Podcast appearances and mentions of Dick Taylor

Send us a textThis week we dive head first into the 1968 psychedelic rock opera by the Pretty Things, S.F. Sorrow. Ask any music fan what was the first rock opera was and most would say Tommy by the Who. That answer would be wrong. Recorded on S.F. Sorrow started a year before the Who even went into the studio to begin Tommy. Unfortunately the release of the album was delayed and was released after Tommy, placing S.F. Sorrow  into the "also ran" category for the vast majority of critics and the music buying public at the time. Which is unfortunate because the S.F. Sorrow is a wonderfully imaginative album, and the blueprint for many a concept album to come. One listen illustrates how inventive and influential it was for many albums at the time, including Tommy. Starting out life as a blues-based band in the vein of the Rolling Stones (one time Stone's guitarist Dick Taylor was a founding member), by the time the Pretty Thing were set to record their fourth LP, they had become much more divers in the music they made, incorporating such diverse element as pop, psychedelia, folk, and even proto-metal) into their sound. And while the concept of S.F. Sorrow is a sad one, the music is remarkable and the lyrics compelling making repeated listens a must.  S.F. is a true underrated masterpiece.Visit us at www.tappingvinyl.com.

Greater Peoria Family YMCA's Andy Thornton, Elmwood Community Foundation's Micki McCarthy and Dick Taylor join The Greg and Dan Show to discuss the updates of the Community Wellness Center project in Elmwood.  This partnership between Elmwood Community Foundation, Greater Peoria Family YMCA, and Graham Health System will help bring a lifetime opportunity for the residents of rural Peoria, Knox and Fulton Counties. The goal is to raise $12.4 million by the end of the year, in hopes to break ground in Spring 2025. Learn more at imaginecwc.org. See omnystudio.com/listener for privacy information.

Ant comes out firing on the back of his beloved Sharks victory in the hitherto unheralded European Challenge Cup. Meanwhile, pod guest Dick Taylor helps to unpack some more meaningful competitions in the Champions Cup, URC, Super Rugby Pacific, the Japanese League One, and the SA Cup. Hilarity ensues. Music by @monstroid, 80s TV Show.

Arthur Brown burst out of obscurity in 1968 with "Fire," an energetic fusion of blues, jazz and psychedelia with his over-the-top vocals invoking the dangers of the dark side. “Fire” launched Arthur to fame worldwide. He was born in North Yorkshire in 1942. After attending a grammar school Arthur studied at University where he focused on law and philosophy. His interest in music began to overwhelm his academic pursuits, and he formed his first band, an R&B combo called Blues and Brown. After a spell in France, where he dabbled in theatre, Arthur returned to the U.K. and worked with a number of groups in London. Not long after Brown left one -the Ramong Sound, they changed their name to the Foundations and scored international hits with "Build Me Up Buttercup" and "Baby, Now That I've Found You." Arthur however wasn't fussed. He had Kit Lambert and Pete Townshend produce his self-titled debut album from which “Fire” emerged and The God of Hellfire was born. His band, The Crazy Worldof Arthur Brown was known for its live show, which featured Arthur wearing a helmet that spat fire. Sometimes he would take to the stage naked and as such became one of the most talked-about characters in British rock.  In the wake of the success of their debut, the band cut a second album and kept touring; for a short while Carl Palmer took over as drummer. Arthur's next group's sound was darker and even more esoteric than the Crazy World. Arthur then stepped out as a solo act with 1974's Dance with Arthur Brown, a more straightforward and accessible album rooted in international rhythms. His public profile got a boost in 1975 when he was cast as the Priest in Ken Russell's film adaptation of the Who's rock opera Tommy, which was a major box office success. The following year, he made a guest appearance on Tales of Mystery and Imagination: Edgar Allan Poe, the debut album from the Alan Parsons Project. In 1979. Klaus Schulze, of Tangerine Dream invited Arthur to lend vocals to some of his work but in the early '80s, Brown left England to settle in Austin, Texas, where he earned a degree in counseling and opened a music-based practice. He also opened a house painting and carpentry business with Jimmy Carl Black, a former member of Frank Zappa's Mothers of Invention. For the most part, Arthur had stepped away from music, though he and Jimmy Carl Black did team up again for 1988's Brown, Black & Blue, a powerful blues-rock set. The new Crazy World returned for 2003's Vampire Suite, and Brown became a regular guest at Hawkwind concerts, appearing on their 2006 album Take Me to Your Future. 2008's The Voice of Love, released under the moniker the Amazing World of Arthur Brown, included guest appearances from Dick Taylor and Mark St. John of the Pretty Things. A spate of archival live releases dominated Arthurs's catalogue in the 2010s as he continued to tour extensively, including dates with Carl Palmer's group ELP Legacy and Hawkwind. Brown returned to recording with his latest edition of the Crazy World for 2014's Zim Zam Zim. Arthur celebrated his 80th birthday in 2022 and today is in hot demand to play concerts and festivals all over Europe. We catch up with the iconic artist this week and he regales us with a whole host of interesting stories. If you'd like to learn more about Arthur Brown head for his website https://www.thegodofhellfire.com/ and if you'd like to get in touch with me - comments, feedback or requests for future guests - don't hesitate to reach out through my website https://www.abreathoffreshair.com.au I hope you enjoy the story of The God of Hellfire.  

In the episode Mike Stax interviews Dick Taylor, lead guitarist and founder member of the Pretty Things about their flawlessly brilliant 1965 album Get the Picture? Along with an immersive track by track examination, Dick shares strange and hilarious stories about their experiences in the pulsing epicenter of mid-sixties midnight-to-six London. https://www.theprettythings.com Please support the podcast by joining our Patreon at patreon.com/uglythingspod, where you can enjoy special bonus content plus much more. In this episodes bonus content, Dick Taylor talks about producing the first Hawkwind album in 1969. Become a Patreon today! Check out Ugly Things Magazine: https://ugly-things.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

In the episode Mike Stax interviews Dick Taylor, lead guitarist and founder member of the Pretty Things about their flawlessly brilliant 1965 album Get the Picture? Along with an immersive track by track examination, Dick shares strange and hilarious stories about their experiences in the pulsing epicenter of mid-sixties midnight-to-six London.   https://www.theprettythings.com Please support the podcast by joining our Patreon at patreon.com/uglythingspod, where you can enjoy special bonus content plus much more. In this episodes bonus content, Dick Taylor talks about producing the first Hawkwind album in 1969. Become a Patreon today! Check out Ugly Things Magazine: https://ugly-things.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

The gruesome twosome are going through some growing pains with Jordan's new baby but promise to get back on their regularly scheduled programming. The boys mourn a couple deaths in music and also go over the biggest controversy in music this week: Did Kanye get topped off in Italy?

A few weeks back we spoke to Dick Taylor about his win at the 1974 Commonwealth Games in Christchurch. The interview focused primarily on Dick's success so we decided to revisit the historical event again. To share his memories Bruce Ullrich talks to Jesse. He was a former chef de mission of three Commonwealth and Olympic Games teams and vice chairman of 1974 Christchurch Commonwealth Games organising committee.

Pairing beer and chocolate is one of the major topics of Bean to Barstool. Chocolate can pair beautifully with a wide variety of grown-up beverages, however, and most people probably think of wine for this role first. Estelle Tracy leads wine and chocolate pairing events professionally, but she comes to this not as a stuffy expert, but as a curious observer who has learned along the way, following her senses to new areas of knowledge and expertise without losing the joy of discovery.In this episode, Estelle and I talk about the differences and similarities between pairing craft chocolate with wine and beer, how she got started with chocolate and wine, and what she's learned along the way.Chocolate makers and other professionals mentioned in this episode include Dick Taylor, Woodblock, Fruition, Kennett Brewing, Violet Sky, Moka Origins, Chimay, Troegs, Sam Adams, Hogarth, and Map.You can preorder Issue 01 of Final Gravity here.You can check out the Final Gravity Patreon and support us here.The music for this episode is by my dear friend, indie folk musician Anna ps. You can find out more about Anna's music in the show notes or at her website annapsmusic.com, where you can also get in touch to book her to play at your brewery or other establishment.Estelle Tracy is a chocolate sommelier based in the Philadelphia area. A chemist by training, she's the founder of 37 Chocolates, a chocolate tasting company. Since 2020, she's hosted over 350 virtual tastings to chocolate-lovers on 5 continents. Find out more at 37chocolates.com.Follow Bean to Barstool on social media!InstagramTwitterFacebookPinterestTikTokSign up for host David Nilsen's newsletter to get regular updates!

Dick Taylor of The Pretty Things gives an extensive podcast interview. We start with Dick's childhood friendship with The post Dick Taylor – The Pretty Things appeared first on The Strange Brew  .

I chat with Dick Taylor. He started his service in the British army at the tender age of sixteen as a Junior Trooper at the Junior Leaders Regiment Royal Armoured Corps in Bovington. After completing training, he served with 3RTR and 2RTR. As well as being a tank commander, he was a specialist in tank gunnery. He was commissioned as a captain in 2000 into 1RTR and left the regular army as a Lieutenant Colonel in 2013, although he has since been mobilized for operational service three times for tours overseas. During his long career he completed fifteen operational deployments to various hot spots including three tours of Afghanistan, two to Iraq, as well as Northern Ireland, Bosnia, Kosovo, Sierra Leone, and South Sudan. He is the official historian of the Royal Armoured Corps, has an avid interest in modern and military history and writes military history books for a hobby. His most recent publications have been The Second World War Tank Crisis: The Fall and Rise of British Armour 1919-1945, and the first two volumes of Armoured Warfare in the British Army (Find, Fix and Strike).

RATB:n Juha Kakkuri ja Sami Ruokangas kävivät elokuvissa ja vuoden tapauksiin kuuluvalla keikalla. Tässä jaksossa käsittelyssä dokumenttielokuva David Bowiesta ja Hanoi Rocksin paluu Michael Monroen juhlakeikalla. Menossa mukana Brett Morgen, Eddie Trunk, Freddie Mercury, Stevie Ray Vaughan, Ronnie James Dio, Phil Lynott, Scott Gorham, Brian Jones, Ian Hunter, Mott The Hoople, Dick Taylor, The Pretty Things, Rolling Stones, Demolition 23, Little Steven, Metallica, Lacu, Timppa, Costello, Andy McCoy, Pelle Miljoona Oy, Helsingin Sanomat, Hassisen Kone, Jan Stenfors, Nasty Suicide, Gyp Casino, Nazareth, Lenni-Kalle Taipale, Jenni Vartiainen, Hurriganes ja Razzle.

“Uncommon cacao is telling the story of the power of connection.”In this episode we talk with Emily Stone, the founder and CEO of Uncommon Cacao, a group of Transparent Trade cacao operations with offices in the U.S. and Europe and operations at numerous cacao origins. Uncommon supplies cacao for hundreds of bean to bar chocolate makers and, indirectly through their bean to bar partners, quite a few craft breweries as well. Emily is passionate about the people and stories behind these cacao origins, and here we talk about those origins, what led Emily to start Uncommon, and the importance of full, two-way transparency in the cacao supply chain.Chocolate makers mentioned in this episode include Ritual, Taza, Dick Taylor, Dandelion, Raaka, French Broad, Ratza, Videri, and Ethereal Confections.If you want to learn more about Uncommon Cacao, you can visit their website. They just released their annual transparency report here if you wish to read it. You can also follow them on Instagram.The music for this episode is from the song “200 Miles” by my dear friend, indie folk musician Anna ps. You can find out more about Anna's music in the show notes or at her website annapsmusic.com, where you can also get in touch to book her to play at your brewery, cafe, or other establishment.Emily Stone is the Founder and CEO of Uncommon Cacao, a group of Transparent Trade cacao operations including Maya Mountain Cacao (Belize), Cacao Verapaz (Guatemala), and Uncommon offices in the U.S. and Europe. Emily spent 2010-2017 living in Belize and Guatemala developing the specialty cacao value chain operations and working directly with producers. Now based in the U.S., Emily leads Uncommon Cacao's work supplying delicious, high quality, transparently-sourced cacao from 12+ countries for hundreds of craft and premium chocolate makers globally. Emily is an Ashoka Fellow and Unreasonable Fellow, and a recipient of the FCIA Recognition of Excellence in Outstanding Contribution at Origin in Sustainability of Fine Chocolate.

Dick Taylor was a great guitar player, but he was not very good at managing his career... on THIS DAY, July 12th with Chris Conley.See omnystudio.com/listener for privacy information.

