Podcasts about Etta James

My guest this week is session keyboardist, producer, and founder of the Little Village Foundation, Jim Pugh. His international performing music career spans 40 years and includes multiple Grammy Award, platinum and gold records. He has recorded and performed with a star-studded array of musicians including B.B. King, Etta James, John Lee Hooker, Robert Cray, Boz Skaggs, Syl Johnson and Van Morrison. He created Little Village Foundation in 2014 to share the diverse music that has always inspired him and to help other artists, especially musicians no one would learn about without Little Village Foundation's support. (littlevillagefoundation.com) If you enjoy the podcast, please let others know, subscribe or write a review. 5 star ratings and reviews on Apple Music as well as subscribing to my YouTube Channel help out the most! IF YOU'D LIKE TO SUPPORT THE PODCAST IN A MONETARY WAY, I'M NOW ON PATREON! www.patreon.com/andysydow Guest Links: Website: www.littlevillagefoundation.com Episode Music: Original music by Andy Sydow Sponsors: A huge thanks to our sponsor, Narrator Music. For any sponsorship inquiries, shoot me an email at middleclassrockstar@gmail.com narratormusic.com

On this episode, it's another spoiler filled recap of The Last of Us episode seven titled, Left Behind. This is an Ellie-centric episode and ripped from the DLC. We see a lot of reasons why Ellie is a little badass and why she is afraid of being alone. Plus I say the word sweet way too many times but to me this was a very sweet episode and also a very bittersweet episode. Not too many episodes left but come hold my hand in the darkness and let's go through this together. I promise I won't leave you behind. For this episode, the song is I Got You Babe by Etta James, because of that one scene in this episode.

We discuss our biggest glimpse yet of Ellie's backstory in the show, some major differences from how things were in the game, and which The Last of Us character each of us is.See omnystudio.com/listener for privacy information.

A couple of tunes were the inspiration for cranking out another Sunday Morning mix. First is the lead-off track - A Sunday Kind of Love from Etta James. It's simply a great tune that I'm surprised I haven't used before. Next is an track from 1971 that I'd never heard of until a few weeks ago. I stumbled on an Instagram reel that talked about the gentle beauty of "Curry Rice" by Kenji Endo. I immediately fell in love with it and the rest of the album. That's where the mix started and from there it follows the usual formula - some jazz, some ambient, some folk - all flowing together in a sweet Sunday mix. Here the links to all the music used in this mix: https://cachedmedia.bandcamp.com/album/fuubutsushi https://intlanthem.bandcamp.com/album/more-energy-fields-current https://www.amazon.com/dp/B07JYZ6134/ref=sr_1_1?crid=16PNFVZUB9J3W&keywords=Manzoku+Dekirukana&marketplaceId=ATVPDKIKX0DER&musicTerritory=US&qid=1676729358&sprefix=manzoku+dekirukana%2Caps%2C174&sr=8-1&trackAsin=B07JYZ6134 https://www.amazon.com/Such-Winters-Memory-John-Surman/dp/B00000AU3Q https://facture.bandcamp.com/album/duets https://intlanthem.bandcamp.com/album/more-energy-fields-current https://nyokabikariuki.bandcamp.com/album/peace-places-kenyan-memories https://www.youtube.com/watch?v=tG0pT5iInFI https://www.dunealtar.com/ https://hiorchronik.bandcamp.com/album/haze https://eccodek.bandcamp.com/album/ventrilokissed https://colepulice.bandcamp.com/album/scry https://joanshelley.bandcamp.com/album/the-spur https://store.bluenote.com/products/bill-frisell-four https://whitelabrecs.bandcamp.com/album/daylight-in-an-empty-room https://aspotonthehill.bandcamp.com/album/everything-was-different-yesterday     T R A C K L I S T : 00:00    Etta James - A Sunday Kind of Love (At Last! 1960) 03:15    Fuubutsushi - Cicada Season (Fuubutsushi 2020) 05:46    Kenji Endo - Curry Rice (Manzoku Dekirukana 1971) 08:42    John Surman - Sunday Morning (Such Winters Of Memory 1983) 15:30    Andrew Tasselmyer & Blurstem - Ray (Duets 2022) 18:52    Carlos Niño & Friends - Ripples Reflection Loop (More Energy Fields, Current 2021)  21:17    Nyokabi Kariuki - Home Piano (Peace Places Kenyan Memories 2022) 23:48    Foreign Body Sensation & Justin Maranga - In the Lair of the 5-Sided Serpent (Subterranean Environments 2023) 30:30    Hior Chronik - Cloud Peels (Haze 2022) 33:17    Peppermoth - Sun Dreamer (Ventrilokissed 2021) 37:28    Cole Pulice - Scry (Scry 2022) 44:39    Joan Shelley - Amberlit Morning (The Spur 2022) 49:44    Los Indios Tabajaras - Wide Horizon (Always in My Heart 1964) 52:28    Bill Frisell - Waltz for Hal Willner (Four 2022) 55:04    Zolton Fecso - Morning's Theme (Daylight in an Empty Room 2020) 58:07    Ben McElroy & A Spot on the Hill - A New Light (Everything Was Different Yesterday 2023) 60:10    end

The Music and Influences of Mister BB King 17. Dr. John / There Must Be a Better World 18. Sugar Ray and the Bluetones / You Know I Love You 18. Bobby Blue Bland & BB King / Let the Good Times Roll 20. Arether Franklin / Why I Sing the Blues  21. The Rolling Stones / Rock Me, Baby22. BB King / Please Accept My Love (Gimme Shelter) 23. BB King & The Rolling Stones / Paying the Cost to Be the Boss24. Tommy Castro / Bad Case of Love 25. Buddy Guy & BB King / Stay Around a Little Longer26. Robert Cray & BB King / Playin' with My Friends27. Etta James & BB King / There is Something on Your Mind 28. Albert King & Stevie Ray Vaughan / Ask Me No Questions29. Melvin Taylor / Help the Poor 30. Johnny Winter / Be Careful with a Fool 31. Joe Bonamassa / You Upset Me Baby 32. Gary Moore & BB King / Since I Met You Baby33. BB King / Sweet Little Angel 34. Aretha Franklin / The Thrill is Gone Upcoming Shows of InterestFeb  19 Music of Johnny Cash @ Soaring Wings21 Josh Hoyer & Soul Colossal, Barnatos22 Susie Thorne, The Jewell23 (BSO) Brandon Santini, The Jewell 24 Latin Music Series: the music of Santana, The Jewell 25 Hector Anchono, Full Fledged Brewing Company, Council Bluffs2/28 Hector Ahchondo @ Javi's Taco, Elkhorn March 2 Eddie Turner3 Dylan Bloom, Barnato3 Nick Schnebelen @ B. Bar3 Tab Benoit @ Hoyt Sherman4 Bobby Weir & Wolf Bros (Grateful Dead), Orpheum 8 Crash Test Dummies, Waiting Room 9 Kris Lager Conduit, The Benson Theater9 Jarekus Singleton, The Strut10 Lucas Parker Band @ B. Bar 23 Roger Clyne & Peacemakers, Waiting Room 24 Blood Sweat & Tears, Holland24 Smithereens w/ Marshall Crenshaw @ Knuckleheads24 Iris DeMent, Waiting Room 25 Danielle Nicole w/Brandon Miller, Stocks & Bonds 31 Michale Charles @ B BarApril6 Third Eye Blind, Orpheum6 Pink Floyd Tribute, Holland12 ZZ Top, Orpheum20 Earth Day 22 Record Store Day28 The New Pornographers, Waiting Room (Neko Case) May6 Built to Spill, Waiting Room10 Big Al & The Heavyweights, Philly Sports Bar, LaVista 11 Buddy Guy @ The Holland 12 The Killer, Steel Shed (Holland) 15 Beatles Tribute, Orpheum20 Southern Culture on the Skids, Waiting Room26 Blue Venue @ B. BarJuly 8 Orchestra plays music of Dr. Dre15 Tori Amos @ Orpheum28 Diana Krall @ Holland28 Maha Music Festival29 Diana Krall @ Hoyt Sherman, Des MoinesAugust 4 New American Arts Festival, Benson area5 In the Market for Blues31 - 9/4 Kris Lager's Ozark Festival, ArkansasIn the Mood for a Getaway? (Regional Shows: Des Moines, KC, & Iowa City)Upcoming shows at Kansas City's Knuckleheads SaloonFeb 15th, Eddie 9V (nine volt)March 9th, Damn Quails,March 10th, Nick Schnebelen,March 10th, Kentucky HeadHunters w/ Eskimo Brothers,March 24th, Larry Campbell & Teresa Williams w/ Shawn Mullins,March 26th, Cowboy Mouth,April 1st, Roger Clyne & The Peacemakers,April 8th, Chris Cain,April 19th, Rev Peyton's Big Damn BandMay 11th, Brandon Santini,May 20th, Southern Culture on the Skids,May 25, 26, 27, The Mavericks,Upcoming shows at the Hoyt Sherman in Des Moines include...March 2nd, Three Dog Night,March 11th, Black Jacket Symphony plays Fleetwood Mac's Rumors album,July 29th, Diana KrallThe Englert Theater in Iowa City has some good shows coming up this year.March 2nd, Leo KottkeMarch 3rd, Tab Benoit w/ JD SimoMarch 4th, Gaelic StormMarch 12th, Eric GalesMarch 14th, Drive-By Truckers March 15th, Nitty Gritty Dirt BandApril 21 & 22, David Sedaris

Etta James lived quite a life; some incredible highs and heartbreaking lows throughout her 73 years. From hit songs to heroin addiction, from critical acclaim to violence and bad behavior & jail time, Etta experienced it all. And you could hear every bit of that experience in her voice. I've wanted to feature Etta on this podcast for a while; the easy choice would be to pick one of her early classic songs... but instead, let's listen to an overlooked track from late in her career, when she might have been "past her prime" but more than capable of delivering a heart-wrenching performance.   Etta James - "Love's Been Rough On Me" (Gretchen Peters) Copyright Sony/ATV Tunes LLC dba Cross Keys Publishing/Purple Crayon Music (ASCAP) — Our podcast is one of many great music-related podcasts on the Pantheon network. Give some of their other shows a try! And remember to follow this show, so you never miss an episode. Learn more about your ad choices. Visit megaphone.fm/adchoices

At only 27, Clay Melton, the Louisiana-born and Texas-based blues-rocker has already spent 14 years performing live. His powerfully raspy voice and wicked guitar licks leave no doubt he's grown up in the school of barroom blues-rock.Clay's recent release, Back to Blue (July 2021), is being spun on more than 160 radio stations in the U.S. and abroad. As of August 21st, Roots Music (the #1 independent music chart in the world) ranks Clay on the Blues Rock charts with the #1 song in the world for the title track Back to Blue, #9 album in the world, and #7 album in Texas for all genres.Back to Blue is Melton's follow-up to 2017's critically acclaimed, full-length debut Burn the Ships which climbed the charts to #5 on Billboard Heatseekers. Back to Blue boasts production and engineering credits by Grammy-winner Danny Jones (Stevie Ray Vaughan, Patti LaBelle, Etta James) as well as Clay himself.Clay Melton is quickly establishing himself as a rising star, most recently opening for Grand Funk Railroad on the Chevrolet Main Stage at the State Fair of Texas, and sharing the stage with Sir Earl Toon, of Kool & The Gang fame. Past credits also include opening for blues-legend Robert Cray and platinum-selling artist Chris DaughtryClick HERE to purchase tickets to Clay's upcoming shows! So grateful for all the listeners! Check the links below from charities, subscriptions, merch, reading list, and more. Love the show?You can now support the show with a subscription! Click here for all the details.**Want to write a review? Click here for details.** Donate Dachshund Rescue of Houston hereBlog https://tstakaishi.wixsite.com/musicInsta @creative_peacemeal_podcastFB @creativepeacemealpodBonfire Merch https://www.bonfire.com/store/creative-peacemeal/Redbubble Merch CPPodcast.redbubble.comCreative Peacemeal READING list hereInterested in Corrie Legge's content planner? Click here to order!

