Podcasts about hold your hand

La canción "I Want to Hold Your Hand" de The Beatles, lanzada en 1963, habla del deseo de estar cerca de alguien que te gusta y expresar afecto de una forma sencilla pero significativa, como tomarle la mano. Bueno, esta semana ha venido marcada por la visita de Paul McCartney al concierto de Liverpool el 7 de junio (imagen portada: Rob de Martin) y el traspaso del el líder visionario de la mejor banda estadounidense, The Beach Boys, Brian Wilson, descanse en paz. Una semana para la visita de Bruce y la E Street band a Donosti, que ganas tenemos. Seguimos recibiendo nostas de voz al +34 670 27 91 60, muchas gracias por hacerlo posible una semana más, nos escuchamos.

In this episode- recorded back in the midst of the pandemic- Kieran and I discussed Robert Zemeckis' debut feature film, 'I Wanna Hold Your Hand'. This was a film we both enjoyed but certainly had issues with. So you can expect us to talk about the pros and cons of this film about a bunch of teens in 1964 going to New York to try and see The Beatles perform on The Ed Sullivan Show. We also compare this to other films Zemeckis worked on from 1941 to the Back to the Future trilogy to Forest Gump and beyond! This episode originally aired on my sister show the SpielbergPod in early 2023.

In this return episode from Season 1, Sarah shares a quote from James Arthur's song "Finally" that connects to her grief as a parent who has also lost a parent. On the Resilient Birth podcast, Justine and Sarah explore the impact of trauma across the perinatal period, from trying-to-conceive to pregnancy, from childbirth to postpartum and parenting. Through an inspirational quote that drives our weekly conversations about trauma and healing, Justine and Sarah explore topics such as birth trauma, parenting as a survivor, and finding healing with vulnerability and compassion that support birthing people and birth professionals. Each week, listeners leave with takeaways to utilize in their lives and/or clients. Justine and Sarah hold the stories they share with honor and respect with the hope to impart knowledge, increase understanding, and bear witness to this challenging topic. Sarah is a licensed mental health counselor, educator, and mom of three. She walks with a story of trauma from before and as a result of her perinatal experience. Justine supports survivors of trauma through perinatal coaching and childbirth education. As well as being a mother of three, she holds a Ph.D. on representations of consent and sexual violence and is currently working towards a Masters in Counselling. Learn more about Sarah and Justine's trainings: https://www.resilientbirth.com/workshops

On this episode DCMWG starts with relay runner Kaelen Tucker being attacked with a metal baton whilst running a relay race (8:25), a lot of Doechii discourse lately only means she's here to stay (24:40), have you or a loved one ever been love bombed? (48:42), Claressa Shields takes to Instagram to detail how lightskinned women hate on her online (1:02:30) & more. Get your real life advice from Mona on the show! Dial 267-225-2492 and leave a question for a chance to have your voicemail answered on an episode. JOIN THE NEW DCMWG PLUS COMMUNITY FOR BONUS EPISODES, AD-FREE LISTENING & OTHER EXCLUSIVE CONTENT CLICK HERE: https://dcmwg.supportingcast.fm This episode is sponsored by Bilt. Start earning points on rent you're already paying by going to joinbilt.com/DCMWG This episode is sponsored by Factor. Go to FactorMeals.com/FactorPodcast to get 50% off your first box and free shipping.  Executive Producers for Breakbeat: Dave Mays & Brett Jeffries Executive Producer: Don't Call Me White Girl Producer: Tom Flies Production: Creative Mind Productions: Vernon Ray (@AllMoneyShots) & Rebel Hill Productions: Zack James (@ZJames_RHC) Instagram: @BreakbeatMedia @DontCallMeeWhiteGirl @PhelpsJugo @TomFlies Learn more about your ad choices. Visit megaphone.fm/adchoices

Guest host Rich Berra (email) welcomed music journalist Harvey Kubernik for a discussion on various music subjects, including the impact of the Beatles, the resurgence of vinyl, and the popularity of music documentaries. Kubernik reflected on the monumental cultural impact of the Beatles' first appearance on The Ed Sullivan Show 61 years ago. He highlighted how the band had already achieved notable success with their number one hit "I Want to Hold Your Hand" but emphasized that the televised performance cemented their influence in America. Kubernik reported on how their arrival coincided with a moment of national recovery after the JFK assassination, bringing a sense of optimism and energy. He noted that the Beatles were reflecting American music back to the U.S., drawing from influences like Motown and rock and roll, which made their sound simultaneously familiar and fresh.Kubernik spoke about the enduring relevance of classic bands like the Beatles and Rolling Stones, who continue to win Grammys even decades later. He attributed their longevity to the timeless quality of their music, the multi-generational sharing of their records, and the emotional connections audiences maintain with their songs. Kubernik contrasted this with the fleeting careers of many contemporary artists, noting that the key to enduring success lies in the strength of the material itself. He emphasized how changing technology has shifted how artists make money, moving from record sales to touring and streaming, while vinyl experiences a nostalgic resurgence among younger listeners.Kubernik reflected on the unique climate of the 1960s, which allowed bands like the Beatles to focus entirely on their music without the distractions of modern branding and social media. He drew a connection between the disciplined work ethic of these bands and their roots in post-World War II experiences. He also touched on the role of reissues and documentaries in preserving the legacy of classic music, noting the increased access to archival footage and the deeper understanding of artists' lives and creative processes.------------------------------------------During the third hour, hypnotist Jeff Bliss delved into the topic of hypnosis. He defined hypnosis as a state of heightened focus and subconscious engagement, using examples like feeling emotions during a sad movie to illustrate how the subconscious mind accepts suggestions and triggers emotions without conscious effort. He described hypnosis not as being put under but as entering a focused state, like when deeply engaged in a book or watching a scene that pulls attention. Bliss emphasized how the subconscious mind influences actions and emotions, explaining that fear and emotions act as gateways for subconscious programming. By using exercises like pendulum movements, he illustrated how imagining and focusing can reveal subconscious influences and help redirect thoughts or habits.Bliss examined practical applications of subconscious reprogramming, such as breaking negative loops of anxiety or anger by rewiring mental triggers. He shared methods for shifting dominant thoughts to positive outcomes, focusing on what you want instead of what you fear or want to avoid. He emphasizes conscious visualization as a tool to override negative subconscious patterns, whether it's to curb habits, overcome failures, or foster better emotional resilience. Through his book concept of "Yodas, Rhinos, and Heroes," he advocated following the "wise voice" in your mind (Yoda) over the negative, self-sabotaging voice, to promote long-term growth and self-awareness.

