Podcasts about i feel free

In the 8 AM hour, Julie Gunlock and Hans Von Spakovsky discussed: WMAL GUEST: Joe Concha on His New Book, The Greatest Comeback Ever: Inside Trump's Big Beautiful Campaign VIDEO: President Trump Calls Out ABC News to Reporter Terry Moran's Face Over Biden's Cognitive Decline WMAL GUEST: Gen. Jack Keane on the 50th Anniversary of the Fall of Saigon NY POST: Heather Graham, 55, Confesses She’s ‘Glad’ She Never Had Children: ‘I Feel Free’ Where to find more about WMAL's morning show: Follow podcasts on Apple, Audible and Spotify Follow WMAL's "O'Connor and Company" on X: @WMALDC, @LarryOConnor, @JGunlock, @PatricePinkfile, and @HeatherHunterDC Facebook: WMALDC and Larry O'Connor Instagram: WMALDC Website: wmal.com/oconnor-company Episode: Tuesday, April 30, 2025 / 8 AM HourSee omnystudio.com/listener for privacy information.

(S3-#29) Cream- Fresh Cream  (Reaction)  Released December 9, 1966. Recorded July-November 1966  Cream, formed in 1966, was one of the first supergroups. It consisted of three highly regarded musicians from the British blues and rock scenes: Eric Clapton (guitar, vocals), Jack Bruce (bass, lead vocals), and Ginger Baker (drums). Their debut album, Fresh Cream, released on December 9, 1966, blends blues covers and original compositions, showcasing the band's blues roots and groundbreaking sound. Fresh Cream includes a mix of original songs and blues standards like "Spoonful," "Rollin' and Tumblin," and "I'm So Glad." The album succeeded commercially, reaching number 6 on the UK charts and 39 in the US. Notable tracks include "I Feel Free," featuring strong vocal harmonies, and "Toad," one of the earliest rock tracks to feature a drum solo. Following the album's release, Cream quickly became one of the most influential bands of the late 1960s, known for their virtuosic performances and innovative blend of blues, rock, and psychedelic music. Despite their success, internal tensions led to the band's breakup in 1968, after which each member pursued a successful solo career. Cream's legacy endures as a pioneering force in rock music history. Curated Spotify Playlist https://open.spotify.com/playlist/7I6dzYc5UJfko8unziRMWf?si=0b46147790924bfb Album on Spotify https://open.spotify.com/album/6iyKqDoL9pRSHUsDBYemlB?si=w0brXwJpR7SYxs1uN2-NkA Album on YouTube https://youtu.be/tsrmxWcodd0?si=iFbTG0RAwPPcQ6d1

Singles Going Around- Hazy Shade Of WinterSimon & Garfunkel- "Homeward Bound"The Monkees- "Daily Nightly"The Chiffons- "Nobody Knows What's Goin' On"The Byrds- "The Girl With No Name"Bob Dylan- "Tombstone Blues"The Beach Boys- "Im So Young"Simon & Garfunkel- "Hazy Shade Of Winter"The Vagrants- "Respect"The Who- "I Can See For Miles"The Rolling Stones- "Let's Spend The Night Together"The Monkees- "You Told Me"Pink Floyd- "Arnold Layne"The Beatles- "The Word"France Gall- "Baby Pop"Cream- "I Feel Free"Simon & Garfunkel- "A Simple Desultory Philippic"Aretha Franklin- "I Say A Little Prayer For You"Bob Dylan- "It's Alright, Ma" Lee Moses- "My Adorable One"

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

Deane Wheeler live from Wheeler Resort. Dean sings “Burning of the Midnight Lamp,” Bud sing “I Feel Free” and Bud and Chris Norton team up on “60 Minute Man.”Sign up for a Backstage Pass and enjoy a 30,000 plus hour archive, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…

Singles Going Around- Back To Mono Volume 4Mono records-recorded in mono, transferred in mono. Play LOUD.The Byrds- "Mr Spaceman"Pink Floyd- "Astronomy Domine"Chris Kenner- "Something You Got"Cream- "I Feel Free"The Rolling Stones- "Sympathy For The Devil"Bob Dylan- "Leopard Skin Pill Box Hat"The Beatles- "Norwegian Wood"Paul Revere & The Raiders- "The Great Airplane Strike"The Beach Boys- "Here Comes The Night"The Doors- "Break On Through"The Byrds- "The World Turns All Around Her"Chris Kenner- "Land Of 1000 Dances"The Rolling Stones- "Street Fighting Man"Pink Floyd- "Lucifer Sam"Bob Dylan- "Absolutely Sweet Marie"Dale Hawkins- "Suzie Q"Jerry Lee Lewis- "Great Balls Of Fire"Link Wray- "Rumble"Barret Strong- "Money"*All selections from the original records.