On this episode, Dave LaGreca, Tommy Dreamer and Mickie James cover the "Barber Shop-esque" break up of Toxic Attraction, Gigi Dolan and Jacy Jayne.  We discuss Bayley's role in it, and how successful the angle was.  Plus, we've got the kind of LaGreca's power rankings that will have you howling with laughter.

#185 [Primeira boa notícia, Boia agora é oferecimento da South to South (https://www.southtosouth.com.br/), desde 1988 mantendo as sobrancelhas salgadas.] Com a certeza de que quem navega ao sabor das ondulações, o Boia 185 dá partida com Chet Baker em versão tupiniquim, acompanhado pelo Boto Brazilian Quartet, mote para sair recomendando o documentário “Let's Get Lost”, de Bruce Weber, e o biopic “Born To Be Blue”, com Ethan Hawke, ambos sobre o junkie mais amado da história do jazz. Aos timoneiros habituais, Júlio Adler, Bruno Boacayuva e João Valente, se junta o imediato ocasional, Steve Allain, que conta os bastidores do Stab in the Dark desse ano, protagonizado pelo elétrico e arrebatador Ítalo ferreira em Fernando de Noronha. Partimos para o último terço do arrastado evento de abertura do World Tour 2023, numa praia com o nome semelhante ao da onda mais tubular do planeta. Como sempre, Tito Rosemberg vem criar a ilusão de que a deriva tem rumo certo, em mais uma das suas preciosas memórias na rubrica, Pra lá de Marraquexe. O cavaleiro-pirata Pat Curren ilustra a imagem falada e prestamos a nossa homenagem ao querido e saudoso amigo, Cadu Villela, que se foi cedo demais. A rainha da soul, Etta James, encerra o episódio em modo funk com “All the Way Down”, mais uma raridade que você só escuta aqui no Boia, o podcast dos outcasts. --- Send in a voice message: https://anchor.fm/boia/message

We're back, baby! After a longer than expected hiatus, Gobbledygeek has returned for season 14. That's right, we're up to 14 seasons of Paul and Arlo babbling on about any manner of nonsense–which they continue to do in this freestyle season premiere. 2023 has come in like a lion and is likely to go out like one, so we find our boys licking their wounds, recounting the real-life horrors that delayed their return to the mic, and generally complaining about everything. Including pop culture! Lest you forget that's what they're here for, Paul and Arlo sauté some thoughts on the mushroom apocalypse of HBO's The Last of Us adaptation; rave about the movies they've caught up with, like The Fabelmans, RRR, and Aftersun; and decide to get high-brow by reading books that don't have any pictures. Plus, a pitch for the inevitable Gobbledygeek TV series.   NEXT: okay, but we really like books that do have pictures in them. This year's Four-Color Flashback series kicks off with Al Ewing and Simone Di Meo's We Only Find Them When They're Dead.     MUSIC “At Last” by Etta James, At Last! (1960) “This Will Be Our Year” by The Zombies, Odessey and Oracle (1968)     GOBBLEDYCARES National Suicide Prevention Lifeline: https://suicidepreventionlifeline.org/  Abortion Funds in Every State: https://bit.ly/AbortionFundsTwitter Support AAPI communities and those affected by anti-Asian violence: https://www.gofundme.com/c/act/stop-aapi-hate Support the AAPI Civic Engagement Fund: https://aapifund.org/ Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ The Trevor Project provides information and support to LGBTQ youth: thetrevorproject.org Trans Lifeline: https://translifeline.org/  US (877) 565-8860 Canada (877) 330-6366 National Center for Transgender Equality: transequality.org Advocate for writers who might be owed money due to discontinuance of royalties: https://www.writersmustbepaid.org/  Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://ripmedicaldebt.org/ Register to vote: https://vote.gov/

Pop Art Painter Jamie Roxx (www.JamieRoxx.us) welcomes Ela Ozturk (Soulful Pop) to the Show!    (Click to go there) ● WEB: www.ela-ozturk.com ● IG: @ela_ozturk ● FB: @TheElaOzturk ● TW: @TheElaOzturk ● YT: @elaozturk ● TK: @elaozturk Ela Ozturk is a Turkish-American singer/songwriter, who found her love for music as young as the early age of six years old. Ela Ozturk pulls from a variety of influences, inspired by strong female vocalists such as the likes of Etta James, Aretha Franklin, and Adele, Ela Ozturk found herself drawn towards their soulful voices and expressive lyrics. Growing up in the Bay Area and having a Turkish background helped expose Ela Ozturk to a wide variety of artists, genres, and musical movements.  Ela Ozturk's unique blend of Blues, Jazz, R&B, Blue-eyed soul, and Pop, paired with her powerhouse vocals and confessional lyrics, helps her stand out as one of the new and exciting artists to watch out for. ● Media Inquiries: Taylor Funari Senior Publicist TREND: PR, Branding, and Social Media www.TrendPR.com

Singer-songwriter Cassandra Lewis performed her first real show at a retirement home when she was eight years old. She joins Rhett to talk about that experience and what's happened in between, the new album she's working on, and the co-songwriting scene that she's become part of since moving to Nashville. The two discuss the trope of needing to suffer in order to be creative, and Cassandra explains what she means when she says she's a ‘trash artist'.Cassandra Lewis is a cosmic blend of classic country, Americana and psychedelic soul. She'll call you into her journey of self-discovery, addiction, love affairs, and a fever dream of in-betweens. Think Dolly Parton, Etta James, and Jeff Buckley at Woodstock 69', then sprinkle it with something otherworldly. Her massive voice, real talk, and wild storyteller's wit will leave you feeling raw and reeling in the dreamiest way.Cassandra Lewis on IG: @cassandralewismusicCassandra Lewis websiteRhett on IG: @rhettmillerRhett Miller websiteGo see a show! Rhett's tour dates are hereWheels Off is brought to you by Osiris Media. Hosted and produced by Rhett Miller. Co-produced by Kirsten Cluthe in partnership with Nick Ruffini (Revoice Media). Editing by Matt Dwyer. Music by OLD 97's. Episode artwork by Katherine Boils. Show logo by Tim Skirven. This podcast is available on Apple Podcasts, Stitcher, Spotify, or wherever you get your podcasts. You can also ask Alexa to play it. Please leave us a rating or review on iTunes. Revisit previous episodes of Wheels Off with Rosanne Cash, Rob Thomas, Will Forte, Lydia Loveless, Allison Moorer, Ted Leo, Paul F. Tompkins, Jen Kirkman, and more. Find Rhett's podcast #WheelsOff and other music-powered shows on @Osirispod Hosted on Acast. See acast.com/privacy for more information.

Join us for a jampacked episode of Bo Snerdley's Rush Hour from Friday, January 20th, 2023. Learn more about your ad choices. Visit megaphone.fm/adchoices

Join us for a jampacked episode of Bo Snerdley's Rush Hour from Friday, January 20th, 2023. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Life of a 10x Grammy Producer/Engineer Joe Chiccarelli : The Interview It's Finally Here!! Joe Chiccarelli is not only a 10 x Grammy Winning Producer/Engineer who has worked with such artists as The White Stripes , Beck, Frank Zappa, Etta James, Young The Giant, Spoon, The Strokes, My Morning Jacket, Jason Mraz, Morrissey and so many more, he also is a resident producer at Sunset Sound. Calling Studio 1 home for a decade. From engineering Michael Buble with Greg Wells this past year to working with Frank Zappa when he was 20, Joe Chiccarelli has done it all with no signs of slowing down. His quest to produce and engineer the perfect album is still on fire within. Producer/Host: Drew Dempsey: https://www.instagram.com/dfdproducti... Guest: Joe Chiccarelli https://www.instagram.com/joechiccare... Sunset Sound Merchandise: www.sunsetsoundstore.com Sunset Sound Instagram: https://www.instagram.com/sunsetsound... Sunset Sound Facebook: @sunsetsoundrecorders Sunset Sound Website: www.sunsetsound.com #recordproducer #audioengineer #sunsetsound

Etta James, Ray Charles and John Lee Hooker all played in Russell City, a once thriving blues town located in Hayward. The town was home to Black and Latino residents who couldn't find a residence elsewhere due to redlining and other racist housing policies. The city of Hayward used eminent domain to take the land and by 1966, the town had been annexed and replaced by an industrial park that is still there. In 2021 the Hayward city council voted unanimously to issue a formal apology to the residents who were pushed out.  This episode first aired on Bay Curious Aug. 11, 2022. Learn more about your ad choices. Visit megaphone.fm/adchoices

If you don't know Gretchen Peters, I will bet you definitely know some of her songs. From Independence Day (Martina McBride), Cloud #9 (Bryan Adams), On A Bus To St. Cloud (Trisha Yearwood), Rock Steady (Bonnie Raitt)... the list goes on and on.  So when I interviewed her for the first time (I was lucky enough to do it twice) I was READY. This is probably the interview I am the most proud of, we talked about sexism within the music industry, being an independent artist and finding your own path as a writer. We dig into the origins of one of her songs, "The Boy From Rye" and how it's the heart of her most recent album, Dancing With The Beast. Note: This interview was originally recorded and published in November 2019. ----more---- For two decades, Gretchen Peters (she/her) has been one of Nashville's most beloved and respected artists. "If Peters never delivers another tune as achingly beautiful as 'On A Bus To St. Cloud,'" People Magazine wrote, "she has already earned herself a spot among country's upper echelon of contemporary composers.” Inducted into the Nashville Songwriters Hall of Fame in October 2014 by singer-songwriter Rodney Crowell, who called her "both a songwriter and a poet (who) sings as beautifully as she writes,” and said her song “The Matador”, "moved me so greatly, I cried from the soles of my feet”, Peters has accumulated accolades as a songwriter for artists as diverse as Etta James, Bonnie Raitt, The Neville Brothers, Patty Loveless, George Strait, Bryan Adams and Faith Hill. Her 2015 album, ‘Blackbirds', debuted at #1 on the UK Country chart and in the top 40 UK pop chart, and was awarded International Album of the Year and Song of the Year. In 2015, The Telegraph named her one of the greatest 60 female singer-songwriters of all time. Her latest album, Dancing With The Beast, was released on May 18, 2018. https://gretchenpeters.com  

It's a new year, and we've got big plans for 2023. But before we get the ball rolling on our first full year on the air, we want to take you ... back in time. When we were gearing up to launch WPLN's first daily show, one of the challenges we got: help set and keep a record for our city. We've been working to do this in many ways. One of them is by dropping a pin at various locations across our city and region — to stop and really dig into the history there. Today, we're revisiting some of the pins we dropped in Nashville and Middle Tennessee in 2022. Press play above to hear them all, or take your pick from the list below. Etta James once rocked the New Era Club, one of North Nashville's most famous stages. Today only a few pieces remain. Middle Tennessee researchers are studying rare, wild ginseng in a secret location Native Americans were forced to travel through Nashville on the Trail of Tears. A remnant of the bridge they crossed remains downtown. What an elusive island on the Cumberland tells us about Nashville's first big business — buying and selling enslaved people Bass Street was home to Nashville's first post-Emancipation Black neighborhood. Descendants want to keep its memory alive ‘This is ours': Promise Land, Tennessee, lives on through descendants of the formerly enslaved people who founded it Where should we drop a pin next? Let us know.

Hosts Gregg Tilston and Karim Kanji welcome superstar Crystal Shawanda to the studio. Born in Wikwemikong First Nation, on Manitoulin Island, in Northern Ontario, Crystal was introduced to the blues by her eldest brother and to old-time country by her parents. “I was also into other styles of music that led me to the blues,” she says, citing everything from Elvis Presley's “Hound Dog,” written by Big Mama Thornton, to R&B-pop star Monica's “Misty Blue,” by Dorothy Moore. “I was one of those kids who read the liner notes,” Crystal says. “I wanted to know everything, who are the songwriters, the musicians, the producers, the engineers. I'm always wanting to know who are the originators, who are the mothers of invention, who inspired all of us? I'm a purist at heart, so I was always diving back to learn from the masters, like Etta James, as far as vocalists; Muddy Waters, as far as feeling; and Buddy Guy, as far as stylists who have a lot of swagger.” And yet Crystal's first foray as a professional singer was in country music, not blues. She was in her early 20s and had immediate success after signing a U.S. record deal with RCA Nashville. 2008's Dawn of a New Day, featuring the single “You Can Let Go,” reached No. 1 on the Canadian Country Album chart and No. 16 on the Billboard Top Country Albums, the highest charting album by a full-blooded Canadian Indigenous country artist (in the SoundScan-era).

