Song by Johnny Cash
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5 episodes with Folsom Prison Blues
5 episodes with Folsom Prison Blues
4 episodes with Folsom Prison Blues
2 episodes with Folsom Prison Blues
3 episodes with Folsom Prison Blues
2 episodes with Folsom Prison Blues
2 episodes with Folsom Prison Blues
6 episodes with Folsom Prison Blues
2 episodes with Folsom Prison Blues
Episode 11 of Season 2 of pod is here! This week Christie joins Audree and L to discuss "Folsom Prison Blues" & "What Is and What Should Never Be." As with any episode with Christie, you have some kitty sightings (see visuals for the full experience) as well as great discussions and hot takes! Trigger warning for talks surrounding rape culture during our “Folsom Prison Blues” discussion. Don't forget to check out the visuals for this episode on Instagram, drop comments of your thoughts on our takes, and rate/like and subscribe on whatever platform you listen! Episode Links: Sam dropping down from a ceiling vent Sam raising his eyebrows in “Folsom Prison Blues” The history of the “manic pixie dream girl” trope Like/Rate/Review & Subscribe to the show on: Apple Spotify Youtube Patreon And anywhere else you listen to podcasts! Email us at: samgirlretrospectivepod@gmail.com Follow us on IG for visuals and updates. Follow us on Tiktok for clips and memes. Images from Fangasm and Sam Winchester Caps on Tumblr.
This week, hosts Jim DeRogatis and Greg Kot interview guitarist and songwriter Mike Campbell of Tom Petty and the Heartbreakers. They talk about his new autobiography, working with Bob Dylan and his continued love for music.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Tom Petty, "Runnin' Down a Dream," Full Moon Fever, MCA, 1989The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Tom Petty and the Heartbreakers, "Breakdown," Tom Petty and the Heartbreakers, Shelter, 1976Johnny Cash, "Folsom Prison Blues," Johnny Cash with His Hot and Blue Guitar!, Sun, 1957The Paul Butterfield Blues Band, "Born In Chicago," The Paul Butterfield Blues Band, Elektra, 1965Mudcrutch, "Scare Easy," Mudcrutch, Reprise, 2008Tom Petty and the Heartbreakers, "Refugee," Damn the Torpedoes, Backstreet, 1979Tom Petty and the Heartbreakers, "Here Comes My Girl," Damn the Torpedoes, Backstreet, 1979Tom Petty and the Heartbreakers, "Don't Do Me Like That," Damn the Torpedoes, Backstreet, 1979Tom Petty, "Free Fallin'," Full Moon Fever, MCA, 1989Tom Petty and the Heartbreakers, "Even the Losers," Damn the Torpedoes, Backstreet, 1979Tom Petty and the Heartbreakers, "A Woman In Love (It's Not Me)," Hard Promises, Backstreet, 1981The Beatles, "Taxman," Revolver, Parlophone, 1966Tom Petty, "I Won't Back Down," Full Moon Fever, MCA, 1989Tom Petty and the Heartbreakers, "American Girl," Tom Petty and the Heartbreakers, Shelter, 1976Common, "The Light," Like Water for Chocolate, MCA, 2000See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Marjorie Hache propose deux heures entre classiques et nouveautés, mêlant rock, indie et pop alternative. Au programme, des incontournables comme Cream, T. Rex et les Beastie Boys. Les découvertes du jour incluent Viagra Boys, Godspeed You! Black Emperor et les Français de Last Train, dont l'album "III" est mis à l'honneur cette semaine. Le groupe partira en tournée dès le 28 février, avec notamment deux dates au Trianon en décembre. Le live du jour nous transporte en Irlande avec les Red Hot Chili Peppers et leur interprétation magistrale de "Under The Bridge" enregistrée au Slane Castle. Côté reprises, Black Strobe revisite "Folsom Prison Blues", popularisé par Johnny Cash en 1955. Enfin, la séquence long format nous plonge dans l'univers post-punk de Squid, avec un extrait de leur nouvel album à paraître. Linkin Park - Two Faced Beastie Boys - Sabotage Def Leppard - Rock ! Rock ! (Till You Drop) Melissa Auf Der Maur - Out Of Our Minds Perfume Genius - It's A Mirror America - A Horse With No Name Starcrawler - She Said Last Train - One By One Cream - Sunshine Of Your Love The Honey Cowboy - She Knows Rose Tattoo - Rock N Roll Outlaw Scowl - Not Hell, Not Heaven Black Strobe - Folsom Prison Blues Cage The Elephant - House Of Glass The Dandy Warhols & Slash - I'd Like To Help You With Your Problem Sharon Van Etten & The Attachment Theory - Trouble James Brown - Get Up I Feel Like Being A Sex Machine Red Hot Chili Peppers - Under The Bridge (Live) Depeche Mode - Little 15 Fatboy Slim - Praise You Moonchild Sanelly - Falling T.Rex - Get It On New Order - Rock The Shack Blur - Song 2 Viagra Boys - Man Made Of Meat Godspeed You ! Black Emperor - Grey Rubble - Green Shoots
Embarquez avec nous dans les coulisses du concert légendaire de Johnny Cash à la prison de Folsom, en Californie, le 13 janvier 1968. Cette performance inédite, qui a donné naissance à l'album culte « At Folsom Prison », a marqué un tournant décisif dans la carrière de l'homme en noir.Écoutez comment Johnny Cash, alors en pleine traversée du désert, s'est senti « concerné par le sort réservé aux prisonniers » depuis qu'il avait vu le film « Inside the Walls of Folsom Prison » en 1951. Après des années de lutte contre la drogue, il a décidé de se racheter une conduite en se consacrant à la religion et en partageant son talent avec ceux qui étaient derrière les barreaux.Plongez dans l'atmosphère pesante et lugubre qui régnait dans la prison de Folsom ce jour-là. Vivez avec intensité les moments de stress et de trac de Johnny Cash, qui craignait que ses « cordes vocales ne lui jouent un mauvais tour ». Puis laissez-vous emporter par l'énergie électrique qui s'est dégagée lorsque l'artiste a commencé à chanter, porté par un public de détenus en délire.Découvrez comment cette prestation a permis à Johnny Cash de renaître de ses cendres et de redevenir une figure incontournable de la musique country-rock. Le Los Angeles Times le décrit alors comme n'ayant « jamais été aussi bon », tandis que le magazine Rolling Stone en fait « le chaînon manquant entre country et rock ».Ne manquez pas non plus ce détail fascinant : la veille du concert, Johnny Cash a découvert et appris une chanson écrite par un détenu condamné pour vol à main armée, qu'il a ensuite incluse dans sa setlist. Un geste symbolique qui en dit long sur la sensibilité de l'artiste.Alors préparez-vous à vivre une expérience musicale hors du commun, à la rencontre de l'homme en noir et de son public le plus inattendu.
LeMayZing! Cars, Collecting, History, and Culture with Eric LeMay
When Eric and Todd arrive in Nagoya for the conference, Eric is curious about Todd's impressions of Japan since Todd isn't known as an “experienced world traveler.” They offer some interesting insight on the graciousness of the Japanese people and the incredible lack of public garbage cans and benches…and how completely exhausted they are! Plus, Todd confesses his love of performing Johnny Cash karaoke and his less-than-stellar performance of “Folsom Prison Blues” on the tour bus microphone.
It's time to Walk the Line, Straight into the Ring of Fire and sing some Folsom Prison Blues. Turn up this one UP & help us pay tribute to the Man in Black - Johnny Cash this week on Hot Roddin' 2+Nite https://www.mixabilly.com donate @ https://paypal.me/Mixabilly
Singles Going Around- Sunshine & ThunderEverly Brothers- "Gone, Gone, Gone"Link Wray- "Juke Box Mama"Nirvana- "Love Buzz"Shocking Blue- "Long and Lonesome Road"Flying Burrito Brothers- "High Fashion Queen"Jack White- "Fly Farm Blues"The Byrds- "Captain Soul"Magic Sam- "All Of Your Love"Nancy Sinatra & Lee Hazelwood-"Elusive Dreams"The Beatles- "Baby's In Black"Simon & Garfunkel- "Richard Cory"Neil Young- "Lost In Space"Aretha Franklin- "Save Me"The Doors- "L.A. Woman"The Beach Boys- "The Warmth Of The Sun"Johnny Cash- "Folsom Prison Blues"Led Zeppelin- "Rock and Roll" (Live)
A popular way to start out an adventure or campaign is "in media res". Though most RPG games start off with a common scene of the Tavern or Pub. This in the beginning type of start is what most gamers know. Another way is to put the characters in a stressfull situcation from the beginning. One common way of doing this is the "your all in prison" beginning. Now this beginning can be very displeasing to most players. Especially if the players do not know that this is the way the game is going to start. This may turn off players getting into the game. Saul has been in a number of games where the GM starts the game with character in prison or in bondage. Saul uses a couple of examples of this happening and how the games went. Jolene is much more suspicious of GMs starting their games in this manner. Saul agrees that this requires a lot of trust in the players of their GMs. Thank you all for Listening Web Art by Jim Foster Episode Art by Michael Shean-Jones Music by Keith Hiemericks, song Folsom Prison Blues. Available from Tribeofnoise.com Used Under the Creative Commons License 3.0 https://creativecommons.org/licenses/by-sa/3.0/
The multi-talented Southern CA native Janet Robin of The String Revolution talks about the latest release “Folsom Prison Blues” collaborating with John Carter Cash and guitar superstar Tommy Emmanuel! Janet also talks about how she began her career meeting with guitar teacher Randy Rhodes (Ozzy Osbourne, Quiet Riot) and later became lead guitarist for the all-female group Precious Metal, selected by Lindsey Buckingham of Fleetwood Mac to be on “Out of the Cradle” in '92, debuted her solo release “Open the Door” plus opened for Heart, Colin Hay, Loudon Wainwright III, the Smithereens; worked with Meredith Brooks, Michelle Shocked, Alice Peacock, Sarah Bettens and also discussing “Take Me As I Am”, “Everything Has Changed” and winning a Grammy (find out which song)! Check out the amazing Janet Robin of The String Revolution and the latest release on all major platforms, www.thestringrevolution.com and www.janetrobin.com today! #janetrobin #guitarist #folsomprisonblues #johncartercash #thestringrevolution #tommyemmanuel #randyrhodes #ozzyosbourne #quietriot #preciousmetal #lindseybuckingham #fleetwoodmac #openthedoor #takemeasiam #spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnerjanetrobin #themikewagnershowjanetrobin --- Send in a voice message: https://podcasters.spotify.com/pod/show/themikewagnershow/message Support this podcast: https://podcasters.spotify.com/pod/show/themikewagnershow/support
The multi-talented Southern CA native Janet Robin of The String Revolution talks about the latest release “Folsom Prison Blues” collaborating with John Carter Cash and guitar superstar Tommy Emmanuel! Janet also talks about how she began her career meeting with guitar teacher Randy Rhodes (Ozzy Osbourne, Quiet Riot) and later became lead guitarist for the all-female group Precious Metal, selected by Lindsey Buckingham of Fleetwood Mac to be on “Out of the Cradle” in '92, debuted her solo release “Open the Door” plus opened for Heart, Colin Hay, Loudon Wainwright III, the Smithereens; worked with Meredith Brooks, Michelle Shocked, Alice Peacock, Sarah Bettens and also discussing “Take Me As I Am”, “Everything Has Changed” and winning a Grammy (find out which song)! Check out the amazing Janet Robin of The String Revolution and the latest release on all major platforms, www.thestringrevolution.com and www.janetrobin.com today! #janetrobin #guitarist #folsomprisonblues #johncartercash #thestringrevolution #tommyemmanuel #randyrhodes #ozzyosbourne #quietriot #preciousmetal #lindseybuckingham #fleetwoodmac #openthedoor #takemeasiam #spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnerjanetrobin #themikewagnershowjanetrobin --- Send in a voice message: https://podcasters.spotify.com/pod/show/themikewagnershow/message Support this podcast: https://podcasters.spotify.com/pod/show/themikewagnershow/support
The multi-talented Southern CA native Janet Robin of The String Revolution talks about the latest release “Folsom Prison Blues” collaborating with John Carter Cash and guitar superstar Tommy Emmanuel! Janet also talks about how she began her career meeting with guitar teacher Randy Rhodes (Ozzy Osbourne, Quiet Riot) and later became lead guitarist for the all-female group Precious Metal, selected by Lindsey Buckingham of Fleetwood Mac to be on “Out of the Cradle” in '92, debuted her solo release “Open the Door” plus opened for Heart, Colin Hay, Loudon Wainwright III, the Smithereens; worked with Meredith Brooks, Michelle Shocked, Alice Peacock, Sarah Bettens and also discussing “Take Me As I Am”, “Everything Has Changed” and winning a Grammy (find out which song)! Check out the amazing Janet Robin of The String Revolution and the latest release on all major platforms, www.thestringrevolution.com and www.janetrobin.com today! #janetrobin #guitarist #folsomprisonblues #johncartercash #thestringrevolution #tommyemmanuel #randyrhodes #ozzyosbourne #quietriot #preciousmetal #lindseybuckingham #fleetwoodmac #openthedoor #takemeasiam #spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnerjanetrobin #themikewagnershowjanetrobinBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-mike-wagner-show--3140147/support.
03.18.24 Inflation Has the "Folsom Prison Blues" ---------------------Hello, I'm Jerome CashI hear inflation comin', it's rolling round the bend.And I ain't seen it tumblin' since I don't know when.I'm stuck in Biden's Prison, inflation draggin' on.Biden pushes on demand with old-fashioned Democrat economic policies constraining commerce and unrestrained spending. Adding in Yellen's global minimum corporate tax releases inflation that is beyond transitionary according to repentant Treasury Secretary Janet Yellen.As a result, Powell will not ease as quickly as the market wants, but he will give it QT relief.Far from Folsom Prison, That's where Jay wants to stay,so he'll blow that QT whistle, Blow our Blues away.----------------------------Song: Folsom Prison Blues (1955)https://www.youtube.com/watch?v=s_NLlOiD1Wo Johnny Cash
Guest: Siobhan Fallon Hogan, Janet Robin Actor-Producer-Screenwriter Siobhan Fallon Hogan returns to talk about her new film, SHELTER IN SOLITUDE, which is streaming on Amazon Prime and Apple+. Janet Robin of The String Revolution discusses their career and Grammy-nominated version of Johnny Cash's FOLSOM PRISON BLUES.
