Podcasts about fiddlin

Michael McFadden and Adrianne Frost share stories about evolving feelings about their bodies over time. 

Welcome to Get Up in the Cool: Old Time Music with Cameron DeWhitt and Friends. This week's friends are Annie and Ellie Davis! We recorded this on Saturday in my home in Portland, OR. Tunes in this episode: * Jimmie on the Railroad (from Fiddlin' John Carson) (0:32) * Doe River (Annie Davis original) (20:25) * With Kitty I'll Go (from Jean Ritchie) (58:13) * Old Cumberland (Pat Conte original) (1:04:30) * Young Maiden (Ellie Davis original) (1:12:04) * BONUS TRACK: The Cuckoo (from The Coon Creek Girls) Follow Ellie and Annie Davis on Instagram (https://www.instagram.com/annieandelliemusic/) See Tradwife in Vancouver (https://www.eventbrite.com/e/tradwife-stringband-house-concert-tickets-1976990331300) and at the Bellingham Folk Festival (https://www.bellingham.org/eventdetail/31387/tradwife-stringband) Support Get Up in the Cool on Patreon (https://www.patreon.com/getupinthecool) Send Tax Deductible Donations to Get Up in the Cool through Fracture Atlas (https://fundraising.fracturedatlas.org/get-up-in-the-cool) Sign up at Pitchfork Banjo for my clawhammer instructional series! (https://www.pitchforkbanjo.com/) Schedule a banjo lesson with Cameron (https://www.camerondewhitt.com/banjolessons) Visit Tall Poppy String Band's website (https://www.tallpoppystringband.com/) and follow us on Instagram (https://www.instagram.com/tallpoppystringband/) follow Sweeten the Third on Instagram (https://www.instagram.com/sweetenthethird/?hl=en)

The American Fiddler – Andy Leftwich Little Old Log Cabin in the Lane – Fiddlin’ John Carson Dance Around Molly – Michael Cleveland Reach (feat. Alison Brown, Sierra Hull, Missy Raines & Molly Tuttle) – Becky Buller I Built A World (feat. Jason Carter) – Bronwyn Keith-Hynes Rockin’ Around the Christmas Tree – Balsam Range Wild Bill Jones – Alison Krauss & Union Station Coming Home – Mark O’Connor Good Ol Girls – Jeneé Fleenor

The dads are back with their best Thanksgiving takes and they're welcoming a special guest to the table! Take a listen to hear:Dad Moments!How you (metaphorically) lifeguard your kids as they get olderDestination vacations still on our listThanksgiving traditionsIs it appropriate to already have Christmas lights up?Beverages provided by the best brewery in the galaxy Fiddlin' Fish in Winston-Salem. Theme song by Weekend ExcursionThe Triad Podcast Network is proudly sponsored by The Ginther Group Real Estate, Dewey's Bakery, and Three Magnolias Financial Advisors.

Welcome to Glenn Robison's Rapidly Rotating Records, bringing you vintage music to which you can't not tap your toes, from rapidly rotating 78 RPM records of the 1920s and '30s. The featured graphic on this week’s Rapidly Rotating Records playlist is the number sixty-seven. It is, however, the numbers six and seven. So why is that? Very few, if any, of our listeners will know the significance of those numbers, but listen to the fourth segment of the show and you’ll find out. Marcy Klauber and Bob Larkan will be having birthday segments. We’ll also do some row, row, rowing and hear some ragtime songs. There's lots of great music and interesting information so set aside an hour with your favorite beverage and prepare to be transported back to a different–and we think better–musical era. Just click the link above to listen streaming online and/or download for listening at your convenience. THANKS FOR LISTENING! ENJOY THE SHOW! Segment 1: Marcy Klauber I Get The Blues When It Rains – Ford & GlennI’m A Little Nobody That Nobody Loves – Vaughn De LeathOh! How I Adore You – Ben Selvin AHO / Paul Small, v. Segment 2: Bob Larkan aka Bob Larkin McLeod’s Reel – Bob Larkan & FamilyThe Women Wear No Clothes At All – Fiddlin’ Bob Larkin’s Music Makers / Bob Larkin, v. Segment 3: Row, Row, Row Row, Row, Row Medley – Victor Military BandRow, Row, Row With Roosevelt – Eddie DowlingRow, Row, Rosie – Savoy Orpheans Segment 4: 6 7 Six Or Seven Times – Little Chocolate DandiesSeven Or Eleven – Dolly KayFour Or Five Times – Jack Walsh AHO / Frank Bessinger, v. Segment 5: West Coast Ragtime Festival In Ragtime Land – Arthur CollinsYou Can’t Get Away From It – Bert WilliamsDon’t Sing In Ragtime – Billy Merson The post A “6 7” Edition of RRR # 1,323 November 23, 2025 appeared first on Glenn Robison's Rapidly Rotating 78 RPM Records.

Forward March 19xx.xx.xx First Song Fair To Fiddlin

Lovesick Blues – Hank Williams At the Cross – Fiddlin’ John Carson Keep On the Sunny Side – The Carter Family Blue Yodel (T for Texas) – Jimmie Rodgers Tumbling Tumbleweeds – Gene Autry Thanks a Lot – Ernest Tubb & His Texas Troubadours Roly Poly – Bob Wills and his Texas Playboys Blue Moon of Kentucky – Bill Monroe The Great Speakled Birds – Roy Acuff Texarkana Baby – Eddy Arnold In the Jailhouse Now (feat. Tim Blake Nelson) – The Soggy Bottom Boys

Welcome to our first show of 2025! True story...While enjoying beers from Fiddlin' Fish Brewing in Winston-Salem, the guys discuss the following topics:What are some good memories from middle school?If you could have any machine/tool and money/space are not factors, what would it be?Life is expensive right now, so what are some good "staycation" ideas for The Triad?Plus, dad moments and photo fun with ChatGPT!Music provided by the band Weekend ExcursionThe Triad Podcast Network is proudly sponsored by The Ginther Group Real Estate, Dewey's Bakery, and Three Magnolias Financial Advisors.

