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In April, Josh traveled to Texas and Louisiana for research. Each leg of that trip was thoroughly documented and will become individual Travelogue video episodes, running monthly on Patreon. Enjoy the audio from his day in the Dallas area, traveling to Godley, Glen Rose, Stephenville, Aledo, and Azle. Future Episodes:June: LufkinJuly: New OrleansAugust: Washington stateTo see the images, video, files, maps, and more, join Patreon at the Chipmunk level.To learn more about the Bali trip and book your ticket, go here.This episode was sponosred by Lumen. To get 15% off your Lumen, go to Lumen.me/TCBSBecome a supporter of this podcast: https://www.spreaker.com/podcast/true-crime-bullsh--3588169/support.
As this episode kicks off, Kevin Godley and his longtime songwriting and creative partner, Lol Creme, have just left 10cc, so instead of being part of hits such as “The Things We Do for Love,” the duo continues pushing their artistic boundaries as Godley & Creme. Godley describes how he and Creme collaborated on music and, eventually, videos—for themselves and, among others, Herbie Hancock (“Rockit”), the Police (“Every Breath You Take”) and George Harrison (“When We Was Fab”). He recounts work on the groundbreaking video for Godley & Creme's biggest hit, 1985's “Cry,” which uses a pre-CGI version of morphing to merge one face into another, as Michael Jackson would do with more technology years later. Godley also tells of the end of his partnership with Creme, the current state of relationships among the four original 10cc members and where his creative drive is taking him next.
“If we did something that was too drab, too normal, too obvious, we'd say, ‘Nah, let's give it a kick in the ass.'” That's how Kevin Godley describes the approach of his former band, 10cc, and his drive for creativity and art has not abated. Godley was 10cc's angelic-voiced drummer who would go on to make inventive music and groundbreaking videos with Godley & Creme. In Pt. 1 of this illuminating conversation, Godley explains how Lol Creme, Graham Gouldman, Eric Stewart and he—all strong songwriters and singers—formed 10cc near Manchester, England, and figured out who would do what. They stretched out on such Godley-Creme songs as “Somewhere in Hollywood” and "Une Nuit a Paris" (which perhaps inspired Queen's “Bohemian Rhapsody”), but the popularity of “I'm Not in Love” had unintended consequences. What was it about the new song that Stewart and Gouldman played for Godley and Creme that blew apart the songwriting teams for good?
Join us for Easter Week!Saturday, April 19 | 6pm Granbury Campus OnlyEaster Sunday, April 208, 9:30, 11:15am | Granbury, Glen Rose, Cleburne, Tolar, Godley9 & 10:45am | Snyder10am | Stephenville (Twisted J, 2285 N HWY 377, Stephenville)
Join us for Easter Week!Saturday, April 19 | 6pm Granbury Campus OnlyEaster Sunday, April 208, 9:30, 11:15am | Granbury, Glen Rose, Cleburne, Tolar, Godley9 & 10:45am | Snyder10am | Stephenville (Twisted J, 2285 N HWY 377, Stephenville)
Chuck P and Jay Ducote take lil' road trip to Broussard, Louisiana for a visit to Parish Brewing Company where they have a few tasty pours and talk with owner Andrew Godley.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-abv-podcast--5595170/support.
Longtime Goldmine contributor Dave Thompson picks his latest gems from a pile of review copies of albums and box sets. Joe Meek Tea Chest's Heinz: The White Tornado - The Holloway Road Sessions 1963-1966 box set on Cherry Red Records, Godley & Creme's Parts of the Process box set on Edsel Records and Dub Syndicate's Out Here On the Perimeter 1989-1996 on On-U Sound. It's a fun review discussion among a couple of record collectors. Learn more about your ad choices. Visit megaphone.fm/adchoices
Chuck P and Jay Ducote take lil' road trip to Broussard, Louisiana for a visit to Parish Brewing Company where they have a few tasty pours and talk with owner Andrew Godley.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-abv-podcast--5595170/support.
Rich Soult has spent years exploring the South Island with 4WD adventures, turning his passion for off-road driving into a career. Having lived in the UK, New Zealand, and France, he started writing for 4X4 Magazine before launching his own guiding company in 2020. Now, Rich leads epic 4WD tours through some of the South Island's most iconic locations. He shares about their two-week north to south route, covering the iconic Macaulay, Godley, and Hopkins valleys, Old Man Range, Mavora Lakes and more. From braided rivers to alpine passes, beaches to remote backcountry tracks, his trips showcase New Zealand's world-class overlanding. He shares some of his favourite campsites, how to start overlanding, important skills and upcoming tours.Discover the best of New Zealand with my NZ Map & Guide, featuring 100+ incredible locations for your next adventure. Use PODCAST10 at checkout for 10% off and start planning your dream trip todayGet my NZ Map & GuideBook your 1-on-1 consult and personalised itineraryThank you so much for tuning in and coming along for the ride. If you love the show and enjoyed listening, please take the time to leave a review on Apple or Spotify. I would also love to connect with you, so send me a DM on Instagram, leave me a voice message and I can't wait to see you next time. Until then, keep adventuring :)Follow 4x4 Explorer Adventures on Instagram: instagram.com/4x4exploreradventures/www.4x4exploreradventures.co.nzRead the Blog: www.abigailhannah.nzFollow Abigail on Instagram: instagram.com/abigailhannnah/Follow Abigail on TikTok: tiktok.com/@abigailhannnah/
In this insightful episode of The Dental Wealth Nation Show, host Tim McNeely is joined by Matthew Godley, the CEO of Spendly, to explore innovative strategies for dental practices to reduce costs and increase profitability. As dental practices strive to enhance their bottom line and grow their EBITDA, this episode offers valuable insights into leveraging technology for cost reduction. Matthew Godley, with his personal and professional ties to the dental industry, introduces Spendly—a revolutionary cost reduction platform designed to streamline operating expenses for dental practices. Throughout the episode, key topics include the challenges of managing spiraling expenses, common areas of overspending, and the powerful impact of cost reductions on EBITDA and practice valuations. Listeners will discover the importance of benchmarking tools and how Spendly facilitates seamless cost comparison across various categories like payroll, health benefits, retirement plans, and commercial insurance. Matthew explains how his platform is helping dental practices achieve savings, sometimes up to 50%, which significantly contributes to their financial growth without disrupting daily operations. For dentists looking to optimize their practice expenses, Matthew provides practical advice on how to identify potential savings opportunities and verify them. The conversation highlights the significance of continuously monitoring expenses and the role of technology in driving financial efficiency over the next few years. Whether you're a dental practice owner or part of a dental service organization (DSO), this episode is a must-listen for anyone aiming to improve their financial standing through strategic cost management. Don't miss out on these expert insights that can transform your practice and boost your profitability.