Exclusive interview with Grammy® Nominated Guitarist for The String Revolution, Janet Robin."Top Acoustic Guitarist" - Guitar Player Magazine, 2017"Top 10 Female Guitarist" - Guitar World Magazine, 2012“Working with Janet was an unforgettable experience. She followed her spirit – no limits. Janet's love for her art is evident in her impassioned musicianship and inspired songwriting. The music we created together, vibrant and full of energy, encapsulates all that she is.”— JOHN CARTER CASH (PRODUCER, OWNER CASH CABIN STUDIOS)Janet Robin, a Southern California native, began her musical journey under the tutelage of guitar teacher Randy Rhoads. In high school, she became the lead guitarist for the all-female rock band Precious Metal, signed to Polygram and later Chameleon/Capitol Records. After the band's dissolution, Fleetwood Mac's Lindsey Buckingham handpicked her for his 1992 solo album, profoundly influencing her music career.In 1998, she debuted with "Open the Door" on Little Sister Records, earning praise for its pop sound. Janet's musical exploration continued with the 2007 acoustic EP "Days of Summer," recorded in Europe. In 2012, she bridged acoustic and rock with "Everything Has Changed," funded by her dedicated fan base. Collaborating with producer John Carter Cash at Cash Cabin Studios, she released the album in Europe through Hypertension Music.Janet's solo career expanded globally with successful tours in Europe, including headlining shows and festivals. She collaborated with diverse artists, including Lindsey Buckingham, Tommy Emmanuel, and Michelle Shocked. Her original songs found placements in TV shows and films, showcasing her versatility.Beyond her solo endeavors, Janet is a guitarist in the band "The String Revolution," nominated for a Grammy® for their unique arrangement of "Folsom Prison Blues" featuring Tommy Emmanuel. The band's EP "Red Drops" gained popularity on Spotify, and they received acclaim for their live performances.In 2022, "The String Revolution" released a cover of "Crazy Train" with Steve Stevens, honoring Janet's late teacher Randy Rhoads' Rock n' Roll Hall of Fame induction. Janet's diverse career includes coaching actress Jennifer Jason Leigh for a guitar scene in Quentin Tarantino's "The Hateful Eight" and playing in musicals like "Girlfriend," "Soul Doctor," and "Staring into Nothing."Janet Robin's impact as a musician extends beyond labels, proving her talent, perseverance, and passion for music. Her journey reflects a dedicated artist, blending genres and leaving an indelible mark on the music industry.https://www.janetrobin.com/Support the showThanks for listening for more information or to listen to other podcasts or watch YouTube videos click on this link >https://thetroutshow.com/
73 Janet Robin — The Art of Musician The String Revolution plays Folsom Prison Blues. Click to hear now: https://youtu.be/cWvZAmT7Skk?si=rx9GbbluhlT20v66 https://www.janetrobin.com/ https://www.Thestringrevolution.com The Hateful Eight Guitar Scene: https://youtu.be/fbp3Pj-ALqU?si=hm1R7P4CORXiqTVM #janetrobin #thestringrevolution #thehatefuleight Janet Robin's musical education began the moment she met her guitar teacher, Randy Rhoads (Quiet Riot, Ozzy Osbourne). Under Rhoads' tutelage, Janet became an ace six-string player and, while still in high school, parlayed this education into a position as the lead guitarist for the all-female rock band Precious Metal. Precious Metal released several albums and wrote with Heart, Poison and Cheap Trick. Robin has toured, performed with, recorded, or written songs with Tommy Emmanuel, Peppino D'Agostino, Meredith Brooks, Monty Montgomery, Michelle Shocked, Maia Sharp, Marcy Levy (co-writer with Eric Clapton on “Lay Down Sally”), Ann and Nancy Wilson (Heart), Garrison Starr, Anne McCue and many more. She was also the touring guitarist of Air Supply in 2007-2008. In 2017 she was named in Guitar Player's “Top 50 Acoustic Guitarists” (Bonus List), amongst many notable players. Janet has also had her original songs placed in TV and films such as “One Life to Live,” “All My Children,” “Felicity,” “Free Enterprise,” and many more. Along with placements she has also composed original scores for short films such as “Traces” directed by Joseph Culp which was accepted into the prestigious Palm Springs Short Film Festival and the Hollywood Film Awards. In 2017, she had an original song in a short film “Casting All Corpses” which won the “Best Comedy Short Award” for the Reel Hollywood Film Festival. In January of 2015, Janet was hand-picked to coach and consult actress Jennifer Jason Leigh for 2 months on location and in Los Angeles for a special guitar scene in the Quentin Tarantino film, "The Hateful Eight." The actress was nominated for an Academy Award. Janet has also played guitar for productions of the musicals “Girlfriend", “Soul Doctor” and "Staring Into Nothing”. Along with Janet's busy solo career, she has another band, featuring 3 amazing guitar players- "The String Revolution." The String Revolution's Spotify channel has reached over 4 million streams. The String Revolutions latest release with Tommy Emmanuel is a cover of Johnny Cash's “Folsom Prison Blues”. https://youtu.be/cWvZAmT7Skk?si=rx9GbbluhlT20v66
Standards & Substandards // Van Sessions at The Monarch Recorded during Ogden's First Friday Art Stroll. Supported by a generous grant from Ogden City Arts along with love from The Monarch, and Roosters Brewing. Thanks to everyone who came out to the live show! Join us every First Friday for recordings at The Monarch Building in Ogden, Utah. ARTIST | Standards & Substandards WEBSITE: https://substandards.band/ SPOTIFY: https://open.spotify.com/artist/7Khj27KYmG2L4PXlCs360I?si=T-5YE14GRMuWpSwc61bwxQ APPLE: https://music.apple.com/us/artist/standards-substandards/1489077802 AMAZON MUSIC: https://music.amazon.com/artists/B081ZRF2VW/standards-substandards?marketplaceId=ATVPDKIKX0DER&musicTerritory=US&ref=dm_sh_GRuWpJmy5xdi6E7hpOwX8daOW INSTAGRAM: https://www.instagram.com/standards_and_substandards/ FACEBOOK: https://www.facebook.com/StandardsandSubstandards/ YOUTUBE: https://www.youtube.com/channel/UCOZ8wFwVuSnLf7fic5Lfu5g SUPPORTERS Roosters Brewing: https://www.roostersbrewingco.com/ The Monarch Building: https://themonarchogden.com/ Suntea's Music Booch: https://www.instagram.com/suntea.love/ Ogden City Arts: https://www.ogdencity.com/707/Arts CREDITS Producer / Host: R. Brandon Long, The Banyan Collective Logistics / Bookings: Todd Oberndorfer, The Banyan Collective Audio Mix: Scott Rogers DOP: Dixon Stoddard https://www.instagram.com/studios_d21/ Video Assistant: Isla Long Photography: Avery Atkinson https://www.instagram.com/avery_atkinson_/ FOLLOW // SUBSCRIBE Van Sessions Instagram: https://www.instagram.com/vansessions/ Van Sessions Facebook: https://www.facebook.com/thevansessions Van Sessions YouTube: https://www.youtube.com/@vansessionspod Our “Patreon,” Like what you hear, buy us beer: https://www.buymeacoffee.com/banyanmedia The drive behind Van Sessions is to create a music discovery community for Northern Utah musicians to share their work, refine their craft, and network with other artists. Van Sessions helps support local musicians, photographers, and videographers through our project. Show your support for local artists by subscribing to Van Sessions on YouTube @vansessionspod or search "Van Sessions Podcast" on your favorite podcast platform. Join us live at the Monarch in Ogden every First Friday to be a part of the free concert and video podcast recording. Bookings: todd@thebanyancollective.com
There are so many electric guitars. Truly, there is a guitar for every mood, every season, and every feeling. But there are four types of electric guitar that are a bit more widely used than other ones. On this formely-bonus-now-main-feed episode, Kirk discusses those four guitars—the Fender Stratocaster, the Telecaster, the Gibson Les Paul, and the 335—and goes through some of the Strong Songs that have featured them.FEATURED/DISCUSSED:“Spanish Castle Magic" and "Little Wing" by Jimi Hendrix from Axis: Bold as Love, 1967“Like a Prayer” by Madonna from Like a Prayer, 1989“Sweet Home Alabama” by Lynyrd Skynyrd from Second Helping, 1973“Home” by Cory Wong from Motivational Music for the Syncopated Soul, 2019"Time" by Pink Floyd from The Dark Side of the Moon, 1973"Everybody Wants to Rule the World" by Tears for Fears from Songs From The Big Chair, 1985“Folsom Prison Blues" by Johnny Cash, 1955"Make a Mistake With Me" by Brad Paisley from Mud on the Tires, 2003“Paranoid Android” by Radiohead from OK Computer, 1997“Stairway to Heaven” by Led Zeppelin from Led Zeppelin IV, 1971“Kiss” by Prince from Parade, 1986“Last Goodbye” by Jeff Buckley from Grace, 1994“Blood and Thunder” by Mastodon from Leviathan, 2004“Immigrant Song” from Led Zeppelin III, 1970“Mr. Blue Sky” by Electric Light Orchestra from Out of the Blue, 1978“Wuthering Heights” by Kate Bush from The Kick Inside, 1978“Starman” by David Bowie from The Rise and Fall of Ziggy Stardust and the Spiders from Mars, 1972“November Rain” by Guns N' Roses from Use Your Illusion, 1991"Sister Sadie" by Horace Silver, 1959“Help Me” by Joni Mitchell from Court & Spark, 1974“Kid Charlemagne” by Steely Dan from The Royal Scam, 1976“September” by Earth, Wind & Fire, 1978“No One Knows” by Queens of the Stone Age from Songs for the Deaf, 2004-----LINKS-----SUPPORT STRONG SONGSPaypal | Patreon.com/StrongsongsMERCH STOREstore.strongsongspodcast.comSOCIAL MEDIA@StrongSongs | @Kirkhamilton | IG: @Kirk_HamiltonNEWSLETTERhttps://kirkhamilton.substack.com/subscribeJOIN THE DISCORDhttps://discord.gg/GCvKqAM8SmOUTRO SOLO PLAY-A-LONG:https://soundcloud.com/kirkhamilton/strong-songs-outro-music-no-soloSTRONG SONGS PLAYLISTSSpotify | Apple Music | YouTube Music----------------SEPTEMBER 2023 WHOLE-NOTE PATRONSBen BarronCatherine WarnerDamon WhiteKaya WoodallDan AustinJay SwartzMiriam JoySEAN D WINNIERushDaniel Hannon-BarryAshley HoagChristopher MillerJamie WhiteChristopher McConnellDavid MascettiJoe LaskaKen HirshJezMelanie AndrichJenness GardnerJeanneret Manning Family FourDave SharpeSami SamhuriJeremy DawsonAccessViolationRyan TorvikElliot Jay O'NeillAndre BremerDave FloreySEPTEMBER 2023 HALF-NOTE PATRONSAbraham BenrubiChristopher BrunoChris KotarbaCallum WebbLynda MacNeilDick MorganBen SteinSusan GreenSean MurphyJake YumatillaAlan BroughRandal VegterGo Birds!Whit SidenerRobert Granatdave malloyNick GallowayHeather Johnsonjohn halpinPeter HardingDavidMeghan O'LearyJohn BaumanDax and Dane HuddlestonMartín SalíasTim HowesStu BakerSteve MartinoDr Arthur A GrayCarolinaGary PierceMatt BaxterGiantPredatoryMolluskLuigi BocciaE Margaret WartonCharles McGeeCatherine ClauseEthan BaumanKenIsWearingAHatJordan BlockAaron WadeJamieDeebsPortland Eye CareCarrie SchneiderRichard SneddonJulian RoleffDoreen CarlsonDavid McDarbyWendy GilchristElliot RosenLisa TurnerPaul WayperBruno GaetaKenneth JungAdam StofskyZak RemerRishi SahayAilie FraserVonRob TsukNATALIE MISTILISJosh SingerPhino DeLeonAmy Lynn ThornsenAdam WKelli BrockingtonVictoria YuBrad Clarkmino caposselaSteve PaquinEmma SklarBernard KhooRobert HeuerMatthew GoldenDavid NoahGeraldine ButlerMadeleine MaderJason PrattAbbie BergDoug BelewDermot CrowleyAchint SrivastavaRyan RairighMichael BermanOlivia BishopJohn GisselquistLinda DuffyLiz SegerEoin de BurcaKevin PotterM Shane BordersDallas HockleyJason GerryNathan GouwensLauren ReayEric PrestemonCookies250Damian BradyAngela LivingstoneSarah SulanDiane HughesMichael CasnerLowell MeyerStephen TsoneffWenJack SjogrenGeoff GoldenRobyn FraserPascal RuegerRandy SouzaClare HolbertonDiane TurnerTom ColemanMark PerryDhu WikMelEric HelmJonathan DanielsMichael FlahertyJarrod SchindlerCaro Fieldmichael bochnerNaomi WatsonDavid CushmanAlexanderGavin DoigSam FennTanner MortonAJ SchusterJennifer BushDavid StroudAmanda FurlottiAndrew BakerJules BaileyAndrew FairL.B. MorseBill ThorntonBrian AmoebasBrett DouvilleJeffrey OlsonMatt BetzelNate from KalamazooMelanie StiversRichard TollerAlexander PolsonEarl LozadaJustin McElroyArjun SharmaJames JohnsonKevin MorrellColin Hodo
Last week I danced in front of a train to try to get it to move. ----- Trains have always held great symbolic meaning. They represent the future, a new destination, an opportunity. In movies, the characters board trains in the hopes of greater things down the tracks. Lovers tearfully depart at train stations. Though tragic it's what's best for each of them. Bandits of the wild west knew there was a strong box on a train full of money. Convicts break out of jail and if they can make it to the train it will take them away from the misery of prison. Songs, too. The Midnight Special. Midnight Train to Georgia. Folsom Prison Blues. People Get Ready. Downbound Train by Bruce Springsteen. Lots of train songs. Lots of them. Trains are a metaphor. They represent a passage. A transition. A breakthrough, though that breakthrough is often difficult. A transition, a passage, and a breakthrough was anything but the case two Thursdays ago here in Mobile. Our GulfQuest Museum invited me to give a speech called The Stories Behind Keepin' It Real. They wanted the stories behind my most popular commentaries. The stories behind the commentaries most difficult to write. And I offered to play the commentaries and tell the stories behind the ones that never were allowed to broadcast. The ones that were veto'd and blackballed. Having never given this speech, I was nervous. What would I say? How would it go? I love writing and recording these things, but a formal presentation about them? I was nervous. Excited. Very excited. But also very nervous. And rolling into the GulfQuest Museum early to get set up I was greeted with…a train. Blocking the tracks. And cars beginning to pile up at the train crossing waiting, like me, to get in. In the cars were my audience. They waited patiently, avoiding the brutal heat by sitting in their cars in the AC. I called the train company to ask them to move the train. “Ok,” the CSX dispatcher said. “Any minute now.” We all waited. I went to the federal transportation bureau website and submitted a form asking them to move the train. Nothing. I called back to CSX about their train. “Any minute now,” they said again. I danced in the tracks in front of the train to try to get the conductor's attention. I called CSX a third time. Nothing. I began walking to the waiting cars to assure them they wouldn't be late to the speech and they wouldn't miss the speaker because I was the speaker. I begged them to wait. Don't give up hope. The train will move eventually. Because there is nothing worse than giving a speech to one or two people in a nearly empty auditorium. It's humiliating. And nervous as I was, I knew an auditorium with some people was better than a nearly empty one. About forty minutes later, the train slowly rolled away. The speech went well. You can find it on the GulfQuest YouTube page. At one point I was excited about Amtrak returning to Mobile. Now I hope I never ever see another train. I'm Cam Marston and I'm just trying to Keep it Real.
