Podcasts about Go Now

We'll keep the description short and sweet because we really want you to get right to listening. It's that good. Chris gets a dog, Rob attends Pride Fest and John takes a European vacation. Now go... push play, WHY ARE YOU STILL HERE READING THIS!  GO NOW!!!   Enjoy!  

Gruppen var oprindeligt en del af den britiske R&B-scene, i begyndelsen og midten af 60'erne. De fik deres internationale gennembrud med deres cover af ”Go Now” i slutningen af 1964 og begyndelsen af 1965.  Fra 67 og frem til 74 udgav de 7 Lp'er og var blandt de mest succesrige i den progressive rockgenre. Hør … Læs videre "Moody Blues"

THE VFLW GAME CHANGERS SHOW with Scoops- S1 EP6 "Time wasting rule has to GO NOW" https://youtu.be/RyZ-1fm47Mc?si=SFu6yagXzSb-uJUO Scoops Goes Bang on the rules including the time wasting the competition needs to immediately fix, and announcing team line-ups. Team of the Week, Review and Preview the games and more. If you'd like to be a guest on my channel, please message on Instagram @aflinfolive Please subscribe if you haven't already, and follow the page if you haven't already. #vflw #footy

This is a Special Episode called THE BRITISH INVASION SHOW. It features the seven following stars from this magical era of the 1960s when English artists ruled the pop world and the charts. Each was previously a guest on the podcast.Peter Noone - Herman of Herman's Hermits. They had a spectacular run of hits including “No Milk Today”, “There's A Kind Of A Hush”, “Mrs. Brown You've Got A Lovely Daughter”, “I'm Henry VIII” and their first smash “I'm Into Something Good”.Rod Argent was the keyboard wizard of The Zombies. The band had two massive hits in the ‘60s, “She's Not There” and “Tell Her No”.Allan Clarke was the lead singer for The Hollies, another band that had a string of hits including “On A Carousel”, “Pay You Back With Interest” and “Long Cool Woman In A Black Dress”.Jim McCarty was the drummer for The Yardbirds, whose hits included “For Your Love” and “Heartful Of Soul”. The band had three famous guitarists in succession: Eric Clapton, Jeff Beck and Jimmy Page.Billy J. Kramer was the lead singer of Billy J. Kramer and the Dakotas. They were managed by Brian Epstein, the manager of The Beatles, and were given several Lennon/McCartney songs to record including “Do You Want To Know A Secret”, “I Call Your Name” and “Bad To Me”.Kenney Jones was the drummer for the Small Faces of “Itchycoo Park” fame, then the Faces starring Rod Stewart, and then joined The Who after the death of Keith Moon.John Lodge was the bassist and a singer and composer for The Moody Blues. Their big hits included “Go Now” and “Nights In White Satin”. John's hits included “Ride My See Saw” and “I'm Just A Singer In A Rock And Roll Band”.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.—----------------------------------------ROBERT'S RECENT SINGLES:“MOON SHOT” is Robert's latest single, reflecting his Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

What a busy day instore! Plumber coming to fix an outdoor faucet leak. Car is repaired and ready for pick up. Up at 430AM to get the podcast recorded before all my fun starts! The Music Authority Podcast...listen, like, comment, download, share, repeat…heard daily on Belter Radio, Podchaser, Deezer, Amazon Music, Audible, Listen Notes, Mixcloud, Player FM, Tune In, Podcast Addict, Cast Box, Radio Public, Pocket Cast, APPLE iTunes, and direct for the source distribution site: *Podcast - https://themusicauthority.transistor.fm/  AND NOW there is a website! TheMusicAuthority.comThe Music Authority Podcast! Special Recorded Network Shows, too! Different than my daily show! Seeing that I'm gone from FB now…Follow me on “X” Jim Prell@TMusicAuthority*Radio Candy Radio Monday Wednesday, & Friday 7PM ET, 4PM PT*Rockin' The KOR Tuesday, Wednesday, and Thursday at 7PM UK time, 2PM ET, 11AM PT  www.koradio.rocks*Pop Radio UK Friday, Saturday, & Sunday 6PM UK, 1PM ET, 10AM PT! *The Sole Of Indie https://soleofindie.rocks/ Monday Through Friday 6-7PM EST!*AltPhillie.Rocks Sunday, Thursday, & Saturday At 11:00AM ET!May 6, 2025, Tuesday, here's how “Album Tracks Aplenty!” opens…@Orbis 2.0 - TMA SHOW OPEN THEME@The Gels - I Wanna Be A Ramone [Never Mind The Title, Here's The Gels] (@Rising Star Music)@John McCabe - Tables [It Rings A Bell] (@Subjangle)]@Hudson Powder Company - Tell Myself [Hudson Powder Company LLC]@Euphoria Station - Here With You [Smoking Gun]@The Spackles - Man With The X-Ray Eyes [Clamaro] (@Rum Bar Records)@Sunbourne Road - Dear Jo [Rembetika EP]@Tomas Nilsson - Give It All I Got [Inside My Universe] (koolkatmusik.com)@Crossword Smiles - Navigator Heart [Consequences & Detours] (@Big Stir Records)@Muck And The Mires - She's Too Good For You [Beat Revolution] (@Dirty Water Records)@Ex Norwegian - Boom Bang [Sing Chapman-Whitney]@Brensheen - Glistenin' Crimson [Don't Come Too Close]@Electric Penguins - Oxygen [The Way Lights A Fire, Pt.1] (@Bohemia Records)@Movieland - C'mon Let's Go [Now & Then]@You're Among Friends - Accompanied [Good Enough Sometimes]@Tristan Armstrong - Periscope (feat. @Kevin Breit) [The Lonely Avenue] (koolkatmusik.com)@Dining Dead – Wavelength [Is This A House]@Nick Leet Featuring @Mary Leet – Nightwalker [Detours]

In this episode of the Overland Journal Podcast, Scott hosts special guests Doug and Stephanie, who share their incredible journey from high-powered careers to full-time explorers. They dive into their motivations behind choosing travel over material comforts, the challenges and rewards of overland adventures, and the importance of adaptability. The conversation also touches on the couple's experience building the legendary FUSO overland truck and their memorable travels across Africa, the Middle East, and South America. Through heartfelt anecdotes and invaluable travel insights, Doug and Stephanie offer listeners a compelling narrative about love, resilience, and the pursuit of dreams.

The Moody Blues may have been an afterthought of the 1960s, a one-hit wonder in most countries with their version of the R&B song "Go Now". However, in 1967, they were asked to appear on a stereo demonstration record for their label, Deram. That album, Days of Future Passed, became a major hit and revitalized their career. However, needing to sustain their success and without a symphony orchestra in tow, the Moody Blues released In Search of the Lost Chord, with the members playing all the instruments and Michael Pinder's use of the Mellotron making up for the absence of an orchestra. It was successful, but helped set up the pattern for their future releases. 

What to expect when you go to a toy show or convention. There's ALWAYS a lot to see, and the opportunity for some great people watching. If you've never been to a toy show or toy convention... WHAT ARE YOU DOING??? GO NOW! What do YOU look forward to at the toy show? Sound off in the comments below!!

Angela and I highlight 3 opportunities for one to become a better activist! Along with several other events at The Capitol in Austin. Go NOW or just wait two years. Your choice!

