Podcasts about fiddlin

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.

Fast facts about some notable country and bluegrass fiddlers.

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.

After the success of Ralph Peer's early 1920s recordings of rural musicians such as Henry Whitter and Fiddlin' Joh Carson most every major record label slowly began dabbling in the recording of rural country ( often labeled "Hillbilly" ) artists. A new record selling market was awoken! By 1928, with the success of the first "Bristol Sessions" Victor was all in. They established their 40,000 numerical --- Support this podcast: https://podcasters.spotify.com/pod/show/american-grooves-hour/support

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.

After the success of Ralph Peer's early 1920s recordings of rural musicians such as Henry Whitter and Fiddlin' Joh Carson most every major record label slowly began dabbling in the recording of rural country ( often labeled "Hillbilly" ) artists. A new record selling market was awoken! By 1928, with the success of the first "Bristol Sessions" Victor was all in. They established their 40,000 numerical series dedicated to all ealry country recordings and then in 1930 rtheir 23,500 series which wnet on until late 1933 when the Freat Depression cribbled the record industry. American Grooves, in two programs, will dig into Victors catalog of 1928-33 Country recordings - Stringbands, Cowboy Singers, Blue Yodelers, and sacred vocal groups - they tried it all! --- Support this podcast: https://podcasters.spotify.com/pod/show/american-grooves-hour/support

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.

In this episode, Ronnie and Jim discuss the ever-entertaining Ukraine debacle which leads into some disturbing comments seen on a YouTube clip of Fiddler on the Roof.  It's just a movie, and a very good one at that, but it won't stop idiotic comments from being posted.   The guys recall a show done last year called, "Fight Club: Church Edition" in which every major atrocity against the Jewish people from loving Christians was detailed.  Finally entered into the show notes at www.pathwaysradio.org, folks can dig deeper into centuries of persecution by the church.  

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

 A native of Belcourt, ND, Ryan Keplin has established his reputation as a distinctive left-handed fiddle player and entertainer, astonishing crowds wherever he plays. His spectacular shows feature a mixture of fiddle music and singing, leaving his audiences wanting to hear more each time.  Ryan's musical interests began as a young child. He found inspiration in the music of fiddle greats like Andy Desjarlais, Reg Bouvette, and Graham Townsend. Today, the multi-talented entertainer can play not only the fiddle, but also the acoustic guitar, bass guitar, drums, mandolin, and piano. Ryan has performed at various events and festivals in the U.S. and Canada, including the Smithsonian Folklife Festival the Smithsonian Institution in Washington, D.C.,  The Homesteaders Festival near Nashville, Tennessee, MetisFest at the International Peace Gardens, Norsk Hostfest in Minot, ND, Asham Stomperfest in Manitoba, and the famous Back to Batoche Festival in Saskatchewan.  With an extensive musical background, Ryan has shared the stage with well-known entertainers including Moe Bandy, The Bellamy Brothers, Mark Chesnutt, Rory Feek, Kevin Costner, Julie Roberts, Doug Kershaw, Jo-El Sonnier, Eddy Raven, Reg Bouvette, Darren Lavallee, Clint Dutiaume, John Arcand, and Calvin Vollrath, to name a few.   This podcast captures a great conversation with Ryan & Jennifer Keplin about Ryan's music career, the "Ryan Keplin Summerfest," and their partnership with Music Ranch Montana. 

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

Pour yourself a cold one and join us for a conversation with David Ashe from Fiddlin' Fish Brewing Company in downtown Winston-Salem.  Hear the story behind the name of the brewery, what makes them unique and details of the special happy hour their hosting with The Ginther Group on Thursday 2/24 See omnystudio.com/listener for privacy information.

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

Jack Benny, originally broadcast November 1, 1953, DJ Wakes up Jack at 4am. Hank, the all-night disc jockey, wakes Jack up at 4 A.M.! Also Lum n Abner, originally broadcast November 1, 1944, Lum works on the water pipes at the school.

Welcome to Episode 35 of The Story Behind the Tunes. Today's show features stories & tunes from various albums over the years but spotlighting 2 albums released in 2020 called, 2020 Fiddlin' - Calvin Vollrath & Friends - Edition 1 & 2. I hope you enjoy this episode. If you're enjoying this episode or my podcast in general, please send me an email calvinvollrath@gmail.com just so I know someone is actually listening...I'm having fun but fun is always better when you can share it with someone else. It would be greatly appreciated if you enjoyed the program, to go to my website and have a look at my CDs, MP3 downloads, sheet music and so much more. I'm trying to keep the wolf away from the door and any sales do help. Thank you. www.calvinvollrath.com Or, if you feel so inclined to add to the tip jar, if you enjoyed the show, here's the link

Live from under the Big Yella Tent at the 85th annual Galax Old Fiddlers Convention, today's show is real old-time radio in the old-time way. This show features live recordings of Nancy Sluys, Tom Mindte, Fiddlin' Willie, Richard Bowman, Daniel Greeson and more.

Jack learns about Atlanta guitarist and singer Moonshine Kate. Songs: Rosa Lee Carson - Little Mary Phagan Rosa Lee Carson and Fiddlin' John Carson - Moonshine Kate Moonshine Kate - My Man's a Jolly Railroad Man Moonshine Kate - A Poor Girl's Story Roba Stanley - Devilish Mary Moonshine Kate - Raggedy Riley Loretta Lynn - Country Girl (Just Home From Town) Moonshine Kate - Texas Blues References: Bufwack, M. A., & Oermann, R. K. (1993). Finding her voice: The saga of women in country music. Crown. Daniel, W. W. (2001). Pickin' on Peachtree: A History of Country Music in Atlanta, Georgia. University of Illinois Press. Huber, P. (2008). Linthead stomp: The creation of country music in the Piedmont South. Univ of North Carolina Press. Huber, P. "Moonshine Kate (1909-1992)." New Georgia Encyclopedia. 09 October 2014. Web. 14 June 2021. Kuhn, Clifford (1979) Oral interview with Rosa Lee Carson. https://album.atlantahistorycenter.com/digital/collection/LAohr/id/117 Peterson, R. A. (2013). Creating country music: Fabricating authenticity. University of Chicago Press. Support Women in Music: Country Soul Songbook Connect: wildwoodflowerpod@gmail.com Instagram @wildwoodflowerpod Deadlines for submitting cover songs: Sara Carter - June 30 Maybelle Carter - July 7 Elsie McWilliams - July 14 Cleoma Breaux - July 21

The Beer Dads talk about the music that has defined their individual lives. From classic rock to pop to rap, the Dads each have a different path. What music brings the most memories or definition to your life? Let us know. The Dads drank both That Fish Cray NE IPA from Fiddlin' Fish and Strike Fire WC IPA from Wise Man. Call and leave a voicemail or text for The Beer Dads by calling 336-422-NUMB (6862). Recorded in The Less Desirables Studios (South) via Zoom sponsored by Bull's Tavern.

1 - Florida Hurricane - St. Louis Jimmy with Muddy Waters and his Blues Combo - 19482 - Hurricane - Jack Crawford Orchestra – 19273 - Hurricane Blues - Earle Bostic and his Orchestra - 19454 - Night Wind - Helen Ward with Benny Goodman and his Orchestra – 19355 - Talking to the Wind - Harry Cool with Dick Jurgens and his Orchestra – 19416 - Ill Wind - Harold Arlen with Eddy Duchin and his Orchestra – 19347 - Lonesome Wind - Jimmie "Tex" Watson and the Melody Rangers - 19498 - Wind in the Mountains - Carson Robison with his Pleasant Valley Boys – 19489 - Buckin' the Wind - Carl Ravazza with Anson Weeks and his Orchestra – 193310 - Hurricane Boogie - Dick Lewis and his Harlem Rhythm Boys – 194711 - The Wind Sings a Cowboy Song - The Six Westernaires - 194612 - Gone With "What" Wind - Benny Goodman Sextet – 194013 - Texas Tornado - Rex Allen and The Arizona Wranglers - 194614 - Oklahoma Cyclone - Butch Nelson with Fiddlin' Forrest Delk and his Gully Jumpers – 195015 - The Waltz of the Wind - Roy Acuff and his Smoky Mountain Boys - 194716 - South Wind - Amy Arnell and Voices Four with Tommy Tucker Time – 194117 - Hurricane Harry - Harry Roy and his Orchestra – 1933