Singer/Songwriter JD Nash and model/influencer/promoter Amanda Christine Collins joined Mark and Nicole in studio for quite a sober but rocking party. JD talked about his influences which range from metal to country, the medical oddities he came across as a nursing assistant, what an influence Johnny Cash and Eddie Van Halen have been on his music, talked about how he chose to play guitar rather than do drugs which has paid dividends and played “Folsom Prison Blues” by Johnny Cash as well as 2 originals live in studio “Community” and “No Regrets” Amanda talked about being a “tweener” in the modeling community as she is between the anorexic norm and not quote a BBW, she was frank about her hard partying past and how the Whisky A GoGo and O'Doul's led her on the path to being sober, debated Mark on the merits of country music and explained how her inspiring sober journey has led to her promoting country music festivals and so much more… Get some Dark Mark Show gear Go to www.teepublic.com/user/dms1 for shirts, mugs, phone/laptop covers, masks and more! THIS SHOW IS SPONSORED BY: EDDIE BY GIDDY FDA CLASS II MEDICAL DEVICE BUILT TO TREAT ERECTILE DYSFUNCTION AND PERFORMANCE UNPREDICTABILITY. EDDIE IS SPECIFICALLY ENGINEERED TO PROMOTE FIRMER AND LONGER-LASTING ERECTIONS BY WORKING WITH THE BODY'S PHYSIOLOGY. GET ROCK HARD ERECTIONS THE NATURAL WAY AGAIN. USING PROMO CODE DARKMARK20, YOU CAN SAVE 20% ON YOUR EDDIE PURCHASE, AND YOU AND YOUR PARTNER WILL BE CHANTING INCANTATIONS OF ECSTASY TOGETHER FASTER THAN YOU CAN SAY “REDRUM.” GO TO BUYEDDIE.COM/DARKMARK FOR 20% OFF YOUR PURCHASE USING CODE DARKMARK20 TODAY. RAZE ENERGY DRINKS GO TO HTTPS://BIT.LY/2VMOQKK AND PUT IN THE COUPON CODE DMS FOR 15% OFF THE BEST ENERGY DRINKS. ZERO CALORIES. ZERO CARBS. ZERO CRASH RENAGADE CBD GO TO RENAGADECBD.COM FOR ALL OF YOUR CBD NEEDS TACTICAL SOAP SMELL GREAT WITH PHEROMONE INFUSED PRODUCTS AND DRIVE WOMEN WILD WITH DESIRE! GO TO HTTPS://GRONDYKE-SOAP-COMPANY.MYSHOPIFY.COM/?RFSN=7187911.8CECDBA
To Support the Channel:Tip jar: https://paypal.me/AskZacOr check out my store at - www.askzac.comMy son told me, "Dad, you ought to do a video on your favorite Telecaster licks." So here are my 10 favorite Telecaster licks of all time.1. Cornell Dupree "Rainy Night in Georgia."2. Reggie Young "Memphis Soul Stew."3. James Burton "Suzy Q."4. Jesse Ed Davis "Six Days On The Road."5. Pete Anderson "Guitars Cadillacs."6. Bobby Womack "I'm In Love."7. Clarence White "You Ain't Goin' Nowhere."8. John Jorgenson "Highlander Boogie."9. Luther Perkins "Folsom Prison Blues."10. James Honeyman-Scott "Kid."Bonus lick11. Jimmy Olander "Meet In The Middle."Spotify playlist:https://open.spotify.com/playlist/1au...Gear for this video:1957 Fender Esquire with added neck pickup. Restoration and aging on the body by Dan "Danocaster" Strain.Strings: Gabriel Tenorio NíquelPuro Pure Nickel Strings 10-46Pick:Blue Chip TPR 35Amp:1965 Deluxe Reverb with Celestion Vintage 30 speaker, and bright cap clipped on the vibrato channel.Effects used:Amp Verb. #askzac #guitartech #telecasterSupport the show
Berly and LA recap the season two Supernatural episode, Folsom Prison Blues. Over drinks, they'll discuss lore, gore, and what they adore about the Winchesters and their adventures. Now, let's get tipsy! CW/TW for violent and lewd commentary; listeners beware!
Parental concerns over minors selling feet pictures online.//Elite 8 - songs about crime and jail.See omnystudio.com/listener for privacy information.
It's time for a field trip to prison with Dean and Sam. In this episode, we're talking about Folsom Prison Blues (2x19). Some topics we'll focus on include Dean and his cigarettes, Deacon/John/debts (those are all related), how downright creepy this ghost is, and no Supernatural episode is complete without acknowledging the inconsistencies. Buckle up. Find us on social media! TikTok: @raisingwinchesters / @raisingperdition Twitter: @RWinchestersPod / @RPerditionPod Hive: @rwinchesterspod / @rperditionpod Tumblr: @raisingwinchesterspod / @raisingperditionpod You can also find our personal accounts here :) TikTok & Twitter: @bethlovescas / @hannahluvsdean / @abbyjomo Hive & Tumblr: @bethlovescas / @hannahluvsdean
This week, Desmond and Duane take a look at the superpowered prison film Corrective Measures. It's a Tubi Original that will end up being one of Bruce Willis' last roles, and it's good?! Then, Desmond goes solo on a Dread Media Top 5 Fictional Prisons. Tunes included: "The Prisoner" by Suicidal Tendencies, "Take No Prisoners" by Megadeth, "Folsom Prison Blues (live from Folsom Prison)" by Johnny Cash, and "The Prisoner" by Iron Maiden. Lights out! Send feedback to: dreadmediapodcast@gmail.com. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Support the show at www.patreon.com/dreadmedia. Visit www.desmondreddick.com, www.stayscary.wordpress.com, www.dreadmedia.bandcamp.com, www.kccinephile.com, and www.dejasdomicileofdread.blogspot.com.
This week, Desmond and Duane take a look at the superpowered prison film Corrective Measures. It's a Tubi Original that will end up being one of Bruce Willis' last roles, and it's good?! Then, Desmond goes solo on a Dread Media Top 5 Fictional Prisons. Tunes included: "The Prisoner" by Suicidal Tendencies, "Take No Prisoners" by Megadeth, "Folsom Prison Blues (live from Folsom Prison)" by Johnny Cash, and "The Prisoner" by Iron Maiden. Lights out! Send feedback to: dreadmediapodcast@gmail.com. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Support the show at www.patreon.com/dreadmedia. Visit www.desmondreddick.com, www.stayscary.wordpress.com, www.dreadmedia.bandcamp.com, www.kccinephile.com, and www.dejasdomicileofdread.blogspot.com.
In today's episode, we talk with Rachel Lewis, who checks several boxes in the land of creative. At the beginning of season 3, Catherine and Steve wondered aloud about bringing in not only chef, foodie type people, as we have consistently thought that being a chef required a combination of what we think is the more traditional create spirit coupled with the more precise measuring and scientific mindset. We were looking to take it a but further though, as we wanted to talk with a chef who abides by additional rules and guidelines, and expressively mentioned a vegan chef. Enter Rachel Lewis. As you will hear early in the interview, she answered and ad Steve put out seeking a lead singer for his band, Butterfield Creek. Before she even auditioned, it was learned that she's the co-owner of Sunshine Kitchen a vegan and gluten free food truck south of Chicago, that she's been a personal chef for several families with similar food restrictions, and as a bonus, she's also a food stylist who's worked on many huge contracts and campaigns. Happy to say too that Rachel also brings it in the way of vocal chops, she won the audition and is two shows in with the band. There are some samples of her singing with the band in this episode too. Facebookhttps://www.facebook.com/profile.php?id=100063635917120Instagram: @The_Sunshine_KitchenRachel with Butterfield Creek covering Can't You See by the Marshsall Tucker Bandhttps://www.facebook.com/1576652711/videos/448799960784116/Rachel with Butterfield Creek covering Folsom Prison Blues by Johnny Cashhttps://www.facebook.com/1576652711/videos/5715271531927567/Rachel and Butterfield Creek playing Spinster in the Middlehttps://www.facebook.com/1576652711/videos/693131968968443/Event Page for Butterfield Creek at Buffalo Creek Brewing in Long Grove Illinoishttps://fb.me/e/2c27fDKdlEpisode illustration credit: Marc Allen FishmanHere's how you can find Kites and Strings out there in the interwebs.Kites and Strings Website: https://www.kitesandstrings.com/Facebook: https://www.facebook.com/kitesandstringspodcastTwitter: @KitesandstringsInstagram: @Kites_and_stringsemail: Kitesandstringspodcast@gmail.comKites and Strings' theme music is by Harrison Amer, and all other music if from Purple Planet Music at Purpleplanet.com. The Kites and Strings logo-design is by Cole Monroe at Blue Stag Creative.
haley and téa don't like this writer's episodes. haley is disappointed about ghosts. téa talks about fan culture and law. we're on spotify and apple podcasts! leave us a review! NEXT EPISODE: 0220 What Is and Should Never Be carrd: hatrusa.carrd.co/ spotify: open.spotify.com/show/2LuwguddkDy…m7QDmhmbktNapVzA apple podcasts: podcasts.apple.com/us/podcast/hatr…sct=podcast_box twitter: twitter.com/hatrusa tumblr: hatrusa.tumblr.com/ instagram: www.instagram.com/hatrusa/
This Sunday Rev. Dr. Lori Walke begins a new sermon series based on the music of country and western legend Johnny Cash. This week Lori preaches from the song Folsom Prison Blues. Live streamed Sunday, Sept. 11 2022 from the sanctuary of Mayflower Congregational UCC Church in Oklahoma City.
KJ, Meredith, Whiskey, and Francis are heading to prison this week! Or, well, they're following the Winchesters to county jail on their very misguided, ill-conceived plan to fulfill an imaginary obligation to John Winchester's friend Deacon. KJ's criminal justice education makes them want to fight Sam Winchester, and their existence as a feminist makes them want to fight Henriksen. and while Meredith has no mythology to provide this week, guests Francis and Whiskey come prepared with some tales of haunted prisons.CW Episode Description: After hearing about a ghost that has been killing off inmates one by one, Sam and Dean decide the best way to investigate this spirit is from the inside and allow themselves to get thrown into the state penitentiary. However, after FBI agent Henriksen (guest star C. Malik Whitfield) shows up to take over their case, getting out of prison becomes a bigger challenge than finding the spirit.Linktree including sign up sheet to be on the podcast and our Discord server: https://linktr.ee/SupernaturalOpinionsPodcastFor more KJ Spn-verse content check out KJ's other podcast Wayward Parents! Follow @waywardparents on twitter for updates and bonus episodes until The Winchesters premieres in October 2022!Guest social medias:Meredith (tiktok, instagram and Tumblr): shaedsofdeianeiraFrances: Destiel1993 on Twitter, Tiktok: letitbelove_93Whiskey: Deans67Chevyon TikTok
Today, Crystal & Grey discuss Supernatural Episode 02.19 - Folsom Prison Blues. We talk about: the clicky amv, top bunk vs. bottom bunk, and Steve Mcqueen (again). Episode Transcript: https://bustyasianbeautiespod.carrd.co/#transcripts Give us a Tip! Ko-fi: https://ko-fi.com/bustyasianbeautiespod Follow us! Twitter: https://twitter.com/beautiespodcast Tumblr: https://bustyasianbeautiespod.tumblr.com/ Email us! Email Address: bustyasianbeautiespod@gmail.com Podcast art is made by cyvvang! Instagram: https://www.instagram.com/cyvvang/ Redbubble: https://www.redbubble.com/people/cyvvang/shop --- Send in a voice message: https://anchor.fm/bustyasianbeautiespod/message
It's a special episode of the Friday Night Karaoke Podcast featuring none other than Mr. Country himself, Mike Eli from the Eli Young Band! The video version of Episode 41 of the FNK Podcast is now live for #FNKCountry week, and this time we brought along an INCREDIBLE guest to listen to your songs, drop some commentary, and enlighten us with the life, thoughts, and aspirations of a true to life country rockstar! Behind Closed Doors all my Friends in Low Places have the Folsom Prison Blues, but they're Always on My Mind when I'm drinking Strawberry Wine and dancing the Boot Scootin' Boogie. I Should Have Been a Cowboy, but instead I Walk the Line between Your Cheatin' Heart and a Ring of Fire, so Take Me Home Country Roads while I'm Killin' Time Before the Next Teardrop Falls with some Smoky Mountain Rain and a karaoke mic. Mike Eli is the frontman and a founding member of the Eli Young Band - a band that has seen 8 Billboard singles, 4 of which landed #1 in the country charts, and over 2 BILLION streams on Pandora. PLEASE BE SURE TO SHOW MIKE SOME LOVE BY FOLLOWING HIM AND HIS BAND BELOW: Eli Young Band website: https://eliyoungband.com Eli Young Band Facebook: https://www.facebook.com/eliyoungband Eli Young Band Instagram: https://www.instagram.com/eliyoungband Eli Young Band on YouTube: https://www.youtube.com/channel/UCOIvDItIQheCkk8tD_xKm1Q Eli Young Band is TOURING! Be sure to catch them near you and give FNK a shoutout when you go!:https://eliyoungband.com/#!/events Featured in this episode alongside hosts Mike Wiston and Joe Rubin, and special guest Mike Eli: Ron R Green with Tennessee Whiskey by Chris Stapleton Autumn Thoennes with Jolene by Dolly Parton Kristoff Crafton with You Can Have the Crown by Sturgill Simpson Lauren Nichol with Unlove You by Jennifer Nettles KC Conner with Your Man by Josh Turner Love what you hear? Join the official Friday Night Karaoke FB group, a completely negativity free karaoke destination, and be part of the action! www.facebook.com/groups/fridaynightkaraoke. Hope to see you there!
