Podcasts about his band

The Jazz Session No.417 from RaidersBroadcast.com as aired in May 2025, featuring the 1977 album “Enigmatic Ocean” from jazz-violinist Jean-Luc Ponty. TRACK LISTING: Scenes from an Italian Restaurant - Billy Joel; New York Minute - Herbie Hancock; Lu Lu's Back In Town - The Cable Street Rag Band; Climax Rag - George Lewis and his New Orleans Stompers; Mirage - Jean-Luc Ponty; The Struggle of the Turtle to the Sea, Part III - Jean-Luc Ponty; Easy Does It - Freddie Green; Azure - Cecil Taylor; A Kinder Eye, ft. Allan Holdsworth - Level 42; Wind Parade - Donald Byrd; Blues for Pablo - Miles Davis & Gil Evans; Sih-Sah - Coleman Hawkins & His Rhythm; Optimum Friction - Emma Rawicz & Gwilym Simcock; Let's Get Deluxe - The Impossible Gentlemen; The Trans-Love Express - Jean-Luc Ponty; Nostalgic Lady - Jean-Luc Ponty; Some Day my Prince Will Come - Dave Brubeck Quartet; Lester's Be Bop Boogie - Lester Young & His Band; La Fiesta - Gary Burton & Chick Corea; Brigas Nunca Mais - Paula Morelenbaum.

 | Artist  | Title  | Album Name  | Album Copyright  | Rory Gallagher  | Prison Blues  | Acoustic Blues  |   | Fiona Boyes, Mookie Brill, Rich Delgrosso  | Good Lord Made You So  | Live from Bluesville  |   | Wizz Jones  | Dallas Blues [HULDENBURG BLUES]  | Dallas Blues Collection  | Wizz Jones  | Spoonful  | Shake That Thing [The Blues In Britain 1963-1973]  | Donna Herula  | Not Lookin' Back  | Bang At The Door  |   | Bogus Ben Covington  | Boodle-De-Bum Blues  | When The Levee Breaks, Mississippi Blues (Rare Cuts CD B)  | 2007 JSP Records  | Joakim Tinderholt and His Band  | Deadlines  | Deadlines  |   | Grey Ghost  | One Room Country Shack  | Grey Ghost  |   | W.C. Handy Preservation Band - Carl Wolfe  | Sundown Blues  | W.C. Handy's Beale Street: Where The Blues Began  | Micke & Lefty feat. Chef  | Polk Salad Annie  | Live On Air 2025  |   | Mike Cooper  | See Me Running  | Shake That Thing [The Blues In Britain 1963-1973]  | The Slimline Shufflers  | Pontiac Blues  | Suspicious Blues  |   | Honey Boy Edwards-Sunnyland Slim-Kansas City Red-Big Walter Hor  | Gamblin' Man  | Old Friends  |   | Stompin' Dave's Blues3  | Raging And A Moaning  | The Mayfair Studio  |   | Andres Roots  | Thanks For Bringing Me Down  | Winter  |   |   | Bukka White  | The Promise True And Grand  | The Vintage Recordings 1930 -1940

Sintonía: "Mambo gitano" - Sylvain David"Mambo Sh-Mambo" - The Charms; "We Like Mambo" - Eddie Bo; "Don´t Play No Mambo" - The Charioteers; "Perdido Mambo" - Larry Ligett; "They Were Doing The Mambo" - Les Brown & His Band of Renown; "Merengue Tropical" - Pedro J. Belisario y su Orquesta; "Mambo Boogie" - Johnny Otis Orchestra; "Wild Weekend Cha Cha" - The Rockin´ Rebels; "Cha Cha Blues" - Johnny Pate Combo; "Rock´n Roll Cha-Cha" - The Eternals; "Karange" - Sir Lancelot; "Mississipi Mambo" - Noro Morales & His Orchestra; "Mambo Boogie" - The Harp-Tones; "Guitar Cha Cha Cha" - Memphis Slim; "We Wanna See Santa Do The Mambo! - John Greer; "Guitar Mambo" - Dave Barbour and his Orchestra. Todas las músicas extraídas de la recopilación (1xLP+ CD -incluído con el LP-, Jukebox Music Factory, 2020) "Mambo, Cha-Cha-Cha & Calypso Vol. 3: Blues Session!"Todas las músicas seleccionadas por El VidocqBonus tracks: "Bikini e tamure" - Michelino e Il Suo Complesso y "Cha Cha Twist" - Margarita "Cha-Cha" SierraEscuchar audio

Father Edward Looney reads and comments on The Life of Jesus Christ and Biblical Revelations: From the Visions of Anne Catherine Emmerich.Day 259Volume 4THE DOLOROUS PASSION AND DEATH OF OUR LORD JESUS CHRISTChapter 10: Judas and His Band. The Wood of the Cross.LEARN MORE - USE COUPON CODE ACE25 FOR 25% OFFThe Life of Jesus Christ and Biblical Revelations: From the Visions of Blessed Anne Catherine Emmerich Four-Book Set - https://bit.ly/3QVreIsThe Dolorous Passion of Our Lord Jesus Christ: From the Visions of Anne Catherine Emmerich - https://bit.ly/4bPsxRmThe Life and Revelations of Anne Catherine Emmerich Two-Book Set - https://bit.ly/3yxaLE5The Life of the Blessed Virgin Mary: From the Visions of Anne Catherine Emmerich - https://bit.ly/3wTRsULMary Magdalen in the Visions of Anne Catherine Emmerich - https://bit.ly/4brYEXbThe Mystical City of God Four-Book Set - https://bit.ly/44Q9nZbOur Lady of Good Help: Prayer Book for Pilgrims - https://bit.ly/3Ke6O9SThe Life of Jesus Christ in a Year: From the Visions of Anne Catherine Emmerich is a podcast from TAN that takes you through one of the most extraordinary books ever published. Follow along daily as Father Edward Looney works his way through the classic four-volume set, The Life of Jesus Christ and Biblical Revelations, by reading a passage from the book and then giving his commentary. Discover the visions of the famous 19th-century Catholic mystic, Blessed Anne Catherine Emmerich, a nun who was privileged by God to behold innumerable events of biblical times.Anne Catherine's visions included the birth, life, public ministry, Crucifixion, and Resurrection of Jesus Christ, as well as the founding of His Church. Besides describing persons, places, events, and traditions in intimate detail, she also sets forth the mystical significance of these visible realities. Here is the infinite love of God incarnate and made manifest for all to see, made all the more striking and vivid by the accounts Blessed Anne has relayed.Listen and subscribe to The Life of Jesus Christ in a Year: From the Visions of Anne Catherine Emmerich on your favorite podcast platform or at EmmerichPodcast.com.And for more great ways to deepen your faith, check out all the spiritual resources available at TANBooks.com and use Coupon Code ACE25 for 25% off your next order.

The Jazz Session No.397 from RaidersBroadcast.com as aired in January 2025, featuring some heavy improvisational brilliance, from the album “Ashirai Pattern”, released in 2003 by Faruq Z. Bey with the Northwood Improvisers. TRACK LISTING: You'll Know When You Get There - Herbie Hancock; Can You Dig It - Herbie Mann; Solid - Sonny Rollins; What's New - John Coltrane; Dragons - Faruq Z. Bey w. Northwood Improvisers; Sherrif Sam (Sound by Law) - Faruq Z. Bey w. Northwood Improvisers; Clarinet Blues - Freddie Randall & His Band; Sugar Foot Strut - Bob Crosby; Melancholy Baby - John Abercrombie Quartet; Touch Wood - Brand X; As the Trees Waltz - Mike Walker/Stuart McCallum; Seasick Part IV: Immortal Particles - Joshua Jaswon Octet; My Man's Gone Now - Bill Evans; And On The Third Day - Michael Gibbs with the Gary Burton Quartet; Shadow World - Faruq Z. Bey w. Northwood Improvisers; Undercurrent - Faruq Z. Bey w. Northwood Improvisers; Godchild - Miles Davis; Premonition  - John Surman; Last Night When We Were Young - Phil Woods Quintet; Dream Stalker - Jack DeJohnette.

link Трек-лист: 01. Земфира от Луки — DRAMATIQUE 02. La Femme — Si un Jour 03. Andy Hunter — The Wonders of You 04. Tricky feat. Knowle West Boy — Slow 05. Les Brown & His Band of Renown — I’ve Got My Love to Keep Me Warm (Psapp’s Lady Remix) 06. Валерий Меладзе — … Продолжить чтение Lofstrom loop 395 (28.12.2024)

House, funk, soul, bass and beats for open-minded listeners fresh beats and classic gems, presented by DJ D'Francisco. Featuring my latest remix, out now on Bandcamp https://sonsofken.bandcamp.com/album/bro-ken-beats Contact: fdisco@hotmail.com / @frankiedisco54 Catch the pod live every Friday afternoon on www.musicboxradio.co.uk 3-5 UK time, as a podcast or at www.mixcloud.com/francisco Tracklist Kokoroko - HigherY Bayani & His Band of Enlightenment, Reason & Love - Obar No NiMiatta Fahnbulleh - KokoliokoVisioneers - Still Making MemoriesMC Solaar - Nouveau WesternDream Warriors - My Definition of a Bombastic Jazz StyleDubmatix - Victory DubThe Orb - Perpetual DawnLenna Bahule - Vha Mame Vha Bheta (Quiet Dawn Remix)Quincy Jones - Pink Panther ThemeThe Last Poets ft Egypt 80 - Two Little BoysGnonnas Pedro etc ses Dadjes - La Musica En VeriteVisioneers - Eyes Don't LieLabelle - MoonshadowBig Maybelle - Whole Lotta Shakin' Goin'OnVictor Davis - Runaway TrainDelacy - HideawaySorley - SelfishMichael Jackson - Billie Jean (Bushwacka! Remix)El B - Serious (D'Francisco No MC Edit)Murder He Wrote - Rakim Riddim DJ ZINC feat ALICAI HARLEY - Bubble (Sully remix)M-Dubs - Bump N Grind

Feria Del Libro de Florencio Varela Alejandro Dolina, Patricio Barton, Gillespi Introducción • Entrada Segmento Inicial • La pescadería Segmento Dispositivo • La mitología inuit • "Por La Vereda Del Sol (On the Sunny Side of the Street) " ♫ (Jimmy McHugh, Dorothy Fields) Ted Lewis & His Band, 1930) Billie Holiday, 1944. Segmento Humorístico • Consejos para ser un buen peatón Sordo Gancé / Trío Sin Nombre • Presentación • "Mañana Campestre" ♫ (Arco Iris, Tiempo de Resurrección, 1972) • "Kilómetro 11" ♫ (Mario Del Tránsito Cocomarola/Constante Aguer, 1940) • "Sympathy for the devil" ♫ (The Rolling Stones, Beggars Banquet, 1968) • "Insensatez" ♫ (Antônio Carlos Jobim, Vinícius de Moraes) Canta João, 1961. Jobim, 1962. Nara Leão, 1971. • "Vamos Las Bandas" ♫ (P. Rey y Sus Redonditos de Ricota, Un Baión para el Ojo Idiota, 1988)

Cine Teatro Renzi, La Banda, Santiago del Estero Alejandro Dolina, Patricio Barton, Gillespi Introducción • Entrada0:01:50 Segmento Inicial • Consejos para ir a la plaza con tu hijo: consejos y riesgos0:07:12 Segmento Dispositivo • La cabeza de Franz Joseph Haydn0:41:46 • "A Rodar Mi Vida" ♫ Fito Páez, El Amor Después Del Amor, 1992. Segmento Humorístico • La vianda para el colegio0:58:01 Sordo Gancé / Trío Sin Nombre • Presentación1:18:55 • "Rezo Por Vos" ♫ (Único registro del truncado proyecto Spinetta/García, 1984) Privé, 1986. Parte De La Religión, 1987. • "Merceditas" ♫ (Ramón Sixto Ríos) Orquesta Típica Osmar Maderna, 1958. Renato Borghetti, 1984. • "Un Poco De Amor Francés" ♫ (P. Rey y Sus Redonditos de Ricota, La Mosca y la Sopa, 1991) • "Recuerdo Malevo" ♫ (Carlos Gardel/Alfredo Le Pera) Canta Gardel, 1933. • "Tan Solo" ♫ (Los Piojos, Chac Tu Chac, 1992) • "Por La Vereda Del Sol (On the Sunny Side of the Street) " ♫ (Jimmy McHugh, Dorothy Fields) Ted Lewis & His Band, 1930) Billie Holiday, 1944. • "Walter Nelson Man" ♫ (Contrafactum de Watermelon Man, Herbie Hancock, Takin' Off, 1962)

"Wozani Mahipi" - Mahotella Queens; "Blockhead" - The Monks; "Soul Time Nzimande Go" - Bra Sello & His Band; "Funky Message" - The Heroes; "Nkuli´s Shuffle" - The Klooks; "Soul ´Imbaq´" - The Soul Prophets; "Intandane (Part 1)" - Philip Malela & The Movers; "Bazali Bam" - Bazali Bam; "Akulalwa Soweto" - The Mgababa Queens; "Short Man´s Soul" - Down Tones; "Skophom" - The S.A. Move; "Wait And See" - The Heshoo Beshoo Band; "I Am There" - The Grasshoppers; "Last Time" - The Anchors; "Mosquito" - Flaming Souls; "Little Girl" - Soul Throbs; "Saduva" - Gibson Kente; "Lovey-Wami" - Electric Six; "Khubani" - J.K. Mayengar & The Shingwedzi SistersTodas las músicas extraídas de la recopilación (2xLP/1xCD) "Next Stop... Soweto Vol.2: Soul, Funk & Organ Grooves From The Townships 1969-1976" (Strut Records, 2010)Escuchar audio