NEW FOR APRIL 1, 2025 Fiddling with this and that . . . Fiddlin' About - The Best Radio You Have Never Heard Vol. 505 1. Selections from Tommy (live) - The Who 2. Young Man Blues (live) - Foo Fighters 3. The Seeker - Rush 4. Getting In Tune (live) - The Who w/ Eddie Vedder 5. Baba O'Reily - Nektar and Jerry Goodman 6. Alaska / Time To Kill (live) - U.K. 7. Travels With Myself - And Someone Else (live) - Bruford 8. The Gates Of Delirium (live) - Jon Anderson and The Band Geeks 9. Objects Outlive Us Objects Meanwhile - Steven Wilson 10. In My Room - Catherine Campbell 11. Girl From The North Country (live) - Crosby, Stills and Nash 12. Fall At Your Feet (live unplugged) - Crowded House 13. Under The Milky Way - The Church 14. Poor Poor Pitiful Me (live) - Warren Zevon and Timothy B. Schmidt 15. The Spy - The Doors 16. Highland Sweetheart - Love Tractor 17. Soon - My Bloody Valentine 18. Little Wing (live) - Eric Clapton, Pete Townshend, Steve Winwood, Ron Wood et al The Best Radio You Have Never Heard. Home of the fiddlers three. Accept No Substitute. Click to leave comments on the Facebook page.

The Fiddlin' Pig becomes just the 15th bar in America to earn the UK certification.

Mike Ferry is a middle school history teacher by day, and a performer and fiddle teacher by night. He founded "The Mindful Fiddlers Club" to help adults overcome personal obstacles and enjoy music through group fiddle lessons.

What would happen if you took a quintessential dad movie and made it into a holiday special? It's our gift to you! Plus, dad moments from the last trimester and some of our tricks for making it to the finish line of the holiday season. Beers provided by our terrific sponsors from Fiddlin' Fish Brewing Company. Theme music courtesy of the band Weekend Excursion The Triad Podcast Network is proudly sponsored by The Ginther Group Real Estate, Ashley McKenzie-Sharpe of Highlands Residential Mortgage, Dewey's Bakery, and Three Magnolias Financial Advisors.See omnystudio.com/listener for privacy information.

How are we already at 50 episodes? We are beyond grateful for our friends and listeners, who have championed us to keep going and creating content and bringing you the conversations you are excited to hear! Today's another fun musing conversation where Erica and Mike chat about their recent trip to Winston Salem, NC to see Goose for their Western NC benefit concert. We got to share the excitement and joy with some of our friends and got to connect with the team at Conscious Alliance (the amazing non-profit that bridges art and philanthropy), get some cool fan-made merch from the "Seekers on the Ridge" Vendor Market at Fiddlin' Fish Brewery. We chat about where we are headed: 3 night run in Cincinatti, OH for Goose, 2 night run for DMB at MSG, 1 benefit concert "Soulshine" in MSG, and 2 nights at Goosemas! We can't wait to see you on the road.

In this episode of The Last 10%, host Dallas Burnett welcomes Fiddlin' Mike Ferry, an internationally acclaimed fiddle player, songwriter, author, and teacher. They dive into Mike's captivating journey from classical violin training to becoming a dynamic musician known for his crowd-surfing performances. The conversation highlights Mike's innovative Mindful Fiddlers Club, which blends music education with mindfulness techniques to help adult learners overcome challenges and boost confidence. Mike also shares his philosophy on learning in community, the importance of embracing the process, and how small improvements can lead to mastery. Tune in for inspiring insights on the intersection of music, mindfulness, and personal growth.Mike Ferry's Website: https://mikeferrymusic.net/homeMike's Music on Spotify: From Ulster to Appalachia

1 - Snow Deer - Charlie Linville and the Fiddlin' Linvilles – 19462 - Old Crow Boogie - Dick Lewis and his Harlem Rhythm Boys - 19473 - Bumble Bee - The Bubber Johnson Trio – 19514 - Snakes Hips - Original Memphis Five - 19235 - The Fox - Burl Ives – 19456 - Skunk Song - Johnny Messner and his Orchestra - 19417 - Scat Skunk - Blue Lu Barker with Danny Bark – 19398 - Black Rat Swing - Little Son Joe - 19419 - The Kinkajou - Nat Shilkret and The Victor Orchestra – 192710 - Weary Weasel - Abe Lyman's Sharps and Flats - 192811 - Polecat Stomp - Leon Pappy Self and his Blue Ridge Playboys12 - Skunk Hollow Blues - Johnny Hodges and his Orchestra – 193913 - Big Beaver - Bob Wills and his Texas Playboys - 194014 - Big Beaver - Jan Savitt and his Orchestra – 194115 - Bumble Bee Schottische - Whoopee John Wilfahrt - 194816 - Bumble Bee Stomp - Benny Goodman and his Orchestra – 1939

Today we tell the story of Fiddlin' John Carson, a man who was not only an early pioneer of country music but also a master storyteller with a controversial past.    Discover how Carson, born in the Appalachian foothills of Georgia, rose from humble beginnings to become one of the first national country music stars, a few years before the famous Bristol Sessions of 1927. With his fiddle in hand and a knack for spinning a yarn, Carson captivated audiences both on the radio and through his recordings.    However, his story is not without its shadows, as you'll find out.    Don't forget to subscribe!  You'll find us on your favorite podcast app.Thank you for watching and for sharing our stories with your friends!

Zodiac stones read the metadata of your heart. You ears read the metadata of us narrowing seven to four, making our name shit, waiting for a new dawn, using the auracite for good actually, false fighting the second pervert, citing heaven, campfire'ing next to corpses, killing jobbers off screen, simultaneously referencing U2 + Queen + Jefferson Airplane, ruining a good name, stripping new hires of their clothes, inflicting atheist effects, and radicalizing another bereaved sibling. Power over spice is power over everything 00:00 Season 7 | 04:41 Intro | 08:35 Riovanes Castle Aftermath | 18:19 Riovanes Castle Foyer | 24:07 Zeltennia Castle | 29:04 Fiddlin' | 37:08 Dugeura Pass | 39:05 The Free City of Bervenia | 49:19 Real Net | 51:53 Outro Patreon: patreon.com/retroam Twitter: @retroamnesiapod YouTube: www.youtube.com/@RetrogradeAmnesia E-Mail: podcast@retrogradeamnesia.com Website: www.retrogradeamnesia.com  

Welcome to season five of the Triad's most popular monthly dad podcast that features a giant wheel of topics!   On this episode... What childhood items have the guys passed down to their kids Adam threw on a beekeeper suit... and it wasn't even his dad moment! Tim delivers the perfect metaphor for car line at the beginning of the school year Dave is obsessed with his new flashlight... but, yeah, it's pretty awesome Plus, we add on to the Dad Music Playlist and rattle off our favorite "dad phrases" Beers provided by Fiddlin' Fish Brewing in downtown Winston-Salem Theme song courtesy of the band Weekend Excursion The Triad Podcast Network is proudly sponsored by The Ginther Group Real Estate, Ashley McKenzie-Sharpe of Highlands Residential Mortgage, Dewey's Bakery, and Three Magnolias Financial Advisors.See omnystudio.com/listener for privacy information.

WARNING: THIS EPISODE CONTAINS MAJOR SPOILERS FROM THE BLUEY EPISODE OF "THE SIGN" Along with the guys breaking down the ending of that episode, they also discuss wrong answers only to how you should spend your Mother's Day.  Plus, Dave is infatuated with the cicada brood in his area.  And just how many raised beds are now in Tim's yard?  Also, Adam's experience at his kid's career day.   Thanks to Fiddlin' Fish Brewing for providing the beers for this episode and to the band Weekend Excursion for the theme song! The Triad Podcast Network is proudly sponsored by The Ginther Group Real Estate, Ashley McKenzie-Sharpe of Highlands Residential Mortgage, and Three Magnolias Financial Advisors.See omnystudio.com/listener for privacy information.

Listen back to our first ever live show!  The Triad Dads with a Drink did their thing at Fiddlin' Fish Brewing in downtown Winston-Salem and pulled out all the stops for content: David Ashe from the brewery introduces us to the beverages consumed during the show Tim's dad moment nearly resulted in his house being sans front door Were we cool when we were kids?  The evidence in the show clearly leans toward "YES!".  Especially when you use phrases like "vis-a-vis" One of our most controversial topics ever --- is it ok to drop your dog poop bag in someone else's dumpster?? Dave brought old pictures! Hear from the various run clubs that hang out at the brewery through the week TRIVIA TIME! Theme music courtesy of the band Weekend Excursion The Triad Podcast Network is presented by The Ginther Group Real Estate, The Sharpe Mortgage Team, and Three Magnolias Financial AdvisorsSee omnystudio.com/listener for privacy information.

The dads celebrate the holidays by sipping on some delicious beer from Fiddlin' Fish Brewing and discuss the following topics: Tim is Daddyman! Dave dressed his first child as a beekeeper at the beach Did you know Raiders of the Lost Ark was rated PG? Could a Paul McCartney song really be on a "worst songs" list? Dad Moments! Sneak watching The Sandlot is an experience and earns us the E rating Thanks to Fiddlin' Fish Brewing in Winston-Salem for the beers and the band Weekend Excursion for the theme song The Triad Podcast Network is presented by The Ginther Group Real Estate, Ashley McKenzie-Sharpe of Highlands Residential Mortgage and Three Magnolias Financial AdvisorsSee omnystudio.com/listener for privacy information.

We cannot be fiddling while Rome is burning! Take a listen to this fresh episode that is very timely for the hour in which we are in. Be sure to SUBSCRIBE----REVIEW & RATE TENT TALK PODCAST w/ Nancy McCready 5-STARS to help us get the message out. Join Nancy on her FREE FB Group -- The Producers Way! Follow podcast links:⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Apple Podcast:⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ https://podcasts.apple.com/us/podcast/tent-talk-with-nancy-mccready/id1448394759⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Google Podcast:⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zb3VuZGNsb3VkLmNvbS91c2Vycy9zb3VuZGNsb3VkOnVzZXJzOjQ4NDEwMTI0MC9zb3VuZHMucnNz ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Spotify Podcast:⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ https://open.spotify.com/show/1QTSlnDSLFxsb4QlnwK79q⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Become an NMM Partner!⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ https://nancymccreadyministries.churchcenter.com/giving Start The Conversation with Nancy: https://calendly.com/nmm/start-the-conversation

We cannot be fiddling while Rome is burning! Take a listen to this fresh episode that is very timely for the hour in which we are in. Be sure to SUBSCRIBE----REVIEW & RATE TENT TALK PODCAST w/ Nancy McCready 5-STARS to help us get the message out. Join Nancy on her FREE FB Group -- The Producers Way! Follow podcast links:⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Apple Podcast:⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ https://podcasts.apple.com/us/podcast/tent-talk-with-nancy-mccready/id1448394759⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Google Podcast:⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zb3VuZGNsb3VkLmNvbS91c2Vycy9zb3VuZGNsb3VkOnVzZXJzOjQ4NDEwMTI0MC9zb3VuZHMucnNz ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Spotify Podcast:⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ https://open.spotify.com/show/1QTSlnDSLFxsb4QlnwK79q⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Become an NMM Partner!⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ https://nancymccreadyministries.churchcenter.com/giving Start The Conversation with Nancy: https://calendly.com/nmm/start-the-conversation