Ring of Fire, I Walk The Line, Folsom Prison Blues. These are just some of the hit songs that country/folk singer Johnny Cash gave to the world. He was born with the God-given gift of a rich bass voice and ability to write songs that strikes a chord. From the humble farm life upbringing of his childhood in Arkansas that was riddled with abuse and the death of his brother Jack, to his whirlwind fame and being swept up in a crippling pill addiction, the life of Johnny Cash as The Man In Black was riddled with equal parts triumph and tragedy. Join me today as I discuss every facet of his life! Follow me for more music content, and how you can support OTM :) OTM Blog: https://onthemixpodcast.wordpress.com/blog/ Instagram: https://www.instagram.com/onthemixpodcast/ Discord: https://discord.com/invite/gYFNT2RjtA Patreon: https://www.patreon.com/onthemixpodcast Donation/Tip: https://www.paypal.com/paypalme/onthemixpodcast --- Support this podcast: https://anchor.fm/on-the-mix/support
#WindyCityJoes #RomanAlexander #OverMeWindy City Joe's Michael & Jackson catch up with a good friend and one of their most entertaining guests yet, Roman Alexander to find out what he has been up to, what's new, and where he's headed. Now in his early 20s, Alexander has nearly two decades of performing. The first songs he learned on guitar were ""Ring of Fire"" and ""Folsom Prison Blues"", thanks to a childhood love of Johnny Cash. His mother's love of Elvis Presley was also influential and you can hear the clever references to the King in his songs.Alexander moved to Nashville to get his music heard. He posted performances and gained a strong following, which led to signing a publishing and development deal with Twelve6 Entertainment. He began working with Jerry Flowers, a top writer in Nashville and Keith Urban's bandleader, on refining his songwriting and elevating his live show.The creative partnership led to Between You & Me, co-produced by Flowers and Jared Keim. Alexander co-wrote four of five songs, along with Nashville heavyweights Dylan Altman, Jason Gantt, Scott Stepakoff and John Caldwell. The EP addresses the push and pull of love, from new romance on “Cocktail Conversations” to emotional entanglements on “Bad for Me” You'll pick up on the understated qualities of lyrics and melodies. With Between You & Me, Roman Alexander has assembled a collection of songs that proves he's paid his dues, honed his craft and is ready to stake his claim in country music.subscribe for more content - https://linktr.ee/windycityjoes Presented by Untied EntertainmentMusic: I'm Never Drinking Again by Josh Kiser - https://www.instagram.com/kiserkountry
Hello, we're James and Connor. Take a look behind the walls At Folsom Prison this week with Johnny Cash as we talk about our first ever live album! Recorded in 1968, this iconic record puts The Man In Black's talent and sense of humor on full display. Follow his legendary career from humble beginnings to his final days, and learn about his numerous incidents with various birds that you may not have known about! We'll talk about the story and style of all 16 tracks, including Folsom Prison Blues, Greystone Chapel, Dirty Old Egg-Sucking Dog, and even country music staples Long Black Veil and The Green, Green Grass Of Home. Enjoy!Keep Spinning at www.SpinItPod.com! Hosted on Acast. See acast.com/privacy for more information.
We had a great conversation with Country artist Joedi Silvers on The Chris & Sandy Show. We talked about many things from Nashville, music, sacrifices, he told some really great stories to a whole lot more!Joedi Silvers came by his classic country sound honestly. His father lived it, performing in Nashville and all over the world in the 70's and 80's. Joe Don Silvers was a hitmaker. He wrote for Barbara Mandrell, Charley Pride, Janie Fricke, Lois Johnson and Willie Nelson, to name a few. He also founded a studio on Music Row with his friend, Faron Young, “The Queen of Sound.” Joe Don toured for decades all over the world. Two of his longest and most notable touring partners were “The Nashville Junction” and Hank Williams, Jr.His young son quickly proved to be a chip off the old block musically. “I started singing at three,” recalls Joedi. “My dad had a studio in our basement, and some of my first musical memories are of joining him in singing ‘Orange Blossom Special' and ‘Folsom Prison Blues' in that basement studio.”As a young boy Joedi was a typical kid, spending his time playing sports and video games. Eventually he pursued his true calling and passion for the traditional country music style of his father. He taught himself to play his dad's guitar, becoming proficient on the instrument and quickly harnessing the retro country sound that comes naturally.Joedi's voice takes you back to a time when artists like Ray Price, Waylon Jennings and Johnny Cash were kings, when steel guitar and analog sound ruled, and music made you feel something in your soul. Joedi hopes to bring back this style, armed with drawers of songs penned by his dad that fit his deep throwback voice and rhinestone-shimmering image perfectly.On a whim he recorded “Sleeping Alone,” a song written by his father, and uploaded it to Instagram. Within a few days, the video had over half a million views, and eventually it exceeded well over 2 million views. With that success under his belt, Joedi set off for Nashville, his dad's old stomping grounds, armed with little more than his sheer talent and a desire to share it with the world.At 19 years old, Joedi Silvers is an old soul who often seems wise beyond his years. He currently hones his talent performing in bars on Broadway, where many of Nashville's biggest artists began their journey to fame. He brings a fresh energy and passion to the original sound that first made Music City great. His is the same honest sound that propelled a generation of artists who are revered a few streets away from Broadway at the Country Music Hall of Fame. Joedi is ready to take his place among pure country greats both past and present.
Welcome Back To The Hunt - you've got a right to remain silent (but we'd much prefer you share the podcast with a friend). In this week's episode (S2, Ep 19), Sam and Dean help out a friend of their Dads by...getting arrested? In an interesting twist, Dean is arguably once again more than comfortable with a situation whereas Sam - not so much. We also break down the meaning of loyalty to Sam and Dean, in the context of family and friendship - in an episode that is anything but tiny as far as the boy's journey goes in Season 2. Want to share your rewatch experience with us? Send us a message: https://anchor.fm/chris-barrows/message Theme Music: Extreme Energy by MusicToday80: https://soundcloud.com/musictoday80/r... Attribution 3.0 Unported (CC BY 3.0) https://creativecommons.org/licenses/... Music provided by Free Vibes: https://goo.gl/NkGhTg
Jamie's genius level intellect is revealed as her episode predictions come true. As always the girls get more than a little hung up on the unintended implications for this week's episode “Folsom Prison Blues”. Beth's Dean coding somehow gets stronger as they talk about the weird dichotomy between the empathy that Supernatural has for the prisoners and the respect they show for the prison guards. Find Driver Picks The Podcast here: linktr.ee/driverpicksthepodcast and Thief Steals The Podcast here: linktr.ee/thiefstealsthepodcast
Episode one hundred and forty-seven of A History of Rock Music in Five Hundred Songs looks at “Hey Joe" by the Jimi Hendrix Experience, and is the longest episode to date, at over two hours. Patreon backers also have a twenty-two-minute bonus episode available, on "Making Time" by The Creation. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud mix containing all the music excerpted in this episode. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. Information on Arthur Lee and Love came from Forever Changes: Arthur Lee and the Book of Love by John Einarson, and Arthur Lee: Alone Again Or by Barney Hoskyns. Information on Gary Usher's work with the Surfaris and the Sons of Adam came from The California Sound by Stephen McParland, which can be found at https://payhip.com/CMusicBooks Information on Jimi Hendrix came from Room Full of Mirrors by Charles R. Cross, Crosstown Traffic by Charles Shaar Murray, and Wild Thing by Philip Norman. Information on the history of "Hey Joe" itself came from all these sources plus Hey Joe: The Unauthorised Biography of a Rock Classic by Marc Shapiro, though note that most of that book is about post-1967 cover versions. Most of the pre-Experience session work by Jimi Hendrix I excerpt in this episode is on this box set of alternate takes and live recordings. And "Hey Joe" can be found on Are You Experienced? Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before we start – this episode deals with a song whose basic subject is a man murdering a woman, and that song also contains references to guns, and in some versions to cocaine use. Some versions excerpted also contain misogynistic slurs. If those things are likely to upset you, please skip this episode, as the whole episode focusses on that song. I would hope it goes without saying that I don't approve of misogyny, intimate partner violence, or murder, and my discussing a song does not mean I condone acts depicted in its lyrics, and the episode itself deals with the writing and recording of the song rather than its subject matter, but it would be impossible to talk about the record without excerpting the song. The normalisation of violence against women in rock music lyrics is a subject I will come back to, but did not have room for in what is already a very long episode. Anyway, on with the show. Let's talk about the folk process, shall we? We've talked before, like in the episodes on "Stagger Lee" and "Ida Red", about how there are some songs that aren't really individual songs in themselves, but are instead collections of related songs that might happen to share a name, or a title, or a story, or a melody, but which might be different in other ways. There are probably more songs that are like this than songs that aren't, and it doesn't just apply to folk songs, although that's where we see it most notably. You only have to look at the way a song like "Hound Dog" changed from the Willie Mae Thornton version to the version by Elvis, which only shared a handful of words with the original. Songs change, and recombine, and everyone who sings them brings something different to them, until they change in ways that nobody could have predicted, like a game of telephone. But there usually remains a core, an archetypal story or idea which remains constant no matter how much the song changes. Like Stagger Lee shooting Billy in a bar over a hat, or Frankie killing her man -- sometimes the man is Al, sometimes he's Johnny, but he always done her wrong. And one of those stories is about a man who shoots his cheating woman with a forty-four, and tries to escape -- sometimes to a town called Jericho, and sometimes to Juarez, Mexico. The first version of this song we have a recording of is by Clarence Ashley, in 1929, a recording of an older folk song that was called, in his version, "Little Sadie": [Excerpt: Clarence Ashley, "Little Sadie"] At some point, somebody seems to have noticed that that song has a slight melodic similarity to another family of songs, the family known as "Cocaine Blues" or "Take a Whiff on Me", which was popular around the same time: [Excerpt: The Memphis Jug Band, "Cocaine Habit Blues"] And so the two songs became combined, and the protagonist of "Little Sadie" now had a reason to kill his woman -- a reason other than her cheating, that is. He had taken a shot of cocaine before shooting her. The first recording of this version, under the name "Cocaine Blues" seems to have been a Western Swing version by W. A. Nichol's Western Aces: [Excerpt: W.A. Nichol's Western Aces, "Cocaine Blues"] Woody Guthrie recorded a version around the same time -- I've seen different dates and so don't know for sure if it was before or after Nichol's version -- and his version had himself credited as songwriter, and included this last verse which doesn't seem to appear on any earlier recordings of the song: [Excerpt: Woody Guthrie, "Cocaine Blues"] That doesn't appear on many later recordings either, but it did clearly influence yet another song -- Mose Allison's classic jazz number "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] The most famous recordings of the song, though, were by Johnny Cash, who recorded it as both "Cocaine Blues" and as "Transfusion Blues". In Cash's version of the song, the murderer gets sentenced to "ninety-nine years in the Folsom pen", so it made sense that Cash would perform that on his most famous album, the live album of his January 1968 concerts at Folsom Prison, which revitalised his career after several years of limited success: [Excerpt: Johnny Cash, "Cocaine Blues (live at Folsom Prison)"] While that was Cash's first live recording at a prison, though, it wasn't the first show he played at a prison -- ever since the success of his single "Folsom Prison Blues" he'd been something of a hero to prisoners, and he had been doing shows in prisons for eleven years by the time of that recording. And on one of those shows he had as his support act a man named Billy Roberts, who performed his own song which followed the same broad outlines as "Cocaine Blues" -- a man with a forty-four who goes out to shoot his woman and then escapes to Mexico. Roberts was an obscure folk singer, who never had much success, but who was good with people. He'd been part of the Greenwich Village folk scene in the 1950s, and at a gig at Gerde's Folk City he'd met a woman named Niela Miller, an aspiring songwriter, and had struck up a relationship with her. Miller only ever wrote one song that got recorded by anyone else, a song called "Mean World Blues" that was recorded by Dave Van Ronk: [Excerpt: Dave Van Ronk, "Mean World Blues"] Now, that's an original song, but it does bear a certain melodic resemblance to another old folk song, one known as "Where Did You Sleep Last Night?" or "In the Pines", or sometimes "Black Girl": [Excerpt: Lead Belly, "Where Did You Sleep Last Night?"] Miller was clearly familiar with the tradition from which "Where Did You Sleep Last Night?" comes -- it's a type of folk song where someone asks a question and then someone else answers it, and this repeats, building up a story. This is a very old folk song format, and you hear it for example in "Lord Randall", the song on which Bob Dylan based "A Hard Rain's A-Gonna Fall": [Excerpt: Ewan MacColl, "Lord Randall"] I say she was clearly familiar with it, because the other song she wrote that anyone's heard was based very much around that idea. "Baby Please Don't Go To Town" is a question-and-answer song in precisely that form, but with an unusual chord progression for a folk song. You may remember back in the episode on "Eight Miles High" I talked about the circle of fifths -- a chord progression which either increases or decreases by a fifth for every chord, so it might go C-G-D-A-E [demonstrates] That's a common progression in pop and jazz, but not really so much in folk, but it's the one that Miller had used for "Baby, Please Don't Go to Town", and she'd taught Roberts that song, which she only recorded much later: [Excerpt: Niela Miller, "Baby, Please Don't Go To Town"] After Roberts and Miller broke up, Miller kept playing that melody, but he changed the lyrics. The lyrics he added had several influences. There was that question-and-answer folk-song format, there's the story of "Cocaine Blues" with its protagonist getting a forty-four to shoot his woman down before heading to Mexico, and there's also a country hit from 1953. "Hey, Joe!" was originally recorded by Carl Smith, one of the most popular country singers of the early fifties: [Excerpt: Carl Smith, "Hey Joe!"] That was written by Boudleaux Bryant, a few years before the songs he co-wrote for the Everly Brothers, and became a country number one, staying at the top for eight