Send us a textWhat if you could relive the magic of the 80s with a fresh perspective on a comedy classic? Join us as we celebrate Eddie Murphy's iconic role as Axel Foley in "Beverly Hills Cop." We laugh our way through the film's unforgettable moments, like the "banana in the tailpipe" scene, and share behind-the-scenes gems including Damon Wayans' cameo debut. It's a delightful throwback to a film that cemented its place in cinematic history, bringing humor and nostalgia to the forefront of our conversation.Ever wondered how a band could create 18 versions of one music video? We unravel the mystery behind the band Yes and their song "Leave It," exploring the creative genius of Godley and Creme who made the mundane captivating. Our journey through musical history continues with a visit to the Long Island Music and Entertainment Hall of Fame, where we marvel at exhibits featuring legends like Billy Joel, Twisted Sister, and Run DMC. Step back in time to 1991, when Jimmy's backpacking trip through Europe lead to unforgettable experiences. From luxury in Zurich to street performances in Paris, the unpredictability of pre-digital travel shines through his tales. He reminisces about the Edinburgh Fringe Festival and hitchhiking through England, weaving musical memories into his adventures. We finish off the episode with a look back at Utopia's 'Adventures in Utopia' and a song I can still relate to, "Forever Young" by Alphaville."Music in My Shoes" where music and memories intertwine.Learn Something New orRemember Something OldPlease Like and Follow our Facebook and Instagram page at Music In My Shoes. You can contact us at musicinmyshoes@gmail.com.
Wynne Godley was by turns a professional oboist, a fellow of King's College, Cambridge, an economist at the Treasury and a director of the Royal Opera House. Yet at thirty he found himself ‘living through an artificial self' and turned to psychoanalysis for help.Masud Khan was a protégé of D.W. Winnicott and at one point the darling of British psychoanalysis. He was also sadistic, manipulative and a shameless self-promoter. In this unforgettable piece from 2001, Godley describes his baffling and disastrous sessions with Khan.Read by Duncan Wilkins.Find the original piece and further reading at the episode page: https://lrb.me/godleypodGive your loved one a Close Readings subscription or audiobook for Christmas: https://lrb.me/audiogifts Hosted on Acast. See acast.com/privacy for more information.
This week on Rockonteurs we welcome the brilliant Kevin Godley to the podcast.Kevin joins Gary Kemp and Guy Pratt to talk about his wonderful work with Godley and Crème, 10cc and his career as one of the great music video directors.Godley and Crème release their definitive boxset in February called ‘Parts of the Process' – it's a stunning 11CD set featuring all of the studio albums, non-album tracks, 7” versions and extended mixes.Find out more here: https://godleyandcreme.lnk.to/completeInstagram @rockonteurs @guyprattofficial @garyjkemp @kevingodley @gimmesugarproductions Listen to the podcast and watch some of our latest episodes on our Rockonteurs YouTube channel.YouTube: https://www.youtube.com/@rockonteursFacebook: https://www.facebook.com/RockonteursProduced for WMG UK by Ben Jones and Ian Callaghan at Gimme Sugar Productions Hosted on Acast. See acast.com/privacy for more information.
This week on Rockonteurs we welcome the brilliant Kevin Godley to the podcast.Kevin joins Gary Kemp and Guy Pratt to talk about his wonderful work with Godley and Crème, 10cc and his career as one of the great music video directors.Godley and Crème release their definitive boxset in February called ‘Parts of the Process' – it's a stunning 11CD set featuring all of the studio albums, non-album tracks, 7” versions and extended mixes.Find out more here: https://godleyandcreme.lnk.to/completeInstagram @rockonteurs @guyprattofficial @garyjkemp @kevingodley @gimmesugarproductions Listen to the podcast and watch some of our latest episodes on our Rockonteurs YouTube channel.YouTube: https://www.youtube.com/@rockonteursFacebook: https://www.facebook.com/RockonteursProduced for WMG UK by Ben Jones and Ian Callaghan at Gimme Sugar Productions Hosted on Acast. See acast.com/privacy for more information.