Speaker1: [00:00:00] Hello, my beautiful people, you know, it is Humpday because I am here talking to you and you know that I released these episodes on Wednesday, so excited to be here. And we have another amazing guest because, you know, I read nothing but quality. And his name is Dr. John Jaquish. He is a Wall Street Journal best selling author and an inventor of the most effective bone density building medical device, which has reversed osteoporosis for thousands and created more powerful and fractured resistant athletes. His devices were put into production and has since been placed in over 300 clinics worldwide. Osteogenic loading has now helped over 20000 individuals with their bone health. Dr. Jaquish also quantified the variance between the power capacities from weak to strong wages and weight lifting, which brought him to his second innovation x3. The research indicates that this products build muscle much faster than conventional lifting and does so in less training time, all with the lowest risk of joint injury. Dr. Jaquish is a research professor at Rushmore University, speaks at scientific conferences all over the world, has been featured on many of the top health podcasts, is an editor of multiple medical journals and is a nominee for the National Medal of Science. I am so excited to have him on here because we're going to have some controversial topics that we're going to be discussing, including why not weightlifting and the whole fitness trend and so many more things. Welcome, Dr. Jaquish, a.k.a. Dr. J. How are you today?   Speaker2: [00:01:48] I'm super. Thanks for having me, Elizabeth.   Speaker1: [00:01:51] I mean, thank you for being here. I mean, you know, I'm going to put you on the spot on the podcast. I don't normally do this, but I think I'm inspired by you as being my guest to have a little section called Rumor Has It. And so be prepared.   Speaker2: [00:02:07] I will. There's all kinds of crazy rumors going around about me. Most of them are just ludicrous. But I always I enjoy even the ludicrous ones that are very comical.   Speaker1: [00:02:16] Ok, so we're going to we're going to sneak them in there if you let me. So thank you. So I want to start talking about first of all, let's talk about your product. Right. Let's let's talk about what made you disrupt the fitness world. And do you feel like your research and technology and your competitors who use your traditional way of getting lean and building muscle?   Speaker2: [00:02:42] Ok, yes, it's definitely a threat to the old way of getting fit. But let's face it, the old way of getting fit didn't really work for many people. Like, really think about it. The people who, you know, go to a gym three or four times a week and have been doing so for years. Do they look any different? Right, silence, they don't. Yeah, yeah, and in fact, there's there's data on the top leanest one percentile of males in the nation. It's ten point nine percent body fat, basically 11 percent body fat. That's the best one percent. Now, percentage body fat is a wonderful number because it considers muscularity also. So because the more muscular you become, the lower your percentage of body fat will be, so. You have a relatively pathetic number as the top percentile. Like, I really shows you, there's not a lot of fat people out there and there's a reason why it's so coveted, people want to be fit so badly because hardly anyone is. And like, why are we trusting an industry that might have a ninety nine point nine percent failure rate? Wow. Like who really who really is fit looking? Who really has completely visible abdominals and muscularity at the same time, you know, is it one in ten thousand people, maybe one in fifty thousand people? It's just uncommon.   Speaker2: [00:04:18] And so when that is how we define fitness, that's how we define and an admirable physique and we look at the statue from eight hundred years ago of Hercules, that's that's in I'm thinking of a particular one. There are a lot of statues of Hercules, particular kind of famous. He's leaning on like a like a tree branch and he's hung a lion skin over the tree branch. But a hundred years ago, you know, the guy looked absolutely incredible. They didn't even have performance enhancing drugs back then. But it's just so rare as my point that somebody had to sit for that statue to be created. Like there was a guy that looked like that eight hundred years ago. But my point is, it's just so rare and now there's a couple of genetic reasons which can be bypassed and I discussed that in my book, Weightlifting is a waste of time.   Speaker1: [00:05:09] Oh, I need that. I need to get that book because and we're going to get into that book, you know, I don't know. I want to get a signed copy. I'm waiting for the signed copy from conservatives. I get from and then rumor has it, but I'll bring that up. But I'm like excited to get my signed copy. But I want to go back a little bit to this technology that you spoke about. You talk about Hercules, right. Like let's pretend right. Like back in the days, we all know Hercules is known for being super buff and strong and like like you said, no, you know, performance enhancing drugs or medications or supplements, whatever you want to call   Speaker2: [00:05:46] Somebody that's got you, you listen to me talk and don't understand what that means. Somebody had to sit there and sit still while the sculptor created the sculpture.   Speaker1: [00:05:58] Yeah, that's a   Speaker2: [00:05:59] A who look like that. They don't just invent muscles out of their mind. No, because they don't know the anatomy. There's very few anatomy classes eight hundred years ago, but people could sit for a statue, so there had to be a guy like that.   Speaker1: [00:06:13] Yeah. And so I want to kind of touch on nutrition a little bit talking about that and you and your book. Right. Like what are your thoughts on nutrition? Because you said ninety nine point nine percent of the population are not succeeding in that. And so, you know, when you were asking me a question about you said, you know, who do you know that's really fit and who's going to the gym all the time? And I'm thinking, yeah, they're going to the gym all the time. But they're also like meticulously counting their calories, their macros, their protein.   Speaker2: [00:06:46] They still don't look any different, do they?   Speaker1: [00:06:48] Not by that much. So let's talk about that. I want to hear your thoughts on these fad diets, these new diets that we know that Hercules was definitely not doing.   Speaker2: [00:07:00] Primarily what I eat is red meat. Now, I also it's all about the quality protein when it comes to building muscle. Now, the two greatest drivers of long life or high levels of muscularity and low levels of body fat. So those are the two things I'm kind of best at. Having a low level of body fat and a high level of muscularity now, how does that happen? The easiest well, you have to have a lot of dietary protein and it has to be of quality. So, like, vegetable protein is only nine percent and that's like nine to four percent usable by the body. So you can you can have. Whatever, one hundred grams, but it really only counts like nine grams, so that would be like a pound and a half of broccoli will give you nine grams of use, but you need one gram per pound of body weight. Not a lot of people weigh nine pounds, so especially adults. So you can't have vegetable sauces and get anywhere. In fact, you're losing Moscow muscle the whole time. You're like vegan or vegetarian. So that's why there's weight loss also. Yeah, the losing body fat is a record deficit, but they're also losing muscle very rapidly. And that contributes to a lot of chronic conditions and early death. So, you know, does it do some good things for you going vegan or vegetarian? Yeah. Yeah, it does. It cuts a lot of processed food out, and that's good. But you can cut processed food out and still have animal protein or diet. So, yeah, that's that's primarily where I am. I did create a product that wasn't specifically for vegans, it was for everybody, but a lot of people.   Speaker2: [00:08:49] And they found a one gram per pound of body weight like I weighed 240 pounds. So 240 grams of protein is like two and a half pounds of steak. And I eat one meal a day because I want to fast and benefit also. So when you sit down for one meal and try and eat two and a half pounds of steak that lasts like half a pound, you don't love it. Wow, it's like work, is it, and you don't feel good afterward, you know, so your girlfriend wants to cuddle with you and you're like, now I'm going to have any Digest's. Let me just lay here. And so that just wasn't it wasn't great. So I worked with a with a group who had engineered a cancer treatment. That that was a very. Usable, essential amino acid product and most essential amino acid products are about as usable by the body as sand. Unfortunately, yeah, there may be the amino acids and everything weren't created correctly. They weren't created with fermentation. Basically, we're supposed to eat rotting stuff. And obviously, for sanitation reasons, we don't, right? So what what this is, is gives us the benefits of that rotting material fermentation without the taste and it's clean and there's nothing that will give you an infection or anything. Yeah. And so it's called Vortigern. So so I take about two two hundred grams of protein and protein value. Wow. I mean, I literally have to eat like a half pound steak and I'm good,   Speaker1: [00:10:29] And now you can cuddle with your girlfriend.   Speaker2: [00:10:32] Yes, very   Speaker1: [00:10:33] Good. So everyone everyone wins here.   Speaker2: [00:10:36] Everyone wins. Yeah, exactly. Bet my girlfriend   Speaker1: [00:10:39] Did. She's so sweet. No, no, no. So, yeah, for those guys don't know like I do know his girlfriend. She's so sweet. I did meet her try. We're trying to get her on here but she's doing other activities right now. Working. But she is the sweetest person I've met so far, so I love her. She's amazing. Hi, Jessa waving to her. So when she sees this, we're thinking about her. So let's let's call it let's take it down a notch. So. So you don't recommend. So when people talk about becoming vegan or vegetarian or raw. Right. Like they not only do it because of the benefits of maybe losing weight or taking out those processed foods, but also the impact on the environment. Right. And like all these foreign foods, because not all protein is made equal. Right. Let's let's be honest about that. Right. Like a grass fed grass finished cow beef is not the same as a industrial commercialized, you know, cornfed, right. Exactly. Cow who is fed with hormones and antibiotics and you name it. So let's talk about that a little bit. I would love for you to shed some light on what your intake is on the people who are concerned with carbon footprint and saving   Speaker2: [00:11:53] Animals, the carbon footprint idea or the methane. That's so there were twice as many bison in the United States before Europeans migrated here than there are cow. So where was all the methane and global warming back then? Now, is methane created from grass? Yeah, and if the grass died just seasonally and then came back the next spring, rotting material, dead plants leaves a hole in the ground from trees that creates methane to. Like the same amount, so whether the cow is eating it or just sits there, it's methane equals methane, it's the same thing. So a lot of this is just a gross misunderstanding of what methane is. Also manmade methane number one cause is the medical industry. Like, I think that's like 80 or something, percent of the methane created in the Western world is created by making pharmaceuticals. So I think it's maybe like one or two percent come from cows. So first of all, the greenhouse gases are natural, they come out of volcanoes, they come out of plants, uh, the kind of rotting material, we're not gonna do anything about that. Like, unless you want to cut down every tree, then we'll die, we're all die for another reason. So every animal that saving the planet, then selling it back. So there's no sustainability argument was. A false narrative created by Vegan's and Seventh Day Adventists by Seventh Day Adventists, that's part of the religious mandate that they convert everybody to being vegan, hereditary.   Speaker2: [00:13:35] And so, yeah, they're doing their religious work. So, I mean, I guess I guess good for them until they start lying in the press about things like this. And then, you know, that just becomes annoying. And also then these kind of issues get brought up in Congress and then people are voting on taxes, on food and. Different things they don't understand, like people in Congress have no understanding yet, they want to jump in the middle of it because it's political, because people care. So it's funny situation, pretty alarming. And also there's political correctness. So we want to be nice to animals. Now, here's a statistic. Seven billion animals are destroyed every year for the sake of vegetable farming. So you're actually growing vegetables kills just as many or more animals as eating animals. And the reason is how many gophers do you need to kill him out of your field? Poisoned by the thousands of birds, poisoned by the thousands, and then, of course, other animals eat dead birds and then they die to. And then, dear, if a deer gets in a vineyard like I, I went to high school in the Napa Valley, I watched deer jump in the vineyards immediately get shot. You can't get it. You can't get a deer to walk out the front gate. There's dumbest cockroaches. They won't ever understand that. You just shoot them. And so they did. I saw a deer shot all the time.   Speaker1: [00:15:11] Yeah, I do know that's a bummer.   Speaker2: [00:15:14] Like, wow. Yeah, I guess the deer just went the wrong place. They should have gone somewhere else to eat, but, um. Yeah, that's just that's just part of it. But also from a broader perspective and this is what everybody should keep in mind, any species that's growing is taking resources away from another species. So this isn't just true of humans. If more snakes show up, they eat more mice. They eat so many mice that. There's lower and lower population of mice in a given area, so they're taking resources because they're expanding population, that is a way of balancing itself out later on. But as long as we have an expanding population, we're going to take resources from something. No, no way around it. And so, I mean, the joke is you really want to help the planet just kill yourself. Oh my gosh. Yeah, I mean, it's obviously a bad joke with science like this. Like, we're people. We take up resources. There's no way that we're not going to take up resources no matter what we do. So it's an acre garden that we have to kill all kinds of animals to stay out over eating the food we intend to eat. What are we really doing? Anything.   Speaker1: [00:16:31] Right. Right. And I also want all the animals. Yeah, no. And I want it. Exactly. I wanted to clarify, like I know you said earlier about the deer to shoot him. And I wanted to just clarify for reference that if you like, read your state laws and you see that, you know, farmers like a peach or orchard could potentially is allowed to, by law, kill a squirrel or anything that comes to eat the they are allowed to. And like this is the kind of stuff that we don't talk about, like the almond farms, the peach farms, the apple farms, all the vegetable farms they are allowed to. And they do kill every single thing that comes in there from the Buber's from the moles to the foxes to the ducks, to the birds, to the squirrels. And and they are allowed to because I, I randomly like I went to a friend's house in Jersey and the guy was just shooting squirrels, unfortunately. And we were like, what can we do about this? And we called and we and the local police officer, you know, whatever he said that he has an apple tree and he has every right to defend the fruits from his property. And if that meant Menta to do that, he was able to. And I was just so shocked. I'm like, it's not enough. It's not a real farm. But technically, he's protected and they were protecting him. So I do want to bring that up. When you when you said that, it's not like, yeah, shoot the deer. That's not what you meant. You meant like that to their right. And that's what they do. Yeah. We're just going   Speaker2: [00:18:00] To talk about the losers in. You're right to do everything to keep the grapes from ever shown up the bite off every leaf. Wild boar are typically shot from helicopters because they come near farms and tear up the ground. So, yeah, just   Speaker1: [00:18:19] Just the other side,   Speaker2: [00:18:20] Weapons from a helicopter using very selected narrative that the press likes to hang on to, it's like saving animals is good and very simplified, like like people seem to want all of their health and lifestyle advice boiled down to like a mean like a half a sentence. Yeah. And like, these issues are just not so simple. It's not like vegetable good, meat bad, right? You know, you you eat that way, you'll die of malnutrition. You get no vitamin B 12, which is absolutely essential for life. So, you know, like you can do that.   Speaker1: [00:19:03] Hey, Dad, I have a story, actually. I mean, I didn't die, but I was really sick for a long time and I didn't know what was wrong with me. Doctors didn't know what was wrong with me. I was under every experimental medication you can probably think of. It was like Celiac, Crohn's, IBS. And there was like, could it be like my grandmother had pancreatic cancer and she had survived that. She went to Peru, she killed herself. They gave her a six to eight months to live. And I think it's already maybe 15 years. And she's still here kicking and screaming. So they thought maybe this is what it looks like, the precursor because they precursor cells, they didn't know what was wrong with me. So they put me on these diets first. It was vegan because they were trying to rule things out. And then this is by my doctor, right. Vegan. And then I became vegetarian first. Then it went to vegan and then it became Rovi again. And because it was such a big shift in my body, I had a massive gallbladder attack and my gallbladder was removed, not because it had stones, not because I was unhealthy, but because it was such a shock for my system. So today I do eat animal protein, but I'm mindful of the protein that I eat. I don't eat a lot of it because it's so hard to process the protein without a gallbladder. That's just the reality of it. But I was told by the doctor afterwards that a lot of times people go into these diets so quickly that their body does go into shock and it can cause different organs to fail. And I'm not trying to I hate like I don't like to make people fearful. I'm a big advocate for having root vegetables. I love I happen to love vegetables.   Speaker2: [00:20:47] That's just   Speaker1: [00:20:48] It's. Yeah, I'm just sharing like what my experience. So I just wanted to share that on, you know, diet and like what your opinion was on that.   Speaker2: [00:20:57] I guess a lot of me. No, I don't go to vegans and complain that they should stop being like, you know, I, I in fact, I created a product where they can actually get high quality protein and continue to be vegan. So the bacterial fermentation product. It's there's no meat involved in the creation of that, so it's vegan friendly, amazing. So yeah. Yeah. So I'd rather help them, but. At all, I'm going to be honest, scientifically, it's just there's no case for it, it's it's a bad idea and that ultimately lead to just a poor outcome. But it takes people a lot of years before a lot of these symptoms catch up with them, like the teeth falling out because you have no V12 like I've seen vegan's where you bite into something and the truth will come out like I'm talking like people in their 20s because they've been vegan for ten years. So the really bad symptoms start after seven years because initially a lot of people went and tried this and they're on a caloric deficit and they lost a bunch of body fat because you can't eat enough vegetables to even cover, like what your body needs from basic perspectives. So you drop a bunch of weight and people think thin is healthy. I mean, lean is healthy, thin is maybe a little bit healthier, depending on where you're coming from, but, you know, that also might be dying. So let's keep that in mind, yeah, because there's a lot of dysfunction, so cut weight like cancer make you lose weight, that doesn't mean it's a good thing. Another thing. Like like the vegan research is typically paid for by Nabisco, Kraft packaged food companies they call big foods a big food industry, and then they would love for everybody to be a vegan because they know vegans aren't eating kale. Most of the time they're eating cookies and cake because it's convenient if it's like it's not it's not a meat product. Right.   Speaker1: [00:23:05] I mean, to be fair, there are different kinds of vegans, right? Like there's like the junky vegans who eat, like all the, um, I don't want to just junk food that, you know, just as vegan. And then there are the ones that are more conscious about the kind of food. Is it from a biodynamic farm? How is it raised? Like how is it grown? Is it like coming from a is the soil biodiversity and all this stuff? So like, I just want to put that out there. I'm not bashing and neither is Dr. J. We're not bashing anyone, just kind of talking about these kinds of things. But Dr. J. I want to I thought this is a great Segway talking about gains, right. Like muscle gains and talking about body fat. Can you explain how using your technology helps to gain more in your goal without impacting your body and like low impact and how it doesn't cause any joint issues,   Speaker2: [00:23:58] So it lets you train heavier? That's the easiest way to explain it. Like you train heavier than you would in a gym. But it's also safer because when it comes to that point where the joint is exposed to potential injury, you get an offload moment where the weight goes way down when the joint is at risk and the weight goes way up when the muscle is fully engaged. So you go to a much deeper level of fatigue, weight training with a heavier weight. And everybody that knows anything about strength training, however you go, the more you grow. So really straightforward uses very heavy latex resistance, but there's also an Olympic bar to protect your wrists that's right here. You can see as I rotate the bar, this always stays parallel with the ground, and that's to keep your wrists neutral and keep your small bones in the wrists from being broken. And we have an equivalent platform we stand on that is to protect the small bones in the ankles as people who just do band training, all they're doing is injuring the wrists and ankles. Oh yeah. Because or they're training so light. It's doing nothing.   Speaker1: [00:25:08] Wow. OK, and what was the process of creating these products, how did you crack this code? Like please share with us the back story?   Speaker2: [00:25:17] I'm not really part of the fitness industry. I never was like I mean, the fact that I sell something that has talking points that are fitness, I see the fitness industry is just a complete failure. No joke. Ignoring science for 50 years, just like everything like like the idea the cardio helps you lose weight. No. Doesn't. Does the opposite, it protects your body fat and gets rid of muscle, so it gives you the opposite. We think. So know, I see people like on treadmills and, you know, just wasting their time getting worse. Wow. I come from the medical device industry. I developed a medical device to reverse osteoporosis a little over 10 years ago. And that's been outrageously successful when I looked at bone and how to figure out how to treat bone and make it grow very rapidly after I figured that out and produce a product launch that prior to the clinical trials of that product, I realized I had gathered data on loading of the body that would completely negate the existing fitness industry or strength strength training industry. Now. If you look at what's the difference between cardio equipment and strength, equipment, cardio, what we call cardio is just really shitty strength training. That doesn't work, doesn't make it stronger, your body doesn't know the difference between a treadmill and a squat rack like you're contracting your lower extremities muscles, your long johns. But he knows the difference in how heavy you're going. Because that's what fatigues the muscle.   Speaker2: [00:26:57] So all you're now, you're fatiguing your cardiovascular system during either. And it just so happens that there's more than one hundred studies that show that fatigue in your cardiovascular system with weights. Will give you as much cardiovascular benefit or more then cardiovascular training, so cardiovascular training, as we call it, like I said, there's really no such thing. You don't get any stronger. You actually get weaker because it regulates cortisol and cortisol cannibalizes muscle. You protect your body fat. So you stay fatter longer and you don't get as good of an effect or an equal effect to strength training. So why don't you just do strength training? Well, like I said, the answer is so obvious now, if you're training to be a marathon runner, you got no choice. You have to run marathons. But a marathon runner, their biochemistry by secreting cortisol is trying to get rid of muscle as fast as possible. So they're losing muscle. And this is like this mythical idea that you can be a, quote, well-rounded athlete and have cardiovascular endurance by doing endurance training. And be very muscular. Now, those are two conflicting goals, you're not going to get a Formula One car to have 40 miles to the gallon like they're conflicting goals, conserving fuel and going fast, conflicting goals. So so now I have great cardiovascular endurance, I can do a lot of work in a short period of time. But because of my level of musculature, like I said, I'm six foot six feet tall, about seven percent body fat and.   Speaker2: [00:28:46] Two hundred forty pounds, so when I sprint up a flight of stairs, maybe two flights of stairs, I'm a little out of breath. But a skinny guy, the way one hundred pounds, one hundred pounds less me. He doesn't he's not out of breath when he sprints up the two flights of stairs to the common. The ignorant comment that many make is all strength athletes have poor cardiovascular endurance. No, they don't, because my legs may be five times the size of his legs. So when my quadriceps are asking my heart for blood, it's a lot more blood that's got a pump in there, that's a far more powerful engine. So in essence, I'm driving a V12 and that guy is driving like a four cylinder. So right wing engine, a weak engine doesn't draw a lot of fuel. And so, you know, just because I'm more powerful and I'm designed to do a lot of work in a short period of time, you know, I try and do work in a long period of time while I don't have the engine for that. Like. Which is why, again, a cardiovascular athlete has very little muscle mass because the biochemistry is forcing them to have very little muscle mass. So this whole, like, endurance thing in cardiovascular health, if your idea is to have a healthy heart through strength training, if you want to run marathons, obviously you got to do a marathon type training for you.   Speaker1: [00:30:14] Guys like that are listening and driving. And, you know, just listening to us talk to an audio, we are also video recording this so you can actually see Dr. J. He doesn't work out, but he's he's at seven, what, seven percent body fat. And he looks   Speaker2: [00:30:28] Like, oh, man, I work out with X.   Speaker1: [00:30:31] Well, let me let me take that back. He's not from the business world. He's not lifting weights. He's not measuring his macros and doing all these kinds of things. He is literally following his formula. So I invite all of you guys to come and see this because I need to go and start doing this kind of training, hopefully soon, or I'll have, like, the arms that we spoke about before with you and your girlfriend. Know, this is very interesting stuff. And, you know, I want to just take it back a little bit. I know that you first started in the space of how to repair or how to grow or you have to help me out with the lingo here for osteoporosis because of your mother, am I correct?   Speaker2: [00:31:13] Yeah. Yeah, I was all inspired by my mother. Yes, she had osteoporosis. I wanted to figure out how to treat it. She was unwilling to take any of the medications because of the side effects. And I don't really blame her. But I said, well, you don't want to take any medications. I might be able to figure this out. Now, I came from a very fresh perspective. This was even before I did my Ph.D.. So I just my experience is more like I just want to learn how to author papers academically because that's a skill like, you know, you don't just like you read a research paper. There's a reason most people can't read them because it's a lot of statistics, a lot of information condensed. I know nobody feels like they're condensed because a lot of times are 20 pages, but that could have been two thousand pages of forms. Yeah, yeah. So, yeah, it's a lot of information condensed in an academic manner and I wanted to really be able to do that. Everyone has had the biochemical approach to a lot of these physical medicine dysfunctions. And I'm like, well, deconditioning of a bone. Is osteoporosis? Well, you can deconditioned it, you can recondition it right right now and everybody kind of look at me like, oh, I suppose I got seems crazy, but there is research there on like it was gymnastics. The gymnastics research really got me that. That was the key moment where I, I found the right research. I looked at the rate at which people were hitting the ground and they hit the ground so hard, sometimes ten times their body weight, incredible muscle density, but bone density as well. So the bone I was I was looking at. So I just thought, OK, like, I'm not going to tell my mother to do gymnastics, you know, in her 70s, but I can build a high impact emulation device. And that's what I did. And that's what's at the osteo strong locations.   Speaker1: [00:33:14] Wow. Amazing. And I wanted everyone to hear because a lot of times we think of like, why would somebody like this what is the goal here? Like, if you're just trying to, you know, like if you can you flex a muscle for us? I hate to make you do this, but like, there's a lot of muscle there, like hardly any body fat. And so, like, you would think that he did this because he just wanted to look good. I'd figure that crack that code. But the story behind where this all started was the love for his mother and to help her. And I'm assuming that she's doing well today. Right?   Speaker2: [00:33:46] Right. Yeah.   Speaker1: [00:33:47] Yeah. So amazing. So this is what you call the love of a son. And it's beautiful because the company has grown. And I want to talk a little bit about some rumors that I heard. I I've seen Tom Brady doing the X three. Yeah. And he shrugging your shoulders, but I've seen it. So, like, you can't you cannot not talk about it. And so.   Speaker2: [00:34:14] Yeah, yeah, I could definitely not talk about that. But I, I Peyton, I know that I will say I just finished filming a video series with Terrell Owens, who is another one of the greatest football players of all time, and also a much stronger guy, Tom Brady. So he's he's an excellent user and he uses it right. Which I find very pleasant. When I see videos, I see videos of people using it wrong. It's like, dammit, OK, it's just another another dipshit. You couldn't take fifteen minutes to watch the instructional videos and they're just making up their own exercises and they're going super fast, which doesn't really do anything. Speed training is OK if you're. A pitcher in baseball, but what we're teaching is not sports specific, it's generalized, it's generalized for muscular size, muscular power and muscular endurance and have also you can profoundly have all three and there's synergistic. So, you know, the sports specific stuff. I leave that to the to the trainers and sports. Like, for example, like the book got an endorsement from the Miami Heat and they actually let me use their brand. And, you know, in describing, you know, who's who's endorsing this book. And they almost never do that now. And so, yeah, they're very protective of the brand, obviously, because they just believe in the technology and they start lifting weights and they use X three. Now, what's all them was? Use X three, four strength, power and muscular endurance. But you still got to do all your other drills. Will there be any conflict between strength training and drills? Maybe a little maybe we'll get a little less growth in certain areas and certain muscles are a little overworked or whatever, but.   Speaker2: [00:36:13] You've got to do your drills because being a basketball player isn't just about being strong, it's about having balance. It's about regaining balance quickly. When somebody bumps into you, it's part of the game. So, yeah, they still do all that and so, um, and so I'm working with Terrell Owens and, uh, six other NFL players, obviously retired. He's a Hall of Famer. Yeah. And these guys, they love X three. I especially care for the NFL, the NBA, too, but mostly for technical reasons. The NBA, because they're so tall, a joint injury is much worse on a tall guy that it isn't a shorter guy because there's more leverage on the joint. They can they will feel more pain through that joint for the rest of their lives. You got be very delicate with a joint tall person when it comes to the NFL. Um, I see, um, the day they signed their NFL contract, they're told you can't get injured or otherwise you can lose your contract. It's kind of a funny contract. They can say we're going to pay you forty million dollars over the next whatever few years. But if you get injured, you only get paid, prorated for whatever you played and then the rest of that money's gone. Wow. Yeah. So it's a contract. Sorta. Sorta. Also, the drug tested like all the time. So everybody knows when they see a fit and a player. OK, you know that guy, he really did it. And like in Dr. Jake, which is helping him. So like I want to listen to that guy so that I really enjoy the because like also like there's some bodybuilders that really enjoy using ecstasy also.   Speaker1: [00:38:01] My question for you is, since I'm going to now be doing videos, I mean, I'm not an NFL player or anything like that. I'm a good person. So I'm going to be doing the X three soon. And is it like will I will I look like, you know, offense? Not that, you know, you're a man, so that's great. But like, I don't want to look like a bodybuilder. So is that going to cause that, like, I want to be like a politesse like Fiddlin must, you know, obviously body fat going down. It's great. But I'm nervous that I'm going to look like a bodybuilding woman, which is great if you like that. But I just don't happen to, you know, like that. Look for myself.   Speaker2: [00:38:41] Yeah. You're not going to look like that. Yeah. I mean, you seen Caroline. She looks incredibly feminine. Yeah. Yeah. So now she modifies the program a little bit. She doesn't do direct arm work. We just want to make our arms any bigger, but she does the postural movements, the lower extremity movements, uh, she does calves, she really likes how her calves look in heels. Now, they kind of didn't look very developed at all before, but they now. But I see. So a lot of people start strength training. And so then they start they have their hungrier because your body wants nutrients. So instead of eating nutrients, they eat Twinkies. So, yeah, I mean, did you get bigger? No, you got fatter, though. So sorry, it's a habit and I see it happen, you know, it's like, you know, you're not going to grow like, you know, 10 pounds of muscle look like a man. Usually that only happens to women who are chemically enhanced like they're injecting drugs. Oh, OK. Get to that to that look. And again, like I like the way you said it. If it's for you, it's for you.   Speaker1: [00:40:01] It's just not for you. So, you know, you guys heard it here. You're going to see me training. And part of the reason why I also wanted to do this was because, you know, Dr. Jay knows that I've had some, you know, not coronations and a lot of pain. And, you know, he said, like, this could potentially help you. So I am excited about this, but I want to talk about another rumor. Can you handle it?   Speaker2: [00:40:28] I can handle.   Speaker1: [00:40:29] Ok, so I heard a little birdie said to me that NASA published the paper, not a birdie, but it's kind of kind of public knowledge.   Speaker2: [00:40:40] It's public knowledge. It's just, you know, it was published in a scientific journal. And there's not that many people in the world that even know how to read those kind of things. But you know what? I will read you a quote from the paper. Let's do it. Yeah, it was a really, really powerful statement they made, but they're truly looking. What I'm doing and changing resistances for different ranges of emotion. As a way to manage the health of astronauts, because without a gravitational field, the body just starts coming apart. Yeah, like like there's two things that are like from it, from a technical standpoint. And obviously, we put a we put an unmanned vehicle on on on Mars already. So the challenge is to get a human to Mars. Will. Little robots with wheels, they do fine with radiation exposure and now exercise. But humans die. So what we need is now the shield from the radiation, like we know how to do that, but what we're going to have to ultimately do is build a spacecraft in space because that kind of shielding is heavy and the most challenging thing for a launch vehicle. Is how much weight, isn't it, the conclusion of the paper says if the exercise apparatus could be condensed to the size of a shoe box to meet the weight and volume restrictions imposed by NASA, it could potentially serve as a countermeasure for bone and strength loss on exploration vehicles.   Speaker2: [00:42:21] Now, exploration, they mean not the moon, right? I mean Mars. So. Yeah, we can we can pull this off and this is exciting. It's a great study and they used bone formation, blood markers, which are highly accurate, unlike the standard for testing bone density, which is a dual x ray. X rays, just a picture of bone and then use software so the picture can determine how dense or porous the bone is. Well, it's a picture analysis. So is it accurate? Not really right now. One of the developers of DEXA had a drink with me at a conference and he said it's like the worst measure in medicine, except it's the best we've got for bond. And in fact, it's considered excluded for analysis. If the same technician didn't run your before and after, you know that that says that there's like an art to lining up the bounding box on the bone, which is what they have to do. They have to look at your hip jobi from a macro perspective and get the box just in the right place. Well one technician doesn't like this, the other doesn't like this. So it's different numbers.   Speaker1: [00:43:37] And so, so if this device may or may not already be in production or whatever, so does this mean that like we can potentially get like maybe like you could do like travel sizes of this. Like I know I'm maybe wishing to fast   Speaker2: [00:43:52] Track says,   Speaker1: [00:43:53] Ok, well, even even smaller, you know. Like how much smaller.   Speaker2: [00:43:57] Well, OK, so like there's what NASA needs and then there's what the rest of us.   Speaker1: [00:44:02] Ok, five.   Speaker2: [00:44:03] True. Yeah. And also keep in mind from a material science perspective, a lot of the forces. That are occurring. Don't need to be engineered in exactly the same way for Earth because there's no gravity. So, you know, that might be different calls for flexibility, there might be. Some portions of latex, portions of nylon, portions of Cavaleiro, portions of, uh, you know, like a like a liquid carbon fiber.   Speaker1: [00:44:39] Are you ready for the last rumor?   Speaker2: [00:44:40] There is a lot of rumors and I'll say it again. So when I first came out with Yoshio's from devices, I was being criticized by medical doctors. Now, fortunately, once you show them the evidence, because immediately they imagine you don't have the evidence which is showing the evidence and the rationale, they're like, OK, I'll send my patients there. They do a complete 180. So they're never too excited about anything because is it going to work for everybody? No, nothing works for everybody. So they're realistic and they're like, I'll send some of my patients that are relatively ambulatory and relatively pain free because that's those are two requirements are so strong. They can't be like, you know, unable to use your legs and get a benefit in the legs. You've got great the force on your brain. The problem I saw with the fitness industry and I was given warnings by others that my friends who had been kind of crossing the line between medical advice and fitness. Like Venice fans in general, not too bright. And it's yeah, I mean, they just said, like, this is like some of the stupidest people you can find and they cannot absorb science. And, you know, it's like like I used to hear Jordan Peterson talk about the bottom 20th percentile of intelligent people are only qualified to push a map, though. They have a job where they have to drive vehicle or kill people that are intelligent. So I always thought, like, I know where he's getting that. No, he's referencing science. But I never looked up the study. But I thought it seems like a lot of people, 20 percent. And then I found bodybuilding.com and I found all 20 percent of stupid people over that. It was amazing.   Speaker1: [00:46:28] Let's go to the room.   Speaker2: [00:46:31] Ok. Yeah, I'm just I'm just enjoying my haters because the more I get attacked, the business just goes through the roof. No, because more people see the stupid comments and they're like, I got to see this guy. And they expect me to just be like, wrong about everything. And then they look up the studies and they're like, no, this guy is right about everything. I love him.   Speaker1: [00:46:49] Yeah, well, you're also a doctor, right? Right. So that makes you more credible. And then you have your research behind you. But here's the rumor. Here's a rumor right now. I think it's about a rumor. I heard that you may be running for governor of California. Did you almost spit out your coffee? Yeah. Is that a yes of the coffee or yes to the governor or to both?   Speaker2: [00:47:11] I was I was in Chicago for a few unfortunate years, but yeah. Yeah, I'm a California guy and I love my state. And it's great whether it is some great people. There's a lot of great people, actually. What I really love about it is great habits. We're healthier state, we like the outdoors. People get outside and do stuff I think is really sad when a state is financially upside down and it's also the eighth largest economy in the world. That is only one explanation, just grotesque waste. I won't even call it corruption. It's like we spent four billion dollars on a train and never laid a mile of track. Yeah, it's just gone, and most of it was on environmental studies was studying crickets and moths and stuff like that. Now I certainly care about the crickets and moths. That's obviously overboard. And it was a waste of the taxpayers money. And this is why we have a punishing capital gains tax. We have all kinds of strange things. And of course, the governor shut the whole state down for exorbitant periods of time with no scientific evidence to back up his decision, making it all. So I'm not doing it because I'm egotistical about it, I think a lot of guys get into politics, they think they're great. So clearly everybody else should think that that's not my story. I think I would do a great job. I think I understand the problem crystal clear in I can fix it. I don't think the others who are planning on running, I've looked at who's planning on running and I don't think they have a clear vision of what the state needs. I'm going to run until I win. Or I think there's a better candidate. There are some downsides to me, I might be a little opinionated, I might be seen as toxic masculinity.   Speaker2: [00:49:19] I've been accused of that before. I'm a I'm an aggressive guy. I played rugby. I had a lot of things that guys do that are, you know, sort of looked at like, you know, that joke wasn't funny. Yeah, I think jokes are funny. Sorry. And so. Am I perfect for California? I don't know, but I also don't think we should be we should be picking people based on their general presentation, how they look at their skin color. Let's get somebody qualified. Clearly, we need it. But what I'm terrified about is we'll still have these punishing taxes. Companies will still leave, like it'll still be just as screwed up as it is now, because Gavin Newsom, he's the guy for all the listeners in New York and other states. He's got his governor now and he's actually a friend of mine. I used to work for him. Uh. I like the guy, but he is just done way too many things without justification when it comes to the virus. And then and then on top of that, just just nonsensical monetary policy of the state. Just waste Rudel waste. It just needs to end. So it's again, like I mentioned earlier in the podcast, a lot of people want their politics and their nutritional condensed down into a meme. It's not that simple. But it's also not that complicated. We need to look at where the money's going and just fix a couple of problems. Am I going to fix everything in California in four or eight years? Impossible. So many things are screwed up, but we can fix a couple of big things. We can fix the budget.   Speaker1: [00:50:56] I said, well, I'm excited to have interviewed the potential new governor of California. And I think, you know, if you think about it from, like, your mission to kind of help the bone from inside, which is what literally holds you up as a human, like it is your skeleton, it's your structure, it's your foundation. We think of a house. You need that strong foundation. I think it's kind of ironic that you invented this this machine or this country or whatever you want to call it, contraption or what do you call it, tool, medical device or medical device that helps you do that. Right. Helps you become strong from the inside out. And then that's kind of what you do. You've been doing this for a while and now you're trying to do this as a governor. Like, I think that actually is beautiful, like a full circle. Like you're like, OK, I see the problem. Like, I want to fix as much as I can the infrastructure. I want to make the foundation strong for my state. And like that just shows the full circle moment when you do become governor, that this is a lifelong mission of yours to kind of see something that people weren't able to see because you have a fresh perspective, a fresh pair of eyes, and you're like, that's oh, that's how I fix it. Let me make that strong. And then everything else will come together. So I just wanted to kind of tie that in there. So, you know, this is going to be great excited to see how this turns around. And you have confirmed that you are going to be running for governor of California. So congratulations on that. And because this is a beauty podcast and we did talk about the beautiful weather in your beautiful state, what does beauty mean to you from your perspective?   Speaker2: [00:52:46] Attraction? What attracts people to other people? Turns out it is visible cues that indicate long life. That's what makes people attracted to one another, so like why why do women like strong men? Because they look like they're going to live a long time, be healthy for a long time. Maybe be able to take care of things, whatever that means, depending on where you are, you know, whether it's chop the wood, make make sure everybody's warm for the wintertime or go out and earn a living or, you know, protect the family from from whatever threats may come upon them. Physical strength seems like it is highly associated with longevity, so that's and low body fat, so like we visually can tell what somebody looks like and how healthy they are. So I see. Health and physical performance as. Different names for the same thing now. The reason I like the fitness talking points of what I like X three, that's the strength product, I don't really see it as a fitness device. It's more medical, it's more scientific. It's sort of like Ultranet to fitness. But when people get involved in fitness talking points, they're typically talking about their vanity, how good they look like I want to look like this, and some like when it's a guy who show a picture, a strong male. A lot of women and I really like the trend where women try to build a lot a lot of lower body strength because they like the shape of their legs, shape of their butts. That's wonderful because they're building muscle mass. That's going to put a greater demand on all the organs of the body for focusing for enforcing the other organs of the body to perform at a higher level, which is going to keep them alive longer. And a lot of muscle mass they're going to keep later in life.   Speaker1: [00:55:02] Yeah, but also that that trend for the lower body as well. Like we know and I'm sure, you know, as a doctor probably studied this, that it has shown that women who have more of a muscle mass in the thigh and buttocks area, the lower body part, they produce healthier babies. They store more vitamins and minerals and nutrients. So that it's. So I just wanted to add that because that's when you talk about attraction and like, people don't know why that's attractive, because subconsciously, I guess through many, many, like, you know, caveman times, that's what signal to men like, you know, that's why they call it childbearing hips.   Speaker2: [00:55:41] Well, you can't change the width of your face.   Speaker1: [00:55:43] Right. But like,   Speaker2: [00:55:44] You're it's the same no matter what.   Speaker1: [00:55:46] Yes.   Speaker2: [00:55:46] Well, yes, the curvier a girl is. And when I say curvy, I don't mean fat because very often women are like, oh, yeah, I'm curvy. And I'm like, no, you're obese. But I, of course, say that to be real. Don't convince yourself you're healthy when you're not. My that's that's a that's a smokescreen put in front of yourself, lying to yourself doesn't help, right? You're just masking a brutal problem. So why do I feel sorry for people who are addicted for food? Yeah, I have compassion for them. I mean, the food has been engineered so that it's addictive. It's not by accident, you know.   Speaker1: [00:56:25] But I want to go back to Dr. Jay. I know where we're talking to Dr. Jay, not Governor Jay yet. Yet I want to know about the beauty part. Like you left us hanging here like you were talking about you. You like that women are now focusing more on their lower extremities, which actually engage more muscles. It engages more organs. And it just does so much for the body overall. So finish telling us what beauty is to you.   Speaker2: [00:56:54] Its health, like what's beautiful to me is a healthy hemoglobin A1 C score. By the way, one of the metrics that still counts is a lot of metrics don't count like high cholesterol doesn't matter. The higher your cholesterol is, the longer you're going to live. So people were wrong about that for 20 years. People still say that, and really it's the cholesterol medications that. Harm them or the fact that you know why cholesterol was such a myth for so long? No. OK, so think of an artery. Let's say it's right here. Blood, blood flows through it. What happens is inflammation from eating vegetables or sugar accelerates and different inflammatory type situations that happen to the body cause arterial inflammation. So certain points in the artery, there's inflammation and then as low density lipoprotein flows through. The artery, it sticks at these information points and it may collect and then break loose and cause an aneurysm or heart attack. So. So it was seen as like these things that are sticking there cause the blockage, which are low density lipoprotein LDL. But that wasn't the cause, the cause was the information. So if you have a low sugar diet, having higher cholesterol is fine. In fact, you live longer. There's research to prove that. But it's when you have high sugar and high fat diet, which most people who don't really control the nutrition, that's what they do. Now you're looking at cardiovascular risk, but just cut sugar out in front. This is good to   Speaker1: [00:58:38] Know, guys. So I hope that everyone is taking notes because Dr. J. Is dropping some bombs from all different perspectives about health. And I can't wait to get my X three because I'm going to work on getting my body fat a little lower. So I'm excited about that. So Dr. J. You know about the Beauty Circle. And you know what I'm going to ask you next is where do you find yourself Excel? I feel like I know the answer to this, but I'm going to let you answer. Where do you find yourself excelling in the beauty circle and where do you find yourself needing a little bit more TLC?   Speaker2: [00:59:10] The consistency, the I think also just focusing on science. I don't know where that fits in, but not just doing the right things, but understanding why you're doing the right things. People need to take a little more responsibility when it comes to beauty products, you know what's in it. Are you sure, because some of them have some dangerous chemicals in them, some of them don't, some of them are health promoting, some of them are beauty promoting, but health diminishing. Right. You've got to know, like what you're putting on your skin and also what you put on your skin sometimes transfers into your bloodstream.   Speaker1: [00:59:50] I think a lot of times, right. Because our skin is the largest organ in our body. And you're being very generous because I know that there are even and you as a doctor could probably answer this better, because I'm not a doctor. I'm just like a crazy researcher who likes to, like, ask many questions. I'm the Wegerle girl. Like, I think my podcast should have been like, why? And that's all I ask is why? Why? Even as a child, I was so annoying to my teachers, like, what is photosynthesis and why do we need it and why and why I was that annoying kid. But aren't there some minerals or some medications that absorb better transdermal? Like we know that there is such a thing as your body absorbing. And when people deny this, I always say, so why do we have a birth control patch? Not that I'm promoting that. Why do we have a nicotine patch? Why is it that magnesium there have magnesium patches? Because it's absorbs transdermal, like there are so many other things. Yeah. So to say that the skin doesn't absorb it, I just I'm going to call it out as a lie. Yeah.   Speaker2: [01:00:53] Well now some things will transfer easier than others. Right.   Speaker1: [01:00:58] And so where would you say that. You think that you could use a little bit more help in the circle and that could be you know, it could be water intake. It could be sleep. It could be spirituality. It could be relationships to yourself with others. It could be bowel movements. Like where do you think? Or skin and makeup. Yes. For you. Where do you think that you need extra TLC? I don't say the makeup that we're not going to cut that category.   Speaker2: [01:01:24] And I don't know, I'm on film a lot like so you could pick up on me and keep me from being shiny. OK, but it's it's pretty easy. They don't need it. They don't need a blended into my hairline. So from from my perspective, answer your question. Yes. There's a lot of things people want me to present on. Recently been talking about dry fasting, meaning no food, no water and of course, hydration, like we hear about hydration all the time. But we don't have any baseline for hydration. Like the whole like you need two liters of water a day. Somebody made that up. Like there's no scientific basis in that at all. And so I've been I've been doing some spending some time reading about like what's done for Ramadan because Ramadan passing is fascinating and like I want to get that information of the world and. I don't quite have like I'm on so many podcast and there's a lot of media stuff, and then the filming days, like with Terrell Owens or we got another filming day on Friday, the world would be a whole day. It'd be cameras and lighting and stuff like that for more of just like a training kind of video stuff. So I'd like to just be able to free up some more time so I can get my research done because honestly, I'm only good at one thing. And most people are really good at one thing, right, and everything else, they just kind of limping along.   Speaker2: [01:02:56] But I can read research and remember forever. That's amazing, though, when I read research. I have to take notes. Wow. And I can I can read a study and draw a parallel to a study I read 10 years ago, and I will remember the author of the study I read 10 years ago and find it in 10 seconds, and then I'll be able to read the two side by side, draw a parallel and write about it. And so you like like one study, maybe in one totally different field, one maybe endocrinology, another one might be dermatology and I can go, OK, these these two things make sense. But because X is is as a parent and so is why now I have a conclusion I can I can come to or suggest. Right. OK, that's fair. That's yeah. That's really like the one thing. And that's also why I've never had anybody like real like I've had a couple of people who don't really understand research, make some, you know, silly Facebook videos about like what a jerk I am because I'm wrong about this and this and this. And then they provide no evidence. And so even the commenters are like, OK, you like you have no science. And the guy in his book used more than two hundred fifty references. Scientific studies. No. Usually you're not the one right? It's just foolish. There is no real scientists is actually ever had a problem   Speaker1: [01:04:27] With anything I said. So the category that you would probably want is the relationship with yourself to have more time so that you can read more research papers and really start, you know, getting some intel on this drive fast thing and just the whole phenomenon of fast. What I'm interested in hearing your findings. Keep keep me in the loop, please, because I am always interested in this. I think that the body's metabolic flexibility is really something that we haven't really explored as much as we could have, if that makes sense.   Speaker2: [01:05:04] That was very well put. So what we've traditionally been doing is looking at normative data. Now, let me define that for everybody. Normative data is what the average is, so like vitamin consumption or liquid consumption? Well. Considering half of our nation is overweight or obese or morbidly obese, do we really care what the averages are? So we're comparing ourselves to people who are the fattest and sickest that humans have ever been. Also, here's another like vegan thing right now, the Western diet standard American diet is 70 percent plant based. So we go to 80 percent. Are we going to be better? Because like I said, we're the fattest and sickest ever at 70 percent. By increasing the number, we're going to get better because that seems wrong.   Speaker1: [01:06:01] And of course, it is no, I mean, we can get this is like a whole nother podcast, but when you do find the research, I'm sure that you're going to have some product out there, you know, to help us with that, because I do feel like it's going to be trending soon, not trending, but like more studies are going to come out because there are so many fasting protocols and people are talking about fasting and going into ketosis and the formula for energy and all these things. So we haven't really looked at it. And if you think about the caveman days, and I always refer to that because I think that's like a baseline for, like Hercules. Right. You think about how people went for days without food. Right. And like also that all or   Speaker2: [01:06:39] One, they didn't have a hydro flask that they carried around for the perfect hydration.   Speaker1: [01:06:43] Right. But then also you think about the need from a nutritional perspective. Right. Like, I just had this conversation with someone on the live and we talk about like maybe they could have had one carrot, but that one carrot. There's actually a study I don't know if you know about that study, but it actually said you need 220 carrots to equal the nutritional value of a one like one carrot like, you know, from a long time ago that was more nutrient based, not like cropped like a model.   Speaker2: [01:07:12] Are you talking about engineering? Yeah.   Speaker1: [01:07:14] So like a lot of   Speaker2: [01:07:16] Guys that we messed with. Yeah.   Speaker1: [01:07:19] So like also considering that from our side diet, which is the standard American diet, that even if you are getting those vegetables, how many nutrients are really in that vegetable? Because you know, that whole thing about diabetes and people that are obese, you know, we are eating, consuming a lot of food that is empty, empty and nutrition just empty, carbs just empty nothing, which is why you're still hungry. And most of the people are just craving more. And it's like, I don't know why I eat more, but I ate so much. But I'm still because your body's saying I need more nutrients, I need more minerals, I need more hydration because like, even the water is not like the same as you could find it. And and you know this, right? Like a spring water is different like you would get. And nature is different than like a Poland Spring bottle of water. Like the structure of that is completely different. The way that your body absorbs it so we can go up like this is like as you can tell, I'm passionate about this and I feel like you do see that big plate of food, but I see sometimes a big plate of food of like emptiness. And when you eat value. Right. Like, I would love to hear your perspective before we we've been on this podcast for a while, so and I'm going to be respectful of your time. But when you eat these kinds of high nutrient based foods, you're not really so hungry and you're not craving things. Right. Like, isn't that remarkable?   Speaker2: [01:08:39] One meal a day. Yeah, I'm never hungry. Now, when it's time to eat and, you know, I can smell the food I'm about to eat, you know,   Speaker1: [01:08:48] So you don't get hungry.   Speaker2: [01:08:51] No, no, I'm totally calm all the time. OK, cool. Yeah, and you know, one meal or whatever. Twenty three hours.   Speaker1: [01:08:59] Ok, cool. So, Dr. Day, our podcast is coming to an end and something that I ask all of my guests is to share one tip that or one piece of advice that they would have shared with the younger version of themselves.   Speaker2: [01:09:14] So a lot of people think that X three, I'm most known for X three, even though probably the more important thing is the bone density. I mean, osteoporosis is a disease that kills as many people as breast cancer. I came up with the most effective treatment for it. So scientifically, that was a bigger achievement than making muscles grow. Now, I think over time, x ray will be recognized as something that keeps people alive longer because they have higher levels of muscle mass and lower levels of body fat. So both may be saving lives, but there's a more direct connection with with osteo strong in the piece of advice, I would I would tell myself because a. I got to work on this for a long time and the two products go hand in hand, the self education like you don't just learn in school, you learn the whole time you're doing something from a professional perspective, especially like me inventing things, creating things that nobody ever saw before and only heard of it is advice that I was given, but I didn't believe it at the time. Just be relentless. Just don't stop like, you know, you're right. And I did. Even if it takes your whole lifetime, you'll never have a great. Like, that's the worst thing is the person who had the idea and then they end up hating themselves because they never, ever knew if their idea was worth it or not, if it would have worked.   Speaker2: [01:10:50] And