Go to https://kalshi.com/rob and get $20 dollars in credit after you deposit your first $50. Only available to the first 500 who sign up! GO NOW!!! GRAB SOME MERCH: https://nfgshop.com/

Go to https://kalshi.com/rob and get $20 dollars in credit after you deposit your first $50. Only available to the first 500 who sign up! GO NOW!!! GRAB SOME MERCH: https://nfgshop.com/

Go to https://kalshi.com/rob and get $20 dollars in credit after you deposit your first $50. Only available to the first 500 who sign up! GO NOW!!! GRAB SOME MERCH: https://nfgshop.com/

We can get our goals done now. We don't have to wait until the ball drops in New York on January 1st. Right now, we still have time to get a lot of things done and I want to encourage you to keep working. Keep grinding and believe that you will accomplish everything you set out to do this year in 2024. Don't wait. GO NOW

Twilight of the Hoaxocracy. Media hoaxes collapsing along with the Biden Presidency. Scott Adams expects “massive mental breakdowns” on the Left, as they develop an awareness of how they've been hoaxed all along. UPspeaking with MSNBC Nicole Wallace. Should Biden Stay or Go Now? Flashbacks to The Clash. KJP declares Kamala Harris “the future” of the Democratic Party. Do they have a plan? If so, is it a good one? Meanwhile, host family vignettes. Summiting Quandary Peak 14,271 with the kids. A bald eagle and a herd of Mountain Goats way up high. Dad Wisdom. With Great Listener Calls.See omnystudio.com/listener for privacy information.

STOP: If your teacher salary is barely paying the bills right now… Figure out what you want and set your intentions to get there.  Do you want to leave the classroom but stay in education?  Do you want to be able to work part-time and make full-time money?  Do you want to work from home to love on your family? Do you want to stay in the classroom but find joy again?  Teacher guilt hits us in so many ways but this is something I take very seriously – what if you are working for a job that would forget who you are tomorrow if you decided to walk away? I don't want you to walk away TBH I want you to stay because I believe educators are the most beautiful humans on earth and that our students need us. Is it tough? Yes! Can you do it on your own terms? Also Yes! This is just the beginning.  Ready to Unlock the Key to Increase Your Teacher Income? This Series is for you! Get ready for 3 days of fun-in-the-sun learning with teachers around the world and set yourself up for a profitable teacher summer… without having to leave your beach chair! Right now, you are probably busy catching up on sleep, hot coffee, and non-scheduled bathroom breaks. (anyone else nodding along) But before you officially forget what day it is, GO NOW and save your poolside seat and grab your VIP invite to the teacher party of the summer at kaysemorris.com/signup In this episode, you will learn: How to set your intentions Where inspiration comes from The 10 keys to unlock your income goals Creating clear expectations Letting go of a lack mindset LINKS MENTIONED IN THIS EPISODE ABOUT INCREASING YOUR TEACHER SALARY THIS SUMMER:  James Wedmore James Wedmore on Instagram Kajabi A Guide to Angel Numbers and What They Mean What is meant for you will always find you The power of setting intentions & how to set mindful ones CEO TEACHER® RESOURCES WORTH THEIR WEIGHT IN GOLD:  Let me hit you with some good news, you're already doing half of the work and well on your way to becoming a CEO Teacher®. It's time you start leveraging your teaching ideas and begin making money to make your classroom work seem less like a chore and more like the fun you always dreamed about. The 10 Steps To Get Started Selling Your Teaching Resources workbook is important when setting a clear focus for your business goals. Goals are imperative so grab your workbook and get yours on autopilot.  What's your best path to making extra money as a teacher? I'm here to help you take massive action, and prioritize the most important biz tips and strategies as you begin the journey toward living your best life! All you have to do is take the 2 minute quiz, and find out how to unlock your teaching magic to kickstart your journey. Check out my CEO Teacher® Book Recommendations here! JOIN OUR CEO TEACHER® PODCAST COMMUNITY TO GROW WITH LIKE-MINDED TEACHERS: Send me a DM on Instagram– I love chatting with my people, so some find me so we can chat real goals when it comes to your teacher salary. I want to help you get there! Come visit us each Thursday Night for the coolest teachers' lounge on the planet: Teacher TV is back and better than ever! ENJOYING THE PODCAST? THANKS FOR TUNING IN! Tag me @theceoteacher on Instagram and tell me what you are listening to! I love seeing what resonates most with our listeners!  I don't want you to miss a thing! Be the first to know when a new episode is available by subscribing on iTunes here! If you would like to support The CEO Teacher® podcast, it would mean so much to me if you would leave a review on iTunes. By leaving a review, you are helping fellow CEO teachers find this podcast and start building a life they love.  To leave a review on iTunes, click HERE and scroll down to Ratings and Reviews. Click “Write a Review” and share with me how this podcast is changing your business and your life! READY FOR MORE? I LIKE YOUR STYLE! LISTEN TO THESE CEO TEACHER® PODCAST EPISODES NEXT! Make Money Online as a Teacher What I wish Every Teacher Knew about Increasing Their Income Teachers Making $100K a Year- It's REAL! 10 Successful ways teachers can make extra money this summer

We're back with the Tuesday edition of the show and hosts Scott Gulbransen, and Moe Moton talks through the Las Vegas Raiders' recent roster moves, including this week's signing of another offensive lineman and another wide receiver. What other positions must the Raiders strengthen before camp starts in July? Then, the guys discuss the upcoming NFL schedule release and how it could unfold for Las Vegas. We also talk about some fans in Raider Nation being upset that Josh Jacobs never officially said goodbye to them. Do they have a point? Or is everyone just too sensitive these days? Subscribe to the show wherever you get your audio: link.chtbl.com/SNBToday   Also: Do you subscribe to our YouTube channel yet? Go NOW! Scott's recent Raiders articles on Sportsnaut: Las Vegas Raiders may strike gold with undrafted offensive tackle Andrew Coker Are the Raiders headed back to So. California? Raiders Brilliant 2024 NFL Draft Strategy: Fortifying roster over chasing QBs Moe's recent Raiders articles on Sportsnaut: 3 projections for the 2024 Las Vegas Raiders schedule release, including primetime games What Tom Telesco's 2024 NFL Draft class says about Las Vegas Raiders roster-building approach Merchandise: Check out the Silver and Black Today + Raiders gear on our store! To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Welcome Back, Wellness Warrior!   DO you want more time, energy or peace? Maybe you want to feel like you aren't missing all the moments with your kids, because you are too stressed and busy?? Do you want to be more productive, get more done and not have it be at the cost of your sanity? If YES to any of that then you are going to love my conversation today with good friend, Charlotte Haggie!    Charlotte is a personal trainer, health and wellbeing coach and mum of two small children who runs her own coaching company helping working mums emotionally self regulate so that they can be more present and productive and do more of what brings them joy.  Let's go to battle!