Did you know that women over forty make up a quarter of the Canadian workforce? Failing to accommodate those experiencing menopause has the potential to drive women out of the working world, resulting in severe consequences for the socio-economic fabric of our society.Dr. Jenny Godley is a Professor of Sociology and Adjunct Professor in Community Health Sciences at the University of Calgary. This special episode of The Conversation Piece features content from her presentation at The Walrus Talks Menopause, supported by Shoppers Foundation for Women's Health.Godley spoke at The Walrus Talks Menopause in Toronto on October 17, 2024.To register for upcoming events happening online or in a city near you, and to catch up on our archive of The Walrus Talks, visit thewalrus.ca/events.And subscribe to The Walrus Events newsletter for updates and announcements, at thewalrus.ca/newsletters. Hosted on Acast. See acast.com/privacy for more information.
This week, suffering withdrawal symptoms from our Ibiza trip, so what better way than to get back those memories by making a playlist. including covers of Bowie, Simon & Garfunkel, Godley & Creme, Also, new releases from Ken Fan (Resident DJ at Cafe Del Mar & Pikes), Digby Jones & Chris Coco, plus more. For more info and tracklisting, visit: https://thefaceradio.com/blueboys-cafe-balearic-beats/Tune into new broadcasts of Blueboy's Cafe Balearic Beats, Wednesdays from 4 - 6 PM EST / 9 - 11 PM GMT//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.
Send us a textFootball is back, and Week 1 did not disappoint! Host Taylor Arenz had the opportunity to talk to some big playmakers from the opening week.First up is Alvarado High School quarterback Cardea Collier. The Indians traveled to Godley and spoiled the Wildcats' home opener, achieving a decisive 48-21 victory. Cardea shares details about the game, and you will enjoy getting to know him and learning about the team he has led for the past three seasons.Arguably, one of the best games of the weekend was the back-and-forth showdown between the Katy Tigers and the Dickinson Gators, which came down to the last play. This week's guest, Isaiah McMillian, starred in that pivotal moment, and he fills Taylor in on the game and all the emotions of that thrilling night.This week's final guest is Grayson Rigdon, one of the most talked-about players in Texas high school football this summer. Grayson transferred to Columbus High School this summer, making the move from 6-man to 11-man football. This change sparked plenty of conversation, but Grayson silenced the critics with an outstanding performance in Week 1. You will love hearing from Grayson and learning how he has managed the pressure over the past few months.
Support the show: http://www.newcountry963.com/hawkeyeinthemorningSee omnystudio.com/listener for privacy information.
Each year, hundreds of thousands of sea turtles are accidentally caught in fishing nets—a phenomenon known as bycatch, which poses a grave threat to these already vulnerable species.“Even the death of one individual has implications for a population that's already threatened. But in the case of fisheries, it's also not good for the reputation of the fisheries” says Dr Joanna Alfaro, a Peruvian marine biologist with 25 years of experience in marine conservation.Dr Joanna is also the Director and co-founder of ProDelphinus, a non-profit organisation in Peru that works with fishing communities to protect sea turtles and marine fauna from bycatch.Winner of Whitley Award, Dr Joanna, in this sixth episode of sea turtle stories, underscores the importance of working with fishing communities towards ensuring sustainable fisheries. “Of course, we have a special place in our hearts for turtles, but we also care for the people that are related to this marine environment. The ocean is not ours, it's everybody's” she emphasises. So join our host Minnie and Dr Joanna, as they tackle the critical issue of sea turtle bycatch, its mitigation in small-scale fisheries in Peru and the vital role of community engagement in conservation efforts.Links for Additional Reading: Alfaro-Shigueto, J., Mangel, J. C., Bernedo, F., Dutton, P. H., Seminoff, J. A., & Godley, B. J. (2011). Small-scale fisheries of Peru: A major sink for marine turtles in the Pacific. Journal of Applied Ecology.Alfaro-Shigueto, J., Dutton, P., Van Bressem, M.-F., & Mangel, J. (2009). Interactions between leatherback turtles and Peruvian artisanal fisheries. Chelonian Conservation and Biology.Gilman, E. et al. (2009). Mitigating sea turtle by-catch in coastal passive net fisheries. SeeTurtles.org.Bielli, A., Alfaro-Shigueto, J., Doherty, P. D., Godley, B. J., Ortiz, C., Pasara, A., Wang, J. H., & Mangel, J. C. (2020). An illuminating idea to reduce bycatch in the Peruvian small-scale gillnet fishery. Biological Conservation, Vol 241Lewison, R., Wallace, B., Alfaro-Shigueto, J., Mangel, J., Maxwell, S., & Hazen, E. (2013). Fisheries bycatch of marine turtles: Lessons learned from decades of research and conservation. Annual Review of Marine ScienceTo support Olive Ridley Project's work in sea turtle conservation, you can - Name and Adopt a wild sea turtle, Adopt a turtle patient or Donate here: https://oliveridleyproject.org/donateFollow us on Instagram, Facebook, LinkedIn, Tiktok and
Janey Godley is a renowned Scottish stand-up comedian, actress, and writer. I met her in a cafe in Glasgow and we recorded this impromptu podcast! Growing up in a challenging environment in Shettleston Glasgow, she left school at 16 and began her comedy career in 1994. Godley has gained acclaim for her unique humor and storytelling, winning multiple awards, including the "Best Show Concept" at the New Zealand International Comedy Festival. She is also known for her viral social media presence and her poignant voice-overs of ex-first minister Nicola Sturgeon. Her autobiography, Handstands in the Dark, reflects her journey through adversity and triumph. Janey has won multiple awards including the Sir Billy Connolly Spirit of Glasgow Award in 2023.