weeks. It didn't make the pop chart, but a pop cover version of it by Frankie Laine made the top ten in the US: [Excerpt: Frankie Laine, "Hey Joe"] Laine's record did even better in the UK, where it made number one, at a point where Laine was the biggest star in music in Britain -- at the time the UK charts only had a top twelve, and at one point four of the singles in the top twelve were by Laine, including that one. There was also an answer record by Kitty Wells which made the country top ten later that year: [Excerpt: Kitty Wells, "Hey Joe"] Oddly, despite it being a very big hit, that "Hey Joe" had almost no further cover versions for twenty years, though it did become part of the Searchers' setlist, and was included on their Live at the Star Club album in 1963, in an arrangement that owed a lot to "What'd I Say": [Excerpt: The Searchers, "Hey Joe"] But that song was clearly on Roberts' mind when, as so many American folk musicians did, he travelled to the UK in the late fifties and became briefly involved in the burgeoning UK folk movement. In particular, he spent some time with a twelve-string guitar player from Edinburgh called Len Partridge, who was also a mentor to Bert Jansch, and who was apparently an extraordinary musician, though I know of no recordings of his work. Partridge helped Roberts finish up the song, though Partridge is about the only person in this story who *didn't* claim a writing credit for it at one time or another, saying that he just helped Roberts out and that Roberts deserved all the credit. The first known recording of the completed song is from 1962, a few years after Roberts had returned to the US, though it didn't surface until decades later: [Excerpt: Billy Roberts, "Hey Joe"] Roberts was performing this song regularly on the folk circuit, and around the time of that recording he also finally got round to registering the copyright, several years after it was written. When Miller heard the song, she was furious, and she later said "Imagine my surprise when I heard Hey Joe by Billy Roberts. There was my tune, my chord progression, my question/answer format. He dropped the bridge that was in my song and changed it enough so that the copyright did not protect me from his plagiarism... I decided not to go through with all the complications of dealing with him. He never contacted me about it or gave me any credit. He knows he committed a morally reprehensible act. He never was man enough to make amends and apologize to me, or to give credit for the inspiration. Dealing with all that was also why I made the decision not to become a professional songwriter. It left a bad taste in my mouth.” Pete Seeger, a friend of Miller's, was outraged by the injustice and offered to testify on her behalf should she decide to take Roberts to court, but she never did. Some time around this point, Roberts also played on that prison bill with Johnny Cash, and what happened next is hard to pin down. I've read several different versions of the story, which change the date and which prison this was in, and none of the details in any story hang together properly -- everything introduces weird inconsistencies and things which just make no sense at all. Something like this basic outline of the story seems to have happened, but the outline itself is weird, and we'll probably never know the truth. Roberts played his set, and one of the songs he played was "Hey Joe", and at some point he got talking to one of the prisoners in the audience, Dino Valenti. We've met Valenti before, in the episode on "Mr. Tambourine Man" -- he was a singer/songwriter himself, and would later be the lead singer of Quicksilver Messenger Service, but he's probably best known for having written "Get Together": [Excerpt: Dino Valenti, "Get Together"] As we heard in the "Mr. Tambourine Man" episode, Valenti actually sold off his rights to that song to pay for his bail at one point, but he was in and out of prison several times because of drug busts. At this point, or so the story goes, he was eligible for parole, but he needed to prove he had a possible income when he got out, and one way he wanted to do that was to show that he had written a song that could be a hit he could make money off, but he didn't have such a song. He talked about his predicament with Roberts, who agreed to let him claim to have written "Hey Joe" so he could get out of prison. He did make that claim, and when he got out of prison he continued making the claim, and registered the copyright to "Hey Joe" in his own name -- even though Roberts had already registered it -- and signed a publishing deal for it with Third Story Music, a company owned by Herb Cohen, the future manager of the Mothers of Invention, and Cohen's brother Mutt. Valenti was a popular face on the folk scene, and he played "his" song to many people, but two in particular would influence the way the song would develop, both of them people we've seen relatively recently in episodes of the podcast. One of them, Vince Martin, we'll come back to later, but the other was David Crosby, and so let's talk about him and the Byrds a bit more. Crosby and Valenti had been friends long before the Byrds formed, and indeed we heard in the "Mr. Tambourine Man" episode how the group had named themselves after Valenti's song "Birdses": [Excerpt: Dino Valenti, "Birdses"] And Crosby *loved* "Hey Joe", which he believed was another of Valenti's songs. He'd perform it every chance he got, playing it solo on guitar in an arrangement that other people have compared to Mose Allison. He'd tried to get it on the first two Byrds albums, but had been turned down, mostly because of their manager and uncredited co-producer Jim Dickson, who had strong opinions about it, saying later "Some of the songs that David would bring in from the outside were perfectly valid songs for other people, but did not seem to be compatible with the Byrds' myth. And he may not have liked the Byrds' myth. He fought for 'Hey Joe' and he did it. As long as I could say 'No!' I did, and when I couldn't any more they did it. You had to give him something somewhere. I just wish it was something else... 'Hey Joe' I was bitterly opposed to. A song about a guy who murders his girlfriend in a jealous rage and is on the way to Mexico with a gun in his hand. It was not what I saw as a Byrds song." Indeed, Dickson was so opposed to the song that he would later say “One of the reasons David engineered my getting thrown out was because I would not let Hey Joe be on the Turn! Turn! Turn! album.” Dickson was, though, still working with the band when they got round to recording it. That came during the recording of their Fifth Dimension album, the album which included "Eight Miles High". That album was mostly recorded after the departure of Gene Clark, which was where we left the group at the end of the "Eight Miles High" episode, and the loss of their main songwriter meant that they were struggling for material -- doubly so since they also decided they were going to move away from Dylan covers. This meant that they had to rely on original material from the group's less commercial songwriters, and on a few folk songs, mostly learned from Pete Seeger The album ended up with only eleven songs on it, compared to the twelve that was normal for American albums at that time, and the singles on it after "Eight Miles High" weren't particularly promising as to the group's ability to come up with commercial material. The next single, "5D", a song by Roger McGuinn about the fifth dimension, was a waltz-time song that both Crosby and Chris Hillman were enthused by. It featured organ by Van Dyke Parks, and McGuinn said of the organ part "When he came into the studio I told him to think Bach. He was already thinking Bach before that anyway.": [Excerpt: The Byrds, "5D"] While the group liked it, though, that didn't make the top forty. The next single did, just about -- a song that McGuinn had written as an attempt at communicating with alien life. He hoped that it would be played on the radio, and that the radio waves would eventually reach aliens, who would hear it and respond: [Excerpt: The Byrds, "Mr. Spaceman"] The "Fifth Dimension" album did significantly worse, both critically and commercially, than their previous albums, and the group would soon drop Allen Stanton, the producer, in favour of Gary Usher, Brian Wilson's old songwriting partner. But the desperation for material meant that the group agreed to record the song which they still thought at that time had been written by Crosby's friend, though nobody other than Crosby was happy with it, and even Crosby later said "It was a mistake. I shouldn't have done it. Everybody makes mistakes." McGuinn said later "The reason Crosby did lead on 'Hey Joe' was because it was *his* song. He didn't write it but he was responsible for finding it. He'd wanted to do it for years but we would never let him.": [Excerpt: The Byrds, "Hey Joe"] Of course, that arrangement is very far from the Mose Allison style version Crosby had been doing previously. And the reason for that can be found in the full version of that McGuinn quote, because the full version continues "He'd wanted to do it for years but we would never let him. Then both Love and The Leaves had a minor hit with it and David got so angry that we had to let him do it. His version wasn't that hot because he wasn't a strong lead vocalist." The arrangement we just heard was the arrangement that by this point almost every group on the Sunset Strip scene was playing. And the reason for that was because of another friend of Crosby's, someone who had been a roadie for the Byrds -- Bryan MacLean. MacLean and Crosby had been very close because they were both from very similar backgrounds -- they were both Hollywood brats with huge egos. MacLean later said "Crosby and I got on perfectly. I didn't understand what everybody was complaining about, because he was just like me!" MacLean was, if anything, from an even more privileged background than Crosby. His father was an architect who'd designed houses for Elizabeth Taylor and Dean Martin, his neighbour when growing up was Frederick Loewe, the composer of My Fair Lady. He learned to swim in Elizabeth Taylor's private pool, and his first girlfriend was Liza Minelli. Another early girlfriend was Jackie DeShannon, the singer-songwriter who did the original version of "Needles and Pins", who he was introduced to by Sharon Sheeley, whose name you will remember from many previous episodes. MacLean had wanted to be an artist until his late teens, when he walked into a shop in Westwood which sometimes sold his paintings, the Sandal Shop, and heard some people singing folk songs there. He decided he wanted to be a folk singer, and soon started performing at the Balladeer, a club which would later be renamed the Troubadour, playing songs like Robert Johnson's "Cross Roads Blues", which had recently become a staple of the folk repertoire after John Hammond put out the King of the Delta Blues Singers album: [Excerpt: Robert Johnson, "Cross Roads Blues"] Reading interviews with people who knew MacLean at the time, the same phrase keeps coming up. John Kay, later the lead singer of Steppenwolf, said "There was a young kid, Bryan MacLean, kind of cocky but nonetheless a nice kid, who hung around Crosby and McGuinn" while Chris Hillman said "He was a pretty good kid but a wee bit cocky." He was a fan of the various musicians who later formed the Byrds, and was also an admirer of a young guitarist on the scene named Ryland Cooder, and of a blues singer on the scene named Taj Mahal. He apparently was briefly in a band with Taj Mahal, called Summer's Children, who as far as I can tell had no connection to the duo that Curt Boettcher later formed of the same name, before Taj Mahal and Cooder formed The Rising Sons, a multi-racial blues band who were for a while the main rivals to the Byrds on the scene. MacLean, though, firmly hitched himself to the Byrds, and particularly to Crosby. He became a roadie on their first tour, and Hillman said "He was a hard-working guy on our behalf. As I recall, he pretty much answered to Crosby and was David's assistant, to put it diplomatically – more like his gofer, in fact." But MacLean wasn't cut out for the hard work that being a roadie required, and after being the Byrds' roadie for about thirty shows, he started making mistakes, and when they went off on their UK tour they decided not to keep employing him. He was heartbroken, but got back into trying his own musical career. He auditioned for the Monkees, unsuccessfully, but shortly after that -- some sources say even the same day as the audition, though that seems a little too neat -- he went to Ben Frank's -- the LA hangout that had actually been namechecked in the open call for Monkees auditions, which said they wanted "Ben Franks types", and there he met Arthur Lee and Johnny Echols. Echols would later remember "He was this gadfly kind of character who knew everybody and was flitting from table to table. He wore striped pants and a scarf, and he had this long, strawberry hair. All the girls loved him. For whatever reason, he came and sat at our table. Of course, Arthur and I were the only two black people there at the time." Lee and Echols were both Black musicians who had been born in Memphis. Lee's birth father, Chester Taylor, had been a cornet player with Jimmie Lunceford, whose Delta Rhythm Boys had had a hit with "The Honeydripper", as we heard way back in the episode on "Rocket '88": [Excerpt: Jimmie Lunceford and the Delta Rhythm Boys, "The Honeydripper"] However, Taylor soon split from Lee's mother, a schoolteacher, and she married Clinton Lee, a stonemason, who doted on his adopted son, and they moved to California. They lived in a relatively prosperous area of LA, a neighbourhood that was almost all white, with a few Asian families, though the boxer Sugar Ray Robinson lived nearby. A year or so after Arthur and his mother moved to LA, so did the Echols family, who had known them in Memphis, and they happened to move only a couple of streets away. Eight year old Arthur Lee reconnected with seven-year-old Johnny Echols, and the two became close friends from that point on. Arthur Lee first started out playing music when his parents were talked into buying him an accordion by a salesman who would go around with a donkey, give kids free donkey rides, and give the parents a sales pitch while they were riding the donkey, He soon gave up on the accordion and persuaded his parents to buy him an organ instead -- he was a spoiled child, by all accounts, with a TV in his bedroom, which was almost unheard of in the late fifties. Johnny Echols had a similar experience which led to his parents buying him a guitar, and the two were growing up in a musical environment generally. They attended Dorsey High School at the same time as both Billy Preston and Mike Love of the Beach Boys, and Ella Fitzgerald and her then-husband, the great jazz bass player Ray Brown, lived in the same apartment building as the Echols family for a while. Ornette Coleman, the free-jazz saxophone player, lived next door to Echols, and Adolphus Jacobs, the guitarist with the Coasters, gave him guitar lessons. Arthur Lee also knew Johnny Otis, who ran a pigeon-breeding club for local children which Arthur would attend. Echols was the one who first suggested that he and Arthur should form a band, and they put together a group to play at a school talent show, performing "Last Night", the instrumental that had been a hit for the Mar-Keys on Stax records: [Excerpt: The Mar-Keys, "Last Night"] They soon became a regular group, naming themselves Arthur Lee and the LAGs -- the LA Group, in imitation of Booker T and the MGs – the Memphis Group. At some point around this time, Lee decided to switch from playing organ to playing guitar. He would say later that this was inspired by seeing Johnny "Guitar" Watson get out of a gold Cadillac, wearing a gold suit, and with gold teeth in his mouth. The LAGs started playing as support acts and backing bands for any blues and soul acts that came through LA, performing with Big Mama