Esta semana, en Islas de Robinson, recibimos una visita que nos hace especial ilusión. Empeñados como estamos desde siempre en recordar que los clásicos no pasan de moda y que los que vienen siendo más jóvenes también tienen derecho a descubrirlos, conocerlos y disfrutarlos (a ser posible también vía Islas de Robinson), contamos con Pablo Sancho, Robinsón (que no náufrago), que a sus 15 años nos presenta una selección de aúpa de favoritos recién descubiertos (¡qué envidia!). Una conexión que, no sólo nos entusiasma, sino que también nos confirma que siempre hay esperanza y nos transporta al tiempo en el que nuestros tesoros relucían con brillo único... huella imborrable... ¡Bienvenido, Robinsón! ¡Salve! Suenan: THE DOORS - "L.A. WOMAN" ("L.A. WOMAN", 1971) / CANNED HEAT - "ON THE ROAD AGAIN" ("BOOGIE WITH CANNED HEAT", 1968) / CREAM - "I FEEL FREE" ("FRESH CREAM", 1966) / LOVE - "A HOUSE IS NOT A MOTEL" ("FOREVER CHANGES", 1967) / RODRIGUEZ - "CAUSE" ("COMING FROM REALITY", 1970) / THE BEACH BOYS - "GOD ONLY KNOWS" ("PET SOUNDS", 1966) / LED ZEPPELIN - "HEY HEY WHAT CAN I DO" (SINGLE 1970) / JIMI HENDRIX EXPERIENCE - "SGT. PEPPER'S LONELY HEARTS CLUB BAND" (DIRECTO EN ESTOCOLMO, 1967) / JEFFERSON AIRPLANE - "WHITE RABBIT" ("SURREALISTIC PILLOW", 1967) / JAMES BROWN AND THE FAMOUS FLAMES - "IT'S A MAN'S MAN'S MAN'S WORLD" (SINGLE, 1966) / Escuchar audio

Happy New Year everyone! Welcome to 2023. Today I'm talking about drinking and Dry January because I love not drinking. You may be shocked to hear this because I'm so hilarious and wacky~~ but I don't drink. Over the years, not drinking has been the thing that people seem to ask me about the most so I thought I may as well share what I know. I've got some suggestions for things for you to read and a free journal with prompts that you can download at http://mumsdays.com/dryjan Here's a link to I Feel Free by Cream in case my rendition wasn't accurate enough - https://www.youtube.com/watch?v=prnbF8Eagdg&ab_channel=Cream-Topic Here's my Sobriety Pinterest Board - https://www.pinterest.co.uk/mumsdays/sobriety/ Here's the book I'm talking about https://uk.bookshop.org/books/this-naked-mind/9780008293468

The Highway Star dropped me off at Babylon and said real loud, “Don't Bogart that Joint.” I Hear You Now, I replied and I passed it to the Queen of Dreams, who happened to be flying by. I Feel Free, she said, Blow Wind Blow, cuz Livin' Ain't Livin' on the ground and up here God Is Alive, Magic Is Afoot. As for me, I'll Find My Way Home even if I have to walk. Yeah, Feats Don't Fail Me Now.

Part Two of Deane Wheeler live from Wheeler Resort. Dean sings “Burning of the Midnight Lamp” and brings on Bud to sing “I Feel Free” while Bud and Chris Norton team up on “60 Minute Man.” . Sign up for a Backstage Pass and enjoy a 30,000 plus hour archive, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more… Sign up now at PhilHendrieShow.com!

Herbert Quelle joins me on episode 69.Herbert is a German who worked as a diplomat for 40 years. This included 10 years as the German Consul in the US, where he met several distinguished harmonica names. With a deep interest in the harmonica, Herbert has researched the instrument to great depth, using this information to litter facts into his two fictional works centred on our beloved instrument. He tells us of the huge export of harmonicas from Germany to the US, and how the early marketing often described harmonicas as toys.Herbert regularly makes readings from his books, with some in this podcast episode. Links:Herbert's website:https://www.harpambassador.comMonika's Blues book:https://www.amazon.co.uk/Monikas-Blues-Harmonica-African-American-Culture/dp/1880788276Harmonica History article for Harmonica Happenings magazine:https://jimdo-storage.global.ssl.fastly.net/file/059116cb-8889-486c-adab-ddc013dcf638/Texte%20280122.pdfEarly harmonica recordings by The Archivist (Roger Trobridge), introduced by Joe Filisko:https://www.mixcloud.com/PodKast/rare-early-harmonica-recordings-by-vocalists-and-instrumentalists-introduced-by-joe-filisko/Adam Gussow book:https://www.amazon.co.uk/Mister-Satans-Apprentice-Blues-Memoir/dp/0816667756Pat Missin's recordings of Arthur Turelly and Pete Hampton:https://www.patmissin.com/78rpm/78rpm.htmlHerbert playing the German National Anthem:https://thomasguntherproductions.bandcamp.com/track/german-national-anthem-deutschland-liedMundharmonika Live (Seydel harmonica convention):https://mundharmonika-live.de/Videos:Herbert's YouTube Channel:https://www.youtube.com/user/herbieqkeysA German American Love Story (Harmonica exports to the US):https://youtu.be/pGigFF1Zkn8Herbert playing I Feel Free:https://youtu.be/AYnRdgX77gYHerbert playing  Ode To Joy:https://www.youtube.com/watch?v=auDwsvKvQawPodcast website:https://www.harmonicahappyhour.comDonations:If you want to make a voluntary donation to help support the running costs of the podcast then please use this link (or visit the podcast website link above):https://paypal.me/harmonicahappyhour?locale.x=en_GBSpotify Playlist: Also check out the Spotify Playlist, which contains most of the songs discussed in the podcast:https://open.spotify.com/playlist/5QC6RF2VTfs4iPuasJBqwT?si=M-j3IkiISeefhR7ybm9qIQ

Oliver Taylor Hawkins (17 de febrero de 1972 - 25 de marzo de 2022) fue un músico estadounidense, ampliamente conocido como el baterista de la banda de rock Foo Fighters, con quien grabó nueve álbumes de estudio entre 1999 y 2021. Antes de unirse a la banda en 1997, fue el baterista de gira de Sass Jordan y Alanis Morissette, así como el baterista de la banda experimental progresiva Sylvia. En 2004, Hawkins formó su propio proyecto paralelo, Taylor Hawkins and the Coattail Riders, en el que tocó la batería y cantó, lanzando tres álbumes de estudio entre 2006 y 2019. Formó el supergrupo NHC con los miembros de Jane's Addiction Dave Navarro y Chris Chaney en 2020, donde también asumió tareas de voz principal y batería. Después de una gira durante la primavera de 1996, Foo Fighters ingresó a un estudio de Seattle con el productor Gil Norton para grabar su segundo álbum. Según los informes, estalló un conflicto durante la grabación entre Dave Grohl y el baterista William Goldsmith, lo que finalmente provocó que Goldsmith dejara la banda. La banda se reagrupó en Los Ángeles y volvió a grabar casi por completo el álbum con Grohl en la batería. El álbum, The Color and the Shape, fue lanzado el 20 de mayo de 1997. Grohl llamó a Hawkins, un conocido en ese momento, buscando sus recomendaciones para que un nuevo baterista se uniera a la banda. Grohl tenía la impresión de que Hawkins no dejaría la banda de gira de Morissette, dado que ella era un acto más grande que Foo Fighters en ese momento. Sin embargo, para sorpresa de Grohl, Hawkins se ofreció como voluntario para unirse a la banda, explicando que quería ser baterista en una banda de rock en lugar de actuar como solista. La banda anunció que Hawkins sería su nuevo baterista el 18 de marzo de 1997. Hawkins apareció por primera vez con los Foo Fighters en el video musical del sencillo de 1997 "Monkey Wrench", aunque la canción fue grabada antes de unirse a la banda. Además de tocar la batería con Foo Fighters, Hawkins también proporcionó voz, guitarra y piano en varias grabaciones. Interpretó la voz principal en una versión de "Have a Cigar" de Pink Floyd. Se lanzaron dos versiones de la canción, una como cara B de "Learn to Fly" y otra en el álbum de la banda sonora de Mission: Impossible 2. Más tarde cantó la voz principal en "Cold Day in the Sun" de In Your Honor, que luego se lanzó como sencillo, así como una versión de "I Feel Free" de Cream, que apareció como cara B de "DOA". y en el EP Five Songs and a Cover. Hawkins también cantó la voz principal para la versión de la banda de "Life of Illusion" de Joe Walsh. Más tarde, cantó la voz principal de "Sunday Rain", una pista del álbum Concrete and Gold de Foo Fighters de 2017. