met Esquerita. Esquerita was apparently born Stephen Quincey Reeder, but he was known to everyone as “Eskew” Reeder, after his initials, and that then became Esquerita, partly as a pun on the word “excreta”. Esquerita was another gay black R&B singer with a massive pompadour and a moustache. If Little Richard at this stage looked like a caricature of Billy Wright, Esquerita looked like a caricature of Little Richard. His hair was even bigger, he was even more flamboyant, and when he sang, he screamed even louder. And Esquerita also played the piano. Richard — who has never been unwilling to acknowledge the immense debt he owed to his inspirations — has said for years that Esquerita was the person who taught him how to play the piano, and that not only was his piano-playing style a copy of Esquerita’s, Esquerita was better. It’s hard to tell for sure exactly how much influence Esquerita actually had on Richard’s piano playing, because Esquerita himself didn’t make any records until after Richard did, at which point he was signed to his own record deal to be basically a Little Richard clone, but the records he did make certainly show a remarkable resemblance to Richard’s later style: [Excerpt: Esquerita: “Believe Me When I Say Rock And Roll Is Here To Stay”] Richard soon learned to play piano, and he was seen by Johnny Otis, who was impressed. Otis said: “I see this outrageous person, good-looking and very effeminate, with a big pompadour. He started singing and he was so good. I loved it. He reminded me of Dinah Washington. He did a few things, then he got on the floor. I think he even did a split, though I could be wrong about that. I remember it as being just beautiful, bizarre, and exotic, and when he got through he remarked, “This is Little Richard, King of the Blues,” and then he added, “And the Queen, too!” I knew I liked him then.” Otis recommended Richard to Don Robey, of Peacock Records, and Robey signed Richard and his band the Tempo Toppers. In early 1953, with none of his recordings for RCA having done anything, Little Richard and the Tempo Toppers went into the studio with another group, the Deuces of Rhythm, to record four tracks, issued as two singles: [Excerpt: Little Richard and the Tempo Toppers with the Deuces of Rhythm: “Ain’t That Good News”] None of these singles had any success, and Richard was *not* getting on very well at all with Don Robey. Robey was not the most respectful of people, and Richard let everyone know how badly he thought Robey treated his artists. Robey responded by beating Richard up so badly that he got a hernia which hurt for years and necessitated an operation. Richard would record one more session for Peacock, at the end of the year, when Don Robey gave him to Johnny Otis to handle. Otis took his own band into the studio with Richard, and the four songs they recorded at that session went unreleased at the time, but included a version of “Directly From My Heart To You”, a song Richard would soon rerecord, and another song called “Little Richard’s Boogie”: [Excerpt: Little Richard with Johnny Otis and his Orchestra, “Little Richard’s Boogie”] Nobody was very happy with the recordings, and Richard was dropped by Peacock. He was also, around the same time, made to move away from Macon, Georgia, where he lived, after being arrested for “lewd conduct” — what amounted to consensual voyeurism. And the Tempo Toppers had split up. Richard had been dumped by two record labels, his father had died recently, he had no band, and he wasn’t allowed to live in his home town any more. Things seemed pretty low. But before he’d moved away, Richard had met Lloyd Price, and Price had suggested that Richard send a demo tape in to Specialty Records, Price’s label. The tape lay unlistened at Specialty for months, and it was only because of Richard’s constant pestering for them to listen to it that Bumps Blackwell, who was then in charge of A&R at Specialty, eventually got round to listening to it. This was an enormous piece of good fortune, in a way that neither of them fully realised at the time. Blackwell had been a longtime friend and colleague of Ray Charles. When Charles’ gospel-influenced new sound had started making waves on the charts, Art Rupe, Specialty’s owner, had asked Blackwell to find him a gospel-sounding R&B singer of his own to compete with Ray Charles. Blackwell listened to the tape, which contained two songs, one of which was an early version of “Wonderin'”, and he could tell this was someone with as much gospel in his voice as Ray Charles had: [Excerpt: Little Richard, “Wonderin'”] Blackwell and Rupe made an agreement with Don Robey to buy out his contract for six hundred dollars — one gets the impression that Robey would have paid *them* six hundred dollars to get rid of Richard had they asked him. They knew that Richard liked the music of Fats Domino, and so they decided to hold their first session at Cosimo Matassa’s studio, where Domino recorded, and with the same session musicians that Domino used. Blackwell also brought in two great New Orleans piano players, Huey “Piano” Smith and James Booker, both of whom were players in the same style as Domino. You can hear Smith, for example, on his hit “The Rockin’ Pneumonia and the Boogie-Woogie Flu” from a couple of years later: [Excerpt: Huey “Piano” Smith, “The Rockin’ Pneumonia and the Boogie-Woogie Flu”] All of these people were veterans of sessions either for Domino or for artists who had worked in Domino’s style, like Lloyd Price or Smiley Lewis. The only difference here was that it would be Bumps Blackwell who did the arrangement and production, rather than Dave Bartholomew like on Domino’s records. However, the session didn’t go well at all. Blackwell had heard that Richard was an astounding live act, but he was just doing nothing in the studio. As Blackwell later put it “If you look like Tarzan and sound like Mickey Mouse it just doesn’t work out.” They did record some usable material — “Wonderin'”, which we heard before, came out OK, and they recorded “I’m Just a Lonely, Lonely, Guy” by a young songwriter called Dorothy LaBostrie, which seemed to go OK. They also cut a decent version of “Directly From My Heart to You”, a song which Richard had previously recorded with Johnny Otis: [Excerpt: Little RIchard, “Directly From My Heart to You”] So they had a couple of usable songs, but usable was about all you could say for them. They didn’t have anything that would make an impact, nothing that would live up to Richard’s potential. So Blackwell called a break, and they headed off to get themselves something to eat, at the Dew Drop Inn. And something happened there that would change Little RIchard’s career forever. The Dew Drop Inn had a piano, and it had an audience that Little Richard could show off in front of. He went over to the piano, started hammering the keys, and screamed out: [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] On hearing Richard sing the song he performed then, Bumps Blackwell knew two things pretty much instantly. The first was that that song would definitely be a hit if he could