Thornton, Johnny Otis, the O'Jays, and more. Arthur and Johnny were both still under-age, and they would pencil in fake moustaches to play the clubs so they'd appear older. In the fifties and early sixties, there were a number of great electric guitar players playing blues on the West Coast -- Johnny "Guitar" Watson, T-Bone Walker, Guitar Slim, and others -- and they would compete with each other not only to play well, but to put on a show, and so there was a whole bag of stage tricks that West Coast R&B guitarists picked up, and Echols learned all of them -- playing his guitar behind his back, playing his guitar with his teeth, playing with his guitar between his legs. As well as playing their own shows, the LAGs also played gigs under other names -- they had a corrupt agent who would book them under the name of whatever Black group had a hit at the time, in the belief that almost nobody knew what popular groups looked like anyway, so they would go out and perform as the Drifters or the Coasters or half a dozen other bands. But Arthur Lee in particular wanted to have success in his own right. He would later say "When I was a little boy I would listen to Nat 'King' Cole and I would look at that purple Capitol Records logo. I wanted to be on Capitol, that was my goal. Later on I used to walk from Dorsey High School all the way up to the Capitol building in Hollywood -- did that many times. I was determined to get a record deal with Capitol, and I did, without the help of a fancy manager or anyone else. I talked to Adam Ross and Jack Levy at Ardmore-Beechwood. I talked to Kim Fowley, and then I talked to Capitol". The record that the LAGs released, though, was not very good, a track called "Rumble-Still-Skins": [Excerpt: The LAGs, "Rumble-Still-Skins"] Lee later said "I was young and very inexperienced and I was testing the record company. I figured if I gave them my worst stuff and they ripped me off I wouldn't get hurt. But it didn't work, and after that I started giving my best, and I've been doing that ever since." The LAGs were dropped by Capitol after one single, and for the next little while Arthur and Johnny did work for smaller labels, usually labels owned by Bob Keane, with Arthur writing and producing and Johnny playing guitar -- though Echols has said more recently that a lot of the songs that were credited to Arthur as sole writer were actually joint compositions. Most of these records were attempts at copying the style of other people. There was "I Been Trying", a Phil Spector soundalike released by Little Ray: [Excerpt: Little Ray, "I Been Trying"] And there were a few attempts at sounding like Curtis Mayfield, like "Slow Jerk" by Ronnie and the Pomona Casuals: [Excerpt: Ronnie and the Pomona Casuals, "Slow Jerk"] and "My Diary" by Rosa Lee Brooks: [Excerpt: Rosa Lee Brooks, "My Diary"] Echols was also playing with a lot of other people, and one of the musicians he was playing with, his old school friend Billy Preston, told him about a recent European tour he'd been on with Little Richard, and the band from Liverpool he'd befriended while he was there who idolised Richard, so when the Beatles hit America, Arthur and Johnny had some small amount of context for them. They soon broke up the LAGs and formed another group, the American Four, with two white musicians, bass player John Fleckenstein and drummer Don Costa. Lee had them wear wigs so they seemed like they had longer hair, and started dressing more eccentrically -- he would soon become known for wearing glasses with one blue lens and one red one, and, as he put it "wearing forty pounds of beads, two coats, three shirts, and wearing two pairs of shoes on one foot". As well as the Beatles, the American Four were inspired by the other British Invasion bands -- Arthur was in the audience for the TAMI show, and quite impressed by Mick Jagger -- and also by the Valentinos, Bobby Womack's group. They tried to get signed to SAR Records, the label owned by Sam Cooke for which the Valentinos recorded, but SAR weren't interested, and they ended up recording for Bob Keane's Del-Fi records, where they cut "Luci Baines", a "Twist and Shout" knock-off with lyrics referencing the daughter of new US President Lyndon Johnson: [Excerpt: The American Four, "Luci Baines"] But that didn't take off any more than the earlier records had. Another American Four track, "Stay Away", was recorded but went unreleased until 2006: [Excerpt: Arthur Lee and the American Four, "Stay Away"] Soon the American Four were changing their sound and name again. This time it was because of two bands who were becoming successful on the Sunset Strip. One was the Byrds, who to Lee's mind were making music like the stuff he heard in his head, and the other was their rivals the Rising Sons, the blues band we mentioned earlier with Taj Mahal and Ry Cooder. Lee was very impressed by them as an multiracial band making aggressive, loud, guitar music, though he would always make the point when talking about them that they were a blues band, not a rock band, and *he* had the first multiracial rock band. Whatever they were like live though, in their recordings, produced by the Byrds' first producer Terry Melcher, the Rising Sons often had the same garage band folk-punk sound that Lee and Echols would soon make their own: [Excerpt: The Rising Sons, "Take a Giant Step"] But while the Rising Sons recorded a full album's worth of material, only one single was released before they split up, and so the way was clear for Lee and Echols' band, now renamed once again to The Grass Roots, to become the Byrds' new challengers. Lee later said "I named the group The Grass Roots behind a trip, or an album I heard that Malcolm X did, where he said 'the grass roots of the people are out in the street doing something about their problems instead of sitting around talking about it'". After seeing the Rolling Stones and the Byrds live, Lee wanted to get up front and move like Mick Jagger, and not be hindered by playing a guitar he wasn't especially good at -- both the Stones and the Byrds had two guitarists and a frontman who just sang and played hand percussion, and these were the models that Lee was following for the group. He also thought it would be a good idea commercially to get a good-looking white boy up front. So the group got in another guitarist, a white pretty boy who Lee soon fell out with and gave the nickname "Bummer Bob" because he was unpleasant to be around. Those of you who know exactly why Bobby Beausoleil later became famous will probably agree that this was a more than reasonable nickname to give him (and those of you who don't, I'll be dealing with him when we get to 1969). So when Bryan MacLean introduced himself to Lee and Echols, and they found out that not only was he also a good-looking white guitarist, but he was also friends with the entire circle of hipsters who'd been going to Byrds gigs, people like Vito and Franzoni, and he could get a massive crowd of them to come along to gigs for any band he was in and make them the talk of the Sunset Strip scene, he was soon in the Grass Roots, and Bummer Bob was out. The Grass Roots soon had to change their name again, though. In 1965, Jan and Dean recorded their "Folk and Roll" album, which featured "The Universal Coward"... Which I am not going to excerpt again. I only put that pause in to terrify Tilt, who edits these podcasts, and has very strong opinions about that song. But P. F. Sloan and Steve Barri, the songwriters who also performed as the Fantastic Baggies, had come up with a song for that album called "Where Where You When I Needed You?": [Excerpt: Jan and Dean, "Where Were You When I Needed You?"] Sloan and Barri decided to cut their own version of that song under a fake band name, and then put together a group of other musicians to tour as that band. They just needed a name, and Lou Adler, the head of Dunhill Records, suggested they call themselves The Grass Roots, and so that's what they did: [Excerpt: The Grass Roots, "Where Were You When I Needed You?"] Echols would later claim that this was deliberate malice on Adler's part -- that Adler had come in to a Grass Roots show drunk, and pretended to be interested in signing them to a contract, mostly to show off to a woman he'd brought with him. Echols and MacLean had spoken to him, not known who he was, and he'd felt disrespected, and Echols claims that he suggested the name to get back at them, and also to capitalise on their local success. The new Grass Roots soon started having hits, and so the old band had to find another name, which they got as a joking reference to a day job Lee had had at one point -- he'd apparently worked in a specialist bra shop, Luv Brassieres, which the rest of the band found hilarious. The Grass Roots became Love. While Arthur Lee was the group's lead singer, Bryan MacLean would often sing harmonies, and would get a song or two to sing live himself. And very early in the group's career, when they were playing a club called Bido Lito's, he started making his big lead spot a version of "Hey Joe", which he'd learned from his old friend David Crosby, and which soon became the highlight of the group's set. Their version was sped up, and included the riff which the Searchers had popularised in their cover version of "Needles and Pins", the song originally recorded by MacLean's old girlfriend Jackie DeShannon: [Excerpt: The Searchers, "Needles and Pins"] That riff is a very simple one to play, and variants of it became very, very, common among the LA bands, most notably on the Byrds' "I'll Feel a Whole Lot Better": [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] The riff was so ubiquitous in the LA scene that in the late eighties Frank Zappa would still cite it as one of his main memories of the scene. I'm going to quote from his autobiography, where he's talking about the differences between the LA scene he was part of and the San Francisco scene he had no time for: "The Byrds were the be-all and end-all of Los Angeles rock then. They were 'It' -- and then a group called Love was 'It.' There were a few 'psychedelic' groups that never really got to be 'It,' but they could still find work and get record deals, including the West Coast Pop Art Experimental Band, Sky Saxon and the Seeds, and the Leaves (noted for their cover version of "Hey, Joe"). When we first went to San Francisco, in the early days of the Family Dog, it seemed that everybody was wearing the same costume, a mixture of Barbary Coast and Old West -- guys with handlebar mustaches, girls in big bustle dresses with feathers in their hair, etc. By contrast, the L.A. costumery was more random and outlandish. Musically, the northern bands had a little more country style. In L.A., it was folk-rock to death. Everything had that" [and here Zappa uses the adjectival form of a four-letter word beginning with 'f' that the main podcast providers don't like you saying on non-adult-rated shows] "D chord down at the bottom of the neck where you wiggle your finger around -- like 'Needles and Pins.'" The reason Zappa describes it that way, and the reason it became so popular, is that if you play that riff in D, the chords are D, Dsus2, and Dsus4 which means you literally only wiggle one finger on your left hand: [demonstrates] And so you get that on just a ton of records from that period, though Love, the Byrds, and the Searchers all actually play the riff on A rather than D: [demonstrates] So that riff became the Big Thing in LA after the Byrds popularised the Searchers sound there, and Love added it to their arrangement of "Hey Joe". In January 1966, the group would record their arrangement of it for their first album, which would come out in March: [Excerpt: Love, "Hey Joe"] But that wouldn't be the first recording of the song, or of Love's arrangement of it – although other than the Byrds' version, it would be the only one to come out of LA with the original Billy Roberts lyrics. Love's performances of the song at Bido Lito's had become the talk of the Sunset Strip scene, and soon every band worth its salt was copying it, and it became one of those songs like "Louie Louie" before it that everyone would play. The first record ever made with the "Hey Joe" melody actually had totally different lyrics. Kim Fowley had the idea of writing a sequel to "Hey Joe", titled "Wanted Dead or Alive", about what happened after Joe shot his woman and went off. He produced the track for The Rogues, a group consisting of Michael Lloyd and Shaun Harris, who later went on to form the West Coast Pop Art Experimental Band, and Lloyd and Harris were the credited writers: [Excerpt: The Rogues, "Wanted Dead or Alive"] The next version of the song to come out was the first by anyone to be released as "Hey Joe", or at least as "Hey Joe, Where You Gonna Go?", which was how it was titled on its initial release. This was by a band called The Leaves, who were friends of Love, and had picked up on "Hey Joe", and was produced by Nik Venet. It was also the first to have the now-familiar opening line "Hey Joe, where you going with that gun in your hand?": [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] Roberts' original lyric, as sung by both Love and the Byrds, had been "where you going with that money in your hand?", and had Joe headed off to *buy* the gun. But as Echols later said “What happened was Bob Lee from The Leaves, who were friends of ours, asked me for the words to 'Hey Joe'. I told him I would have the words the next day. I decided to write totally different lyrics. The words you hear on their record are ones I wrote as a joke. The original words to Hey Joe are ‘Hey Joe, where you going with that money in your hand? Well I'm going downtown to buy me a blue steel .44. When I catch up with that woman, she won't be running round no more.' It never says ‘Hey Joe where you goin' with that gun in your hand.' Those were the words I wrote just because I knew they were going to try and cover the song before we released it. That was kind of a dirty trick that I played on The Leaves, which turned out to be the words that everybody uses.” That first release by the Leaves also contained an extra verse -- a nod to Love's previous name: [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] That original recording credited the song as public domain -- apparently Bryan MacLean had refused to tell the Leaves who had written the song, and so they assumed it was traditional. It came out in November 1965, but only as a promo single. Even before the Leaves, though, another band had recorded "Hey Joe", but it didn't get released. The Sons of Adam had started out as a surf group called the Fender IV, who made records like "Malibu Run": [Excerpt: The Fender IV, "Malibu Run"] Kim Fowley had suggested they change their name to the Sons of Adam, and they were another group who were friends with Love -- their drummer, Michael Stuart-Ware, would later go on to join Love, and Arthur Lee wrote the song "Feathered Fish" for them: [Excerpt: Sons of Adam, "Feathered Fish"] But while they were the first to record "Hey Joe", their version has still to this day not been released. Their version was recorded for Decca, with producer Gary Usher, but before it was released, another Decca artist also recorded the song, and the label weren't sure which one to release. And then the label decided to press Usher to record a version with yet another act -- this time with the Surfaris, the surf group who had had a hit with "Wipe Out". Coincidentally, the Surfaris had just changed bass players -- their most recent bass player, Ken Forssi, had quit and joined Love, whose own bass player, John Fleckenstein, had gone off to join the Standells, who would also record a version of “Hey Joe” in 1966. Usher thought that the Sons of Adam were much better musicians than the Surfaris, who he was recording with more or less under protest, but their version, using Love's arrangement and the "gun in your hand" lyrics, became the first version to come out on a major label: [Excerpt: The Surfaris, "Hey Joe"] They believed the song was in the public domain, and so the songwriting credits on