The Port of Shelton continues to grow and expand and Executive Director Wendy Smith and Port Commissioner Dick Taylor talk about the progress with Jeff Slakey. They are working on new CERB funding and the company that makes Squirrel Suits is coming to the Port. www.portofshelton.com

Comenzamos un nuevo capítulo de Rock is here, el podcast que te lleva a recorrer los lugares emblemáticos del rock en Londres. Hoy vamos a visitar el sitio donde se formaron los Rolling Stones: Broadwick Street.En el número 7 de Broadwick Street, en pleno Soho londinense, funciona una simpática disquería que se llama Sounds of the Universe. Es el edificio de la esquina, de dos pisos con ladrillos a la vista, que además, tiene un valor clave en la historia del rock: es el sitio donde Brian Jones probó a Keith Richards para incorporarlo a su grupo, que ya contaba con el pianista Ian Stewart y que al poco tiempo se bautizaría The Rolling Stones.Cuentan que al primero que Richards encontró en el lugar fue a Ian Stewart y que se llevaron muy bien de entrada. En ese mismo lugar concretaron los primeros ensayos, a los que se fueron incorporando el bajista Dick Taylor y Mick Jagger. Tiempo después, propusieron a Stewart que convenciera al baterista de la banda Blues Incorporated para que se uniera a ellos. Un tal Charlie Watts.Richards y Jagger conocían a Brian Jones por haberlo visto en el Ealing Jazz Club como parte de la banda de Alexis Korner. A su vez, hay que recordar que habían sido compañeros de colegio primario, en Kent. Sus familias se mudaron de ciudad y aunque perdieron contacto, se volvieron a encontrar varios años después en la estación de trenes de Dartford. Pero esa historia quedará para otro episodio de este podcast.Broadwick Street es una callecita angosta a cuatro cuadras de Soho Square Gardens y a unos 10 minutos caminando desde Trafalgar Square. Sounds of the Universe se especializa no solamente de los últimos lanzamientos, sino principalmente en una gran selección de reggae, disco, funk y música del mundo, tanto en CD como en vinilo.Y para cerrar, la canción con la que los Stones debutarían discográficamente. Un cover original de Chuck Berry, reversionado y editado como el primer simple de la banda, en junio de 1963: "Come on".Tracklist"You better move on""I wanna be your man""Time is on my side""Not fade away""It's all over now""Come on" See acast.com/privacy for privacy and opt-out information.

Port Commissioner Dick Taylor and Executive Director Wendy Smith came on Daybreak to update the community on activities at Port of Shelton.

Interviews are with Dick Taylor, Dr Doug Edmeades, Jim Hopkins, Judith Collins and Michael Harvey.

Interviews are with Andy Thompson, Dick Taylor, Alan Pollard, Dr Gwen Grelet, Sam Lang, Peter Nation, Graeme Smith.

http://www.ifiberonenewsradio.com/news/shelton-s-sanderson-field-one-of-six-finalists-for-wa-s-next-major-airport-hub/article_0955d3e0-56ae-11eb-8109-ff344e4d5c78.htmlhttps://portofshelton.com/

12.15.20 - Dick Taylor - Replay of sermon 5.4.1971 - What's Wrong with It? by Sermons from the Apostolic Faith Church of Portland, Oregon