get it released. And the second was that there was no way on Earth that he could possibly put it out. “Tutti Frutti” started as a song that Richard sang more or less as a joke. There is a whole undercurrent of R&B in the fifties which has very, very, sexually explicit lyrics, and I wish I was able to play some of those songs on this podcast without getting it dumped into the adult-only section on iTunes, because some of them are wonderful, and others are hilarious. “Tutti Frutti” in its original form was part of this undercurrent, and had lyrics that were clearly not broadcastable — “A wop bop a loo mop, a good goddam/Tutti Frutti, good booty/If it don’t fit, don’t force it, you can grease it, make it easy”. But Bumps Blackwell thought that there was *something* that could be made into a hit there. Handily, they had a songwriter on hand. Dorothy LaBostrie was a young woman he knew who had been trying to write songs, but who didn’t understand that songs had to have different melodies — all her lyrics were written to the melody of the same song, Dinah Washington’s “Blowtop Blues”: [Excerpt: Dinah Washington, “Blowtop Blues”] But her lyrics had showed promise, and so Blackwell had agreed to record one of her songs, “I’m Just a Lonely Lonely Guy”, with Richard. LaBostrie had been hanging round the studio to see how her song sounded when it was recorded, so Blackwell asked her to do a last-minute rewrite on “Tutti Frutti”, in the hope of getting something salvageable out of what had been a depressing session. But there was still a problem — Richard, not normally a man overly known for his modesty, became embarrassed at singing his song to the young woman. Blackwell explained to him that he really didn’t have much choice, and Richard eventually agreed to sing it to her — but only if he was turned to face the wall, so he couldn’t see this innocent-looking young woman’s face. (I should note here that both Richard and LaBostrie have told different stories about this over the years — both have claimed on several occasions that they were the sole author of the song and that the other didn’t deserve any credit at all. But this is the story as it was told by others who were there.) LaBostrie’s new lyrics were rudimentary at best. “I got a girl named Sue, she knows just what to do”. But they fit the metre, they weren’t about anal sex, and so they were going to be the new lyrics. The session was running late at this point, and when LaBostrie had the lyrics finished there was only fifteen minutes to go. It didn’t matter that the lyrics were trite. What mattered was that they got a track cut to salvage the session. Blackwell didn’t have time to teach the piano players the song, so he got Richard to play the piano himself. They cut the finished track in three takes, and Blackwell went back to California happy he at last had a hit: [Excerpt: Little Richard, “Tutti Frutti”] “Tutti Frutti” was, indeed, a massive hit. It went to number twenty-one on the pop charts. But… you know what comes next. There was an inept white cover version, this time by Pat Boone. [excerpt: Pat Boone, “Tutti Frutti”] Now, notice that there, Boone changes the lyrics. In Richard’s version, after all, he seems interested in both Sue and Daisy. A good Christian boy like Pat Boone couldn’t be heard singing about such immorality. That one-line change (and a couple of other spot changes to individual words to make things into full sentences) seems to be why a songwriter called Joe Lubin is also credited for the song. Getting a third of a song like “Tutti Frutti” for that little work sounds like a pretty good deal, at least for Lubin, if not for Richard. Another way in which Richard got less than he deserved was that the publishing was owned by a company owned by Art Rupe. That company licensed the song to Specialty Records for half the normal mechanical licensing rate — normally a publishing company would charge two cents per record pressed for their songs, but instead Specialty only had to pay one cent. This sort of cross-collateralisation was common with independent labels at the time, but it still rankled to Richard when he figured it out. Not that he was thinking about contracts at all at this point. He was becoming a huge star, and that meant he had to *break* a lot of contracts. He’d got concert bookings for several months ahead, but those bookings were in second-rate clubs, and he had to be in Hollywood to promote his new record and build a new career. But he also didn’t want to get a reputation for missing gigs. There was only one thing to do — hire an impostor to be Little Richard at these low-class gigs. So while Richard went off to promote his record, another young singer from Georgia with a pompadour and a gospel feel was being introduced with the phrase “Ladies and gentlemen—the hardest-working man in showbusiness today—Little Richard!” When James Brown went back to performing under his own name, he kept that introduction… Meanwhile, Richard was working on his second hit record. He and Blackwell decided that this record should be louder, faster, and more raucous than “Tutti Frutti” had been. If Pat Boone wanted to cover this one, he’d have to work a lot harder than he had previously. The basis for “Long Tall Sally” came from a scrap of lyric written by a teenage girl. Enotris Johnson had written a single verse of lyric on a scrap of paper, and had walked many miles to New Orleans to show the lyric to a DJ named Honey Chile. (Bumps Blackwell describes her as having walked from Opelousas, Mississippi, but there’s no such place — Johnson appears to have lived in Bogalusa, Louisiana). Johnson wanted to make enough money to pay for hospital for her sick aunt — the “Aunt Mary” in the song, and thought that Little Richard might sing the song and get her the money. What she had was only a few lines, but Honey Chile had taken Johnson on as a charity project, and Blackwell didn’t want to disappoint such an influential figure, so he and Richard hammered something together: [Excerpt: Little Richard, “Long Tall Sally”] The song, about a “John” who “jumps back in the alley” when he sees his wife coming while he’s engaged in activities of an unspecified nature with “Sally”, who is long, tall, and bald, once again stays just on the broadcastable side of the line, while implying sex of a non-heteronormative variety, possibly with a sex worker. Despite this, and despite the attempts to make the song uncoverably raucous, Pat Boone still sold a million copies with his cover version: [Excerpt: Pat Boone, “Long Tall Sally”] So Little Richard had managed to get that good clean-cut wholesome Christian white boy Pat Boone singing songs which gave him a lot more to worry about than whether he was singing “Ain’t” rather than “Isn’t”. But he was also becoming a big star himself — and he was getting an ego to go along with it. And he was starting to worry whether he should be making this devil music at all. When we next look at Little Richard, we’ll see just how the combination of self-doubt and ego led to his greatest successes and to the collapse of his career.  