the record are split between Gary Usher, a W. Hale who nobody has been able to identify, and Tony Cost, a pseudonym for Nik Venet. Usher said later "I got writer's credit on it because I was told, or I assumed at the time, the song was Public Domain; meaning a non-copyrighted song. It had already been cut two or three times, and on each occasion the writing credit had been different. On a traditional song, whoever arranges it, takes the songwriting credit. I may have changed a few words and arranged and produced it, but I certainly did not co-write it." The public domain credit also appeared on the Leaves' second attempt to cut the song, which was actually given a general release, but flopped. But when the Leaves cut the song for a *third* time, still for the same tiny label, Mira, the track became a hit in May 1966, reaching number thirty-one: [Excerpt: The Leaves, "Hey Joe"] And *that* version had what they thought was the correct songwriting credit, to Dino Valenti. Which came as news to Billy Roberts, who had registered the copyright to the song back in 1962 and had no idea that it had become a staple of LA garage rock until he heard his song in the top forty with someone else's name on the credits. He angrily confronted Third Story Music, who agreed to a compromise -- they would stop giving Valenti songwriting royalties and start giving them to Roberts instead, so long as he didn't sue them and let them keep the publishing rights. Roberts was indignant about this -- he deserved all the money, not just half of it -- but he went along with it to avoid a lawsuit he might not win. So Roberts was now the credited songwriter on the versions coming out of the LA scene. But of course, Dino Valenti had been playing "his" song to other people, too. One of those other people was Vince Martin. Martin had been a member of a folk-pop group called the Tarriers, whose members also included the future film star Alan Arkin, and who had had a hit in the 1950s with "Cindy, Oh Cindy": [Excerpt: The Tarriers, "Cindy, Oh Cindy"] But as we heard in the episode on the Lovin' Spoonful, he had become a Greenwich Village folkie, in a duo with Fred Neil, and recorded an album with him, "Tear Down the Walls": [Excerpt: Fred Neil and Vince Martin, "Morning Dew"] That song we just heard, "Morning Dew", was another question-and-answer folk song. It was written by the Canadian folk-singer Bonnie Dobson, but after Martin and Neil recorded it, it was picked up on by Martin's friend Tim Rose who stuck his own name on the credits as well, without Dobson's permission, for a version which made the song into a rock standard for which he continued to collect royalties: [Excerpt: Tim Rose, "Morning Dew"] This was something that Rose seems to have made a habit of doing, though to be fair to him it went both ways. We heard about him in the Lovin' Spoonful episode too, when he was in a band named the Big Three with Cass Elliot and her coincidentally-named future husband Jim Hendricks, who recorded this song, with Rose putting new music to the lyrics of the old public domain song "Oh! Susanna": [Excerpt: The Big Three, "The Banjo Song"] The band Shocking Blue used that melody for their 1969 number-one hit "Venus", and didn't give Rose any credit: [Excerpt: Shocking Blue, "Venus"] But another song that Rose picked up from Vince Martin was "Hey Joe". Martin had picked the song up from Valenti, but didn't know who had written it, or who was claiming to have written it, and told Rose he thought it might be an old Appalchian murder ballad or something. Rose took the song and claimed writing credit in his own name -- he would always, for the rest of his life, claim it was an old folk tune he'd heard in Florida, and that he'd rewritten it substantially himself, but no evidence of the song has ever shown up from prior to Roberts' copyright registration, and Rose's version is basically identical to Roberts' in melody and lyrics. But Rose takes his version at a much slower pace, and his version would be the model for the most successful versions going forward, though those other versions would use the lyrics Johnny Echols had rewritten, rather than the ones Rose used: [Excerpt: Tim Rose, "Hey Joe"] Rose's version got heard across the Atlantic as well. And in particular it was heard by Chas Chandler, the bass player of the Animals. Some sources seem to suggest that Chandler first heard the song performed by a group called the Creation, but in a biography I've read of that group they clearly state that they didn't start playing the song until 1967. But however he came across it, when Chandler heard Rose's recording, he knew that the song could be a big hit for someone, but he didn't know who. And then he bumped into Linda Keith, Keith Richards' girlfriend, who took him to see someone whose guitar we've already heard in this episode: [Excerpt: Rosa Lee Brooks, "My Diary"] The Curtis Mayfield impression on guitar there was, at least according to many sources the first recording session ever played on by a guitarist then calling himself Maurice (or possibly Mo-rees) James. We'll see later in the story that it possibly wasn't his first -- there are conflicting accounts, as there are about a lot of things, and it was recorded either in very early 1964, in which case it was his first, or (as seems more likely, and as I tell the story later) a year later, in which case he'd played on maybe half a dozen tracks in the studio by that point. But it was still a very early one. And by late 1966 that guitarist had reverted to the name by which he was brought up, and was calling himself Jimi Hendrix. Hendrix and Arthur Lee had become close, and Lee would later claim that Hendrix had copied much of Lee's dress style and attitude -- though many of Hendrix's other colleagues and employers, including Little Richard, would make similar claims -- and most of them had an element of truth, as Lee's did. Hendrix was a sponge. But Lee did influence him. Indeed, one of Hendrix's *last* sessions, in March 1970, was guesting on an album by Love: [Excerpt: Love with Jimi Hendrix, "Everlasting First"] Hendrix's name at birth was Johnny Allen Hendrix, which made his father, James Allen Hendrix, known as Al, who was away at war when his son was born, worry that he'd been named after another man who might possibly be the real father, so the family just referred to the child as "Buster" to avoid the issue. When Al Hendrix came back from the war the child was renamed James Marshall Hendrix -- James after Al's first name, Marshall after Al's dead brother -- though the family continued calling him "Buster". Little James Hendrix Junior didn't have anything like a stable home life. Both his parents were alcoholics, and Al Hendrix was frequently convinced that Jimi's mother Lucille was having affairs and became abusive about it. They had six children, four of whom were born disabled, and Jimi was the only one to remain with his parents -- the rest were either fostered or adopted at birth, fostered later on because the parents weren't providing a decent home life, or in one case made a ward of state because the Hendrixes couldn't afford to pay for a life-saving operation for him. The only one that Jimi had any kind of regular contact with was the second brother, Leon, his parents' favourite, who stayed with them for several years before being fostered by a family only a few blocks away. Al and Lucille Hendrix frequently split and reconciled, and while they were ostensibly raising Jimi (and for a few years Leon), he was shuttled between them and various family members and friends, living sometimes in Seattle where his parents lived and sometimes in Vancouver with his paternal grandmother. He was frequently malnourished, and often survived because friends' families fed him. Al Hendrix was also often physically and emotionally abusive of the son he wasn't sure was his. Jimi grew up introverted, and stuttering, and only a couple of things seemed to bring him out of his shell. One was science fiction -- he always thought that his nickname, Buster, came from Buster Crabbe, the star of the Flash Gordon serials he loved to watch, though in fact he got the nickname even before that interest developed, and he was fascinated with ideas about aliens and UFOs -- and the other was music. Growing up in Seattle in the forties and fifties, most of the music he was exposed to as a child and in his early teens was music made by and for white people -- there wasn't a very large Black community in the area at the time compared to most major American cities, and so there were no prominent R&B stations. As a kid he loved the music of Bob Wills and the Texas Playboys, and when he was thirteen Jimi's favourite record was Dean Martin's "Memories are Made of This": [Excerpt: Dean Martin, "Memories are Made of This"] He also, like every teenager, became a fan of rock and roll music. When Elvis played at a local stadium when Jimi was fifteen, he couldn't afford a ticket, but he went and sat on top of a nearby hill and watched the show from the distance. Jimi's first exposure to the blues also came around this time, when his father briefly took in lodgers, Cornell and Ernestine Benson, and Ernestine had a record collection that included records by Lightnin' Hopkins, Howlin' Wolf, and Muddy Waters, all of whom Jimi became a big fan of, especially Muddy Waters. The Bensons' most vivid memory of Jimi in later years was him picking up a broom and pretending to play guitar along with these records: [Excerpt: Muddy Waters, "Baby Please Don't Go"] Shortly after this, it would be Ernestine Benson who would get Jimi his very first guitar. By this time Jimi and Al had lost their home and moved into a boarding house, and the owner's son had an acoustic guitar with only one string that he was planning to throw out. When Jimi asked if he could have it instead of it being thrown out, the owner told him he could have it for five dollars. Al Hendrix refused to pay that much for it, but Ernestine Benson bought Jimi the guitar. She said later “He only had one string, but he could really make that string talk.” He started carrying the guitar on his back everywhere he went, in imitation of Sterling Hayden in the western Johnny Guitar, and eventually got some more strings for it and learned to play. He would play it left-handed -- until his father came in. His father had forced him to write with his right hand, and was convinced that left-handedness was the work of the devil, so Jimi would play left-handed while his father was somewhere else, but as soon as Al came in he would flip the guitar the other way up and continue playing the song he had been playing, now right-handed. Jimi's mother died when he was fifteen, after having been ill for a long time with drink-related problems, and Jimi and his brother didn't get to go to the funeral -- depending on who you believe, either Al gave Jimi the bus fare and told him to go by himself and Jimi was too embarrassed to go to the funeral alone on the bus, or Al actually forbade Jimi and Leon from going. After this, he became even more introverted than he was before, and he also developed a fascination with the idea of angels, convinced his mother now was one. Jimi started to hang around with a friend called Pernell Alexander, who also had a guitar, and they would play along together with Elmore James records. The two also went to see Little Richard and Bill Doggett perform live, and while Jimi was hugely introverted, he did start to build more friendships in the small Seattle music scene, including with Ron Holden, the man we talked about in the episode on "Louie Louie" who introduced that song to Seattle, and who would go on to record with Bruce Johnston for Bob Keane: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] Eventually Ernestine Benson persuaded Al Hendrix to buy Jimi a decent electric guitar on credit -- Al also bought himself a saxophone at the same time, thinking he might play music with his son, but sent it back once the next payment became due. As well as blues and R&B, Jimi was soaking up the guitar instrumentals and garage rock that would soon turn into surf music. The first song he learned to play was "Tall Cool One" by the Fabulous Wailers, the local group who popularised a version of "Louie Louie" based on Holden's one: [Excerpt: The Fabulous Wailers, "Tall Cool One"] As we talked about in the "Louie Louie" episode, the Fabulous Wailers used to play at a venue called the Spanish Castle, and Jimi was a regular in the audience, later writing his song "Spanish Castle Magic" about those shows: [Excerpt: The Jimi Hendrix Experience, "Spanish Castle Magic"] He was also a big fan of Duane Eddy, and soon learned Eddy's big hits "Forty Miles of Bad Road", "Because They're Young", and "Peter Gunn" -- a song he would return to much later in his life: [Excerpt: Jimi Hendrix, "Peter Gunn/Catastrophe"] His career as a guitarist didn't get off to a great start -- the first night he played with his first band, he was meant to play two sets, but he was fired after the first set, because he was playing in too flashy a manner and showing off too much on stage. His girlfriend suggested that he might want to tone it down a little, but he said "That's not my style". This would be a common story for the next several years. After that false start, the first real band he was in was the Velvetones, with his friend Pernell Alexander. There were four guitarists, two piano players, horns and drums, and they dressed up with glitter stuck to their pants. They played Duane Eddy songs, old jazz numbers, and "Honky Tonk" by Bill Doggett, which became Hendrix's signature song with the band. [Excerpt: Bill Doggett, "Honky Tonk"] His father was unsupportive of his music career, and he left his guitar at Alexander's house because he was scared that his dad would smash it if he took it home. At the same time he was with the Velvetones, he was also playing with another band called the Rocking Kings, who got gigs around the Seattle area, including at the Spanish Castle. But as they left school, most of Hendrix's friends were joining the Army, in order to make a steady living, and so did he -- although not entirely by choice. He was arrested, twice, for riding in stolen cars, and he was given a choice -- either go to prison, or sign up for the Army for three years. He chose the latter. At first, the Army seemed to suit him. He was accepted into the 101st Airborne Division, the famous "Screaming Eagles", whose actions at D-Day made them legendary in the US, and he was proud to be a member of the Division. They were based out of Fort Campbell, the base near Clarksville we talked about a couple of episodes ago, and while he was there he met a bass player, Billy Cox, who he started playing with. As Cox and Hendrix were Black, and as Fort Campbell straddled the border between Kentucky and Tennessee, they had to deal with segregation and play to only Black audiences. And Hendrix quickly discovered that Black audiences in the Southern states weren't interested in "Louie Louie", Duane Eddy, and surf music, the stuff he'd been playing in Seattle. He had to instead switch to playing Albert King and Slim Harpo songs, but luckily he loved that music too. He also started singing at this point -- when Hendrix and Cox started playing together, in a trio called the Kasuals, they had no singer, and while Hendrix never liked his own voice, Cox was worse, and so Hendrix was stuck as the singer. The Kasuals started gigging around Clarksville, and occasionally further afield, places like Nashville, where Arthur Alexander would occasionally sit in with them. But Cox was about to leave the Army, and Hendrix had another two and a bit years to go, having enlisted for three years. They couldn't play any further away unless Hendrix got out of the Army, which he was increasingly unhappy in anyway, and so he did the only thing he could -- he pretended to be gay, and got discharged on medical grounds for homosexuality. In later years he would always pretend he'd broken his ankle parachuting from a plane. For the next few years, he would be a full-time guitarist, and spend