La Venganza de los Lunes, el Eterno Retorno de lo Terrible Alejandro Dolina, Patricio Barton, Gillespi Introducción • Entrada0:01:48 Segmento Dispositivo • Presagios0:02:19 • El presagio en la obra artística0:15:29 • ¿A quién dedicar esto?0:19:45 • "Lo Que Vendrá" ♫ (Astor Piazzolla y su Nuevo Octeto, 1963) Segmento Humorístico • Etiqueta para encuentros en la escalera0:26:47 Segmento Humorístico • Trucos para conquistar a tu vecino0:50:12 Sordo Gancé / Trío Sin Nombre • Presentación1:16:12 • "Every Breath You Take" ♫ (The Police, Synchronicity, 1983) Versión demo. • "La Artillera" ♫ (La Cuartelera, autor desconocido) Los Chalchaleros, 1954. Versión con bandoneón de Dino Saluzzi, 1972. • "Love Me Do" ♫ (The Beatles, Single debut, 1962) • "Tan Solo" ♫ (Los Piojos, Chac Tu Chac, 1992) • "Por La Vereda Del Sol" ♫ (On the Sunny Side of the Street; Jimmy McHugh, Dorothy Fields, 1930) Ted Lewis & His Band. The Benny Goodman Sextet, canta Peggy Lee. • "Signed, Sealed, Delivered (I'm Yours)" ♫ (Stevie Wonder, Signed, Sealed & Delivered, 1970)

The Jazz Session No.372 from RaidersBroadcast.com as aired in Jul 2024, featuring the 1960 album “Out There” from Eric Dolphy and his unusual quartet. TRACK LISTING: She's A Woman - Jeff Beck; Eighteen - Pat Metheny; Rose and Sad Song - Carla Bley; Cacion Sin Nombre - Barbara Thompson's Paraphernalia; Feathers - Eric Dolphy; Out There - Eric Dolphy; Ain't Gonna Worry No More - Alex Korner's Skiffle Group; So Do I - Kenny Ball & His Jazzmen; Softly, As In The Morning Sunrise - Artie Shaw; Up In Dodo's Room - Howard McGhee & His Band; Aura - Bill Holman; Stardust - Howard McGhee & His Band; Loose Lid Special - Tommy Dorsey; Gammal Bröllopsmarsch - Jan Johansson; Wind Is Hunting - Whiskey Moon Face; Serene - Eric Dolphy; 17 West - Eric Dolphy; More Than You Know - Sonny Rollins; Out of Nowhere - Charlie Parker; Song of Island - Yasuhiro Kohno Trio + One; Argentina - Sebastian Spanache Trio.

Harry Hayes had a long career before beginning to record under his own name in 1944. Tours with Fred Elizalde, Louis Armstrong, Nat Gonella and Geraldo gave him a wide musical perspective and these 1944-47 recordings by Harry Hayes and His Band show a player comfortable playing ballads, up tempos swing, lead parts and even some early bop on alto sax. Accompanied by the cream of the British jazz establishment - Kenny Baker, George Chisholm, George Shearing, Tommy Whittle, Aubrey Franks and others - Hayes carved out an enviable reputation for musical quality! --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

The Richard Syrett Show, June 4th, 2024 Trudeau's mass immigration policies are crushing Canada https://www.westernstandard.news/opinion/morgan-trudeaus-mass-immigration-policies-are-crushing-canada/54919 Cory Morgan, Columnist with The Western Standard, Host of The Cory Morgan Show Spies Loose on Parliament Hill! https://www.blacklocks.ca/spy-hunt-on-parliament-hill/  Tom Korski, Managing Editor Blacklock's Reporter s Support Independent News Subscribe Here https://www.blacklocks.ca/ THE HOMESCHOOL ADVISOR 10 reasons to opt out of government indoctrination camps https://x.com/TheRobertBshow/status/1792927783305249100  Robert Bortins, CEO of Classical Conversations, Supporting Christian Classical Education in all fifty states and thirty foreign countries including Canada classicalconversations.com 80th Anniversary of D-Day https://www.skyhorsepublishing.com/9781684515158/into-the-cold-blue/?utm_source=substack&utm_medium=email Jared Frederick has a lifelong passion for American History. Prior to his current position as an Instructor of History at Penn State Altoona, Frederick served as a park ranger at Gettysburg National Military Park and Harpers Ferry National Historical Park. He is the author of several books including Dispatches of D-Day: A People's History of the Normandy Invasion, Hang Tough: The WWII Letters and Artifacts of Major Dick Winters, and Fierce Valor: The True Stories of Ronald Speirs and His Band of Brothers. He is the co-Author of Into the Cold Blue: My World War ll Journeys with The Mighty Eighth Air Force KEEPING AN EYE ON YOUR MONEY Taxpayers Federation warns new Streaming Tax will make life more expensive https://www.taxpayer.com/newsroom/taxpayers-federation-warns-new-streaming-tax-will-make-life-more-expensive  Jay Goldberg, Ontario Director of The Canadian Taxpayers Federation taxpayer.com THE SUR-THRIVE-A-LIST First-Aid - How to Treat Shock  Jason Storm Nelson, Disabled U.S. Army and Marine Veteran and Co-Founder of Prepper All-Naturals prepperbeef.com Learn more about your ad choices. Visit megaphone.fm/adchoices

The Jazz Session No.365 from RaidersBroadcast.com as aired in May-Jun 2024, featuring the amazing modern jazz album “Empire Central” from Snarky Puppy. TRACK LISTING: Sonya - Miles Davis; A Shade of Jade - Nubya Garcia; Too Busy - Ken Colyer's Jazzmen; Bessie Couldn't Help It - Billy Cotton & His Band; Bet - Snarky Puppy; Trinity - Snarky Puppy; Lover Man [at Ronnie Scott's] - Stan Tracey Quartet; Perdido - Dizzy Gillespie & His Orchestra; Memphis Underground - Herbie Mann; It Must Be a Camel - Frank Zappa; El Emadi - Yazz Ahmed; Islands - Steps Ahead; Do What You Gotta Do - Nina Simone; Viola - Sergio Mendes & Brasil '66; Pineapple - Snarky Puppy; RL's - Snarky Puppy; Did You Get It? - The New Gary Burton Quartet; The Impetus (To Be and Do Better) - Joel Ross; Through Space Our Minds Can Still Touch - Playtime; Mombasa - Fat-Suit.

 | Artist  | Title  | Album Name  | Album Copyright  | Sleepy John Estes  | Your Best Friend's Gone  | American Folk Blues Festival 1962-1965  CD4  | Lightnin' Hopkins  | Tom Moore's Farm  | Playing for the Man at the Door Disc 2  | Half Deaf Clatch  | 1927 Flood  | The Life and Death of A.J Rail  | Rory Block  | Let Us Get Together Right Down Here  | I Belong To The Band  | Pete Rea  | 10 The Zero Hour  | Zero Hour  |   | Hans Theessink and Big Daddy Wilson  | Hard Time Killing Floor  | Pay Day  |   |   | Bessie Jones & with the Georgia Sea Island Singers  | Prayer  | Get In Union  | Alan Lomax Archives/Association For Cultural Equity  | Charles -Cow Cow- Davenport  | Stealin' Blues  | Complete Recorded Works, Vol. 1  | Joakim Tinderholt and His Band  | 09 - How I Got To Memphis  | Deadlines  |   | Big Bill Broonzy  | Mistreatin' Mamma (18384)  | Complete Recorded Works in Chronological Order Vol. 1  | Arthur Montana Taylor  | Five O' Clocks (NYC 28/6/47)  | Montana Taylor  |   | Raphael Callaghan  | Living Blues  | Said And Done  |   | Lightnin' Hopkins & Joel Hopkins  | Shotgun Blues  | The Very Best Of Lightnin' Hopkins  | Pink Anderson  | South Forest Boogie  | Medicine Show Man  | Andres Roots  | The Sheik Of Hawaii, Pt. 1  | Drum Break  |   | Jake Leg Jug Band  | Easy Riding Mama  | Live At The Audley Theatre [

Playlist for The Everything Show 3/25/2024Traffic / Who Knows What Tomorrow May BringRöyksopp / Impossible (feat. Alison Goldfrapp)Einstürzende Neubauten / Ist IstDry Cleaning / Hot Penny Day (Charlotte Adigéry & Bolis Pupul Remix)Jamie Leeming / ChampionSlim & Slam / Jump SessionThe Record Company / Off The GroundAll Them Witches / DiamondMoby & Lady Blackbird / dark daysThe Trammps / Disco InfernoThe Velvet Underground / Run Run RunNine Inch Nails / OnlyThe Asteroid No.4 / Bad FruitGarland Jeffreys / Wild In The StreetsFrankie Miller / Ain't Got No MoneyBarry White / You're The First, The Last, My EverythingVopli Vidopliassova / Tovarish MaiorThe Shivas / You Make Me Wanna DieZing! Went the Strings of My Heart / Lew Stone & His Band (1935)Zing! Went the Strings of My Heart / The Coasters (1958)Khruangbin / Pon PónAfroCubism / Al Vaivén de Mi CarretaSarah Vaughan / SummertimeLinda Ronstadt / Blue BayouBolis Pupul / Doctor SaysT. Rex / Mambo SunBroken Bells / Mongrel HeartBig Lazy / Ramona

Chapter 2: Judas and His Band

Johnny Windhurst was born in 1926 and by the time he was in his late teens was playing with Eddie Condon and Sidney Bechet. Here is a sampling of his work - informed in equal parts by Bobby Hackett and Louis Armstrong. Sidney Bechet's New Orleans Rhythm Kings (with Pops Foster), Eddie Condon and His Band (with Cutty Cutshall, Ed Hall and Gene Schroeder), Barbara Lea and the Billy Taylor Quintet, Walt Gifford's New Yorkers (with Condon, Eddie Hubble, Dick Cary and Bob Mitchell) and his own quartet in Boston. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Get ready for an electrifying ride through the soulful realm of blues with the latest episode of "Blues is the Truth," presented by the incomparable Ian McHugh! This week, the podcast is back with a bang as the legendary Paul Michael returns to deliver his signature Blues driver segment, and he's brought along the extraordinary Cliff Hillis to join the conversation. Tune in to immerse yourself in a sonic journey featuring a stellar lineup of blues maestros. From the heart-wrenching melodies of Elles Bailey to the timeless classics of Jo Ann Kelly, this episode is a tribute to the rich tapestry of blues music. Feel the raw emotion and passion as Brandon Isaac, Jan James, and the Robert Cray Band paint the airwaves with their soul-stirring tunes. But that's not all – brace yourself for an exclusive musical experience with tracks from Michael Messer and Chaz Jankel, Eric Clapton, Oscar Wilson, Chris O'Leary, and the iconic Santo and Johnny. The blues extravaganza continues with Tommy Conwell, Giles Robson, and the incomparable Buddy Guy, whose guitar riffs will transport you to a world where the blues reign supreme. As if that weren't enough, the episode features a diverse lineup, including Patti Parks, Ronnie Algren, John Mayall and the Bluesbreakers, Grace Potter, Joakim Tinderholt and His Band, and the timeless Curtis Mayfield. Don't miss the soulful sounds of The Allman Brothers Band, Robert Connell Far, BB King, Dave Ferra, Johnny Winter, and the Headhunters Blues Band, who will leave you craving for more.

In this episode, James again interviews professor, reenactor, and YouTuber Jared Frederick, this time about his 2022 book (co-authored with Erik Dorr) Fierce Valor: The True Story of Ronald Speirs and His Band of Brothers. Jared and James discuss the fascinating military career of Ronald Speirs, the final World War II commander of the 101st Airborne Division's Easy Company and a key character of the award-winning 2001 HBO miniseries Band of Brothers.