Episode thirty-four of A History of Rock Music in Five Hundred Songs looks at "Tutti Frutti" by Little Richard, and at the rather more family-unfriendly subject the song was originally about. Click the full post to read liner notes, links to more information, and a transcript of the episode. (Apologies that this one is a day late -- health problems kept me from getting the edit finished). Also, a reminder for those who didn't see the previous post -- my patreon backers are now getting ten-minute mini-episodes every week, and the first one is up, and I guested on Jaffa Cake Jukebox this week, talking about the UK top twenty for January 18 1957. ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. Most of the information used here comes from The Life and Times of Little Richard: The Authorised Biography by Charles White, which is to all intents and purposes Richard's autobiography, as much of the text is in his own words. A warning for those who might be considering buying this though -- it contains descriptions of his abuse as a child, and is also full of internalised homo- bi- and trans-phobia. This collection contains everything Richard recorded before 1962, from his early blues singles through to his gospel albums from after he temporarily gave up rock and roll for the church. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There are a handful of musicians in the history of rock music who seem like true originals. You can always trace their influences, of course, but when you come across one of them, no matter how clearly you can see who they were copying and who they were inspired by, you still just respond to them as something new under the sun. And of all the classic musicians of rock and roll, probably nobody epitomises that more than Little Richard. Nobody before him sounded like he did, and while many later tried -- everyone from Captain Beefheart to Paul McCartney -- nobody ever quite sounded like him later. And there are good reasons for that, because Little Richard was -- and still is -- someone who is quite unlike anyone else. [Excerpt: Little Richard, "Tutti Frutti", just the opening phrase] This episode will be the first time we see queer culture becoming a major part of the rock and roll story -- we've dealt with possibly-LGBT people before, of course, with Big Mama Thornton and Sister Rosetta Tharpe, and with Johnny Ray in the Patreon-only episode about him, but this is the first time that an expression of sexuality has become part and parcel of the music itself, to the extent that we have to discuss it. And here, again, I have to point out that I am going to get things very wrong when I'm talking about Little Richard. I am a cis straight white man in Britain in the twenty-first century. Little Richard is a queer black man from the USA, and we're talking about the middle of the twentieth century. I'm fairly familiar with current British LGBT+ culture, but even that is as an outsider. I am trying, always, to be completely fair and to never say anything that harms a marginalised group, but if I do so inadvertantly, I apologise. When I say he's queer, I'm using the word not in its sense as a slur, but in the sense of an umbrella term for someone whose sexuality and gender identity are too complex to reduce to a single label, because he has at various times defined himself as gay, but he has also had relationships with women, and because from reading his autobiography there are so many passages where he talks about wishing he had been born a woman that it may well be that had he been born fifty years later he would have defined himself as a bisexual trans woman rather than a gay man. I will still, though, use "he" and "him" pronouns for him in this and future episodes, because those are the pronouns he uses himself. Here we're again going to see something we saw with Rosetta Tharpe, but on a much grander scale -- the pull between the secular and the divine. You see, as well as being some variety of queer, Little Richard is also a very, very, religious man, and a believer in a specific variety of fundamentalist Christianity that believes that any kind of sexuality or gender identity other than monogamous cis heterosexual is evil and sinful and the work of the Devil. He believes this very deeply and has at many times tried to live his life by this, and does so now. I, to put it as mildly as possible, disagree. But to understand the man and his music at all, you have to at least understand that this is the case. He has swung wildly between being almost the literal embodiment of the phrase "sex and drugs and rock and roll" and being a preacher who claims that homosexuality, bisexuality, and being trans are all works of the literal Devil -- several times he's gone from one to the other. As of 2017, and the last public interview I've seen with him, he has once again renounced rock and roll and same-sex relationships. I hope that he's happy in his current situation. But at the time we're talking about, he was a young person, and very much engaged in those things. [Excerpt: Little Richard, "Tutti Frutti", just the opening phrase] Richard Penniman was the third of twelve children, born to parents who had met at a Pentecostal holiness meeting when they were thirteen and married when they were fourteen. Of all the children, Richard was the one who was most likely to cause trouble. He had a habit of playing practical jokes involving his own faeces -- wrapping them up and giving them as presents to old ladies, or putting them in jars in the pantry for his mother to find. But he was also bullied terribly as a child, because he was disabled. One of his legs was significantly shorter than the other, his head was disproportionately large, and his eyes were different sizes. He was also subjected to homophobic abuse from a very early age, because the gait with which he walked because of his legs was vaguely mincing. At the age of fourteen, he decided to leave school and become a performer. He started out by touring with a snake-oil salesman. Snake oil is a traditional Chinese medicine, about which there have been claims made for centuries, and those claims might well be true. But snake oil in the US was usually a mixture of turpentine, tallow, camphor, and capsaicin. It wasn't much different to Vicks' VaporRub and similar substances, but it was sold as a cure-all for serious illnesses. Snake-oil salesmen would travel from town to town selling their placebo, and they would have entertainers performing with them in order to draw crowds. The young Richard Penniman travelled with "Doc Hudson", and would sing the one non-religious song he knew, "Caldonia" by Louis Jordan: [Excerpt: Louis Jordan, "Caldonia"] The yelps and hiccups in Jordan's vocals on that song would become a massive part of Richard's own vocal style. Richard soon left the medicine show, and started touring with a band, B. Brown and his orchestra, and it was while he was touring with that band that he grew his hair into the huge pompadour that would later become a trademark, and he also got the name "Little Richard". However, all the musicians in the band were older than him, so he moved on again to another touring show, and another, and another. In many of these shows, he would perform as a female impersonator, which started when one of the women in one of the shows took sick and Richard had to quickly cover for her by putting on her costume, but soon he was performing in shows that were mostly drag acts, performing to a largely gay crowd. It was while he was performing in these shows that he met the first of his two biggest influences. Billy Wright, like Richard, had been a female impersonator for a while too. Like Richard, he had a pompadour haircut, and he was a fairly major blues star