Rest easy with sleepytime slow aries on the Irish & Celtic Music Podcast. Fiddlin' In Th' Parlor, Mithril Duo, Anne Roos, Nick Metcalf, Thomas "Doc" Grauzer, Three Mile Stone, Andy Lamy, Harpnotic, Scooter Muse, Mark Davies, Cady Finlayson, Sarah Marie Mullen, Con Durham & Maz O'Flaherty, Leah Jorgensen, Socks in the Frying Pan, Fir Arda, Sylvia Woods, Brian Thomas, Susan Kidney/Donna Germano, Robin Huw Bowen #sleepytime #slowaires #celticmusic I hope you enjoyed this week's show. If you did, please share the show on social or with a friend. The Irish & Celtic Music Podcast is here to build our diverse Celtic community and help the incredible artists who so generously share their music with you. If you hear music you love, buy the albums, shirts, and songbooks, follow the artists on streaming, see their shows, and drop them an email to let them know you heard them on the Irish and Celtic Music Podcast. Every week, you can get Celtic music news in your inbox. The Celtic Music Magazine is a quick and easy way to plug yourself into more great Celtic culture. Subscribe and get 34 Celtic MP3s for Free. VOTE IN THE CELTIC TOP 20 This is our way of finding the best songs and artists each year. Just list the show number, and the name of as many bands in the episode as you like. Your vote helps me create next year's Best Celtic music of 2021 episode.  Vote Now! THIS WEEK IN CELTIC MUSIC 0:08 - Fiddlin' In Th' Parlor "Cradle Song" from Slow Aire 2:56 - WELCOME 4:01 - Mithril Duo "Neil Gow's Lament for the Death of His Second Wife" from Bottom of the Punch Bowl 8:11 - Anne Roos "King of the Fairies" from A Light in the Forest 11:58 - Nick Metcalf "Inisheer" from Skyline of Skye 15:18 - Thomas "Doc" Grauzer "Carraig Ferghus" from Infernal Harp Racket 20:33 - Three Mile Stone "Old Innishowan" from Three Mile Stone 23:06 - Andy Lamy "Slow Air/ An Feochán (The Gentle Breeze)" from The New Blackthorn Stick 27:59 - Harpnotic "Wild Geese" from Harpnotic 30:24 - FEEDBACK 32:47 - Scooter Muse "The Parting" from Saddell Abbey 36:05 - Mark Davies "Shule Aroon" from The Celtic Harp 39:49 - Cady Finlayson "Blind Mary" from Harp and Shamrock 42:56 - Sarah Marie Mullen "The Little Stream" from Harper's Bizarre 45:14 - Con Durham & Mazz O'Flaherty "Slow Air: Mar Mheath Uaim Mo Chairde, Lament For My Love" from Ar An Slí (On The Way) 47:46 - Leah Jorgensen "Butterfly (Trad. Irish)" from Peace - Love - Harp 49:37 - THANKS 51:00 - Socks in the Frying Pan "The Last Waltz" from Socks in the Frying Pan 54:34 - Fir Arda  "Eleanor Plunkett" from Carolan's Receipt for Drinking 57:46 - Sylvia Woods "The Harper's Vision" from The Harp of Brandiswhiere 1:02:19 - Brian Thomas "Iona Sunset" from Prairie Rain 1:06:01 - Susan Kidney/Donna Germano "Foxfire Morning" from Highland Fling 1:07:49 - CLOSING 1:08:52 - Robin Huw Bowen "Telynor ar y Traeth (Iechyd o Gylch/Mympwy Portheinon/Y Bardd)" from Iaith Enaid The Irish & Celtic Music Podcast was edited by Mitchell Petersen with Graphics by Miranda Nelson Designs. The show was produced by Marc Gunn, The Celtfather. Subscribe through your favorite podcatcher or through our website where you can become a Patron of the Podcast for as little as $1 per episode. Promote Celtic culture through music at http://celticmusicpodcast.com/. WELCOME TO CELTIC MUSIC * Helping you celebrate Celtic culture through music. My name is Marc Gunn. I am a Celtic musician and podcaster. This show is dedicated to the indie Celtic musicians. Please support these artists. Share the show with your friends. And find more episodes at celticmusicpodcast.com. You can also support this podcast on Patreon. THANK YOU PATRONS OF THE PODCAST! Because of Your kind and generous support, this show comes out every week. Your generosity funds the creation, promotion and production of the show. It allows us to attract new listeners and to help our community grow. As a patron, you get to hear episodes before regular listeners. When we hit a milestone, you get an extra-long episode. You can pledge a dollar or more per episode and cap how much you want to spend each month over on Patreon. A super special thanks to our Celtic Legends: Morgan George, Samir Malak, Carol Baril, Miranda Nelson, Nancie Barnett, Kevin Long, Lynda MacNeil, Annie Lorkowski, Travis Senzaki, Shawn Cali You can become a generous Patron of the Podcast on Patreon at SongHenge.com. TRAVEL WITH CELTIC INVASION VACATIONS Every year, I take a small group of Celtic music fans on the relaxing adventure of a lifetime. We don't see everything. Instead, we stay in one area. We get to know the region through its culture, history, and legends. You can join us with an auditory and visual adventure through podcasts and videos. Learn more about the invasion at http://celticinvasion.com/ #celticmusic #irishmusic #celticpodcast I WANT YOUR FEEDBACK What are you doing today while listening to the podcast? You can send a written comment along with a picture of what you're doing while listening. Email a voicemail message to celticpodcast@gmail.com Richard Boyce emailed: "What I'm doing while listening? GRADING! I’ve a college professor, and I’ve been plying the red pen madly all week. But grades are soon due, and I will be free to play as well as listen to Celtic music—I’m an Irish flute player. Slainte," Mark Haynes emailed: "Hi Marc! I'm actually driving home from a day of errands in Gallup New Mexico to my home on the Navajo Nation. That's what I'm doing while I'm listening to a show in my car. Actually, my truck. I'm not Navajo, but I've lived on the reservation for 25 years and I love being there among the people. Have a great day!" Kinnfolk emailed a photo: "Hi Marc, We’re listening to episode #503 as we drive back from our honeymoon! We tied the knot last Saturday and spent a couple of quiet days relaxing in rural southwest Virginia. Your podcast is the perfect soundtrack for our return trip through the Appalachian countryside! With gratitude, Kinnfolk "