"Tunes of the Season: Phish, Grateful Dead, and Merry Jams"Larry Mishkin   discusses Christmas-themed songs performed by various artists, including The Who and Grateful Dead. Larry delves into The Who's rock opera "Tommy," particularly focusing on the song "Christmas" and its critical reception. He transitions to discussing Grateful Dead's rendition of Chuck Berry's "Run, Rudolph, Run" performed at the Felt Forum in 1971 and analyzes its significance in the band's repertoire.Larry further explores the potential residency of bands like Dead & Company at the Sphere in Las Vegas, following U2's shows there. He touches on Phish's upcoming performances at the same venue and discusses the difficulty in acquiring tickets for these highly anticipated shows.Later, Larry reminisces about New Year's Eve shows by various bands, specifically mentioning Grateful Dead's memorable performances during the countdown. He also features unconventional Christmas renditions by Phish and Jerry Garcia with David Grisman..Produced by PodConx   Theme – Rock n Roll ChristmasIf you were in the Mishkin household earlier this morning, you might have heard this blasting out of the speakers:INTRO:               ChristmasThe WhoFebruary 14, 1970University of Leeds, Leeds, England  aka  “Live At Leeds”The Who - Christmas - Live At Leeds (with Footage) (youtube.com)2:00 – 3:17 "Christmas" is a song written by Pete Townshend and is the seventh song on The Who's rock opera Tommy. On the original LP, it opens the second side of the album.  Tommy is the fourth studio album by the English rock band the Who, first released on 19 May 1969.[2] Primarily written by guitarist Pete Townshend, Tommy is a double album and an early rock opera that tells the story of Tommy Walker and his experiences through life. The song tells how on Christmas morning, Tommy's father is worried about Tommy's future, and soul. His future is jeopardized due to being deaf, dumb, and blind.[2] The lyrics contrast religious themes such as Christmas and Jesus Christ with Tommy's ignorance of such matters. The rhetorical question, "How can he be saved from the eternal grave?" is asked about Tommy's condition and adds speculation as to the nature of original sin and eternal salvation. In the middle of the song, "Tommy can you hear me?" is repeated, with Tommy responding, "See me, feel me, touch me, heal me." "Christmas" was praised by critics. Richie Unterberger of AllMusic called it an "excellent song."[5]Rolling Stone's Mac Randall said it was one of several "prime Pete Townshend songs" on the album.[6] A review in Life by Albert Goldman considered it beautiful and highlighted the song's "croaking chorus".[7] James Perone said it was "perhaps one of the best sleeper tracks of the collection." Townshend came up with the concept of Tommy after being introduced to the work of Meher Baba, and he attempted to translate Baba's teachings into music. Recording on the album began in September 1968, but took six months to complete as material needed to be arranged and re-recorded in the studio. Tommy was acclaimed upon its release by critics, who hailed it as the Who's breakthrough. Its critical standing diminished slightly in later years; nonetheless, several writers view it as an important and influential album in the history of rock music. The Who promoted the album's release with an extensive tour, including a live version of Tommy, which lasted throughout 1969 and 1970. Key gigs from the tour included appearances at Woodstock, the 1969 Isle of Wight Festival, the University of Leeds, the Metropolitan Opera House, and the 1970 Isle of Wight Festival. The live performances of Tommy drew critical praise and revitalised the band's career. Live at Leeds is the first live album by English rock band the Who. It was recorded at the University of Leeds Refectory on 14 February 1970, and is their only live album that was released while the group were still actively recording and performing with their best-known line-up of Roger Daltrey, Pete Townshend, John Entwistle and Keith Moon. The album was released on 11 May 1970 by Decca and MCA in the United States,[2] and by Track and Polydor in the United Kingdom. It has been reissued on several occasions and in several different formats. Since its release, Live at Leeds has been ranked by several music critics as the best live rock recording of all time SHOW No. 1:                   Run Rudolph RunGrateful DeadFelt Forum at MSG, NYCDecember 7, 1971Track No. 10Grateful Dead Live at Felt Forum, Madison Square Garden on 1971-12-07 : Free Borrow & Streaming : Internet Archive0:11 – 1:54 Run Rudolph Run"[2][3][4] is a Christmas song written by Chuck Berry but credited to Johnny Marks and M. Brodie due to Marks' trademark on the character of Rudolph the Red-Nosed Reindeer.[5][note 1] It was published by St. Nicholas Music (ASCAP) and was first recorded by Berry in 1958, released as a single on Chess Records.It has since been covered by numerous other artists, sometimes with the title "Run Run Rudolph".[16] The song is a 12-bar blues, musically similar to Berry's popular and recognizable song "Johnny B. Goode", and melodically similar to his song "Little Queenie", the latter of which was released shortly after, in 1959.During its initial chart run, Berry's 1958 recording peaked at number 69 on the Billboard Hot 100 chart in December 1958.[22] Sixty years later, the single re-entered the Hot 100 chart at number 45 (on the week ending January 5, 2019), reaching an overall peak position of number 10 on the week ending January 2, 2021, following its third chart re-entry, becoming Berry's third top-ten hit and his first since 1972's "My Ding-a-Ling". In doing so, it broke the record for the longest climb to the top 10 since its first entry in December 1958, at 62 years and two weeks.This Ciip:Out of Brokedown Palace and into You Win AgainPlayed a total of 7 times.This was the first timeLast:  December 15, 1971 Hill Auditorium, Ann Arbor, MI  SHOW No. 2:     Little Drummer BoyPhishJuly 3, 1999Coca Cola Lakewood Amphitheatre, Atlanta, GAPhish - The Little Drummer Boy - 7/3/1999 - Atlanta, GA (youtube.com)Start to 1:30 Out of Contact to close the second set.  Played it again as the first encore (into, Won't You Come Home Bill Bailery starring Page's dad, Jack, on vocals and kazoo. "The Little Drummer Boy" (originally known as "Carol of the Drum") is a Czechoslovakian popular Christmas song written by American composer Katherine Kennicott Davis in 1941.[1] First recorded in 1951 by the Austrian Trapp Family, the song was further popularized by a 1958 recording by the Harry Simeone Chorale; the Simeone version was re-released successfully for several years, and the song has been recorded many times since.[2] In the lyrics, the singer relates how, as a poor young boy, he was summoned by the Magi to the Nativity of Jesus. Without a gift for the Infant, the little drummer boy played his drum with approval from Jesus' mother, Mary, recalling, "I played my best for him" and "He smiled at me". Phish has only performed the song three times during the month of December – the debut performance segueing out of “Mike's Song” and into “Whipping Post,” a tease during the 12/28/94 “Weekapaug Groove,” and jammed out of the “YEM” vocal jam (12/2/99) (which melted down until Jon was left singing it to close the set). But the song was jammed out of season during “My Friend, My Friend” (3/18/93) and “Stash” (7/15/93), and teased during “Weekapaug Groove” and “Big Ball Jam” (4/9/94), “Wilson” (8/13/97), “Silent in the Morning” (7/4/99), and "Wilson" (4/16/04). This version is generally considered to be Fishman's most memorable version.  SHOW No. 3:     God Rest Ye Merry GentlemenJerry Garcia and David GrismanNovember 9, 1991Warfield Theater, S.F.God Rest Ye Merry Gentlemen - Jerry Garcia - Bing videoStart – 1:37Out of The Two Sisters to close second set "God Rest You Merry, Gentlemen" is an English traditional Christmas carol. It is in the Roxburghe Collection (iii. 452), and is listed as no. 394 in the Roud Folk Song Index. It is also known as "Tidings of Comfort and Joy", and by other variant incipits. An early version of this carol is found in an anonymous manuscript, dating from the 1650s it appeared in a parody published in 1820 by William Hone.               Story here is the way Jerry and David play so tight, trading off leads and filling in gaps.  A great sound for a traditional tune.  There are many sides of Jerry and we don't get to see all of them.  Nice to take a break from the traditional Dead stuff and take a look in at what else Garcia was doing during that creative period of his life. SHOW No. 4:                   Stagger LeeGrateful DeadDecember 30, 1985Track No. 6Grateful Dead Live at Oakland Coliseum on 1985-12-30 : Free Borrow & Streaming : Internet ArchiveStart – 1:32 As is made clear by the opening lyrics, this is a tale about events that unfolded and played out on Christmas: “1940 Xmas Eve with a full moon over town”.  On some occasions, Jerry was  known to substitute in “Christmas” Eve. "Stagger Lee", also known as "Stagolee" and other variants, is a popular American folk song about the murder of Billy Lyons by "Stag" Lee Shelton, in St. Louis, Missouri, at Christmas 1895. The song was first published in 1911 and first recorded in 1923, by Fred Waring's Pennsylvanians, titled "Stack O' Lee Blues". A version by Lloyd Price reached number one on the Billboard Hot 100 in 1959. The historical Stagger Lee was Lee Shelton, an African-American pimp living in St. Louis, Missouri, in the late 19th century. He was nicknamed Stag Lee or Stack Lee, with a variety of explanations being given: he was given the nickname because he "went stag" (went to social events unaccompanied by a person of the opposite sex); he took the nickname from a well-known riverboat captain called Stack Lee; or, according to John and Alan Lomax, he took the name from a riverboat owned by the Lee family of Memphis called the Stack Lee, which was known for its on-board prostitution.[2] Shelton was well known locally as one of the Macks, a group of pimps who demanded attention through their flashy clothing and appearance.[3] In addition to those activities, he was the captain of a black Four Hundred Club, a social club with a dubious reputation. On Christmas night in 1895, Shelton and his acquaintance William "Billy" Lyons were drinking in the Bill Curtis Saloon. Lyons was also a member of St. Louis' underworld, and may have been a political and business rival to Shelton. Eventually, the two men got into a dispute, during which Lyons took Shelton's Stetson hat.[5]Subsequently, Shelton shot Lyons, recovered his hat, and left.[6] Lyons died of his injuries, and Shelton was charged, tried, and convicted of the murder in 1897. He was paroled in 1909, but returned to prison in 1911 for assault and robbery. He died in incarceration in 1912. The Grateful Dead frequently played and eventually recorded a version of the tale which focuses on the fictionalized hours after the death of "Billy DeLyon", when Billy's wife Delia tracks down Stagger Lee in a local saloon and "she shot him in the balls" in revenge for Billy's death. Based on the traditional song "Stagger Lee", "Stagolee" or "Stack O'Lee." Robert Hunter wrote a version that he performed solo, and Jerry Garcia subsequently re-ordered the lyrics and rewrote the music for the Grateful Dead's version. More recently Bob Weir has also been performing some of the older traditional versions with Ratdog. Dead released it on Shakedown Street, Nov. 8, 1978 Played 146 times by the Dead1st:  August 30, 1978Last:  June 18, 1995 Giants Stadium  OUTRO:              Santa Clause Is Coming To TownBruce Springsteen and the E Street BandCW Post University, Greenvale, NYDecember, 19756Santa Claus Is Comin' to Town (Live at C.W. Post College, Greenvale, NY - December 1975) - Bing video2:15 - 4:00               Santa Claus Is Comin' to Town" is a Christmas song featuring Santa Claus, written by J. Fred Coots and Haven Gillespie and first recorded by Harry Reser and His Band.[1] When it was covered by Eddie Cantor on his radio show in November 1934 it became a hit; within 24 hours, 500,000 copies of sheet music and more than 30,000 records were sold.[2][3] The version for Bluebird Records by George Hall and His Orchestra (vocal by Sonny Schuyler) was very popular in 1934 and reached the various charts of the day.[4] The song has been recorded by over 200 artists including Bing Crosby and the Andrews Sisters, the Crystals, Neil Diamond, Fred Astaire, Bruce Springsteen, Frank Sinatra, Bill Evans, Chris Isaak, the Temptations, The Pointer Sisters, the Carpenters, Michael Bublé, Luis Miguel, and the Jackson 5 A rock version by Bruce Springsteen & the E Street Band was recorded on December 12, 1975, at C. W. Post College in Brookville, New York, by Record Plant engineers Jimmy Iovine and Thom Panunzio.[14][15] This version borrows the chorus refrain from the 1963 recording by the Crystals.[16] It was first released as a track on the 1981 Sesame Street compilation album, In Harmony 2, as well as on a 1981 promotional, radio-only, 7-inch single (Columbia AE7 1332).[17][18] Four years later, it was released as the B-side to "My Hometown," a single off the Born in the U.S.A. album.[19] Springsteen's rendition of the song has received radio airplay perennially at Christmastime for years; it appeared on Billboard magazine's Hot Singles Recurrents chart each year from 2002 to 2009 due to seasonal air play. Live performances of the song often saw the band encouraging the audience to sing some of the lyrics with—or in place of—the band's vocalists (usually the line "you'd better be good for goodness sake", and occasionally the key line "Santa Claus is Comin' to Town" as well). Sometimes, concert crowds would sing along with the entire song, and the band, who were known to encourage this behavior for the song, would do nothing to dissuade those audiences from doing so, instead welcoming the crowds' enthusiasm. This version remains a Springsteen concert favorite during the months of November and December (often concluding the show), and the band is among the few that keep it in their roster of songs during the holidays. Dead & Co at the Sphere?Phish – sold out fast Merry ChristmasHappy Holidays .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Merry Christmas and Happy Holidays to all our listeners!  This short episode is an introduction to David's 3 favorite pieces of Christmas music: Samuel Barber: Die Natali Benjamin Britten: Ceremony of Carols Les Brown & His Band of Renown: Nutcracker Suite *In the episode,  Episode 54 is promoted as part 2, but that episode will be a special Christmas episode. Let me know your thoughts on this episode at https://www.speakpipe.com/MusicianToolkit or you can send me a written message at https://www.davidlanemusic.com/contact  You can find this episode and links to this show on all podcast apps from https://musiciantoolkit.podbean.com/ . If you enjoyed this, please give it a rating and review on the podcast app of your choice.  You can also now find the podcast at https://www.davidlanemusic.com/toolkit You can follow David Lane AND the Musician Toolkit podcast on Facebook @DavidMLaneMusic, on Instagram and TikTok @DavidLaneMusic, and on YouTube @davidlanemusic1 This episode is sponsored by Fons, an online platform that helps private teachers of all types (music, yoga, martial arts, academic tutoring, coaches, etc) with smooth, automated assistance such as securing timely automatic payments and scheduling.  Click here for more information or to begin your free trial.