Episode 108 of A History of Rock Music in Five Hundred Songs looks at “I Wanna Be Your Man” by the Rolling Stones and how the British blues scene of the early sixties was started by a trombone player. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have an eight-minute bonus episode available, on “The Monkey Time” by Major Lance. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. i used a lot of resources for this episode. Information on Chris Barber comes from Jazz Me Blues: The Autobiography of Chris Barber by Barber and Alyn Shopton. Information on Alexis Korner comes from Alexis Korner: The Biography by Harry Shapiro. Two resources that I’ve used for this and all future Stones episodes — The Rolling Stones: All The Songs by Phillipe Margotin and Jean-Michel Guesden is an invaluable reference book, while Old Gods Almost Dead by Stephen Davis is the least inaccurate biography. I’ve also used Andrew Loog Oldham’s autobiography Stoned, and Keith Richards’ Life, though be warned that both casually use slurs. This compilation contains Alexis Korner’s pre-1963 electric blues material, while this contains the earlier skiffle and country blues music. The live performances by Chris Barber and various blues legends I’ve used here come from volumes one and two of a three-CD series of these recordings. And this three-CD set contains the A and B sides of all the Stones’ singles up to 1971.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we’re going to look at a group who, more than any other band of the sixties, sum up what “rock music” means to most people. This is all the more surprising as when they started out they were vehemently opposed to being referred to as “rock and roll”. We’re going to look at the London blues scene of the early sixties, and how a music scene that was made up of people who thought of themselves as scholars of obscure music, going against commercialism ended up creating some of the most popular and commercial music ever made. We’re going to look at the Rolling Stones, and at “I Wanna Be Your Man”: [Excerpt: The Rolling Stones, “I Wanna Be Your Man”] The Rolling Stones’ story doesn’t actually start with the Rolling Stones, and they won’t be appearing until quite near the end of this episode, because to explain how they formed, I have to explain the British blues scene that they formed in. One of the things people asked me when I first started doing the podcast was why I didn’t cover people like Muddy Waters and Howlin’ Wolf in the early episodes — after all, most people now think that rock and roll started with those artists. It didn’t, as I hope the last hundred or so episodes have shown. But those artists did become influential on its development, and that influence happened largely because of one man, Chris Barber. We’ve seen Barber before, in a couple of episodes, but this, even more than his leading the band that brought Lonnie Donegan to fame, is where his influence on popular music really changes everything. On the face of it, Chris Barber seems like the last person in the world who one would expect to be responsible, at least indirectly, for some of the most rebellious popular music ever made. He is a trombone player from a background that is about as solidly respectable as one can imagine — his parents were introduced to each other by the economist John Maynard Keynes, and his father, another economist, was not only offered a knighthood for his war work (he turned it down but accepted a CBE), but Clement Atlee later offered him a safe seat in Parliament if he wanted to become Chancellor of the Exchequer. But when the war started, young Chris Barber started listening to the Armed Forces Network, and became hooked on jazz. By the time the war ended, when he was fifteen, he owned records by Louis Armstrong, Bessie Smith, Duke Ellington, Jelly Roll Morton and more — records that were almost impossible to find in the Britain of the 1940s. And along with the jazz records, he was also getting hold of blues records by people like Cow Cow Davenport and Sleepy John Estes: [Excerpt: Sleepy John Estes, “Milk Cow Blues”] In his late teens and early twenties, Barber had become Britain’s pre-eminent traditional jazz trombonist — a position he held until he retired last year, aged eighty-nine — but he wasn’t just interested in trad jazz, but in all of American roots music, which is why he’d ended up accidentally kick-starting the skiffle craze when his guitarist recorded an old Lead Belly song as a track on a Barber album, as we looked at back in the episode on “Rock Island Line”. If that had been Barber’s only contribution to British rock and roll, he would still have been important — after all, without “Rock Island Line”, it’s likely that you could have counted the number of British boys who played guitar in the fifties and sixties on a single hand. But he did far more than that. In the mid to late fifties, Barber became one of the biggest stars in British music. He didn’t have a breakout chart hit until 1959, when he released “Petit Fleur”, engineered by Joe Meek: [Excerpt: Chris Barber, “Petit Fleur”] And Barber didn’t even play on that – it was a clarinet solo by his clarinettist Monty Sunshine. But long before this big chart success he was a huge live draw and made regular appearances on TV and radio, and he was hugely appreciated among music lovers. A parallel for his status in the music world in the more modern era might be someone like, say, Radiohead — a band who aren’t releasing number one singles, but who have a devoted fanbase and are more famous than many of those acts who do have regular hits. And that celebrity status put Barber in a position to do something that changed music forever. Because he desperately wanted to play with his American musical heroes, and he was one of the few people in Britain with the kind of built-in audience that he could bring over obscure Black musicians, some of whom had never even had a record released over here, and get them on stage with him. And he brought over, in particular, blues musicians. Now, just as there was a split in the British jazz community between those who liked traditional Dixieland jazz and those who liked modern jazz, there was a similar split in their tastes in blues and R&B. Those who liked modern jazz — a music that was dominated by saxophones and piano — unsurprisingly liked modern keyboard and saxophone-based R&B. Their R&B idol was Ray Charles, whose music was the closest of the great R&B stars to modern jazz, and one stream of the British R&B movement of the sixties came from this scene — people like the Spencer Davis Group, Georgie Fame and the Blue Flames, and Manfred Mann all come from this modernist scene. But the trad people, when they listened to blues, liked music that sounded primitive to them, just as they liked primitive-sounding jazz. Their tastes were very heavily influenced by Alan Lomax — who came to the UK for a crucial period in the fifties to escape McCarthyism — and they paralleled those of the American folk scene that Lomax was also part of, and followed the same narrative that Lomax’s friend John Hammond had constructed for his Spirituals to Swing concerts, where the Delta country blues of people like Robert Johnson had been the basis for both jazz and boogie piano. This entirely false narrative became the received wisdom among the trad scene in Britain, to the extent that two of the very few people in the world who had actually heard Robert Johnson records before the release of the King of the Delta Blues Singers album were Chris Barber and his sometime guitarist and banjo player Alexis Korner. These people liked Robert Johnson, Big Bill Broonzy, Lead Belly, and Lonnie Johnson’s early recordings before his later pop success. They liked solo male performers who played guitar. These two scenes were geographically close — the Flamingo Club, a modern jazz club that later became the place where Georgie Fame and Chris Farlowe built their audiences, was literally across the road from the Marquee, a trad jazz club that became the centre of guitar-based R&B in the UK. And there wasn’t a perfect hard-and-fast split, as we’ll see — but it’s generally true that what is nowadays portrayed as a single British “blues scene” was, in its early days, two overlapping but distinct scenes, based in a pre-existing split in the jazz world. Barber was, of course, part of the traditional jazz wing, and indeed he was so influential a part of it that his tastes shaped the tastes of the whole scene to a large extent. But Barber was not as much of a purist as someone like his former collaborator Ken Colyer, who believed that jazz had become corrupted in 1922 by the evil innovations of people like Louis Armstrong and Fletcher Henderson, who were too modern for his tastes. Barber had preferences, but he could appreciate — and more importantly play — music in a variety of styles. So Barber started by bringing over Big Bill Broonzy, who John Hammond had got to perform at the Spirituals to Swing concerts when he’d found out Robert Johnson was dead. It was because of Barber bringing Broonzy over that Broonzy got to record with Joe Meek: [Excerpt: Big Bill Broonzy, “When Do I Get to Be Called a Man?”] And it was because of Barber bringing Broonzy over that Broonzy appeared on Six-Five Special, along with Tommy Steele, the Vipers, and Mike and Bernie Winters, and thus became the first blues musician that an entire generation of British musicians saw, their template for what a blues musician is. If you watch the Beatles Anthology, for example, in the sections where they talk about the music they were listening to as teenagers, Broonzy is the only blues musician specifically named. That’s because of Chris Barber. Broonzy toured with Barber several times in the fifties, before his death in 1958, but he wasn’t the only one. Barber brought over many people to perform and record with him, including several we’ve looked at previously. Like the rock and roll stars who visited the UK at this time, these were generally people who were past their commercial peak in the US, but who were fantastic live performers. The Barber band did recording sessions with Louis Jordan: [Excerpt: Louis Jordan and the Chris Barber band, “Tain’t Nobody’s Business”] And we’re lucky enough that many of the Barber band’s shows at the Manchester Free Trade Hall (a venue that would later host two hugely important shows we’ll talk about in later episodes) were recorded and have since been released. With those recordings we can hear them backing Sister Rosetta Tharpe: [Excerpt: Sister Rosetta Tharpe and the Chris Barber band, “Peace in the Valley”] Sonny Terry and Brownie McGhee: [Excerpt: Sonny Terry, Brownie McGhee and the Chris Barber band, “This Little Light of Mine”] And others like Champion Jack Dupree and Sonny Boy Williamson. But there was one particular blues musician that Barber brought over who changed everything for British music. Barber was a member of an organisation called the National Jazz Federation, which helped arrange transatlantic musician exchanges. You might remember that at the time there was a rule imposed by the musicians’ unions in the UK and the US that the only way for an American musician to play the UK was if a British musician played the US and vice versa, and the National Jazz Federation helped set these exchanges up. Through the NJF Barber had become friendly with John Lewis, the American pianist who led the Modern Jazz Quartet, and was talking with Lewis about what other musicians he could bring over, and Lewis suggested Muddy Waters. Barber said that would be great, but he had no idea how you’d reach Muddy Waters — did you send a postcard to the plantation he worked on or something? Lewis laughed, and said that no, Muddy Waters had a Cadillac and an agent. The reason for Barber’s confusion was fairly straightfoward — Barber was thinking of Waters’ early recordings, which he knew because of the influence of Alan Lomax. Lomax had discovered Muddy Waters back in 1941. He’d travelled to Clarksdale, Mississippi hoping to record Robert Johnson for the Library of Congress — apparently he didn’t know, or had forgotten, that Johnson had died a few years earlier. When he couldn’t find Johnson, he’d found another musician, who had a similar style, and recorded him instead. Waters was a working musician who would play whatever people wanted to listen to — Gene Autry songs, Glenn Miller, whatever — but who was particularly proficient in blues, influenced by Son House, the same person who had been Johnson’s biggest influence. Lomax recorded him playing acoustic blues on a plantation, and those recordings were put out by the Library of Congress: [Excerpt: Muddy Waters, “I Be’s Troubled”] Those Library of Congress recordings had been hugely influential among the trad and skiffle scenes — Lonnie Donegan, in particular, had borrowed a copy from the American Embassy’s record-lending library and then stolen it because he liked it so much.  But after making those recordings, Waters had travelled up to Chicago and gone electric, forming a band with guitarist Jimmie Rodgers (not the same person as the country singer of the same name, or the 50s pop star), harmonica player Little Walter, drummer Elgin Evans, and pianist Otis Spann.  Waters had signed to Chess Records, then still named Aristocrat, in 1947, and had started out by recording electric versions of the same material he’d been performing acoustically: [Excerpt: Muddy Waters, “I Can’t Be Satisfied”] But soon he’d partnered with Chess’ great bass player, songwriter, and producer Willie Dixon, who wrote a string of blues classics both for Waters and for Chess’ other big star Howlin’ Wolf. Throughout the early fifties, Waters had a series of hits on the R&B charts with his electric blues records, like the great “Hoochie Coochie Man”, which introduced one of the most copied blues riffs ever: [Excerpt: Muddy Waters, “Hoochie Coochie Man”] But by the late fifties, the hits had started to dry up. Waters was still making great records, but Chess were more interested in artists like Chuck Berry, Bo Diddley, and the Moonglows, who were selling much more and were having big pop hits, not medium-sized R&B ones. So Waters and his pianist Otis Spann were eager to come over to the UK, and Barber was eager to perform with them. Luckily, unlike many of his trad contemporaries, Barber was comfortable with electric music, and his band quickly learned Waters’ current repertoire. Waters came over and played one night at a festival with a different band, made up of modern jazz players who didn’t really fit his style before joining the Barber tour, and so he and Spann were a little worried on their first night with the group when they heard these Dixieland trombones and clarinets. But as soon as the group blasted out the riff of “Hoochie Coochie Man” to introduce their guests, Waters and Spann’s faces lit up — they knew these were musicians they could play with, and they fit in with Barber’s band perfectly: [Excerpt: Muddy Waters, Otis Spann, and the Chris Barber band, “Hoochie Coochie Man”] Not everyone watching the tour was as happy as Barber with the electric blues though — the audiences were often bemused by the electric guitars, which they associated with rock and roll rather than the blues. Waters, like many of his contemporaries, was perfectly willing to adapt his performance to the audience, and so the next time he came over he brought his acoustic guitar and played more in the country acoustic style they expected. The time after that he came over, though, the audiences were disappointed, because he was playing acoustic, and now they wanted and expected him to be playing electric Chicago blues. Because Muddy Waters’ first UK tour had developed a fanbase for him, and that fanbase had been cultivated and grown by one man, who had started off playing in the same band as Chris Barber. Alexis Korner had started out in the Ken Colyer band, the same band that Chris Barber had started out in, as a replacement for Lonnie Donegan when Donegan was conscripted. After Donegan had rejoined the band, they’d played together for a while, and the first ever British skiffle group lineup had been Ken and Bill Colyer, Korner, Donegan, and Barber. When the Colyers had left the group and Barber had taken it over, Korner had gone with the Colyers, mostly because he didn’t like the fact that Donegan was introducing country and folk elements into skiffle, while Korner liked the blues. As a result, Korner had sung and played on the very first ever British skiffle record, the Ken Colyer group’s version of “Midnight Special”: [Excerpt: The Ken Colyer Skiffle Group, “Midnight Special”] After that, Korner had also backed Beryl Bryden on some skiffle recordings, which also featured a harmonica player named Cyril Davies: [Excerpt: Beryl Bryden Skiffle Group, “This Train”] But Korner and Davies had soon got sick of skiffle as it developed — they liked the blues music that formed its basis, but Korner had never been a fan of Lonnie Donegan’s singing — he’d even said as much in the liner notes to an album by the Barber band while both he and Donegan were still in the band — and what Donegan saw as eclecticism, including Woody Guthrie songs and old English music-hall songs, Korner saw as watering down the music. Korner and Donegan had a war of words in the pages of Melody Maker, at that time the biggest jazz periodical in Britain. Korner started with an article headlined “Skiffle is Piffle”, in which he said in part: “It is with shame and considerable regret that I have to admit my part as one of the originators of the movement…British skiffle is, most certainly, a commercial success. But musically it rarely exceeds the mediocre and is, in general, so abysmally low that it defies proper musical judgment”. Donegan replied pointing out that Korner was playing in a skiffle group himself, and then Korner replied to that, saying that what he was doing now wasn’t skiffle, it was the blues. You can judge for yourself whether the “Blues From the Roundhouse” EP, by Alexis Korner’s Breakdown Group, which featured Korner, Davies on guitar and harmonica, plus teachest bass and washboard, was skiffle or blues: [Excerpt: Alexis Korner’s Breakdown Group, “Skip to My Lou”] But soon Korner and Davies had changed their group’s name to Blues Incorporated, and were recording something that was much closer to the Delta and Chicago blues Davies in particular liked. [Excerpt: Alexis Korner’s Blues Incorporated feat. Cyril Davies, “Death Letter”] But after the initial recordings, Blues Incorporated stopped being a thing for a while, as Korner got more involved with the folk scene. At a party hosted by Ramblin’ Jack Elliot, he met the folk guitarist Davey Graham, who had previously lived in the same squat as Lionel Bart, Tommy Steele’s lyricist, if that gives some idea of how small and interlocked the London music scene actually was at this time, for all its factional differences. Korner and Graham formed a guitar duo playing jazzy folk music for a while: [Excerpt: Alexis Korner and Davey Graham, “3/4 AD”] But in 1960, after Chris Barber had done a second tour with Muddy Waters, Barber decided that he needed to make Muddy Waters style blues a regular part of his shows. Barber had entered into a partnership with an accountant, Harold Pendleton, who was secretary of the National Jazz Federation. They co-owned a club, the Marquee, which Pendleton managed, and they were about to start up an annual jazz festival, the Richmond festival, which would eventually grow into the Reading Festival, the second-biggest rock festival in Britain. Barber had a residency at the Marquee, and he wanted to introduce a blues segment into the shows there. He had a singer — his wife, Ottilie Patterson, who was an excellent singer in the Bessie Smith mould — and he got a couple of members of his band to back her on some Chicago-style blues songs in the intervals of his shows. He asked Korner to be a part of this interval band, and after a little while it was decided that Korner would form the first ever British electric blues band, which would take over those interval slots, and so Blues Incorporated was reformed, with Cyril Davies rejoining Korner. The first time this group played together, in the first week of 1962, it was Korner on electric guitar, Davies on harmonica, and Chris Barber plus Barber’s trumpet player Pat Halcox, but they soon lost the Barber band members. The group was called Blues Incorporated because they were meant to be semi-anonymous — the idea was that people might join just for a show, or just for a few songs, and they never had the same lineup from one show to the next. For example, their classic album R&B From The Marquee, which wasn’t actually recorded at the Marquee, and was produced by Jack Good, features Korner, Davies, sax player Dick Heckstall-Smith, Keith Scott on piano, Spike Heatley on bass, Graham Burbridge on drums, and Long John Baldry on vocals: [Excerpt: Blues Incorporated, “How Long How Long Blues”] But Burbridge wasn’t their regular drummer — that was a modern jazz player named Charlie Watts. And they had a lot of singers. Baldry was one of their regulars, as was Art Wood (who had a brother, Ronnie, who wasn’t yet involved with these players). When Charlie quit the band, because it was taking up too much of his time, he was replaced with another drummer, Ginger Baker. When Spike Heatley left the band, Dick Heckstall-Smith brought in a new bass player, Jack Bruce. Sometimes a young man called Eric Clapton would get up on stage for a number or two, though he wouldn’t bring his guitar, he’d just sing with them. So would a singer and harmonica player named Paul Jones, later the singer with Manfred Mann, who first travelled down to see the group with a friend of his, a guitarist named Brian Jones, no relation, who would also sit in with the band on guitar, playing Elmore James numbers under the name Elmo Lewis. A young man named Rodney Stewart would sometimes join in for a number or two. And one time Eric Burdon hitch-hiked down from Newcastle to get a chance to sing with the group. He jumped onto the stage when it got to the point in the show that Korner asked for singers from the audience, and so did a skinny young man. Korner diplomatically suggested that they sing a duet, and they agreed on a Billy Boy Arnold number. At the end of the song Korner introduced them — “Eric Burdon from Newcastle, this is Mick Jagger”. Mick Jagger was a middle-class student, studying at the London School of Economics, one of the most prestigious British universities. He soon became a regular guest vocalist with Blues Incorporated, appearing at almost every show. Soon after, Davies left the group — he wanted to play strictly Chicago style blues, but Korner wanted to play other types of R&B. The final straw for Davies came when Korner brought in Graham Bond on Hammond organ — it was bad enough that they had a saxophone player, but Hammond was a step too far. Sometimes Jagger would bring on a guitar-playing friend for a song or two — they’d play a Chuck Berry song, to Davies’ disapproval. Mick Jagger and Keith Richards had known each other at primary school, but had fallen out of touch for years. Then one day they’d bumped into each other at a train station, and Richards had noticed two albums under Jagger’s arm — one by Muddy Waters and one by Chuck Berry, both of which he’d ordered specially from Chess Records in Chicago because they weren’t out in the UK yet. They’d bonded over their love for Berry and Bo Diddley, in particular, and had soon formed a band themselves, Little Boy Blue and the Blue Boys, with a friend, Dick Taylor, and had made some home recordings of rock and roll and R&B music: [Excerpt: Little Boy Blue and the Blue Boys, “Beautiful Delilah”] Meanwhile, Brian Jones, the slide player with the Elmore James obsession, decided he wanted to create his own band, who were to be called The Rollin’ Stones, named after a favourite Muddy Waters track of his. He got together with Ian Stewart, a piano player who answered an ad in Jazz News magazine. Stewart had very different musical tastes to Jones — Jones liked Elmore James and Muddy Waters and Howlin’ Wolf and especially Jimmy Reed, and very little else, just electric Chicago blues. Stewart was older, and liked boogie piano like Albert Ammons and Pete Johnson, and jump band R&B like Wynonie Harris and Louis Jordan, but he could see that Jones had potential. They tried to get Charlie Watts to join the band, but he refused at first, so they played with a succession of other drummers, starting with Mick Avory. And they needed a singer, and Jones thought that Mick Jagger had genuine star potential. Jagger agreed to join, but only if his mates Dick and Keith could join the band. Jones was a little hesitant — Mick Jagger was a real blues scholar like him, but he did have a tendency to listen to this rock and roll nonsense rather than proper blues, and Keith seemed even less of a blues purist than that. He probably even listened to Elvis. Dick, meanwhile, was an unknown quantity. But eventually Jones agreed — though Richards remembers turning up to the first rehearsal and being astonished by Stewart’s piano playing, only for Stewart to then turn around to him and say sarcastically “and you must be the Chuck Berry artist”. Their first gig was at the Marquee, in place of Blues Incorporated, who were doing a BBC session and couldn’t make their regular gig. Taylor and Avory soon left, and they went through a succession of bass players and drummers, played several small gigs, and also recorded a demo, which had no success in getting them a deal: [Excerpt: The Rollin’ Stones, “You Can’t Judge a Book By its Cover”] By this point, Jones, Richards, and Jagger were all living together, in a flat which has become legendary for its squalour. Jones was managing the group (and pocketing some of the money for himself) and Jones and Richards were spending all day every day playing guitar together, developing an interlocking style in which both could switch from rhythm to lead as the song demanded. Tony Chapman, the drummer they had at the time, brought in a friend of his, Bill Wyman, as bass player — they didn’t like him very much, he was older than the rest of them and seemed to have a bad attitude, and their initial idea was just to get him to leave his equipment with them and then nick it — he had a really good amplifier that they wanted — but they eventually decided to keep him in the band.  They kept pressuring Charlie Watts to join and replace Chapman, and eventually, after talking it over with Alexis Korner’s wife Bobbie, he decided to give it a shot, and joined in early 1963. Watts and Wyman quickly gelled as a rhythm section with a unique style — Watts would play jazz-inspired shuffles, while Wyman would play fast, throbbing, quavers. The Rollin’ Stones were now a six-person group, and they were good. They got a residency at a new club run by Giorgio Gomelsky, a trad jazz promoter who was branching out into R&B. Gomelsky named his club the Crawdaddy Club, after the Bo Diddley song that the Stones ended their sets with. Soon, as well as playing the Crawdaddy every Sunday night, they were playing Ken Colyer’s club, Studio 51, on the other side of London every Sunday evening, so Ian Stewart bought a van to lug all their gear around. Gomelsky thought of himself as the group’s manager, though he didn’t have a formal contract, but Jones disagreed and considered himself the manager, though he never told Gomelsky this. Jones booked the group in at the IBC studios, where they cut a professional demo with Glyn Johns engineering, consisting mostly of Bo Diddley and Jimmy Reed songs: [Excerpt: The Rollin’ Stones, “Diddley Daddy”] Gomelsky started getting the group noticed. He even got the Beatles to visit the club and see the group, and the two bands hit it off — even though John Lennon had no time for Chicago blues, he liked them as people, and would sometimes pop round to the flat where most of the group lived, once finding Mick and Keith in bed together because they didn’t have any money to heat the flat. The group’s live performances were so good that the Record Mirror, which as its name suggested only normally talked about records, did an article on the group. And the magazine’s editor, Peter Jones, raved about them to an acquaintance of his, Andrew Loog Oldham. Oldham was a young man, only nineteen, but he’d already managed to get himself a variety of jobs around and with famous people, mostly by bluffing and conning them into giving him work. He’d worked for Mary Quant, the designer who’d popularised the miniskirt, and then had become a freelance publicist, working with Bob Dylan and Phil Spector on their trips to the UK, and with a succession of minor British pop stars. Most recently, he’d taken a job working with Brian Epstein as the Beatles’ London press agent. But he wanted his own Beatles, and when he visited the Crawdaddy Club, he decided he’d found them. Oldham knew nothing about R&B, didn’t like it, and didn’t care — he liked pure pop music, and he wanted to be Britain’s answer to Phil Spector. But he knew charisma when he saw it, and the group on stage had it. He immediately decided he was going to sign them as a manager. However, he needed a partner in order to get them bookings — at the time in Britain you needed an agent’s license to get bookings, and you needed to be twenty-one to get the license. He first offered Brian Epstein the chance to co-manage them — even though he’d not even talked to the group about it. Epstein said he had enough on his plate already managing the Beatles, Gerry and the Pacemakers, and his other Liverpool groups. At that point Oldham quit his job with Epstein and looked for another partner. He found one in Eric Easton, an agent of the old school who had started out as a music-hall organ player before moving over to the management side and whose big clients were Bert Weedon and Mrs. Mills, and who was letting Oldham use a spare room in his office as a base. Oldham persuaded Easton to come to the Crawdaddy Club, though Easton was dubious as it meant missing Sunday Night at the London Palladium on the TV, but Easton agreed that the group had promise — though he wanted to get rid of the singer, which Oldham talked him out of. The two talked with Brian Jones, who agreed, as the group’s leader, that they would sign with Oldham and Easton. Easton brought traditional entertainment industry experience, while Oldham brought an understanding of how to market pop groups. Jones, as the group’s leader, negotiated an extra five pounds a week for himself off the top in the deal. One piece of advice that Oldham had been given by Phil Spector and which he’d taken to heart was that rather than get a band signed to a record label directly, you should set up an independent production company and lease the tapes to the label, and that’s what Oldham and Easton did. They formed a company called Impact, and went into the studio with the Stones and recorded the song they performed which they thought had the most commercial potential, a Chuck Berry song called “Come On” — though they changed Berry’s line about a “stupid jerk” to being about a “stupid guy”, in order to make sure the radio would play it: [Excerpt: The Rolling Stones, “Come On”] During the recording, Oldham, who was acting as producer, told the engineer not to mic up the piano. His plans didn’t include Ian Stewart. Neither the group nor Oldham were particularly happy with the record — the group because they felt it was too poppy, Oldham because it wasn’t poppy enough. But they took the recording to Decca Records, where Dick Rowe, the man who had turned down the Beatles, eagerly signed them. The conventional story is that Rowe signed them after being told about them by George Harrison, but the other details of the story as it’s usually told — that they were judging a talent contest in Liverpool, which is the story in most Stones biographies, or that they were appearing together on Juke Box Jury, which is what Wikipedia and articles ripped off from Wikipedia say — are false, and so it’s likely that the story is made up. Decca wanted the Stones to rerecord the track, but after going to another studio with Easton instead of Oldham producing, the general consensus was that the first version should be released. The group got new suits for their first TV appearance, and it was when they turned up to collect the suits and found there were only five of them, not six, that Ian Stewart discovered Oldham had had him kicked out of the group, thinking he was too old and too ugly, and that six people was too many for a pop group. Stewart was given the news by Brian Jones, and never really forgave either Jones or Oldham, but he remained loyal to the rest of the group. He became their road manager, and would continue to play piano with them on stage and in the studio for the next twenty-two years, until his death — he just wasn’t allowed in the photos or any TV appearances.  That wasn’t the only change Oldham made — he insisted that the group be called the Rolling Stones, with a g, not Rollin’. He also changed Keith Richards’ surname, dropping the s to be more like Cliff, though Richards later changed it back again. “Come On” made number twenty-one in the charts, but the band were unsure of what to do as a follow-up single. Most of their repertoire consisted of hard blues songs, which were unlikely to have any chart success. Oldham convened the group for a rehearsal and they ran through possible songs — nothing seemed right. Oldham got depressed and went out for a walk, and happened to bump into John Lennon and Paul McCartney. They asked him what was up, and he explained that the group needed a song. Lennon and McCartney said they thought they could help, and came back to the rehearsal studio with Oldham. They played the Stones an idea that McCartney had been working on, which they thought might be OK for the group. The group said it would work, and Lennon and McCartney retreated to a corner, finished the song, and presented it to them. The result became the Stones’ second single, and another hit for them, this time reaching number twelve. The second single was produced by Easton, as Oldham, who is bipolar, was in a depressive phase and had gone off on holiday to try to get out of it: [Excerpt: The Rolling Stones, “I Wanna Be Your Man”] The Beatles later recorded their own version of the song as an album track, giving it to Ringo to sing — as Lennon said of the song, “We weren’t going to give them anything great, were we?”: [Excerpt: The Beatles, “I Wanna Be Your Man”] For a B-side, the group did a song called “Stoned”, which was clearly “inspired” by “Green Onions”: [Excerpt: The Rolling Stones, “Stoned”] That was credited to a group pseudonym, Nanker Phelge — Nanker after a particular face that Jones and Richards enjoyed pulling, and Phelge after a flatmate of several of the band members, James Phelge. As it was an original, by at least some definitions of the term original, it needed publishing, and Easton got the group signed to a publishing company with whom he had a deal, without consulting Oldham about it. When Oldham got back, he was furious, and that was the beginning of the end of Easton’s time with the group. But it was also the beginning of something else, because Oldham had had a realisation — if you’re going to make records you need songs, and you can’t just expect to bump into Lennon and McCartney every time you need a new single. No, the Rolling Stones were going to have to have some originals, and Andrew Loog Oldham was going to make them into writers. We’ll see how that went in a few weeks’ time, when we pick up on their career.  