the periods when he wasn't earning enough money from that leeching off women he lived with, moving from one to another as they got sick of him or ran out of money. The Kasuals expanded their lineup, adding a second guitarist, Alphonso Young, who would show off on stage by playing guitar with his teeth. Hendrix didn't like being upstaged by another guitarist, and quickly learned to do the same. One biography I've used as a source for this says that at this point, Billy Cox played on a session for King Records, for Frank Howard and the Commanders, and brought Hendrix along, but the producer thought that Hendrix's guitar was too frantic and turned his mic off. But other sources say the session Hendrix and Cox played on for the Commanders wasn't until three years later, and the record *sounds* like a 1965 record, not a 1962 one, and his guitar is very audible – and the record isn't on King. But we've not had any music to break up the narration for a little while, and it's a good track (which later became a Northern Soul favourite) so I'll play a section here, as either way it was certainly an early Hendrix session: [Excerpt: Frank Howard and the Commanders, "I'm So Glad"] This illustrates a general problem with Hendrix's life at this point -- he would flit between bands, playing with the same people at multiple points, nobody was taking detailed notes, and later, once he became famous, everyone wanted to exaggerate their own importance in his life, meaning that while the broad outlines of his life are fairly clear, any detail before late 1966 might be hopelessly wrong. But all the time, Hendrix was learning his craft. One story from around this time sums up both Hendrix's attitude to his playing -- he saw himself almost as much as a scientist as a musician -- and his slightly formal manner of speech. He challenged the best blues guitarist in Nashville to a guitar duel, and the audience actually laughed at Hendrix's playing, as he was totally outclassed. When asked what he was doing, he replied “I was simply trying to get that B.B. King tone down and my experiment failed.” Bookings for the King Kasuals dried up, and he went to Vancouver, where he spent a couple of months playing in a covers band, Bobby Taylor and the Vancouvers, whose lead guitarist was Tommy Chong, later to find fame as one half of Cheech and Chong. But he got depressed at how white Vancouver was, and travelled back down south to join a reconfigured King Kasuals, who now had a horn section. The new lineup of King Kasuals were playing the chitlin circuit and had to put on a proper show, and so Hendrix started using all the techniques he'd seen other guitarists on the circuit use -- playing with his teeth like Alphonso Young, the other guitarist in the band, playing with his guitar behind his back like T-Bone Walker, and playing with a fifty-foot cord that allowed him to walk into the crowd and out of the venue, still playing, like Guitar Slim used to. As well as playing with the King Kasuals, he started playing the circuit as a sideman. He got short stints with many of the second-tier acts on the circuit -- people who had had one or two hits, or were crowd-pleasers, but weren't massive stars, like Carla Thomas or Jerry Butler or Slim Harpo. The first really big name he played with was Solomon Burke, who when Hendrix joined his band had just released "Just Out of Reach (Of My Two Empty Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (Of My Two Empty Arms)"] But he lacked discipline. “Five dates would go beautifully,” Burke later said, “and then at the next show, he'd go into this wild stuff that wasn't part of the song. I just couldn't handle it anymore.” Burke traded him to Otis Redding, who was on the same tour, for two horn players, but then Redding fired him a week later and they left him on the side of the road. He played in the backing band for the Marvelettes, on a tour with Curtis Mayfield, who would be another of Hendrix's biggest influences, but he accidentally blew up Mayfield's amp and got sacked. On another tour, Cecil Womack threw Hendrix's guitar off the bus while he slept. In February 1964 he joined the band of the Isley Brothers, and he would watch the Beatles on Ed Sullivan with them during his first days with the group. Assuming he hadn't already played the Rosa Lee Brooks session (and I think there's good reason to believe he hadn't), then the first record Hendrix played on was their single "Testify": [Excerpt: The Isley Brothers, "Testify"] While he was with them, he also moonlighted on Don Covay's big hit "Mercy, Mercy": [Excerpt: Don Covay and the Goodtimers, "Mercy Mercy"] After leaving the Isleys, Hendrix joined the minor soul singer Gorgeous George, and on a break from Gorgeous George's tour, in Memphis, he went to Stax studios in the hope of meeting Steve Cropper, one of his idols. When he was told that Cropper was busy in the studio, he waited around all day until Cropper finished, and introduced himself. Hendrix was amazed to discover that Cropper was white -- he'd assumed that he must be Black -- and Cropper was delighted to meet the guitarist who had played on "Mercy Mercy", one of his favourite records. The two spent hours showing each other guitar licks -- Hendrix playing Cropper's right-handed guitar, as he hadn't brought along his own. Shortly after this, he joined Little Richard's band, and once again came into conflict with the star of the show by trying to upstage him. For one show he wore a satin shirt, and after the show Richard screamed at him “I am the only Little Richard! I am the King of Rock and Roll, and I am the only one allowed to be pretty. Take that shirt off!” While he was with Richard, Hendrix played on his "I Don't Know What You've Got, But It's Got Me", which like "Mercy Mercy" was written by Don Covay, who had started out as Richard's chauffeur: [Excerpt: Little Richard, "I Don't Know What You've Got, But It's Got Me"] According to the most likely version of events I've read, it was while he was working for Richard that Hendrix met Rosa Lee Brooks, on New Year's Eve 1964. At this point he was using the name Maurice James, apparently in tribute to the blues guitarist Elmore James, and he used various names, including Jimmy James, for most of his pre-fame performances. Rosa Lee Brooks was an R&B singer who had been mentored by Johnny "Guitar" Watson, and when she met Hendrix she was singing in a girl group who were one of the support acts for Ike & Tina Turner, who Hendrix went to see on his night off. Hendrix met Brooks afterwards, and told her she looked like his mother -- a line he used on a lot of women, but which was true in her case if photos are anything to go by. The two got into a relationship, and were soon talking about becoming a duo like Ike and Tina or Mickey and Sylvia -- "Love is Strange" was one of Hendrix's favourite records. But the only recording they made together was the "My Diary" single. Brooks always claimed that she actually wrote that song, but the label credit is for Arthur Lee, and it sounds like his work to me, albeit him trying hard to write like Curtis Mayfield, just as Hendrix is trying to play like him: [Excerpt: Rosa Lee Brooks, "My Diary"] Brooks and Hendrix had a very intense relationship for a short period. Brooks would later recall Little
This week finally covers one of the Kings of Country Music, the Man in Black himself: Johnny Cash. It was not an easy task narrowing down which of Cash's many excellent songs would be the first of his to add to our Ultimate Country Music Playlist (TM), but we decided to go with his recording of "Folsom Prison Blues" from his legendary live album, At Folsom Prison. We (Tyler and Danny) discuss how "Folsom Prison Blues," one of his earliest songs, became an enduring statement of his empathy for the incarcerated throughout his career. We also go through the dynamic shifts in his Folsom Prison concert setlist and talk about the lesser-appreciated concept albums that even predate his Man in Black persona.We know you know Johnny Cash, but if you'd like to check out a few of our favorites, we've made a list:Man in BlackA Boy Named Sue (Live from San Quentin)A Satisfied MindWalk The LineHurt Personal JesusSan QuentinSea of HeartbreakRusty CageCountry Boy (American rerecording)Nine Pound HammerAll of God's Children Ain't FreeAmenFollow the link to keep up with which songs are being added to our Ultimate Country Playlist on Spotify, now including the Folsom Prison recording of “Folsom Prison Blues”: https://tinyurl.com/takethispodplaylist And now on TIDAL!https://t.co/MHEvOz2DOAFor everything else:https://linktr.ee/takethispodandshoveit
#35-31Intro/Outro: Rip It Up by Little Richard35. Folsom Prison Blues by Johnny Cash34. All I Have to Do is Dream by The Everly Brothers33. Only You by The Platters32. Bo Diddley by Bo Diddley31. Roll Over Beethoven by Chuck BerryVote on your favorite song from today's episodeVote on your favorite song from Week 2
Sex and sex and rock n roll! In what podcast can you explore Deep Purple's classic “Machine Head,” playing Johnny Cash's “Folsom Prison Blues,” and have a spirited discussion of the best covertly dirty songs, from Prince to Rihanna? Right here. Step inside… Want to hear all the music we talk about? Here's the playlist on Apple Music: https://music.apple.com/us/playlist/dbl-ep-9-playlist/pl.u-38oWjNetZBaa Email: dadbandland@gmail.com Twitter: https://twitter.com/dadbandland Insta: https://instagram.com/dadbandland FB: https://www.facebook.com/dadbandland
Poor Victor Henriksen. The Winchesters are just so far above his pay grade right now. :'D But also, yeah, things never stay locked up on Supernatural-- from curse boxes to wherever Amara was stashed away since the dawn of creation, if there's a lock then there's always a key, or a blowtorch in this case. Also, working from “sanitized” reports that don't come close to the truth always lead to surprise outcomes. And hiding the truth to protect yourself or others is pretty much always gonna blow up in your face down the line. Plus the ghost of John Winchester, Dean feeling responsible to repay his debts (or just feeling a duty and loyalty to those he feels beholden to), poking the back of our brains about that awful last promise John extracted from Dean that's coming due any day now... Heck I really enjoy this episode. Things mentioned in this podcast that may be of interest: The Superwiki page for this episode My tag for this episode The Green Onions Story Casting sides for Deacon Kaylor Casting sides for Mara Daniels Casting sides for Randall The Crime Mittens post (it's hilarious, if you click on no other links here, click this one.) All other mentioned posts from this podcast are in my tag for the episode (it's three pages and like half of them are gif sets) :'D --- Support this podcast: https://podcasters.spotify.com/pod/show/spngeorg/support
Welcome back to Word of God! We are: Ash (the old-time fan), Emma (the latecomer), and Wyatt (the newbie). We're digesting this show in chunks of about two episodes a week. Today we discuss 2.19 "Folsom Prison Blues" and 2.20 "What is and What Should Never Be." Show Notes (also here on tumblr) Sources for references made this episode: 2016 tumblr post hijacked by "I think I'm adorable" gif (and more) Quora thread about detention centers vs jails Sammy in his little track jacket die or die dude you either die or you die Content warnings for this episode are HERE Check our Listen page or go to our Pinned post on tumblr to find a list of platforms you can find us on - don't forget to rate and review if you can! The music for Word of God is The Last Ones by Jahzzar from freemusicarchive.org, licensed under Attribution share-alike 3.0 international license. Find the song HERE Have any questions or comments? Email us at wordofgodcast@gmail.com, tweet us, or send us an ask on tumblr!
Amy and Annabelle talk about the forty first episode of Supernatural "Folsom Prison Blues" This week we discuss; Dean's heart, dumb ideas and face grabbing - Come join us in Purgatory! WARNING: Spoilers ahead! Art by Thepixelagora: https://ko-fi.com/pixelagora Ko-Fi: https://ko-fi.com/escpurgatorypodcast Instagram: @escapingpurgatorypodcast Facebook: https://www.facebook.com/EscapingPurgatoryPod Twitter: @EscapingPodcast Tumblr: https://escapingpurgatorypodcast.tumblr.com/ Feel free to leave any comments or discussion points so that we can Escape Purgatory together! --- Send in a voice message: https://podcasters.spotify.com/pod/show/escapingpurgatory/message
In this episode, Drew and Marie dive into Season 2, Episode 19 of Supernatural: Folsom Prison Blues. They discuss how Sam and Dean view themselves and where they belong, and haunted prisons
This week we finally get to show off our brand new Parallel Fiction cover art! Created with the help of the amazingly talented Greyson Art (@graysonart), we're proud update our look moving forward. In honor of the occasion, we decided to shine the spotlight on artists everywhere and to cover two stories that take us through the life and times of big creators. Showing the trials and tribulations of a struggling artist, Walk The Line takes us through the life of American music icon Johnny Cash. On the other end, Oscar Wilde's novel A Picture of Dorian Gray shows us the dark side art, influencers, and the deeper meanings of beauty and aesthetics. Join us for one of our most fun analysis breakdowns of these two works and talk about our past lives as artists (music and dance). Enjoy, and let us know what you think of the new look!
#55-51Intro/Outro: These are Days by 10,000 Maniacs55. Gold on the Ceiling by The Black Keys (2)54. Set Fire to the Rain by Adele (3)53. Folsom Prison Blues (Live) by Johnny Cash (2)52. All Along the Watchtower by Jimi Hendrix Experience (3)51. What'd I Say (Pts. I & II) by Ray CharlesBalderdash alertBonus excerpt: Folsom Prison Blues by Johnny CashBonus excerpt: Crescent City Blues by Gordon JenkinsDecade update:70's - 9790's - 8100's - 8060's - 7710's - 4580's - 4050's - 2640's - 230's - 120's - 1Top years:1970 - 201994 - 161967 - 15Year Collection update:New years - 1981 (Rush) and 1959 (Ray Charles). So, we have heard a song from every year from 1949 to 2021 except for the following five years: 1961, 1962, 2016, 2017, and 2019. With only 50 songs left, spoiler: Those years aren't going to show up. So, I will play a top song from each of those years as my intro song over the next several episodes.
In the forty-first episode of Supernatural, Sam and Dean investigate rumours that a ghost is killing off inmates in a local prison by allowing themselves to get thrown behind bars. Support Ghostfacers: A Supernatural Rewatch https://www.patreon.com/Ghostfacers Brought to you By: The Sonar Network https://thesonarnetwork.com/
On this week's episode of Friends Talking Nerdy, join The Reverend Tracy and Tim Jousma as they discuss the new Friends Talking Nerdy website, they offer an update on The Battle For State Supremacy II, they discuss recent issues involving banks and the Stimulus Check, they discuss shows they've seen recently, such as Tina, Q: Into The Storm, Forged In Fire, and Solar Opposites, and finally, they discuss prison reform. As always, we wish to thank Christopher Lazarek for his wonderful theme song. Head to christopherlazarek.com for information on how to purchase his EP, Here's To You, which is available on all digital platforms. Follow us on Twitter at @FTNerdy, @TheRevTracy, and @timjousma Announcing the Friends Talking Nerdy Podcast Network. We are a collective group of podcasters that are banding together to help support each other's shows. The first member of the Friends Talking Nerdy Podcast Network is Their Voices Podcast. Each episode, they share their ancestors stories and history topics related to the times and places they lived. Follow Their Voices on Twitter @TheirVoices_Pod Check out their podcast at this link: https://podcasts.apple.com/us/podcast/their-voices-podcast/id1552015520 Head to our website: https://www.friendstalkingnerdy.com --- Send in a voice message: https://anchor.fm/ftnerdy/message
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