Perhaps the first true New Orleans revival session - George Lewis and His Band was essentially the same group that recorded with Bunk Johnson, but with Avery "Kid" Howard bringing a more modern style to the band. Jim Robinson, Lawrence Marrero, Chester Zardis, Edgar Mosely and "Jim Little" (Sidney Brown) round out the group. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

The Jazz Session No.341 from RaidersBroadcast.com as aired in December 2023, featuring the 1985 ECM special ‘Works', from jazz master Chick Corea. TRACK LISTING: Samba Triste - Stan Getz & Charlie Byrd; September 13 - Deodato; Got Butter On It - Banjo' Ikey Robinson & His Band; Nobody's Sweetheart - Eddie Condon ; Noon Song - Chick Corea; Brasilia (Lyric Suite for Sextet) - Chick Corea; Just the Way You Are {Billy Joel] - Diana Krall; Piano Man - Billy Joel; Django - The Gil Evans Orchestra; The Severn Vales - Peter Long; Gareth - Flightless Birds; Hangover - Guthrie Govan; You Go To My Head - Bill Holman; Mona's Mood - Jimmy Heath Orchestra; Slippery When Wet, w. Miroslav Vitous, Roy Haynes - Chick Corea; Children's Songs Addendum, w. Ida Kavafian, Fred Sherry - Chick Corea; Bubbles - Count Basie & His Orchestra; Groovin' High - Dizzy Gillespie & Charlie Parker; Potter's Field - Tom Waits; Leaving Trunk - Taj Mahal.

George Martin, un genio que aunó la tradición de la orquesta clásica con los instrumentos del pop, del rock, del soul... Canciones con maravillosos arreglos de vientos y metales. De California a Bilbao. Del Algarve a Londres. De Buenos Aires a Nueva Jersey. De Macon (Georgia, EEUU) a Jackson, Tennessee, o a Dallas en Texas. DISCO 1 AMERICA Hideway Part II (HIDEWAY)DISCO 2 AMERICA Amber Cascades (ARCHIVES. DISC II)DISCO 3 MADNESS C’est La VieDISCO 4 THE BAMBOOS Better Than ThatDISCO 5 THE CHERRY BOPPERS Feat. Patricia Reckless When You SmileDISCO 6 VALERIE JUNE Use MeDISCO 7 MAX BEESLEY’S HIGH VIBES Sergio’s BagDISCO 8 THE BAHAMA SOUL CLUB The Rooster Calls feat. Josephine NightingaleDISCO 9 CALEQUI & LAS PANTERAS & & Francisco El Hombre Bailando en SampaDISCO 10 JOHN PIZZARELLI The Lady Is A TrampDISCO 11 PETER GABRIEL Playing For TimeDISCO 12 LITTLE RICHARD & HIS BAND Send Me Some Lovin'DISCO 13 THE POLIPHONIC SPREE Galloping Seas (Section 44)Escuchar audio

The Jazz Session No.333 from RaidersBroadcast.com as aired in October 2023, featuring the classic 1964 album “Song for my Father” from the Horace Silver Quintet. TRACK LISTING: When Lights Are Low - Benny Carter and his Swing Quartet; Lester's Be Bop Boogie - Lester Young & His Band; Children's Games - Antonio Carlos Jobim; Para Machuchar Meu Coracao - Stan Getz and Joao Gilberto; Song For My Father - The Horace Silver Quintet ; The Natives are Restless Tonight - The Horace Silver Quintet ; Unknown Soldier - Weather Report; One of A Kind [live] - Herbie Hancock; Body and Soul - Duke Ellington's Spacemen; Jordu - Clifford Brown & Max Roach; Dr Jazz - Sandy Brown's Jazz Band; The World Is Waiting for the Sunshine - Ken Colyer's Jazzmen; Sunrise - Norah Jones; Do What You Gotta Do - Nina Simone; The Kicker - The Horace Silver Quintet ; Calcutta Cutie - The Horace Silver Quintet ; Strid - GoGo Penguin; El Juicio - Keith Jarrett; Flight 19 - Andrew Hill, ft. Anthony Williams, Eric Dolphy etc; Latin Silk - Buddy Rich.

Early British Trad - The beginnings of the traditional jazz boom in England - New Orleans-styled dixieland by Freddy Mirfield's Garbage Men, Freddy Randall and His Band and George Webb's Dixielanders . .Wally Fawkes, Humphrey Lyttleton, Al Mead, Johnny Dankworth, Bruce Turner . . great hot sounds by young musicians! --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Lester Raymond Brown was an American jazz musician who led the big band Les Brown and His Band of Renown for nearly seven decades.

The beginnings of the traditional jazz boom in England - New Orleans-styled dixieland by Freddy Mirfield's Garbage Men, Freddy Randall and His Band and George Webb's Dixielanders . .Wally Fawkes, Humphrey Lyttleton, Al Mead, Johnny Dankworth, Bruce Turner . . great hot sounds by young musicians! --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

The Jazz Session No.322 from RaidersBroadcast.com as aired in Aug 2023, featuring Miles Davis' funky 1992 album “Doo Bop”. TRACK LISTING: Turnstile - Gerry Mulligan; No Moe - Sonny Rollins; Maple Leaf Rag - Humphrey Lyttelton & His Band; Bugle Call Rag - Billy Banks and His Orchestra; Duke Booty - Miles Davis; Blow - Miles Davis; Iron Man - Eric Dolphy; Big Step - Empirical; Further - Federica Michisanti Trioness; Misha, A Miner - John Pope Quintet; Streaking - Joe Qualiano Y Su Orquestra; Comin' Home Baby - Herbie Mann & Chick Corea; Hallelujah - Joe Puma; No Sooner Said Than Done - George Benson; Sonya - Miles Davis; Mystery - Miles Davis; Autumn Serenade - Harry James; Harold In Italy - Ray McKinley; On Such Short Notice - Sebastian Spanache Trio; Extinct - Dinosaur, w. Laura Jurd.

Episode 175: Chris Wollard of Hot Water Music, The Ship Thieves, and The Draft talks to us about Looking At The Self, Guitar Talk & Chris' First Guitar Is Still His Main Guitar, Art Process And A Discussion About Discovery and Creativity, The Influence And Affect Of Naked Raygun On Hot Water Music, Playing Your Heart Out When No One Is There Or Nobody Wants You There, Chris' Real World Relationship with Naked Raygun and His Band's Participation On Godspeed - A Tribute To Pierre Kezdy, plus much much hot hot moon setting darkness now more more more!Info for The Naked Raygun Tribute: Godspeed:Pre-order the vinyl: LINK // Pre-order digital album: LINK // Order Merch: LINK

The Jazz Session No.313 from RaidersBroadcast.com as aired in June 2023, featuring an excellent and recent album “Tierra Del Fuego” from 2020, from the legendary jazz drummer Billy Cobham. TRACK LISTING: Latin Silk - Buddy Rich; Joy Spring - Clifford Brown & Max Roach; Softly, As In the Morning Sunrise - Artie Shaw; Dream a Little Dream Of Me - Ella Fitzgerald & Louis Armstrong; Bara "Boom" Chick - Billy Cobham; Symbiosis - Billy Cobham; Windows - Chick Corea; Pout's Over (and the Day's Not Through) - Keith Jarrett Trio; Ginnungagap - Abbie Finn Trio; Arrival - Beyond Albedo, w. Sarah Heneghan; Aja - Steely Dan; Big City - Lenny White; Rockin' In Rhythm - Harry Hayes, and His Band; Some Other Sky - Acoustic Ladyland; Petra in 3 Phases - Billy Cobham; Through the Eye of the Needle - Billy Cobham; Penpals - The Stan Tracey Quartet; Groovin' High - Dizzie Gillespie w/ the Charlie Parker Quintet; Beelzebub - Bill Bruford; Petty Larceny - Art Blakey.

Best Of Preston & Steve ShowOn this episode:Top 30 Saddest Songs of All Time (00:00:00)Show & Tell (00:36:38)Don McCloskey & His Band (01:06:10)Jamie Lee Curtis & Junk Drawer, Buzz Aldrin (01:36:46) Bizarre Files (02:04:05)Billy Eichner & Luke MacFarlane (02:11:24)Falling Into a Dumpster(02:31:15)Bizarre Files (02:59:02)Hollywood Trash & Preston's Laboratory (03:08:47)   

This second part of the story of Irving Berlin's life picks up after WWI, and covers his family life, his rise to fame, and the controversies that were part of his career. Research: Bergreen, Laurence. “Irving Berlin: This Is the Army.” Prologue. Summer 1996, Vol. 28, No. 2 https://www.archives.gov/publications/prologue/1996/summer/irving-berlin-1 Carlson, Olivia. “What's White Christmas without Minstrelsy?” Music 345: Race, Identity, and Representation in American Music. Student Blogs and Library Exhibit Companion. https://pages.stolaf.edu/americanmusic/2021/10/25/whats-white-christmas-without-minstrelsy/ CBS Sunday Morning. “American songsmith Irving Berlin.” Via YouTube. https://www.youtube.com/watch?v=DV9uq8z2k5E Greten, Paula Anne. “Irving Berlin.” American History. August 2006. Hamm, Charles. “Irving Berlin -- Songs from the Melting Pot: The Formative Years, 1907-1914.” Oxford University Press. Via New York Times. https://archive.nytimes.com/www.nytimes.com/books/first/h/hamm-berlin.html Hamm, Charles. “Alexander and His Band.” American Music , Spring, 1996, Vol. 14, No. 1 (Spring, 1996). Via JSTOR. https://www.jstor.org/stable/3052459 Hyland, William G. “The Best Songwriter Of Them All.” Commentary. October 1990. "Irving Berlin." St. James Encyclopedia of Popular Culture Online, Gale, 2013. Gale In Context: U.S. History, link.gale.com/apps/doc/K2419200098/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=be3b3028. Accessed 16 Nov. 2022. Jewish Lives. “Irving Berlin.” Podcast. Episode 4. 11/18/2019. Jewish Virtual Library. “Irving Berlin.” https://www.jewishvirtuallibrary.org/irving-berlin Judaism Unbound. “Bonus Episode: Irving Berlin – Judah Cohen (American Jewish History #5).” Podcast. Episode 248, October 2 2019. Kaplan, James. “Irving Berlin: New York Genius.” Yale University Press. 2019. Kennedy Center. “This Land is Your Land: The story behind the song.” https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/media-and-interactives/media/music/story-behind-the-song/the-story-behind-the-song/this-land-is-your-land/ Magee, Jeffrey. "'Everybody Step': Irving Berlin, jazz, and Broadway in the 1920s." Journal of the American Musicological Society, vol. 59, no. 3, fall 2006, pp. 697+. Gale General OneFile, link.gale.com/apps/doc/A157180372/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=07c374cd. Accessed 16 Nov. 2022. Markel, Howard. “How Irving Berlin's blue skies turned to blue days.” PBS NewsHour. 9/24/2021. https://www.pbs.org/newshour/health/how-irving-berlins-blue-skies-turned-to-blue-days Maslon, Laurence. “Overture.” (And following pages) The Irving Berlin Music Company. https://www.irvingberlin.com/overture Schiff, David. “For Everyman, By Everyman.” The Atlantic Monthly. March 1996. Spitzer, Nick. “The Story Of Woody Guthrie's 'This Land Is Your Land'.” NPR. 2/15/2012. https://www.npr.org/2000/07/03/1076186/this-land-is-your-land The Irving Berlin Music Company. “Irving Berlin.” https://static1.squarespace.com/static/57d1974abe6594a72075321b/t/5a5f673eec212d2269841cf4/1516201791369/Irving+Berlin+-+official+biography.pdf White, Timothy. “Irving Berlin Knew Pop Music's Power.” Billboard. Vol. 111, Issue 21. 5/22/1999. Twentieth Century-Fox Film Corp. v. Dieckhaus, 153 F.2d 893, 898 (8th Cir. 1946) https://casetext.com/case/twentieth-century-fox-film-corp-v-dieckhaus Bornstein, George. "Say it with music." TLS. Times Literary Supplement, no. 5698, 15 June 2012, p. 9. Gale Literature Resource Center, link.gale.com/apps/doc/A667239228/LitRC?u=mlin_oweb&sid=googleScholar&xid=7d90f5a8. Accessed 2 Dec. 2022. See omnystudio.com/listener for privacy information.