Irish & Celtic music for your Easter celebrations. Happy Easter. Mike Katz, Cady Finlayson, Deirdre Graham, Sarah Marie Mullen, Seumas Gagne, William Jackson, Celeste Howard, Fiddlin' In Th' Parlor, Claire Roche Support the Irish & Celtic Music Podcast Become a Patron of the Podcast I hope you enjoyed this week's show. If you did, please share the show on social or with a friend. The Irish & Celtic Music Podcast is here to build our diverse Celtic community and help the incredible artists who so generously share their music with you. If you hear music you love, buy the albums, shirts, and songbooks, follow the artists on streaming, see their shows, and drop them an email to let them know you heard them on the Irish and Celtic Music Podcast. Every week, you can get Celtic music news in your inbox. The Celtic Music Magazine is a quick and easy way to plug yourself into more great Celtic culture. Subscribe and get 34 Celtic MP3s for Free. VOTE IN THE CELTIC TOP 20 This is our way of finding the best songs and artists each year. Just list the show number, and the name of as many bands in the episode as you like. Your vote helps me create next year's Best Celtic music of 2021 episode.  Vote Now! THIS WEEK IN CELTIC MUSIC 0:05 - Mike Katz "Earl Mareshal's (Keith) Reel (Iarla Marasgal) / Sir J.M. MacKenzie's Reel (Gun Dh'ith na Coin na Ceannaichean) / Dr. MacPhail's" from A Month of Sundays 2:30 - WELCOME 3:07 - Cady Finlayson "Be Thou My Vision (Slane) / Nettleton (Come Thou Font of Every Blessing)" from Celtic Purple 7:04 - Deirdre Graham "Iain Ghlinn' Cuaich" from URRANTA 13:31 - Sarah Marie Mullen "St Basil's Hymn" from In the Moon of Wintertime 17:03 - Seumas Gagne "Uibhist Mo Ghraidh" from Baile Ard 20:38 - William Jackson "St. Mungo - St. Mungo's Blessing" from The Celtic Suites: The Wellpark + St. Mungo 22:41 - Celeste Howard "Blessings of the Guardian Angel" from Celtic Blessings 26:17 - Fiddlin' In Th' Parlor "Sitting in the Stern of a Boat / Come Thou Fount of Every Blessing" from Slow Aire 33:15 - CLOSING 34:08 - Claire Roche "The Irish Blessing" from Songs From The Harp Room The Irish & Celtic Music Podcast was edited by Mitchell Petersen with Graphics by Miranda Nelson Designs. The show was produced by Marc Gunn, The Celtfather. To subscribe, go to our website where you can become a Patron of the Podcast for as little as $1 per episode. Promote Celtic culture through music at http://celticmusicpodcast.com/. WELCOME TO CELTIC MUSIC Cásca sona - Caw-ska Son-a Welcome and Happy Easter. My name is Marc Gunn. This show is dedicated to the indie Celtic musicians. Please support these artists. Share the show with your friends. And find more episodes at celticmusicpodcast.com. You can also support this podcast on Patreon. I wanted to do something special for Easter this year. So I have some religious music for the holiday. And we’re gonna go pretty much non-stop for this special episode. THANK YOU PATRONS OF THE PODCAST! Because of Your kindness and generosity funds the creation of the show. You can pledge a dollar or more per episode and cap how much you want to spend each month over on Patreon. You can become a generous Patron of the Podcast on Patreon at SongHenge.com. TRAVEL WITH CELTIC INVASION VACATIONS Every year, I take a small group of Celtic music fans on the relaxing adventure of a lifetime. We don't see everything. Instead, we stay in one area. We get to know the region through its culture, history, and legends. You can join us with an auditory and visual adventure through podcasts and videos. Learn more about the invasion at http://celticinvasion.com/ #celticmusic #irishmusic #celticpodcast I WANT YOUR FEEDBACK What are you doing today while listening to the podcast? You can send a written comment along with a picture of what you're doing while listening. Email a voicemail message to celticpodcast@gmail.com

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.

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.

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.

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.