Send us your thoughtsIn this episode of CFO 4.0, host Hannah Munro is joined by Jason Godley, CFO of Xactly Corp. as they the critical soft skills necessary for successful CFOs. Exploring how effective communication and strategic thinking are key to driving business success. Jason shares insights from his extensive career, offering valuable advice for both aspiring and seasoned CFOs.Key Discussion Points:Importance of clear and succinct communication with boards and CEOsStrategies for presenting complex decisions and balancing risksAdapting communication styles for different CEO personalitiesTechniques for managing challenging board dynamics and building relationshipsEngaging employees and explaining financial concepts in relatable termsLinks mentioned: Jason's Linkedin Learn more about XactlyJason's Book Recommendation: Think Again: The Power of Knowing What You Don't Know by Adam Grant Explore other CFO 4.0 Podcast episodes here. Subscribe to our Podcast!
Phil Manzanera is one of the UK's best-known musicians and record producers, having shot to prominence in the early ‘70's as the lead guitarist with the seminal band, Roxy Music. He is widely acknowledged as one of the world's leading guitarists and remains in huge demand. Roxy Music were inducted into the US Rock and Roll Hall of Fame in 2019 and recently Phil was awarded the Order of the British Empire (OBE) for his services to music. He was born to a British father and Colombian mother and has collaborated with musicians from South and Latin America, South Africa, Cuba and continental Europe. His recent album releases include The Liberation Project: Songs That Made us Free, Corroncho 2 and Live in Japan as well as The Ghost from Santiago that he did with Split Enz's Tim Finn. In recent years Phil has co-produced Pink Floyd's ‘The Endless River'. He released, ‘The Sound of Blue', his own autobiographical album, co-produced David Gilmour's new album, ‘Rattle That Lock', toured with Gilmour in the UK, Europe and South America. In 2015 he was Maestro Concertatore at Italy's largest free festival. He also took part in ‘Sunshine of Your Love' a tribute concert to his friend, Jack Bruce. Phil's musical influence stretches far and wide, but even he was taken by surprise when his guitar riff from 1978's K-Scope was sampled by Jay Z and Kanye West and became the Grammy winning smash hit ‘No Church in the Wild' the first track on their multi-million selling album, ‘Watch The Throne'. At 73, Phil is now in his fourth decade as a professional musician. He joined Roxy Music in 1972, aged 21, as lead guitarist. Roxy's rise was meteoric, with the band being hailed as the stylistic influence of the early 1970's. During the next 12 years, until 1983 when the band members went on a ‘long break', Roxy Music released a series of international best selling albums, achieving ten UK top ten albums and touring extensively throughout the world. The 18 year hiatus ended in 2001 with a critically acclaimed, sellout 52-date world tour featuring Bryan Ferry, Andy MacKay and Paul Thompson. The world rediscovered Roxy Music. In the summer of 2003 Roxy again played in the US and Europe. 2010 saw Roxy Music thrilling fans at Festivals in the UK, Europe and Japan, which was followed by a Winter UK tour, and dates in Australia and New Zealand. As a writer, producer and solo artist, Phil Manzanera has worked with many of the luminaries of modern music, such as Steve Winwood, David Gilmour, John Cale, Godley and Creme, Nico (Velvet Underground) and John Wetton (King Crimson, Asia). He has co-written material with many artists, including Brian Eno, Tim Finn and David Gilmour. Phil co-wrote Pink Floyd's single ‘One Slip'from their 1988 ‘Momentary Lapse of Reason' album. He has recently been awarded an OBE. Phil joins us this week to share his amazing story. For more information about Phil and his music head to his website: https://manzanera.com/new/ If you have a request for a '60s '70s or '80s musician contact me through my website https://www.abreathoffreshair.com.au --- Send in a voice message: https://podcasters.spotify.com/pod/show/sandy-kaye3/message
Listen, Watch, & Support DTP: www.thereadinesslab.com/dtp-links Boost the Signal with a $5 monthly donation! Become a TRL Insider Member with a ton of extra content! #emergencymanagement #disastertough #leadership #emergencyservices"You don't need to know everything. You do need to be able to make things happen."This week's guest in the Disaster Tough Podcast, Christopher Godley has been doing this for decades.As the Director of Emergency Management at Stanford University, Chris believes that keeping the school's buildings standing isn't enough. Instead, he thinks it is crucial to consider the human element and be ready and open to evolving with the overall setup of the program for better success.In this episode, Chris and host John Scardena discuss applying these concepts to Stanford's Office of Emergency Management. He emphasizes soft skills, and other ideas to make sure the Emergency Management efforts and philosophy at Stanford continue to evolve and grow in an ever-changing world.Major Endorsements: L3Harris's BeOn PPT App. Learn more about this amazing product here: www.l3harris.comImpulse: Bleeding Control Kits by professionals for professionals: www.dobermanemg.com/impulse Doberman Emergency Management Group provides subject matter experts in planning and training: www.dobermanemg.com
LISTEN in as we get a fresh perspective on the importance of genetics and EPD data from Gary Godley on The Cattleman's Corner
Learn about this successful Angus seedstock operation in Kacee Wyoming from producer Gary Godley on the Cattleman's Corner Radio with Brian Hale.