Episode 108 of A History of Rock Music in Five Hundred Songs looks at “I Wanna Be Your Man” by the Rolling Stones and how the British blues scene of the early sixties was started by a trombone player. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have an eight-minute bonus episode available, on “The Monkey Time” by Major Lance. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ (more…)

Episode 108 of A History of Rock Music in Five Hundred Songs looks at "I Wanna Be Your Man" by the Rolling Stones and how the British blues scene of the early sixties was started by a trombone player. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have an eight-minute bonus episode available, on "The Monkey Time" by Major Lance. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. i used a lot of resources for this episode. Information on Chris Barber comes from Jazz Me Blues: The Autobiography of Chris Barber by Barber and Alyn Shopton. Information on Alexis Korner comes from Alexis Korner: The Biography by Harry Shapiro. Two resources that I've used for this and all future Stones episodes -- The Rolling Stones: All The Songs by Phillipe Margotin and Jean-Michel Guesden is an invaluable reference book, while Old Gods Almost Dead by Stephen Davis is the least inaccurate biography. I've also used Andrew Loog Oldham's autobiography Stoned, and Keith Richards' Life, though be warned that both casually use slurs. This compilation contains Alexis Korner's pre-1963 electric blues material, while this contains the earlier skiffle and country blues music. The live performances by Chris Barber and various blues legends I've used here come from volumes one and two of a three-CD series of these recordings. And this three-CD set contains the A and B sides of all the Stones' singles up to 1971.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to look at a group who, more than any other band of the sixties, sum up what "rock music" means to most people. This is all the more surprising as when they started out they were vehemently opposed to being referred to as "rock and roll". We're going to look at the London blues scene of the early sixties, and how a music scene that was made up of people who thought of themselves as scholars of obscure music, going against commercialism ended up creating some of the most popular and commercial music ever made. We're going to look at the Rolling Stones, and at "I Wanna Be Your Man": [Excerpt: The Rolling Stones, "I Wanna Be Your Man"] The Rolling Stones' story doesn't actually start with the Rolling Stones, and they won't be appearing until quite near the end of this episode, because to explain how they formed, I have to explain the British blues scene that they formed in. One of the things people asked me when I first started doing the podcast was why I didn't cover people like Muddy Waters and Howlin' Wolf in the early episodes -- after all, most people now think that rock and roll started with those artists. It didn't, as I hope the last hundred or so episodes have shown. But those artists did become influential on its development, and that influence happened largely because of one man, Chris Barber. We've seen Barber before, in a couple of episodes, but this, even more than his leading the band that brought Lonnie Donegan to fame, is where his influence on popular music really changes everything. On the face of it, Chris Barber seems like the last person in the world who one would expect to be responsible, at least indirectly, for some of the most rebellious popular music ever made. He is a trombone player from a background that is about as solidly respectable as one can imagine -- his parents were introduced to each other by the economist John Maynard Keynes, and his father, another economist, was not only offered a knighthood for his war work (he turned it down but accepted a CBE), but Clement Atlee later offered him a safe seat in Parliament if he wanted to become Chancellor of the Exchequer. But when the war started, young Chris Barber started listening to the Armed Forces Network, and became hooked on jazz. By the time the war ended, when he was fifteen, he owned records by Louis Armstrong, Bessie Smith, Duke Ellington, Jelly Roll Morton and more -- records that were almost impossible to find in the Britain of the 1940s. And along with the jazz records, he was also getting hold of blues records by people like Cow Cow Davenport and Sleepy John Estes: [Excerpt: Sleepy John Estes, "Milk Cow Blues"] In his late teens and early twenties, Barber had become Britain's pre-eminent traditional jazz trombonist -- a position he held until he retired last year, aged eighty-nine -- but he wasn't just interested in trad jazz, but in all of American roots music, which is why he'd ended up accidentally kick-starting the skiffle craze when his guitarist recorded an old Lead Belly song as a track on a Barber album, as we looked at back in the episode on "Rock Island Line". If that had been Barber's only contribution to British rock and roll, he would still have been important -- after all, without "Rock Island Line", it's likely that you could have counted the number of British boys who played guitar in the fifties and sixties on a single hand. But he did far more than that. In the mid to late fifties, Barber became one of the biggest stars in British music. He didn't have a breakout chart hit until 1959, when he released "Petit Fleur", engineered by Joe Meek: [Excerpt: Chris Barber, "Petit Fleur"] And Barber didn't even play on that – it was a clarinet solo by his clarinettist Monty Sunshine. But long before this big chart success he was a huge live draw and made regular appearances on TV and radio, and he was hugely appreciated among music lovers. A parallel for his status in the music world in the more modern era might be someone like, say, Radiohead -- a band who aren't releasing number one singles, but who have a devoted fanbase and are more famous than many of those acts who do have regular hits. And that celebrity status put Barber in a position to do something that changed music forever. Because he desperately wanted to play with his American musical heroes, and he was one of the few people in Britain with the kind of built-in audience that he could bring over obscure Black musicians, some of whom had never even had a record released over here, and get them on stage with him. And he brought over, in particular, blues musicians. Now, just as there was a split in the British jazz community between those who liked traditional Dixieland jazz and those who liked modern jazz, there was a similar split in their tastes in blues and R&B. Those who liked modern jazz -- a music that was dominated by saxophones and piano -- unsurprisingly liked modern keyboard and saxophone-based R&B. Their R&B idol was Ray Charles, whose music was the closest of the great R&B stars to modern jazz, and one stream of the British R&B movement of the sixties came from this scene -- people like the Spencer Davis Group, Georgie Fame and the Blue Flames, and Manfred Mann all come from this modernist scene. But the trad people, when they listened to blues, liked music that sounded primitive to them, just as they liked primitive-sounding jazz. Their tastes were very heavily influenced by Alan Lomax -- who came to the UK for a crucial period in the fifties to escape McCarthyism -- and they paralleled those of the American folk scene that Lomax was also part of, and followed the same narrative that Lomax's friend John Hammond had constructed for his Spirituals to Swing concerts, where the Delta country blues of people like Robert Johnson had been the basis for both jazz and boogie piano. This entirely false narrative became the received wisdom among the trad scene in Britain, to the extent that two of the very few people in the world who had actually heard Robert Johnson records before the release of the King of the Delta Blues Singers album were Chris Barber and his sometime guitarist and banjo player Alexis Korner. These people liked Robert Johnson, Big Bill Broonzy, Lead Belly, and Lonnie Johnson's early recordings before his later pop success. They liked solo male performers who played guitar. These two scenes were geographically close -- the Flamingo Club, a modern jazz club that later became the place where Georgie Fame and Chris Farlowe built their audiences, was literally across the road from the Marquee, a trad jazz club that became the centre of guitar-based R&B in the UK. And there wasn't a perfect hard-and-fast split, as we'll see -- but it's generally true that what is nowadays portrayed as a single British "blues scene" was, in its early days, two overlapping but distinct scenes, based in a pre-existing split in the jazz world. Barber was, of course, part of the traditional jazz wing, and indeed he was so influential a part of it that his tastes shaped the tastes of the whole scene to a large extent. But Barber was not as much of a purist as someone like his former collaborator Ken Colyer, who believed that jazz had become corrupted in 1922 by the evil innovations of people like Louis Armstrong and Fletcher Henderson, who were too modern for his tastes. Barber had preferences, but he could appreciate -- and more importantly play -- music in a variety of styles. So Barber started by bringing over Big Bill Broonzy, who John Hammond had got to perform at the Spirituals to Swing concerts when he'd found out Robert Johnson was dead. It was because of Barber bringing Broonzy over that Broonzy got to record with Joe Meek: [Excerpt: Big Bill Broonzy, "When Do I Get to Be Called a Man?"] And it was because of Barber bringing Broonzy over that Broonzy appeared on Six-Five Special, along with Tommy Steele, the Vipers, and Mike and Bernie Winters, and thus became the first blues musician that an entire generation of British musicians saw, their template for what a blues musician is. If you watch the Beatles Anthology, for example, in the sections where they talk about the music they were listening to as teenagers, Broonzy is the only blues musician specifically named. That's because of Chris Barber. Broonzy toured with Barber several times in the fifties, before his death in 1958, but he wasn't the only one. Barber brought over many people to perform and record with him, including several we've looked at previously. Like the rock and roll stars who visited the UK at this time, these were generally people who were past their commercial peak in the US, but who were fantastic live performers. The Barber band did recording sessions with Louis Jordan: [Excerpt: Louis Jordan and the Chris Barber band, "Tain't Nobody's Business"] And we're lucky enough that many of the Barber band's shows at the Manchester Free Trade Hall (a venue that would later host two hugely important shows we'll talk about in later episodes) were recorded and have since been released. With those recordings we can hear them backing Sister Rosetta Tharpe: [Excerpt: Sister Rosetta Tharpe and the Chris Barber band, "Peace in the Valley"] Sonny Terry and Brownie McGhee: [Excerpt: Sonny Terry, Brownie McGhee and the Chris Barber band, "This Little Light of Mine"] And others like Champion Jack Dupree and Sonny Boy Williamson. But there was one particular blues musician that Barber brought over who changed everything for British music. Barber was a member of an organisation called the National Jazz Federation, which helped arrange transatlantic musician exchanges. You might remember that at the time there was a rule imposed by the musicians' unions in the UK and the US that the only way for an American musician to play the UK was if a British musician played the US and vice versa, and the National Jazz Federation helped set these exchanges up. Through the NJF Barber had become friendly with John Lewis, the American pianist who led the Modern Jazz Quartet, and was talking with Lewis about what other musicians he could bring over, and Lewis suggested Muddy Waters. Barber said that would be great, but he had no idea how you'd reach Muddy Waters -- did you send a postcard to the plantation he worked on or something? Lewis laughed, and said that no, Muddy Waters had a Cadillac and an agent. The reason for Barber's confusion was fairly straightfoward -- Barber was thinking of Waters' early recordings, which he knew because of the influence of Alan Lomax. Lomax had discovered Muddy Waters back in 1941. He'd travelled to Clarksdale, Mississippi hoping to record Robert Johnson for the Library of Congress -- apparently he didn't know, or had forgotten, that Johnson had died a few years earlier. When he couldn't find Johnson, he'd found another musician, who had a similar style, and recorded him instead. Waters was a working musician who would play whatever people wanted to listen to -- Gene Autry songs, Glenn Miller, whatever -- but who was particularly proficient in blues, influenced by Son House, the same person who had been Johnson's biggest influence. Lomax recorded him playing acoustic blues on a plantation, and those recordings were put out by the Library of Congress: [Excerpt: Muddy Waters, "I Be's Troubled"] Those Library of Congress recordings had been hugely influential among the trad and skiffle scenes -- Lonnie Donegan, in particular, had borrowed a copy from the American Embassy's record-lending library and then stolen it because he liked it so much.  But after making those recordings, Waters had travelled up to Chicago and gone electric, forming a band with guitarist Jimmie Rodgers (not the same person as the country singer of the same name, or the 50s pop star), harmonica player Little Walter, drummer Elgin Evans, and pianist Otis Spann.  Waters had signed to Chess Records, then still named Aristocrat, in 1947, and had started out by recording electric versions of the same material he'd been performing acoustically: [Excerpt: Muddy Waters, "I Can't Be Satisfied"] But soon he'd partnered with Chess' great bass player, songwriter, and producer Willie Dixon, who wrote a string of blues classics both for Waters and for Chess' other big star Howlin' Wolf. Throughout the early fifties, Waters had a series of hits on the R&B charts with his electric blues records, like the great "Hoochie Coochie Man", which introduced one of the most copied blues riffs ever: [Excerpt: Muddy Waters, "Hoochie Coochie Man"] But by the late fifties, the hits had started to dry up. Waters was still making great records, but Chess were more interested in artists like Chuck Berry, Bo Diddley, and the Moonglows, who were selling much more and were having big pop hits, not medium-sized R&B ones. So Waters and his pianist Otis Spann were eager to come over to the UK, and Barber was eager to perform with them. Luckily, unlike many of his trad contemporaries, Barber was comfortable with electric music, and his band quickly learned Waters' current repertoire. Waters came over and played one night at a festival with a different band, made up of modern jazz players who didn't really fit his style before joining the Barber tour, and so he and Spann were a little worried on their first night with the group when they heard these Dixieland trombones and clarinets. But as soon as the group blasted out the riff of "Hoochie Coochie Man" to introduce their guests, Waters and Spann's faces lit up -- they knew these were musicians they could play with, and they fit in with Barber's band perfectly: [Excerpt: Muddy Waters, Otis Spann, and the Chris Barber band, "Hoochie Coochie Man"] Not everyone watching the tour was as happy as Barber with the electric blues though -- the audiences were often bemused by the electric guitars, which they associated with rock and roll rather than the blues. Waters, like many of his contemporaries, was perfectly willing to adapt his performance to the audience, and so the next time he came over he brought his acoustic guitar and played more in the country acoustic style they expected. The time after that he came over, though, the audiences were disappointed, because he was playing acoustic, and now they wanted and expected him to be playing electric Chicago blues. Because Muddy Waters' first UK tour had developed a fanbase for him, and that fanbase had been cultivated and grown by one man, who had started off playing in the same band as Chris Barber. Alexis Korner had started out in the Ken Colyer band, the same band that Chris Barber had started out in, as a replacement for Lonnie Donegan when Donegan was conscripted. After Donegan had rejoined the band, they'd played together for a while, and the first ever British skiffle group lineup had been Ken and Bill Colyer, Korner, Donegan, and Barber. When the Colyers had left the group and Barber had taken it over, Korner had gone with the Colyers, mostly because he didn't like the fact that Donegan was introducing country and folk elements into skiffle, while Korner liked the blues. As a result, Korner had sung and played on the very first ever British skiffle record, the Ken Colyer group's version of "Midnight Special": [Excerpt: The Ken Colyer Skiffle Group, "Midnight Special"] After that, Korner had also backed Beryl Bryden on some skiffle recordings, which also featured a harmonica player named Cyril Davies: [Excerpt: Beryl Bryden Skiffle Group, "This Train"] But Korner and Davies had soon got sick of skiffle as it developed -- they liked the blues music that formed its basis, but Korner had never been a fan of Lonnie Donegan's singing -- he'd even said as much in the liner notes to an album by the Barber band while both he and Donegan were still in the band -- and what Donegan saw as eclecticism, including Woody Guthrie songs and old English music-hall songs, Korner saw as watering down the music. Korner and Donegan had a war of words in the pages of Melody Maker, at that time the biggest jazz periodical in Britain. Korner started with an article headlined "Skiffle is Piffle", in which he said in part: "It is with shame and considerable regret that I have to admit my part as one of the originators of the movement...British skiffle is, most certainly, a commercial success. But