in the period from 1949 through 1951, being one of the first blues singers to sing with gospel-inspired mannerisms: [Excerpt: Billy Wright, "Married Woman's Boogie"] 5) Richard became something of a Billy Wright wannabe, and started incorporating parts of Wright's style into his performances. He also learned that Wright was using makeup on stage -- Pancake 31 -- and started applying that same makeup to his own skin, something he would continue to do throughout his performing career. Wright introduced Richard to Zenas Sears, who was one of the many white DJs all across America who were starting to become successful by playing black music and speaking in approximations of African-American Vernacular English -- people like Alan Freed and Dewey Phillips. Sears had connections with RCA Records, and impressed by Richard's talent, he got them to sign him. Richard's first single was called "Every Hour", and was very much a Billy Wright imitation: [Excerpt: Little Richard, "Every Hour"] It was so close to Wright's style, in fact, that Wright soon recorded his own knock-off of Richard's song, "Every Evening". [Excerpt: Billy Wright, "Every Evening"] At this point Richard was solely a singer -- he hadn't yet started to play an instrument to accompany himself. That changed when he met Esquerita. Esquerita was apparently born Stephen Quincey Reeder, but he was known to everyone as "Eskew" Reeder, after his initials, and that then became Esquerita, partly as a pun on the word "excreta". Esquerita was another gay black R&B singer with a massive pompadour and a moustache. If Little Richard at this stage looked like a caricature of Billy Wright, Esquerita looked like a caricature of Little Richard. His hair was even bigger, he was even more flamboyant, and when he sang, he screamed even louder. And Esquerita also played the piano. Richard -- who has never been unwilling to acknowledge the immense debt he owed to his inspirations -- has said for years that Esquerita was the person who taught him how to play the piano, and that not only was his piano-playing style a copy of Esquerita's, Esquerita was better. It's hard to tell for sure exactly how much influence Esquerita actually had on Richard's piano playing, because Esquerita himself didn't make any records until after Richard did, at which point he was signed to his own record deal to be basically a Little Richard clone, but the records he did make certainly show a remarkable resemblance to Richard's later style: [Excerpt: Esquerita: "Believe Me When I Say Rock And Roll Is Here To Stay"] Richard soon learned to play piano, and he was seen by Johnny Otis, who was impressed. Otis said: "I see this outrageous person, good-looking and very effeminate, with a big pompadour. He started singing and he was so good. I loved it. He reminded me of Dinah Washington. He did a few things, then he got on the floor. I think he even did a split, though I could be wrong about that. I remember it as being just beautiful, bizarre, and exotic, and when he got through he remarked, “This is Little Richard, King of the Blues,” and then he added, “And the Queen, too!” I knew I liked him then." Otis recommended Richard to Don Robey, of Peacock Records, and Robey signed Richard and his band the Tempo Toppers. In early 1953, with none of his recordings for RCA having done anything, Little Richard and the Tempo Toppers went into the studio with another group, the Deuces of Rhythm, to record four tracks, issued as two singles: [Excerpt: Little Richard and the Tempo Toppers with the Deuces of Rhythm: "Ain't That Good News"] None of these singles had any success, and Richard was *not* getting on very well at all with Don Robey. Robey was not the most respectful of people, and Richard let everyone know how badly he thought Robey treated his artists. Robey responded by beating Richard up so badly that he got a hernia which hurt for years and necessitated an operation. Richard would record one more session for Peacock, at the end of the year, when Don Robey gave him to Johnny Otis to handle. Otis took his own band into the studio with Richard, and the four songs they recorded at that session went unreleased at the time, but included a version of "Directly From My Heart To You", a song Richard would soon rerecord, and another song called "Little Richard's Boogie": [Excerpt: Little Richard with Johnny Otis and his Orchestra, "Little Richard's Boogie"] Nobody was very happy with the recordings, and Richard was dropped by Peacock. He was also, around the same time, made to move away from Macon, Georgia, where he lived, after being arrested for "lewd conduct" -- what amounted to consensual voyeurism. And the Tempo Toppers had split up. Richard had been dumped by two record labels, his father had died recently, he had no band, and he wasn't allowed to live in his home town any more. Things seemed pretty low. But before he'd moved away, Richard had met Lloyd Price, and Price had suggested that Richard send a demo tape in to Specialty Records, Price's label. The tape lay unlistened at Specialty for months, and it was only because of Richard's constant pestering for them to listen to it that Bumps Blackwell, who was then in charge of A&R at Specialty, eventually got round to listening to it. This was an enormous piece of good fortune, in a way that neither of them fully realised at the time. Blackwell had been a longtime friend and colleague of Ray Charles. When Charles' gospel-influenced new sound had started making waves on the charts, Art Rupe, Specialty's owner, had asked Blackwell to find him a gospel-sounding R&B singer of his own to compete with Ray Charles. Blackwell listened to the tape, which contained two songs, one of which was an early version of "Wonderin'", and he could tell this was someone with as much gospel in his voice as Ray Charles had: [Excerpt: Little Richard, "Wonderin'"] Blackwell and Rupe made an agreement with Don Robey to buy out his contract for six hundred dollars -- one gets the impression that Robey would have paid *them* six hundred dollars to get rid of Richard had they asked him. They knew that Richard liked the music of Fats Domino, and so they decided to hold their first session at Cosimo Matassa's studio, where Domino recorded, and with the same session musicians that Domino used. Blackwell also brought in two great New Orleans piano players, Huey "Piano" Smith and James Booker, both of whom were players in the same style as Domino. You can hear Smith, for example, on his hit "The Rockin' Pneumonia and the Boogie-Woogie Flu" from a couple of years later: [Excerpt: Huey "Piano" Smith, "The Rockin' Pneumonia and the Boogie-Woogie Flu"] All of these people were veterans of sessions either for Domino or for artists who had worked in Domino's style, like Lloyd Price or Smiley Lewis. The only difference here was that it would be Bumps Blackwell who did the arrangement and production, rather than Dave Bartholomew like on Domino's records. However, the session didn't go well at all. Blackwell had heard that Richard was an astounding live act, but he was just doing nothing in the studio. As Blackwell later put it "If you look like Tarzan and sound like Mickey Mouse it just doesn’t work out." They did record some usable material -- "Wonderin'", which we heard before, came out OK, and they recorded "I'm Just a Lonely, Lonely, Guy" by a young songwriter called Dorothy LaBostrie, which seemed to go OK. They also cut a decent version of "Directly From My Heart to You", a song which Richard had previously recorded with Johnny Otis: [Excerpt: Little RIchard, "Directly From My Heart to You"] So they had a couple of usable songs, but usable was about all you could say for them. They didn't have anything that would make an impact, nothing