We cannot be fiddling while Rome is burning! Take a listen to this fresh episode that is very timely for the hour in which we are in. Be sure to SUBSCRIBE----REVIEW & RATE TENT TALK PODCAST w/ Nancy McCready 5-STARS to help us get the message out. Join Nancy on her FREE FB Group -- The Producers Way! Follow podcast links:⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Apple Podcast:⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ https://podcasts.apple.com/us/podcast/tent-talk-with-nancy-mccready/id1448394759⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Google Podcast:⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zb3VuZGNsb3VkLmNvbS91c2Vycy9zb3VuZGNsb3VkOnVzZXJzOjQ4NDEwMTI0MC9zb3VuZHMucnNz ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Spotify Podcast:⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ https://open.spotify.com/show/1QTSlnDSLFxsb4QlnwK79q⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Become an NMM Partner!⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ https://nancymccreadyministries.churchcenter.com/giving Start The Conversation with Nancy: https://calendly.com/nmm/start-the-conversation

The dads are back to pour some delicious beer from Fiddlin' Fish Brewing and discuss the following topics: What famous dad, dead or alive, would you have a beer with?  And what would you ask him first? When Halloween costumes weren't so easy to find, what did you create when you were a kid?   How do you help your kids deal with disappointment? Should bulky item pickup day be a national holiday? DAD MOMENTS! Theme song courtesy of Weekend Excursion  See omnystudio.com/listener for privacy information.

It's the start of season 4 for the best podcast for dads that is located in the triad of North Carolina that features three guys in their early 40's and sponsored by a downtown Winston-Salem brewery.   On this episode: Summer dad moments! Best live event you've experienced with your kids Travel tips and hacks Back to school rituals Thanks to Fiddlin' Fish Brewing for sponsoring the show and supplying us with delicious beer!  And thanks to Weekend Excursion for the intro music! The Triad Podcast Network is presented by The Ginther Group Real Estate, Ashley McKenzie-Sharpe of Highlands Residential Mortgage and Three Magnolias Financial AdvisorsSee omnystudio.com/listener for privacy information.

This week, Will is joined by Jordan Linger, SAP Member and Sales Manager at Fiddlin' Fish Brewing, and Katie Stovall, Conservation Lands Manager at Three Rivers Land Trust. Their conversation gives an overview of what to expect in this year's Fall Draw for the Sportsman Access Program (SAP), property changes and what they're most excited about!This podcast is brought to you by Montgomery Community College and Backcountry & Beyond.Want to join TRLT on the show? Know someone or certain topics that should be featured? Email will@trlt.org with suggestions!Support the show