On a remote Wyoming cattle ranch, young Jason Godley faced a dire situation: the baler attached to his tractor suddenly caught fire. Alone, with no immediate help and devoid of modern conveniences like cell phones, 12-year-old Jason had to think quickly and act decisively. His decision to drive to a neighbor's house to use their hose not only extinguished the fire but also preserved the surrounding fields. This incident on the ranch, Godley tells us, instilled a lifelong “bias for action” and an ability for “independent thinking,” themes that would profoundly shape his professional ethos and success. Jason's journey from the plains of Wyoming to the corporate boardrooms of global finance began at PricewaterhouseCoopers, where he dealt with complex international finance and technical accounting in Denver and Paris. The skills cultivated during his youth—swift decision-making and self-reliance—proved invaluable as he navigated diverse business environments and cultures. These traits became even more crucial as Jason ascended to the role of CFO at Xactly. Here, his bias for action and independent thinking enabled him to drive strategic initiatives, particularly in improving sales and marketing efficiency. By dissecting and refining operational levers, Jason applied his ranch-learned pragmatism to enhance corporate performance and alignment, demonstrating how foundational experiences can echo through a career, influencing leadership style and business outcomes.
The Kind, a Blacksburg based folk-rock band, is familiar to anyone who has passed through the New River Valley in the last thirty plus years. Formed in 1986, The Kind plays in a variety of styles that ranges from classic rock, R&B, and jazz to bluegrass and country; however, the arena which they most frequently blend their diverse influences is their huge melting pot of Grateful Dead covers. Over the years, The Kind has been privileged to perform with the likes of Jorma Kaukonen (Jefferson Airplane & Hot Tuna), Rick Danko (The Band), Merle Saunders (The Jerry Garcia Band), The New Riders of the Purple Sage, and Jefferson Airplane. The Kind combines strong lead vocals and harmonies together with intertwining melodies and soulful rhythmic grooves to produce a fun, flowing and danceable experience. They are equally at home in a laid-back acoustic setting or a high-energy electric experience.
Kristina Halvorson interviews Rob MacFie and Nikki Godley from Wise about their work in scaling content and design across the organization. They cover the challenges of rapid growth and the need to create a clear mission and principles for the team. Rob and Nikki explain the process of developing a career map and discuss the importance of creating pay parity across disciplines. The chat reveals how storytelling has played a role in communicating impact and creating influence to build a user-centred culture. It's jam packed with advice and examples.
We are living in a time when the gift of prophecy is being abused. "I will pour out y Spirit upon all flesh: and your sons and daughters shall prophesy". This is true but it needs to be weighed and balanced to ensure Godley impartation versus demonic utterance. We are going to unpack this spiritual gift and understand what is in and out of bounds. I have invited Prophet Lonney Davis @LonneyDavis to share his insight and debate with me. Enjoy! Instagram@lonney_davis Instagram@cvmk_globalInstagram @cvmk33 TikTok@cvmkglobe www.cvmkglobal.storeUse code -CVMK - at checkout for 20% this channel to get access to perks: https://www.youtube.com/channel/UCp9pMDsdhRpe42b1dRTWFzA/join --- Send in a voice message: https://podcasters.spotify.com/pod/show/cv-k/message
Our new guest is Chuggin Edits (@chuggin-test) Links to follow: https://www.instagram.com/chugginedits/ https://open.spotify.com/artist/765A5emJkUUu04hkQaN3Op Tracklist: 1. TRICKSKI - PILL COLLINS 2. CHUGGIN EDITS - ANITAS MYSERY 3. CHIMPANZEE - SO WEIT SO GUT 4. THE DOORS - THE END (haugli edit) 5. PINK FLOYD - SHINE ON YOU CRAZY DIAMOND (lihaaz edit) 6. GODLEY & CREME - CRY ( fatneck edit) 7. DJ.S - U 8. HARRISON CRUMP - RIDE 9. ARSENAL - MELVIN 10. CAJOLINE & HOLIC - TIMELESS DREAM 11. NEIL SEDAKA - LAUGHTER IN THE RAIN (digital visions edit) 12. ROBJAMWEB - I SAID 13. SOS BAND - BORROWED LOVE (larse remix) 14. LOVELESS - DOWN WITH YOU BABY 15. VOLTA BUREAU - HOT 16. GLADYS KNIGHT WU & EL MICHELS AFFAIR - CAN IT BE ALL SO SIMPLE ( billy el Nino edit) 17. MISS DISCO - NEITHER ONE OF US 18. CHRIS ISSAK - WICKED GAME (soulclap remix) 19. COFAXX - SIP LUSHLY 20. BEATFANATIC - I FORGOT TO 21. JAKATTA - THE OTHER WORLD 22. TOBY O'CONNOR - GOSPEL SOUL
One Big Family has a Spotify Playlist called New Music Friday: Indie-Christian. HERE is a link to the playlist. Each week we will feature some new track(s) released that week and hear from the artists. This week's featured artists and tracks: Brother K > For the Beauty of the Earth (Album: Locomotive EP) Chris Godley > Part of You (Album: Part of You) Cade Kellam > Many Moons Tamsin Frost hosted this episode and it is presented to you by One Big Family. Follow this LINK to the website for OBF. Visual Worship Project Feature Happy New Music Friday!! :)
Steven & Tim dive into more iconic albums that defined 1977, with releases by ABBA, Peter Gabriel, 10cc, Jethro Tull & more! Learn more about your ad choices. Visit megaphone.fm/adchoices