that would live up to Richard's potential. So Blackwell called a break, and they headed off to get themselves something to eat, at the Dew Drop Inn. And something happened there that would change Little RIchard's career forever. The Dew Drop Inn had a piano, and it had an audience that Little Richard could show off in front of. He went over to the piano, started hammering the keys, and screamed out: [Excerpt: Little Richard, "Tutti Frutti", just the opening phrase] On hearing Richard sing the song he performed then, Bumps Blackwell knew two things pretty much instantly. The first was that that song would definitely be a hit if he could get it released. And the second was that there was no way on Earth that he could possibly put it out. "Tutti Frutti" started as a song that Richard sang more or less as a joke. There is a whole undercurrent of R&B in the fifties which has very, very, sexually explicit lyrics, and I wish I was able to play some of those songs on this podcast without getting it dumped into the adult-only section on iTunes, because some of them are wonderful, and others are hilarious. "Tutti Frutti" in its original form was part of this undercurrent, and had lyrics that were clearly not broadcastable -- "A wop bop a loo mop, a good goddam/Tutti Frutti, good booty/If it don't fit, don't force it, you can grease it, make it easy". But Bumps Blackwell thought that there was *something* that could be made into a hit there. Handily, they had a songwriter on hand. Dorothy LaBostrie was a young woman he knew who had been trying to write songs, but who didn't understand that songs had to have different melodies -- all her lyrics were written to the melody of the same song, Dinah Washington's "Blowtop Blues": [Excerpt: Dinah Washington, "Blowtop Blues"] But her lyrics had showed promise, and so Blackwell had agreed to record one of her songs, "I'm Just a Lonely Lonely Guy", with Richard. LaBostrie had been hanging round the studio to see how her song sounded when it was recorded, so Blackwell asked her to do a last-minute rewrite on “Tutti Frutti”, in the hope of getting something salvageable out of what had been a depressing session. But there was still a problem -- Richard, not normally a man overly known for his modesty, became embarrassed at singing his song to the young woman. Blackwell explained to him that he really didn't have much choice, and Richard eventually agreed to sing it to her -- but only if he was turned to face the wall, so he couldn't see this innocent-looking young woman's face. (I should note here that both Richard and LaBostrie have told different stories about this over the years -- both have claimed on several occasions that they were the sole author of the song and that the other didn't deserve any credit at all. But this is the story as it was told by others who were there.) LaBostrie's new lyrics were rudimentary at best. "I got a girl named Sue, she knows just what to do". But they fit the metre, they weren't about anal sex, and so they were going to be the new lyrics. The session was running late at this point, and when LaBostrie had the lyrics finished there was only fifteen minutes to go. It didn't matter that the lyrics were trite. What mattered was that they got a track cut to salvage the session. Blackwell didn't have time to teach the piano players the song, so he got Richard to play the piano himself. They cut the finished track in three takes, and Blackwell went back to California happy he at last had a hit: [Excerpt: Little Richard, "Tutti Frutti"] "Tutti Frutti" was, indeed, a massive hit. It went to number twenty-one on the pop charts. But... you know what comes next. There was an inept white cover version, this time by Pat Boone. [excerpt: Pat Boone, "Tutti Frutti"] Now, notice that there, Boone changes the lyrics. In Richard's version, after all, he seems interested in both Sue and Daisy. A good Christian boy like Pat Boone couldn't be heard singing about such immorality. That one-line change (and a couple of other spot changes to individual words to make things into full sentences) seems to be why a songwriter called Joe Lubin is also credited for the song. Getting a third of a song like "Tutti Frutti" for that little work sounds like a pretty good deal, at least for Lubin, if not for Richard. Another way in which Richard got less than he deserved was that the publishing was owned by a company owned by Art Rupe. That company licensed the song to Specialty Records for half the normal mechanical licensing rate -- normally a publishing company would charge two cents per record pressed for their songs, but instead Specialty only had to pay one cent. This sort of cross-collateralisation was common with independent labels at the time, but it still rankled to Richard when he figured it out. Not that he was thinking about contracts at all at this point. He was becoming a huge star, and that meant he had to *break* a lot of contracts. He'd got concert bookings for several months ahead, but those bookings were in second-rate clubs, and he had to be in Hollywood to promote his new record and build a new career. But he also didn't want to get a reputation for missing gigs. There was only one thing to do -- hire an impostor to be Little Richard at these low-class gigs. So while Richard went off to promote his record, another young singer from Georgia with a pompadour and a gospel feel was being introduced with the phrase “Ladies and gentlemen—the hardest-working man in showbusiness today—Little Richard!” When James Brown went back to performing under his own name, he kept that introduction... Meanwhile, Richard was working on his second hit record. He and Blackwell decided that this record should be louder, faster, and more raucous than "Tutti Frutti" had been. If Pat Boone wanted to cover this one, he'd have to work a lot harder than he had previously. The basis for "Long Tall Sally" came from a scrap of lyric written by a teenage girl. Enotris Johnson had written a single verse of lyric on a scrap of paper, and had walked many miles to New Orleans to show the lyric to a DJ named Honey Chile. (Bumps Blackwell describes her as having walked from Opelousas, Mississippi, but there's no such place -- Johnson appears to have lived in Bogalusa, Louisiana). Johnson wanted to make enough money to pay for hospital for her sick aunt -- the "Aunt Mary" in the song, and thought that Little Richard might sing the song and get her the money. What she had was only a few lines, but Honey Chile had taken Johnson on as a charity project, and Blackwell didn't want to disappoint such an influential figure, so he and Richard hammered something together: [Excerpt: Little Richard, "Long Tall Sally"] The song, about a "John" who "jumps back in the alley" when he sees his wife coming while he's engaged in activities of an unspecified nature with "Sally", who is long, tall, and bald, once again stays just on the broadcastable side of the line, while implying sex of a non-heteronormative variety, possibly with a sex worker. Despite this, and despite the attempts to make the song uncoverably raucous, Pat Boone still sold a million copies with his cover version: [Excerpt: Pat Boone, "Long Tall Sally"] So Little Richard had managed to get that good clean-cut wholesome Christian white boy Pat Boone singing songs which gave him a lot more to worry about than whether he was singing "Ain't" rather than "Isn't". But he was also becoming a big star himself -- and he was getting an ego to go along with it. And he was starting to worry whether he should be making this devil music at all. When we next look at Little Richard, we'll see just how the combination of self-doubt and ego led to his greatest successes and to the collapse of his career.  