This week, we're sharing a conversation with Rose and Crystal, two comrades involved in the struggle against the Mountain Valley Pipeline, a 304 mile, 41 inch in diameter liquified so-called natural gas pipeline with a possible 75 mile extension crossing many delicate waterways, slopes and communities across Virginia, West Virginia and North Carolina. This project has been off and on under construction since 2018 and was recently forced through at a Federal level as part of the debt ceiling deal by the Biden administration and Democrats. For the hour we talk about the project, the land and water it threatens, the history of resistance and how to get involved in stopping this mess. Just a headsup, there are some audio quality issues throughout the conversation with both guests, so if you have trouble hearing consider checking out the upcoming transcript or meanwhile watching on youtube with the subtitles on. You can find more from the folks resisting the MVP by searching Appalachians Against Pipelines on various social media platforms or check the links in our show notes, where you can also find links to our various interviews with folks from this initiative from the last 5 years. Links Appalachains Agianst Pipelines (Facebook) (Twitter) (Instagram): AppalachiansAgainstPipelines (at) protonmail.com Volunteer intake form Donation site Videos of note on their FB Woodie Guthrie's "Tear the Fascists Down rewrite by Acre and Wren, the Yellow Finch treesitters extracted by the blockade "System's Gonna Burn" rewrite by Acre and Wren “When You Think MVP” rewrite by folks living at Yellow Finch Camp Drone war Announcements Sean Swain Featured in YouTube Documentary Series The channel called Political Prisoners on youtube, linked in our show notes, has begun a series of short documentaries about Sean, the first of which you can find entitled “Part One: A Visitation Dispute”. Check it out! Disability Pride Art Show The Disability Pride Art Show aims to celebrate the rights of disabled individuals through the power of art. This one-day event will take place on July 30 at the vibrant venue, Different Wrld, located in 801 Haywood Rd. The show embraces the core values of acceptance and inclusivity, emphasizing the inherent worth and talents of disabled individuals. Presented by DIYabled, a local nonprofit organization, and with This Body is Worthy. Featuring a diverse lineup of 25 talented artists, writers, video artists, and dancers, the Disability Pride Art Show promises to captivate audiences with a rich variety of artistic expressions. Attendees will have the opportunity to immerse themselves in the thought-provoking documentary "Disability on the Spectrum," created by local artist Priya Ray. The film sheds light on the experiences and perspectives of disabled individuals, fostering greater understanding and empathy within our community. Rashid's Continued Denial of Cancer Treatment Check our show notes for Rashid's message, but as noted last week, incarcerated revolutionary of the Intercommunal Black Panther Party, Kevin Rashid Johnson, is continuing to be denied his rounds of cancert treatment for prostate cancer and has been shoved in a solitary confinement cell without working lights. In the show notes and at our website you'll also find contacts for prison officials in Virginia who need pressure applied to get Rashid the medical treatment he needs, outside of the dungeon they've stuck him in. Comrades: This is Rashid. I need all possible SUSTAINED and immediate support. Here is a statement of my situation. OFFICIALS DEVISE TO STOP MY CANCER TREATMENT AND BLOCK MY COURT ACCESS (2023) By Kevin "Rashid" Johnson I have been going out daily since early April 2023 for radiation treatment at the Medical College of Virginia - a total of 40 treatments - which is ongoing. On 6-29-23 upon returning to the prison from the hospital I was thrown in solitary confinement without explanation, where I remain, without any property including all my legal property. I was put in cells without working lights, where I remain. After constant complaints all I'm being told is I am under investigation, but not by prison investigators. I spoke with a prison investigator, a Lieutenant Spencer, on July 1 when she delivered me legal mail, asking about my status and access to my legal property. She informed me, while her body camera was recording, that I am under investigation by other state prison investigators and the prison was not withholding my legal property. She said any supervisor could get my property for me which was in the property department. Despite this everyone refuses to deliver my belongings and I have been kept in an empty cell ever since. This despite that the VDOC is under court orders to not interfere with my access to and use of my legal property and I have numerous court deadlines and a pending federal civil trial in one of my lawsuits. On 6-30-23 officials refused to allow me to attend my cancer treatment. My numerous written emergency complaints about this went unanswered and unprocessed. On 7-3-23 after days in an empty cell without my things I declined to go for my treatment that one day to try and call the courts to explain and seek intervention. Officials including the warden and assistant warden refused me a legal call and are now refusing all my future cancer treatments. The entire claim to have me under investigation is facially invalid and illegal. As any legal authority recognizes, law enforcement officials must perform investigations consistent with the search and seizure provisions of the 4th Amendment. And any "unlawful search or seizures" renders any evidence gathered therefrom illegal. Both the seizures and searches of me and my property have been unlawful from the outset. My belongings, my legal property in particular was taken and searched outside my presence, which is illegal. Prison officials may only open our legal mail and search our legal property in our presence. That is constitutional law. Here in Virginia we may only be removed from General population and put in solitary if written notice is given within 24 hours. I received no such notice. People to contact: CLARKE, HAROLD W(804) 887-8080 HAROLD.CLARKE@VADOC.VIRGINIA.GOV DEPARTMENT OF CORRECTIONS, CENTRAL ADMINISTRATION (DOC/CA, 701) ROBINSON, DAVID N (276) 524-3685 DAVID.N.ROBINSON@VADOC.VIRGINIA.GOV WALLENS RIDGE STATE PRISON (WRSP, 735) CABELL, BETH E(804) 834-1327. BETH.CABELL@VADOC.VIRGINIA.GOV CORRECTIONS - DIVISION OF INSTITUTIONS (DOC/DI, 756) *SMITH, RUTH H(434) 767-5543. Email- RUTH.SMITH@VADOC.VIRGINIA.GOV , NOTTOWAY CORRECTIONAL CENTER (NCC, 745) HERRICK, STEPHEN M (804) 887-8118 Email~ STEVE.HERRICK@VADOC.VIRGINIA.GOV CORRECTIONS - DIVISION OF INSTITUTIONS (DOC/DI) . ... . .. Featured Tracks: Cumberland Blues by Fiddlin' Doc Roberts from Mountain Blues: Blues, Ballads and String Bands System's Gonna Burn by Wren & Acre (based on Woody Guthrie's "Fascists Bound To Lose") When You Think MVP by Yellow Finch residents

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

The dads welcome Cas Edmunds, drummer from Weekend Excursion, to the show to discuss the following: Have you ever been so old that you suffer a major foot injury by just walking?  One of us did. Following through on empty threats to our kids The things we wish our kids have that we had when we were young (and vice versa) Painting the picture of our own childhood bedrooms Family traditions adopted from our in-laws Thanks to Fiddlin' Fish Brewery in Winston-Salem for the delicious beer and to Weekend Excursion for the theme song! The Triad Podcast Network is presented by The Ginther Group Real Estate, Ashley McKenzie-Sharpe of Highlands Residential Mortgage and Three Magnolias Financial AdvisorsSee omnystudio.com/listener for privacy information.

This week I've selected some favourites from my shelves, but there's also some artists you may not have heard before, all playing some great music. The Bluegrass Album Band, Dan Tyminski, the New Coon Creek Girls, the Lilly Brothers, Fiddlin' Billy Hurt, Mitch Harrell, Tony Ellis. Enjoy.

The dads return and, while enjoying some delicious Fiddlin' Fish beer, dive into the following topics: The Super Mario Brothers Movie is legit! We find a way to compare the Super Mario Brothers series and The Wire Who is the best Mario character??? Have you heard of The Iron Giant movie?  Is it any good? Tim answers the easiest question of his life Do you cry during Publix commercials? GIANT SQUIRTLE! Could you go on a road trip and keep a LEGO build intact on your dashboard?? The Triad Podcast Network is presented by The Ginther Group Real Estate, Ashley McKenzie-Sharpe of Highlands Residential Mortgage and Three Magnolias Financial AdvisorsSee omnystudio.com/listener for privacy information.