Guest host Rich Berra (email) welcomed music journalist Harvey Kubernik for a discussion on various music subjects, including the impact of the Beatles, the resurgence of vinyl, and the popularity of music documentaries. Kubernik reflected on the monumental cultural impact of the Beatles' first appearance on The Ed Sullivan Show 61 years ago. He highlighted how the band had already achieved notable success with their number one hit "I Want to Hold Your Hand" but emphasized that the televised performance cemented their influence in America. Kubernik reported on how their arrival coincided with a moment of national recovery after the JFK assassination, bringing a sense of optimism and energy. He noted that the Beatles were reflecting American music back to the U.S., drawing from influences like Motown and rock and roll, which made their sound simultaneously familiar and fresh.Kubernik spoke about the enduring relevance of classic bands like the Beatles and Rolling Stones, who continue to win Grammys even decades later. He attributed their longevity to the timeless quality of their music, the multi-generational sharing of their records, and the emotional connections audiences maintain with their songs. Kubernik contrasted this with the fleeting careers of many contemporary artists, noting that the key to enduring success lies in the strength of the material itself. He emphasized how changing technology has shifted how artists make money, moving from record sales to touring and streaming, while vinyl experiences a nostalgic resurgence among younger listeners.Kubernik reflected on the unique climate of the 1960s, which allowed bands like the Beatles to focus entirely on their music without the distractions of modern branding and social media. He drew a connection between the disciplined work ethic of these bands and their roots in post-World War II experiences. He also touched on the role of reissues and documentaries in preserving the legacy of classic music, noting the increased access to archival footage and the deeper understanding of artists' lives and creative processes.------------------------------------------During the third hour, hypnotist Jeff Bliss delved into the topic of hypnosis. He defined hypnosis as a state of heightened focus and subconscious engagement, using examples like feeling emotions during a sad movie to illustrate how the subconscious mind accepts suggestions and triggers emotions without conscious effort. He described hypnosis not as being put under but as entering a focused state, like when deeply engaged in a book or watching a scene that pulls attention. Bliss emphasized how the subconscious mind influences actions and emotions, explaining that fear and emotions act as gateways for subconscious programming. By using exercises like pendulum movements, he illustrated how imagining and focusing can reveal subconscious influences and help redirect thoughts or habits.Bliss examined practical applications of subconscious reprogramming, such as breaking negative loops of anxiety or anger by rewiring mental triggers. He shared methods for shifting dominant thoughts to positive outcomes, focusing on what you want instead of what you fear or want to avoid. He emphasizes conscious visualization as a tool to override negative subconscious patterns, whether it's to curb habits, overcome failures, or foster better emotional resilience. Through his book concept of "Yodas, Rhinos, and Heroes," he advocated following the "wise voice" in your mind (Yoda) over the negative, self-sabotaging voice, to promote long-term growth and self-awareness.

Guest host Rich Berra (email) welcomed music journalist Harvey Kubernik for a discussion on various music subjects, including the impact of the Beatles, the resurgence of vinyl, and the popularity of music documentaries. Kubernik reflected on the monumental cultural impact of the Beatles' first appearance on The Ed Sullivan Show 61 years ago. He highlighted how the band had already achieved notable success with their number one hit "I Want to Hold Your Hand" but emphasized that the televised performance cemented their influence in America. Kubernik reported on how their arrival coincided with a moment of national recovery after the JFK assassination, bringing a sense of optimism and energy. He noted that the Beatles were reflecting American music back to the U.S., drawing from influences like Motown and rock and roll, which made their sound simultaneously familiar and fresh.Kubernik spoke about the enduring relevance of classic bands like the Beatles and Rolling Stones, who continue to win Grammys even decades later. He attributed their longevity to the timeless quality of their music, the multi-generational sharing of their records, and the emotional connections audiences maintain with their songs. Kubernik contrasted this with the fleeting careers of many contemporary artists, noting that the key to enduring success lies in the strength of the material itself. He emphasized how changing technology has shifted how artists make money, moving from record sales to touring and streaming, while vinyl experiences a nostalgic resurgence among younger listeners.Kubernik reflected on the unique climate of the 1960s, which allowed bands like the Beatles to focus entirely on their music without the distractions of modern branding and social media. He drew a connection between the disciplined work ethic of these bands and their roots in post-World War II experiences. He also touched on the role of reissues and documentaries in preserving the legacy of classic music, noting the increased access to archival footage and the deeper understanding of artists' lives and creative processes.------------------------------------------During the third hour, hypnotist Jeff Bliss delved into the topic of hypnosis. He defined hypnosis as a state of heightened focus and subconscious engagement, using examples like feeling emotions during a sad movie to illustrate how the subconscious mind accepts suggestions and triggers emotions without conscious effort. He described hypnosis not as being put under but as entering a focused state, like when deeply engaged in a book or watching a scene that pulls attention. Bliss emphasized how the subconscious mind influences actions and emotions, explaining that fear and emotions act as gateways for subconscious programming. By using exercises like pendulum movements, he illustrated how imagining and focusing can reveal subconscious influences and help redirect thoughts or habits.Bliss examined practical applications of subconscious reprogramming, such as breaking negative loops of anxiety or anger by rewiring mental triggers. He shared methods for shifting dominant thoughts to positive outcomes, focusing on what you want instead of what you fear or want to avoid. He emphasizes conscious visualization as a tool to override negative subconscious patterns, whether it's to curb habits, overcome failures, or foster better emotional resilience. Through his book concept of "Yodas, Rhinos, and Heroes," he advocated following the "wise voice" in your mind (Yoda) over the negative, self-sabotaging voice, to promote long-term growth and self-awareness.