Two weeks until the explo­sive start of Winnipeg, Manitoba’s ONLY all vinyl 60’s venue. This semi-monthly event is a chance for all to experience the best in Soul, Jazz, Popcorn, New Breed, Northern Soul, Jump Blues, British Invasion, Freakbeat, Mod Beat, Garage, Psych and SO MUCH more. Go to the event here: https://www.facebook.com/events/322799891666823/ ------------------------------------------------- The Playlist Is: "The Real Nitty Gritty" Shirley Ellis - Congress "Hard Way To Go" The Exciters - United Artists "Taking Care Of Business" Ruth Brown - Atlantic "At The Club" The Drifters - Atlantic "Are You Going My Way" The Essex - Roulette "Holding On With Both Hands" Eddie Floyd - Stax "Long Tall SallyThe Kinks The Kinks - Pye "Next In Line" The Birds - Decca "My Mind's Eye" The Small Faces - Decca "Sweet, Sweet Lovin'" The Platters - Musicor "Boomerang" Tom & Jerrio - Jerry-O "Dew Drop Inn" Little Richard - Reprise "Look What You've Done To My Heart" Shirley & The Shirelles - Bell "Don't Feel Sorry For Me" The Ikettes - Modern "What A Good Man He Is" Tammi Terrell - Motown "I'm The One" Gerry & The Pacemakers - Capitol "Have Pity On The Boy" Paul & Barry Ryan - Decca "Let's Run Away" Magic Cycle - Red Leaf "I'll Love You Forever" The Holidays - Golden World "I'm Sorry" The Steelers - Date "Jumpin' the Blues" Jimmy Smith - Blue Note

Happy Thanksgiving everyone and thank you for listening. This week show we have the Dew Drop Inn crew with Mac Ginny and Stephanie Kinsella just talking comedy and upcoming shows. We also did a quick sing along and Stephanie gets real uncomfortable with how close Glenn and I haven't gotten.    Share this show and follow me on the twitter, Instagram and Facebook. Twitter: https://twitter.com/olmikeb757 Facebook: https://www.facebook.com/olmikeb Instagram: https://www.instagram.com/olmikeb757/ Instagram: https://www.Instagram.com/broken_mic_comedy/ Snapchat: Olmikeb757 Website: www.olmikeb.com     Stephanie Kinsellsa https://www.facebook.com/stephanie.kinsella2 https://www.instagram.com/im_stefunny25/   Ginny Mac https://www.instagram.com/ginnymac25/ https://www.facebook.com/glenn.mcdonald.90

What's going on Open Mike Radio listeners here is another episode just for you!?!!!   Today we have my good friend Glenn Mac who host the Dew Drop Inn show we had a good conversation about comedy and the company you keep. We also talked about some current events, my love for the movie "Broke Back Mountain" and ended with some Kanye West talk.   Anywho give it a listen and give it share and see you next time folks!!     Share this show and follow me on the twitter, Instagram and Facebook. Twitter: https://twitter.com/olmikeb757 Facebook: https://www.facebook.com/olmikeb Instagram: https://www.instagram.com/olmikeb757/ Instagram: https://www.Instagram.com/broken_mic_comedy/ Snapchat: Olmikeb757 Website: www.olmikeb.com

Singer-songwriter-punkrocker Anna Connolly comes up from DC for a chat about her new album,  After Thoughts! We also cover lots of good stuff about the DC hardcore scene, rocking while parenting, and writing songs about shitty things guys say to you. Don’t miss her record release at the Dew Drop Inn this Friday (10/12/18) or her show … Continue reading 52. Anna Connolly

Singer-songwriter-punkrocker Anna Connolly comes up from DC for a chat about her new album,  After Thoughts! We also cover lots of good stuff about the DC hardcore scene, rocking while parenting, and writing songs about shitty things guys say to you. Don’t miss her record release at the Dew Drop Inn this Friday (10/12/18) or her show … Continue reading 52. Anna Connolly

Join Brooke and Pam as they explore how their guest - literary agent, Michael Bourret - ended up with a ring on his left hand, despite his political views against the institute of marriage.  They also discuss terrible trips to the dentist, why the first season of Survivor can lead to romance, and how Brooke, though not invited, bulldozed her way into attending Michael's wedding.   This interview was so in depth that it took up the whole hour!  So stay tuned next week for Part 2 when we let Michael - and all of his controversial opinions - tackle on your wedding confessionals and questions!   -- Guest Info/Plugs: You can find pictures of Michael's food and cocktails on Instagram. @michaelbourret Wanna learn more about Michael's hot takes on politics? Follow him on Twitter! @MichaelBourret   -- Show notes: - If you're crazy like Brooke and want to buy an x-ray blanket, it can be yours for about $80! - We found some more reasonable looking weighted blankets for anxiety - here. - Pippa's book did sell in the US...and it tanked. - The Abbey is a bar in West Hollywood.  It's also now the setting for a Reality TV show on E! called What Happens At The Abbey! - Sammy Sweetheart from the Jersey Shore has a podcast - Just Sayin.  It actually seems pretty fun! - We can't link to the Dew Drop Inn where Michael spent all of his money on Long Island Iced Teas because it doesn't exist anymore. :( - Want a great bagel with mediocre cream cheese?! Try Bagels On The Square!   -- Bridal Break Info: - Dear Sugars - advice podcast with Steve Almond and Cheryl Strayed (Brooke) - Strawberry Lemonade Frozen Sangria (Pam)   -- Wedding Confessionals Links:   www.weddingconfessionals.com   Instagram   Twitter   Facebook     --   Have a crazy story you want to tell us?   Emails us: weddingconfessionals@gmail.com   Call us: 434-933-2663 (That's 434-WED-CONF)   Write us: https://weddingconfessionals.com/tell-us-your-secret/   We promise to never reveal any names to protect the innocent...and annoyed. Your secret's safe with us!

Jay, his wife Kenna, and his staff have transformed The Dew Drop Inn from an infamous hole in the wall into a craft beer and wing lover heaven. Click play to listen to Jay explain his journey on the latest "Navel Gazing" podcast.

Short and delicious guides to DC living. Optimized for viewing with the Podcast app for iPod/iPad/iPhone.