* The Battle Lines Are drawn: 'Godless' VS 'Godley'! * The data is in: These are the gayest states in America - Young adults 18 to 24 are most likely to identify as LGBT - Harold Hutchison, Daily Caller. * The District of Columbia has the highest percentage of LGBTQ individuals in the United States, according to a UCLA study released in December. * In the nation's capital, 14.3% of the population claims to be part of that community, with Oregon, Delaware, Vermont and New Hampshire also topping 7% of their population identifying as LGBTQ, the study by the Williams Institute at the University of California, Los Angeles, said. * The study estimated the total population of LGBTQ individuals is 13.9 million, or roughly 5.5% of the United States population, according to The Hill. * An estimated 1.55 million people in California are LGBTQ, giving it the largest population of LGBTQ individuals, the study said. Texas also has a LGBTQ population of over 1 million individuals, while Florida and New York each have over 850,000 LGBTQ people in them, the study said. Pennsylvania and Ohio each have more than 550,000 LBGTQ individuals, according to the study, with Michigan, Illinois, Georgia and Washington also reaching the top ten. * The study estimates that 35.9% of LGBTQ individuals live in the South (which it defines as including Texas and Florida, and reaching up to Maryland and Delaware), while another 24.5% live in the West, which includes California, Hawaii, Alaska and Colorado. The Northeast, which includes New England, New York and Pennsylvania, has 18.5% of the LGBTQ population, while the Midwest has 21.1%. * Young adults from 18-24 are the most likely to identify as LGBTQ, with 15.2% claiming to be part of that community, while 9.1% of those from 25 to 34 identified as LGBTQ, accounting for over 8.7 million of the estimated 13.9 million LGBTQ individuals in the United States, according to the study.
In this episode of Intermittent Fasting Stories, Gin talks to Jonna Keener from Godley, TX. Are you ready to take your intermittent fasting lifestyle to the next level? There's nothing better than community to help with that. In the Delay, Don't Deny community we all embrace the clean fast, and there's just the right support for you as you live your intermittent fasting lifestyle. You can connect directly with Gin in the Ask Gin group, and she will answer all of your questions personally. If you're new to intermittent fasting or recommitting to the IF lifestyle, join the 28-Day FAST Start group. After your fast start, join us for support in The 1st Year group. Need tips for long term maintenance? We have a place for that! There are many more useful spaces beyond these, and you can interact in as many as you like. Visit ginstephens.com/community to join us. An annual membership costs just over a dollar a week when you do the math. If you aren't ready to fully commit for a year, join for a month and you can cancel at any time. If you know you'll want to stay forever, we also have a lifetime membership option available. IF is free. You don't need to join our community to fast. But if you're looking for support from a community of like-minded IFers, we are here for you at ginstephens.com/community. Jonna is a chemist. She was always bigger than her friends, both in height and weight. After marrying her husband and raising their children, she found herself at her highest weight of 255 pounds. She followed a diet which helped her to lose some weight. In May of 2021, Jonna came across Gin who was a guest on a podcast. Jonna eased into the IF lifestyle and has lost 18 pounds. While she'd like to lose more, Jonna feels confidence. Her food guilt has disappeared, and she feels comfortable in her own skin. Jonna's advice: IF is the answer. It will free up your life to be better. To be you. IF is the way to make your life the way you want it to be. Do you enjoy Intermittent Fasting Stories? You'll probably also like Gin's other podcast with cohost Sheri Bullock: Fast. Feast. Repeat. Intermittent Fasting for Life. Find it wherever you listen to podcasts. Get Gin's books at: http://www.ginstephens.com/get-the-books.html, including Cleanish and New York Times Bestseller, Fast. Feast. Repeat., available wherever you buy books! Delay, Don't Deny is available on Amazon. Join Gin's community! Go to: ginstephens.com/community Share your intermittent fasting stories with Gin: gin@intermittentfastingstories.com Follow Gin on Twitter @gin_stephens Follow Gin on Instagram @GinStephens Visit Gin's website at: ginstephens.com Check out Gin's Favorite Things at http://www.ginstephens.com/gins-favorite-things.htmlSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
One Big Family has a Spotify Playlist called New Music Friday: Indie-Christian. HERE is a link to the playlist. Each week we will feature some new track(s) released that week and hear from the artists. This week's featured artists and tracks: Jesse Frohling + Kenzie Frohling + Remnant House > Silent Night Nathan Emmanuel > Afraid of Christmas? Chris Godley > Selling Lies Tamsin Frost hosted this episode and it is presented to you by One Big Family. Follow this LINK to the website for OBF. Visual Worship Project Feature Happy New Music Friday!! :)