Guest host Rich Berra (email) welcomed music journalist Harvey Kubernik for a discussion on various music subjects, including the impact of the Beatles, the resurgence of vinyl, and the popularity of music documentaries. Kubernik reflected on the monumental cultural impact of the Beatles' first appearance on The Ed Sullivan Show 61 years ago. He highlighted how the band had already achieved notable success with their number one hit "I Want to Hold Your Hand" but emphasized that the televised performance cemented their influence in America. Kubernik reported on how their arrival coincided with a moment of national recovery after the JFK assassination, bringing a sense of optimism and energy. He noted that the Beatles were reflecting American music back to the U.S., drawing from influences like Motown and rock and roll, which made their sound simultaneously familiar and fresh.Kubernik spoke about the enduring relevance of classic bands like the Beatles and Rolling Stones, who continue to win Grammys even decades later. He attributed their longevity to the timeless quality of their music, the multi-generational sharing of their records, and the emotional connections audiences maintain with their songs. Kubernik contrasted this with the fleeting careers of many contemporary artists, noting that the key to enduring success lies in the strength of the material itself. He emphasized how changing technology has shifted how artists make money, moving from record sales to touring and streaming, while vinyl experiences a nostalgic resurgence among younger listeners.Kubernik reflected on the unique climate of the 1960s, which allowed bands like the Beatles to focus entirely on their music without the distractions of modern branding and social media. He drew a connection between the disciplined work ethic of these bands and their roots in post-World War II experiences. He also touched on the role of reissues and documentaries in preserving the legacy of classic music, noting the increased access to archival footage and the deeper understanding of artists' lives and creative processes.------------------------------------------During the third hour, hypnotist Jeff Bliss delved into the topic of hypnosis. He defined hypnosis as a state of heightened focus and subconscious engagement, using examples like feeling emotions during a sad movie to illustrate how the subconscious mind accepts suggestions and triggers emotions without conscious effort. He described hypnosis not as being put under but as entering a focused state, like when deeply engaged in a book or watching a scene that pulls attention. Bliss emphasized how the subconscious mind influences actions and emotions, explaining that fear and emotions act as gateways for subconscious programming. By using exercises like pendulum movements, he illustrated how imagining and focusing can reveal subconscious influences and help redirect thoughts or habits.Bliss examined practical applications of subconscious reprogramming, such as breaking negative loops of anxiety or anger by rewiring mental triggers. He shared methods for shifting dominant thoughts to positive outcomes, focusing on what you want instead of what you fear or want to avoid. He emphasizes conscious visualization as a tool to override negative subconscious patterns, whether it's to curb habits, overcome failures, or foster better emotional resilience. Through his book concept of "Yodas, Rhinos, and Heroes," he advocated following the "wise voice" in your mind (Yoda) over the negative, self-sabotaging voice, to promote long-term growth and self-awareness.

Another apartment hunt, Hackman the man, a great singer, be yourself, a legendary Eddie Murphy skit, gem lettuce is addictive, yet another Jack Nicholson style quote, a possibly bad joke, a spooky new Soderbergh ghost story, don't ask me what my favorite movie is, can't you read the sign, a truly bad photo, and some truth from the psych hospital. Stuff mentioned: Weird Science (1985), Night Games (1975), Superman: The Movie (1978), Spider-Man (2002), Batman (1989), Logan (2017), Roberta Flack "The FIrst Time Ever I Saw Your Face" (1969), Play MIsty for Me (1971), Roberta Flack "Killing Me Softly With His Song" (1973), Al B. Sure! "Killing Me Softly" (1988), Saturday Night Live "The Fifth Beatle" (February 11, 1984 https://vimeo.com/groups/100392/videos/8904532), The Beatles "I Want to Hold Your Hand" (1964), The Beatles "Strawberry Fields Forever" (1967), Contagion (2011), The Underneath (1995), Presence (2024), and Jade (1995).

If you're a coach who's navigating those first crucial years in business, you do not want to miss this episode. Tammy Johnston is THE Hold Your Hand and Kick Your Ass Business Coach, and she's spent over 20 years helping new entrepreneurs build sustainable, successful businesses. She's not here to sell you a magic bullet—because it doesn't exist—but she is here to make sure you've got the foundational skills to survive and thrive. In this conversation, Tammy lays it all out: why so many new business owners struggle, what habits and mindsets actually make the difference, and how to stop taking business advice from broke friends and family. We also tackle one of the biggest traps new coaches fall into—focusing on the wrong things, like perfecting their logo instead of actually getting clients. Tammy shares hard-earned lessons on setting up systems, managing finances, and shifting from an employee mindset to a business owner mindset. Plus, she gets real about the courage it takes to run a business and how she made the leap herself. If you're ready for a dose of practical, no-nonsense advice that will actually move your business forward, this is the episode for you.   Visit Tammy at her website or her Instagram.   Visit Laura at her Facebook Page. Learn more about the Endotype Formula™  TAKE THE Endotype™ QUIZ

There Was No One in the World to Hold Your Hand and Tell You that You Are Not Guilty. How Do You Recover from This? Yosef's Secret - Weekly Women's Class: This class was presented on Tuesday, 7 Teves, 5785, January 7, 2025, Parshas Vayechi, at Bais Medrash Ohr Chaim in Monsey, NY. We all carry pain in our hearts. Sometimes it's an old wound that won't let go, sometimes a betrayal that's hard to forget, and sometimes a deep feeling of loneliness that no one understands. This class reveals the deep secret of Yosef—the person who went through the greatest darkness and turned it into light. How did a boy who lost his mother at the age of 8, was thrown into a pit full of snakes by his brothers, sold into slavery, accused of a false conspiracy, and spent 12 years in prison – how did he manage not only to survive but to love with so much joyful presence, happiness, and serenity? How did he remain sensitive and open rather than become cynical and stone-like? If you are dealing with: • Deep mental pain • Traumas from the past • Emotional crises • Loneliness and disconnection • An injury that is hard to forget • A feeling of helplessness This class will show you how to get out of the darkness andinto the light, reconnect with the joy of life, and discover the divine power that lies within us.View Source Sheets: https://portal.theyeshiva.net/api/source-sheets/9550

Tammy Johnston of KSA Business shares her journey of starting her own business and becoming a successful entrepreneur. She emphasizes the importance of building a business around your life and the freedom it provides. Tammy discusses the challenges she faced, including transitioning from an employee mindset to an entrepreneur mindset and the financial risks involved. She also highlights the need for business skills and systems to ensure success. Tammy's story is an inspiration for anyone looking to start their own business and create a life of flexibility and fulfillment. Tammy J from KSABusiness.ca shares advice for entrepreneurs, including the importance of scheduling and prioritizing tasks, being effective rather than just busy, and investing time and energy wisely. She emphasizes the need for support from others and surrounding oneself with like-minded entrepreneurs. Tammy also discusses the integration of motherhood and business, encouraging parents to involve their children in their business and teach them life skills. She highlights the importance of cultivating independence, asking questions, and remaining calm as a parent. Tammy's evergreen message is 'Kaizen,' which means constant and never-ending improvement.About Guest. Tammy Johnston:I started my business after being fired from a job I hated and quickly became pregnant. I had to build a baby and a business together. Took 30 HOURS of maternity leave and just kept going. Had to figure out how to successfully balance parenthood and entrepreneurship. Now I have been successfully in business for over 22 years and I specialize in helping new businesses as early in their journey as possible (idea stage to two years) by teaching them the basic, foundational skills needed to first survive and then go on to thrive. I only deal in real world, battle tested advice and have been named THE Hold Your Hand and Kick Your Ass Business Coach by my clients.