When Ben and Nathan say “the LSAT is easy,” it's not to suggest that LSAT improvement comes effortlessly. This week, the guys elaborate on their motto. The LSAT becomes easy when you do it the Demon way. Later, the guys discuss strategies for negotiating scholarships with schools that claim not to engage in such discussions. They offer advice to a listener battling fatigue at the end of Reading Comprehension sections. And they urge a well-qualified applicant not to settle for a disappointing outcome this admissions cycle. LSAT Demon LSAT Demon iOS App LSAT Demon Daily Watch Episode 444 Thinking LSAT YouTube LSAT Demon YouTube 1:18 - The LSAT Is Easy - Departing Demon Tatiana sends a message of support to her peers: “Keep showing up and don't give up. Ben and Nathan are right—the LSAT is easy if you let it be.” 22:07 - Scholarship Negotiation - Some law schools claim not to negotiate scholarships. But every offer of admission opens the door to negotiation. Asking for more financial support carries no downside. 29:53 - RC Timing - Listener Jess asks how to tackle the fourth passage in Reading Comprehension with limited time on the clock. Ben and Nathan advise her to ignore the clock and to treat the final passage the same as any other. 34:03 - RC Fatigue - LSAT Demon student Cassidy is surprised by her fatigue at the end of Reading Comprehension sections. Nathan and Ben suspect that she's reading too quickly. They urge her to slow down and focus on understanding. 42:16 - Go Now or Reapply? - Lauren was offered a stipend to attend WashU, but she's disappointed by her offers from other top law schools. Ben and Nathan encourage Lauren to reapply next year and not to settle for less than she's worth. 53:54 - Howard Law - Listener Morgan offers an explanation for Howard Law's big law placement numbers, as discussed in Ep. 442: Don't Become a Lawyer for the Money. 55:05 - Word of the Week - Thinking LSAT listeners invite opprobrium when they apply to law school without their best LSAT score.

Every year, host Greg Kot makes a mixtape of new songs to express his feelings about the past year. Greg shares a selection of that mix and the rest of the show staff look at other top singles of 2023. Plus, the hosts remember a few other musicians we lost in 2023.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:Olivia Rodrigo, "Vampire," GUTS, Geffen, 2023The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967The Moody Blues, "Go Now!," The Magnificent Moodies, Decca, 1965The Pogues, "Fairytale of New York (feat. Kirsty MacColl)," If I Should Fall from Grace with God, Warner, 1988The Del-Lords, "Burning In The Flame Of Love," Frontier Days, EMI, 1984Dwight Twilley Band, "I'm On Fire," Sincerely, Shelter, 1976Dua Lipa, "Dance The Night," Barbie The Album, Atlantic, Warner Bros., Mattel, 2023SZA, "Kill Bill (feat. Doja Cat)," Kill Bill (feat. Doja Cat) (Single), Top Dawg, RCA, 2023XG, "LEFT RIGHT," SHOOTING STAR - Single, XGALX, 2023PinkPantheress & Ice Spice, "Boy's a liar, Pt. 2," Boy's a liar, Pt. 2 (Single), Warner Music, 2023Jason Isbell and the 400 Unit, "White Beretta," Weathervanes, Southeastern, Thirty Tigers, 2023Shame, "Fingers of Steel," Food for Worms, Dead Oceans, 2023Miley Cyrus, "Flowers," Endless Summer, Columbia, 2023Ratboys, "Crossed That Line," The Window, Topshelf, 2023RVG, "Midnight Sun," Brain Worms, Fire, 2023The Rain Parade, "Last Rays of a Dying Sun," Last Rays of a Dying Sun, Label 51, 2023Sara Noelle, "Dry the Rain," Dry the Rain (Single), Sara Noelle, 2023Ladytron, "City of Angels," Time's Arrow, Cooking Vinyl, 2023Ric Wilson, Chromeo & A-Trak, "Everyone Moves To LA (feat. Felicia Douglass)," CLUSTERFUNK, Free Disco/Empire, 2023Butcher Brown, "MOVE (RIDE) (feat. Jay Prince)," Solar Music, Concord, 2023Avalon Emerson, "Sandrail Silouette," & The Charm, Another Dove/One House, 2023Bob Dylan, "Tangled Up in Blue," Blood on the Tracks, Columbia, 1975See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Deuxième Partie: The Cream. PLAYLIST  The Graham Bond Organisation, "Tammy"  The Graham Bond Organisation, "Train Time"  The Graham Bond Organisation, "Lease on Love"  Winston G, "Please Don't Say"   Graham Bond organisation, "Baby Can it Be True ?"  The Yardbirds, "Got to Hurry"  John Mayall, "I'm Your Witchdoctor"  Jimmy Page et Eric Clapton, "Draggin' My Tail"  John Mayall's Bluesbreakers with Jack Bruce, "Hoochie Coochie Man"  Manfred Mann, "If You Gotta Go, Go Now"  Manfred Mann, "(I Can't Get No) Satisfaction"  Jack Bruce, "Drinkin' and Gamblin'"  Manfred Mann, "Pretty Flamingo"  John Mayall et Eric Clapton, "Bernard Jenkins"  John Mayall avec Eric Clapton, "Ramblin' On My Mind"  John Mayall avec Eric Clapton, "Hideaway"  The Who, "Substitute"  The Who Orchestra, "Waltz For a Pig"  The Hollies avec Peter Sellers, "After the Fox"  The Powerhouse, "Crossroads"  Robert Johnson, "Terraplane Blues"  Muddy Waters, "32-20 Blues"  Robert Johnson, "Preaching Blues"  The Powerhouse, "Crossroads"  John Mayall's Bluesbreakers, "Dust My Blues"  Manfred Mann "The Mighty Quinn"  Oscar, "Over the Wall We Go"  Cream, "NSU"  Cream, "Wrapping Paper"  The Merseys, "Sorrow"  The Who, "I'm a Boy"  Jimi Hendrix, "Killing Floor"  The Cream, "I Feel Free"  Billy J Kramer - 'Town of Tuxley Toymaker ".  The Bee Gees, "New York Mining Disaster 1941"  The Youngbloods, "Get Together"  Cream, "Strange Brew"  Cream, "Sunshine of Your Love"  Cream, "Sunshine of Your Love"  Crazy Blue, "Stone Crazy"  Aretha Franklin, "Good to Me as I Am to You"  The Mothers of Invention, "Are You Hung Up ?"  Cream, "Crossroads"  Cream, "Crossroads"  Bob Dylan and the Band, "The Mighty Quinn"  Bob Dylan and the Band, "This Wheel's on Fire"  The Band, "The Weight"  Cream, "Anyone For Tennis"  Cream, "White Room"  Cream, "Badge"  Cream, "Sittin' on Top of the World (live Albert Hall)"

Op 5 december jl. overleed multi-instrumentalist Denny Laine, 79 jaar oud. Zijn naam zal anno 2023 lang niet iedereen meer wat zeggen, maar deze Britse muzikant stond aan de basis van niet één maar twee succesvolle groepen. Hij is in 1964 een van de oprichters van de Moody Blues en zingt ook de eerste wereldhit van die groep: Go Now. Vanaf de oprichting in 1971 is hij lid van Wings, de groep die Paul McCartney om zich heen verzamelt een jaar na het uiteenvallen van The Beatles. Wings wisselt als groep in de jaren 70 vaak van samenstelling maar Laine is er – evenals Paul's vrouw Linda McCartney – altijd bij. En hij schrijft ook mee aan de best verkochte Wings-single: Mull Of Kintyre.