musically it rarely exceeds the mediocre and is, in general, so abysmally low that it defies proper musical judgment". Donegan replied pointing out that Korner was playing in a skiffle group himself, and then Korner replied to that, saying that what he was doing now wasn't skiffle, it was the blues. You can judge for yourself whether the “Blues From the Roundhouse” EP, by Alexis Korner's Breakdown Group, which featured Korner, Davies on guitar and harmonica, plus teachest bass and washboard, was skiffle or blues: [Excerpt: Alexis Korner's Breakdown Group, "Skip to My Lou"] But soon Korner and Davies had changed their group's name to Blues Incorporated, and were recording something that was much closer to the Delta and Chicago blues Davies in particular liked. [Excerpt: Alexis Korner's Blues Incorporated feat. Cyril Davies, "Death Letter"] But after the initial recordings, Blues Incorporated stopped being a thing for a while, as Korner got more involved with the folk scene. At a party hosted by Ramblin' Jack Elliot, he met the folk guitarist Davey Graham, who had previously lived in the same squat as Lionel Bart, Tommy Steele's lyricist, if that gives some idea of how small and interlocked the London music scene actually was at this time, for all its factional differences. Korner and Graham formed a guitar duo playing jazzy folk music for a while: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] But in 1960, after Chris Barber had done a second tour with Muddy Waters, Barber decided that he needed to make Muddy Waters style blues a regular part of his shows. Barber had entered into a partnership with an accountant, Harold Pendleton, who was secretary of the National Jazz Federation. They co-owned a club, the Marquee, which Pendleton managed, and they were about to start up an annual jazz festival, the Richmond festival, which would eventually grow into the Reading Festival, the second-biggest rock festival in Britain. Barber had a residency at the Marquee, and he wanted to introduce a blues segment into the shows there. He had a singer -- his wife, Ottilie Patterson, who was an excellent singer in the Bessie Smith mould -- and he got a couple of members of his band to back her on some Chicago-style blues songs in the intervals of his shows. He asked Korner to be a part of this interval band, and after a little while it was decided that Korner would form the first ever British electric blues band, which would take over those interval slots, and so Blues Incorporated was reformed, with Cyril Davies rejoining Korner. The first time this group played together, in the first week of 1962, it was Korner on electric guitar, Davies on harmonica, and Chris Barber plus Barber's trumpet player Pat Halcox, but they soon lost the Barber band members. The group was called Blues Incorporated because they were meant to be semi-anonymous -- the idea was that people might join just for a show, or just for a few songs, and they never had the same lineup from one show to the next. For example, their classic album R&B From The Marquee, which wasn't actually recorded at the Marquee, and was produced by Jack Good, features Korner, Davies, sax player Dick Heckstall-Smith, Keith Scott on piano, Spike Heatley on bass, Graham Burbridge on drums, and Long John Baldry on vocals: [Excerpt: Blues Incorporated, "How Long How Long Blues"] But Burbridge wasn't their regular drummer -- that was a modern jazz player named Charlie Watts. And they had a lot of singers. Baldry was one of their regulars, as was Art Wood (who had a brother, Ronnie, who wasn't yet involved with these players). When Charlie quit the band, because it was taking up too much of his time, he was replaced with another drummer, Ginger Baker. When Spike Heatley left the band, Dick Heckstall-Smith brought in a new bass player, Jack Bruce. Sometimes a young man called Eric Clapton would get up on stage for a number or two, though he wouldn't bring his guitar, he'd just sing with them. So would a singer and harmonica player named Paul Jones, later the singer with Manfred Mann, who first travelled down to see the group with a friend of his, a guitarist named Brian Jones, no relation, who would also sit in with the band on guitar, playing Elmore James numbers under the name Elmo Lewis. A young man named Rodney Stewart would sometimes join in for a number or two. And one time Eric Burdon hitch-hiked down from Newcastle to get a chance to sing with the group. He jumped onto the stage when it got to the point in the show that Korner asked for singers from the audience, and so did a skinny young man. Korner diplomatically suggested that they sing a duet, and they agreed on a Billy Boy Arnold number. At the end of the song Korner introduced them -- "Eric Burdon from Newcastle, this is Mick Jagger". Mick Jagger was a middle-class student, studying at the London School of Economics, one of the most prestigious British universities. He soon became a regular guest vocalist with Blues Incorporated, appearing at almost every show. Soon after, Davies left the group -- he wanted to play strictly Chicago style blues, but Korner wanted to play other types of R&B. The final straw for Davies came when Korner brought in Graham Bond on Hammond organ -- it was bad enough that they had a saxophone player, but Hammond was a step too far. Sometimes Jagger would bring on a guitar-playing friend for a song or two -- they'd play a Chuck Berry song, to Davies' disapproval. Mick Jagger and Keith Richards had known each other at primary school, but had fallen out of touch for years. Then one day they'd bumped into each other at a train station, and Richards had noticed two albums under Jagger's arm -- one by Muddy Waters and one by Chuck Berry, both of which he'd ordered specially from Chess Records in Chicago because they weren't out in the UK yet. They'd bonded over their love for Berry and Bo Diddley, in particular, and had soon formed a band themselves, Little Boy Blue and the Blue Boys, with a friend, Dick Taylor, and had made some home recordings of rock and roll and R&B music: [Excerpt: Little Boy Blue and the Blue Boys, "Beautiful Delilah"] Meanwhile, Brian Jones, the slide player with the Elmore James obsession, decided he wanted to create his own band, who were to be called The Rollin' Stones, named after a favourite Muddy Waters track of his. He got together with Ian Stewart, a piano player who answered an ad in Jazz News magazine. Stewart had very different musical tastes to Jones -- Jones liked Elmore James and Muddy Waters and Howlin' Wolf and especially Jimmy Reed, and very little else, just electric Chicago blues. Stewart was older, and liked boogie piano like Albert Ammons and Pete Johnson, and jump band R&B like Wynonie Harris and Louis Jordan, but he could see that Jones had potential. They tried to get Charlie Watts to join the band, but he refused at first, so they played with a succession of other drummers, starting with Mick Avory. And they needed a singer, and Jones thought that Mick Jagger had genuine star potential. Jagger agreed to join, but only if his mates Dick and Keith could join the band. Jones was a little hesitant -- Mick Jagger was a real blues scholar like him, but he did have a tendency to listen to this rock and roll nonsense rather than proper blues, and Keith seemed even less of a blues purist than that. He probably even listened to Elvis. Dick, meanwhile, was an unknown quantity. But eventually Jones agreed -- though Richards remembers turning up to the first rehearsal and being astonished by Stewart's piano playing, only for Stewart to then turn around to him and say sarcastically "and you must be the Chuck Berry artist". Their first gig was at the Marquee, in place of Blues Incorporated, who were doing a BBC session and couldn't make their regular gig. Taylor and Avory soon left, and they went through a succession of bass players and drummers, played several small gigs, and also recorded a demo, which had no success in getting them a deal: [Excerpt: The Rollin' Stones, "You Can't Judge a Book By its Cover"] By this point, Jones, Richards, and Jagger were all living together, in a flat which has become legendary for its squalour. Jones was managing the group (and pocketing some of the money for himself) and Jones and Richards were spending all day every day playing guitar together, developing an interlocking style in which both could switch from rhythm to lead as the song demanded. Tony Chapman, the drummer they had at the time, brought in a friend of his, Bill Wyman, as bass player -- they didn't like him very much, he was older than the rest of them and seemed to have a bad attitude, and their initial idea was just to get him to leave his equipment with them and then nick it -- he had a really good amplifier that they wanted -- but they eventually decided to keep him in the band.  They kept pressuring Charlie Watts to join and replace Chapman, and eventually, after talking it over with Alexis Korner's wife Bobbie, he decided to give it a shot, and joined in early 1963. Watts and Wyman quickly gelled as a rhythm section with a unique style -- Watts would play jazz-inspired shuffles, while Wyman would play fast, throbbing, quavers. The Rollin' Stones were now a six-person group, and they were good. They got a residency at a new club run by Giorgio Gomelsky, a trad jazz promoter who was branching out into R&B. Gomelsky named his club the Crawdaddy Club, after the Bo Diddley song that the Stones ended their sets with. Soon, as well as playing the Crawdaddy every Sunday night, they were playing Ken Colyer's club, Studio 51, on the other side of London every Sunday evening, so Ian Stewart bought a van to lug all their gear around. Gomelsky thought of himself as the group's manager, though he didn't have a formal contract, but Jones disagreed and considered himself the manager, though he never told Gomelsky this. Jones booked the group in at the IBC studios, where they cut a professional demo with Glyn Johns engineering, consisting mostly of Bo Diddley and Jimmy Reed songs: [Excerpt: The Rollin' Stones, "Diddley Daddy"] Gomelsky started getting the group noticed. He even got the Beatles to visit the club and see the group, and the two bands hit it off -- even though John Lennon had no time for Chicago blues, he liked them as people, and would sometimes pop round to the flat where most of the group lived, once finding Mick and Keith in bed together because they didn't have any money to heat the flat. The group's live performances were so good that the Record Mirror, which as its name suggested only normally talked about records, did an article on the group. And the magazine's editor, Peter Jones, raved about them to an acquaintance of his, Andrew Loog Oldham. Oldham was a young man, only nineteen, but he'd already managed to get himself a variety of jobs around and with famous people, mostly by bluffing and conning them into giving him work. He'd worked for Mary Quant, the designer who'd popularised the miniskirt, and then had become a freelance publicist, working with Bob Dylan and Phil Spector on their trips to the UK, and with a succession of minor British pop stars. Most recently, he'd taken a job working with Brian Epstein as the Beatles' London press agent. But he wanted his own Beatles, and when he visited the Crawdaddy Club, he decided he'd found them. Oldham knew nothing about R&B, didn't like it, and didn't care -- he liked pure pop music, and he wanted to be Britain's answer to Phil Spector. But he knew charisma when he saw it, and the group on stage had it. He immediately decided he was going to sign them as a manager. However, he needed a partner in order to get them bookings -- at the time in Britain you needed an agent's license to get bookings, and you needed to be twenty-one to get the license. He first offered Brian Epstein the chance to co-manage them -- even though he'd not even talked to the group about it. Epstein said he had enough on his plate already managing the Beatles, Gerry and the Pacemakers, and his other Liverpool groups. At that point Oldham quit his job with Epstein and looked for another partner. He found one in Eric Easton, an agent of the old school who had started out as a music-hall organ player before moving over to the management side and whose big clients were Bert Weedon and Mrs. Mills, and who was letting Oldham use a spare room in his office as a base. Oldham persuaded Easton to come to the Crawdaddy Club, though Easton was dubious as it meant missing Sunday Night at the London Palladium on the TV, but Easton agreed that the group had promise -- though he wanted to get rid of the singer, which Oldham talked him out of. The two talked with Brian Jones, who agreed, as the group's leader, that they would sign with Oldham and Easton. Easton brought traditional entertainment industry experience, while Oldham brought an understanding of how to market pop groups. Jones, as the group's leader, negotiated an extra five pounds a week for himself off the top in the deal. One piece of advice that Oldham had been given by Phil Spector and which he'd taken to heart was that rather than get a band signed to a record label directly, you should set up an independent production company and lease the tapes to the label, and that's what Oldham and Easton did. They formed a company called Impact, and went into the studio with the Stones and recorded the song they performed which they thought had the most commercial potential, a Chuck Berry song called "Come On" -- though they changed Berry's line about a "stupid jerk" to being about a "stupid guy", in order to make sure the radio would play it: [Excerpt: The Rolling Stones, "Come On"] During the recording, Oldham, who was acting as producer, told the engineer not to mic up the piano. His plans didn't include Ian Stewart. Neither the group nor Oldham were particularly happy with the record -- the group because they felt it was too poppy, Oldham because it wasn't poppy enough. But they took the recording to Decca Records, where Dick Rowe, the man who had turned down the Beatles, eagerly signed them. The conventional story is that Rowe signed them after being told about them by George Harrison, but the other details of the story as it's usually told -- that they were judging a talent contest in Liverpool, which is the story in most Stones biographies, or that they were appearing together on Juke Box Jury, which is what Wikipedia and articles ripped off from Wikipedia say -- are false, and so it's likely that the story is made up. Decca wanted the Stones to rerecord the track, but after going to another studio with Easton instead of Oldham producing, the general consensus was that the first version should be released. The group got new suits for their first TV appearance, and it was when they turned up to collect the suits and found there were only five of them, not six, that Ian Stewart discovered Oldham had had him kicked out of the group, thinking he was too old and too ugly, and that six people was too many for a pop group. Stewart was given the news by Brian Jones, and never really forgave either Jones or Oldham, but he remained loyal to the rest of the group. He became their road manager, and would continue to play piano with them on stage and in the studio for the next twenty-two years, until his death -- he just wasn't allowed in the photos or any TV appearances.  That wasn't the only change Oldham made -- he insisted that the group be called the Rolling Stones, with a g, not Rollin'. He also changed Keith Richards' surname, dropping the s to be more like Cliff, though Richards later changed it back again. "Come On" made number twenty-one in the charts, but the band were unsure of what to do as a follow-up single. Most of their repertoire consisted of hard blues songs, which were unlikely to have any chart success. Oldham convened the group for a rehearsal and they ran through possible songs -- nothing seemed right. Oldham got depressed and went out for a walk, and happened to bump into John Lennon and Paul McCartney. They asked him what was up, and he explained that the group needed a song. Lennon and McCartney said they thought they could help, and came back to the rehearsal studio with Oldham. They played the Stones an idea that McCartney had been working on, which they thought might be OK for the group. The group said it would work, and Lennon and McCartney retreated to a corner, finished the song, and presented it to them. The result became the Stones' second single, and another hit for them, this time reaching number twelve. The second single was produced by Easton, as Oldham, who is bipolar, was in a depressive phase and had gone off on holiday to try to get out of it: [Excerpt: The Rolling Stones, "I Wanna Be Your Man"] The Beatles later recorded their own version of the song as an album track, giving it to Ringo to sing -- as Lennon said of the song, "We weren't going to give them anything great, were we?": [Excerpt: The Beatles, "I Wanna Be Your Man"] For a B-side, the group did a song called "Stoned", which was clearly "inspired" by "Green Onions": [Excerpt: The Rolling Stones, "Stoned"] That was credited to a group pseudonym, Nanker Phelge -- Nanker after a particular face that Jones and Richards enjoyed pulling, and Phelge after a flatmate of several of the band members, James Phelge. As it was an original, by at least some definitions of the term original, it needed publishing, and Easton got the group signed to a publishing company with whom he had a deal, without consulting Oldham about it. When Oldham got back, he was furious, and that was the beginning of the end of Easton's time with the group. But it was also the beginning of something else, because Oldham had had a realisation -- if you're going to make records you need songs, and you can't just expect to bump into Lennon and McCartney every time you need a new single. No, the Rolling Stones were going to have to have some originals, and Andrew Loog Oldham was going to make them into writers. We'll see how that went in a few weeks' time, when we pick up on their career.  