TheWanderingPaddy Poetry - The Book of Truths. Out Now on Amazon. Become a member at https://plus.acast.com/s/thewanderingpaddy. Hosted on Acast. See acast.com/privacy for more information.

In this edition of Frikkity Frak, We Do Talk Back, we discuss the episode "Baby Hold Your Hand 2" of Bleach: Thousand-Year Blood War and connect it to Deuteronomy 6:7. Please rate, subscribe, and review this podcast, tell your friends, and if you have any questions, please contact us at frikkityfraktalkback@gmail.com or any of our social media accounts with any questions about this episode or any and all spiritual, nerdy, or general questions. @FrikkityF on Twitter@FrikkityFrak on Instagram@FrikkityFrak on Facebook

Playstation has just recently put out a statement that they will be developing a handheld that can play PS5 games on the go, as well as some possible proprietary titles. So yet another juggernaut in the gaming world has stepped back into the handheld realm. What does this trend mean long term? Have we seen the end of the true console? Will this be the standard moving forward? Cloud gaming and Digital purchases played on PC and handheld systems? Join us as we investigate and just plain BS about what we think is in store for us all.

Episode 7 and "Baby, Hold Your Hand" review. Tik Tok: Andrewcrews4 Twitter: Nicetown finest Twitch: Twitch.tv/nicetown_finest27 https://www.patreon.com/Crewsinpodcast http://www.comicpalooza.com/ #Comicpalooza #CPPodFamily #CP2024 --- Support this podcast: https://podcasters.spotify.com/pod/show/andrew-crews/support

In this edition of Frikkity Frak, We Do Talk Back, we discuss the episode "Baby, Hold Your Hand" of Bleach: Thousand-Year Blood War and connect it to Proverbs 27:20. Please rate, subscribe, and review this podcast, tell your friends, and if you have any questions, please contact us at frikkityfraktalkback@gmail.com or any of our social media accounts with any questions about this episode or any and all spiritual, nerdy, or general questions. @FrikkityF on Twitter@FrikkityFrak on Instagram@FrikkityFrak on Facebook #animereview #BleachTYBW #nerdsloveJesus #ChristianAnime

We jump in on the 1964/"It was 60 years ago" fun and do a deep dive on "I Want To Hold Your Hand," one of the songs most associated with Beatlemania. We talk about the lyrics, the music, cover recordings and much more.  We also update you on a few bits of news and address a comment from a listener. Here are some of the covers we discussed: The Supremes - I want to hold your hand Al Green - I Wanna Hold Your Hand I Wanna Hold Your Hand I Want To Hold Your Hand (From "Across The Universe" Soundtrack) Duke Ellington - I Want to Hold Your Hand I Want To Hold Your Hand Enjoy! Feel free to email or record a message to ivegotabeatlespodcast@hotmail.com and we'll include you in our "Please Mr. Postman" segment. Also, please rate us wherever you listen to your podcasts. Complete episodes can be found at https://ivegotabeatlespodcast.podbean.com. Email: ivegotabeatlespodcast@hotmail.com X: @ivegotabeatles Facebook: I've Got A Beatles Podcast Our video venture: "Song Album Career!"

Starting a new instagram, secret celebrity relationships, holiday prep, and more! Submit your shady story to be featured in a future episode anonymously here: https://forms.gle/WJJ3NdovNXW4eEGS7 NEW LIMITED COLLECTIONS just dropped on justalittleshadypodcast.com Join our Patreon for ad free content, bonus content & more: https://www.patreon.com/justalittleshadypodcast Subscribe to our youtube channel: https://www.youtube.com/c/justalittleshadypodcast Follow us on instagram: https://www.instagram.com/justalittleshadypodcast/ Watch us on Tiktok: https://www.tiktok.com/t/ZTR6yk19Q/ #JustALittleShady #hailiejade #podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Alright, we're catching up so bare with us! We got game updates about both Mario and Sonic, Magic the Gathering is doing stuff, we wrap up the Halloween season and just have some good chitter chatter.Check it out!Explicit language on this one."Vampithrillic" (Just Coffee - https://http://ocremix.org/)Find the show on iTunes, Google Play Podcasts, Spotify, and Simplecast.fmFind the show on YouTube: https://www.youtube.com/channel/UC6QoHk8iEsVGTpd2qdTlH-gFollow us @CharacterRev on Twitter and find us on Facebook!We're on Instagram @characterrevealDom is @brothadom on bluesky, tweets, tumbles and generally on the netSteph is @captainsteph on Twitter, @hella_steph on Instagram, and @thesnowqueer on TumblrEric is @TindiLosi on some places on the internet as a wholeFind everything at: https://linktr.ee/characterreveal

How do you hold your significant others hand, and what does it mean? 

This week on Classic Vinyl Podcast and our Meet The Beatles series, Justin and Tyler listen the I Want to Hold Your Hand and This Boy. With I Want to Hold Your Hand possibly being the kickoff to the entire British invasion, this is a very important song to history. Give it a listen and let us know what you think.

一档好的节目是可以穿越时间的。当然，我说的不只是 Why for Jazz。英国广播公司 BBC 有一档至今已经播放长达 82 年的节目。这档节目诞生于二战的战火中，随着时间的流逝魅力不减，反而越来越拥有如今这个世界所缺少的某种特质。这档节目对我来说意义非凡。它最开始只是我用来了解英国社会的一个管道，然而后来我发现，从这档节目中，也许可以看到不同时期，社会的一个个切片。从这些切片看过去，也许可以找到一些一直以来，我们力求寻找的答案。Why for Jazz 开通了微信听友群。我会对进群的朋友一次性收取199元的入群费，作为对本节目的支持。想要进群的朋友可以添加微信号Y4JZXZS，在确认群规及转账成功之后，我会将你拉进本节目的微信群。如果想获得部分节目的文字稿，请移步我的小报童。爵士乐的现场性导致了单纯的音频没办法表现它的全部魅力，因此 Why for Jazz 在小红书和B站开通了视频号。我会在上面分享一些非常哇塞的爵士乐现场，也会发一些自己的视频，欢迎大家点赞关注 Why for Jazz 视频号，作为播客伴侣，配合使用。Playlist of the Show:[09:09] Eric Coates - By The Sleepy Lagoon[13:17] Frederic Chopin - 革命练习曲[19:53] Dean Martin - Relex Ay Voo[43:10] The Beatles - I Want to Hold Your Hand