Here we are friends, another week closer to 2023! Today we dive back into our older episodes. This guest is definitely living label free and putting her beautiful mark on the world

Here we are friends, another week closer to 2023! Today we dive back into our older episodes. This guest is definitely living label free and putting her beautiful mark on the world

Peoria native Liv Warfield takes cues from musical influences like Nina Simone, Etta James, Mavis Staples, Sade, Tina Turner and Mary J. Blige, but has carved out a style all her own, which can best be described as “alternative soul with a lil bit of Rock ‘n' Roll.” In 2006, she self-released her debut album Embrace Me. By 2009, she caught the eye of music icon Prince and ultimately joined his group the New Power Generation. After touring for several years and soaking up as much knowledge as she could from the ultimate music mentor, Warfield made her big splash on the national scene as a featured artist for VH1's You Oughta Know campaign, and then with the release of her major label debut album The Unexpected, which was executive produced by Prince. What followed were show-stopping performances on The Tonight Show Starring Jimmy Fallon, The Late Show with David Letterman and The Arsenio Hall Show; a 2014 Soul Train Music Award and nominations for two others; a BET Best New Artist Award nomination; an interview with National Public Radio; and high-profile cosigns from Lionel Richie, Cyndi Lauper, and Nancy Wilson of Heart. That same year, Warfield's performance closing out Essence Fest was hailed as one of the most memorable after shows at the New Orleans House of Blues. In 2015, Warfield and the NPG Hornz were named one of the top 10 bands to see at the Montreux Jazz Festival in Switzerland. In 2017, Warfield collaborated with another one of her childhood influences, Nancy Wilson, to create the band Roadcase Royale. Their lead single “Get Loud” was featured prominently in the 2017 Women's March and they released their debut album First Things First later that year. If that weren't enough, their remake of Heart's These Dreams was featured in the film Molly's Game. Warfield recently recorded music for the Oscar-nominated HBO documentary Da Bronx. Her third album Olivia is coming in 2023. 

 Originally Posted on 11/20/16Playin' Favorites again - with some Etta James, The Zeros, Stray Cats and The Faces -  can you guess the genres?Here's the Playlist:Shiftless When IdleThe Replacements Sorry Ma, Forgot to Take Out the Trash! Fr...

We had the pleasure of interviewing Baby Fisher over Zoom video!Emerging artist Baby Fisher's debut single “This Is The End” is out today alongside the official music video! https://babyfisher.lnk.to/ThisIsTheEnd The 17 year old, multi-talented singer songwriter is taking TikTok (and soon to be the world) by storm - his talent is undeniable and he's got an incredible personality and we're so excited he's sharing his talents with the world! "This is the End is a song I wrote at 14 and recorded at 15. It's a song about how much I despised the fleeting effects of my childhood leaving. It is the end of my childhood. This is the End.” - Baby Fisher ABOUT BABY FISHER Hi, I'm Sam Fisher aka Baby Fisher, born July 25, 2005. I grew up in the valley (Van Nuys, CA) listening to Bruce Springsteen, whiny voice singers of the 90s and rap music. Moved to Burbank at the age of 10 and was possibly the LEAST cool kid in both elementary and middle school. At 12 I started playing guitar, about 4 months in of playing I started gigging regularly at blues bars with studio musicians from the 60s/70s who worked with Elvis, Etta James, etc. All my love goes out to them, if it wasn't for them, I'd still be day dreaming about being a musician. I dove headfirst into the high school dumpster fire at 14 while simultaneously spending all my time making music, reading, sewing my own clothes or hanging out with kids that were way too old for me and doing exactly what they shouldn't. I was the youngest so they called me Baby (hence Baby Fisher). I found myself sprinting into bum territory and instantly turned in the right direction. I fell in love with Bukowski and a good view point, driving at 2 am and too many women who were far too pretty for me. These loves quickly turned into song inspiration. Y'know I once wrote to my favorite author at age 10 and he wrote back. He told me a very simple thing that really stuck with me; “there's no magic in books, they're just words strung one after another, the magic happens in the readers head. All you've got to do is learn to get the order right.” The same applies to these songs. All they are is silly little documentations of my life. There's nothing spectacular or fantastic or whatnot. All the magic comes from you. It's already there, the music is just what brings it out. There's no me without you. We want to hear from you! Please email Tera@BringinitBackwards.com. www.BringinitBackwards.com#podcast #interview #bringinbackpod #BabyFIsher #ThisIsTheEnd #NewMusic #zoomListen & Subscribe to BiB https://www.bringinitbackwards.com/follow/ Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod

As broadcast November 25, 2022 with like...all the feels.  Tonight we are joined by River Westin, a brilliant young artist out of New York whose latest album The Honeymoon Suite really captured our attention in the lead-up to release last Friday.  A scintillating yet slow motion collection of tunes inspired by lo-fi, classic jazz standards, and ballads, this album is the pop classics of the 50's & 60's (and even earlier) for a new generation of inclusive listener and a bit of a reclamation project for the LGBTQ community.  That is, the record aims to make the songs of Sinatra and the like about love again, but with no exclusion or bigotry but with a stated LGBTQ twist that includes love for all.#feelthegravityTracklist (st:rt)Part I (00:00)Cleo Sol – 23 Billie Eilish - Billie Bossa NovaRicky Rosen - HomeGalimatias - BlowbackBacao Rhythm & Steel Band - XxplosiveRiver Westin - Made in the ShadeRiver Westin - Cinema Part II (34:02)Nat King Cole - The Very Thought of YouBobby Vinton - Blue VelvetThe Flamingos - Mio AmoreRicky Nelson - AgainThe Drifters - Up on the RoofBen E. King - Spanish HarlemEtta James - Stormy WeatherFrank Sinatra - That's Life Part III (61:55)River Westin – Pink Velvet Julie London – I'm In The Mood For LovePaul Anka – Put Your Head On My ShoulderFrank Sinatra – Autumn In New YorkBen E. King – Moon RiverRitchie Valens – We Belong TogetherBobby Vinton – Mr. Lonely Part IV (94:33)River Westin – Flowers Joey Pecoraro – Your EyesArlo Parks – Green EyesLaufey – Like the MoviesLana Del Rey – How to disappearHarry Styles – Music for a Sushi RestaurantNovember Ultra – soft & tender 

Jonelle Mosser has worked with some of the most amazing talent in the music business. Industry veterans such as B.B. King, Trisha Yearwood, Etta James, Wynonna Judd, Rodney Crowell, Vince Gill, Waylon Jennings, Patty Smyth, AJ Croce, Levon Helm and Bruce Cockburn, have shared the stage or the studio with her. Jonelle has also worked on numerous solo projects over the span of her career, beginning in 1996 with her compilation album of Texas singer-songwriter Townes Van Zandt, whom she first met in 1978. That debut album was a 1996 compilation of Townes covers called "Around Townes”.  That particular project brought her to the attention of Bonnie Raitt producer Don Was. Don was so supportive that he soon put a band together with Jonell as lead singer. He rounded up A-listers such as guitarist Mark Goldenberg from Jackson Browne's band, keyboardist Benmont Tench from Tom Petty's Heartbreakers, and Beatles drummer Ringo Starr. They recorded 7 songs and were named the New Maroons. They played Farm Aid in Ames IA, but the recordings were shelved because other projects took precedence. Jonelle did go on to record a rendition of the Supremes' "Stop in the Name of Love”, which later landed on the soundtrack to the 1998 film "Hope Floats”,  starring Sandra Bullock and Harry Connick Jr. She's currently working on new projects, hoping to release them in 2023. www.jonellemosser.com The Business Side of Music ™ © 2022 Lotta Dogs Productions LLC Showrunner and Executive Producer Emeritus: Tom Sabella Producer and Host (the guy who has a face for podcasting): Bob Bender Management Representation: Chuck Thompson for Thompson Entertainment Group, LLC Co-Producer - Audio/Video Editor (the man behind the curtain): Mark Sabella Director of Video and Continuity (the brains of the entire operation): Deborah Halle Marketing and Social Media (all knowing): Sarah Fleshner for 362 Entertainment All Around Problem Solver (and Mental Health Therapist for us): Connie Ribas Recorded inside what could be an old beat up Airstream Trailer located somewhere on what's left of Music Row in Nashville TN (Man we sure do miss Noshville, and the Longhorn Steakhouse) Mixed and Mastered at Music Dog Studios in Nashville, TN Editing and Post at Midnight Express Studio located in Olian, NY Production Sound Design: Keith Stark Voice Over and Promo: Lisa Fuson Special Thanks to the creator and founder of the podcast, Tom Sabella, along with Traci Snow for producing and hosting over 100 episodes of the original "Business Side of Music" podcast and trusting us to carry on their legacy. Website: If you would like to be a guest on the show, please submit a request to: musicpodcast@mail.com If you're interested in becoming a sponsor for the show, let us know and we'll send you a media / sponsorship kit to you. Contact us at musicpodcast@mail.com The views, thoughts, and opinions expressed on this show provided by the guest(s), are those of the guest(s) own, and do not necessarily represent the views, thoughts, and opinions of the host or producers of this podcast. The material and information presented here is for general information purposes only. The Business Side of Music's name and all forms and abbreviations are the property of its owner (Lotta Dogs Productions LLC), and its use does not imply endorsement of or opposition to any specific organization, product, or service. Songs used in this interview include: Title: Circle Songwriter(s): Jonell Mosser, John Hall, Johanna Hall From the Album: Little Black Dress Copyright: J3 Records   Title: Hummingbird Songwriter(s): Tom Britt, Jonelle Mosser From the Album: Fortunes Lost, Fortunes Told Copyright: Slugfish Music / Brothers Mothers Music   Title: All Your Young Servants Songwriters: Townes Van Zandt From the Album: Around Townes Copyright: 1996 Winter Harvest Entertainment Copyright © 2022 Lotta Dogs Productions, LLC, All rights reserved.

Howdy Folks, Here comes the blind leading the blind edition, multiple blind tracks. Gower and Matador do it over the computer and we lose video at some point but continue on. Almost 14 years later and we still bring the pain commercial free despite the technical difficulties. Shout out to the Deputy dog and The Brothers grim punk cast listen to it. Gower and Matador talk shit, burp in the mic and have fun which is the whole point. So sit back close your eyes and imagine what it would be like to be blind boy would that suck, To the blind listeners enjoy. Blind pride, MATADOR Artist include: The vandals, Etta James, NIN, Voodoo glow skulls and a whole lot more.