Half a century ago, one of the first all-female bluegrass bands gave us the genre's first album played exclusively by women; their banjo player's mother was embarrassed about her daughter's choice of profession. It was only fifty years or so after the passage of the 19th Amendment, after all. Today, there are more all-female bluegrass and roots music bands, but they remain an exception. Join us as we talk with two of the best: the newgrass oriented quintet Della Mae, and the more high lonesome minded five piece Sister Sadie. Both groups have a range of generations in their ranks, and plenty of experience with taking on hurdles that female artists of every age still face all these years after Buffalo Gals took those first steps on their shared paths. Della Mae (standing) and Sister Sadie (sitting) In this episode, we talk in wide ranging conversations ranging from songwriting, collaborations, covers and solo projects, to keeping both themselves and their audiences fully engaged, and we sample some of their latest music throughout. You will hear what both have in store for the coming year as well, which includes being part of the lineup of the 2nd annual Earl Scruggs Music Festival on Labor Day weekend in Tryon, North Carolina. Songs heard in this episode:“Raleigh's Ride” by Sister Sadie, from Sister Sadie II“Dry Town” by Della Mae, from Family Reunion, excerpt“Diane” by Sister Sadie, excerpt“Something You Didn't Count On” by Jaelee Roberts, from Something You Didn't Count On, excerptThank you for visiting, and are even more grateful whenever you share this with someone. Please follow us on your podcast platform of choice, and then it will only take a minute to give it a good rating and, where it is an option, a review. Great ratings, and reviews especially, will make Southern Songs and Stories and the artists it profiles more likely to be found by more people just like you. This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes of this podcast on Bluegrass Planet Radio here. Thanks to Corrie Askew for producing the radio adaptations of this series on public radio WNCW, where we worked with Joshua Meng who wrote and performed our theme songs. Thanks also to our guests, and we encourage you to check out their work. This is Southern Songs and Stories: the music of the South and the artists who make it. — Joe Kendrick

Tracklist Letting Up Despite Great Faults - Halfway Crooks Paul Simon - The Rhythm of the Saints Ulrika Spacek - No. 1 Hum Southpacific - E10 @182 Tortoise - Seneca Tenacious D - Don't Blow It Kage Meernaa - Another Dimension peachgf - cherry blossom rRoxymore - Drunken Clouds Puerta Negra - El Gran Final No Swoon - Faces Ulrika Spacek - The Sheer Drop Learn more about your ad choices. Visit megaphone.fm/adchoices

The dads are back and coming to grips with the moments when they felt old.  Plus, what are the most quintessentially "dad" movies?  Featuring live channel surfing!! And, of course, our Dad Moments and COCAINE BEAR! Thanks to Fiddlin' Fish Brewing in Winston-Salem for providing the beer on this show and to Weekend Excursion for our theme song. The Triad Podcast Network is presented by The Ginther Group Real Estate, Ashley McKenzie-Sharpe of Highlands Residential Mortgage and Three Magnolias Financial AdvisorsSee omnystudio.com/listener for privacy information.

This week on the STABcast! Will and Ryan recap their Cherokee Open experience, and Ben provides the usual excuses, along with a lovely story about AutoZone!

Otro surtido pizarro para dar saltos de alegría. Despiporre del bueno con Laurel Aitken, The Hill Billies, Machito and his Afro Cuban Orchestra, Crystal Springs Ramblers, Floyd Campbell and his Gang Busters, Fiddlin’ Red Herron... A partir de las 23.00 horas en la sintonía de Radio 3. Escuchar audio

From the far western reaches of the triad, our buddy Pat joins the show!  We're enjoying some fine Fiddlin' Fish beer while discussing the following topics: What is your family pet dynamic? Is every night a game of "which bed am I sleeping in?" Since we all learn how to do things on YouTube now, what would our YouTube "how to" videos be about? DISNEY WORLD/LAND TIPS! Dad Moments! Theme song courtesy of Weekend Excursion The Triad Podcast Network is presented by The Ginther Group in Winston-Salem, Ashley McKenzie-Sharpe with NEO Home Loans and Three Magnolias Financial AdvisorsSee omnystudio.com/listener for privacy information.

This episode features the fiddle tune North Carolina Breakdown and dives into how violinists feel about fiddling and what fiddlers have to say about being a violinist (spoiler- the two camps don't always get along!). But we're all musicians playing music we love, right?The fiddlers mentioned are Mark O'Connor and Fiddlin' Arthur Smith. Meg's new fiddle album Broke the Floor is available on Bandcamp!Find the sheet music for this fiddle tune on the Fiddle Studio blog. Get more information about Meg's books, courses, and membership for learning to play the fiddle at fiddlestudio.com.Keep in touch with Meg at meganbeller@fiddlestudio.com.

The guys, while enjoying more delicious beer from Fiddlin' Fish, discuss their Waze habits. Unsurprisingly, Dave is the most active... Also, our funny dad fails, rainy day activities and dad moments from the past month! The Triad Podcast Network is presented by The Ginther Group Real Estate, Ashley McKenzie-Sharpe with NEO Home Loans, ICON Custom Builders and Three Magnolias Financial AdvisorsSee omnystudio.com/listener for privacy information.

Asher's Not Just Fiddlin' Around#newmusic #violin #fiddle #countrymusic #classicalmusic #avantgarde His harrowing story of losing his music career to adrenal insufficiency and subsequent recovery is one that listeners may find inspiring.As an independent artist, Asher has found ways to monetize his music career by both pushing conventional boundaries in composition and implementing creative strategies that inspire fans to keep consuming his unique music.Website: https://www.asherlaub.com/Instagram: https://www.instagram.com/asherlaub/Facebook: https://www.facebook.com/asherlaubmusicTwitter: https://twitter.com/asherlaubTikTok: https://www.tiktok.com/@asherlaubYoutube: https://www.youtube.com/c/AsherofficialmusicThe Vibes Broadcast Network - Podcasting for the fun of it! Thanks for tuning in, please be sure to click that subscribe button and give this a thumbs up!!Email: thevibesbroadcast@gmail.comInstagram: https://www.instagram.com/listen_to_the_vibes_/Facebook: https://www.facebook.com/thevibesbroadcastnetworkLinktree: https://linktr.ee/the_vibes_broadcastTikTok: https://vm.tiktok.com/ZMeuTVRv2/Twitter: https://twitter.com/TheVibesBrdcstTruth: https://truthsocial.com/@KoyoteAnd Now!!! The Bandmates' club, Supporters of the channel: Matthew Arrowood Host of The ONLY Brocast podcast:https://youtube.com/channel/UCsfv1wWu3oUg42I2nOtnMTADon Hahn of In the Margins: https://www.youtube.com/c/InTheMarginsBukas Siguro: https://www.youtube.com/c/BukasS%C4%ABgur%C3%B8Will Scoville of Ranch Rehab DIY: https://www.youtube.com/c/RanchRehabDrew Lee Nicholas of DN-TV: https://www.youtube.com/channel/UC8TVqL9mn6NzPkXOLOZSX-A

No, that wasn't Dave's "Dad Moment" on this podcast but we've got fresh ones to deliver!  Plus, we're sipping on some tremendous local beer thanks to our show sponsor from Fiddlin' Fish Brewing!   Our topics: What movie or TV quote best describes your dad vibes? If you're a multi-kid dad, do you notice a difference in their behavior when you have one-on-one time? What is a time-saving device that you've recently found or purchased? The Triad Podcast Network is presented by The Ginther Group Real Estate, Ashley McKenzie-Sharpe with NEO Home Loans, ICON Custom Builders and Three Magnolias Financial AdvisorsSee omnystudio.com/listener for privacy information.

Fiddlin' John Johnson (An 8-minute radio piece from The Home Place Series) Produced by Michael Kline, supported by the Humanities Foundation of WV (1979) John Johnson, born and raised in Clay County, was a towering figure in the circle of legendary West Virginia fiddle players. His father, recognizing the boy's talent as a five year old, invited neighboring and distant fiddlers to come stay for days, even weeks, at a time to share their old tunes with such a willing young student. School was a row boat's pull across the Elk River and a mile's walk along the railroad tracks, a sometimes thing for him. John grew up doing all the hardest kind of work along side all the hardest kind of men. With people dropping by at all hours of the night to steal him away for dances and warm him with locally made refreshment, John developed an early taste for liquor, and, as a raging alcoholic, would ramble all over the southwestern states. When strangers heard him play they would invite him home, put him up and keep him around just for the eerie tunes. But he'd get restless in a few days and ramble on, wherever the winds blew him. He picked up Texas swing licks and every kind of a style he encountered in those twisted years. He pulled a long bow with so much torque it smoked. But I never saw him break a hair. John could play any tune in any key. His music was compelling, seductive, and over powering. To see and hear him play the fiddle, you'd have thought we was a devil incarnate. And in his poetry and art he equated his instrument with ungodly sources. His music and continence offered challenges I'd never met anywhere else. When asked by a BBC film crew about the kinds of occasions that prompted him to play, John answered that he liked best to take his fiddle up on the mountain and “play it for the trees.” What follows is an 8 minute audio portrait of the man and his music. Michael Kline

Short Enough to smell your feet. Runnin' From Johnny Law! My Hose is a Grower, Not a Show-er. Hosed and Chosed. Kicking June in the Corn Chute. Tony But Not Tony, the Other Tony. Garlic on Feet, I've Been Sleeping Deep. I Saw Churchill Swimming The Other Day. This Tooth Sandwich is Very Filling. Wiggling At Your Teacher's A-Hole! Can't put Dental in Diet. June: No Love and Thunder. Weather, I Can't Control You. All of a Sudden, STORM!! Covid Not Recommended With Amy and more on this episode of The Morning Stream.

Short Enough to smell your feet. Runnin' From Johnny Law! My Hose is a Grower, Not a Show-er. Hosed and Chosed. Kicking June in the Corn Chute. Tony But Not Tony, the Other Tony. Garlic on Feet, I've Been Sleeping Deep. I Saw Churchill Swimming The Other Day. This Tooth Sandwich is Very Filling. Wiggling At Your Teacher's A-Hole! Can't put Dental in Diet. June: No Love and Thunder. Weather, I Can't Control You. All of a Sudden, STORM!! Covid Not Recommended With Amy and more on this episode of The Morning Stream.

Jake Krack is an exceptional fiddler within the old-time tradition. Most often performing with The Bing Brothers, Jake has won multiple awards and fiddling competitions across Appalachia. From early childhood, Jake was mentored by many legendary fiddlers including Melvin Wine. The remarkable relationship between Melvin and Jake is beautifully captured in the children's book Passing the Music Down. Jake was also the subject of the 2018 feature-length documentary Fiddlin'. Jake and The Bing Brothers were the final performance of The Pocahontas County Opera House in March of 2020. This performance was held in conjunction with a screening of Fiddlin'. Jake lives in Marlinton with his wife Katie and daughter Iris. --- Support this podcast: https://anchor.fm/story-sessions/support

Fiddlin' Jhani has been a travelling musician in Cortia for the better part of his adult life. However, in all that time his music never left all that much of an impact on those who heard it. That is until a few weeks back, when practically out of nowhere people started looking at him differently. His songs sounded sweeter and his smile more charming. Many have questioned how he got so good, but the answer really only concerns him and a Fey he met at the crossroads...Listen to the post show over on Patreon: https://www.patreon.com/OnceUponARolliTunes: https://itunes.apple.com/us/podcast/once-upon-a-roll/id1445605548Spotify: https://open.spotify.com/show/0IgpL0UgQHd4Nbyp8maND1Stitcher: https://www.stitcher.com/podcast/once-upon-a-rollTwitter: https://twitter.com/OnceUponARoll_Guest: Polyphonic (Twitter: https://twitter.com/WatchPolyphonic)Edited by Dony BullenArt by Jetpack Braggin: https://twitter.com/JetpackBragginMusic:A Quiet Thought by Wayne JonesOnce Upon A Roll Theme by Josiah Everhart: https://www.youtube.com/c/JosiahEverhartMusic and Sound Effects by Michael Ghelfi (honestly, this is the best source for TTRPG ambient tracks out there): https://www.youtube.com/user/MichaelGhelfiAdditional Music and Sound Effects by Epidemic Sound: http://epidemicsound.com/creatorSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