In Episode #183, proudly recorded in The Less Desirables Studios (South). Zoom sponsored by Bull's Tavern: The Man Who Ate the Town Podcast is now featured on the Triad Podcast Network! Tim, Ray, talk about: Daniel Spivey, head of brand development of Broad Branch Distillery introduces us to Big Winston Bourbon. Mojito has The Tuning Fork Provisions truck at Fiddlin' Fish starting this week. Canteen is closed temporarily. Local Artisan scales hours. Cibo opens early on Saturday, has heated outdoor seating. Foothills Brewing's Sexual Chocolate releases Feb 5. Opie Day! Dairi-O opens in Stanleyville. Murphy's Lunch has a reopen date. #TakeOutPledgeWS Hashtag. Miyako closed, could a new sushi place be coming? TJ's Deli Country Club sold to another restaurant? Other local restaurant news. Tim and Lea talk about “List” updates. Winston-Salem Strong. This website includes the food and beverage list that we have been forging and resources for businesses and individuals that are needed at this time, including unemployment, SBA loans, tips for servers, and many other services. All this in one place. Winston-Salem Strong! Man Who Ate the Town Podcast Sponsors: Carrabba's Italian Grill.  Healthy, grilled meats, wood-fired pizzas, fresh ingredients, and phenomenal wine dinners. Those are just some of the offerings of Carrabba's. And, Daniel Butner, the local proprietario, is salt of the earth and a pillar of good in the community. Go taste the goodness that is Carrabba's and see why Tim and Ray are always talking it up! Washington Perk & Provision Company. Better than a convenience store but not quite a grocery store, in the heart of Washington Park and Downtown WSNC. Mojito Latin Soul Food is creating scrumptious Cuban-inspired, Latin-infused street/soul food. Welcoming atmosphere, delicious food, robust cigars, and good times await. Diamondback Grill. A lovely farm-to-fork eatery nestled in the heart of Buena Vista. Murphy and Kimberly Gregg and company offer fine dining in a casual atmosphere complete with a 20′ wine bar, expert craft cocktails, televisions in the bar area to watch the game, or candlelit dinners in the formal dining area. This gem is waiting to be discovered! The Man Who Ate the Town is part of The Less Desirables Network. Give it a listen on Apple Podcasts, Stitcher, Podcast Addict, TuneIn, Amazon Music, Audible, basically anywhere you can listen to podcasts. Bon Appetit! Check out The Man Who Ate the Town's official website at: https://www.themanwhoatethetown.com/. See omnystudio.com/listener for privacy information.

Today's episode features some of my favorite 78s from my collection covering a variety of styles. Early country music, piano blues, jazz, hokum and western swing are some of the styles presented in today's show. I think you'll find the show an entertaining sample of early recorded vernacular styles of down home American music. Please subscribe to the show if you haven't done so already and share with family and friends. Also, go take a visit to the shows new website (olddingyjukebox.com) and have a look around. Thanks for listening and I hope you enjoy the show. “Chitlins, Flying Saucers, Bull Fiddles and Baboons”Donate to the podcast: https://paypal.me/christiangallo1?locale.x=en_USWeb: https://www.olddingyjukebox.com/homeFacebook: https://www.facebook.com/olddingyjukeboxpodcastInstagram: @olddingyjukeboxpodcastE-mail: olddingyjukebox@gmail.com1. Jimmie Heap and the Melody Masters "Ethyl In My Gas Tank" 19502. Charles Kama and his Moana Hawaiians "Hawaiian Hotel March" 19403. Jelly Roll Morton "Buddy Bolden's Blues" 19394. Jack Mose and his Oklahoma Cavaliers "I Mean Corrina" 19365. Lee "Pork Chops" Green "Country Gal Blues" 19376. Bang Boys "When Lulu's Gone" 19367. Lonnie Johnson and Clarence Williams "Monkey and the Baboon" 19308. Fiddlin' Arthur Smith "Chitlin Cooking Time In Cheatham County" 19369. "Banjo" Ikey Robinson and his Bull Fiddle Band "Four Reasons" 192910. The Buchanan Brothers "Those Flying Saucers" 194711. Skeets McDonald "Scoot, Git and Begone" 195212. Little Chocolate Dandies "Six or Seven Times" 192913. Pigmeat Pete and Catjuice Charlie "Old Age Is Creeping Upon Us" 192914. Bob Wills and His Texas Playboys "Black and Blue Rag" 1935Support the show (https://paypal.me/christiangallo1?locale.x=en_US)

The older spiritual background of this week's tune, called Christmas Time in the Morning, is explored in the latter part of this medley, with two different Black choir band recordings of the 1920's. It seems to me that the "mountain music" of the Christmas reel may have borrowed from the spiritual, but changed it, too, in terms of adding an entire A part, quickening the tempo, and altering the main melody. In another 20's version by Fiddlin' John Carson there are lyrics which have a slight resemblance to the spiritual, so we know there was influence. The TOTW recorded by Mississippi fiddler Stephen Tucker in 1939 lacked lyrics, but resembled the instrumental of John Carson. Lots of connections here!

The older spiritual background of this week's tune, called Christmas Time in the Morning, is explored in the latter part of this medley, with two different Black choir band recordings of the 1920's. It seems to me that the "mountain music" of the Christmas reel may have borrowed from the spiritual, but changed it, too, in terms of adding an entire A part, quickening the tempo, and altering the main melody. In another 20's version by Fiddlin' John Carson there are lyrics which have a slight resemblance to the spiritual, so we know there was influence. The TOTW recorded by Mississippi fiddler Stephen Tucker in 1939 lacked lyrics, but resembled the instrumental of John Carson. Lots of connections here!

It's a fierce competition for Dad Moment of the Month plus the guys share thoughts on urban adventures, go-to recipes the whole family will eat and the best piece of advice they've ever received. Thanks to Fiddlin' Fish for providing tonight's beverages and to Smoke City Meats for the gift card presented to our Dad Moment of the Month winner! See omnystudio.com/listener for privacy information.

On this episode we fiddle with Dewdads. Pretty dope stuff.

This podcast is continuation of a series of episodes where Crystal and I will talk about Romans, a letter from the Bible. This book was instrumental in leading me (Rob) to a spiritual “red pill” moment where I learned how to apply foundational truths to my life that gave me meaning and purpose.Support us: The Safe Cell: http://gabbwireless.com/promo/TWOLIGHTS Get $5 off when you use promo code: TWOLIGHTSFind us on: Facebook: https://www.facebook.com/twolightspodcast/ Twitter: @Twolightspod Email: TwoLightsPodcast@Gmail.com Web page: https://twolightspodcast.buzzsprout.com/ Mister Exposition by Kevin MacLeod Creative Commons — Attribution 3.0 Unported— CC BY 3.0 https://creativecommons.org/licenses/... Music provided by FreeMusic109 https://youtube.com/FreeMusic109

Fiddlin' Around with Jim Matthews, A Banjo on His KneeBy way of passing on his life and musical legacy to his children and grandchildren, Jim Matthews curated a 50 year range of his original and cover music, sung and played on many different instruments. This CD collection is called ‘Man Enough to Claim It'. Come listen in to a few old time, swing, folk, Celtic, swing or bluegrass renditions performed live!

Country music is all around us! Mika and Nick take a look at the birth of commercial country music, including the Bristol sessions, Gid Tanner and the Skillet Lickers, and a little bit more Fiddlin' John Carson.  Follow us on Social media!  Facebook: https://www.facebook.com/SoundofHistory/ Twitter: https://twitter.com/soundofhistory_

The Incompetent Crew Fan Girls and Boyls all over the works, worlds, and words of Ursula K Le Guin.Works Cited:Ursula K Le GuinWorlds of Ursula K LeGuin: PBS DocumentaryNational Book Award Speech Take Down of the Publishing Industry by LeGuinThe Lathe of Heaven Film on YouTube Lathe of HeavenEarthseaNovels of the Ekumen (re: Left Hand of Darkness)The DispossessedLathe of HeavenAlways Coming Home; Music and Poetry of the KeshTed Chiang’s short story “Seventy-Two Letters”Radio Playlist:Roger Bunn - Fantasy in Fiction (1:35)Fiddlin' John Carson And His Virginia Reelers - Gonna Swing on the Golden Gate (2:57)Mississippi Fred McDowell - I Wished I Was In Heaven (1:57)Eligah Mangitak, Qaunaq Mikkigaq, Qabaroak Qatsiya - Throat Singing (II): Amama (1:00)Aileen Figueroa - Basket Song (1:11)n/a - Bird Song Cycle (1:16)Maria Sabína - Name of Plants (1:32)Maria Heino - No One Speaks on my Behalf (0:33)M. Geddes Gengras - Ishi (6:02)Metaphysics - Ansible (2:37)Ursula Bogner - Illusorische Planeten (2:44)Novos Baianos - Mistério do Planeta (3:37)Chicago Underground Duo - Left Hand Of Darkness (4:26)Hall & Oates - 70's Scenario (4:00)Mary Lomax - The Drowsy Sleeper [Laws M4] (3:01)The Olivia Tremor Control - NYC - 25 (4:37)David Bedford and Ursula Le Guin - Overture, Scene 1 (13:35)Ursula K. Le Guin & Todd Barton - Heron Dance (4:08)

1. (Sig) English Country Blues Band : The Italian Job from the CD Unruly (Weekend Beatnik) 2. Mekons : Buried Treasure from the CD Exquisite (Mekorpse) 3. Bab L’ Bluz : Oudelali from the CD Nayda! (Real World) 4. Jackie Oates & John Spiers : Death And The Lady from the CD Needle Pin, Needle Pin (Oates & Spiers) 5. The Wilderness Yet : A Bruton Farmer from the CD The Wilderness Yet (The Wilderness Yet) 6. Fiolministeriet : Kan Du Drømme Med Mig from the CD Et Nyt Liv (Go’ Danish Folk Music) 7. Trio Bacana : Transatlântikèr from the CD Transatlântikèr (Klam) 8. Caroline Keane : The Nightingale / The Rock On The Clyde / The Jig Of Port Fleadh from the CD Shine (Caroline Keane) 9. Kevin Henderson & Neil Pearlman : Sjovald from the CD Burden Lake (Sungaet) 10. La Gallera Social Club : Mariposa De Mucubaji from the CD Tropico Salvaje (Tortuga) 11. The Mavericks : Poder Vivir from the CD En Español (Mono Mundo) 12. La Banda Morisca : Tres Morillas from the CD Gitara Mora (Producciones Monfíes) 13. Twelfth Day : Deep Dark Beast (Radio Edit) from the single (Twelfth Day) 14. Chalk Horse Music : Hegemony from the CD Hegemony (Chalk Horse Music) 15. Kalasfolket : Kallkällspolska from the CD Kalasfolket (Branda Taket) 16. Evritiki Zygia : Nuxtec from the CD Ormenion (Teranga Beat) 17. Menace d’Éclaircie : Kenavo Tino from the CD Finish Your Patates And Take Your Converses (Klam) 18. The Silver Field : Day Flowers from the CD Sing High! Sing Low! (Crossness) 19. The Rowan Amber Mill : Black Is The Colour (Single Edit) from the CD Among The Gorse To Settle Scores (Miller Sounds) 20. Brendan Ring & Bernard O’Neill : The Way from the CD An tSli (Long Tale Recordings) 21. Green Gartside : The Tangled Man from the CD The Tangled Man (Rough Trade) 22. Z Cercis Nesim : Ballet Me Sadefe Korçarçe from the CD Songbirds – Albanian Music From 78s, 1924-1948 (JSP) 23. Riza Bylbyli : Korba O Çeço from the CD Songbirds – Albanian Music From 78s, 1924-1948 (JSP) 24. Tirana-Tirona AllStars : Ulu Mal Te Dali Hone from the LP Tirana 100 25. George Sansome : Gown Of Green from the CD George Sansome (Grimdon) 26. Jon Wilks : Tell Old Bill from the single (Jon Wilks) 27. Mascarimiri : Zimba Revoluction from the CD NOU? (Mascarimiri) 28. Teres Aoutes String Band : La Nite Di Sourchire from the CD Courenta Cadillac (W Music) 29. Fiddlin’ John Carson : The Little Old Log Cabin In The Lane from the CD Wait Till The Clouds Roll By (Musical Traditions) 30. Walter Pardon : The Little Old Log Cabin Down The Lane from the CD Wait Till The Clouds Roll By (Musical Traditions) 31. 3’Ain : Yana Bikes from the CD 3’ain (Choux De Bruxelles) 32. Collectress : Landing from the CD Different Geographies (Peeler) https://collectress.bandcamp.com 33. Siti Muharam : Sikitiko from the CD Siti Of Unguja (On The Corner) 34. Karkum Project : Earth Mother (Song For A New World) from the single (Karkum Project) 35. The Rolling Ramshackle Revue : Lily, Rosemary And The Jack Of Hearts from the single (Dusty Willow) 36. Dirk Powell : Ain’t Never Fell from the CD When I Wait For You 37. Marie Fielding : Aran Islands from the CD The Spectrum Project (Rumford) Podwireless can also be heard streamed live on Mixcloud. You can find more details including past playlists and links to labels at www.podwireless.com Follow the links for previous podcasts.

This week we are covering Lost coast; Peanut butter milk stout, Olde hickory; Irish walker, Fiddlin' fish; Ass over tea kettle, Flensberger; pilsnerSupport the show (https://www.patreon.com/pints)

Don’t fiddle with God’s stuff. 2 Samuel 6:1-7. 2 Chronicles 20. The post Fiddlin’ appeared first on Greenhouse Church.

In this week's episode, we're featuring the second album from Central Texan Kelly Spinks: "Thank God For Cowboys" (1987). Spinks has left a decade or more between each of his three full length recording projects, but when he does head into the studio, the wait is always worth it. After an education learned in the dancehalls and honky tonks of Texas from some legendary teachers including Johnny Bush, Fiddlin' Frenchie Burke and Hank Thompson - Kelly Spinks has headed up his own band Miles Of Texas for over three decades. In this week's feature album, it's all fiddle and steel, as you'd expect - with a well-chosen, refreshing mix of country gold. Aside from "Mr. Record Man" and the pen of Willie Nelson, most all the rest of the tracks on "Thank God For Cowboys" are obscurities or new cuts and are expertly executed by Spinks' chosen team of musicians. Opry staff steeler Tommy White is all over this album as is Bill C. Graham on the secondary fiddle. Graham, an industry veteran and songwriter to boot, contributed four songs to Spinks' second outing here - and the fact that you might not have heard most of these songs before is really only a strength. This is mandatory listening for any fan of traditional Texas dancehall music: Kelly Spinks & Miles Of Texas know how to get it done.

The newest Ken Burns series premiering in September follows the vast and varied evolution of country music over the 20th century. The eight-part series begins not in Nashville, nor Bristol, but Atlanta. That's because, in 1923, OKeh Records music pioneer Ralph Peer came from New York to the South and set up a temporary recording studio smack dab in downtown Atlanta at 152 Nassau Street. That's where he recorded early country, blues, jazz and gospel artists, including what is known as country music's first hit, "The Little Old Log Cabin in the Lane" by Fiddlin' John Carson.

National Masterbation Month, GOT talk, Tanner Sammons, porn stars trying to rap. fucking hell, its all over the place this week. Subscribe for weekly episodes! Check out our online store at WWW.UNLOVEDSONSCOMPANY.COM Instagram: @badseedpodcast @unlovedsonscompany Hosted by: @scottietheplug @rabblebrama --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/badseedpodcast/message Support this podcast: https://anchor.fm/badseedpodcast/support

Joe Ovies, Adam Eshbaugh and Wayne Holt host this week's program. The food guest this week is Fuzzy's Empanadas from Raleigh and the Triangle with co-owners Roy and Kem Thombs. The beer guest this week is Fiddlin' Fish Brewing Company, an independent brewery and taproom located in Winston-Salem. Stuart Barnhart, president, and co-owner, David Ashe, are in studio for the taping of today's show. Learn more about your ad choices. Visit megaphone.fm/adchoices