Calls: Marvin Gaye backstory. Music lulls you. Media/Govt dishonesty: Wildfires, mail, Haitian "migrants." Blacks, police, and being stopped! The Hake Report, Friday, September 20, 2024 AD TIMESTAMPS * (0:00:00) Start * (0:02:14) Hey, guys! * (0:04:39) MIKE, Canada: Marvin Gaye death * (0:10:13) MIKE: Not Asian, not Haitian, Creole * (0:12:53) SERG, TX: Hake and gym; road rage * (0:17:39) WILLIAM: Marvin Gaye * (0:23:20) WILLIAM: Kamala phoniness * (0:28:15) KARL, Boston, 1st: Music, mind-control * (0:41:30) TERRI, OR: John Legend * (0:45:35) TERRI: Beatles, "Hold Your Hand," Accomplishment * (0:48:15) Moon, Climate, Fires, Space * (0:55:10) Mail-in voting: fraud is rare! * (1:01:10) SC Gov candidate Mark Robinson * (1:07:40) Haitian Migrants, Vance, "illegal aliens" * (1:19:25) JOE, AZ: Alcohol, Fed Economy * (1:24:35) JOE: The Talk, blacks, over-policing * (1:31:20) JOE: Obama supports Kamala, JLP * (1:34:45) MR PINK: SF crime; Firmament, waters * (1:42:40) MR PINK: Marvin Gaye, "What's Going On" * (1:44:05) Coffees: Child Fridays, Marvin; Super: Monster * (1:47:15) Coffee: Stop and frisk * (1:50:20) JOHN, L.A., 1st: AE, Rainbows * (1:52:20) Jacky Cheung - "Blessing" 祝福 LINKS BLOG  https://www.thehakereport.com/blog/2024/9/20/the-hake-report-fri-9-20-24 PODCAST / Substack  HAKE NEWS from JLP  https://www.thehakereport.com/jlp-news/2024/9/20/hake-news-fri-9-20-24 Hake is live M-F 9-11a PT (11-1CT/12-2ET) Call-in 1-888-775-3773 https://www.thehakereport.com/show VIDEO  YouTube  -  Rumble*  -  Facebook  -  X  -  BitChute  -  Odysee*  PODCAST  Substack  -  Apple  -  Spotify  -  Castbox  -  Podcast Addict  *SUPER CHAT on platforms* above or  BuyMeACoffee, etc.  SHOP  Spring  -  Cameo  |  All My Links  JLP Network:  JLP  -  Church  -  TFS  -  Nick  -  Joel  -  Punchie   Get full access to HAKE at thehakereport.substack.com/subscribe

Danita Cummins joins me again for her mindset discussion about showing care and comfort to others. She is the author of her first book titled Promise Over Purpose: The Path to a Peace-Filled Life, which is due out in the fall of 2024. Danita is also the host of the Entrusted to Lead podcast, the director of the Alpha Life Pregnancy Center, and a business coach. She and Mark have been married for 20 years and they have four adult children and two grandchildren.In this episode, Danita and I discuss how she believes strongly in caring for others and showing them comfort when they are struggling. In one of her most difficult challenges, others shared comfort with her. They cared for her physical needs and her emotional, mental, and spiritual needs.Midway through our conversation, Danita and I had an idea of challenging others to share comfort and care with others. The idea for a thirty-day comfort challenge was formed. We both wanted to invite our friends, families, coworkers, neighbors, and even strangers to join us as we show care or comfort every day of September.Details about the challenge:1.      The 30 Day Comfort Challenge runs September 1 through September 30, 2024.2.      Each day of September, offer comfort or care to someone. Be sure to record it on the Comfort Challenge list.3.      Email your completed list to melony@melonybrown.com between October 1 and October to be entered into the drawing for a copy of Danita's new book, Promise Over Purpose and Melony's book, Challenges Won't Stop Me.4.      The winner will be announced on October 7.Get a copy of the 50 Ways to Show Comfort and the Comfort Challenge List at melonybrown.com. Please help us spread the word about the 30 Day Comfort Challenge on your social media.  Notable quotes from this episode with Danita Cummins: ·         “There is this beautiful algorithm between suffering and comfort where God promises to bring you comfort in your suffering . . . that compassion which is underneath everything that the Lord does is this unbelievable love. It just undergirds all that we are and do in Him.”·         “There are a billion different ways you can love God and love the world.”·         “where I was praying, Lord just let me see your hand in the good and the hard. I don't need all the keys to the kingdom. I just need to know on these really hard days that I can still see Your hand at work or know that You're by my side.”·         “What do you have in your hand? Don't make it complicated.”Bible verse: ·         2 Corinthians 1:3-4 “Praise be to the God and Father of our Lord Jesus Christ, the Father of compassion and the God of comfort, who comforts us in all our troubles, so that we can comfort those in any trouble with the comfort we ourselves receive from God.” Connect with Danita Cummins:Her website: https://danitacummins.comOn Facebook: https://www.facebook.com/danitacummins On Instagram:  https://www.instagram.com/danita_cumminsSend me a COMMENT or QUESTION!

The Daily Quiz - Music Today's Questions: Question 1: Which band released the classic punk rock album 'American Idiot'? Question 2: Which English rock band released the song 'I Want to Hold Your Hand'? Question 3: What song did Rob Base and DJ E-Z Rock have a hit with in 1988? Question 4: Which singer released the song 'You da One'? Question 5: Which singer released the album 'Rebel Heart'? Question 6: Which British band released the album 'Viva la vida or Death and All His Friends'? Question 7: Whose Albums Included Plastic Letters and Parallel Lines Question 8: Which American heavy metal band released the studio album 'Load'? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of the Mom Owned and Operated podcast, Rita Suzanne and Tammy Johnston discuss raising a family, running a business and remembering yourself.Tammy Johnston is THE Hold Your Hand and Kick Your Ass Business Coach. She has been working with small businesses for over 20 years to help them build sustainable and successful businesses. Tammy believes that business done right, honestly, ethically, and morally, has the power to make the world a better place for our customers, our families, and our communities. She doesn't promise a magic bullet (because there is no such thing), but she does teach all the basic, foundational skills you need to first survive and then thrive. She only deals in real, practical, put it to use training and advice that has been tested in battle.You can connect with Tammy on her website and Instagram.Send a text message! Email, if you want a reply though. ;) Support the Show.P.S. You can find more interviews at momownedandoperated.com and learn about working with Rita at ritasuzanne.com/apply/

Alexandra has a bad experience house hunting. Texas strikes again.  Host Michelle shares one of her true ghost stories from living in an old lady's pool house.Do you have a story? Call ☎️ 1 (701) 484-2666 or go to tellmeaghoststory.com and leave a message!Get your NEW official "Tell Me A Ghost Story" T-Shirt HERE! Join our free newsletter on Newman Media and follow the show @tellmeaghostorypodcast on InstagramTheme Music: Sexy Sax by Cool CascadeProduction by Newman Media in partnership with Scary.fmBecome a supporter of this podcast: https://www.spreaker.com/podcast/tell-me-a-ghost-story--5886598/support.