For more details on this podcast visit: https://www.sidehustlelounge.com/blog/ep58Episode 58: Conquer your fears!“Fiddlin' Fred” Mayer, PhD is a string teacher, ensemble director, instrument designer and builder, and active musical performer. On 5-string viola, an instrument he designed and manufactured, Fred has played with too many bands to mention, none of which anyone has heard of, nor cares about. The only thing that matters is that his music lifts the spirits of those within earshot.Fred is also an organic farmer, running his own farm operation from 2006-2017 and in addition to his musical activities, has worked at numerous food and medicine producing grows. Lately he has parlayed his organic farming skills to become a garden coach; helping new homesteaders establish their gardens, green-up their thumbs, and show home gardeners how to boost their backyard yields. He maintains his personal production and 'laboratory' gardens at his home in the Ozark Mountains of NW Arkansas.If you're interested in any of my musical, gardening coaching, or business coaching services contact me at fredmayerphd@gmail.com. Websites include: Musical-Elegance.com, MonoKotRa.com, Quintessentmusic.com Episode Description:Dr. Fred shares his journey through multiple side hustles, built mainly on passion projects. He shares that profit follows passion, and how to listen to the guiding voice within. Learn about his love of gardening, sustainability, homesteading, and music, in this episode of the SideHustle Lounge. Episode Highlights:15:28   It's just a continuous cross fertilization of picking up knowledge here and there and applying it to wherever you happen to be landing - wherever you are on the planet.31:04   Most fear that I have discovered is one step away from freedom. And you just have to identify that step and move right into it.33:10   Failure is definitely overrated if you can find success.Full transcription of this podcast: https://www.sidehustlelounge.com/blog/ep58This episode was produced and marketed by the Get Known Podcast Service: www.getknownstrategy.com/podcast-serviceFellow pet lovers, If you've worked hard to put money aside to invest in the right side-hustle or expansion project, protect your cash reserve with the 2021 Forbes Advisor #1 Pet Insurance company, Toto. They reimburse up to 90% of unexpected vet bills and you can use any veterinarian you want to. I've tried a few of these insurance companies over the years, and Toto has been the easiest and most transparent I've ever found. Quotes and policies with Toto Pet Insurance also help support The SideHustle Lounge Podcast. Check them out for yourself and get a free quote HERE:https://www.totopetinsurance.com/?utm_source=sidehustle&utm_medium=referral&utm_campaign=sidehustle_podcast&utm_content=homepage_podcast

Join Jeremy and Phil as they discuss their mutual love of bluegrass and Phil's experience as a part of the LGBTQIA+ community in a mostly conservative space. You can find Phil on Tiktok @fiddlinphil You can be apart of the Speakeasy Project every single week live at 11am central on Jeremy's Youtube, Youtube.com/ThatPastorfromOklahoma. To support the podcast, the Speakeasy Project, and all of Jeremy's other projects and content. Please consider joining the Patreon community at Patreon.com/pastorfromok

In this episode we welcome the great blues & country writer Tony Russell, who talks about his new Rural Rhythm: The Story of Old-Time Country Music in 78 Records — and the joys of the original Americana sound from the '20s to the '40s. Tony also talks us through his writing career from the late '60s to the present, with a particular nod to a 1972 Cream piece about B.B. King.The focus on the "Old-Time" country of Fiddlin' John Carson & Uncle Dave Macon carries through to discussion of those compelling revivalists Gillian Welch & David Rawlings, big faves of the RBP crew — and then to clips we hear from a 1983 audio interview with Phil Everly of peerless country-pop harmonists the Everly Brothers. Phil talks about the strained relationship with brother Don and the prospect of the Everlys reunion that happened in the fall of that year.For those less smitten by Appalachia and "high lonesome" close-harmony singing, there are heartfelt farewells to roots reggae icon Bunny Wailer & trad-jazzer turned "Father of British R&B" Chris Barber, both of whom were lost to the music world last week. There's effusive appreciation of the Wailers co-founder's classic 1976 solo debut Blackheart Man, while RBP's co-founder Martin Colyer pitches in with reminiscences of his uncle Ken's bandmate Barber.Mark talks us through his highlights from recent additions to the RBP Library, including the great Derek Taylor holding forth on the Stones' drug bust in 1967 and the recently-departed Chick Corea discussing his Return To Forever group with Zoo World's John Swenson in 1974. Barney namechecks a Kandia Crazy Horse hymn to the L.A. Canyons from 2009 and Jasper rounds things off with remarks on Danger Mouse's Rome project, from 2011, and London MC Sway's 2006 album This is My Demo.Many thanks to special guest Tony Russell, whose new book Rural Rhythm is published by OUP and available now.Pieces discussed: Charlie Poole, Uncle Dave Macon, B.B. King, Gillian Welch, Gillian Welch, Phil Everly, Bunny Wailer, The Wailers, Chris Barber, Chris Barber, Ben Webster, Peter Green, Curtis Mayfield, Roky Erickson, Rolling Stones, Chick Corea, The Time, L.L. Cool J, L.A. Canyons, Dave Edmunds, Valerie June, Sway and Danger Mouse.