  Welcome to episode three of A History of Rock Music in Five Hundred Songs. Today we're looking at Bob Wills and "Ida Red". ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. I mention a PhD thesis on the history of the backbeat in the episode. Here's a link to it. Bob Wills' music is now in the public domain, so there are many different compilations available, of different levels of quality. This is an expensive but exhaustive one, while this is a cheap one which seems to have most of the important hits on it. The definitive book on Bob Wills, San Antonio Rose, is available here, though it's a bit pricey. And for all the episodes on pre-1954 music, one invaluable source is the book "Before Elvis" by Larry Birnbaum. Clarification In the episode I talk about two tracks as being "by Django Reinhardt", but the clips I play happen to be ones featuring violin solos. Those solos are, of course, by Reinhardt's longtime collaborator Stephane Grapelli. I assume most people will know this, but just in case. Transcript "Rock and Roll? Why, man, that's the same kind of music we've been playin' since 1928! ... We didn't call it rock and roll back when we introduced it as our style back in 1928, and we don't call it rock and roll the way we play it now. But it's just basic rhythm and has gone by a lot of different names in my time. It's the same, whether you just follow a drum beat like in Africa or surround it with a lot of instruments. The rhythm's what's important."   Bob Wills said that in 1957, and it brings up an interesting question. What's in a name?   Genre names are a strange thing, aren't they? In particular, did you ever notice how many of them had the word "and" in them? Rock and roll, rhythm and blues, country and western? There's sort of a reason for that.   Rock and roll is a special case, but the other two were names that were coined by Billboard, and they weren't originally meant to be descriptors of a single genre, but of collections of genres -- they were titles for its different charts. Rhythm and blues is a name that was used to replace the earlier name, of "race" records, because that was thought a bit demeaning. It was for the chart of "music made by black people", basically, whatever music those black people were making, so they could be making "rhythm" records, or they could be making "blues" records.   Only once you give a collection of things a name, the way people's minds work, they start thinking that because those things share a name they're the same kind of thing. And people start thinking about "rhythm and blues" records as being a particular kind of thing. And then they start making "rhythm and blues" records, and suddenly it is a thing.   The same thing goes for country and western. That was, again, two different genres. Country music was the music made by white people who lived in the rural areas, of the Eastern US basically -- people like the Carter Family, for example.   [Excerpt of “Keep on the Sunny Side” by the Carter Family]   We'll hear more about the Carter family in the future, but that's what country music was. Not country and western, just country. And that was the music made in Appalachia, especially Kentucky and Tennessee, and especially especially Nashville.   Western music was a bit different. That was the music being made in Texas, Oklahoma, and California, and it tended to use similar instrumentation to country music -- violins and guitars and so on -- but it had different subject matter -- lots of songs about cowboys and outlaws and so on -- and at the time we're talking about, the thirties and forties, it was a little bit slicker than country music.   This is odd in retrospect, because not many years later the Western musicians influenced people like Johnny Cash, Buck Owens, and Merle Haggard, who made very gritty, raw, unpolished music compared to the country music coming out of Nashville, but the thirties and forties were the heyday of singing cowboy films, with people like Gene Autrey and Roy Rogers becoming massive, massive stars, and so there was a lot of Hollywoodisation of the music, lots of crooning and orchestras and so on.   Western music was big, big business -- and so was swing music. And so it's perhaps not surprising that there was a new genre that emerged around that time. Western swing.   Western swing is, to simplify it ridiculously, swing music made in the West of the USA. But it's music that was made in the west -- largely in places like California --by the same kinds of people who in the east were making country music, and with a lot of the same influences.   It took the rhythms of swing music, but played them with the same instrumentation as the country musicians were using, so you'd get hot jazz style performances, but they'd be played on fiddle, banjo, guitar, and stand-up bass. There were a few other instruments that you'd usually get included as well -- the steel guitar, for example. Western swing usually also included a drum kit, which was one of the big ways it differed from country music as it was then. The drum kit was, in the early decades of the twentieth century, primarily a jazz instrument, and it was only because Western swing was a hybrid of jazz and Western music that it got included in those bands -- and for a long time drum kits were banned from country music shows like the Grand Ole Opry, and when they did finally relent and let Western swing bands play there, they made the drummers hide behind a curtain.   They would also include other instruments that weren't normally included in country or Western music at the time, like the piano. Less often, you'd have a saxophone or a trumpet, but basically the typical Western swing lineup would be a guitar, a steel guitar, a violin or two, a piano, a bass, and drums.   Again, as we saw in the episode about "Flying Home", where we talked about *non*-Western swing, you can see the rock band lineup starting to form. It was a gradual process though.   Take Bob Wills, the musician whose drummer had to hide behind a curtain.   Wills originally performed as a blackface comedian -- sadly, blackface performances were very, very common in the US in the 1930s (but then, they were common in the UK well into my lifetime. I'm not judging the US in particular here), but he soon became more well known as a fiddle player and occasional singer.   In 1929 Wills, the singer Milton Brown, and guitarist Herman Arnspiger, got together to perform a song at a Christmas dance party. They soon added Brown's brother Derwood on guitar and fiddle player John Dunnam, and became the Light Crust Doughboys.     [clip of the Light Crust Doughboys singing their theme]   That might seem like a strange name for a band, and it would be if that had been the name they chose themselves, but it wasn't. Their name was originally The Aladdin Laddies, as they got sponsored by the Aladdin Lamp Company to perform on WBAP radio under that name, but when that sponsorship fell through, they performed for a while as the Wills Fiddle Band, before they found a new sponsor -- Pappy O'Daniel.   You may know that name, as the name of the governor of Mississippi in the film "O Brother, Where Art Thou?", and that was... not an *entirely* inaccurate portrayal, though the character in that film definitely wasn't the real man. The real Pappy O'Daniel didn't actually become governor of Mississippi, but he did become the governor of Texas, in the 1940s.   But in the late 1920s and early thirties he was the head of advertising for Burrus Mill and Elevator Company, who made "Light Crust Flour", and he started to sponsor the show.   The band became immensely successful, but they were not particularly well paid -- in fact, O'Daniel insisted that everyone in the band would have to actually work a day job at the mill as well. Bob Wills was a truck driver as well as being a fiddle player, and the others had different jobs in the factory.   Pappy O'Daniel at first didn't like this hillbilly music being played on the radio show he was paying for -- in fact he wanted to cancel the show after two weeks. But Wills invited him down to the radio station to be involved in the broadcasts, and O'Daniel became the show's MC, as well as being the band's manager and the writer of their original material. O'Daniel even got his own theme song, "Pass the Biscuits, Pappy".   [insert Hillbilly Boys playing "Pass the Biscuits, Pappy"]   That's not the Light Crust Doughboys playing the song -- that's the Hillbilly Boys, another band Pappy O'Daniel hired a few years later, when Burrus Mill fired him and he formed his own company, Hillbilly Flour -- but that's the song that the Light Crust Doughboys used to play for O'Daniel, and the singer on that recording, Leon Huff, sang with the Doughboys from 1934 onwards. So you get the idea.   In 1932, the Light Crust Doughboys made their first recording, though they did so under the name the Fort Worth Doughboys -- Pappy O'Daniel didn't approve of them doing anything which might take them out of his control, so they didn't use the same name. This is "Nancy"   [insert clip of "Nancy"]   Now the music the Light Crust Doughboys were playing wasn't yet what we'd call Western Swing but they were definitely as influenced by jazz music as they were by Western music. In fact, the original lineup of the Light Crust Doughboys can be seen as the prototypical example of the singer-guitarist creative tension in rock music, except here it was a tension between the singer and the fiddle player. Milton Brown was, by all accounts, wanting to experiment more with a jazz style, while Bob Wills wanted to stick with a more traditional hillbilly string band sound. That creative tension led them to create a totally new form of music.   To see this, we're going to look forward a little bit to 1936, to a slightly different lineup of the band. Take a listen to this, for example -- "Dinah".   [insert section of Light Crust Doughboys playing "Dinah"]   And this -- "Limehouse Blues".   [insert section of Light Crust Doughboys playing "Limehouse Blues"]   And now listen to this -- Django Reinhardt playing "Dinah"   [insert section of Reinhardt playing "Dinah"]   And Reinhardt playing "Limehouse Blues"   [Reinhardt playing "Limehouse Blues"]   Those recordings were made a few years after the Light Crust Doughboys versions, but you can see the similarities. The Light Crust Doughboys were doing the same things as Stephane Grapelli and Django Reinhardt, years before them, even though we would now think of the Light Crust Doughboys as being "a country band", while Grapelli and Reinhardt are absolutely in the jazz category.   Now, I said that that's a different lineup of the Light Crust Doughboys, and it is. A version of the Light Crust Doughboys continues today, and one member, Smoky Montgomery, who joined the band in 1935, continued with them until his death in 2001. Smoky Montgomery's on those tracks you just heard, but Bob Wills and Milton Brown weren't. They both left, because Pappy O'Daniel was apparently not a very good person to work for.   In particular, O'Daniel wouldn't let the Doughboys play any venues where alcohol was served, or play dances generally. O'Daniel was only paying the band members $15 a week, and they could get $40 a night playing gigs, and so Brown left in 1932 to form his own band, the Musical Brownies.   The Musical Brownies are now largely forgotten, but they're considered the first band ever to play proper Western Swing, and they introduced a lot of things that defined the genre. In particular, they introduced electric steel guitar to the Western music genre, with the great steel player Bob Dunn.   For a while, the Musical Brownies were massively popular, but sadly Brown died in a car crash in 1936.   Bob Wills stayed in the Doughboys for a while longer, as the band's leader, as O'Daniel gave him a raise to $38 a week. And he continued to make the kind of music he'd made when Brown was in the band -- both Brown and Wills clearly recognised that what they'd come up with together was something better and more interesting than just jazz or just Western.   Wills recruited a new singer, Tommy Duncan, but in 1933 Wills was fired by O'Daniel, partly because of rows over Wills wanting his brother in the band, and partly because Wills' drinking was already starting to affect his professionalism. He formed his own band and took Duncan and bass player Kermit Whalen with him. The Doughboys' steel guitar player, Leon McAuliffe, soon followed, and they became Bob Wills and his Texas Playboys. They advertised themselves as "formerly the Light Crust Doughboys" -- although that wasn't entirely true, as they weren't the whole band, though they were the core of it -- and Pappy O'Daniel sued them, unsuccessfully.   And the Texas Playboys then became the first Western Swing band to add a drum kit, and become a more obviously rhythm-oriented band.   The Texas Playboys were the first massively, massively successful Western swing band, and their style was one that involved taking elements from everywhere and putting them together. They had the drums and horns that a jazz band would have, the guitars and fiddles that country or Western bands would have, the steel guitar that a Hawaiian band would have, and that meant they could play all of those styles of music if they wanted to. And they did. They mixed jazz, and Western, and blues, and pop, and came up with something different from all of them.   This was music for dancing, and as music for dancing it had a lot of aspects that would later make their way into rock and roll. In particular it had that backbeat we talked about in episode two, although here it was swung less -- when you listen to them play with a heavy backbeat but with the fiddle as the main instrument, you can hear the influence of polka music, which was a big influence on all the Western swing musicians, and through them on rock and roll. Polka music is performed in 2/4 time, and there's a very, *very* strong connection between the polka beat and the backbeat.   (I won't go into that too much more here -- I already talked about the backbeat quite a bit in episode two -- but while researching these episodes I found a hugely informative but very detailed look at the development of the rock backbeat -- someone's PhD thesis from twenty years ago, four hundred pages just on that topic, which I'll link on the webpage if you want a much more detailed explanation)   Now by looking at the lineup of the Texas Playboys, we can see how the rock band lineup evolved. In 1938 the Texas Playboys had a singer, two guitars (one doubling on fiddle), three fiddlers, a banjo player, steel guitar, bass, drums, piano, trumpet, trombone, and two saxes. A *huge* band, and one at least as swing as it was Western. But around that time, Wills started to use electric guitars -- electric guitars only really became "a thing" in 1938 musically, and a lot of people started using them at the same time, like Benny Goodman's band as we heard about in the first episode. Wills' band was one of the first to use them, and Western musicians generally were more likely to use them, as they were already using amplified *steel* guitars.   We talked in episode two about how the big bands died between 1942 and 1944, and Wills was able to make his band considerably smaller with the aid of amplification, so by 1944 he'd got rid of most of his horn section apart from a single trumpet, having his electric guitars play what would previously have been horn lines.   So by 1944 the band would consist of two fiddles, two basses, two electric guitars, steel guitar, drums, and a trumpet. A smaller band, an electrified band, and one which, other than the fiddles and the trumpet, was much closer to the kind of lineups that you would get in the 50s and 60s. A smaller, tighter, band.   Now, Wills' band quickly became the most popular band in its genre, and he became widely known as "the king of Western Swing", but Wills' music was more than just swing. He was pulling together elements from country, from the blues, from jazz, from anything that could make him popular.   And, sadly, that would sometimes include plagiarism.   Now, the question of black influence on white music is a fraught one, and one that will come up a lot in the course of this history. And a lot of the time people will get things wrong. There were, of course, white people who made their living by taking black people's music and watering it down. There were also, though, plenty of more complicated examples, and examples of mutual influence.   There was a constant bouncing of ideas back and forth between country, western, blues, jazz, swing... all of these genres were coded as belonging to one or other race, but all of them had musicians who were listening to one another. This is not to say that racism was not a factor in who was successful -- of course it was, and this episode is, after all, about someone who started out as a blackface performer, race was a massive factor, and sadly still is -- but the general culture among musicians at the time was that good musicians of whatever genre respected good musicians of any other genre, and there were songs that everyone, or almost everyone, played, in their own styles, simply because a good song was a good song and at that time there wasn't the same tight association of performer and song that there is now -- you'd sometimes have five or six people in the charts with hit versions of the same song. You'd have a country version and a blues version and a swing version of a song, not because anyone was stealing anyone else's music, but because it was just accepted that everyone would record a hit song in their own style.   And certainly, in the case of Bob Wills, he was admired by -- and admired -- musicians across racial boundaries. The white jazz guitarist Les Paul -- of whom we'll almost certainly be hearing more -- used to tell a story. Paul was so amazed by Bob Wills' music that in 1938 he travelled from Waukesha Wisconsin, where he was visiting his mother, to Tulsa, Oklahoma, to hear Wills' band play, after his mother made him listen to Bob Wills on the radio. Paul was himself a famous guitarist at the time, and he got drawn on stage to jam with the band.   And then, in an interval, a black man in the audience -- presumably this must have been an integrated audience, which would have been *very* unusual in 1938 in Oklahoma, but this is how Les Paul told the story, and other parts of it check out so we should probably take his word for it absent better evidence -- came up and asked for Les Paul's autograph. He told Paul that he played guitar, and Paul said for the young man to show him what he could do. The young man did, and Paul said “Jesus, you *are* good. You want to come up and sit in with us?”   And he did -- that was the first time that Les Paul met his friend Charlie Christian, shortly before Christian got the offer from Benny Goodman. Hanging out and jamming at a Bob Wills gig.   So we can, for the most part, safely put Bob Wills into the mutual respect and influence category. He was someone who had the respect of his peers, and was part of a chain of influences crossing racial and stylistic boundaries.   It gets more difficult when you get to someone like Pat Boone, a few years later, who would record soundalike versions of black musicians' hits specifically to sell to people who wouldn't buy music by black people and act as a spoiler for their records. That's ethically very, very dodgy, plus Boone was a terrible musician.   But what I think we can all agree on is that just outright stealing a black musician's song, crediting it to a white musician, and making it a massive hit is just wrong. And sadly that happened with Bob Wills' band at least once.   Now, Leon McAuliffe, the Texas Playboys' steel guitar player, is the credited composer of "Steel Guitar Rag", which is the instrumental which really made the steel guitar a permanent fixture in country and western music. Without this instrumental, country music would be totally different.   [insert a section of "Steel Guitar Rag" by Bob Wills]   That's from 1936. Now, in 1927, the guitarist Sylvester Weaver made a pioneering recording, which is now often called the first recorded country blues, the first recorded blues instrumental, and the first slide guitar recording (as I've said before, there is never a first, but Weaver's recording is definitely important). That track is called "Guitar Rag" and... well...   [insert "Guitar Rag" by Sylvester Weaver].   Leon McAuliffe always claimed he'd never heard Sylvester Weaver's song, and came up with Steel Guitar Rag independently. Do you believe him?   So, the Texas Playboys were not averse to a bit of plagiarism. But the song we're going to talk about for the rest of the episode is one that would end up plagiarised itself, very famously.   "Ida Red" is an old folk song, first recorded in 1924. In fact, structurally it's a hokum song. As is often the case with this kind of song, it's part of a massive family tree of other songs -- there are blues and country songs with the same melody, songs with different melodies but mentions of Ida Red, songs which contain different lines from the song... many folk songs aren't so much songs in themselves as they are labels you can put on a whole family. There's no one song "Ida Red", there's a whole bunch of songs which are, to a greater or lesser extent, Ida Red. "Ida Red" is just a name you can slap on that family, something you can point to.   Most versions of "Ida Red" had the same chorus -- "Ida Red, Ida Red, I'm plum fool about Ida Red" -- but different lyrics, often joking improvised ones. Here's the first version of "Ida Red" to be recorded -- oddly, this version doesn't even have the chorus, but it does have the chorus melody played on the fiddle. This is Fiddlin' Powers and Family, singing about Ida Red who weighs three hundred and forty pounds, in 1924:   [insert Fiddlin Powers version of "Ida Red"]   Wills' version is very differently structured. It has totally different lyrics -- it has the familiar chorus, but the verses are totally different and have nothing to do with the character of Ida Red -- "Light's in the parlour, fire's in the grate/Clock on the mantle says it's a'gettin' late/Curtains on the window, snowy white/The parlour's pleasant on Sunday night"   [insert Bob Wills version of "Ida Red"]   Those lyrics -- and all the other lyrics in Wills' version except the chorus, were taken from an 1878 parlour song called "Sunday Night" by George Frederick Root, a Civil War era songwriter who is now best known as the writer of the melody we now know as "Jesus Loves the Little Children". They're cut down to fit into the fast-patter do-si-do style of the song, but they're still definitely the same lyrics as Root's.   "Ida Red" was one of many massive hits for Wills and the Texas Playboys, who continued to be hugely successful through the 1940s, at one point becoming a bigger live draw than Benny Goodman or Tommy Dorsey, although the band's success started to decline when Tommy Duncan quit in 1948 over Wills' drinking -- Wills would often miss shows because of his binge drinking, and Duncan was the one who had to deal with the angry fans. Wills replaced Duncan with various other singers, but never found anyone who would have the same success with him.   Bob Wills and the Texas Playboys had a couple of hits in the very early 1950s -- one of them, indeed, was a sequel to Ida Red -- "Ida Red Likes The Boogie", a novelty boogie song of the type we discussed last week. (And think back to what I said then about the boogie fad persisting much longer than it should have. "Ida Red Likes The Boogie" was recorded in 1949 and went top ten in 1950, yet those boogie novelty songs I talked about last week were from 1940).   [insert "Ida Red Likes The Boogie"]   But even as his kind of music was getting more into fashion under the name rock and roll, Wills himself became less popular. The band were still a popular live attraction through most of the 1950s, but they never again reached the heights of the 30s and 40s, and Wills' deteriorating health and the band's lack of success made them split up in 1965.   But before they'd split, Wills' music had had a lasting influence on rock and roll, and not just on the people you might expect. Remember how I talked about plagiarism? Well, in 1955, a musician went into Chess studios with a slight rewrite of "Ida Red" that he called "Ida May". Leonard Chess persuaded him to change the name because otherwise it would be too obvious where he stole the tune... and we will talk about "Maybellene" by Chuck Berry in a few weeks' time.   Patreon As always, this podcast only exists because of the donations of my backers on Patreon. If you enjoy it, why not join them?

  Welcome to episode three of A History of Rock Music in Five Hundred Songs. Today we’re looking at Bob Wills and “Ida Red”. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. I mention a PhD thesis on the history of the backbeat in the episode. Here’s a link to it. Bob Wills’ music is now in the public domain, so there are many different compilations available, of different levels of quality. This is an expensive but exhaustive one, while this is a cheap one which seems to have most of the important hits on it. The definitive book on Bob Wills, San Antonio Rose, is available here, though it’s a bit pricey. And for all the episodes on pre-1954 music, one invaluable source is the book “Before Elvis” by Larry Birnbaum. Clarification In the episode I talk about two tracks as being “by Django Reinhardt”, but the clips I play happen to be ones featuring violin solos. Those solos are, of course, by Reinhardt’s longtime collaborator Stephane Grapelli. I assume most people will know this, but just in case. Transcript “Rock and Roll? Why, man, that’s the same kind of music we’ve been playin’ since 1928! … We didn’t call it rock and roll back when we introduced it as our style back in 1928, and we don’t call it rock and roll the way we play it now. But it’s just basic rhythm and has gone by a lot of different names in my time. It’s the same, whether you just follow a drum beat like in Africa or surround it with a lot of instruments. The rhythm’s what’s important.”   Bob Wills said that in 1957, and it brings up an interesting question. What’s in a name?   Genre names are a strange thing, aren’t they? In particular, did you ever notice how many of them had the word “and” in them? Rock and roll, rhythm and blues, country and western? There’s sort of a reason for that.   Rock and roll is a special case, but the other two were names that were coined by Billboard, and they weren’t originally meant to be descriptors of a single genre, but of collections of genres — they were titles for its different charts. Rhythm and blues is a name that was used to replace the earlier name, of “race” records, because that was thought a bit demeaning. It was for the chart of “music made by black people”, basically, whatever music those black people were making, so they could be making “rhythm” records, or they could be making “blues” records.   Only once you give a collection of things a name, the way people’s minds work, they start thinking that because those things share a name they’re the same kind of thing. And people start thinking about “rhythm and blues” records as being a particular kind of thing. And then they start making “rhythm and blues” records, and suddenly it is a thing.   The same thing goes for country and western. That was, again, two different genres. Country music was the music made by white people who lived in the rural areas, of the Eastern US basically — people like the Carter Family, for example.   [Excerpt of “Keep on the Sunny Side” by the Carter Family]   We’ll hear more about the Carter family in the future, but that’s what country music was. Not country and western, just country. And that was the music made in Appalachia, especially Kentucky and Tennessee, and especially especially Nashville.   Western music was a bit different. That was the music being made in Texas, Oklahoma, and California, and it tended to use similar instrumentation to country music — violins and guitars and so on — but it had different subject matter — lots of songs about cowboys and outlaws and so on — and at the time we’re talking about, the thirties and forties, it was a little bit slicker than country music.   This is odd in retrospect, because not many years later the Western musicians influenced people like Johnny Cash, Buck Owens, and Merle Haggard, who made very gritty, raw, unpolished music compared to the country music coming out of Nashville, but the thirties and forties were the heyday of singing cowboy films, with people like Gene Autrey and Roy Rogers becoming massive, massive stars, and so there was a lot of Hollywoodisation of the music, lots of crooning and orchestras and so on.   Western music was big, big business — and so was swing music. And so it’s perhaps not surprising that there was a new genre that emerged around that time. Western swing.   Western swing is, to simplify it ridiculously, swing music made in the West of the USA. But it’s music that was made in the west — largely in places like California –by the same kinds of people who in the east were making country music, and with a lot of the same influences.   It took the rhythms of swing music, but played them with the same instrumentation as the country musicians were using, so you’d get hot jazz style performances, but they’d be played on fiddle, banjo, guitar, and stand-up bass. There were a few other instruments that you’d usually get included as well — the steel guitar, for example. Western swing usually also included a drum kit, which was one of the big ways it differed from country music as it was then. The drum kit was, in the early decades of the twentieth century, primarily a jazz instrument, and it was only because Western swing was a hybrid of jazz and Western music that it got included in those bands — and for a long time drum kits were banned from country music shows like the Grand Ole Opry, and when they did finally relent and let Western swing bands play there, they made the drummers hide behind a curtain.   They would also include other instruments that weren’t normally included in country or Western music at the time, like the piano. Less often, you’d have a saxophone or a trumpet, but basically the typical Western swing lineup would be a guitar, a steel guitar, a violin or two, a piano, a bass, and drums.   Again, as we saw in the episode about “Flying Home”, where we talked about *non*-Western swing, you can see the rock band lineup starting to form. It was a gradual process though.   Take Bob Wills, the musician whose drummer had to hide behind a curtain.   Wills originally performed as a blackface comedian — sadly, blackface performances were very, very common in the US in the 1930s (but then, they were common in the UK well into my lifetime. I’m not judging the US in particular here), but he soon became more well known as a fiddle player and occasional singer.   In 1929 Wills, the singer Milton Brown, and guitarist Herman Arnspiger, got together to perform a song at a Christmas dance party. They soon added Brown’s brother Derwood on guitar and fiddle player John Dunnam, and became the Light Crust Doughboys.     [clip of the Light Crust Doughboys singing their theme]   That might seem like a strange name for a band, and it would be if that had been the name they chose themselves, but it wasn’t. Their name was originally The Aladdin Laddies, as they got sponsored by the Aladdin Lamp Company to perform on WBAP radio under that name, but when that sponsorship fell through, they performed for a while as the Wills Fiddle Band, before they found a new sponsor — Pappy O’Daniel.   You may know that name, as the name of the governor of Mississippi in the film “O Brother, Where Art Thou?”, and that was… not an *entirely* inaccurate portrayal, though the character in that film definitely wasn’t the real man. The real Pappy O’Daniel didn’t actually become governor of Mississippi, but he did become the governor of Texas, in the 1940s.   But in the late 1920s and early thirties he was the head of advertising for Burrus Mill and Elevator Company, who made “Light Crust Flour”, and he started to sponsor the show.   The band became immensely successful, but they were not particularly well paid — in fact, O’Daniel insisted that everyone in the band would have to actually work a day job at the mill as well. Bob Wills was a truck driver as well as being a fiddle player, and the others had different jobs in the factory.   Pappy O’Daniel at first didn’t like this hillbilly music being played on the radio show he was paying for — in fact he wanted to cancel the show after two weeks. But Wills invited him down to the radio station to be involved in the broadcasts, and O’Daniel became the show’s MC, as well as being the band’s manager and the writer of their original material. O’Daniel even got his own theme song, “Pass the Biscuits, Pappy”.   [insert Hillbilly Boys playing “Pass the Biscuits, Pappy”]   That’s not the Light Crust Doughboys playing the song — that’s the Hillbilly Boys, another band Pappy O’Daniel hired a few years later, when Burrus Mill fired him and he formed his own company, Hillbilly Flour — but that’s the song that the Light Crust Doughboys used to play for O’Daniel, and the singer on that recording, Leon Huff, sang with the Doughboys from 1934 onwards. So you get the idea.   In 1932, the Light Crust Doughboys made their first recording, though they did so under the name the Fort Worth Doughboys — Pappy O’Daniel didn’t approve of them doing anything which might take them out of his control, so they didn’t use the same name. This is “Nancy”   [insert clip of “Nancy”]   Now the music the Light Crust Doughboys were playing wasn’t yet what we’d call Western Swing but they were definitely as influenced by jazz music as they were by Western music. In fact, the original lineup of the Light Crust Doughboys can be seen as the prototypical example of the singer-guitarist creative tension in rock music, except here it was a tension between the singer and the fiddle player. Milton Brown was, by all accounts, wanting to experiment more with a jazz style, while Bob Wills wanted to stick with a more traditional hillbilly string band sound. That creative tension led them to create a totally new form of music.   To see this, we’re going to look forward a little bit to 1936, to a slightly different lineup of the band. Take a listen to this, for example — “Dinah”.   [insert section of Light Crust Doughboys playing “Dinah”]   And this — “Limehouse Blues”.   [insert section of Light Crust Doughboys playing “Limehouse Blues”]   And now listen to this — Django Reinhardt playing “Dinah”   [insert section of Reinhardt playing “Dinah”]   And Reinhardt playing “Limehouse Blues”   [Reinhardt playing “Limehouse Blues”]   Those recordings were made a few years after the Light Crust Doughboys versions, but you can see the similarities. The Light Crust Doughboys were doing the same things as Stephane Grapelli and Django Reinhardt, years before them, even though we would now think of the Light Crust Doughboys as being “a country band”, while Grapelli and Reinhardt are absolutely in the jazz category.   Now, I said that that’s a different lineup of the Light Crust Doughboys, and it is. A version of the Light Crust Doughboys continues today, and one member, Smoky Montgomery, who joined the band in 1935, continued with them until his death in 2001. Smoky Montgomery’s on those tracks you just heard, but Bob Wills and Milton Brown weren’t. They both left, because Pappy O’Daniel was apparently not a very good person to work for.   In particular, O’Daniel wouldn’t let the Doughboys play any venues where alcohol was served, or play dances generally. O’Daniel was only paying the band members $15 a week, and they could get $40 a night playing gigs, and so Brown left in 1932 to form his own band, the Musical Brownies.   The Musical Brownies are now largely forgotten, but they’re considered the first band ever to play proper Western Swing, and they introduced a lot of things that defined the genre. In particular, they introduced electric steel guitar to the Western music genre, with the great steel player Bob Dunn.   For a while, the Musical Brownies were massively popular, but sadly Brown died in a car crash in 1936.   Bob Wills stayed in the Doughboys for a while longer, as the band’s leader, as O’Daniel gave him a raise to $38 a week. And he continued to make the kind of music he’d made when Brown was in the band — both Brown and Wills clearly recognised that what they’d come up with together was something better and more interesting than just jazz or just Western.   Wills recruited a new singer, Tommy Duncan, but in 1933 Wills was fired by O’Daniel, partly because of rows over Wills wanting his brother in the band, and partly because Wills’ drinking was already starting to affect his professionalism. He formed his own band and took Duncan and bass player Kermit Whalen with him. The Doughboys’ steel guitar player, Leon McAuliffe, soon followed, and they became Bob Wills and his Texas Playboys. They advertised themselves as “formerly the Light Crust Doughboys” — although that wasn’t entirely true, as they weren’t the whole band, though they were the core of it — and Pappy O’Daniel sued them, unsuccessfully.   And the Texas Playboys then became the first Western Swing band to add a drum kit, and become a more obviously rhythm-oriented band.   The Texas Playboys were the first massively, massively successful Western swing band, and their style was one that involved taking elements from everywhere and putting them together. They had the drums and horns that a jazz band would have, the guitars and fiddles that country or Western bands would have, the steel guitar that a Hawaiian band would have, and that meant they could play all of those styles of music if they wanted to. And they did. They mixed jazz, and Western, and blues, and pop, and came up with something different from all of them.   This was music for dancing, and as music for dancing it had a lot of aspects that would later make their way into rock and roll. In particular it had that backbeat we talked about in episode two, although here it was swung less — when you listen to them play with a heavy backbeat but with the fiddle as the main instrument, you can hear the influence of polka music, which was a big influence on all the Western swing musicians, and through them on rock and roll. Polka music is performed in 2/4 time, and there’s a very, *very* strong connection between the polka beat and the backbeat.   (I won’t go into that too much more here — I already talked about the backbeat quite a bit in episode two — but while researching these episodes I found a hugely informative but very detailed look at the development of the rock backbeat — someone’s PhD thesis from twenty years ago, four hundred pages just on that topic, which I’ll link on the webpage if you want a much more detailed explanation)   Now by looking at the lineup of the Texas Playboys, we can see how the rock band lineup evolved. In 1938 the Texas Playboys had a singer, two guitars (one doubling on fiddle), three fiddlers, a banjo player, steel guitar, bass, drums, piano, trumpet, trombone, and two saxes. A *huge* band, and one at least as swing as it was Western. But around that time, Wills started to use electric guitars — electric guitars only really became “a thing” in 1938 musically, and a lot of people started using them at the same time, like Benny Goodman’s band as we heard about in the first episode. Wills’ band was one of the first to use them, and Western musicians generally were more likely to use them, as they were already using amplified *steel* guitars.   We talked in episode two about how the big bands died between 1942 and 1944, and Wills was able to make his band considerably smaller with the aid of amplification, so by 1944 he’d got rid of most of his horn section apart from a single trumpet, having his electric guitars play what would previously have been horn lines.   So by 1944 the band would consist of two fiddles, two basses, two electric guitars, steel guitar, drums, and a trumpet. A smaller band, an electrified band, and one which, other than the fiddles and the trumpet, was much closer to the kind of lineups that you would get in the 50s and 60s. A smaller, tighter, band.   Now, Wills’ band quickly became the most popular band in its genre, and he became widely known as “the king of Western Swing”, but Wills’ music was more than just swing. He was pulling together elements from country, from the blues, from jazz, from anything that could make him popular.   And, sadly, that would sometimes include plagiarism.   Now, the question of black influence on white music is a fraught one, and one that will come up a lot in the course of this history. And a lot of the time people will get things wrong. There were, of course, white people who made their living by taking black people’s music and watering it down. There were also, though, plenty of more complicated examples, and examples of mutual influence.   There was a constant bouncing of ideas back and forth between country, western, blues, jazz, swing… all of these genres were coded as belonging to one or other race, but all of them had musicians who were listening to one another. This is not to say that racism was not a factor in who was successful — of course it was, and this episode is, after all, about someone who started out as a blackface performer, race was a massive factor, and sadly still is — but the general culture among musicians at the time was that good musicians of whatever genre respected good musicians of any other genre, and there were songs that everyone, or almost everyone, played, in their own styles, simply because a good song was a good song and at that time there wasn’t the same tight association of performer and song that there is now — you’d sometimes have five or six people in the charts with hit versions of the same song. You’d have a country version and a blues version and a swing version of a song, not because anyone was stealing anyone else’s music, but because it was just accepted that everyone would record a hit song in their own style.   And certainly, in the case of Bob Wills, he was admired by — and admired — musicians across racial boundaries. The white jazz guitarist Les Paul — of whom we’ll almost certainly be hearing more — used to tell a story. Paul was so amazed by Bob Wills’ music that in 1938 he travelled from Waukesha Wisconsin, where he was visiting his mother, to Tulsa, Oklahoma, to hear Wills’ band play, after his mother made him listen to Bob Wills on the radio. Paul was himself a famous guitarist at the time, and he got drawn on stage to jam with the band.   And then, in an interval, a black man in the audience — presumably this must have been an integrated audience, which would have been *very* unusual in 1938 in Oklahoma, but this is how Les Paul told the story, and other parts of it check out so we should probably take his word for it absent better evidence — came up and asked for Les Paul’s autograph. He told Paul that he played guitar, and Paul said for the young man to show him what he could do. The young man did, and Paul said “Jesus, you *are* good. You want to come up and sit in with us?”   And he did — that was the first time that Les Paul met his friend Charlie Christian, shortly before Christian got the offer from Benny Goodman. Hanging out and jamming at a Bob Wills gig.   So we can, for the most part, safely put Bob Wills into the mutual respect and influence category. He was someone who had the respect of his peers, and was part of a chain of influences crossing racial and stylistic boundaries.   It gets more difficult when you get to someone like Pat Boone, a few years later, who would record soundalike versions of black musicians’ hits specifically to sell to people who wouldn’t buy music by black people and act as a spoiler for their records. That’s ethically very, very dodgy, plus Boone was a terrible musician.   But what I think we can all agree on is that just outright stealing a black musician’s song, crediting it to a white musician, and making it a massive hit is just wrong. And sadly that happened with Bob Wills’ band at least once.   Now, Leon McAuliffe, the Texas Playboys’ steel guitar player, is the credited composer of “Steel Guitar Rag”, which is the instrumental which really made the steel guitar a permanent fixture in country and western music. Without this instrumental, country music would be totally different.   [insert a section of “Steel Guitar Rag” by Bob Wills]   That’s from 1936. Now, in 1927, the guitarist Sylvester Weaver made a pioneering recording, which is now often called the first recorded country blues, the first recorded blues instrumental, and the first slide guitar recording (as I’ve said before, there is never a first, but Weaver’s recording is definitely important). That track is called “Guitar Rag” and… well…   [insert “Guitar Rag” by Sylvester Weaver].   Leon McAuliffe always claimed he’d never heard Sylvester Weaver’s song, and came up with Steel Guitar Rag independently. Do you believe him?   So, the Texas Playboys were not averse to a bit of plagiarism. But the song we’re going to talk about for the rest of the episode is one that would end up plagiarised itself, very famously.   “Ida Red” is an old folk song, first recorded in 1924. In fact, structurally it’s a hokum song. As is often the case with this kind of song, it’s part of a massive family tree of other songs — there are blues and country songs with the same melody, songs with different melodies but mentions of Ida Red, songs which contain different lines from the song… many folk songs aren’t so much songs in themselves as they are labels you can put on a whole family. There’s no one song “Ida Red”, there’s a whole bunch of songs which are, to a greater or lesser extent, Ida Red. “Ida Red” is just a name you can slap on that family, something you can point to.   Most versions of “Ida Red” had the same chorus — “Ida Red, Ida Red, I’m plum fool about Ida Red” — but different lyrics, often joking improvised ones. Here’s the first version of “Ida Red” to be recorded — oddly, this version doesn’t even have the chorus, but it does have the chorus melody played on the fiddle. This is Fiddlin’ Powers and Family, singing about Ida Red who weighs three hundred and forty pounds, in 1924:   [insert Fiddlin Powers version of “Ida Red”]   Wills’ version is very differently structured. It has totally different lyrics — it has the familiar chorus, but the verses are totally different and have nothing to do with the character of Ida Red — “Light’s in the parlour, fire’s in the grate/Clock on the mantle says it’s a’gettin’ late/Curtains on the window, snowy white/The parlour’s pleasant on Sunday night”   [insert Bob Wills version of “Ida Red”]   Those lyrics — and all the other lyrics in Wills’ version except the chorus, were taken from an 1878 parlour song called “Sunday Night” by George Frederick Root, a Civil War era songwriter who is now best known as the writer of the melody we now know as “Jesus Loves the Little Children”. They’re cut down to fit into the fast-patter do-si-do style of the song, but they’re still definitely the same lyrics as Root’s.   “Ida Red” was one of many massive hits for Wills and the Texas Playboys, who continued to be hugely successful through the 1940s, at one point becoming a bigger live draw than Benny Goodman or Tommy Dorsey, although the band’s success started to decline when Tommy Duncan quit in 1948 over Wills’ drinking — Wills would often miss shows because of his binge drinking, and Duncan was the one who had to deal with the angry fans. Wills replaced Duncan with various other singers, but never found anyone who would have the same success with him.   Bob Wills and the Texas Playboys had a couple of hits in the very early 1950s — one of them, indeed, was a sequel to Ida Red — “Ida Red Likes The Boogie”, a novelty boogie song of the type we discussed last week. (And think back to what I said then about the boogie fad persisting much longer than it should have. “Ida Red Likes The Boogie” was recorded in 1949 and went top ten in 1950, yet those boogie novelty songs I talked about last week were from 1940).   [insert “Ida Red Likes The Boogie”]   But even as his kind of music was getting more into fashion under the name rock and roll, Wills himself became less popular. The band were still a popular live attraction through most of the 1950s, but they never again reached the heights of the 30s and 40s, and Wills’ deteriorating health and the band’s lack of success made them split up in 1965.   But before they’d split, Wills’ music had had a lasting influence on rock and roll, and not just on the people you might expect. Remember how I talked about plagiarism? Well, in 1955, a musician went into Chess studios with a slight rewrite of “Ida Red” that he called “Ida May”. Leonard Chess persuaded him to change the name because otherwise it would be too obvious where he stole the tune… and we will talk about “Maybellene” by Chuck Berry in a few weeks’ time.   Patreon As always, this podcast only exists because of the donations of my backers on Patreon. If you enjoy it, why not join them?