Episodes 121 & 122: It's The Most Busiest Time Of The Year! December 21, 2023 This is the most important part of this blog to me today. Please make sure that your voter registration is up to date and correct in every way. Ensure you are registered to vote and that your name, address, signature etc. are correct. This is a good place to start: Vote.gov. If you'll read between the lines, the worst thing that could happen is if a former president returned to office. He's a con and liar. We must prevent a potential dictator from returning to the White House. Consider writing letters and/or postcards to voters. Every vote counts! We have the power to make things better! The time doth fly! Here you can double your fun by listening to a replay of last year's Holiday show with some really good stuff( listen to Ep. 121 at http://www.studiomillswellness.com/tales-vinyl-tells) and this most recent and new show which features two from recently departed Denny Laine, founder of The Moody Blues and also one of the three permanent members of Wings, alongside Paul and Linda. I really dig Denny's Meant to Be after I play Go Now. There's a newer peek into the menu at Alice's Restaurant Massacree revisited and more. Hope you enjoy these. I'm gonna wish you The Best of the Holidays and a Tales Vinyl Tells salute to 2024. BTW, December 19, 2019 was the release date of the first episode of TVT, so Happy 4th Birthday to Us! Finally, if you enjoy this radio show and podcast and feel a desire to financially pitch in, it is greatly appreciated and you can do so at Patron.podbean.com/talesvinyltellssupport. I thank all who have already voted “yes, I'll help!” and to all the future contributors. If you get a chance to listen to the “live” Tales Vinyl Tells, tune in to the stream at RadioFreeNashville.org at 5:00 PM Central time Wednesdays. If you're in Nashville, you might listen on FM radio at 103.7 or 107.1. As always, thanks for listening. Email your thoughts/favorites/questions to TalesVinylTells@gmail.com. Happy Holidays and Happy 2024.

Are you a smart spender or a stingy cheapskate? Rachel's mom, Sharon—the OG budgeting queen—joins the show to give her two cents (but not a penny more). Sharon helps George and Rachel give advice to listeners who are wondering if their “frugal” habits have gone too far. In this episode: ·      Dear Sharon: an exclusive advice column segment featuring everyone's favorite Ramsey family member ·      The wildest things all three hosts (and others) have done to save a buck ·      How to know if you're being ridiculous about budgeting or being wise with your money Helpful Resources:   ·       Start making memories. Go NOW and get Telestrations at Walmart! ·      Booking a flight with Going is the best and simplest way to pay less and travel more. Sign up for free today at going.com/smartmoney. ·      Get your finances organized, make a plan, build your confidence, and kick money stress out of your life for good with the EveryDollar budgeting app. Go to www.everydollar.com/smartmoney to get started today. Use code SMARTMONEY to get a free two-week trial and $15 off your premium membership to EveryDollar. ·      Do you have a Guilty as Charged question for Rachel and George? Send a DM to @rachelcruze or @georgekamel on Instagram! Be sure to type “GUILTY?” at the top of your message so we don't miss it. ·      Pre-order George's new book, Breaking Free From Broke, today! ·      Learn more about your ad choices ·      Ramsey Solutions Privacy Policy This Week's Happy Hour Special: Dirty Martini Ingredients: ·      2 1/2 ounces vodka ·      1/2 ounce dry vermouth ·      1/2 ounce olive brine ·      3 olives for garnish Instructions: Fill a shaker with ice, then add the vodka, vermouth and olive brine. Shake until well chilled (about 15–20 seconds). Using a fine mesh strainer, double strain the liquid into a chilled cocktail glass. Garnish with a skewer of olives

Nothing says “holiday spirit” like trampling a total stranger at the grocery store to get the last can of cranberry sauce on sale. Guys, we can do better! Tune in for new ideas, tips and a 30-day challenge to help you keep your grocery budget in check.   What you get in this episode: ·     Are You Making These 7 Grocery Shopping Mistakes? ·     We Put Kroger and Instacart to the Test ·      Does This Hack Actually Save You Money on Groceries?   Helpful Resources:  ·     Start saving with my Meal Planner & Grocery Savings Guide. ·      Start making memories. Go NOW and get Tapple at Walmart. ·     Start budgeting for free with EveryDollar. ·     Learn more about Christian Healthcare Ministries today. ·      Try BetterHelp today. Sponsors pay the producer of this show, The Lampo Group, LLC, advertising fees for mentioning their services or products during programming. Advertising fees are not based upon or otherwise tied to any product sale or business transacted between any consumer or sponsor. The following sponsors have paid for the programming you are viewing: Christian Healthcare Ministries, Op Games and BetterHelp.   Learn more about your ad choices. https://www.megaphone.fm/adchoices Ramsey Solutions Privacy Policy   

From pyramid schemes to phishing emails, marketing ploys are more sophisticated than ever. Listen in as George and Rachel discuss some of the oldest scams known to man, what they look and sound like today, and how to avoid the “snake oil' salesmen of 2023 (lookin' at you, TikTok influencers). In this episode: ·      Crazy “exclusive” deals that need more investigation before you buy ·      Why “too good to be true” really is (probably) too good to be true ·      The mocktail that tastes like “Christmas in a cup”   Helpful Resources:   ·     Start making memories. Go NOW and get Telestrations at Walmart or wherever you buy board games. ·     Booking a flight with Going is the best and simplest way to pay less and travel more. Sign up for free today at going.com/smartmoney. ·     Get your finances organized, make a plan, build your confidence, and kick money stress out of your life for good with the EveryDollar budgeting app. Go to www.everydollar.com/smartmoney to get started today. Use code SMARTMONEY to get a free two-week trial and $15 off your premium membership to EveryDollar. ·  Pre-order George's new book, Breaking Free From Broke, today! ·     Do you have a Guilty as Charged question for Rachel and George? Send a DM to @rachelcruze or @georgekamel on Instagram! Be sure to type “GUILTY?” at the top of your message so we don't miss it. ·     Learn more about your ad choices: https://www.megaphone.fm/adchoices ·      Ramsey Solutions Privacy Policy: https://www.ramseysolutions.com/company/policies/privacy-policy   This Week's Happy Hour Special: Apple Butter Mocktail Find the original recipe here. Ingredients: ·     1 ounce apple juice ·     2 tablespoons of apple butter ·     Dash of non-alcoholic orange bitters ·     Juice of 1/2 lemon ·     Ginger beer ·     Coarse cinnamon sugar and simple syrup, for rimming ·     Thinly sliced apples and a cinnamon stick, to garnish   Instructions: Pour some simple syrup on a plate and some coarse cinnamon sugar on another. Then, dip the rim of your cocktail glass into the syrup and then into the sugar, twisting to coat, before adding ice cubes to the glass. Combine the apple juice, apple butter, lemon juice and bitters in a cocktail shaker and give it a dry shake (in other words, a shake without ice). Shake vigorously until properly combined then strain the mixture into your prepared cocktail glass. Top up with ginger beer and garnish with a cinnamon stick and apple slice on the rim to serve.

Holiday “deals” are coming for your cash—are you ready? Today, I'll share what I won't be spending money on this season and what I plan to do instead. Plus, I'm looking back at my very first video to see if I still agree with my own advice on raising grateful kids.   What you get in this episode: ·     Do I Agree With My Own Money Advice 10 Years Later? ·     What I Refuse to Spend Money on This Holiday Season   Helpful Resources:  ·     Start budgeting for free with EveryDollar. ·     Pick up a copy of my new kids book, I'm Glad For What I Have. ·     Start making memories. Go NOW and get Telestrations or Tapple at Walmart. ·     Learn more about Christian Healthcare Ministries today. ·     Try BetterHelp today.   Sponsors pay the producer of this show, The Lampo Group, LLC, advertising fees for mentioning their services or products during programming. Advertising fees are not based upon or otherwise tied to any product sale or business transacted between any consumer or sponsor. The following sponsors have paid for the programming you are viewing: Christian Healthcare Ministries, Op Games, and BetterHelp.   Learn more about your ad choices: https://www.megaphone.fm/adchoices Ramsey Solutions Privacy Policy

Do we have something to learn from the world's richest people, or did they just get lucky? They may be good with money, but will their advice work for you too? Tune in to find out! Rachel and George are reacting to money quotes from some of the wealthiest people in the world, like Elon Musk, Jeff Bezos and Oprah (just to name a few). In this episode: ·      The ultimate (first-ever) game of Pin the Quote on the Billionaire ·      What we all have in common with Kim Kardashian ·      Billion-dollar advice you can take to the bank   Helpful Resources:   ·     Start making memories. Go NOW and get Telestrations at Walmart! ·     Booking a flight with Going is the best and simplest way to pay less and travel more. Sign up for free today at going.com/smartmoney. ·     Get your finances organized, make a plan, build your confidence, and kick money stress out of your life for good with the EveryDollar budgeting app. Go to www.everydollar.com/smartmoney to get started today. Use code SMARTMONEY to get a free two-week trial and $15 off your premium membership to EveryDollar. ·   Pre-order George's new book, Breaking Free From Broke, today! ·     Do you have a Guilty as Charged question for Rachel and George? Send a DM to @rachelcruze or @georgekamel on Instagram! Be sure to type “GUILTY?” at the top of your message so we don't miss it. ·     Learn more about your ad choices: https://www.megaphone.fm/adchoices ·     Ramsey Solutions Privacy Policy: https://www.ramseysolutions.com/compa...   This Week's Happy Hour Special: Brazilian Lemonade Ingredients: ·     1 1/2 limes ·     4 tablespoons granulated sugar ·     1/2 cup sweetened condensed milk ·     3 cups water ·     2 ounces rum   Servings: 3 to 4 Instructions: Wash the limes. Then, throw the water and the limes (rinds and all) into a blender. Blend until there are no chunks, then strain it through a fine mesh strainer. Return liquid to the blender and add the sugar, rum and sweetened condensed milk. Blend it again, then serve over ice. Garnish with a lime wheel and some mint. Enjoy!

The average American wedding runs about $30,000—which is making 73% of Millennials and Gen Zers reconsider whether they can afford one. Listen in as George and Rachel decide what they'd cut from a $30,000 wedding budget and weigh in on four more reasons people aren't tying the knot (they're not about the wedding, but they're all about the money). In this episode: ·     How to choose your wedding budget must-haves ·     Rachel's take on prenups and why you might not want one ·     Four financial reasons people aren't getting married, and George and Rachel's take on why money shouldn't be the reason you don't say “I do”   Helpful Resources:   ·     Start making memories. Go NOW and purchase Telestrations at Walmart! ·     Booking a flight with Going is the best and simplest way to pay less and travel more. Sign up for free today at going.com/smartmoney. ·     Preorder George's new book, Breaking Free From Broke, today! ·     Watch George's YouTube video How I Got a Free Wedding ·     Get your finances organized, make a plan, build your confidence, and kick money stress out of your life for good with the EveryDollar budgeting app. Go to www.everydollar.com/smartmoney to get started today. Use code SMARTMONEY to get a free two-week trial and $15 off your premium membership to EveryDollar. ·     Do you have a Guilty as Charged question for Rachel and George? Send a DM to @rachelcruze or @georgekamel on Instagram! Be sure to type “GUILTY?” at the top of your message so we don't miss it. ·     Learn more about your ad choices: https://www.megaphone.fm/adchoices ·     Ramsey Solutions Privacy Policy: https://www.ramseysolutions.com/compa...   This Week's Happy Hour Special: El Torado Ingredients: ·      2 ounces reposado tequila ·      1/2 ounce dry vermouth ·      1 1/2 ounces unfiltered apple juice Instructions: Add tequila, vermouth and apple juice into a chilled cocktail shaker, then add ice. Shake it well, then strain into coupe cocktail glasses and serve.

George and Rachel are doing hot takes on pop culture, current events and money—yes, even more than usual. We're talking about things like the housing market reality, how much an 'NSync reunion ticket is worth, and how to talk about money with your friends (without being awkward).      In this episode: ·     The cheapest moves Rachel and George have made lately ·     Why George thinks Airbnb investing is a risky business ·     The question on everyone's mind: Is Buc-ee's worth the hype or overrated?   Helpful Resources:   ·     Start making memories. Go NOW and get Tapple at Walmart or wherever you buy board games. ·     Booking a flight with Going is the best and simplest way to pay less and travel more. Sign up for free today at going.com/smartmoney. ·     Preorder Rachel's new children's book, I'm Glad for What I Have. ·   Pre-order George's new book, Breaking Free From Broke, today! ·     Get your finances organized, make a plan, build your confidence, and kick money stress out of your life for good with the EveryDollar budgeting app. Go to www.everydollar.com/smartmoney to get started today. Use code SMARTMONEY to get a free two-week trial and $15 off your premium membership to EveryDollar. ·     Do you have a Guilty as Charged question for Rachel and George? Send a DM to @rachelcruze or @georgekamel on Instagram! Be sure to type “GUILTY?” at the top of your message so we don't miss it. ·     Learn more about your ad choices: https://www.megaphone.fm/adchoices ·     Ramsey Solutions Privacy Policy: https://www.ramseysolutions.com/compa...   This Week's Happy Hour Special: Pistachio Martini Ingredients: ·     1 ounce vanilla vodka ·     1 ounce whipped vodka ·     3/4 ounce Bailey's Irish Cream ·     3/4 ounce amaretto ·     3 pistachios (for garnish)   Instructions: In a chilled cocktail shaker, combine the vanilla vodka, whipped vodka, Bailey's Irish Cream and amaretto. Fill the shaker with ice, attach the lid, and shake it for 30 seconds. Strain the cocktail into a martini glass, top with three pistachios as a garnish, and serve.

The upper class is playing the victim—and we're not buying it. Listen as Rachel and George channel their inner Kourtney Kardashian and give six-figure earners the sisterly wake-up call they need. Plus, how much margin does the average American have in their budget compared to someone with a $175,000 salary?   In This Episode: ·      The meaning of “poor” and why the wealthy feel this way ·      George's history with nonslip pet ramps and Rachel's iconic Kristen Wiig impression ·      The ultimate budget showdown: $59,000 vs. $175,000 (who runs out first?)   Helpful Resources:   ·      Booking a flight with Going is the best and simplest way to pay less to travel more. Sign up for free today at Going.com/smartmoney. ·      Start making memories. Go NOW and get Tapple at Walmart or wherever you buy board games! ·      Get your finances organized, make a plan, build up your confidence, and kick money stress out of your life for good with the EveryDollar budgeting app. Go to www.everydollar.com/smart to get started today. ·      Do you have a Guilty as Charged question for Rachel and George? Send a DM to @rachelcruze or @georgekamel on Instagram! Be sure to type “GUILTY?” at the top of your message so we don't miss it. ·      Learn more about your ad choices. https://www.megaphone.fm/adchoices   Ramsey Solutions Privacy Policy     This Week's Happy Hour Special: Citrus Smash Recipe from A Pinch of Adventure   Ingredients: ·      1 tbsp lemon curd ·      1 tbsp simple syrup ·      Club soda or seltzer ·      Fresh mint leaves ·      Sliced lemon ·      Ice   Instructions: Put about six mint leaves, four slices of deseeded lemon, simple syrup and lemon curd in a highball glass. Muddle together. Add ice and pour over club soda. Garnish with fresh mint and enjoy!