Episode 108 of A History of Rock Music in Five Hundred Songs looks at “I Wanna Be Your Man” by the Rolling Stones and how the British blues scene of the early sixties was started by a trombone player. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have an eight-minute bonus episode available, on “The Monkey Time” by Major Lance. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ (more…)

Eroottista taidetta, junaryöstöjä, väkivaltaisia menneisyyden salaisuuksia, päihdeongelmia ja rakkautta! Tätä kaikkea on luvassa kun Sami Ruokangas ja Pauli Kauppila käsittelevät Cochise-bändiä 70-luvulta ja Jason Isbelliä nykyajasta. Yhteistä näillä artisteilla on, että ne liikkuvat kantrin ja rockin rajamaastossa. Jutuissa ovat mukana myös B.J. Cole, The Pretty Things, Foreigner, Bad Company, David Gilmour, Elton John, Pink Floyd, Procol Harum, Dick Taylor, Mick Taylor, Rolling Stones, Rick Wills, John ”Willie” Wilson, Mick Grabham, Flying Burrito Brothers, Peter Grant, Led Zeppelin, Depeche Mode, Uriah Heep, Ken Hensley, Stewart Brown, Jim Morrison, Ken Burns, Drive-By Truckers, Shonna Tucker, Amanda Shires, Lynyrd Skynyrd, Neil Young, Ronnie Van Zant, Pearl Jam ja Crazy Horse. Jakson soittolista: https://open.spotify.com/playlist/4VEscqOoI5oHwMjAkI7cTN?si=obIrJrBaRbWK2fAzPP_OgA

09.15.20 - Dick Taylor - Replay of sermon 7.4.1993 - The Same Old Way by Sermons from the Apostolic Faith Church of Portland, Oregon

The cheese nerds talk cheese and chocolate with Adam Dick of local craft chocolate company Dick Taylor. Listen as they discuss Cypress Grove's new Chipotle Cacao Cheese, featuring Dick Taylor dark chocolate. And of course, it wouldn't be a Cheese the Day episode without plenty of mouthwatering cheese recommendations.