The news of Texas covered today includes:Our Lone Star story of the day: Ironically, in a Texas school district named “Godley” a professional escort with prostitution convictions was serving on the district's sex-ed council and other positions including the long term facilities planning committee. On one-hand district officials said the background check didn't catch the convictions because they were misdemeanors and on the other they claim she didn't go through the proper appointment process – which is it?It's FOX 4 that has the big story: Convicted prostitute, current escort removed from Godley ISD groups, including council overseeing Sex-Ed.Our Lone Star story of the day is sponsored by Allied Compliance Services providing the best service in DOT, business and personal drug and alcohol testing since 1995.Anti-Wimp update from Frisco.More bad economic news: Texas service sector activity declines in November; retail sales fall again.Future of abortion ban exemptions lies with Texas Supreme Court after oral arguments this morning. The state's lawyer gets it right: These people should be suing the doctors not the state.Listen on the radio, or station stream, at 5pm Central. Click for our radio and streaming affiliates.www.PrattonTexas.com
Officials in Godley, Texas say a woman was removed from several groups, including one that worked on sex education, after it was revealed she had previously been convicted for prostitution. Fellow parents say they also found escort listings tied back to Ashley Ketcherside. The Law&Crime Network's Jesse Weber speaks with retired FBI agent Colin Schmitt about the red flags this case raises for the school district's background check process.SUPPORT THE SHOW:If you're ever injured in an accident, you can check out Morgan & Morgan. You can submit a claim in 8 clicks or less without having to leave your couch. To start your claim, visit: https://www.forthepeople.com/LCSidebarHOST:Jesse Weber: https://twitter.com/jessecordweberLAW&CRIME SIDEBAR PRODUCTION:YouTube Management - Bobby SzokePodcasting - Sam GoldbergVideo Editing - Michael DeiningerScript Writing & Producing - Savannah WilliamsonGuest Booking - Alyssa Fisher & Diane KayeSocial Media Management - Vanessa BeinSTAY UP-TO-DATE WITH THE LAW&CRIME NETWORK:Watch Law&Crime Network on YouTubeTV: https://bit.ly/3td2e3yWhere To Watch Law&Crime Network: https://bit.ly/3akxLK5Sign Up For Law&Crime's Daily Newsletter: https://bit.ly/LawandCrimeNewsletterRead Fascinating Articles From Law&Crime Network: https://bit.ly/3td2IqoLAW&CRIME NETWORK SOCIAL MEDIA:Instagram: https://www.instagram.com/lawandcrime/Twitter: https://twitter.com/LawCrimeNetworkFacebook: https://www.facebook.com/lawandcrimeTwitch: https://www.twitch.tv/lawandcrimenetworkTikTok: https://www.tiktok.com/@lawandcrimeSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
One Big Family has a Spotify Playlist called New Music Friday: Indie-Christian. HERE is a link to the playlist. Each week we will feature some new track(s) released that week and hear from the artists. This week's featured artists and tracks: David Carpenter + MUCH MORE > someone that stays Spencer Annis + Christian Singleton > Holy (Like You) Sam Bowman > smoke - phantom version Chris Godley > Gathered Up This episode is presented to you by One Big Family. Follow this LINK to the website for OBF. Visual Worship Project Feature Happy New Music Friday!! :)
One Big Family has a Spotify Playlist called New Music Friday: Indie-Christian. HERE is a link to the playlist. Each week we will feature some new track(s) released that week and hear from the artists. This week's featured artists and tracks: Cross Gray > forest fire Jonny Henninger + Sondae > Grace Sam Wilson + Christian Singleton > Pay Attention From The Ground Up > Oh, What A Saviour Chris Godley + Christian Singleton + Brother K > Asa's Song This episode is presented to you by One Big Family. Follow this LINK to the website for OBF. Visual Worship Project Feature Happy New Music Friday!! :)
The Sound Chaser Progressive Rock Podcast is on the air. On the show this time, I have new music from Man-Akin, plenty of classic and obscure prog related tunes, a spotlight segment on improvisational psychedelia, The Symphonic Zone, and more. All that, plus news of tours and releases on Sound Chaser. Playlist1. Virgil & Steve Howe - A Month of Sun, from Lunar Mist2. Yes - It Can Happen, from Yesyears3. Godley & Creme - Don't Set Fire (to the One I Love), from Goodbye Blue Sky4. Mahavishnu Orchestra - Lila's Dance, from Visions of the Emerald Beyond5. Man-Akin - t_ERROR [online single]6. King Crimson - Indiscipline, from Absent Lovers7. Happy the Man - Run Into the Ground, from Better Late...8. Wilding / Bonus - Earth Hymn, from Pleasure Signals9. Louis de Mieulle - Gemini – Part 1: Castor (Yin), from Stars, Plants & Bugs10. Ecstasy in Numbers - I'm Not a Vampire Anymore, from Spellbound11. Barclay James Harvest - Believe in Me, from Octoberon12. Brainbox - Summertime, from Brainbox13. Strawbs - The Winter and the Summer, from Bursting at the SeamsTHE SYMPHONIC ZONE14. Triumvirat - Mr. Ten Percent (suite), from Illusions on a Double Dimple15. Opus Avantra - Ah, Doleur!, form Introspezione16. Starcastle - To the Fire Wind, from Starcastle17. Il Tempio delle Clessidre - Onirica Possessione, from AliaNatura18. Big Big Train - Saltwater Falling on Uneven Ground, from The Difference Machine19. The Pineapple Thief - What Have We Sown?, from What We Have SownLEAVING THE SYMPHONIC ZONESPOTLIGHT ON IMPROVISATIONAL PSYCHEDELIA20. Tsukinoumi - Black in Purple, from Sivle Redyc Chowder21. Tsukinoumi - Sounds Strange, from Sivle Redyc Chowder22. Tsukinoumi - Black of Night, from Sivle Redyc Chowder23. Trio96 - Homage à A&G, from Duo '0324. Marble Sheep - Fish, from Shinjuku Loft25. Nekropolis 23 - Devachan, from Vol. 1END SPOTLIGHT26. Anthony Phillips - She'll Be Waiting, from Private Parts & Pieces IX: Dragonfly Dreams