The immeasurably famous Irving Berlin seems like the perfect example of a U.S. immigrant success story. But reality is complicated and imperfect, and so was Berlin's music-filled life. Research: Bergreen, Laurence. “Irving Berlin: This Is the Army.” Prologue. Summer 1996, Vol. 28, No. 2 https://www.archives.gov/publications/prologue/1996/summer/irving-berlin-1 Carlson, Olivia. “What's White Christmas without Minstrelsy?” Music 345: Race, Identity, and Representation in American Music. Student Blogs and Library Exhibit Companion. https://pages.stolaf.edu/americanmusic/2021/10/25/whats-white-christmas-without-minstrelsy/ CBS Sunday Morning. “American songsmith Irving Berlin.” Via YouTube. https://www.youtube.com/watch?v=DV9uq8z2k5E Greten, Paula Anne. “Irving Berlin.” American History. August 2006. Hamm, Charles. “Irving Berlin -- Songs from the Melting Pot: The Formative Years, 1907-1914.” Oxford University Press. Via New York Times. https://archive.nytimes.com/www.nytimes.com/books/first/h/hamm-berlin.html Hamm, Charles. “Alexander and His Band.” American Music , Spring, 1996, Vol. 14, No. 1 (Spring, 1996). Via JSTOR. https://www.jstor.org/stable/3052459 Hyland, William G. “The Best Songwriter Of Them All.” Commentary. October 1990. "Irving Berlin." St. James Encyclopedia of Popular Culture Online, Gale, 2013. Gale In Context: U.S. History, link.gale.com/apps/doc/K2419200098/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=be3b3028. Accessed 16 Nov. 2022. Jewish Lives. “Irving Berlin.” Podcast. Episode 4. 11/18/2019. Jewish Virtual Library. “Irving Berlin.” https://www.jewishvirtuallibrary.org/irving-berlin Judaism Unbound. “Bonus Episode: Irving Berlin – Judah Cohen (American Jewish History #5).” Podcast. Episode 248, October 2 2019. Kaplan, James. “Irving Berlin: New York Genius.” Yale University Press. 2019. Kennedy Center. “This Land is Your Land: The story behind the song.” https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/media-and-interactives/media/music/story-behind-the-song/the-story-behind-the-song/this-land-is-your-land/ Magee, Jeffrey. "'Everybody Step': Irving Berlin, jazz, and Broadway in the 1920s." Journal of the American Musicological Society, vol. 59, no. 3, fall 2006, pp. 697+. Gale General OneFile, link.gale.com/apps/doc/A157180372/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=07c374cd. Accessed 16 Nov. 2022. Markel, Howard. “How Irving Berlin's blue skies turned to blue days.” PBS NewsHour. 9/24/2021. https://www.pbs.org/newshour/health/how-irving-berlins-blue-skies-turned-to-blue-days Maslon, Laurence. “Overture.” (And following pages) The Irving Berlin Music Company. https://www.irvingberlin.com/overture Schiff, David. “For Everyman, By Everyman.” The Atlantic Monthly. March 1996. Spitzer, Nick. “The Story Of Woody Guthrie's 'This Land Is Your Land'.” NPR. 2/15/2012. https://www.npr.org/2000/07/03/1076186/this-land-is-your-land The Irving Berlin Music Company. “Irving Berlin.” https://static1.squarespace.com/static/57d1974abe6594a72075321b/t/5a5f673eec212d2269841cf4/1516201791369/Irving+Berlin+-+official+biography.pdf White, Timothy. “Irving Berlin Knew Pop Music's Power.” Billboard. Vol. 111, Issue 21. 5/22/1999. Twentieth Century-Fox Film Corp. v. Dieckhaus, 153 F.2d 893, 898 (8th Cir. 1946) https://casetext.com/case/twentieth-century-fox-film-corp-v-dieckhaus Bornstein, George. "Say it with music." TLS. Times Literary Supplement, no. 5698, 15 June 2012, p. 9. Gale Literature Resource Center, link.gale.com/apps/doc/A667239228/LitRC?u=mlin_oweb&sid=googleScholar&xid=7d90f5a8. Accessed 2 Dec. 2022. See omnystudio.com/listener for privacy information.

TN'R RETURN! From an alternate dimension called Orange County. After not recording for weeks, there is plenty to discuss like box sets, RIP Coolio, Lil Stevie's show and, of course, the universally loved Buddy the Elf. Oh also Corey Feldman, and His Band.

Mike Beck is one of the greatest guys I know.He has led a humble, hard-working life. He carries many a kind notion in his soul, and has invoked more laughter in others than one could possibly calculate.He's a son that made his parents proud, a funny brother, a loving husband, a caring father, and a fantastic dude to have as an uncle.Although he was admittedly nervous, Mike made the trek from Lee's Summit to sit with me and kick around a few details about his list of badass records, and we did so for Episode #36. Mike picked Led Zeppelin II (1969), Crosby, Stills, Nash, & Young's Deja Vu (1970), Moondance (1970) by Van Morrison, 1973's Yessongs, and Rumors (1977) by Fleetwood Mac.In addition, we discussed retirement and bucket lists and parenthood and family and holiday traditions and music festivals, as well as a couple of other things I'm probably forgetting.So, please check out our chat, and please take Mike's community-curated Spotify playlist out for a spin. I know it was a project he enjoyed, and he'd really enjoy you enjoying it, too.Anyhoo...that's all for now. Thank you for stopping by.copyright disclaimer: I do not own the rights to the intro/outro audio. They are clips from a track called "I've Been Working," which I lifted from Van Morrison's 1970 album entitled, His Band and the Street Choir (c/o Warner Records Inc. Marketed by Rhino Entertainment Company, a Warner Music Group Company).

On today's episode we have the pleasure of speaking with Jared Frederick author of Fierce Valor: The True Story of Ronald Speirs and His Band of Brothers.Links from the show:Fierce Valor: The True Story of Ronald Speirs and his Band of BrothersHang Tough: The WWII Letters and Artifacts of Major Dick WintersBand of Brothers - BookBand of Brothers - ShowVanguard of the Crusade: The 101st Airborne Division in World War IIConnect with JaredReel HistoryGettysburg Museum of HistoryConnect with RyanAbout my guest:Jared Frederick has a lifelong passion for American History. Prior to his career in academia, Frederick served as a park ranger at Gettysburg National Military Park and Harpers Ferry National Historical Park.Frederick has long been involved in the world of Public and Digital History, including historical interpretation and development at numerous cultural sites. As an active reenactor and historical presenter, he firmly believes the past can be taught in spheres beyond the traditional classroom.Frederick has appeared on C-SPAN, PBS, the Pennsylvania Cable Network, WW2TV, National Park Service productions, and various online documentaries. In 2019, he acted as a guest host on Turner Classic Movies for the channel's 25th anniversary. He is also the host of the popular YouTube series "Reel History."In addition to teaching a variety of courses pertaining to United States History at the Altoona campus, Frederick is currently completing his doctoral dissertation in the American Studies program at Penn State Harrisburg. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit dispatchesfromthewarroom.substack.com

Is Accountability Finally Coming for Fauci and His Band of NIH-Funded Scientists?

Peach Kelli Pop [mm:ss] "Panchito Blues II" Peach Kelli Pop Burger Records BRGR293 2013 A quick bit of garagey fun. Peach Kelli Pop [mm:ss] "Princess Castle 1987" Peach Kelli Pop Burger Records BRGR925 2015 Another ripping opener. Pearl Charles [mm:ss] "Night and Day" Pearl Charles Kanine Records KR148 2016 Great lead-off to Pearl's debut album, on some lovely yellow vinyl. Cocteau Twins [mm:ss] "Hazel" Peppermint Pig 4AD BAD 303 1983 Evidently Robin Guthrie felt this release was rubbish. And yet, here we are listening to it. Al Caiolo [mm:ss] "Jazz Pizzacato" Percussion and Guitars Time Records S/2000 1960 Guitars! Percussion! Stereo separation! And liner notes by Nat Hentoff! Rudi Bohn and His Band [mm:ss] "Mack the Knife" Percussive Oompah London Records SP 44009 1961 Mack the Knife meets Bridge Over the River Kwai? In separated stereo of course. If you're going to go with some Brecht/Weill martial music, why not the "Cannon Song (https://youtu.be/OcmMmHQU8cg)"? Half Japanese [mm:ss] "Listen to Your Heart" Perfect Joyful Noise Recordings JNR183 2016 Love does indeed call. Jad Fair's fifteenth studio album as Half Japanese, featuring some assistance from Deerhoof's John Dieterich helping out with guitar as well as handling the mixing and mastering. The Command All-Stars [mm:ss] "Perdido" Persuasive Percussion Volume 3 Command RS 817 SD 1960 What's that you want more stereo separation demonstrations? You got it, with this fun standard. Astute viewers of Only Murders in the Building may notice that Charles (Steve Martin) has all four volumes of Persuasuve Percussion framed in his kitchen. Odd you say? Well no, Charles is clearly an astute art collector (as is Steve Martin) and the covers for that series are designed by non other than Josef Albers (https://en.wikipedia.org/wiki/Josef_Albers). That would also explain the Ed Ruscha in the kitchen (https://edruscha.com/works/nice-hot-vegetables/). Nadja & Vampillia [mm:ss] "Aurora" The Perfect World Important Records IMPREC385 2013 Side one, track one of the ethereal collaboration between Nadja and Vampillia. Tones on Tail [mm:ss] "Performance" Performance Beggars Banquet BEG 106T 1984 A fine dark wave outing from this Bauhaus off-shoot featuring Daniel Ash, Kevin Haskins, and Glenn Camping. Sterling Holloway [mm:ss] "Peter and the Wolf (Intro)" Peter and the Wolf/The Sorcerer's Apprentice Disneyland 1242 1958 (originally) A nice introduction to the orchestra. Kiss [mm:ss] "You Matter to Me" Peter Criss Casablanca NBLP 7122 1978 Listener, you matter to me which is why I chose one of the shorter tracks from this not very good album. Peter Criss may be a kitty cat but this album is pretty much a dog. In case you're wondering Peter is the only member of Kiss performing on this record. The Pirates [mm:ss] "A Pirate's Life" Walt Disney's Peter Pan Disneyland 1206 1976 Never shoot a man in the middle of his cadenza. Petra Haden [mm:ss] "Goldfinger Main Title" Petra Goes to the Movies Anti- 87219-1 2013 All vocals, all awesome as per usual with Petra. And remember kids, before there was Glee, there was Petra Haden's version of "Don't Stop Believin'" (https://youtu.be/-kXbHf1SwGk) on the Engine Rooms Recordings compilation Guilt by Association. New England Conservatory Chorus [mm:ss] "Barkin: Two Emily Dickinson Choruses (Second Chorus)" Peyton: The Blessed Virgin, Ceely: Flee Floret Florens, Monod: Cantus Contra Cantum III, Barkin: Two Emily Dickinson Choruses, Davidson: Along the Edge Composers Recordings Inc. CRI SD 482 1982 Well, there's something you don't hear every day. Phoebe Snow [mm:ss] "San Francisco Bay Blues" Phoebe Snow Shelter Records SRL 52017 1974 The distinctive stylings of Ms. Snow taking a pass at this standard. Music behind the DJ: "Professor Fate" by Henry Mancini and his Orchestra

No paratrooper in the legendary “Band of Brothers” – a WW2 parachute rifle company part of the 101st Airborne Division in the U.S. Army -- was more enigmatic than Ronald Speirs. Rumored to have gunned down enemy prisoners and even one of his own disobedient sergeants, he was one of World War II's most storied soldiers, a controversial man whose ferocity and courage earned him the nickname “Killer.” But who was the real Ronald Speirs?Most accounts about him end in 1945, but today's guest Jared Frederick, author of Fierce Valor: The True Story of Ronald Speirs and His Band of Brothers, unveil the full story of Easy Company's longest-serving commander and, for the first time, tell of his lesser-known exploits in Korea, the Cold War and Laos. We explore how• Speirs was a complex, driven man, and not a dark caricature as some have imagined him• Speirs was deeply shaped by his whirlwind wartime romance with Edwyna. Theirs was a marriage that tragically ended in divorce after she discovered her first love was not dead, but a POW. Decades later, Speirs wrote about her, “I loved her and still do”• Speirs survived gut-wrenching Cold War assignments in Korea and grinding battles with the Chinese. These lesser-known exploits come to light fully for the first time in Fierce Valor As Easy Company's most colorful and controversial figures, Spiers was a soldier whose ferocious courage in three foreign conflicts was matched by his devotion to duty and the bittersweet passions of wartime romance.

D-Day is June 6. We have all heard of Easy Company, the Band of Brothers and Dick Winters but little has been written of Ronald Speirs, the longest serving commander of Easy Company. Join me in conversation with co-author Jared Frederick as we discuss his new book Fierce Valor: The True Story of Ronald Speirs and His Band of Brothers  published by Regnery History.        