Brothers & Sisters.....A giant of British R&B, Blues and Psych has assumed room temperature...the great Phil May of The Pretty Things has passed.....This is an internet broadcast of S.F. Sorrow performed at Abbey Road Studios on September 6th 1998.The Performers are:*Phil May_vocals*Dick Taylor_lead guitar & vocals*John Povey_ all keyboards, vocals, percussion, sitar*Wally Waller_bass * vocals*Skip Allen_drums & percussionSupporting musicians:*David Gilmour_guitar*Arthur Brown_narrator*Dov Skipper_drums & percussion*Frankie Richard_guitar / acoustic*Mark St. John_percussion / vocalsFrom the pen of Phil May....."Excuse me please as I wipe a tear away from an eye...." It's sometime after 10:30pm on Sunday 6th September ' 98. I'm in the artist suite at the Abbey Road Studios, London, that deceptive Victorian edifice that at some point in the mid 1960'sbecame the second Liverpool cathedral. As the first ever live performance of S.F. Sorrow fades away down these hallowed corridors the memories kick in. Twist, Shout, Help soaked deep into the brickwork. 1967, Beatles on one side, Pink Floyd on the other and with Norman Smith as fellow traveller we are incarcerated here for almost a year in Studio 2 turning a short story of mine into the first 'rock opera', S.F. Sorrow. Fuelled on acid, night bleeding into day we worked on an idea and a direction that we hoped would give us a reason for staying on and playing on in a business that had become narrow and stale. That's the past, the present has just happened. After the big hand has swept across 30 rainbow years, the original cast reassembled with Mark St John in place of Norman Smith plus added family and friends. Tonight we finally got through the universal communication of the internet, to dot the I's and cross the T's....scatter the seeds with Bracelets of Fingers and in front of an audience made up of a scrapbook of faces from the journey performed S. F. Sorrow live. From Studio 2 there came the cry.....Phil May, Nottinghill Sept. '98

Dick Taylor joins to discuss his Honor Walk experience for his late wife Linda as April is National Donate Life Month. 4-21-2020 Pat Miller Program

Shelton Mason County Chamber of CommerceNorth Mason Chamber of CommercePort of Shelton

Comenzamos un nuevo capítulo de Rock is here, el podcast que te lleva a recorrer los lugares emblemáticos del rock en Londres. Hoy vamos a visitar el sitio donde se formaron los Rolling Stones: Broadwick Street.En el número 7 de Broadwick Street, en pleno Soho londinense, funciona una simpática disquería que se llama Sounds of the Universe. Es el edificio de la esquina, de dos pisos con ladrillos a la vista, que además, tiene un valor clave en la historia del rock: es el sitio donde Brian Jones probó a Keith Richards para incorporarlo a su grupo, que ya contaba con el pianista Ian Stewart y que al poco tiempo se bautizaría The Rolling Stones.Cuentan que al primero que Richards encontró en el lugar fue a Ian Stewart y que se llevaron muy bien de entrada. En ese mismo lugar concretaron los primeros ensayos, a los que se fueron incorporando el bajista Dick Taylor y Mick Jagger. Tiempo después, propusieron a Stewart que convenciera al baterista de la banda Blues Incorporated para que se uniera a ellos. Un tal Charlie Watts.Richards y Jagger conocían a Brian Jones por haberlo visto en el Ealing Jazz Club como parte de la banda de Alexis Korner. A su vez, hay que recordar que habían sido compañeros de colegio primario, en Kent. Sus familias se mudaron de ciudad y aunque perdieron contacto, se volvieron a encontrar varios años después en la estación de trenes de Dartford. Pero esa historia quedará para otro episodio de este podcast.Broadwick Street es una callecita angosta a cuatro cuadras de Soho Square Gardens y a unos 10 minutos caminando desde Trafalgar Square. Sounds of the Universe se especializa no solamente de los últimos lanzamientos, sino principalmente en una gran selección de reggae, disco, funk y música del mundo, tanto en CD como en vinilo.Y para cerrar, la canción con la que los Stones debutarían discográficamente. Un cover original de Chuck Berry, reversionado y editado como el primer simple de la banda, en junio de 1963: “Come on”.Tracklist:"You better move on""I wanna be your man""Time is on my side""Not fade away""It's all over now""Come on"

Brainy Thing:  23:31     Behind the Redwood Curtain:  34:16   What We Learned from Our Knitting Catherine has found the perfect combination of yarn, needles and pattern in the Baker’s Street Scarf https://www.ravelry.com/patterns/library/baker-street-scarf  by Joan of Dark  and on Knitty http://knitty.com/ISSUEff15/index.php.   She used Brittany birchwood needles and Blue Moon Fiber Company’s yarn in the Evermore colorway.     Margaret is proclaiming Sarah Schira the Queen of the gnomes after  investigation into gnome-dom.    https://www.ravelry.com/patterns/search#query=sarah%20schira&sort=best&view=captioned_thumbs&page=1  Margaret knit two of them for gifts and is joining Sarah’s newest mystery knit-a-long for Gnemo:  https://www.ravelry.com/patterns/library/gnome-is-where-you-hang-your-hat.   There are scores, maybe hundred of other gnome options.  Margaret mentions the Jolly Wee Elf by Churchmouse Yarns and Teas https://www.ravelry.com/patterns/library/jolly-wee-elf    She also knit one of the five designs in Holiday Trees pattern by Yellow Cosmo. https://www.ravelry.com/patterns/library/holiday-trees-2  She bought the kit on Bluprint and used its Cloudborn Superwash in dark green and white.    Brainy Thing: Chocolate just doesn’t taste good, it has a host of natural chemicals that are good for our bodies and minds and she’ll reveal the secret of why it is a particularly good choice for Valentine Days Gifts.     Behind the Redwood Curtain: We visit a boutique craft chocolate company in Humboldt, Dick Taylor,  that ships all over the world. (We got to sample all of their products.)    If you want to join Sara Schira’s gnome-a-long  that starts February 12, check this out:   https://www.ravelry.com/patterns/library/gnome-is-where-you-hang-your-hat.    

I recently had the opportunity to speak with Phil May from the band, The Pretty Things. One of the most influential people in rock history, and you've probably never heard of him. Phil May founded The Pretty Things with Dick Taylor in 1963. He founded the group with Dick Taylor who had previously been in Little Boy Blue And The Blue Boys with Mick Jagger. That group would eventually become The Rolling Stones and the group that Taylor and May started, The Pretty Things. The Pretty Things were born in an era in which rock music was still something risqué.  This would pose a problem for the band as they became the first British band to get busted for drug possession.  In an era in which parents were already weary about letting their kids listen to The Beatles, The Pretty Things were something parents definitely didn't want their kids to listen to. The band would undergo numerous changes throughout their history.  They had 33 members over the years and the band went through numerous artistic changes as rock music evolved between 1963 and 2019. They evolved from rhythm-and-blues to psychedelic to a more traditional ‘classic rock'. Interestingly, the band was banned from New Zealand for their corrupting influence on youths, according to May. Their first foray into psychedelic was with the world's first rock opera, S. F. Sorrow. An album that clearly influenced The Who's Pete Townsend, although he will refute that, there is a clear influence if you listen to both albums. I often remark on their influence as even superstars such as David Bowie was a huge Pretty Things fan, covering two of their songs on his album Pin Ups. When you look at The Pretty Things' catalog of work, you may start to wonder why you haven't heard of them — especially if you're savvy in classic rock.  There are a few reasons why, and we delve into those in this podcast, but it boils down to the industry focusing on commerce over innovation.  This is a natural byproduct of business as it intersects with art.  The band wanted to try new things, make great music, and not be confined to making albums that sounded like their previous releases.  This presented a problem for labels, who were focused intently on their ROI. The band remained strong and continued to release albums, even despite this.  The band did recently put on a farewell show, The Final Bow, with special guests like David Gilmour and Van Morrison. You can purchase the vinyl and DVD combo from Burning Shed. Check out the podcast to learn more about the band and one of rock-and-roll's most interesting stories!

Juha Kakkuri ja Sami Ruokangas puhuvat Rolling Stonesin viime aikain kuulumisista. Esillä on myös The Pretty Things, jossa soittava oli Dick Taylor oli myös Stonesin basisti aikoinaan.

In this chocolate podcast episode, Deanna Dick of Dick Taylor Chocolate talks about how a humble Humboldt County chocolate brand became an internationally known leader in craft chocolate in under a decade.

The Economy of God Revealed in the Book of Ephesians / 2012

The All-inclusive, Life-giving, Compound, Sevenfold Intensified Spirit of Jesus Christ / 2012

Who is Jack Berry? He's a long time dear friend of mine. He was a Sports Writer with the Detroit New for many years. He was awarded the 2007 PGA Lifetime Achievement Award in Journalism. He watched me grow up as a pretty good Junior Golfer in Michigan in the 60'-70's. Wrot some nice things about me and I love that he ran in our Emily Detroit Run's in the 70'-80'. I took this story about Jack off the Golf Wire from 2007. What a career he has had and he is still very active with his writing and video story telling in many ways including with my good friend Art McCafferty's GLSP Michigan Golfer. Jack Berry, the 2007 PGA Lifetime Achievement Award in Journalism,was the 18th individual to be recognized with this Award. The award honors members of the media for their steadfast promotion of golf.In 1945, the year the Detroit Tigers beat the Chicago Cubs in the World Series Jack Berry's father was the Detroit Tigers Traveling Secretary. PALM BEACH GARDENS, Fla. – Jack Berry, of W. Bloomfield, Mich., whose five decades of reporting featured more than 70 of golf’s major Championships, as well as the promotion of the PGA Professional, has been named recipient of the 2007 PGA Lifetime Achievement Award in Journalism. Berry is the 18th individual to be recognized with this Award. Berry, 75, will be honored April 4, 2007, at the 35th Golf Writers Association of America Annual Spring Dinner and Awards Ceremony at the Savannah Rapids Pavilion in Augusta, Ga. "It is with a great deal of pride that The PGA of America presents this award to Jack Berry, a professional who has enlightened us all by both his attention to detail and wit, and has captured the best in the game of golf in his work," said PGA of America President Brian Whitcomb. "Mr. Berry has spent his journalistic career covering the landmark events, but he also has been a tireless servant of the game by promoting local golf and elevating the PGA Professional’s vocation to the general public." Born in Detroit, Berry began a lifelong love affair with sports as a baseball fan, following his father, Clair, who was the traveling secretary for the Detroit Tigers. Jack Berry picked up a golf club, his father’s wooden-shaft driver, for the first time in high school. He learned the game through the late PGA Professional Chet Jawor, who was PGA head professional for Detroit’s six municipal golf courses. "I soon became a big fan of the PGA Professional," said Berry. "I always liked what they did for the game and all were good guys and completely different than the Tour professional. I was fortunate that the two newspapers where I worked (Detroit Free Press and Detroit News) had a good tradition of local golf coverage. I enjoyed the opportunity to work with people in the community in covering golf. I am very honored to receive this Award, considering those who have preceded me." Berry attended Marquette University from 1949-1951, and also served two years in the U.S. Army from 1952-54. Upon his discharge, he finished his college education and graduated from Michigan State University in 1956. His journalism career began as a correspondent for United Press (1956-59), where he distinguished himself through his versatility, covering professional and local sports as the wire service’s sports editor for the state of Michigan. Berry joined the Detroit Free Press in 1959, and spent the next 12 years on the sports staff. He marked his first Tour event when he covered the 1958 Buick Open in Grand Blanc, Mich. His professional sports "beat" featured the Detroit Red Wings of the then-six-team National Hockey League; and he marked his first major Championship in 1961, at the U.S. Open at Oakland Hills Country Club in Bloomfield Township, Mich. Berry joined the Detroit News in 1971, and remained its premier golf writer through 1993, during which time he developed a relationship with Michigan PGA Professionals and the Free Press Junior Golf Program, which collaborated with the Detroit Recreation Department. It is a program "that was a forerunner to today’s First Tee in providing opportunities for young people to join the game," said Berry. In 1984, Berry was named the 27th president of the Golf Writers Association of America, making him the second journalist from the Detroit News (preceded by John Walter in 1958-59) to hold that position. Berry also served as GWAA secretary-treasurer from 1990-98. Following his Detroit News’ career, Berry became one of the most prolific golf freelance writers, with columns and features appearing in PGA Magazine, Chicagoland Golf and the Michigan Golfer. He is the recipient of the 1997 Golf Association of Michigan Distinguished Service Award. In 2003, he became the second journalist inducted into the Michigan Golf Hall of Fame, joining the late Walter. Among the members of the Michigan Hall of Fame are legendary five-time PGA Champion and founding PGA member Walter Hagen, and 1953 PGA Champion Walter Burkemo. Berry marked the 1986 Masters, when Jack Nicklaus conquered Augusta National Golf Club at age 46, as not only his most memorable golf event as a reporter, but also a defining moment in his life. Berry nearly died following the Masters. He was stricken with acute viral myocarditis two weeks earlier at the Players Championship. After enduring great pain and energy loss during the Masters, he arrived home to enter the emergency room of the local hospital. "I arrived with heart, liver and kidney failure, and in shock," said Berry. "I almost made the final six-footer." Some two years later, Berry’s recovery was complete, as he competed in the New York City Marathon. His reporting has also ventured into horse racing, where he chronicled Secretariat’s path to the 1973 Triple Crown; to Super Bowl VII, where the Miami Dolphins became the NFL’s first and only unbeaten championship team at the Los Angeles Memorial Coliseum in 1973; and to Lake Placid, N.Y., where the 1980 United States Olympic Hockey Team upset the squad from the former Soviet Union in the famous "Miracle on Ice." The PGA Lifetime Achievement Award in Journalism, first presented in 1989, honors members of the media for their steadfast promotion of golf. Past Award winners include: Dick Taylor, Herbert Warren Wind, Jim Murray, Frank Chirkinian, Bob Green, Dan Jenkins, Furman Bisher, Jack Whitaker, Dave Anderson, Ken Venturi, Jim McKay, Kaye Kessler, Nick Seitz, Renton Laidlaw, Bob Verdi, Al Barkow and Ron Green Sr. The Award selection committee is composed of representatives from The PGA of America, PGA Tour, USGA, LPGA Tour, Champions Tour, European Tour, Golf Superintendents Association of America, National Golf Course Owners Association, American Society of Golf Course Architects, National Golf Foundation and past recipients.