London's Dan Godley was only twenty-eight years old when he was diagnosed with stage 3 pancreatic cancer. As an avid runner, Dan was participating in marathons and ultras often before his diagnosis. His healthy and active lifestyle came to a halt when he discovered the tightness he had been feeling for some time turned out to be pancreatic cancer. Dan's journey began at the height of the pandemic which made it difficult to seek medical professionals about the symptoms he was experiencing; This made it difficult to come to a diagnosis, as did his young age. Dan underwent an extreme and experimental surgery that left him with life-long pain and restrictions. Dan beat the odds in all aspects of his journey, he even recently got married! Tune in to this episode of the Project Purple Podcast to learn about his unique journey. To learn more about Project Purple, visit https://www.projectpurple.org/ or follow us on social media at these links: https://www.facebook.com/Run4ProjectPurple https://www.instagram.com/projectpurple/ https://twitter.com/Run4Purple https://www.youtube.com/channel/UCgA8nVhUY6_MLj5z3rnDQZQ To stay in touch with Dan... Check out his blog at: https://ebb-and-flow.blog/ To connect with Dan, his twitter is:https://twitter.com/ebbandflow_blog
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 --
1982 saw the birth of the 80s first supergroup with Asia made of prog legends John Wetton (King Crimson, Uriah Heep, UK), Steve Howe (Yes), Geoff Downes (Buggles, Yes) and Carl Palmer (ELP). They achieved great success with their eponymous first album thanks to the worldwide sensation Heat of the Moment and some Godley & Creme videos that ruled MTV. Asia was the #1 selling record in the US that year and to capitalize on that momentum, the band were rushed back to the studio to crank out a follow up for 1983. While 1983's Alpha did contain some of the magic from the first record, the band were disappointed in the process and the end result. Despite a big budget video with an Indiana Jones theme and a radio hit in Don't Cry, Alpha didn't achieve the same success as it's predecessor. However, Geffen pushed the band forward and coordinated the first ever live satellite concert on MTV with the historic Asia in Asia event broadcast from Japan in December, 1983 with VJ Mark Goodman hosting. Last year we were fortunate enough to speak with both Carl Palmer and Geoff Downes about their time in Asia and the stage and setup for that historic concert. It may not quite have the same magic of the first album but it still holds a special place in our hearts so listen with an open mind and hear from the musicians that made the album and history via MTV. Ugly American Werewolf in London Website Ugly American Werewolf in London Store - Get your Wolf merch! Twitter Instagram YouTube LInkTree www.pantheonpodcasts.com Visit RareVinyl.com and use the NEW code UGLY to save 10%! Learn more about your ad choices. Visit megaphone.fm/adchoices
Today I do a deep dive into an unpublished opinion on the Parsons Presumption. I discuss the presumption, but more importantly I point out how attorneys and doctors engage in depositions, the testimony one needs to rebut the presumption, handling pre-existing injuries and how the Commission and Court of Appeals deals with testimony when they render their opinions. This episode is a must-listen in terms of "inside baseball" as to the litigation process playing out.
Co-host Sean decides that now is the time to focus our lens on experimental duo Godley & Creme. We previously discussed the group when we featured their former band 10cc way back in Season 1, but now we give them our full, undivided attention and explore how such a strange album could be released on a major label. If you like us, please support us at patreon.com/idbuythatpodcast to get exclusive content (episodes on 45s!), or tell a friend about us. Broke and have no friends? Leave us a review, it helps more people find us. Thanks!
Emily Ancinec (writer and voice of Julia Stonewash) talks with her friend and neighbor Jourdie Godley. Jourdie is a fashion consultant and the creator East & West fashion blog, and a big advocate for people with disabilities and Asian designers in the fashion world. His blog can be found here: https://www.eastandweststyle.com/ Follow him on Instagram here: https://www.instagram.com/east.and.west/ Check out the CNN feature here: https://www.cnn.com/videos/world/2021/12/08/cnn-film-school-fellowship-2021-jourdie-challenging-americas-fashion-industry-serge-kharytonau-spc.cnn Jollyville Radio will be back next week with more scenes from the town of Jollyville! Learn more about your ad choices. Visit megaphone.fm/adchoices
TXHSFB's top returning rushers in 2023, plus Godley coach Curtis Lowery
Let's Talk About Myths, Baby! Greek & Roman Mythology Retold
That's right it's time for actually, run of the mill mythology! Okay, it's Spartan so actually it's still pretty weird, and confusing... Because you know, Greek mythology. We're talking Children of Heracles and all the famous Spartans of the Homeric world. Plus, the myth-making that gave us 300. Help keep LTAMB going by subscribing to Liv's Patreon for bonus content!CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing.Sources: Early Greek Myths by Timothy Gantz; Herakles by Emma Stafford; Oxford Dictionary of Classical Myth and Religion; Theoi.com; Herodotus' Histories, Godley translation found on Perseus; Bad Ancient entry on the 300 at Thermopylae; A Companion to Sparta, edited by Anton Howell.Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions. Hosted on Acast. See acast.com/privacy for more information.
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