Episode one hundred and fifty-seven of A History of Rock Music in Five Hundred Songs looks at “See Emily Play", the birth of the UK underground, and the career of Roger Barrett, known as Syd. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "First Girl I Loved" by the Incredible String Band. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this time, due to the number of Pink Floyd songs. I referred to two biographies of Barrett in this episode -- A Very Irregular Head by Rob Chapman is the one I would recommend, and the one whose narrative I have largely followed. Some of the information has been superseded by newer discoveries, but Chapman is almost unique in people writing about Barrett in that he actually seems to care about the facts and try to get things right rather than make up something more interesting. Crazy Diamond by Mike Watkinson and Pete Anderson is much less reliable, but does have quite a few interview quotes that aren't duplicated by Chapman. Information about Joe Boyd comes from Boyd's book White Bicycles. In this and future episodes on Pink Floyd I'm also relying on Nick Mason's Inside Out: A Personal History of Pink Floyd and Pink Floyd: All the Songs by Jean-Michel Guesdon and Philippe Margotin. The compilation Relics contains many of the most important tracks from Barrett's time with Pink Floyd, while Piper at the Gates of Dawn is his one full album with them. Those who want a fuller history of his time with the group will want to get Piper and also the box set Cambridge St/ation 1965-1967. Barrett only released two solo albums during his career. They're available as a bundle here. Completists will also want the rarities and outtakes collection Opel.  ERRATA: I talk about “Interstellar Overdrive” as if Barrett wrote it solo. The song is credited to all four members, but it was Barrett who came up with the riff I talk about. And annoyingly, given the lengths I went to to deal correctly with Barrett's name, I repeatedly refer to "Dave" Gilmour, when Gilmour prefers David. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A note before I begin -- this episode deals with drug use and mental illness, so anyone who might be upset by those subjects might want to skip this one. But also, there's a rather unique problem in how I deal with the name of the main artist in the story today. The man everyone knows as Syd Barrett was born Roger Barrett, used that name with his family for his whole life, and in later years very strongly disliked being called "Syd", yet everyone other than his family called him that at all times until he left the music industry, and that's the name that appears on record labels, including his solo albums. I don't believe it's right to refer to people by names they choose not to go by themselves, but the name Barrett went by throughout his brief period in the public eye was different from the one he went by later, and by all accounts he was actually distressed by its use in later years. So what I'm going to do in this episode is refer to him as "Roger Barrett" when a full name is necessary for disambiguation or just "Barrett" otherwise, but I'll leave any quotes from other people referring to "Syd" as they were originally phrased. In future episodes on Pink Floyd, I'll refer to him just as Barrett, but in episodes where I discuss his influence on other artists, I will probably have to use "Syd Barrett" because otherwise people who haven't listened to this episode won't know what on Earth I'm talking about. Anyway, on with the show. “It's gone!” sighed the Rat, sinking back in his seat again. “So beautiful and strange and new. Since it was to end so soon, I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worth while but just to hear that sound once more and go on listening to it for ever. No! There it is again!” he cried, alert once more. Entranced, he was silent for a long space, spellbound. “Now it passes on and I begin to lose it,” he said presently. “O Mole! the beauty of it! The merry bubble and joy, the thin, clear, happy call of the distant piping! Such music I never dreamed of, and the call in it is stronger even than the music is sweet! Row on, Mole, row! For the music and the call must be for us.” That's a quote from a chapter titled "The Piper at the Gates of Dawn" from the classic children's book The Wind in the Willows -- a book which for most of its length is a fairly straightforward story about anthropomorphic animals having jovial adventures, but which in that one chapter has Rat and Mole suddenly encounter the Great God Pan and have a hallucinatory, transcendental experience caused by his music, one so extreme it's wiped from their minds, as they simply cannot process it. The book, and the chapter, was a favourite of Roger Barrett, a young child born in Cambridge in 1946. Barrett came from an intellectual but not especially bookish family. His father, Dr. Arthur Barrett, was a pathologist -- there's a room in Addenbrooke's Hospital named after him -- but he was also an avid watercolour painter, a world-leading authority on fungi, and a member of the Cambridge Philharmonic Society who was apparently an extraordinarily good singer; while his mother Winifred was a stay-at-home mother who was nonetheless very active in the community, organising a local Girl Guide troupe. They never particularly encouraged their family to read, but young Roger did particularly enjoy the more pastoral end of the children's literature of the time. As well as the Wind in the Willows he also loved Alice in Wonderland, and the Little Grey Men books -- a series of stories about tiny gnomes and their adventures in the countryside. But his two big passions were music and painting. He got his first ukulele at age eleven, and by the time his father died, just before Roger's sixteenth birthday, he had graduated to playing a full-sized guitar. At the time his musical tastes were largely the same as those of any other British teenager -- he liked Chubby Checker, for example -- though he did have a tendency to prefer the quirkier end of things, and some of the first songs he tried to play on the guitar were those of Joe Brown: [Excerpt: Joe Brown, "I'm Henry VIII I Am"] Barrett grew up in Cambridge, and for those who don't know it, Cambridge is an incubator of a very particular kind of eccentricity. The university tends to attract rather unworldly intellectual overachievers to the city -- people who might not be able to survive in many other situations but who can thrive in that one -- and every description of Barrett's father suggests he was such a person -- Barrett's sister Rosemary has said that she believes that most of the family were autistic, though whether this is a belief based on popular media portrayals or a deeper understanding I don't know. But certainly Cambridge is full of eccentric people with remarkable achievements, and such people tend to have children with a certain type of personality, who try simultaneously to live up to and rebel against expectations of greatness that come from having parents who are regarded as great, and to do so with rather less awareness of social norms than the typical rebel has. In the case of Roger Barrett, he, like so many others of his generation, was encouraged to go into the sciences -- as indeed his father had, both in his career as a pathologist and in his avocation as a mycologist. The fifties and sixties were a time, much like today, when what we now refer to as the STEM subjects were regarded as new and exciting and modern. But rather than following in his father's professional footsteps, Roger Barrett instead followed his hobbies. Dr. Barrett was a painter and musician in his spare time, and Roger was to turn to those things to earn his living. For much of his teens, it seemed that art would be the direction he would go in. He was, everyone agrees, a hugely talented painter, and he was particularly noted for his mastery of colours. But he was also becoming more and more interested in R&B music, especially the music of Bo Diddley, who became his new biggest influence: [Excerpt: Bo Diddley, "Who Do You Love?"] He would often spend hours with his friend Dave Gilmour, a much more advanced guitarist, trying to learn blues riffs. By this point Barrett had already received the nickname "Syd". Depending on which story you believe, he either got it when he started attending a jazz club where an elderly jazzer named Sid Barrett played, and the people were amused that their youngest attendee, like one of the oldest, was called Barrett; or, more plausibly, he turned up to a Scout meeting once wearing a flat cap rather than the normal scout beret, and he got nicknamed "Sid" because it made him look working-class and "Sid" was a working-class sort of name. In 1962, by the time he was sixteen, Barrett joined a short-lived group called Geoff Mott and the Mottoes, on rhythm guitar. The group's lead singer, Geoff Mottlow, would go on to join a band called the Boston Crabs who would have a minor hit in 1965 with a version of the Coasters song "Down in Mexico": [Excerpt: The Boston Crabs, "Down in Mexico"] The bass player from the Mottoes, Tony Sainty, and the drummer Clive Welham, would go on to form another band, The Jokers Wild, with Barrett's friend Dave Gilmour. Barrett also briefly joined another band, Those Without, but his time with them was similarly brief. Some sources -- though ones I consider generally less reliable -- say that the Mottoes' bass player wasn't Tony Sainty, but was Roger Waters, the son of one of Barrett's teachers, and that one of the reasons the band split up was that Waters had moved down to London to study architecture. I don't think that's the case, but it's definitely true that Barrett knew Waters, and when he moved to London himself the next year to go to Camberwell Art College, he moved into a house where Waters was already living. Two previous tenants at the same house, Nick Mason and Richard Wright, had formed a loose band with Waters and various other amateur musicians like Keith Noble, Shelagh Noble, and Clive Metcalfe. That band was sometimes known as the Screaming Abdabs, The Megadeaths, or The Tea Set -- the latter as a sly reference to slang terms for cannabis -- but was mostly known at first as Sigma 6, named after a manifesto by the novelist Alexander Trocchi for a kind of spontaneous university. They were also sometimes known as Leonard's Lodgers, after the landlord of the home that Barrett was moving into, Mike Leonard, who would occasionally sit in on organ and would later, as the band became more of a coherent unit, act as a roadie and put on light shows behind them -- Leonard was himself very interested in avant-garde and experimental art, and it was his idea to play around with the group's lighting. By the time Barrett moved in with Waters in 1964, the group had settled on the Tea Set name, and consisted of Waters on bass, Mason on drums, Wright on keyboards, singer Chris Dennis, and guitarist Rado Klose. Of the group, Klose was the only one who was a skilled musician -- he was a very good jazz guitarist, while the other members were barely adequate. By this time Barrett's musical interests were expanding to include folk music -- his girlfriend at the time talked later about him taking her to see Bob Dylan on his first UK tour and thinking "My first reaction was seeing all these people like Syd. It was almost as if every town had sent one Syd Barrett there. It was my first time seeing people like him." But the music he was most into was the blues. And as the Tea Set were turning into a blues band, he joined them. He even had a name for the new band that would make them more bluesy. He'd read the back of a record cover which had named two extremely obscure blues musicians -- musicians he may never even have heard. Pink Anderson: [Excerpt: Pink Anderson, "Boll Weevil"] And Floyd Council: [Excerpt: Floyd Council, "Runaway Man Blues"] Barrett suggested that they put together the names of the two bluesmen, and presumably because "Anderson Council" didn't have quite the right ring, they went for The Pink Floyd -- though for a while yet they would sometimes still perform as The Tea Set, and they were sometimes also called The Pink Floyd Sound. Dennis left soon after Barrett joined, and the new five-piece Pink Floyd Sound started trying to get more gigs. They auditioned for Ready Steady Go! and were turned down, but did get some decent support slots, including for a band called the Tridents: [Excerpt: The Tridents, "Tiger in Your Tank"] The members of the group were particularly impressed by the Tridents' guitarist and the way he altered his sound using feedback -- Barrett even sent a letter to his girlfriend with a drawing of the guitarist, one Jeff Beck, raving about how good he was. At this point, the group were mostly performing cover versions, but they did have a handful of originals, and it was these they recorded in their first demo sessions in late 1964 and early 1965. They included "Walk With Me Sydney", a song written by Roger Waters as a parody of "Work With Me Annie" and "Dance With Me Henry" -- and, given the lyrics, possibly also Hank Ballard's follow-up "Henry's Got Flat Feet (Can't Dance No More) and featuring Rick Wright's then-wife Juliette Gale as Etta James to Barrett's Richard Berry: [Excerpt: The Tea Set, "Walk With Me Sydney"] And four songs by Barrett, including one called "Double-O Bo" which was a Bo Diddley rip-off, and "Butterfly", the most interesting of these early recordings: [Excerpt: The Tea Set, "Butterfly"] At this point, Barrett was very unsure of his own vocal abilities, and wrote a letter to his girlfriend saying "Emo says why don't I give up 'cos it sounds horrible, and I would but I can't get Fred to join because he's got a group (p'raps you knew!) so I still have to sing." "Fred" was a nickname for his old friend Dave Gilmour, who was playing in his own band, Joker's Wild, at this point. Summer 1965 saw two important events in the life of the group. The first was that Barrett took LSD for the first time. The rest of the group weren't interested in trying it, and would indeed generally be one of the more sober bands in the rock business, despite the reputation their music got. The other members would for the most part try acid once or twice, around late 1966, but generally steer clear of it. Barrett, by contrast, took it on a very regular basis, and it would influence all the work he did from that point on. The other event was that Rado Klose left the group. Klose was the only really proficient musician in the group, but he had very different tastes to the other members, preferring to play jazz to R&B and pop, and he was also falling behind in his university studies, and decided to put that ahead of remaining in the band. This meant that the group members had to radically rethink the way they were making music. They couldn't rely on instrumental proficiency, so they had to rely on ideas. One of the things they started to do was use echo. They got primitive echo devices and put both Barrett's guitar and Wright's keyboard through them, allowing them to create new sounds that hadn't been heard on stage before. But they were still mostly doing the same Slim Harpo and Bo Diddley numbers everyone else was doing, and weren't able to be particularly interesting while playing them. But for a while they carried on doing the normal gigs, like a birthday party they played in late 1965, where on the same bill was a young American folk singer named Paul Simon, and Joker's Wild, the band Dave Gilmour was in, who backed Simon on a version of "Johnny B. Goode". A couple of weeks after that party, Joker's Wild went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] But The Pink Floyd Sound weren't as musically tight as Joker's Wild, and they couldn't make a living as a cover band even if they wanted to. They had to do something different. Inspiration then came from a very unexpected source. I mentioned earlier that one of the names the group had been performing under had been inspired by a manifesto for a spontaneous university by the writer Alexander Trocchi. Trocchi's ideas had actually been put into practice by an organisation calling itself the London Free School, based in Notting Hill. The London Free School was an interesting mixture of people from what was then known as the New Left, but who were already rapidly aging, the people who had been the cornerstone of radical campaigning in the late fifties and early sixties, who had run the Aldermaston marches against nuclear weapons and so on, and a new breed of countercultural people who in a year or two would be defined as hippies but at the time were not so easy to pigeonhole. These people were mostly politically radical but very privileged people -- one of the founder members of the London Free School was Peter Jenner, who was the son of a vicar and the grandson of a Labour MP -- and they were trying to put their radical ideas into practice. The London Free School was meant to be a collective of people who would help each other and themselves, and who would educate each other. You'd go to the collective wanting to learn how to do something, whether that's how to improve the housing in your area or navigate some particularly difficult piece of bureaucracy, or how to play a musical instrument, and someone who had that skill would teach you how to do it, while you hopefully taught them something else of value. The London Free School, like all such utopian schemes, ended up falling apart, but it had a wider cultural impact than most such schemes. Britain's first underground newspaper, the International Times, was put together by people involved in the Free School, and the annual Notting Hill Carnival, which is now one of the biggest outdoor events in Britain every year with a million attendees, came from the merger of outdoor events organised by the Free School with older community events. A group of musicians called AMM was associated with many of the people involved in the Free School. AMM performed totally improvised music, with no structure and no normal sense of melody and harmony: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] Keith Rowe, the guitarist in AMM, wanted to find his own technique uninfluenced by American jazz guitarists, and thought of that in terms that appealed very strongly to the painterly Barrett, saying "For the Americans to develop an American school of painting, they somehow had to ditch or lose European easel painting techniques. They had to make a break with the past. What did that possibly mean if you were a jazz guitar player? For me, symbolically, it was Pollock laying the canvas on the floor, which immediately abandons European easel technique. I could see that by laying the canvas down, it became inappropriate to apply easel techniques. I thought if I did that with a guitar, I would just lose all those techniques, because they would be physically impossible to do." Rowe's technique-free technique inspired Barrett to make similar noises with his guitar, and to think less in terms of melody and harmony than pure sound. AMM's first record came out in 1966. Four of the Free School people decided to put together their own record label, DNA, and they got an agreement with Elektra Records to distribute its first release -- Joe Boyd, the head of Elektra in the UK, was another London Free School member, and someone who had plenty of experience with disruptive art already, having been on the sound engineering team at the Newport Folk Festival when Dylan went electric. AMM went into the studio and recorded AMMMusic: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] After that came out, though, Peter Jenner, one of the people who'd started the label, came to a realisation. He said later "We'd made this one record with AMM. Great record, very seminal, seriously avant-garde, but I'd started adding up and I'd worked out that the deal we had, we got two percent of retail, out of which we, the label, had to pay for recording costs and pay ourselves. I came to the conclusion that we were going to have to sell a hell of a lot of records just to pay the recording costs, let alone pay ourselves any money and build a label, so I realised we had to have a pop band because pop bands sold a lot of records. It was as simple as that and I was as naive as that." Jenner abandoned DNA records for the moment, and he and his friend Andrew King decided they were going to become pop managers. and they found The Pink Floyd Sound playing at an event at the Marquee, one of a series of events that were variously known as Spontaneous Underground and The Trip. Other participants in those events included Soft Machine; Mose Allison; Donovan, performing improvised songs backed by sitar players; Graham Bond; a performer who played Bach pieces while backed by African drummers; and The Poison Bellows, a poetry duo consisting of Spike Hawkins and Johnny Byrne, who may of all of these performers be the one who other than Pink Floyd themselves has had the most cultural impact in the UK -- after writing the exploitation novel Groupie and co-writing a film adaptation of Spike Milligan's war memoirs, Byrne became a TV screenwriter, writing many episodes of Space: 1999 and Doctor Who before creating the long-running TV series Heartbeat. Jenner and King decided they wanted to sign The Pink Floyd Sound and make records with them, and the group agreed -- but only after their summer holidays. They were all still students, and so they dispersed during the summer. Waters and Wright went on holiday to Greece, where they tried acid for the first of only a small number of occasions and were unimpressed, while Mason went on a trip round America by Greyhound bus. Barrett, meanwhile, stayed behind, and started writing more songs, encouraged by Jenner, who insisted that the band needed to stop relying on blues covers and come up with their own material, and who saw Barrett as the focus of the group. Jenner later described them as "Four not terribly competent musicians who managed between them to create something that was extraordinary. Syd was the main creative drive behind the band - he was the singer and lead guitarist. Roger couldn't tune his bass because he was tone deaf, it had to be tuned by Rick. Rick could write a bit of a tune and Roger could knock out a couple of words if necessary. 'Set the Controls for the Heart of the Sun' was the first song Roger ever wrote, and he only did it because Syd encouraged everyone to write. Syd was very hesitant about his writing, but when he produced these great songs everyone else thought 'Well, it must be easy'" Of course, we know this isn't quite true -- Waters had written "Walk with me Sydney" -- but it is definitely the case that everyone involved thought of Barrett as the main creative force in the group, and that he was the one that Jenner was encouraging to write new material. After the summer holidays, the group reconvened, and one of their first actions was to play a benefit for the London Free School. Jenner said later "Andrew King and myself were both vicars' sons, and we knew that when you want to raise money for the parish you have to have a social. So in a very old-fashioned way we said 'let's put on a social'. Like in the Just William books, like a whist drive. We thought 'You can't have a whist drive. That's not cool. Let's have a band. That would be cool.' And the only band we knew was the band I was starting to get involved with." After a couple of these events went well, Joe Boyd suggested that they make those events a regular club night, and the UFO Club was born. Jenner and King started working on the light shows for the group, and then bringing in other people, and the light show became an integral part of the group's mystique -- rather than standing in a spotlight as other groups would, they worked in shadows, with distorted kaleidoscopic lights playing on them, distancing themselves from the audience. The highlight of their sets was a long piece called "Interstellar Overdrive", and this became one of the group's first professional recordings, when they went into the studio with Joe Boyd to record it for the soundtrack of a film titled Tonite Let's All Make Love in London. There are conflicting stories about the inspiration for the main riff for "Interstellar Overdrive". One apparent source is the riff from Love's version of the Bacharach and David song "My Little Red Book". Depending on who you ask, either Barrett was obsessed with Love's first album and copied the riff, or Peter Jenner tried to hum him the riff and Barrett copied what Jenner was humming: [Excerpt: Love, "My Little Red Book"] More prosaically, Roger Waters has always claimed that the main inspiration was from "Old Ned", Ron Grainer's theme tune for the sitcom Steptoe and Son (which for American listeners was remade over there as Sanford and Son): [Excerpt: Ron Grainer, "Old Ned"] Of course it's entirely possible, and even likely, that Barrett was inspired by both, and if so that would neatly sum up the whole range of Pink Floyd's influences at this point. "My Little Red Book" was a cover by an American garage-psych/folk-rock band of a hit by Manfred Mann, a group who were best known for pop singles but were also serious blues and jazz musicians, while Steptoe and Son was a whimsical but dark and very English sitcom about a way of life that was slowly disappearing. And you can definitely hear both influences in the main riff of the track they recorded with Boyd: [Excerpt: The Pink Floyd, "Interstellar Overdrive"] "Interstellar Overdrive" was one of two types of song that The Pink Floyd were performing at this time -- a long, extended, instrumental psychedelic excuse for freaky sounds, inspired by things like the second disc of Freak Out! by the Mothers of Invention. When they went into the studio again with Boyd later in January 1967, to record what they hoped would be their first single, they recorded two of the other kind of songs -- whimsical story songs inspired equally by the incidents of everyday life and by children's literature. What became the B-side, "Candy and a Currant Bun", was based around the riff from "Smokestack Lightnin'" by Howlin' Wolf: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] That song had become a favourite on the British blues scene, and was thus the inspiration for many songs of the type that get called "quintessentially English". Ray Davies, who was in many ways the major songwriter at this time who was closest to Barrett stylistically, would a year later use the riff for the Kinks song "Last of the Steam-Powered Trains", but in this case Barrett had originally written a song titled "Let's Roll Another One", about sexual longing and cannabis. The lyrics were hastily rewritten in the studio to remove the controversial drug references-- and supposedly this caused some conflict between Barrett and Waters, with Waters pushing for the change, while Barrett argued against it, though like many of the stories from this period this sounds like the kind of thing that gets said by people wanting to push particular images of both men. Either way, the lyric was changed to be about sweet treats rather than drugs, though the lascivious elements remained in. And some people even argue that there was another lyric change -- where Barrett sings "walk with me", there's a slight "f" sound in his vocal. As someone who does a lot of microphone work myself, it sounds to me like just one of those things that happens while recording, but a lot of people are very insistent that Barrett is deliberately singing a different word altogether: [Excerpt: The Pink Floyd, "Candy and a Currant Bun"] The A-side, meanwhile, was inspired by real life. Both Barrett and Waters had mothers who used  to take in female lodgers, and both had regularly had their lodgers' underwear stolen from washing lines. While they didn't know anything else about the thief, he became in Barrett's imagination a man who liked to dress up in the clothing after he stole it: [Excerpt: The Pink Floyd, "Arnold Layne"] After recording the two tracks with Joe Boyd, the natural assumption was that the record would be put out on Elektra, the label which Boyd worked for in the UK, but Jac Holzman, the head of Elektra records, wasn't interested, and so a bidding war began for the single, as by this point the group were the hottest thing in London. For a while it looked like they were going to sign to Track Records, the label owned by the Who's management, but in the end EMI won out. Right as they signed, the News of the World was doing a whole series of articles about pop stars and their drug use, and the last of the articles talked about The Pink Floyd and their association with LSD, even though they hadn't released a record yet. EMI had to put out a press release saying that the group were not psychedelic, insisting"The Pink Floyd are not trying to create hallucinatory effects in their audience." It was only after getting signed that the group became full-time professionals. Waters had by this point graduated from university and was working as a trainee architect, and quit his job to become a pop star. Wright dropped out of university, but Mason and Barrett took sabbaticals. Barrett in particular seems to have seen this very much as a temporary thing, talking about how he was making