Playlist: Devon Allman- Strategy, X Y Eli- If I Could Be, The Mighty Soul Drivers- Blind, Crippled & Crazy, Tom Sanders & The Hornets- Routine Blues, Cheryl Arena- Love Gone Wrong, Hash Brown & the Browntones- I’ve Got the Blues, Roxy Perry- Do It, Bronze Radio Return- Mister, Mister, Girls,Guns and glory- Nighttime, Sarah Borges-The Waiting & the Worry,Shawn Holt & the Teardrops- Mean Little Woman,Ryan Hartt & the Blue Hearts-Oh Espanada, Popa Chubby- Universal Breakdown Blues, Brent Johnson- Meet Me In The Morning, Anni Piper- Great Big Baby, Damon Fowler- Sugar Lee, Shaka & the Soul Shakers- Would You Would, Alexis P. Suter Band- John the Revelator, Alexis P. Suter Band- Free, Mojomatics-Soy Baby. Win $100 in the Feed Our Friends Contest: There was no winner in our Feed Our Friends Contest this week . To win a $100 gift card from Black-Eyed Sally’s in Hartford simply send us an 8-15 second video about why you want the gift card. Send your videos to music@onthehorn.com and you are in the running. Good luck next week!! Black-Eyed News: In a year of declining album sales, Justin Timberlake's The 20/20 Experience was the biggest selling album of 2013, according to Billboard. A total of 2.43 million copies sold. While the ranking is certainly an honor for Timberlake, it's less flattering for the record industry as a whole: The 20/20 Experience was the only album to sell over 2 million in 2013, which marks the lowest top-seller in SoundScan's 22 years of tracking sales. The previous low came in 2008, with Lil Wayne's Tha Carter III selling 2.87 million copies. Rounding out the top 10 was Eminem's acclaimed The Marshall Mathers LP 2 (1.73 million), Luke Bryan's Crash My Party (1.52 million), Imagine Dragons' Night Visions (1.4 million), Bruno Mars' Unorthodox Jukebox (just under 1.4 million), Florida Georgia Line's Here's to the Good Times (1.35 million), Drake's Nothing Was the Same (1.34 million), Beyoncé's surprise LP Beyoncé (1.3 million), Blake Shelton's Based on a True Story (1.11 million) and Jay Z's app-backed Magna Carta...Holy Grail (1.1 million). What do we think this means to the future of album sales? Total sold in top 10 14.67 Million average of 1.46 million per but 7 of those albums were not even close to that number. Editorial Aside: What is to blame for the low sales? Piracy claims the record company; the artists say streaming is the villain here. But how about the cost of an album at the store. Not a digital copy but a hard copy. I have seen them for as much as $18 in the store. Also quality some of the stuff is just not that good. Back to the Numbers: The top single sales were led by a different set of artists. Robin Thicke's ubiquitous "Blurred Lines" came in at Number One with 6.5 million sales. Mackemore and Ryan Lewis' "Thrift Shop" was a close second, with 6.15 million. The other top sellers were Imagine Dragons ("Radioactive," 5.5 million), Florida Georgia Line ("Cruise," 4.69 million), Lorde ("Royals," 4.42 million), Katy Perry ("Roar," 4.41 million), P!nk featuring Nate Ruess ("Just Give Me a Reason," 4.32 million), another from Macklemore and Ryan Lewis ("Can't Hold Us," 4.26 million), Bruno Mars ("When I Was Your Man," 3.93 million) and Rihanna ("Stay," 3.85 million). http://www.rollingstone.com/music/news/justin-timberlakes-20-20-experience-tops-2013-album-sales-20140103#ixzz2pZu3Stlq Phil Everly, whose hits with his older brother, Don, as the Everly Brothers carried the close fraternal harmonies of country tradition into pioneering rock ’n’ roll, died on Friday in Burbank, Calif. He was 74. The group’s official website said he died in a hospital near his home in Southern California. His son Jason said the cause of death was complications of chronic obstructive pulmonary disease. With songs like “Wake Up Little Susie,” “Bye Bye Love,” “Cathy’s Clown,” “All I Have to Do Is Dream” and “When Will I Be Loved?,” which was written by Phil Everly, the brothers were consistent hitmakers in the late 1950s and early 1960s. They won over country, pop and even R&B listeners with a combination of clean-cut vocals and the rockabilly strum and twang of their guitars. They were also models for the next generations of rock vocal harmonies for the Beatles, Linda Ronstadt, Simon and Garfunkel and many others who recorded their songs and tried to emulate their precise, ringing vocal alchemy. The Everly Brothers were inducted into the Rock and Roll Hall of Fame in its first year, 1986. http://www.nytimes.com/2014/01/05/arts/music/phil-everly-half-of-pioneer-rock-duo-dies-at-74.html?hpw&rref=arts&_r=0 Blues man Tabby Thomas, a well known & widely influential Baton Rouge musician, club owner, radio DJ and recording artist, and the father of blues musician & actor Chris Thomas King, has passed away. He was 84 and just four days shy of his birthday. Born Ernest J. Thomas in Baton Rouge January 5th, 1929, Thomas owned and operated a blues club called Tabby’s Blues Box and Heritage Hall for nearly three decades until it’s closure in 2004. “There was something about Tabby’s Blues Box,” wrote Chelsea Brasted for the New Orleans Times Picayune, “An intangible quality seeped out of the joint on nights when legends were being made on its stage, solidifying its place in local music lore.” Thomas has long been one of the best known blues musicians in Baton Rouge. Having learned music in a local church Choir as a child, and following an Air Force stint, Tabby relocated to California and began a touring and recording career, notably with Hollywood Records and the well-known Excello Records label. Returning to Louisiana, Tabby’s records were quickly played on local radio on New Orleans’ WBOK. His music earned him a spot at New Orleans’ famed Dew Drop Inn venue — a premiere live blues room that was host to Sam Cooke, Ray Charles, Guitar Slim and dozens more top acts of the time. He caught the attention of Louis Armstrong, who arranged for the Eric Shaw Agency to book Thomas a tour. Tabby’s son, Grammy award winner Chris Thomas King, found his first experiences at the club that he helped his father create. He signed his first recording contract with Sire Records, a subsidiary of Warner Brothers, at Tabby’s Heritage Hall. King went on to sell more than ten million records, earning a Grammy for Album of the Year for his cover of Skip James’ “Hard Time Killing Floor Blues” track on the O! Brother Where Art Thou? soundtrack. King famously played bluesman Tommy Johnson in the film. http://www.americanbluesscene.com/2014/01/famed-baton-rouge-bluesman-passes-away/ Rolling Stone Magazine recently published a story reporting that Allman Brothers bass player Oteil Burbridge, the man who has been providing the lower end for the Allman Brothers for decades is leaving the band. Fans of the band immediately began protesting and about the shake-up. “We’re here to assure you that that is not true,” said Oteil, refuting the claim on Social Media, “and he will be playing with the Allman Brothers throughout 2014. Happy New Year and thank you to all the fans for your support!” Oteil also had this to say on his website: “For the record…. It was an amazing experience recording and playing with the Zac Brown Band and with Dave Grohl in November. It was an awesome time and a reunion of sorts for me with old friends Chris Fryar, Penn Robertson, and Eric Pretto (the drummer, bass tech and guitar tech for ZBB, respectively) who I’ve known for over a decade. I am proud to be part Zac’s record. 