New technology: bad for radio?   Automation Killed The Radio Star (https://dicktaylorblog.com/2018/11/04/automation-killed-the-radio-star/) , says the latest blog from Dick Taylor, a US radio writer.   Two things about this.   The first is the use of a lazy Buggles headline. Radio is still very much alive, with 9 out of 10 people in most large countries listening every week. Nothing has killed anything.   I collect lazy Buggles headlines. The song was, of course, the first song to be played by MTV, back in the days when it played music instead of vapid reality television shows. Amusingly, radio outlasted MTV.   Every time we repeat a “killed the radio star” headline, we reinforce the thought that radio is, in some way, in trouble. It isn’t. For parts of the US population, radio is more popular than television!   The other part of Dick’s blog post that I disagree with is the finger-pointing at technology - in this case, automation.   It takes people to use, or misuse, any form of technology. Technology, by itself, isn’t capable of being good or bad.   The postal service is not a bad thing, just because occasionally people send bad things through it, after all.   Automation is capable of getting the best out of your programming. It’s capable of a warm friendly voice overnight, instead of a tone or piped-in programming from the other side of the world.   Automation is capable of polish and tweaks that were impossible in the age of cart machines and turntables.   Poor automation is poor radio, granted - but we’d be foolish to claim that all automation is poor.   New technology, used well, has the potential of delighting our audience, and out of that, bringing ratings and revenue. Used badly, it can have the opposite effect.   But, as is hopefully relatively clear, I’m a fan of what new technology can bring to radio. Including automation.   If anything killed the radio star, it’s the humans who used automation badly. Perhaps radio needs less of those types of humans. Support the show. (https://www.patreon.com/radiofuturologist) This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

01.30.18 - Replay of sermon by Dick Taylor 2.8.1983 - An Unencumbered Faith by Sermons from the Apostolic Faith Church of Portland, Oregon

OUR NEWEST SHOW FROM NOT OLD BETTER:  MUSIC TODAY Happy Bday Mick Jagger, a new dad! Mick Jagger is 73! As the lead singer of the Rolling Stones, Mick Jagger has become a rock legend for his gritty, blues-influenced songs and charismatic stage presence. Born Michael Phillip Jagger on July 26, 1943, in Dartford, England, Mick Jagger, the lead singer of the Rolling Stones, has become a rock legend, delighting fans for more than four decades. Leaving the London School of Economics to start a band with Keith Richards, Jagger took the Rolling Stones to the top of the music world with major hits like "(I Can't Get No) Satisfaction," "Angie" and "Miss You," propelling the band and himself to a status unknown by most performers. The oldest son of a teacher and a homemaker, Jagger was a good student and popular among his classmates. He developed an interest in American blues and R&B music at an early age and got his first guitar at 14. As a teenager, Jagger started collecting blues records from the likes of Muddy Waters and Howlin' Wolf. He and his friend Dick Taylor soon started a band together called Little Boy Blue and the Blue Boys with Jagger as its singer. In 1960, Jagger was accepted to the London School of Economics. He lived at home and commuted into the city to attend classes. Also working on his band, Jagger soon added a new member, guitarist Keith Richards. The two had known each other growing up in Dartford. Exploring London's emerging blues scene together, Jagger and Richards spent some time at the Ealing Club. There they saw Alexis Korner's Blues Incorporated play and were wowed by guitarist Brian Jones,  who made guest appearances with the group. After a while, Jagger also appeared as a guest vocalist with Blues Incorporated. Jagger is a father of seven children. He has a daughter with actress Marsha Hunt. Jagger was married to Bianca Perez Moreno de Macias, with whom he has a daughter. In 1990, Jagger wed longtime girlfriend, model Jerry Hall. They had four children together. In July 2016, news broke that Jagger was going to be a father again at the age of 73. Happy birthday, Mick. Enjoy this archival video interview with Mick and Stones.

Phil May and Dick Taylor from the seminal Pretty Things join Eddie & Dean for May's edition of The Modcast. Listen in to win a signed vinyl or CD of the new Pretty Things album.

In part 2 of a 2-part interview, Adam Dick of Dick Taylor Chocolates talks about making chocolate from bean to bar. Produced and hosted by Jennifer Bell, khsu.org

In part 1 of a 2-part interview, Adam Dick of Dick Taylor Chocolates talks about making chocolate from bean to bar. Produced and hosted by Jennifer Bell, khsu.org

Mix de alguno de los mas conocidos temas de The Rolling Stones & Mick Jagger, todo remezclas The Rolling Stones es una banda británica de rock originaria de Londres. Desde su gira por los Estados Unidos en 1969 se autodenominaron «la banda de rock and roll más grande del mundo».La banda se fundó en abril de 19623 por Brian Jones, Mick Jagger, Keith Richards, Ian Stewart y Dick Taylor. El guitarrista Geoff Bradford y el baterista Mick Avory los apoyaron en sus primeros ensayos, mientras que los bateristas Tony Chapman y Carlo Little4 tocaron en sus primeras actuaciones. Tras la salida de Taylor en diciembre de 1962, ingresaron en su lugar el bajista Bill Wyman y en enero de 1963 al baterista Charlie Watts. A petición de su mánager, Stewart fue retirado de la alineación en 1963, aunque siguió colaborando en las sesiones de grabación y como road mánager. Brian Jones fue despedido en 1969, falleciendo al poco tiempo, siendo reemplazado por el guitarrista Mick Taylor, que dejaría el grupo en 1975 y sería a su vez reemplazado por Ron Wood. Con el retiro de Bill Wyman en 1993 se incluyó al bajista Darryl Jones que, aunque toca con la banda desde la grabación del álbum Voodoo Lounge en 1994, no es un miembro oficial. Son considerados una de las más grandes e influyentes agrupaciones de la historia del rock, siendo la agrupación que sentó las bases del rock contemporáneo. Contando desde sus inicios con el favor de la crítica, algunos de sus materiales están considerados entre los mejores de todos los tiempos; entre ellos destacan Beggars Banquet (1968), Let It Bleed (1969), Sticky Fingers (1971) y quizá su mejor obra, Exile on Main St. (1972). En 1989 fueron incluidos en el Salón de la Fama del Rock and Roll, y en 2004 la revista estadounidense Rolling Stone los colocó en el puesto No. 4 en su lista de Los 100 Mejores Artistas de todos los Tiempos.13 Ningún grupo de rock hasta la fecha ha sostenido tan duradera y todavía mundialmente reconocida trayectoria como The Rolling Stones; con Jagger, Richards y Watts como miembros fundadores en activo, continúan siendo la banda más longeva de la historia del rock. Sus primeras producciones incluían versiones y temas de blues, rock and roll y R&B norteamericano. No obstante, en el transcurso de su trayectoria añadieron toques estilísticos de otros géneros para adaptarse a cada época, recibiendo influencias desde la música psicodélica, el country, el punk, la música disco, el reggae o la música electrónica. Pese a encabezar junto a The Beatles (con los que siempre rivalizaron en popularidad) la «invasión británica» en los primeros años de la década de 1960, no fue sino hasta el lanzamiento de «(I Can't Get No) Satisfaction» en 1965 cuando alcanzaron el estrellato internacional y se establecieron como una de las bandas más populares en la escena musical. A la fecha, la banda ha editado veinticinco álbumes de estudio y colocado treinta y dos sencillos dentro de los diez más populares de Reino Unido y los Estados Unidos. Las ventas totales de The Rolling Stones se estiman entre 20019 y 250 millones de discos, convirtiéndolos en uno de los artistas más exitosos de todos los tiempos.

http://www.andystreasuretrove.com/andystreasuretrove.com/Media/Episode%2010%20-%20SF%20Silent%20Film%20Festival,%20Leonard%20Maltin,%20Guy%20Maddin,%20Theater%20Pipe%20Organ%20Wizzard%20Clark%20Wilson,%20and%20lots%20more....mp3 ()Episode 10 is dedicated to Andy's favorite film festival in San Francisco, the San Francisco Silent Film Festival. You'll hear his conversations with noted film critic and TV personality Leonard Maltin of Entertainment Tonight fame. There's a conversation with Suzanne Lloyd, the Granddaughter of cinematic genius Harold Lloyd. Andy chats and chews with Canadian director Guy Maddin, and talks to pipe organ wizards Edward Stout and Clark Wilson. You'll hear live performances of the musical scores from some of the films at the Festival, just as they were intended to be performed back in the late 1920's when the silent film era was at its zenith. You'll also hear lots of laughter from the 2,000 people at the festival. Add in a couple of impromptu lobby discussions with other festival-goers, and you've got a great podcast episode! Enjoy! Keywords and links for this episode: http://www.silentfilm.org/ (San Francisco Silent Film Festival), http://www.castrotheatre.com/ (Castro Theatre), silent films, live music, Wurlitzer theater pipe organs, Leonard Maltin, Suzanne Lloyd, Harold Lloyd, http://www.imdb.com/name/nm0534665/ (Guy Maddin), Todd Browning, "The Unknown" , Edward Stout, Clark Wilson, musical scores, "The Kid Brother" , the http://www.mont-alto.com/ (Mont Alto Motion Picture Orchestra), prosthetic hand, 3-D photography, camera movement, movies on television, Charlie Chaplin, Buster Keaton, http://www.tcm.com/index.jsp (Turner Classic Movies (TCM)), David Packard, Counterculture Era, "Casablanca," , "The Unknown" , Lon Chaney Sr., Winnipeg, http://www.noircity.com/ (San Francisco NoirFest), melodrama, Joan Crawford, Lon Chaney Jr. , "La Roue" , "The Last Laugh" , Abel Gance, "Days of Heaven", ice cream, "Two Timid Souls" , Odile Lavaux, http://baguettequartette.org/ (The Baguette Quartette), Patrick Hoctel, Natalja Vekic, Cary Grant, Samuel Beckett, Vera Ellen, Edward Stout, Clark Wilson, "The Patsy" , George Wright, San Francisco Fox Theater, Oakland Paramount Theater, Golden Gate Theater, Grace Cathedral, Dick Taylor, Taylor Family, Mel Novikoff, Stanford Theater, California Theater, San Jose, Grand Lake Theater, cue sheet, lead lines, music cue, ranks of organ pipes, "The Man Who Laughs"

Greater Boston Area, 2007