so much money it would be foolish not to take the opportunity while it lasted, but how he was going to resume his studies in a year. "Arnold Layne" made the top twenty, and it would have gone higher had the pirate radio station Radio London, at the time the single most popular radio station when it came to pop music, not banned the track because of its sexual content. However, it would be the only single Joe Boyd would work on with the group. EMI insisted on only using in-house producers, and so while Joe Boyd would go on to a great career as a producer, and we'll see him again, he was replaced with Norman Smith. Smith had been the chief engineer on the Beatles records up to Rubber Soul, after which he'd been promoted to being a producer in his own right, and Geoff Emerick had taken over. He also had aspirations to pop stardom himself, and a few years later would have a transatlantic hit with "Oh Babe, What Would You Say?" under the name Hurricane Smith: [Excerpt: Hurricane Smith, "Oh Babe, What Would You Say?"] Smith's production of the group would prove controversial among some of the group's longtime fans, who thought that he did too much to curtail their more experimental side, as he would try to get the group to record songs that were more structured and more commercial, and would cut down their improvisations into a more manageable form. Others, notably Peter Jenner, thought that Smith was the perfect producer for the group. They started work on their first album, which was mostly recorded in studio three of Abbey Road, while the Beatles were just finishing off work on Sgt Pepper in studio two. The album was titled The Piper at the Gates of Dawn, after the chapter from The Wind in the Willows, and other than a few extended instrumental showcases, most of the album was made up of short, whimsical, songs by Barrett that were strongly infused with imagery from late-Victorian and Edwardian children's books. This is one of the big differences between the British and American psychedelic scenes. Both the British and American undergrounds were made up of the same type of people -- a mixture of older radical activists, often Communists, who had come up in Britain in the Ban the Bomb campaigns and in America in the Civil Rights movement; and younger people, usually middle-class students with radical politics from a privileged background, who were into experimenting with drugs and alternative lifestyles. But the  social situations were different. In America, the younger members of the underground were angry and scared, as their principal interest was in stopping the war in Vietnam in which so many of them were being killed. And the music of the older generation of the underground, the Civil Rights activists, was shot through with influence from the blues, gospel, and American folk music, with a strong Black influence. So that's what the American psychedelic groups played, for the most part, very bluesy, very angry, music, By contrast, the British younger generation of hippies were not being drafted to go to war, and mostly had little to complain about, other than a feeling of being stifled by their parents' generation's expectations. And while most of them were influenced by the blues, that wasn't the music that had been popular among the older underground people, who had either been listening to experimental European art music or had been influenced by Ewan MacColl and his associates into listening instead to traditional old English ballads, things like the story of Tam Lin or Thomas the Rhymer, where someone is spirited away to the land of the fairies: [Excerpt: Ewan MacColl, "Thomas the Rhymer"] As a result, most British musicians, when exposed to the culture of the underground over here, created music that looked back to an idealised childhood of their grandparents' generation, songs that were nostalgic for a past just before the one they could remember (as opposed to their own childhoods, which had taken place in war or the immediate aftermath of it, dominated by poverty, rationing, and bomb sites (though of course Barrett's childhood in Cambridge had been far closer to this mythic idyll than those of his contemporaries from Liverpool, Birmingham, Newcastle, or London). So almost every British musician who was making music that might be called psychedelic was writing songs that were influenced both by experimental art music and by pre-War popular song, and which conjured up images from older children's books. Most notably of course at this point the Beatles were recording songs like "Strawberry Fields Forever" and "Penny Lane" about places from their childhood, and taking lyrical inspiration from Victorian circus posters and the works of Lewis Carroll, but Barrett was similarly inspired. One of the books he loved most as a child was "The Little Grey Men" by BB, a penname for Denys Watkins-Pitchford. The book told the story of three gnomes,  Baldmoney, Sneezewort, and Dodder, and their adventures on a boat when the fourth member of their little group, Cloudberry, who's a bit of a rebellious loner and more adventurous than the other three, goes exploring on his own and they have to go off and find him. Barrett's song "The Gnome" doesn't use any precise details from the book, but its combination of whimsy about a gnome named Grimble-gromble and a reverence for nature is very much in the mould of BB's work: [Excerpt: The Pink Floyd, "The Gnome"] Another huge influence on Barrett was Hillaire Belloc. Belloc is someone who is not read much any more, as sadly he is mostly known for the intense antisemitism in some of his writing, which stains it just as so much of early twentieth-century literature is stained, but he was one of the most influential writers of the early part of the twentieth century. Like his friend GK Chesterton he was simultaneously an author of Catholic apologia and a political campaigner -- he was a Liberal MP for a few years, and a strong advocate of an economic system known as Distributism, and had a peculiar mixture of very progressive and extremely reactionary ideas which resonated with a lot of the atmosphere in the British underground of the time, even though he would likely have profoundly disapproved of them. But Belloc wrote in a variety of styles, including poems for children, which are the works of his that have aged the best, and were a huge influence on later children's writers like Roald Dahl with their gleeful comic cruelty. Barrett's "Matilda Mother" had lyrics that were, other than the chorus where Barrett begs his mother to read him more of the story, taken verbatim from three poems from Belloc's Cautionary Tales for Children -- "Jim, Who Ran away from his Nurse, and was Eaten by a Lion", "Henry King (Who chewed bits of String, and was cut off in Dreadful Agonies)", and "Matilda (Who Told Lies and Was Burned to Death)" -- the titles of those give some idea of the kind of thing Belloc would write: [Excerpt: The Pink Floyd, "Matilda Mother (early version)"] Sadly for Barrett, Belloc's estate refused to allow permission for his poems to be used, and so he had to rework the lyrics, writing new fairy-tale lyrics for the finished version. Other sources of inspiration for lyrics came from books like the I Ching, which Barrett used for "Chapter 24", having bought a copy from the Indica Bookshop, the same place that John Lennon had bought The Psychedelic Experience, and there's been some suggestion that he was deliberately trying to copy Lennon in taking lyrical ideas from a book of ancient mystic wisdom. During the recording of Piper at the Gates of Dawn, the group continued playing live. As they'd now had a hit single, most of their performances were at Top Rank Ballrooms and other such venues around the country, on bills with other top chart groups, playing to audiences who seemed unimpressed or actively hostile. They also, though made two important appearances. The more well-known of these was at the 14-Hour Technicolor Dream, a benefit for International Times magazine with people including Yoko Ono, their future collaborator Ron Geesin, John's Children, Soft Machine, and The Move also performing. The 14-Hour Technicolor Dream is now largely regarded as *the* pivotal moment in the development of the UK counterculture, though even at the time some participants noted that there seemed to be a rift developing between the performers, who were often fairly straightforward beer-drinking ambitious young men who had latched on to kaftans and talk about enlightenment as the latest gimmick they could use to get ahead in the industry, and the audience who seemed to be true believers. Their other major performance was at an event called "Games for May -- Space Age Relaxation for the Climax of Spring", where they were able to do a full long set in a concert space with a quadrophonic sound system, rather than performing in the utterly sub-par environments most pop bands had to at this point. They came up with a new song written for the event, which became their second single, "See Emily Play". [Excerpt: The Pink Floyd, "See Emily Play"] Emily was apparently always a favourite name of Barrett's, and he even talked with one girlfriend about the possibility of naming their first child Emily, but the Emily of the song seems to have had a specific inspiration. One of the youngest attendees at the London Free School was an actual schoolgirl, Emily Young, who would go along to their events with her schoolfriend Anjelica Huston (who later became a well-known film star). Young is now a world-renowned artist, regarded as arguably Britain's greatest living stone sculptor, but at the time she was very like the other people at the London Free School -- she was from a very privileged background, her father was Wayland Young, 2nd Baron Kennet, a Labour Peer and minister who later joined the SDP. But being younger than the rest of the attendees, and still a little naive, she was still trying to find her own personality, and would take on attributes and attitudes of other people without fully understanding them,  hence the song's opening lines, "Emily tries, but misunderstands/She's often inclined to borrow somebody's dream til tomorrow". The song gets a little darker towards the end though, and the image in the last verse, where she puts on a gown and floats down a river forever *could* be a gentle, pastoral, image of someone going on a boat ride, but it also could be a reference to two rather darker sources. Barrett was known to pick up imagery both from classic literature and from Arthurian legend, and so the lines inevitably conjure up both the idea of Ophelia drowning herself and of the Lady of Shallot in Tennyson's Arthurian poem, who is trapped in a tower but finds a boat, and floats down the river to Camelot but dies before the boat reaches the castle: [Excerpt: The Pink Floyd, "See Emily Play"] The song also evokes very specific memories of Barrett's childhood -- according to Roger Waters, the woods mentioned in the lyrics are meant to be woods in which they had played as children, on the road out of Cambridge towards the Gog and Magog Hills. The song was apparently seven minutes long in its earliest versions, and required a great deal of editing to get down to single length, but it was worth it, as the track made the top ten. And that was where the problems started. There are two different stories told about what happened to Roger Barrett over the next forty years, and both stories are told by people with particular agendas, who want particular versions of him to become the accepted truth. Both stories are, in the extreme versions that have been popularised, utterly incompatible with each other, but both are fairly compatible with the scanty evidence we have. Possibly the truth lies somewhere between them. In one version of the story, around this time Barrett had a total mental breakdown, brought on or exacerbated by his overuse of LSD and Mandrax (a prescription drug consisting of a mixture of the antihistamine diphenhydramine and the sedative methaqualone, which was marketed in the US under the brand-name Quaalude), and that from late summer 1967 on he was unable to lead a normal life, and spent the rest of his life as a burned-out shell. The other version of the story is that Barrett was a little fragile, and did have periods of mental illness, but for the most part was able to function fairly well. In this version of the story, he was neurodivergent, and found celebrity distressing, but more than that he found the whole process of working within commercial restrictions upsetting -- having to appear on TV pop shows and go on package tours was just not something he found himself able to do, but he was responsible for a whole apparatus of people who relied on him and his group for their living. In this telling, he was surrounded by parasites who looked on him as their combination meal-ticket-cum-guru, and was simply not suited for the role and wanted to sabotage it so he could have a private life instead. Either way, *something* seems to have changed in Barrett in a profound way in the early summer of 1967. Joe Boyd talks about meeting him after not having seen him for a few weeks, and all the light being gone from his eyes. The group appeared on Top of the Pops, Britain's top pop TV show, three times to promote "See Emily Play", but by the third time Barrett didn't even pretend to mime along with the single. Towards the end of July, they were meant to record a session for the BBC's Saturday Club radio show, but Barrett walked out of the studio before completing the first song. It's notable that Barrett's non-cooperation or inability to function was very much dependent on circumstance. He was not able to perform for Saturday Club, a mainstream pop show aimed at a mass audience, but gave perfectly good performances on several sessions for John Peel's radio show The Perfumed Garden, a show firmly aimed at Pink Floyd's own underground niche. On the thirty-first of July, three days after the Saturday Club walkout, all the group's performances for the next month were cancelled, due to "nervous exhaustion". But on the eighth of August, they went back into the studio, to record "Scream Thy Last Scream", a song Barrett wrote and which Nick Mason sang: [Excerpt: Pink Floyd, "Scream Thy Last Scream"] That was scheduled as the group's next single, but the record company vetoed it, and it wouldn't see an official release for forty-nine years. Instead they recorded another single, "Apples and Oranges": [Excerpt: Pink Floyd, "Apples and Oranges"] That was the last thing the group released while Barrett was a member. In November 1967 they went on a tour of the US, making appearances on American Bandstand and the Pat Boone Show, as well as playing several gigs. According to legend, Barrett was almost catatonic on the Pat Boone show, though no footage of that appears to be available anywhere -- and the same things were said about their performance on Bandstand, and when that turned up, it turned out Barrett seemed no more uncomfortable miming to their new single than any of the rest of the band, and was no less polite when Dick Clark asked them questions about hamburgers. But on shows on the US tour, Barrett would do things like detune his guitar so it just made clanging sounds, or just play a single note throughout the show. These are, again, things that could be taken in two different ways, and I have no way to judge which is the more correct. On one level, they could be a sign of a chaotic, disordered, mind, someone dealing with severe mental health difficulties. On the other, they're the kind of thing that Barrett was applauded and praised for in the confines of the kind of avant-garde underground audience that would pay to hear AMM or Yoko Ono, the kind of people they'd been performing for less than a year earlier, but which were absolutely not appropriate for a pop group trying to promote their latest hit single. It could be that Barrett was severely unwell, or it could just be that he wanted to be an experimental artist and his bandmates wanted to be pop stars -- and one thing absolutely everyone agrees is that the rest of the group were more ambitious than Barrett was. Whichever was the case, though, something had to give. They cut the US tour short, but immediately started another British package tour, with the Jimi Hendrix Experience, the Move, Amen Corner and the Nice. After that tour they started work on their next album, A Saucerful of Secrets. Where Barrett was the lead singer and principal songwriter on Piper at the Gates of Dawn, he only sings and writes one song on A Saucerful of Secrets, which is otherwise written by Waters and Wright, and only appears at all on two more of the tracks -- by the time it was released he was out of the group. The last song he tried to get the group to record was called "Have You Got it Yet?" and it was only after spending some time rehearsing it that the rest of the band realised that the song was a practical joke on them -- every time they played it, he would change the song around so they would mess up, and pretend they just hadn't learned the song yet. They brought in Barrett's old friend Dave Gilmour, initially to be a fifth member on stage to give the band some stability in their performances, but after five shows with the five-man lineup they decided just not to bother picking Barrett up, but didn't mention he was out of the group, to avoid awkwardness. At the time, Barrett and Rick Wright were flatmates, and Wright would actually lie to Barrett and say he was just going out to buy a packet of cigarettes, and then go and play gigs without him. After a couple of months of this, it was officially announced that Barrett was leaving the group. Jenner and King went with him, convinced that he was the real talent in the group and would have a solo career, and the group carried on with new management. We'll be looking at them more in future episodes. Barrett made a start at recording a solo album in mid-1968, but didn't get very far. Jenner produced those sessions, and later said "It seemed a good idea to go into the studio because I knew he had the songs. And he would sometimes play bits and pieces and you would think 'Oh that's great.' It was a 'he's got a bit of a cold today and it might get better' approach. It wasn't a cold -- and you knew it wasn't a cold -- but I kept thinking if he did the right things he'd come back to join us. He'd gone out and maybe he'd come back. That was always the analogy in my head. I wanted to make it feel friendly for him, and that where we were was a comfortable place and that he could come back and find himself again. I obviously didn't succeed." A handful of tracks from those sessions have since been released, including a version of “Golden Hair”, a setting by Barrett of a poem by James Joyce that he would later revisit: [Excerpt: Syd Barrett, “Golden Hair (first version)”] Eleven months later, he went back into the studio again, this time with producer Malcolm Jones, to record an album that later became The Madcap Laughs, his first solo album. The recording process for the album has been the source of some controversy, as initially Jones was producing the whole album, and they were working in a way that Barrett never worked before. Where previously he had cut backing tracks first and only later overdubbed his vocals, this time he started by recording acoustic guitar and vocals, and then overdubbed on top of that. But after several sessions, Jones was pulled off the album, and Gilmour and Waters were asked to produce the rest of the sessions. This may seem a bit of a callous decision, since Gilmour was the person who had replaced Barrett in his group, but apparently the two of them had remained friends, and indeed Gilmour thought that Barrett had only got better as a songwriter since leaving the band. Where Malcolm Jones had been trying, by his account, to put out something that sounded like a serious, professional, record, Gilmour and Waters seemed to regard what they were doing more as producing a piece of audio verite documentary, including false starts and studio chatter. Jones believed that this put Barrett in a bad light, saying the outtakes "show Syd, at best as out of tune, which he rarely was, and at worst as out of control (which, again, he never was)." Gilmour and Waters, on the other hand, thought that material was necessary to provide some context for why the album wasn't as slick and professional as some might have hoped. The eventual record was a hodge-podge of different styles from different sessions, with bits from the Jenner sessions, the Jones sessions, and the Waters and Gilmour sessions all mixed together, with some tracks just Barrett badly double-tracking himself with an acoustic guitar, while other tracks feature full backing by Soft Machine. However, despite Jones' accusations that the album was more-or-less sabotaged by Gilmour and Waters, the fact remains that the best tracks on the album are the ones Barrett's former bandmates produced, and there are some magnificent moments on there. But it's a disturbing album to listen to, in the same way other albums by people with clear talent but clear mental illness are, like Skip Spence's Oar, Roky Erickson's later work, or the Beach Boys Love You. In each case, the pleasure one gets is a real pleasure from real aesthetic appreciation of the work, but entangled with an awareness that the work would not exist in that form were the creator not suffering. The pleasure doesn't come from the suffering -- these are real artists creating real art, not the kind of outsider art that is really just a modern-day freak-show -- but it's still inextricable from it: [Excerpt: Syd Barrett, "Dark Globe"] The Madcap Laughs did well enough that Barrett got to record a follow-up, titled simply Barrett. This one was recorded over a period of only a handful of months, with Gilmour and Rick Wright producing, and a band consisting of Gilmour, Wright, and drummer Jerry Shirley. The album is generally considered both more consistent and less interesting than The Madcap Laughs, with less really interesting material, though there are some enjoyable moments on it: [Excerpt: Syd Barrett, "Effervescing Elephant"] But the album is a little aimless, and people who knew him at the time seem agreed that that was a reflection of his life. He had nothing he *needed* to be doing -- no  tour dates, no deadlines, no pressure at all, and he had a bit of money from record royalties -- so he just did nothing at all. The one solo gig he ever played, with the band who backed him on Barrett, lasted four songs, and he walked off half-way through the fourth. He moved back to Cambridge for a while in the early seventies, and he tried putting together a new band with Twink, the drummer of the Pink Fairies and Pretty Things, Fred Frith, and Jack Monck, but Frith left after one gig. The other three performed a handful of shows either as "Stars" or as "Barrett, Adler, and Monck", just in the Cambridge area, but soon Barrett got bored again. He moved back to London, and in 1974 he made one final attempt to make a record, going into the studio with Peter Jenner, where he recorded a handful of tracks that were never released. But given that the titles of those tracks were things like "Boogie #1", "Boogie #2", "Slow Boogie", "Fast Boogie", "Chooka-Chooka Chug Chug" and "John Lee Hooker", I suspect we're not missing out on a lost masterpiece. Around this time there was a general resurgence in interest in Barrett, prompted by David Bowie having recorded a version of "See Emily Play" on his covers album Pin-Ups, which came out in late 1973: [Excerpt: David Bowie, "See Emily Play"] At the same time, the journalist Nick Kent wrote a long profile of Barrett, The Cracked Ballad of Syd Barrett, which like Kent's piece on Brian Wilson a year later, managed to be a remarkable piece of writing with a sense of sympathy for its subject and understanding of his music, but also a less-than-accurate piece of journalism which led to a lot of myths and disinformation being propagated. Barrett briefly visited his old bandmates in the studio in 1975 while they were recording the album Wish You Were Here -- some say even during the recording of the song "Shine On, You Crazy Diamond", which was written specifically about Barrett, though Nick Mason claims otherwise -- and they didn't recognise him at first, because by this point he had a shaved head and had put on a great deal of weight. He seemed rather sad, and that was the last time any of them saw him, apart from Roger Waters, who saw him in Harrod's a few years later. That time, as soon as Barrett recognised Waters, he dropped his bag and ran out of the shop. For the next thirty-one years, Barrett made no public appearances. The last time he ever voluntarily spoke to a journalist, other than telling them to go away, was in 1982, just after he'd moved back to Cambridge, when someone doorstopped him and he answered a few questions and posed for a photo before saying "OK! That's enough, this is distressing for me, thank you." He had the reputation for the rest of his life of being a shut-in, a recluse, an acid casualty. His family, on the other hand, have always claimed that while he was never particularly mentally or physically healthy, he wasn't a shut-in, and would go to the pub, meet up with his mother a couple of times a week to go shopping, and chat to the women behind the counter at Sainsbury's and at the pharmacy. He was also apparently very good with children who lived in the neighbourhood. Whatever the truth of his final decades, though, however mentally well or unwell he actually was, one thing is very clear, which is that he was an extremely private man, who did not want attention, and who was greatly distressed by the constant stream of people coming and looking through his letterbox, trying to take photos of him, trying to interview him, and so on. Everyone on his street knew that when people came asking which was Syd Barrett's house, they were meant to say that no-one of that name lived there -- and they were telling the truth. By the time he moved back, he had stopped answering to "Syd" altogether, and according to his sister "He came to hate the name latterly, and what it meant." He did, in 2001, go round to his sister's house to watch a documentary about himself on the TV -- he didn't own a TV himself -- but he didn't enjoy it and his only comment was that the music was too noisy. By this point he never listened to rock music, just to jazz and classical music, usually on the radio. He was financially secure -- Dave Gilmour made sure that when compilations came out they always included some music from Barrett's period in the group so he would receive royalties, even though Gilmour had no contact with him after 1975 -- and he spent most of his time painting -- he would take photos of the paintings when they were completed, and then burn the originals. There are many stories about those last few decades, but given how much he valued his privacy, it wouldn't be right to share them. This is a history of rock music, and 1975 was the last time Roger Keith Barrett ever had anything to do with rock music voluntarily. He died of cancer in 2006, and at his funeral there was a reading from The Little Grey Men, which was also quoted in the Order of Service -- "The wonder of the world, the beauty and the power, the shapes of things, their colours lights and shades; these I saw. Look ye also while life lasts.” There was no rock music played at Barrett's funeral -- instead there were a selection of pieces by Handel, Haydn, and Bach, ending with Bach's Allemande from the Partita No. IV in D major, one of his favourite pieces: [Excerpt: Glenn Gould, "Allemande from the Partita No. IV in D major"]  As they stared blankly in dumb misery deepening as they slowly realised all they had seen and all they had lost, a capricious little breeze, dancing up from the surface of the water, tossed the aspens, shook the dewy roses and blew lightly and caressingly in their faces; and with its soft touch came instant oblivion. For this is the last best gift that the kindly demi-god is careful to bestow on those to whom he has revealed himself in their helping: the gift of forgetfulness. Lest the awful remembrance should remain and grow, and overshadow mirth and pleasure, and the great haunting memory should spoil all the after-lives of little animals helped out of difficulties, in order that they should be happy and lighthearted as before. Mole rubbed his eyes and stared at Rat, who was looking about him in a puzzled sort of way. “I beg your pardon; what did you say, Rat?” he asked. “I think I was only remarking,” said Rat slowly, “that this was the right sort of place, and that here, if anywhere, we should find him. And look! Why, there he is, the little fellow!” And with a cry of delight he ran towards the slumbering Portly. But Mole stood still a moment, held in thought. As one wakened suddenly from a beautiful dream, who struggles to recall it, and can re-capture nothing but a dim sense of the beauty of it, the beauty! Till that, too, fades away in its turn, and the dreamer bitterly accepts the hard, cold waking and all its penalties; so Mole, after struggling with his memory for a brief space, shook his head sadly and followed the Rat.