Nesta aula de inglês com música, você vai aprender inglês com a música " I Want to Hold our Hand", a 6ª aparição dos Beatles por aqui :) É claro que uma aula completa como esta, você só encontra só aqui na série "Aprenda Inglês com música", que te ensina inglês de maneira divertida e eficaz (ah, e de graça!) desde 2016

Dana Humphrey discusses her life as a death doula and how it is to hold one's hand as they pass away. #fallingforward #nosuchthingasamistake #learningtoforgive #breakthrough #emotionalintelligence #fulfilment #empowerment #authenticity #freedom #lifelessons #courage #consciousness #wisdom #selfawareness #trustyourself #growthmindset #habits #transformation #personaldevelopment #talkshow

Bob Sirott is celebrating The Beatles' 60th anniversary of visiting America. Bob plays back an interview from 2022 with Peter Asher. The musician, author, and producer shared details about how John Lennon and Paul McCartney wrote ‘I Want To Hold Your Hand,' the time he inducted Brian Epstein and Andrew Oldham into the Rock and […]

In this episode, Sarah shares a quote from James Arthur's song "Finally" that connects to her grief as a parent who has also lost a parent. On the Resilient Birth podcast, Justine and Sarah explore the impact of trauma in the perinatal period. Through an inspirational quote that drives the weekly content, Justine and Sarah explore various trauma areas with vulnerability and compassion that support birthing people and birth professionals. Each week, listeners leave with takeaways to utilize in their lives and/or clients. Justine and Sarah hold the stories they share with honor and respect with the hope to impart knowledge, increase understanding, and bear witness to this challenging topic. Sarah is a licensed mental health counselor, educator, and mom of three. She walks with a story of trauma from before and as a result of her perinatal experience. Justine supports survivors of trauma through perinatal coaching and childbirth education. As well as being a mother of three, she holds a Ph.D. on representations of consent and sexual violence.

It was six Ty years ago today Sergeant Pepper taught the band to play, wait, no …. it was the day “I want to hold your hand” hit number one on the billboard chart in the United States. And Beatlemania took over the world.

To celebrate the sixtieth anniversary of the Beatles' first appearance on the Ed Sullivan Show, our guests revisit the evening that the Beatles graced their living rooms for the first time, on this special episode of Everything Fab Four. These Beatles lovers include Steven van Zandt from Bruce Springsteen's E Street Band, R&B singer Darlene Love, actor Billy Bob Thornton, and even one lucky audience member from that first Ed Sullivan performance. It's almost impossible to imagine what it was like to be at ground zero of American Beatlemania on February 7, 1964, when the group landed at New York City's John F. Kennedy International Airport, which had been renamed some fifty days earlier in honor of the fallen leader. The band's Pan Am flight was met with the screams and fanfare of some 5,000 people, whom the Beatles claimed to have heard—incredible as it may seem—even as the plane was taxiing along the runway.  As writer Stephen Glynn presciently remarked, “The spirit of Camelot, shot down in Dallas, Texas, had flown over from Liverpool, England, and the unprecedented euphoria that greeted the group seemed part of an expiation, a nation shaking itself out of its grief and mourning.” There is little question that the Beatles' timing in the history of the United States was uncanny, as well as a welcome respite from the national malaise, but one cannot overlook the power of marketing in a new media era unlike any that the postwar world had ever seen.  Capitol Records had saturated the city with posters announcing, “The Beatles Are Coming,” while New York's WMCA and WINS radio stations had given away T-shirts—and, rumor has it, $1 each—to thousands of teenagers who greeted the Beatles that Friday afternoon on the JFK tarmac. Released in December 1963 by Capitol, “I Want to Hold Your Hand” had sold more than one million copies by mid-January, an astounding feat for a group that had been largely unheard of on American shores scarcely a month before.  On Sunday, February 9, the Beatles launched into a spirited rendition of “All My Loving” to begin their set on the Ed Sullivan Show before some 73 million television viewers, a figure that accounted for nearly 40 percent of the population of the United States at that time. It was popular music's big bang, and like that incredible instance in the birth of the universe some 13 billion years ago, it is still resonating. --- Support this podcast: https://podcasters.spotify.com/pod/show/everythingfabfour/support

I Want to Hold Your Hand firmly takes control of the American charts, while British bands continue their dominance on the British charts. To use the lingo of music writers of the time. "While the Beatles crawl to the top of the Cashbox charts (but not quite Billboard), the Searchers give us a swinging, twisting new deck!"

I am so stoked to bring our next couple of guests in this one of a kind interview. We interviewed one of our brother in arms, Tom Cruz for Episode 56 and now, we have the honor to have both his wife Heather and 10 year old Holden on the show. I am personally grateful that little man gave us his time to share with us how he helps his dad out when he sees his PTSD kick in. I am also equally grateful for Heather as she spilled so much wisdom and golden nuggets to help wrap up these back to back interviews in one hell of a bow. Thank you all for listening in on these stories as our guests continue to bring it every time. Forever grateful! Music: "Miracle" by ONLAP (Spotify, Apple Music) Contact Heather: HeatherCruz1975@yahoo.com Support the show Find us on all major streaming platforms or connect with us if you're ready to share your story. Link to be on the show: https://2200taps.com/podcast

"I Want to Hold Your Hand" enters the British charts, "She Loves You" hums along, as does the NEMS crew. Piers Hemmingsen guests as we spend some time considering the rise of the "British Invasion" in Canada.

Episode:PERSONAL PODCAST – I Wanna Hold Your Hand Description: Intro: Here we go again? Subscription: Best day ever. Coupled with Chaos full episodes and bonus content subscriptions are available here: Premium Content, including Additional 90 Day Fiancé episodes, The Real Housewives Content, and the personal podcast available by subscription at: Supercast: https://coupledwithchaosnetwork.supercast.tech/ Patreon:  https://www.patreon.com/coupledwithchaos Apple: Coupled with Chaos Channel: https://podcasts.apple.com/us/channel/coupled-with-chaos/id6442522170 Contacts us: Email: Coupledwithchaos@gmail.com Web site: https://coupledwithchaos.com Facebook: @Coupledwithchaos Instagram: @Coupledwithchaos Twitter: @CoupledwChaos

Episode: E711 PERSONAL PODCAST – I Wanna Hold Your Hand Description:   Intro: Here we go again?   Subscription: Best day ever.   Coupled with Chaos full episodes and bonus content subscriptions are available here:   Premium Content, including Additional 90 Day Fiancé episodes, The Real Housewives Content, and the personal podcast available by subscription at:   Supercast: https://coupledwithchaosnetwork.supercast.tech/   Patreon:  https://www.patreon.com/coupledwithchaos   Apple: Coupled with Chaos Channel: https://podcasts.apple.com/us/channel/coupled-with-chaos/id6442522170   Contacts us: Email: Coupledwithchaos@gmail.com Web site: https://coupledwithchaos.com Facebook: @Coupledwithchaos Instagram: @Coupledwithchaos Twitter: @CoupledwChaos  

Helen and Gavin chat about New Blue Sun, Scott Pilgrim Takes Off, and The Holdovers, and it's Week 98 from the list of Rolling Stone's 500 Greatest Songs Ever, numbers 15 to 11; I Want to Hold Your Hand by The Beatles, Waterloo Sunset by The Kinks, Gimme Shelter by The Rolling Stones, Superstition by Stevie Wonder, and God Only Knows by The Beach Boys.