2014 will mark the beginning of my 16th year with the Allman Brothers and as we celebrate the bands 45th anniversary, it reminds me what a huge part of my musical life this incredible band has been. I’m really grateful and proud to be such a big part of the ABB history. And we ain’t done yet! I certainly hope to work with the Zac Brown Band again in the future. They are incredibly talented and great guys. Wherever I land in the future, I hope my fans understand that my primary concern is for the wellbeing of my family and will continue to bring you the highest level of groove and improv that I can muster.” http://www.americanbluesscene.com/2014/01/trucks-says-oteils-staying-put-despite-rolling-stone-story/ and Lastly Jack White has a new album in the works, and it looks like it could be coming out soon. In a recent chat with fans on the message board of his label, Third Man Records, White dropped the news: "I'm producing two albums this month, and finishing them," he said. "One of them is mine." Assuming White is referring to a solo album, this could mean a follow-up to 2012's Blunderbuss will be appearing shortly. In an interview with Rolling Stone last February, White mentioned that he had 20 to 25 songs already written. "It's definitely not one sound," he said of the new material. "It's definitely several. Like you heard in Blunderbuss, there's many different styles there. I don't pick my style and then write a song. I just write whatever comes out of me, and whatever style it is is what it is, and it becomes something later." http://www.rollingstone.com/music/news/jack-white-finishing-up-new-album-20140105#ixzz2pZxGOBhK Blues In The Area: 1/10 FRIDAY Ronnie Earl - The Katherine Hepburn Center for the Arts (8pm) - Old Saybrook, CT Dan Stevens - Perks & Corks (9pm) - Westerly, RI Johnny Hoy & the Bluefish - Chan's (8pm) - Woonsocket, RI Blues Alley - The Mona Lisa Restaurant (8-11pm) - Wolcott, CT Eight To The Bar - The Knickerbocker Cafe (8pm) - Westerly, RI 1/11 SATURDAY The Alexis P. Suter Band - Black-eyed Sally's (9pm) - Hartford The Cobalt Rhythm Kings - The Park Central Tavern (9pm) - Hamden, CT Dan Stevens - MCC on Main (8pm) - Manchester, CT Black-Eyed Sally’s Weekly Rundown: Wednesday Blues Open Mic hosted by Brandt Taylor Friday Bruce Gregori Trio Saturday Alexis P. Suter Band Monday Monday Night Jazz Featured performer Stephen King Porter Group Featuring Jazzmeia Horn Tuesday Mike Palin’s Other Orchestra I hope to see you out and about this week but if not please continue to support live music wherever you are. subscribe-with-itunes-button

FAI Chief Executive John Delaney joined Dave and the lads on the show this week. John is gearing himself up for Euro 2012 and talks about the growing levels of excitement sweeping across the country. Dave is also joined by Gerard Blair, Chairman of the newly formed RISSCW and Philip O'Connor, our man in Stockholm who is preparing a report for Reuters, profiling the Irish Soccer team. As usual, our fans man, John O'Neill puts all your questions to John Delaney. Coming up: A chat with JD which includes: - Irish fans ticketing issues - Ireland's supporters in the North - Coaching and the FAI - Irish players and supporters abroad - The mystery player? The YBIG Football Show is by the fans for the fans. If you would like to sponsor, advertise or just get involved, drop us a mail to TheWorldsTalking@gmail.com. Twitter: @TheWorldsTalkin ——————————————————————- To make tuning in again easier for you: 1. We’re available on the iTunes Store directory, type in “YBIG” into the search bar and you’ll find the show and be able to subscribe. 2. You can also subscribe via our RSS feed: http://ybigfootieshow.podomatic.com/rss2.xml 3. You can find old episodes here: http://ybigfootieshow.podomatic.com/ 4. We are also on facebook: http://www.facebook.com/pages/The-Worlds-Talking/191923120895223 5. And Twitter: http://www.twitter.com/TheWorldsTalkin --------- A message from the RISSCW: "My name is Gerard Blair (Club Chairman) we are setting up the Republic of Ireland Soccer Supporters Club (Western Branch) (RISSCW for short) to be based out of Galway City. We wanted to contact you with regards possibly bumping the club RISSCW on your facebook page? Any support on this would be greatly appreciated. We have already been running buses from Galway to all the home games for some time and with the Euros rapidly approaching, we felt now was the ideal time to form an official supporters club. RISSCW In Association With GUST Coach Details Galway/Athlone Bus Ireland v Bosnia 26th Of May 2012 Meeting point at the Skeffington Arms Hotel Eyre Square Galway City coach leaving outside the Skeff @ 8-45am!!! Picking up at Tom Hogan Service Station - Ballybrit @ 9-15am!!! Picking up at the Kilmartin Service Station, Dublin Rd, Athlone @ 10-15am!!! Arriving Lansdowne Road @ 12-30pm!!! (scruffy murphys) Departing Lansdownde road @ 6- 45pm!!! ( scruffy murphys) For more details contact risscwsecretary@gmail.com or roigalway@gmail.com facebook page https://www.facebook.com/events/327715940626538/ Plus the the next meeting of the Republic of Ireland Soccer Supporters Club (Western Branch) will be held on Friday 18th May 2012 at 8pm in the Dew Drop Inn, Galway City. Please feel free to come along and join us as we will be finalising the details of the bus to the Republic of Ireland vs Bosnia Friendly being held in Dublin on Saturday May 26th. Everyone is welcome, so hopefully we will see you there."

show#35710.09.10http://traffic.libsyn.com/beardo1/show357.mp3Want to find out if YOUR music makes the cut? Email thebeardo@gmail.com for details!Look for Beardo Dames on Facebook...(never thought I'd be a FB geek!!)Tip Jar available for easy donation at: http://www.bandanablues.com/donation.htmlSavoy Brown - Savoy Brown (Raw Sienna 1970)Kirsten Thien - Taxi Love (Delicious 2010)Mose Allison - You Can Count on Me to Do My Part (Allison Wonderland: Anthology Disc 1 1994)Tom Principato Band - Don't Wanna Do It (A Part Of Me 2011?)Freddie King - Same Old Blues (King of the Blues (Disc 1) 1995)Chris Duarte Group - Badness (Love Is Greater Than Me 2000)Flavio Guimaraes and Prado Blues Band - Below's Shuffle (Flavio Guimaraes and Prado Blues Band 2006)Downchild Blues Band - Where Have You Gone (It's Been So Long - Ready To Go 1997)Teresa James & The Rhythm Tramps - Can't Say No (Blues Revue - Blues Music Sampler - Aug/Sept 2005)Dennis Gruenling - Hoo Done Doo Dat (Up All Night 2000)Spinner's Section:John Hammond: fool's paradise (5:06) (Trouble No More, PointBlank, 1993)Dana Gillespie: come on if you're coming (2:54) (Blues It Up, Ace, 1990)Andy J. Forest: capable (5:14) (Hogshead Cheese, Appaloosa, 1995)Doug Jay: down at the Dew Drop Inn (3:30) (Get It While It's Hot, Blue Jay, 2001)Frankie Miller: the rock (3:34) (The Rock, Chrysalis, 1975)San Pedro Slim: should I find (4:35) (Another Night On The Town, Tramp, 1997)Morblus: I've been a fool (4:52) (I can't go wrong, ViolaPop, 2007)Sonny Landreth: hell at home (3:41) (The Road We're On, Sugar Hill, 2003)Back to Beardo:The Imperial Crowns - Soul Deep Freak (Star Of The West 2007)Kid Ramos - One Bar Short (West Coast House Party 2000)Monkeywalk - Panic Temporary (More)Scrapomatic -Graveside Blues (Alligator Love Cry 2006)Al Basile - Termites in My Basement (Soul Blue 7 2009)Victor Wainwright and the Wildroots - Blues In The Rain) (Beale St to The Bayou 2009)Nucklebusters Blues Band - Ex-Wife (Somebody Better have My Money)Blood, Sweat & Tears - I Can't Quit Her (Blood, Sweat & Tears' Greatest Hits 1972)