Today we are joined by the self-made pop sensation, Madison Beer! (TW: this episode references suicide and suicidal thoughts) Madison has amassed a jaw dropping 4.2 billion streams across her catalogue globally since she was discovered by Justin Beiber at the age of 13, when he posted a clip of her singing Etta James on his Instagram. Shortly afterwards Madison signed a major recording contract but by just 16 year-old she found herself being dropped. But that never stopped Madison, she used her music to help her and share her own unique voice and story by releasing her own independent music. Her debut EP ‘As She Pleases' even made history by becoming the first independently released female artist to score a top 30 position in the US Top 40 chart. Let's get real, it's bop after bop when it comes to Madison and as she releases her new single, Showed Me (How I Fell In Love With You) she sits down with me to reflect on her remarkable, determined journey. This episode comes with a trigger warning as there is a discussion of suicide and suicidal thoughts as Madison opens up about her journey with her mental health when she was 19 years old which saw her contemplate taking her own life whilst she was struggling with ‘failure' and trauma. Now with the help of therapy, and still battling with PTSD, she is able to bravely share her story with us. Madison also reflects on the sexism that still persists in the music industry and shares some teasers about her much anticipated album. Plot spoiler: it's going to be a teary listen. I hope you are just as inspired by Madison's honesty as I was - it takes real courage to be this honest - and I hope you keep on listening and finding the power to Reign in your own lives. If you love this episode, please get in touch (follow me across social media @joshsmithhosts), I love hearing from you. Love, Josh xxx