Rat girl summer, lazy girl jobs, girl math and valley girls. Let's just admit it: Girl trends make life a little more fun––for everyone! Join Rachel and George as they review the girlie Gen Z trends of the moment, talk about why they resonate (even for guys), and discuss how to enjoy the “girl math” bit without letting it ruin your finances.   In This Episode:   ·      George testing Rachel's girl math on everything from vacation purchases to in-store returns ·      “Hygiene homies” and other manly trends George wants to start ·      Rachel explaining the healthy middle ground between a “lazy girl job” and “girl bossing”   Helpful Resources:   ·      Start making memories. Go NOW and get Tapple at Walmart or wherever you buy board games! ·      Booking a flight with Going is the best and simplest way to pay less to travel more. Sign up for free today at Going.com/smartmoney. ·      Get your finances organized, make a plan, build your confidence, and kick money stress out of your life for good with the EveryDollar budgeting app. Go to www.everydollar.com/smartmoney to get a free two-week trial and $15 off your premium membership to EveryDollar. ·      Do you have a Guilty as Charged question for Rachel and George? Send a DM to @rachelcruze or @georgekamel on Instagram! Be sure to type “GUILTY?” at the top of your message so we don't miss it. ·      Learn more about your ad choices: https://www.megaphone.fm/adchoices ·      Ramsey Solutions Privacy Policy: https://www.ramseysolutions.com/compa... This Week's Happy Hour Special: Mind Eraser ·      2 ounces coffee liqueur ·      2 ounces vodka ·      Club soda Instructions: Fill a glass with ice and add the coffee liqueur. Slowly pour the vodka on top of the liqueur (no stirring!), then top with club soda. Grab a straw and take a sip.

Some “toxic traits” are funny––like hanging up your clothes inside out or buying kale aspirationally. And then there's the less funny kind. ☠️ ⚠️ Join Rachel and George as they attempt to find the line between a harmless quirk and a truly toxic money mindset. In This Episode:   ·      Rachel, George and a LIVE audience getting real about their own toxic money traits ·      A play-by-play of how to set boundaries when you know your friend's toxic money trait is “splitting” a very one-sided bill ·      The celeb comedian who called George a “sad idiot child” on Twitter back in the day   Helpful Resources:   ·      Start making memories. Go NOW and get Tapple at Walmart or wherever you buy board games! ·      Booking a flight with Going is the best and simplest way to pay less to travel more. Sign up for free today at Going.com/smartmoney. ·      Get your finances organized, make a plan, build your confidence, and kick money stress out of your life for good with the EveryDollar budgeting app. Go to www.everydollar.com/smartmoney to get a free two-week trial and $15 off your premium membership to EveryDollar. ·      Do you have a Guilty as Charged question for Rachel and George? Send a DM to @rachelcruze or @georgekamel on Instagram! Be sure to type “GUILTY?” at the top of your message so we don't miss it. ·      Learn more about your ad choices: https://www.megaphone.fm/adchoices ·      Ramsey Solutions Privacy Policy: https://www.ramseysolutions.com/compa... This Week's Happy Hour Special: Black Tea Sour Ingredients: ·      2 ounces chilled black tea ·      3/4 ounce lemon juice ·      1/2 ounce maple syrup ·      Dash of black pepper ·      1 egg white ·      Maraschino cherries (to garnish) ·      Orange slice (to garnish) Instructions: In a cocktail shaker, combine all of the ingredients except ice and shake well. Add ice and shake again. Pour through a fine strainer into a chilled coupe glass.

We put so much emphasis on going to college, but the cost is rising and now students are wondering . . . is it worth the price? In this episode, George and Rachel share the most regretted college majors, what people are choosing to do instead, and the salaries for great-paying jobs that don't require a degree. In this episode: - George's and Rachel's college majors (and what they paid for them) - Common degrees people admit regretting - How to avoid student loans and what to do if you already have them Helpful Resources: ·     Start making memories! Go NOW and get Tapple at Walmart or wherever you buy board games! ·      Booking a flight with Going is the best and simplest way to pay less and travel more. Sign up for free today at going.com/smartmoney. ·     Get your finances organized, make a plan, build your confidence, and kick money stress out of your life for good with the EveryDollar budgeting app. Go to www.everydollar.com/smartmoney to get a free two-week trial and $15 off your premium membership to EveryDollar. ·     Do you have a Guilty as Charged question for Rachel and George? Send a DM to @rachelcruze or @georgekamel on Instagram! Be sure to type “GUILTY?” at the top of your message so we don't miss it. ·     Learn more about your ad choices: https://www.megaphone.fm/adchoices ·     Ramsey Solutions Privacy Policy: https://www.ramseysolutions.com/compa... This Week's Happy Hour Special: Cinderella Mocktail Ingredients: ·    2 tablespoons freshly squeezed orange juice ·    2 tablespoons freshly squeezed lemon juice ·    2 tablespoons pineapple juice ·    1/2 teaspoon grenadine ·    2­–3 dashes Angostura bitters ·    1/2 cup of ginger beer ·    Orange slice (to garnish) Instructions: Fill a shaker with ice, then add the orange juice, lemon juice, pineapple juice and grenadine. Shake. Pour the mixture into a tall glass with ice, then add the ginger beer and bitters. Garnish with an orange slice, sip, and enjoy!

Cocktails, quizzes, condiments and more! Find out how well you're doing financially (and what to do about it) by taking George and Rachel's Buzzfeed-inspired quiz. And don't worry, this isn't one of those money quizzes that will put you in a dark place—we promise. In this episode: - George and Rachel sip this week's cocktail with bravery and, once again, discuss George's first CD. - Which condiment are you? (And other bizarre Buzzfeed quiz topics) - George and Rachel lead you through the Ramsey money quiz and tell you what to do next based on your score. Helpful Resources:    ·    Follow along with Rachel and George as they take Buzzfeed's Starbucks quiz: https://www.buzzfeed.com/angelicaamartinez/starbucks-budget-quiz-20 ·      Start making memories. Go NOW and get Tapple at Walmart or wherever you buy board games! ·      Booking a flight with Going is the best and simplest way to pay less to travel more. Sign up for free today at Going.com/smartmoney. ·      Get your finances organized, make a plan, build your confidence, and kick money stress out of your life for good with the EveryDollar budgeting app. Go to www.everydollar.com/smartmoney to get a free two-week trial and $15 off your premium membership to EveryDollar. ·      Do you have a Guilty as Charged question for Rachel and George? Send a DM to @rachelcruze or @georgekamel on Instagram! Be sure to type “GUILTY?” at the top of your message so we don't miss it. ·      Learn more about your ad choices: https://www.megaphone.fm/adchoices ·      Ramsey Solutions Privacy Policy: https://www.ramseysolutions.com/compa...   This Week's Happy Hour Special: Crown Stag Cocktail Ingredients: 5/6 ounces Chambord raspberry liqueur 1 1/4 ounces Jägermeister 1 1/4 ounces vodka Instructions: Combine all ingredients in ice-filled glass, garnish with lemon, and enjoy!