In part 3 of our coverage of the 27th Heartland Film Festival, Tiny and I review the beautifully funny and earnest The Samuel Project, and I interview several filmmakers who have films screening at this year's festival! Timestamps Show Start – 00:28 Part 3 Intro - 01:22  Heartland Film Red Carpet 1 - 10:17 When Jeff Tried to Save the World - 13:12 Palace - 17:57 Fiddlin' - 26:37 Film School Africa - 30:07 Live the Stream - 33:47 Bullitt County - 41:03 Miss Arizona - 50:00 A Thousand Miles Behind - 56:15  The Samuel Project Review - 1:08:50 Closing the Ep – 1:36:36 Pre-Recorded Outro - 1:37:56  Related Links Help Support the Podcast Heartland Film   Kyrsten's Twitter Matt's Letterboxd Profile Tiny's Letterboxd Profile Mike's Letterboxd Profile   Obsessive Viewer Facebook Group Buy official Obsessive Viewer Merch on TeePublic As Good As It Gets (Mike's Band)   Obsessive Viewer - The homepage for all the things we do. Shocktober in Irvington - Our yearly event screening of short horror films from Indianapolis filmmakers to support the Irvington Historical Society Obsessive Viewer Presents: Anthology - Matt's solo podcast exploring science fiction anthology storytelling in television's first golden age starting with The Twilight Zone. iTunes - Google Play - Stitcher - Twitter Obsessive Viewer Presents: Tower Junkies - Our spinoff podcast dedicated to Stephen King's magnum opus, The Dark Tower and related topics. iTunes - Google Play - Stitcher - Twitter Loudlike “Mistakes We Must Make” EP on iTunes - Our theme song is “An Eclipse of Events.” Grab Loudlike's EP and hear the full version of our theme.  Let us know what you think! Like us on Facebook: The Obsessive Viewer Tweet us: @ObsessiveViewer, @ObsessiveTiny, @IAmMikeWhite Find past episodes of the podcast: http://OVPodcast.com RSS Feed: http://obsessiveviewer.libsyn.com/rss Subscribe to us on iTunes and leave us a review.  Episode Homepage: http://www.obsessiveviewer.com/OV253

In part 2 of our coverage of the 27th Heartland Film Festival, Kyrsten and I review the sobering documentary Crime + Punishment, and I interview several filmmakers who have films screening at this year's festival! Timestamps Show Start – 00:26 Part 2 Intro - 00:52  Heartland Film Press Junket 2 - 05:12 A Thousand Miles Behind - 05:12 Fiddlin' - 14:37 Manry at Sea - 22:28 Easterseals Disability Film Challenge - 30:37 River Runs Red - 40:02 Seeing is Believing: Women Direct - 47:33 The Samuel Project - 58:10 The Turn Out - 1:08:39 Time Well Spent - 1:26:35 Wake. - 1:35:40  Crime + Punishment Review - 1:42:49 Closing the Ep – 1:55:42 Stinger: More Cat Antics - 2:01:28 Pre-Recorded Outro - 2:02:52 Related Links Help Support the Podcast Heartland Film  Kyrsten's Twitter Matt's Letterboxd Profile Tiny's Letterboxd Profile Mike's Letterboxd Profile  Obsessive Viewer Facebook Group Buy official Obsessive Viewer Merch on TeePublic As Good As It Gets (Mike's Band)  Obsessive Viewer - The homepage for all the things we do. Shocktober in Irvington - Our yearly event screening of short horror films from Indianapolis filmmakers to support the Irvington Historical Society Obsessive Viewer Presents: Anthology - Matt's solo podcast exploring science fiction anthology storytelling in television's first golden age starting with The Twilight Zone. iTunes - Google Play - Stitcher - Twitter Obsessive Viewer Presents: Tower Junkies - Our spinoff podcast dedicated to Stephen King's magnum opus, The Dark Tower and related topics. iTunes - Google Play - Stitcher - Twitter Loudlike “Mistakes We Must Make” EP on iTunes - Our theme song is “An Eclipse of Events.” Grab Loudlike's EP and hear the full version of our theme.  Let us know what you think! Like us on Facebook: The Obsessive Viewer Tweet us: @ObsessiveViewer, @ObsessiveTiny, @IAmMikeWhite Find past episodes of the podcast: http://OVPodcast.com RSS Feed: http://obsessiveviewer.libsyn.com/rss Subscribe to us on iTunes and leave us a review.  Episode Homepage: http://www.obsessiveviewer.com/OV252

Jackie, Molly and Marcus discuss problematic 90's movies, Kathy Najimy sightings and drop some HOT HALLOWEEN goss.  Get your first refill pack free at http://getquip.com/page7 Get started now at http://stitchfix.com/page7. Want even more hatchi matchis? Patreon supporters get oodles of bonus content! https://www.patreon.com/page7podcast AcidJazz, C-Funk Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License creativecommons.org/licenses/by/3.0/

On today’s episode, Jonnie makes an awkward entrance to the stage, John introduces a brand new segment to answer some questions from our listener(s), and the boys ponder taking a cruise together. Also, a conversation on the death of contemplation, and how “Be angry and sin not” is only part of the story.  This episode is NOT sponsored by "Bathroom Rugs: Like a regular rug, but soaked in urine."

Beckler & Seanna talk about being robbed during a hookup, how your parents met, and Fiddlin' with Seanna.

For the old-time Tune of the Week, Nov. 3, 2017, Georgia Railroad was popularized by Gid Tanner and the Skillet Lickers in the 1920's. It's been recorded many times since, sometimes with silly lyrics, which I like. The first version I heard was actually Adam Hurt's upbeat fiddle version on his new CD Artifacts. I combine three versions here, one from Riley Puckett, who sang and played guitar on the original recording, one from Adam, and one other related tune recorded by Fiddlin' John Carson and recently by Harry Bolick called Way Late Last Night When Peter Went a-Fishing.

Beckler & Seanna talk about more white girl slogans, children yelling inappropriate things, and we play Fiddlin' with Seanna.

Clark Historic Farm in Grantsville, Utah, is hosting the Honey Harvest Festival Oct 13th & 14th. The festival features a great market with fresh produce and lots of honey and honey products, plus there are tons of family activities. Simultaneously, the farm hosts the Sweet Fiddlin Festival.  So if you love bluegrass and old timey music, admission is free to both events. Go to clarkhistoricfarm.org for more info. Your Utah hosts Taylor Powers and Ethan Millard also talk about the upcoming Snowbird event, Chilibird.  It's a great fall chili festival that includes several top notch chili cooks in competition. They also feature an amateur competition that's open to the public.  Go to Snowbird.com for info

Ben and Harris from Juggheads Growlers and Pints in Winston-Salem discuss their first tastes of Winston-Salem's newest brewery Fiddlin Fish. Plus, what's good around the state and upcoming events.See omnystudio.com/listener for privacy information.

Peter's violin was a key part of Steeleye Span's updating of traditional folk songs from 1971–2013. His original songs were among the group's most heartfelt. We talk about being creative with traditional music, authenticity, and finally getting the hang of songwriting late in his career. We discuss "We Shall Wear Midnight" from Steeleye Span's Wintersmith (2013 with Terry Pratchett), "Bows of London" from Gigspanner's Layers of Ages (2015), and "From a Lullaby Kiss" (2014 solo). End song: "Who Told the Butcher" from Bedlam Born (2000 Steeleye); intro: "The Butterfly" from Lipreading the Poet (2008 Gigspanner). For more info, see peterknight.net and gigspanner.com. Hear more Nakedly Examined Music.

Peter's violin was a key part of Steeleye Span's updating of traditional folk songs from 1971–2013. His original songs were among the group's most heartfelt. We talk about being creative with traditional music, authenticity, and finally getting the hang of songwriting late in his career. We discuss "We Shall Wear Midnight" from Steeleye Span's Wintersmith (2013 with Terry Pratchett), "Bows of London" from Gigspanner's Layers of Ages (2015), and "From a Lullaby Kiss" (2014 solo). End song: "Who Told the Butcher" from Bedlam Born (2000 Steeleye); intro: "The Butterfly" from Lipreading the Poet (2008 Gigspanner). For more info, see peterknight.net and gigspanner.com. Hear more Nakedly Examined Music.

Josh Levin, Stephen Metcalf, and Mike Pesca discuss Roger Goodell’s decision to uphold Tom Brady’s Deflategate suspension and the New York Mets’ surprising surge. June Thomas also joins for an interview with Greg Louganis about his new HBO documentary. Learn more about your ad choices. Visit megaphone.fm/adchoices

We kick off 2015 with show #190 featuring Irish Celtic music from Arlene Faith, Patsy O'Brien, Jesse Ferguson, Jonathan Kershaw, The Selkie Girls, Dubliner Harpers, Jed Marum, Fiddlin' in Th'Parlor, Fae Wiedenhoeft, Celia Ramsay, Ockham's Razor, The Canny Brothers Band, Celtic Cross, The ShamRogues, Colleen Raney. www.celticmusicpodcast.com If you enjoy this show, then subscribe to our Celtic Music Magazine. This is our free newsletter and your guide to the latest Celtic music and podcast news. Remember to support the artists who support this podcast: buy their CDs, download their MP3s, see their shows, and drop them an email to let them know you heard them on the Irish and Celtic Music Podcast.   Today's show is brought to you by Celtic Invasion Vacations Every year, I take a small group of Celtic music fans to exotic locations around the world. We don't travel in big tour buses and see everything. Instead, we stay in one area. We get to Know the region through its culture, history, and legends. Plus, I bring you some great Celtic music by me and other Celtic artists. In June, 2015, we're going to County Donegal and the Giant's Causeway. I want to invite you on a magical experience that will bring your love of Ireland deep into your soul. Subscribe to the mailing and join the invasion at celticinvasion.com   Notes: - Your guide to the Best indie Celtic music online - Thanks to the Patrons of the Podcast. Your kind and generous support keeps this show running every week. Become a Patrons at http://celticmusicpodcast.com/patron/ - I WANT YOUR FEEDBACK: Post a comment on our Facebook fan page or call 678-CELT-POD to leave a voicemail message. That's 678-235-8763. - 2014 Poll is now open through January. Cast your vote today! - Celtic Christmas success/failures - Announcing The Celtfather Podcast - Subscribe to Celtic Interviews   This Week in Celtic Music 0:36"Faerie Rings" by Arlene Faithfrom River of Dreams 5:07"Matt Peoples/The Macroom Lasses/Tripping Down the Stairs' by Patsy O'Brienfrom Irish Guitar 7:52"The Rocky Road to Dublin" by Jesse Fergusonfrom The Parting Glass 11:10"The Kid on the Mountain" by Jonathan Kershawfrom Remnants 14:06"Ned of the Hill" by The Selkie Girlsfrom Parting Glass 16:50"A Man's a Man" by Dubliner Harpersfrom Dublin Harpers Live 23:25"Where the Green Grass Grows" by Jed Marumfrom Miles from Home 26:02"A Gaelic Melody" by Fiddlin' in Th'Parlorfrom Slow Aire 30:21"Cuillins of Rhum" by Fae Wiedenhoeftfrom Castle Walls 33:10"Laddie lie Near Me" by Celia Ramsayfrom Songs of My Father's People 37:48"Are You Alright, Liz" by Ockham's Razorfrom Job's Comforter 42:37"Take Me" by The Canny Brothers Bandfrom The Guinness Situation 46:35"Monster" by Celtic Crossfrom Saoirse's Heart 52:05"The Hills of Connemara" by The ShamRoguesfrom Drunken Memories 55:13"The Boys of Mullaghbawn" by Colleen Raneyfrom Here This Is Home Remember too, when you buy through our affiliates at CD Baby, Amazon, or iTunes, you support the artists AND the podcast.      The Irish & Celtic Music Podcast was produced by Marc Gunn, The Celtfather. If you enjoyed the music you heard, support the artists in this show. Buy their music. Then tell your friends to visit www.celticmusicpodcast.com

Irish Celtic music from Gan Fidel, Joe Derrane, Jesse Ferguson, Fiddlin' in th' Parlor, Bow Triplets, NUA, O'hanleigh, BOWI, Ciara Considine, The Irish Balladeers, Castlebay, Maidens IV, Sons of Malarkey, Brendan Monaghan, Brian Thomas. www.celticmusicpodcast.com If you enjoy this show, then subscribe to our Celtic Music Magazine. This is our free newsletter and your guide to the latest Celtic music and podcast news. Remember to support the artists who support this podcast: buy their CDs, download their MP3s, see their shows, and drop them an email to let them know you heard them on the Irish and Celtic Music Podcast. Remember too, when you buy through our affiliates at CD Baby, Amazon, or iTunes, you support the artists AND the podcast.   Today's show is brought to you by Celtic Invasion Vacations Experience travel like you've never done before on Marc Gunn's Celtic Invasion Vacation. You will enjoy a small, friendly group that is one-third the size of most tour groups. Smile, laugh, and sing-along as you enjoy exotic sites around the world, and make lots of wonderful, new memories. Join me in June 2015, when we explore County Donegal and the Giant's Causeway. This exciting adventure will take us to one of the most unvisited parts of Ireland where glorious secret treaures await. Subscribe to the mailing and join the invasion at celticinvasion.com   Notes: - Your guide to the Best indie Celtic music online - Thanks to the Patrons of the Podcast over on Patreon. You too can Support the podcast! A special thanks to David who offered a huge selection of great pirate songs and sea shanties for this week's episode. - September is National Prostate Cancer Awareness Month. Did you that one man in seven will be diagnosed with Prostate cancer in their lifetime? Nearly 2/3 of diagnoised cases are of many older than 65. Kilted to Kick Cancer is a non-profit organization diesgned to raise awareness about prostate cancer. The organization encourages men to don their kilts in September as a way to spark conversation about prostate cancer and encourage men to get checked. You can find out more about it http://kiltedtokickcancer.org/ - Remember to post a Celtic link every Thursday with the hashtag #CelticThursday - Books mentioned in the show: How the Irish Saved Civilization, Celtic Music: A Complete Guide, Celtic Music: The Essential Listening Companion, The NPR Curious Listener's Guide to Celtic Music by Fiona Ritchie - I WANT YOUR FEEDBACK: Post a comment on our Facebook fan page or call 678-CELT-POD to leave a voicemail message. That's 678-235-8763. Or just record an MP3 and send it to celticpodcast@gmail.com   This Week in Celtic Music 0:38"September Reels" by Gan Fidelfrom Gan Fidel 5:55"Paddy Reynolds' Dream/Russel's Mountain" by Joe Derranefrom Grove Lane 9:52"The Butcher Boy" by Jesse Fergusonfrom The Butcher Boy 14:31"Starry Night in Shetland" by Fiddlin' in th' Parlorfrom Slow Aire 18:21"The Blacksmith" by Bow Tripletsfrom Secret Signs 22:57Celtic Music News 24:27"Ecklunds" by NUAfrom Bold 26:37"Mike Muldowney" by O'hanleighfrom Of Irish Crossings Told 30:23"Swallowtail Set" by BOWIfrom Captain Hopper's Mutiny 33:42"Is Ar Eirinn etc" by Ciara Considinefrom Beyond the Waves 38:00Feedback 40:41"Cushy McCoy" by The Irish Balladeersfrom The Molly Maguires 42:44"The Spring of Shillelagh/The Acorn" by Castlebayfrom Tapestry II - Garden of Green 46:50"T Cup O'Scotch" by Maidens IVfrom Live Out Loud 50:00"Jack Stewart" by Sons of Malarkeyfrom Sons of Malarkey 54:00"Flicker of Hope" by Brendan Monaghanfrom Flicker of Hope 58:27"From the Highest Hill" by Brian Thomasfrom Prairie Rain The Irish & Celtic Music Podcast was produced by Marc Gunn, The Celtfather. If you enjoyed the music you heard, support the artists in this show. Buy their music. Then tell your friends to visit www.celticmusicpodcast.com