In this episode, Danielle & Zara are joined by special guest musician, Shaun Labuschagne - a self-proclaimed music expert. Thank You for the Music… we review songs submitted by our wonderful listeners (find links below). We give our OPINIONS on a variety of songs. Some were a vibe, others were… not. We talk about chord progressions, reveal our lack of understanding Korean, our distaste of pop, and other “musicy” stuff. Listen to our take on songs featured by Queen, Etta James, the Foo Fighters, and tons of different artists from varying genres. Check out the playlist: Apple Music Spotify YouTube For more, click here.

The Black Roots segment this week includes R&B gems from The Whispers, The O'Jays, The Pointer Sisters, Aretha Franklin, Stevie Wonder, Etta James & more. Join the show on facebook:... LEARN MORE The post #888 (Nov. 6, 2022) – Hour 2: appeared first on Caffé Latté.

Miss Freddye began singing in church at a young age. The influences of church and her mother's love of blues music gave Miss Freddye the foundation to venture in the world of blues music in 1996. She joined BMW(Blues Music Works) under the direction Of "Big" Al Leavitt. In 2002, Miss Freddye went on to form Blue Faze and several years later, Miss Freddye started two bands, Miss Freddye's Blues Band (electric blues) and Miss Freddye's Homecookin Band, (acoustic blues, classic rock, gospel.)Miss Freddye's influences include  Koko Taylor, Etta James, Billie Holiday, Sarah Vaughn, Big Mama Thornton, Bessie Smith, and "Big" Al Leavitt. She has won past blues competitions; 2008 West Virginia Blues Society for Best Blues and 2012 Blues Society Of Western PA Best Duo/Solo Act. Additionally, Miss Freddye was awarded the 2014 Star Award from the Pittsburgh VA Medical Center for her work with veterans. She was awarded the 2015 Freedom From Silence Award from the Center For Victims. Sge has won in the Iron City Rocks Awards for Best Blues Band in 2016, 2017, and 2019. Her self-released CD, "Lady Of The Blues" won for Best Album in 2017. In 2018, Miss Freddye was nominated for two Blues Foundation Awards, one for Best Emerging Artist CD and The Koko Taylor Traditional Blues Female. Her latest single, “Something To Believe In”  is from her forthcoming gospel/roots release, scheduled for 2022 release.  You can find her on: www.facebook.com/missfreddye, www.twitter.com/@missfreddye17, Instagram-missfreddyesblues, http://www.missfreddye.com.