On a brand new episode of YOU DON'T KNOW DICK (the world's finest Dick Miller-themed podcast) we're joined by director/writer/editor Luke Higginson (director of the Rhys Darby-starring sci-fi comedy RELAX, I'M FROM THE FUTURE!) to discuss the fab four (aka THE BEATLES), Eddie Deezen,  the career of Robert Zemeckis and the 1978 rock 'n roll comedy I WANNA HOLD YOUR HAND! Oh, and we also talk about Dick Miller, of course.  JOIN US! The post Episode 197 – You Don't Know Dick – I Wanna Hold Your Hand (1978) (/w Luke Higginson) first appeared on Cinema Smorgasbord.

Esta semana 'el amigo' y Rafael Panadero arrancan con los primeros acordes de la mañana de la mano de 'The Beatles', en este caso con el tema: 'I Want To Hold Your Hand'.

In the middle of his darkest moment, Sam sings; in the middle of this episode, Don and Alan sing. One of these two was a good decision. Join Alan and Don as Sam longs for Frodo, and refuses to say goodbye to the Stars in our third episode on The Tower of Cirith Ungol. Snaga loses a hand and rolls a natural 1; Sam finally finds his beloved Frodo; and Frodo is convinced the Quest is over. Also, Don offers questionable bear advice.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4468251/advertisement

Holding hands or no? If you're like Joe, you love holding hands but if you're like Ashley... its a no go!

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

I am so stoked to bring our next couple of guests in this one of a kind interview. We interviewed one of our brother in arms, Tom Cruz for Episode 56 and now, we have the honor to have both his wife Heather and 10 year old Holden on the show. I am personally grateful that little man gave us his time to share with us how he helps his dad out when he sees his PTSD kick in. I am also equally grateful for Heather as she spilled so much wisdom and golden nuggets to help wrap up these back to back interviews in one hell of a bow. Thank you all for listening in on these stories as our guests continue to bring it every time. Forever grateful!Music: "Miracle" by ONLAP (Spotify, Apple Music)Contact Heather:HeatherCruz1975@yahoo.comSupport the showFind us on all major streaming platforms or connect with us if you're ready to share your story.Link to be on the show:https://2200taps.com/podcast

Rockshow Episode 176 The Dave Clark Five The Dave Clark Five, also known as DC5, was a British rock and roll band that emerged during the 1960s as part of the British Invasion, a cultural phenomenon where British bands gained popularity in the United States. Formed in Tottenham, North London in 1959, the group mainly consisted of Dave Clark (drums), Mike Smith (vocals, keyboards), Lenny Davidson (guitar), Rick Huxley (bass), and Denis Payton (saxophone, guitar). The Dave Clark Five quickly gained fame with their distinct sound, characterized by prominent drums, electric organ, saxophone, and harmonized vocals. Their first UK hit was "Do You Love Me" in 1963, which was followed by a string of successful singles, including "Glad All Over," "Bits and Pieces," and "Catch Us If You Can." In 1964, "Glad All Over" dethroned The Beatles' "I Want to Hold Your Hand" from the top spot on the UK charts, further cementing their status as one of the leading British Invasion bands. The band appeared on the popular television show "The Ed Sullivan Show" more than a dozen times, solidifying their popularity in the United States. Throughout the 1960s, the DC5 continued to produce chart-topping hits in both the UK and the US, with memorable songs like "Because," "I Like It Like That," and "Over and Over." However, their popularity started to decline by the end of the decade. Although The Dave Clark Five disbanded in 1970, their influential role in the British Invasion left an enduring legacy on the development of rock and pop music. In 2008, the band was inducted into the Rock & Roll Hall of Fame, recognizing their significant impact on the music industry. https://daveclark5.com/ https://youtube.com/channel/UCVnXzbk3ZyeIicpX3x-LbaQ https://open.spotify.com/artist/2HBbky0Z08ZcCKVsXWbNE4?autoplay=true&source_application=google_assistant https://www.rockhall.com/inductees/dave-clark-five https://m.facebook.com/thedaveclarkfiveofficial/?wtsid=rdr_00qaEPXW0iLK4Slqf https://www.edsullivan.com/artists/dave-clark-five/ https://www.instagram.com/thedaveclark5/?hl=en https://www.instagram.com/the.dave.clark.five/?hl=en #DaveClarkFive #DC5 #BritishInvasion #60sRock #GladAllOver #BitsAndPieces #CatchUsIfYouCan #DC5Legends #DaveClarkFiveForever #RockAndRollHistory Park Dental Care 12419 101st Ave South Richmond Hill Queens (718) 847-3800 https://www.718DENTISTS.com Please follow us on Youtube,Facebook,Instagram,Twitter,Patreon and at www.gettinglumpedup.com https://linktr.ee/RobRossi Get your T-shirt at https://www.prowrestlingtees.com/gettinglumpedup And https://www.bonfire.com/store/getting-lumped-up/ Subscribe to the channel and hit the like button This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rob-rossi/support https://www.patreon.com/Gettinglumpedup