Hi, Lisa here. DOG-EARED with Lisa Davis are now a part of the Bully Girl Magazine Podcast. If you listen to DOG-EARED you know that Lisa is HUGE dog lover and has an special place in her heart for pitbulls and other bully breeds. Now Lisa will be bringing the fantastic author interviews about dogs to the Bully Girl Magazine Podcast! Go NOW and subscribe to listen to my interview with Rick Crandall, the author of The Dog Who Took Me Up a Mountain: How Emme the Australian Terrier Changed My Life When I Needed It MostHere is the show description:The Bully Girl Magazine Podcast is your 'Dog-Eared' audio destination, bookmarking the most compelling tales and insights from the vast canine universe. While we passionately dive into the world of Bully breeds — dispelling myths, offering training tips, and discussing breed standards — our scope isn't limited. We cast our net wide to encompass a diverse range of dog breeds, ensuring no tail is left untold. Enhanced by expert interviews and inspiring stories, this podcast is a beacon for responsible ownership and breed education. It's where Bully breed enthusiasts meet the broader dog-loving community, fostering unity, understanding, and shared joy in every bark and wag.If you don't want to miss my DOG-EARED content and are looking to learn more about the joy of bully breeds (i.e. frenchies, bulldogs, english bulldogs, pitties, and more) do this:Go to where you get your podcasts and type in Bully Girl Magazine Podcast. If it doesn't show up, email me at lisadavismph@gmail.com and I will get you there! If you are a Health Power fan, keep coming back for weekly episodes.To make sure all of my listeners hear about the move to the Bully Girl Magazine Podcast, I will be posting mini-episodes here on DOG-EARED for another 4-6 weeks to educate and fill you in on what's happening on the Bully Girl Magazine Podcast. I deeply value all of my listeners and hope you will follow me on my new venture!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5948889/advertisement

Rob welcomes back Bobcat Lindsay Davidson to discuss "If You Gotta Go, Go Now", an outtake from 1965's BRINGING IT ALL BACK HOME. This Episode is for FM+ Subscribers Only. If you're not yet a subscriber, you'll hear a special preview version of this episode. To hear the full episode, sign up for FM Pods + in Apple Podcasts or at FMPods.com. Have a question or comment? Contact: https://fmpods.com/podcasts/poddylan Follow us on Twitter: @Pod_Dylan POD DYLAN "Jukebox" T-Shirt now available: https://www.etsy.com/shop/RobKellyCreative Complete list of all songs covered so far: Pod Dylan Songs This podcast is part of the FM Podcast Network. Thanks for listening! UgFlUnTxhNRhlTl4PuVo

News flash: Advertisers have mastered the art of making consumers think they're in control. But who's really calling the shots? In this episode, Rachel and George investigate what's happening behind the brands and how it affects your bank account.   In this episode: - George and Rachel's reaction to Chuck E. Cheese's saucy secret - Why modern-day advertising is low-key mind control - The alleged BlackRock conspiracy they don't want you to know about   Helpful Resources: ·     Start making memories! Go NOW and get Tapple at Wal-Mart or wherever you buy board games! https://theop.games/ ·     Booking a flight with Going is the best and simplest way to pay less and travel more. Sign up for free today at going.com/smartmoney. ·     Get your finances organized, make a plan, build your confidence, and kick money stress out of your life for good with the EveryDollar budgeting app. Go to www.everydollar.com/smartmoney to get a free two-week trial and $15 off your premium membership to EveryDollar. ·     Do you have a Guilty as Charged question for Rachel and George? Send a DM to @rachelcruze or @georgekamel on Instagram! Be sure to type “GUILTY?” at the top of your message so we don't miss it. ·     Learn more about your ad choices: https://www.megaphone.fm/adchoices ·     Ramsey Solutions Privacy Policy: https://www.ramseysolutions.com/compa...    This Week's Happy Hour Special: Mexican Surfer   Ingredients: 2 ounces reposado tequila 1 1/2 ounces pineapple juice 1/2 ounce lime cordial (aka sweetened lime juice)   Instructions: Combine all your ingredients in a cocktail shaker with ice and shake. Strain the liquid into a chilled coupe glass. Add a lime slice for garnish and hang loose!

Tune in right now because I'm talking all things church and you are in for a treat! Go Now!

Scoring a great deal can save you big—but how do you negotiate the price down when it feels downright awkward? In this episode, George and Rachel talk about strategies to getting the best deal, then Rachel tries them out in their own mock-negotiation. In this episode: - George uncovers the depths of Rachel's shame - George and Rachel share their negotiating dos and don'ts - Another great way to save money (that doesn't require an awkward situation) Helpful Resources: ·     Start making memories! Go NOW and get Tapple at Wal-Mart or wherever you buy board games! · Booking a flight with Going is the best and simplest way to pay less and travel more. Sign up for free today at going.com/smartmoney. ·     Get your finances organized, make a plan, build your confidence, and kick money stress out of your life for good with the EveryDollar budgeting app. Go to www.everydollar.com/smartmoney to get a free two-week trial and $15 off your premium membership to EveryDollar. ·     Do you have a Guilty as Charged question for Rachel and George? Send a DM to @rachelcruze or @georgekamel on Instagram! Be sure to type “GUILTY?” at the top of your message so we don't miss it. ·     Learn more about your ad choices: https://www.megaphone.fm/adchoices ·     Ramsey Solutions Privacy Policy: https://www.ramseysolutions.com/compa...   This Week's Happy Hour Special: Tangerine Mojito Cocktail Recipe from La Croix Ingredients: 5 tablespoons Agave nectar 2-3 mint leaves 2 cups tangerine juice 1/4 cup lime juice 2-3 Tangerine slices 2 cans of Tangerine LaCroix Instructions: In a tall glass, muddle the mint and agave. Add the tangerine juice, lime juice, Lacroix, and tangerine slices. Stir and garnish with mint leaves.

Money isn't everything, but it's something to consider when choosing your career path. In this episode, George and Rachel talk about the salaries (and cost of education) for some of the top jobs in America. They share what industries they would work in if they could do any job in the world, then talk about celebrity salaries and the amazing thing Taylor Swift did for her truck drivers.  In this episode: The salaries people make in America's most popular jobs What George would do if he worked for big brands Which career Rachel thinks should make more money Helpful Resources: ·     Booking a flight with Going is the best and simplest way to pay less and travel more. Sign up for free today at going.com/smartmoney. ·   Start making memories. Go NOW and get Tapple at Walmart or wherever you buy board games! ·     Get your finances organized, make a plan, build your confidence, and kick money stress out of your life for good with the EveryDollar budgeting app. Go to www.everydollar.com/smartmoney to get a free two-week trial and $15 off your premium membership to EveryDollar. ·     Do you have a Guilty as Charged question for Rachel and George? Send a DM to @rachelcruze or @georgekamel on Instagram! Be sure to type “GUILTY?” at the top of your message so we don't miss it. ·     Learn more about your ad choices: https://www.megaphone.fm/adchoices ·     Ramsey Solutions Privacy Policy: https://www.ramseysolutions.com/compa...   This Week's Happy Hour Special: Strawberry Basil Mocktail Ingredients: 1 1/2 cups fresh strawberries 4–5 fresh basil leaves 12 ounces seltzer 1 lime (half juiced, half sliced) Instructions: Roughly chop the strawberries and cut the lime in half. Muddle the strawberries, basil and the juice from half the lime. Fill two tall glasses with crushed ice and divide the berry mixture between them. Top with seltzer and garnish with a slice of lime and fresh basil.

Elder BlessingBy: Steve GrahamJesus, when you ascended all that remained were 11 men standing in the middle of the road silently staring at the sky perplexed about what was next. They expected that you would establish your “promised” Kingdom ruling over all Israel. Instead, you handed over a different kind of kingdom that would start in Jerusalem, then extend to all Judea, to Samaria, and finally the entire Gentile world.  You said to those 11 men, “As the Father has sent me, so I also send you” (John 20:21).You deliberately and precisely made your mission the model for ours. With power given to us by the Holy Spirit you have equipped us and sent us out into this NEW KINGDOM.  Summit Church, armed with power,  Be sent to serve Him in daily life, in your workplace, your school, neighborhood, city, state, nation, and world.Be sent to bear witness of the good news, the gospel, through your words and deeds. Keeping in mind that words without deeds have no credibility and our deeds by themselves, without words, have no eternal impact.Be sent as bearers of His love and grace.Be sent to live differently in this world as citizens of God's kingdom.Church, let us never forget that we are a called people—called for the unmitigated purpose of being sent.GO NOW………..YOU ARE SENT!

Tune in right now because I'm talking about this Whole Foods new development and whatnot!!! Go Now

While we never made it to the show, we're in the car to talk about Sing Street, the movie. Join us as Tara and Stefania recount the story, songs, and transition to stage - hop in! . . . "Go Now" - Sing Street (Original Broadway Cast Recording) "Lost Stars" - Begin Again (Music From and Inspired by the Original Motion Picture) "Drive It Like You Stole It" - Sing Street (Original Motion Picture) "Up" - Sing Street (Original Motion Picture) "Beautiful Sea - Sing Street (Original Motion Picture) "Jenny's Blues" - It Should've Been You Tony Awards "Epiphany" 2023 Cast Recording EP All music tracks used for educational and entertainment purposes only.

So, first things first, we had a few technical difficulties, BUT we're back like we never left! So last episode we left off talking about going 50/50 and Chelsea said that she was open to it… Obviously Tierra and Jasmine were surprised so we needed to take a sec and dive deeper into the convo! Here's our take on going 50/50 in a relationship! This and more on this week's episode of the @noshadeintendedpodcast which you can listen to on iTunes or Spotify! Go Now!——Send in your questions and comments to our email.Make sure to comment on the answers to our questions from the episode. We can't wait to hear from ya'll! Be sure to follow, share, subscribe, and stay tuned! This and more on this week's episode of the @noshadeintendedpodcast which you can listen to on iTunes or Spotify! Go Now!——Send in your questions and comments to our email.Make sure to comment on the answers to our questions from the episode. We can't wait to hear from ya'll! Be sure to follow, share, subscribe, and stay tuned! This and more on this week's episode of the @noshadeintendedpodcast which you can listen to on iTunes or Spotify! Go Now!——Send in your questions and comments to our email.Make sure to comment on the answers to our questions from the episode. We can't wait to hear from ya'll! Be sure to follow, share, subscribe, and stay tuned!

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

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ELDER BLESSING(Steve Graham)I bless you in the name of the Father, the Son, and the Holy Spirit.  Jesus, you came to this earth to destroy the works of the enemy and to make people well. You were accused, you were betrayed, and you were murdered by the will of God. When you died, you descended into the depths of death itself, into the place of the enemy, and you swallowed up death into life. By the power of God you rose from the grave. With death conquered and the enemy defeated, you came UP out of the tomb because there was nothing there any longer. You came out ALIVE. You now sit at the right hand of the Father, mediating for us.                   At the cross there was a great exchange, a beauty like nothing else:           Taking our shame, you gave back honor           Taking our guilt, gave us back our innocence           Our fears were replaced with power and authority           We were once enemies, now you adopted us as sons and daughtersBurdens we leave at the cross are replaced with LIFE and freedom. Your death and resurrection freed us from the bondage of the fear of death. Death no longer has victory or sting over those of us that trust in Christ!     May the grace of Lord Jesus Christ, and the love of God, and the fellowship of the Holy Spirit be with you all.GO NOW…..BE SENT!

WTOP Entertainment Reporter Jason Fraley chats with Rock & Roll Hall of Fame guitarist Denny Laine, who performs live at the Rams Head in Annapolis, Maryland on Sunday, Feb. 5. They spoke about Laine's British roots, forming The Moody Blues for hits like “Go Now” and Paul McCartney's Wings for hits like “Live and Let Die” and “Band on the Run.” (Theme Music: Scott Buckley's "Clarion") Learn more about your ad choices. Visit megaphone.fm/adchoices

WTOP Entertainment Reporter Jason Fraley chats with Rock & Roll Hall of Fame guitarist Denny Laine, who performs live at the Rams Head in Annapolis, Maryland on Sunday, Feb. 5. They spoke about Laine's British roots, forming The Moody Blues for hits like “Go Now” and Paul McCartney's Wings for hits like “Live and Let Die” and “Band on the Run.” (Theme Music: Scott Buckley's "Clarion") Learn more about your ad choices. Visit podcastchoices.com/adchoices

In early 1970, Jock Sutherland enlisted in the U.S. Army to fight in Vietnam. At  that time, he was considered amongst the most visible and versatile surfers on the planet. The surfing world was shocked; and so was his mother. Jock never made it to active duty, but spent two years in the service, after which he was rarely included in surf media. In 1989, Jock was busted for running cocaine and spent two years in prison.  In his complexity and cleverness, Jock Sutherland has held an iconic position in the surfing community – a kind of hero's hero – for his pioneering approach to tuberiding and switchoot surfing in waves of consequence. Jock grew up on Oahu's North Shore and is the son of adventurer Audrey Sutherland, author of several books including Paddling My Own Canoe, who lived by the motto "Go Simple, Go Solo, Go Now."Continuing in the slipstream of his mother's daring, Jock went on to become a defining surfer of the 1960s. He claimed the cover of SURFER MAG in 1966, won the 1967 Duke Kahanamoku Invitational, and was featured in nearly a dozen surf movies, including Pacific Vibrations. "We used to call him 'the Extraterrestrial,'" fellow surfer Jeff Hakman later said, "because he was so good at everything. He could beat anyone at chess or Scrabble; he could smoke more hash than anyone, take more acid, and still go out there and surf better than anyone."Jock talks us through the highs, lows and the middle ground where he is currently anchored in service and surfing. …Listen with Lauren L. Hill & Dave RastovichSound Engineer: Ben Alexander Soundtrack By: Shannon Sol Carroll Additional music by Ben AlexanderJoin the conversation: @Waterpeoplepodcast Waterpeoplepodcast.com