Today on the Rarified Heir Podcast we are talking to country music royalty. We are talking to Lisa Sutton who's has not one but four musical legacies and estates to look after. Her mother, the great singer Lynn Anderson is best known for her iconic #1 hit, “Rose Garden” and released, count ‘em, 72 singles in her career. Lisa's father, was Nashville Songwriter Hall of Fame member Glenn Sutton who produced “Rose Garden” and wrote the Grammy winning David Huston hit “Almost Persuaded” as well as “What Made Milwaukee Famous (Made A Loser Out of Me)”, “Your Good Girls Gonna Go Bad” & countless other  songs. The architecht of Countrypolitan sound of the 60s, Glenn's songs were recorded by everyone from Etta James to The Louvin Brothers to Jerry Lee Lewis and Rod Stewart. What's more, Lisa's grandparents were Casey Anderson and Liz Anderson. Liz wrote many country music hits in the 50s and 60s including “Wife of the Party” and “Mama Spank” and it was Casey who invited an iconic soon-to-be country music icon back to their house for pancakes after a show that led to Country music history. What's more Lynn talks to us about growing up in a household where being the ‘hero child' was something of the norm, where riding horses was a huge part of life. What's more, Lisa is so invested in her family legacy that the amateur Rosarian, even brought about the comeback of the world champion Lynn Anderson Hybrid Tea Rose. From songwriting credits, to intellectual property to memorabilia to following through on her parents and grandparents wishes, we don't think you will find anyone more dedicated to her family legacy than Lisa Sutton. And it's all next on the Rarified Heir Podcast.

A la música de Bob Dylan te puedes aproximar de muchas maneras. A través de sus discos, de sus conciertos o de sus álbumes de rarezas, esos enormes Bootlegs. También se puede llegar a sus canciones a través de versiones.Esta semana vamos a cambiar el formato del Sofá Sonoro para adentrarnos en la obra del cantante de Duluth de la mano de mujeres, de una docena de voces femeninas que a lo largo de 50 años han reinterpretado su obra desde otro prisma. De Odetta a Miley Cyrus pasando por Janis Joplin, Etta James o Marianne Faithfull.La música de Bob Dylan ha influido en miles de artistas y son cientos los músicos que han acabado con la etiqueta de "el nuevo Dylan". Etiquetas al margen, la forma de escribir, de crear historias y universos ha marcado a muchos, también a muchas. Pero en esta selección hay de todo. Compositoras de folk como Odetta, que compartió escena con Dylan, pero también cantantes de pop como Miley Cyrus o de jazz como Sara Vaughan, un amplio abanico que mezcla la influencia con la admiración y que nos ha dejado un programa de lo más interesante que se suma a nuestra colección de episodios de versiones.OTROS PROGRAMAS:The Beatles versionados por sus héroes

This month's MMB is Eve's Bayou, which stars Jurnee Smollett (Eve Batiste), Samuel L. Jackson (Louis Batiste), Meagan Good (Cisely Batiste), Lynn Whitfield (Roz Batiste), Debbie Morgan (Mozelle Batiste Delacroix), Jake Smollett (Poe Batiste), Diahann Carroll (Elzora), and many more. The movie follows Eve's retelling of the Summer (narrated by Tamara Tunie) she killed her father and centers on how our memories are impacted by emotions and time. This movie gives the viewer a small view into the Batiste family secrets and the unique way of life that comes from growing up in the bayous of Louisiana. Mood Music: Sunday Kind of Love by Etta James- https://www.youtube.com/watch?v=byDIBzbDfok Our Links: https://linktr.ee/TheRePsychledPodcast Intro- Music by Gozz Outro- Volume Kontrol

As a new year begins, tensions are rising between the US, led by newly elected President John F Kennedy, and Cuba, two years after the revolution that installed Fidel Castro as it's leader. On the other side of the world, pressure is also building as communism spreads in south-east Asia. The United States is keeping it's finger in that pie as well. Musically, while I didn't expect there to be the flick of a switch to turn off the rock 'n' roll of the 50s and turn on what we think of as the “sound of the 60s”, I did expect a gradual fade of one into the other. But what I hadn't thought through was a musical revolution occurring between the two. R&B artists such as Etta James, Ray Charles, Sam Cooke, Roy Orbison and The Shirelles were recording hit records that certainly stand-up better today than the awful “bubblegum rock” that it was competing with. That continues into 1961 but, while Johnny Kidd & The Pirates were already, in my opinion, way ahead of their time, there's a single by Tony Sheridan in 1961 that went almost unheralded in the UK but that is of incredible significance in predicting what is to come. If you know your musical history, you already know what I'm talking about. But, if not, listen out for the pieces falling into place and I'll reveal all at the end of this show.

From the Tennessee River mud that flows through The Shoals, to the studios, to the records, and the world, helped to forge that Muscle Shoals Sound, created by The Swampers. They were rural Alabama's answer to The Wrecking Crew and became bigger than most big city studio players, achieving so much, without leaving home. Well, there were a few trips to record in places like New York, and opening for The Beatles, when the situation required it. Those will be discussed, as well as the growth of a recording empire that was truly unique. From Rick Hall and Fame Studios forming, to the Swampers getting their nickname, their own place, and making amazing records, Markus & Ray wade through it all, and deliver a Shotgun 5 Faves of this amazing music!We have fantastic sponsors of our podcast, please visit their web sites, and support those who make the show go:Boldfoot Socks   https://boldfoot.comCrooked Eye Brewery   https://crookedeyebrewery.com/Don't forget that you can find all of our episodes, on-demand, for free right here on our web site: https://imbalancedhistory.com/     

Tyler Childers "Angel Band (Jubilee Version)"Dr. John "Right Place Wrong Time"Yola "Love All Night (Work All Day)"The Marvelettes "Playboy"Jake Xerxes Fussell "Winnsboro Cotton Mill Blues"Bonny Light Horseman "Summer Dream"R.E.M. "Nightswimming"Mercy Dee "Sugar Daddy"3rd Secret "Rhythm of the Ride"Vic Chesnutt "Concord Country Jubilee"Randy Travis "On the Other Hand"Eilen Jewell "79 Cents (The Meow Song)"Randy Travis "There'll Always Be a Honky Tonk Somewhere"Clem Snide "Don't Be Afraid of Your Anger"Valerie June "Fade Into You"Cedric Burnside "Step In"Sugar Pie De Santo "Soulful Dress"Two Cow Garage "The Little Prince and Johnny Toxic"Ramones "I Wanna Be Sedated"Drivin N Cryin "Scarred But Smarter"Son Volt "Tear Stained Eye"Junior Kimbrough "Old Black Mattie"Etta James "Tell Mama"Lee Morgan "The Lion and the Wolff"Matt Woods "Lucero Song"Lucero "Bikeriders"Dolly Parton "Don't Let It Trouble Your Mind"David Wax Museum "Born With a Broken Heart"Aimee Mann "Humpty Dumpty"Gillian Welch "Dark Turn of Mind"Bobby Charles "Street People"Swamp Dogg "Did I Come Back Too Soon (Or Stay Away Too Long)"Wayne Shorter "Charcoal Blues"Steve Earle "Guitar Town"Will Johnson "Cornelius"Neil Young "Ambulance Blues"Billy Joe Shaver "Old Chunk of Coal"Shaver "I Want Some More"John Moreland "Blacklist"Mance Lipscomb "Back Water Blues"

Old 97's "I Don't Wanna Die In This Town"Valerie June "Workin' Woman Blues"Mary Wells "The One Who Really Loves You"The Replacements "Alex Chilton"The Hold Steady "Entitlement Crew"Joe Tex "Hold What You Got"Fiona Apple "Sleep to Dream"Mavis Staples "If All I Was Was Black"Esther Phillips "Release Me"Lucero "That Much Further West"Shaver "Live Forever"Gillian Welch "Caleb Meyer"Ray Charles "I've Got A Woman"Nicole Atkins "Brokedown Luck"James Brown "Please Please Please"Will Johnson "A Solitary Slip"Slobberbone "Pinball Song"Will Johnson "Cornelius"The O "Candy"Eilen Jewell "I'm Gonna Dress In Black"Willie Nelson/Waylon Jennings "Good Hearted Woman"Charlie Parr "Empty Out Your Pockets"Aretha Franklin "Dr. Feelgood (Love Is Serious Business)"Mississippi John Hurt "Monday Morning Blues"JD McPherson "Bridgebuilder"Little Richard "The Girl Can't Help It"Johnny Cash "Sea of Heartbreak"Etta James "At Last"R.E.M. "So. Central Rain"Tom Petty and the Heartbreakers "Learning To Fly"Tom Petty & The Heartbreakers "Room At The Top"Bobby Bland "I Pity The Fool"Ruth Brown "Mama He Treats Your Daughter Mean"Two Cow Garage "My Concern"Patterson Hood "Better Off Without"Ramones "Do You Remember Rock And Roll Radio"Ike & Tina Turner "Proud Mary"Sierra Ferrell "Jeremiah"James Carr "The Dark End of the Street"New Moon Jelly Roll Freedom Rockers feat. Alvin Youngblood Hart "She's About a Mover"Wilson Pickett "634-5789"Willie Mae 'Big Mama' Thornton "Hound Dog"Jason Isbell and the 400 Unit "The Blue"Magnolia Electric Co. "Northstar Blues"Brook Benton "Rainy Night in Georgia"The Devil Makes Three "Car Wreck"

What do you call a song that bombed on the charts back in the day, that now booms out of radios and streaming apps nationwide? Chris Molanphy has a name for these songs: legacy hits. Elton John's “Tiny Dancer.” Etta James's “At Last.” The Romantics' “What I Like About You.” Peter Gabriel's “In Your Eyes.” Talking Heads' “Once in a Lifetime.”   Many catalysts can change a song's trajectory, from movie scenes to stadium singalongs, wedding DJs to evolving tastes. Sometimes the hivemind just collectively decides that this Whitney Houston hit, not that one, is her song for the ages.   Join Chris as he explains how the charts sometimes get it wrong, and how legacy hits correct the record—and counts down 10 of his favorite flops-turned-classics.   Podcast production by Kevin Bendis and Merritt Jacob. Learn more about your ad choices. Visit megaphone.fm/adchoices

What do you call a song that bombed on the charts back in the day, that now booms out of radios and streaming apps nationwide? Chris Molanphy has a name for these songs: legacy hits. Elton John's “Tiny Dancer.” Etta James's “At Last.” The Romantics' “What I Like About You.” Peter Gabriel's “In Your Eyes.” Talking Heads' “Once in a Lifetime.”   Many catalysts can change a song's trajectory, from movie scenes to stadium singalongs, wedding DJs to evolving tastes. Sometimes the hivemind just collectively decides that this Whitney Houston hit, not that one, is her song for the ages.   Join Chris as he explains how the charts sometimes get it wrong, and how legacy hits correct the record—and counts down 10 of his favorite flops-turned-classics.   Podcast production by Kevin Bendis and Merritt Jacob. Learn more about your ad choices. Visit megaphone.fm/adchoices

What do you call a song that bombed on the charts back in the day, that now booms out of radios and streaming apps nationwide? Chris Molanphy has a name for these songs: legacy hits. Elton John's “Tiny Dancer.” Etta James's “At Last.” The Romantics' “What I Like About You.” Peter Gabriel's “In Your Eyes.” Talking Heads' “Once in a Lifetime.”   Many catalysts can change a song's trajectory, from movie scenes to stadium singalongs, wedding DJs to evolving tastes. Sometimes the hivemind just collectively decides that this Whitney Houston hit, not that one, is her song for the ages.   Join Chris as he explains how the charts sometimes get it wrong, and how legacy hits correct the record—and counts down 10 of his favorite flops-turned-classics.   Podcast production by Kevin Bendis and Merritt Jacob. Learn more about your ad choices. Visit megaphone.fm/adchoices