Episode one hundred and thirty-seven of A History of Rock Music in Five Hundred Songs looks at “Papa's Got a Brand New Bag” by James Brown, and at how Brown went from a minor doo-wop artist to the pioneer of funk. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "I'm a Fool" by Dino, Desi, and Billy. 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/ NB an early version of this was uploaded, in which I said "episode 136" rather than 137 and "flattened ninth" at one point rather than "ninth". I've fixed that in a new upload, which is otherwise unchanged. Resources As usual, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. I relied mostly on fur books for this episode. James Brown: The Godfather of Soul, by James Brown with Bruce Tucker, is a celebrity autobiography with all that that entails, but a more interesting read than many. Kill ‘Em and Leave: Searching for the Real James Brown, by James McBride is a more discursive, gonzo journalism piece, and well worth a read. Black and Proud: The Life of James Brown by Geoff Brown is a more traditional objective biography. And Douglas Wolk's 33 1/3 book on Live at the Apollo is a fascinating, detailed, look at that album. This box set is the best collection of Brown's work there is, but is out of print. This two-CD set has all the essential hits. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Introduction, the opening of Live at the Apollo. "So now, ladies and gentlemen, it is star time. Are you ready for star time? [Audience cheers, and gives out another cheer with each musical sting sting] Thank you, and thank you very kindly. It is indeed a great pleasure to present to you in this particular time, national and international known as the hardest working man in showbusiness, Man that sing "I'll Go Crazy"! [sting] "Try Me" [sting] "You've Got the Power" [sting] "Think" [sting], "If You Want Me" [sting] "I Don't Mind" [sting] "Bewildered" [sting] million-dollar seller "Lost Someone" [sting], the very latest release, "Night Train" [sting] Let's everybody "Shout and Shimmy" [sting] Mr. Dynamite, the amazing Mr. Please Please himself, the star of the show, James Brown and the Famous Flames"] In 1951, the composer John Cage entered an anechoic chamber at Harvard University. An anechoic chamber is a room that's been completely soundproofed, so no sound can get in from the outside world, and in which the walls, floor, and ceiling are designed to absorb any sounds that are made. It's as close as a human being can get to experiencing total silence. When Cage entered it, he expected that to be what he heard -- just total silence. Instead, he heard two noises, a high-pitched one and a low one. Cage was confused by this -- why hadn't he heard the silence? The engineer in charge of the chamber explained to him that what he was hearing was himself -- the high-pitched noise was Cage's nervous system, and the low-pitched one was his circulatory system. Cage later said about this, "Until I die there will be sounds. And they will continue following my death. One need not fear about the future of music." The experience inspired him to write his most famous piece, 4'33, in which a performer attempts not to make any sound for four minutes and thirty-three seconds. The piece is usually described as being four minutes and thirty-three seconds of silence, but it actually isn't -- the whole point is that there is no silence, and that the audience is meant to listen to the ambient noise and appreciate that noise as music. Here is where I would normally excerpt the piece, but of course for 4'33 to have its full effect, one has to listen to the whole thing. But I can excerpt another piece Cage wrote. Because on October the twenty-fourth 1962 he wrote a sequel to 4'33, a piece he titled 0'00, but which is sometimes credited as "4'33 no. 2". He later reworked the piece, but the original score, which is dedicated to two avant-garde Japanese composers, Toshi Ichiyanagi and his estranged wife Yoko Ono, reads as follows: "In a situation provided with maximum amplification (no feedback), perform a disciplined action." Now, as it happens, we have a recording of someone else performing Cage's piece, as written, on the day it was written, though neither performer nor composer were aware that that was what was happening. But I'm sure everyone can agree that this recording from October the 24th, 1962, is a disciplined action performed with maximum amplification and no feedback: [Excerpt: James Brown, "Night Train" (Live at the Apollo version)] When we left James Brown, almost a hundred episodes ago, he had just had his first R&B number one, with "Try Me", and had performed for the first time at the venue with which he would become most associated, the Harlem Apollo, and had reconnected with the mother he hadn't seen since he was a small child. But at that point, in 1958, he was still just the lead singer of a doo-wop group, one of many, and there was nothing in his shows or his records to indicate that he was going to become anything more than that, nothing to distinguish him from King Records labelmates like Hank Ballard, who made great records, put on a great live show, and are still remembered more than sixty years later, but mostly as a footnote. Today we're going to look at the process that led James Brown from being a peer of Ballard or Little Willie John to being arguably the single most influential musician of the second half of the twentieth century. Much of that influence is outside rock music, narrowly defined, but the records we're going to look at this time and in the next episode on Brown are records without which the entire sonic landscape of the late twentieth and early twenty-first centuries would be unimaginably different. And that process started in 1958, shortly after the release of "Try Me" in October that year, with two big changes to Brown's organisation. The first was that this was -- at least according to Brown -- when he first started working with Universal Attractions, a booking agency run by a man named Ben Bart, who before starting his own company had spent much of the 1940s working for Moe Gale, the owner of the Savoy Ballroom and manager of the Ink Spots, Louis Jordan, and many of the other acts we looked at in the very first episodes of this podcast. Bart had started his own agency in 1945, and had taken the Ink Spots with him, though they'd returned to Gale a few years later, and he'd been responsible for managing the career of the Ravens, one of the first bird groups: [Excerpt: The Ravens, "Rock Me All Night Long"] In the fifties, Bart had become closely associated with King Records, the label to which Brown and the Famous Flames were signed. A quick aside here -- Brown's early records were released on Federal Records, and later they switched to being released on King, but Federal was a subsidiary label for King, and in the same way that I don't distinguish between Checker and Chess, Tamla and Motown, or Phillips and Sun, I'll just refer to King throughout. Bart and Universal Attractions handled bookings for almost every big R&B act signed by King, including Tiny Bradshaw, Little Willie John, the "5" Royales, and Hank Ballard and the Midnighters. According to some sources, the Famous Flames signed with Universal Attractions at the same time they signed with King Records, and Bart's family even say it was Bart who discovered them and got them signed to King in the first place. Other sources say they didn't sign with Universal until after they'd proved themselves on the charts. But everyone seems agreed that 1958 was when Bart started making Brown a priority and taking an active interest in his career. Within a few years, Bart would have left Universal, handing the company over to his son and a business partner, to devote himself full-time to managing Brown, with whom he developed an almost father-son relationship. With Bart behind them, the Famous Flames started getting better gigs, and a much higher profile on the chitlin circuit. But around this time there was another change that would have an even more profound effect. Up to this point, the Famous Flames had been like almost every other vocal group playing the chitlin' circuit, in that they hadn't had their own backing musicians. There were exceptions, but in general vocal groups would perform with the same backing band as every other act on a bill -- either a single backing band playing for a whole package tour, or a house band at the venue they were playing at who would perform with every act that played that venue. There would often be a single instrumentalist with the group, usually a guitarist or piano player, who would act as musical director to make sure that the random assortment of musicians they were going to perform with knew the material. This was, for the most part, how the Famous Flames had always performed, though they had on occasion also performed their own backing in the early days. But now they got their own backing band, centred on J.C. Davis as sax player and bandleader, Bobby Roach on guitar, Nat Kendrick on drums, and Bernard Odum on bass. Musicians would come and go, but this was the core original lineup of what became the James Brown Band. Other musicians who played with them in the late fifties were horn players Alfred Corley and Roscoe Patrick, guitarist Les Buie, and bass player Hubert Perry, while keyboard duties would be taken on by Fats Gonder, although James Brown and Bobby Byrd would both sometimes play keyboards on stage. At this point, as well, the lineup of the Famous Flames became more or less stable. As we discussed in the previous episode on Brown, the original lineup of the Famous Flames had left en masse when it became clear that they were going to be promoted as James Brown and the Famous Flames, with Brown getting more money, rather than as a group. Brown had taken on another vocal group, who had previously been Little Richard's backing vocalists, but shortly after "Try Me" had come out, but before they'd seen any money from it, that group had got into an argument with Brown over money he owed them. He dropped them, and they went off to record unsuccessfully as the Fabulous Flames on a tiny label, though the records they made, like "Do You Remember", are quite good examples of their type: [Excerpt: The Fabulous Flames, "Do You Remember?"] Brown pulled together a new lineup of Famous Flames, featuring two of the originals. Johnny Terry had already returned to the group earlier, and stayed when Brown sacked the rest of the second lineup of Flames, and they added Lloyd Bennett and Bobby Stallworth. And making his second return to the group was Bobby Byrd, who had left with the other original members, joined again briefly, and then left again. Oddly, the first commercial success that Brown had after these lineup changes was not with the Famous Flames, or even under his own name. Rather, it was under the name of his drummer, Nat Kendrick. Brown had always seen himself, not primarily as a singer, but as a band leader and arranger. He was always a jazz fan first and foremost, and he'd grown up in the era of the big bands, and musicians he'd admired growing up like Lionel Hampton and Louis Jordan had always recorded instrumentals as well as vocal selections, and Brown saw himself very much in that tradition. Even though he couldn't read music, he could play several instruments, and he could communicate his arrangement ideas, and he wanted to show off the fact that he was one of the few R&B musicians with his own tight band. The story goes that Syd Nathan, the owner of King Records, didn't like the idea, because he thought that the R&B audience at this point only wanted vocal tracks, and also because Brown's band had previously released an instrumental which hadn't sold. Now, this is a definite pattern in the story of James Brown -- it seems that at every point in Brown's career for the first decade, Brown would come up with an idea that would have immense commercial value, Nathan would say it was the most ridiculous thing he'd ever heard, Brown would do it anyway, and Nathan would later admit that he was wrong. This is such a pattern -- it apparently happened with "Please Please Please", Brown's first hit, *and* "Try Me", Brown's first R&B number one, and we'll see it happen again later in this episode -- that one tends to suspect that maybe these stories were sometimes made up after the fact, especially since Syd Nathan somehow managed to run a successful record label for over twenty years, putting out some of the best R&B and country records from everyone from Moon Mullican to Wynonie Harris, the Stanley Brothers to Little Willie John, while if these stories are to be believed he was consistently making the most boneheaded, egregious, uncommercial decisions imaginable. But in this case, it seems to be at least mostly true, as rather than being released on King Records as by James Brown, "(Do the) Mashed Potatoes" was released on Dade Records as by Nat Kendrick and the Swans, with the DJ Carlton Coleman shouting vocals over Brown's so it wouldn't be obvious Brown was breaking his contract: [Excerpt: Nat Kendrick and the Swans, "(Do the)" Mashed Potatoes"] That made the R&B top ten,  and I've seen reports that Brown and his band even toured briefly as Nat Kendrick and the Swans, before Syd Nathan realised his mistake, and started allowing instrumentals to be released under the name "James Brown presents HIS BAND", starting with a cover of Bill Doggett's "Hold It": [Excerpt: James Brown Presents HIS BAND, "Hold It"] After the Nat Kendrick record gave Brown's band an instrumental success, the Famous Flames also came back from another mini dry spell for hits, with the first top twenty R&B hit for the new lineup, "I'll Go Crazy", which was followed shortly afterwards by their first pop top forty hit, "Think!": [Excerpt: James Brown and the Famous Flames, "Think!"] The success of "Think!" is at least in part down to Bobby Byrd, who would from this point on be Brown's major collaborator and (often uncredited) co-writer and co-producer until the mid-seventies. After leaving the Flames, and before rejoining them, Byrd had toured for a while with his own group, but had then gone to work for King Records at the request of Brown. King Records' pressing plant had equipment that sometimes produced less-than-ideal pressings of records, and Brown had asked Byrd to take a job there performing quality control, making sure that Brown's records didn't skip. While working there, Byrd also worked as a song doctor. His job was to take songs that had been sent in as demos, and rework them in the style of some of the label's popular artists, to make them more suitable, changing a song so it might fit the style of the "5" Royales or Little Willie John or whoever, and Byrd had done this for "Think", which had originally been recorded by the "5" Royales, whose leader, Lowman Pauling, had written it: [Excerpt: The "5" Royales, "Think"] Byrd had reworked the song to fit Brown's style and persona. It's notable for example that the Royales sing "How much of all your happiness have I really claimed?/How many tears have you cried for which I was to blame?/Darlin', I can't remember which was my fault/I tried so hard to please you—at least that's what I thought.” But in Brown's version this becomes “How much of your happiness can I really claim?/How many tears have you shed for which you was to blame?/Darlin', I can't remember just what is wrong/I tried so hard to please you—at least that's what I thought.” [Excerpt: James Brown and the Famous Flames, "Think"] In Brown's version, nothing is his fault, he's trying to persuade an unreasonable woman who has some problem he doesn't even understand, but she needs to think about it and she'll see that he's right, while in the Royales' version they're acknowledging that they're at fault, that they've done wrong, but they didn't *only* do wrong and maybe she should think about that too. It's only a couple of words' difference, but it changes the whole tenor of the song. "Think" would become the Famous Flames' first top forty hit on the pop charts, reaching number thirty-three. It went top ten on the R&B charts, and between 1959 and 1963 Brown and the Flames would have fifteen top-thirty R&B hits, going from being a minor doo-wop group that had had a few big hits to being consistent hit-makers, who were not yet household names, but who had a consistent sound that could be guaranteed to make the R&B charts, and who put on what was regarded as the best live show of any R&B band in the world. This was partly down to the type of discipline that Brown imposed on his band. Many band-leaders in the R&B world would impose fines on their band members, and Johnny Terry suggested that Brown do the same thing. As Bobby Byrd put it, "Many band leaders do it but it was Johnny's idea to start it with us and we were all for it ‘cos we didn't want to miss nothing. We wanted to be immaculate, clothes-wise, routine-wise and everything. Originally, the fines was only between James and us, The Famous Flames, but then James carried it over into the whole troupe. It was still a good idea because anybody joining The James Brown Revue had to know that they couldn't be messing up, and anyway, all the fines went into a pot for the parties we had." But Brown went much further with these fines than any other band leader, and would also impose them arbitrarily, and it became part of his reputation that he was the strictest disciplinarian in rhythm and blues music. One thing that became legendary among musicians was the way that he would impose fines while on stage. If a band member missed a note, or a dance step, or missed a cue, or had improperly polished shoes, Brown would, while looking at them, briefly make a flashing gesture with his hand, spreading his fingers out for a fraction of a second. To the audience, it looked like just part of Brown's dance routine, but the musician knew he had just been fined five dollars. Multiple flashes meant multiples of five dollars fined. Brown also developed a whole series of other signals to the band, which they had to learn, To quote Bobby Byrd again: "James didn't want anybody else to know what we was doing, so he had numbers and certain screams and spins. There was a certain spin he'd do and if he didn't do the complete spin you'd know it was time to go over here. Certain screams would instigate chord changes, but mostly it was numbers. James would call out football numbers, that's where we got that from. Thirty-nine — Sixteen —Fourteen — Two — Five — Three — Ninety-eight, that kind of thing. Number thirty-nine was always the change into ‘Please, Please, Please'. Sixteen is into a scream and an immediate change, not bam-bam but straight into something else. If he spins around and calls thirty-six, that means we're going back to the top again. And the forty-two, OK, we're going to do this verse and then bow out, we're leaving now. It was amazing." This, or something like this, is a fairly standard technique among more autocratic band leaders, a way of allowing the band as a whole to become a live compositional or improvisational tool for their leader, and Frank Zappa, for example, had a similar system. It requires the players to subordinate themselves utterly to the whim of the band leader, but also requires a band leader who knows the precise strengths and weaknesses of every band member and how they are likely to respond to a cue. When it works well, it can be devastatingly effective, and it was for Brown's live show. The Famous Flames shows soon became a full-on revue, with other artists joining the bill and performing with Brown's band. From the late 1950s on, Brown would always include a female singer. The first of these was Sugar Pie DeSanto, a blues singer who had been discovered (and given her stage name) by Johnny Otis, but DeSanto soon left Brown's band and went on to solo success on Chess records, with hits like "Soulful Dress": [Excerpt: Sugar Pie DeSanto, "Soulful Dress"] After DeSanto left, she was replaced by  Bea Ford, the former wife of the soul singer Joe Tex, with whom Brown had an aggressive rivalry and mutual loathing. Ford and Brown recorded together, cutting tracks like "You Got the Power": [Excerpt: James Brown and Bea Ford, "You Got the Power"] However, Brown and Ford soon fell out, and Brown actually wrote to Tex asking if he wanted his wife back. Tex's response was to record this: [Excerpt: Joe Tex, "You Keep Her"] Ford's replacement was Yvonne Fair, who had briefly replaced Jackie Landry in the Chantels for touring purposes when Landry had quit touring to have a baby. Fair would stay with Brown for a couple of years, and would release a number of singles written and produced for her by Brown, including one which Brown would later rerecord himself with some success: [Excerpt: Yvonne Fair, "I Found You"] Fair would eventually leave the band after getting pregnant with a child by Brown, who tended to sleep with the female singers in his band. The last shows she played with him were the shows that would catapult Brown into the next level of stardom. Brown had been convinced for a long time that his live shows had an energy that his records didn't, and that people would buy a record of one of them. Syd Nathan, as usual, disagreed. In his view the market for R&B albums was small, and only consisted of people who wanted collections of hit singles they could play in one place. Nobody would buy a James Brown live album. So Brown decided to take matters into his own hands. He decided to book a run of shows at the Apollo Theatre, and record them, paying for the recordings with his own money. This was a week-long engagement, with shows running all day every day -- Brown and his band would play five shows a day, and Brown would wear a different suit for every show. This was in October 1962, the month that we've already established as the month the sixties started -- the month the Beatles released their first single, the Beach Boys released their first record outside the US, and the first Bond film came out, all on the same day at the beginning of the month. By the end of October, when Brown appeared at the Apollo, the Cuban Missile Crisis was at its height, and there were several points during the run where it looked like the world itself might not last until November 62. Douglas Wolk has written an entire book on the live album that resulted, which claims to be a recording of the midnight performance from October the twenty-fourth, though it seems like it was actually compiled from multiple performances. The album only records the headline performance, but Wolk describes what a full show by the James Brown Revue at the Apollo was like in October 1962, and the following description is indebted to his book, which I'll link in the show notes. The show would start with the "James Brown Orchestra" -- the backing band. They would play a set of instrumentals, and a group of dancers called the Brownies would join them: [Excerpt: James Brown Presents His Band, "Night Flying"] At various points during the set, Brown himself would join the band for a song or two, playing keyboards or drums. After the band's instrumental set, the Valentinos would take the stage for a few songs. This was before they'd been taken on by Sam Cooke, who would take them under his wing very soon after these shows, but the Valentinos were already recording artists in their own right, and had recently released "Lookin' For a Love": [Excerpt: The Valentinos, "Lookin' For a Love"] Next up would be Yvonne Fair, now visibly pregnant with her boss' child, to sing her few numbers: [Excerpt: Yvonne Fair, "You Can Make it if You Try"] Freddie King was on next, another artist for the King family of labels who'd had a run of R&B hits the previous year, promoting his new single "I'm On My Way to Atlanta": [Excerpt: Freddie King, "I'm on My Way to Atlanta"] After King came Solomon Burke, who had been signed to Atlantic earlier that year and just started having hits, and was the new hot thing on the scene, but not yet the massive star he became: [Excerpt: Solomon Burke, "Cry to Me"] After Burke came a change of pace -- the vaudeville comedian Pigmeat Markham would take the stage and perform a couple of comedy sketches. We actually know exactly how these went, as Brown wasn't the only one recording a live album there that week, and Markham's album "The World's Greatest Clown" was a result of these shows and released on Chess Records: [Excerpt: Pigmeat Markham, "Go Ahead and Sing"] And after Markham would come the main event. Fats Gonder, the band's organist, would give the introduction we heard at the beginning of the episode -- and backstage, Danny Ray, who had been taken on as James Brown's valet that very week (according to Wolk -- I've seen other sources saying he'd joined Brown's organisation in 1960), was listening closely. He would soon go on to take over the role of MC, and would introduce Brown in much the same way as Gonder had at every show until Brown's death forty-four years later. The live album is an astonishing tour de force, showing Brown and his band generating a level of excitement that few bands then or now could hope to equal. It's even more astonishing when you realise two things. The first is that this was *before* any of the hits that most people now associate with the name James Brown -- before "Papa's Got a Brand New Bag" or "Sex Machine", or "It's a Man's Man's Man's World" or "Say it Loud I'm Black and I'm Proud" or "Funky Drummer" or "Get Up Offa That Thing". It's still an *unformed* James Brown, only six years into a fifty-year career, and still without most of what made him famous. The other thing is, as Wolk notes, if you listen to any live bootleg recordings from this time, the microphone distorts all the time, because Brown is singing so loud. Here, the vocal tone is clean, because Brown knew he was being recorded. This is the sound of James Brown restraining himself: [Excerpt: James Brown and the Famous Flames, "Night Train" (Live at the Apollo version)] The album was released a few months later, and proved Syd Nathan's judgement utterly, utterly, wrong. It became the thirty-second biggest selling album of 1963 -- an amazing achievement given that it was released on a small independent label that dealt almost exclusively in singles, and which had no real presence in the pop market. The album spent sixty-six weeks on the album charts, making number two on the charts -- the pop album charts, not R&B charts. There wasn't an R&B albums chart until 1965, and Live at the Apollo basically forced Billboard to create one, and more or less single-handedly created the R&B albums market. It was such a popular album in 1963 that DJs took to playing the whole album -- breaking for commercials as they turned the side over, but otherwise not interrupting it. It turned Brown from merely a relatively big R&B star into a megastar. But oddly, given this astonishing level of success, Brown's singles in 1963 were slightly less successful than they had been in the previous few years -- possibly partly because he decided to record a few versions of old standards, changing direction as he had for much of his career. Johnny Terry quit the Famous Flames, to join the Drifters, becoming part of the lineup that recorded "Under the Boardwalk" and "Saturday Night at the Movies". Brown also recorded a second live album, Pure Dynamite!, which is generally considered a little lacklustre in comparison to the Apollo album. There were other changes to the lineup as well as Terry leaving. Brown wanted to hire a new drummer, Melvin Parker, who agreed to join the band, but only if Brown took on his sax-playing brother, Maceo, along with him. Maceo soon became one of the most prominent musicians in Brown's band, and his distinctive saxophone playing is all over many of Brown's biggest hits. The first big hit that the Parkers played on was released as by James Brown and his Orchestra, rather than James Brown and the Famous Flames, and was a landmark in Brown's evolution as a musician: [Excerpt: James Brown and his Orchestra, "Out of Sight"] The Famous Flames did sing on the B-side of that, a song called "Maybe the Last Time", which was ripped off from the same Pops Staples song that the Rolling Stones later ripped off for their own hit single. But that would be the last time Brown would use them in the studio -- from that point on, the Famous Flames were purely a live act, although Bobby Byrd, but not the other members, would continue to sing on the records. The reason it was credited to James Brown, rather than to James Brown and the Famous Flames, is that "Out of Sight" was released on Smash Records, to which Brown -- but not the Flames -- had signed a little while earlier. Brown had become sick of what he saw as King Records' incompetence, and had found what he and his advisors thought was a loophole in his contract. Brown had been signed to King Records under a personal services contract as a singer, not under a musician contract as a musician, and so they believed that he could sign to Smash, a subsidiary of Mercury, as a musician. He did, and he made what he thought of as a fresh start on his new label by recording "Caldonia", a cover of a song by his idol Louis Jordan: [Excerpt: James Brown and his Orchestra, "Caldonia"] Understandably, King Records sued on the reasonable grounds that Brown was signed to them as a singer, and they got an injunction to stop him recording for Smash -- but by the time the injunction came through, Brown had already released two albums and three singles for the label. The injunction prevented Brown from recording any new material for the rest of 1964, though both labels continued to release stockpiled material during that time. While he was unable to record new material, October 1964 saw Brown's biggest opportunity to cross over to a white audience -- the TAMI Show: [Excerpt: James Brown, "Out of Sight (TAMI show live)"] We've mentioned the TAMI show a couple of times in previous episodes, but didn't go into it in much detail. It was a filmed concert which featured Jan and Dean, the Barbarians, Lesley Gore, Chuck Berry, the Beach Boys, Gerry and the Pacemakers, Billy J Kramer and the Dakotas, Marvin Gaye, the Miracles, the Supremes, and, as the two top acts, James Brown and the Rolling Stones. Rather oddly, the point of the TAMI Show wasn't the music as such. Rather it was intended as a demonstration of a technical process. Before videotape became cheap and a standard, it was difficult to record TV shows for later broadcast, for distribution to other countries, or for archive. The way they used to be recorded was a process known as telerecording in the UK and kinescoping in the US, and that was about as crude as it's possible to get -- you'd get a film camera, point it at a TV showing the programme you wanted to record, and film the TV screen. There was specialist equipment to do this, but that was all it actually did. Almost all surviving TV from the fifties and sixties -- and even some from the seventies -- was preserved by this method rather than by videotape. Even after videotape started being used to make the programmes, there were differing standards and tapes were expensive, so if you were making a programme in the UK and wanted a copy for US broadcast, or vice versa, you'd make a telerecording. But what if you wanted to make a TV show that you could also show on cinema screens? If you're filming a TV screen, and then you project that film onto a big screen, you get a blurry, low-resolution, mess -- or at least you did with the 525-line TV screens that were used in the US at the time. So a company named Electronovision came into the picture, for those rare times when you wanted to do something using video cameras that would be shown at the cinema. Rather than shoot in 525-line resolution, their cameras shot in 819-line resolution -- super high definition for the time, but capable of being recorded onto standard videotape with appropriate modifications for the equipment. But that meant that when you kinescoped the production, it was nearly twice the resolution that a standard US TV broadcast would be, and so it didn't look terrible when shown in a cinema. The owner of the Electronovision process had had a hit with a cinema release of a performance by Richard Burton as Hamlet, and he needed a follow-up, and decided that another filmed live performance would be the best way to make use of his process -- TV cameras were much more useful for capturing live performances than film cameras, for a variety of dull technical reasons, and so this was one of the few areas where Electronovision might actually be useful. And so Bill Roden, one of the heads of Electronovision, turned to a TV director named Steve Binder, who was working at the time on the Steve Allen show, one of the big variety shows, second only to Ed Sullivan, and who would soon go on to direct Hullaballoo. Roden asked Binder to make a concert film, shot on video, which would be released on the big screen by American International Pictures (the same organisation with which David Crosby's father worked so often). Binder had contacts with West Coast record labels, and particularly with Lou Adler's organisation, which managed Jan and Dean. He also had been in touch with a promoter who was putting on a package tour of British musicians. So they decided that their next demonstration of the capabilities of the equipment would be a show featuring performers from "all over the world", as the theme song put it -- by which they meant all over the continental United States plus two major British cities. For those acts who didn't have their own bands -- or whose bands needed augmenting -- there was an orchestra, centred around members of the Wrecking Crew, conducted by Jack Nitzsche, and the Blossoms were on hand to provide backing vocals where required. Jan and Dean would host the show and sing the theme song. James Brown had had less pop success than any of the other artists on the show except for the Barbarians, who are now best-known for their appearances on the Nuggets collection of relatively obscure garage rock singles, and whose biggest hit, "Are You a Boy or Are You a Girl?" only went to number fifty-five on the charts: [Excerpt: The Barbarians, "Are You a Boy or Are You a Girl?"] The Barbarians were being touted as the American equivalent of the Rolling Stones, but the general cultural moment of the time can be summed up by that line "You're either a girl or you come from Liverpool" -- which was where the Rolling Stones came from. Or at least, it was where Americans seemed to think they came from given both that song, and the theme song of the TAMI show, written by P.F. Sloan and Steve Barri, which sang about “the Rolling Stones from Liverpool”, and also referred to Brown as "the king of the blues": [Excerpt: Jan and Dean, "Here They Come From All Over The World"] But other than the Barbarians, the TAMI show was one of the few places in which all the major pop music movements of the late fifties and early sixties could be found in one place -- there was the Merseybeat of Gerry and the Pacemakers and the Dakotas, already past their commercial peak but not yet realising it, the fifties rock of Chuck Berry, who actually ended up performing one song with Gerry and the Pacemakers: [Excerpt: Chuck Berry and Gerry and the Pacemakers: "Maybellene"] And there was the Brill Building pop of Lesley Gore, the British R&B of the Rolling Stones right at the point of their breakthrough, the vocal surf music of the Beach Boys and Jan and Dean, and three of the most important Motown acts, with Brown the other representative of soul on the bill. But the billing was a sore point. James Brown's manager insisted that he should be the headliner of the show, and indeed by some accounts the Rolling Stones also thought that they should probably not try to follow him -- though other accounts say that the Stones were equally insistent that they *must* be the headliners. It was a difficult decision, because Brown was much less well known, but it was eventually decided that the Rolling Stones would go on last. Most people talking about the event, including most of those involved with the production, have since stated that this was a mistake, because nobody could follow James Brown, though in interviews Mick Jagger has always insisted that the Stones didn't have to follow Brown, as there was a recording break between acts and they weren't even playing to the same audience -- though others have disputed that quite vigorously. But what absolutely everyone has agreed is that Brown gave the performance of a lifetime, and that it was miraculously captured by the cameras. I say its capture was miraculous because every other act had done a full rehearsal for the TV cameras, and had had a full shot-by-shot plan worked out by Binder beforehand. But according to Steve Binder -- though all the accounts of the show are contradictory -- Brown refused to do a rehearsal -- so even though he had by far the most complex and choreographed performance of the event, Binder and his camera crew had to make decisions by pure instinct, rather than by having an actual plan they'd worked out in advance of what shots to use. This is one of the rare times when I wish this was a video series rather than a podcast, because the visuals are a huge part of this performance -- Brown is a whirlwind of activity, moving all over the stage in a similar way to Jackie Wilson, one of his big influences, and doing an astonishing gliding dance step in which he stands on one leg and moves sideways almost as if on wheels. The full performance is easily findable online, and is well worth seeking out. But still, just hearing the music and the audience's reaction can give some insight: [Excerpt: James Brown, "Out of Sight" (TAMI Show)] The Rolling Stones apparently watched the show in horror, unable to imagine following that -- though when they did, the audience response was fine: [Excerpt: The Rolling Stones, "Around and Around"] Incidentally, Chuck Berry must have been quite pleased with his payday from the TAMI Show, given that as well as his own performance the Stones did one of his songs, as did Gerry and the Pacemakers, as we heard earlier, and the Beach Boys did "Surfin' USA" for which he had won sole songwriting credit. After the TAMI Show, Mick Jagger would completely change his attitude to performing, and would spend the rest of his career trying to imitate Brown's performing style. He was unsuccessful in this, but still came close enough that he's still regarded as one of the great frontmen, nearly sixty years later. Brown kept performing, and his labels kept releasing material, but he was still not allowed to record, until in early 1965 a court reached a ruling -- yes, Brown wasn't signed as a musician to King Records, so he was perfectly within his rights to record with Smash Records. As an instrumentalist. But Brown *was* signed to King Records as a singer, so he was obliged to record vocal tracks for them, and only for them. So until his contract with Smash lapsed, he had to record twice as much material -- he had to keep recording instrumentals, playing piano or organ, for Smash, while recording vocal tracks for King Records. His first new record, released as by "James Brown" rather than the earlier billings of "James Brown and his Orchestra" or "James Brown and the Famous Flames", was for King, and was almost a remake of "Out of Sight", his hit for Smash Records. But even so, "Papa's Got a Brand New Bag" was a major step forward, and is often cited as the first true funk record. This is largely because of the presence of a new guitarist in Brown's band. Jimmy Nolen had started out as a violin player, but like many musicians in the 1950s he had been massively influenced by T-Bone Walker, and had switched to playing guitar. He was discovered as a guitarist by the bluesman Jimmy Wilson, who had had a minor hit with "Tin Pan Alley": [Excerpt: Jimmy Wilson, "Tin Pan Alley"] Wilson had brought Nolen to LA, where he'd soon parted from Wilson and started working with a whole variety of bandleaders. His first recording came with Monte Easter on Aladdin Records: [Excerpt: Monte Easter, "Blues in the Evening"] After working with Easter, he started recording with Chuck Higgins, and also started recording by himself. At this point, Nolen was just one of many West Coast blues guitarists with a similar style, influenced by T-Bone Walker -- he was competing with Pete "Guitar" Lewis, Johnny "Guitar" Watson, and Guitar Slim, and wasn't yet quite as good as any of them. But he was still making some influential records. His version of "After Hours", for example, released under his own name on Federal Records, was a big influence on Roy Buchanan, who would record several versions of the standard based on Nolen's arrangement: [Excerpt: Jimmy Nolen, "After Hours"] Nolen had released records on many labels, but his most important early association came from records he made but didn't release. In the mid-fifties, Johnny Otis produced a couple of tracks by Nolen, for Otis' Dig Records label, but they weren't released until decades later: [Excerpt: Jimmy Nolen, "Jimmy's Jive"] But when Otis had a falling out with his longtime guitar player Pete "Guitar" Lewis, who was one of the best players in LA but who was increasingly becoming unreliable due to his alcoholism, Otis hired Nolen to replace him. It's Nolen who's playing on most of the best-known recordings Otis made in the late fifties, like "Casting My Spell": [Excerpt: Johnny Otis, "Casting My Spell"] And of course Otis' biggest hit "Willie and the Hand Jive": [Excerpt: Johnny Otis, "Willie and the Hand Jive"] Nolen left Otis after a few years, and spent the early sixties mostly playing in scratch bands backing blues singers, and not recording. It was during this time that Nolen developed the style that would revolutionise music. The style he developed was unique in several different ways. The first was in Nolen's choice of chords. We talked last week about how Pete Townshend's guitar playing became based on simplifying chords and only playing power chords. Nolen went the other way -- while his voicings often only included two or three notes, he was also often using very complex chords with *more* notes than a standard chord. As we discussed last week, in most popular music, the chords are based around either major or minor triads -- the first, third, and fifth notes of a scale, so you have an E major chord, which is the notes E, G sharp, and B: [Excerpt: E major chord] It's also fairly common to have what are called seventh chords, which are actually a triad with an added flattened seventh, so an E7 chord would be the notes E, G sharp, B, and D: [Excerpt: E7 chord] But Nolen built his style around dominant ninth chords, often just called ninth chords. Dominant ninth chords are mostly thought of as jazz chords because they're mildly dissonant. They consist of the first, third, fifth, flattened seventh, *and* ninth of a scale, so an E9 would be the notes E, G sharp, B, D, and F sharp: [Excerpt: E9 chord] Another way of looking at that is that you're playing both a major chord *and* at the same time a minor chord that starts on the fifth note, so an E major and B minor chord at the same time: [Demonstrates Emajor, B minor, E9] It's not completely unknown for pop songs to use ninth chords, but it's very rare. Probably the most prominent example came from a couple of years after the period we're talking about, when in mid-1967 Bobby Gentry basically built the whole song "Ode to Billie Joe" around a D9 chord, barely ever moving off it: [Excerpt: Bobby Gentry, "Ode to Billie Joe"] That shows the kind of thing that ninth chords are useful for -- because they have so many notes in them, you can just keep hammering on the same chord for a long time, and the melody can go wherever it wants and will fit over it. The record we're looking at, "Papa's Got a Brand New Bag", actually has three chords in it -- it's basically a twelve-bar blues, like "Out of Sight" was, just with these ninth chords sometimes used instead of more conventional chords -- but as Brown's style got more experimental in future years, he would often build songs with no chord changes at all, just with Nolen playing a single ninth chord throughout. There's a possibly-apocryphal story, told in a few different ways, but the gist of which is that when auditioning Nolen's replacement many years later, Brown asked "Can you play an E ninth chord?" "Yes, of course" came the reply. "But can you play an E ninth chord *all night*?" The reason Brown asked this, if he did, is that playing like Nolen is *extremely* physically demanding. Because the other thing about Nolen's style is that he was an extremely percussive player. In his years backing blues musicians, he'd had to play with many different drummers, and knew they weren't always reliable timekeepers. So he'd started playing like a drummer himself, developing a technique called chicken-scratching, based on the Bo Diddley style he'd played with Otis, where he'd often play rapid, consistent, semiquaver chords, keeping the time himself so the drummer didn't have to. Other times he'd just play single, jagged-sounding, chords to accentuate the beat. He used guitars with single-coil pickups and turned the treble up and got rid of all the midrange, so the sound would cut through no matter what. As well as playing full-voiced chords, he'd also sometimes mute all the strings while he strummed, giving a percussive scratching sound rather than letting the strings ring. In short, the sound he got was this: [Excerpt: James Brown, "Papa's Got a Brand New Bag"] And that is the sound that became funk guitar. If you listen to Jimmy Nolen's playing on "Papa's Got a Brand New Bag", that guitar sound -- chicken scratched ninth chords -- is what every funk guitarist after him based their style on. It's not Nolen's guitar playing in its actual final form -- that wouldn't come until he started using wah wah pedals, which weren't mass produced until early 1967 -- but it's very clear when listening to the track that this is the birth of funk. The original studio recording of "Papa's Got a Brand New Bag" actually sounds odd if you listen to it now -- it's slower than the single, and lasts almost seven minutes: [Excerpt: James Brown "Papa's Got a Brand New Bag (parts 1, 2, and 3)"] But for release as a single, it was sped up a semitone, a ton of reverb was added, and it was edited down to just a few seconds over two minutes. The result was an obvious hit single: [Excerpt: James Brown, "Papa's Got a Brand New Bag"] Or at least, it was an obvious hit single to everyone except Syd Nathan, who as you'll have already predicted by now didn't like the song. Indeed according to Brown, he was so disgusted with the record that he threw his acetate copy of it onto the floor. But Brown got his way, and the single came out, and it became the biggest hit of Brown's career up to that point, not only giving him his first R&B number one since "Try Me" seven years earlier, but also crossing over to the pop charts in a way he hadn't before. He'd had the odd top thirty or even top twenty pop single in the past, but now he was in the top ten, and getting noticed by the music business establishment in a way he hadn't earlier. Brown's audience went from being medium-sized crowds of almost exclusively Black people with the occasional white face, to a much larger, more integrated, audience. Indeed, at the Grammys the next year, while the Beatles, the Beach Boys, the Rolling Stones, Bob Dylan, Phil Spector and the whole Motown stable were overlooked in favour of the big winners for that year Roger Miller, Herb Alpert, and the Anita Kerr Singers, even an organisation with its finger so notoriously off the pulse of the music industry as the National Academy of Recording Arts and Sciences, which presents the Grammys, couldn't fail to find the pulse of "Papa's Got a Brand New Bag", and gave Brown the Grammy for Best Rhythm and Blues record, beating out the other nominees "In the Midnight Hour", "My Girl", "Shotgun" by Junior Walker, and "Shake" by Sam Cooke. From this point on, Syd Nathan would no longer argue with James Brown as to which of his records would be released. After nine years of being the hardest working man in showbusiness, James Brown had now become the Godfather of Soul, and his real career had just begun.

Van Morrison. His Band and the Street Choir, 1970. Astraal. III, 2020. Paul Weller. Fly On The Wall, B-Sides and Rarities, 2003. Luna Cruise. Sand Reckoner, 2020. IF. IF 2, 1970.

Van Morrison. His Band and the Street Choir, 1970. Astraal. III, 2020. Paul Weller. Fly On The Wall, B-Sides and Rarities, 2003. Luna Cruise. Sand Reckoner, 2020. IF. IF 2, 1970.

Van Morrison. His Band and the Street Choir, 1970. Astraal. III, 2020. Paul Weller. Fly On The Wall, B-Sides and Rarities, 2003. Luna Cruise. Sand Reckoner, 2020. IF. IF 2, 1970.

Van Morrison. His Band and the Street Choir, 1970. Astraal. III, 2020. Paul Weller. Fly On The Wall, B-Sides and Rarities, 2003. Luna Cruise. Sand Reckoner, 2020. IF. IF 2, 1970.

Opening Monologue - Vontaze Burfict v. The Steeler's Defense - Danny Stag (Guitarist for the band Kingdom Come) Joins Mark On Air to discuss His Band, Musical Career over the years and the upcoming celebration of Kingdom Come's 30th Anniversary of their breakthrough album on October 17th at Jergel's - No Quarter