As we're in the period between Christmas and New Year, the gap between episodes is going to be longer than normal, and the podcast proper is going to be back on January the ninth. So nobody has to wait around for another fortnight for a new episode, I thought I'd upload some old Patreon bonus episodes to fill the gap. Every year around Christmas the bonus episodes I do tend to be on Christmas songs and so this week I'm uploading three of those. These are older episodes, so don't have the same production values as more recent episodes, and are also shorter than more recent bonuses, but I hope they're still worth listening to. Hello, and welcome to this week's second Patreon bonus episode. I'm recording this on December the twenty-third, so whether you hear this before Christmas is largely down to how quickly we can get the main episode edited and uploaded. Hopefully, this is going up on Christmas Eve and you're all feeling appropriately festive. Normally for the Patreon bonuses in the last week of December I choose a particularly Christmassy record from the time period we're covering in the main podcast -- usually a perennial Christmas hit like something off the Phil Spector Christmas album or the Elvis Christmas album. However, this year we're in the mid sixties, a period when none of the big hits of US or UK Christmas music were released, because it's after the peak of US Christmas music and before the peak of UK Christmas music. There were Christmas albums by people like James Brown, but they weren't major parts of the discography. So today, we're going to have a brief run-through of the Beatles' Christmas records. These were flexi-discs -- which for those of you who are too young to remember them were records pressed on very, very, thin, cheap plastic, which used to be attached to things like kids' comics or cereal boxes as promotional gimmicks -- sent out to members of the group's fan club. In a way, these were the Beatles' very own Patreon bonuses, sent out to fans and supporters, and not essential works, but hopefully interesting and fun. They very rarely had anything like a full song, being mostly made up of sketches and recorded messages, and other than a limited-edition vinyl reissue a few years back they've never been put on general release -- though one song from the discs, "Christmas Time is Here Again", *was* released as a B-side of the CD single of "Free as A Bird" in 1995: [Excerpt: The Beatles, "Christmas Time is Here Again"] Other than that, the Christmas records remain one of those parts of the Beatles catalogue which have never seen a proper widespread release. The first record was made on October the 17th 1963, at the same recording session as "I Want to Hold Your Hand", at the instigation of Tony Barrow, the group's publicist, who also came up with a script for the group to depart from: [Excerpt, the Beatles' first Christmas record] Barrow apparently edited the recording himself, using scissors and tape, and much of that was just taking out the swearing. Incidentally, I've seen some American sources talking about the word "Crimble" being a word that the Beatles made up themselves, but it's actually a fairly standard bit of Scouse slang. The second Christmas record was recorded at the end of the sessions for Beatles For Sale and was much the same kind of thing, though this time they incorporated sound effects: [Excerpt: The Beatles' Second Christmas Record] That was never sent to American fans. Instead, they got a cardboard copy of an edited version of the first record (it's possible to make records out of cardboard, but they can only be played a handful of times). They wouldn't get another Christmas record until 1968, though British fans kept receiving them. The third record sees the group parodying other people's hits, including a brief rendition of "It's the Same Old Song" interrupted by George Harrison saying they can't sing it because of copyright, and an attempt to sing Barry McGuire's "Eve of Destruction" and "Auld Lang Syne" at the same time: [Excerpt: The Beatles' Third Christmas Record] The fourth record, from 1966, was recorded during the early sessions for "Strawberry Fields Forever", and titled "Pantomime: Everywhere It's Christmas". For those outside the UK and its sphere of cultural influence, pantomime is a British Xmas stage tradition which is very hard to explain if you've not experienced it, involving performances that are ostensibly of fairy stories like Cinderella or Snow White, but also usually involving drag performances -- the male lead is usually played by a young woman, while there's usually an old woman character played by a man in drag -- with audience participation, songs, and old jokes of the "I do declare, the Prince's balls get bigger every year!" type. As the title suggests, then, the 1966 Christmas record is an attempt at an actual narrative of sorts, though a surreal, incoherent one. It comes across very much like the Goon show -- though like one of the later episodes where Milligan has lost all sense of narrative coherence: [Excerpt: The Beatles, "Pantomime: Everywhere It's Christmas"] it's probably the best of the group's Christmas efforts, and certainly the most fully realised to this point. The 1967 Christmas record, "Christmas Time is Here Again", is even more ambitious. It's another narrative, which sees the group playing a fictitious group called the Ravellers, auditioning for the BBC: [Excerpt: The Beatles, "Christmas Time is Here Again"] It also features parodies of broadcasting formats, which I've seen a few people suggest were inspired by the Bonzo Dog Band's then-recent Craig Torso Show radio performances, but which seem to me more indicative just of a general shared sense of humour: [Excerpt: The Beatles, "Christmas Time is Here Again"] But that record has become most famous for having one of the closest things on any of these records to a full song, the title track "Christmas Time is Here Again": [Excerpt: The Beatles, "Christmas Time is Here Again"] As well as later being issued as the B-side of a CD single, that was also remade by Ringo as a solo record: [Excerpt: Ringo Starr, "Christmas Time is Here Again"] Although my favourite use of the song is actually as an interpolation, with slightly altered lyrics, in "Xmas Again" by Stew of the Negro Problem, one of my favourite current songwriters: [Excerpt: Stew, "Xmas Again"] "Christmas Time is Here Again" would be the last Christmas record the group would make together. For their final two Christmas releases, they recorded their parts separately and got their friend, the DJ Kenny Everett, who was known at this point for his tricks with tape editing, and who shared their sense of humour (he later went on to become a successful TV comedian) to collage them together into something listenable. The highlight of the 1968 record comes from George's contribution. George, a lover of the ukulele, got Tiny Tim to record his version of "Nowhere Man" for the record: [Excerpt: Tiny Tim, "Nowhere Man"] And for the seventh and final Christmas single, recorded after the group had split up but before the split was announced, Everett once again cobbled it together from separate recordings, this time a chat between John and Yoko, Ringo improvising a song and plugging his new film, and Paul singing an original Christmas song: [Excerpt: Paul McCartney, "Merry, Merry, Year"] George's contribution was a single sentence. In 1970, the fan club members got one final record -- an actual vinyl album, compiling all the previous Christmas records in one place. All the Beatles would in future record solo Christmas singles, some of which became perennial classics, but there would never be another Beatles Christmas record [Excerpt, the end of the third Beatles Christmas record]

GGACP celebrates the birthday (June 22nd) of Grammy-winning producer, British Invasion rocker and former Apple Records exec Peter Asher with this memorable interview from 2017. In this episode, Peter joins the boys for a fascinating discussion about the genius of James Taylor, the profound influence of the Everly Brothers, the rivalry between the Beach Boys and the Fab Four and the 50th anniversary of “Sgt. Pepper's Lonely Hearts Club Band.” Also, John Lennon meets Yoko Ono, Linda Ronstadt teams with Nelson Riddle, Peter and Gordon play the '64 World's Fair and Peter becomes the first person to hear "I Want to Hold Your Hand." PLUS: The genius of Spike Milligan! Gilbert sings! Jackie Gleason acts out! Peter “inspires” Austin Powers! Chad & Jeremy meet the Caped Crusaders! And a “rejected” Beatles tune lands Peter at the top of the charts! Learn more about your ad choices. Visit megaphone.fm/adchoices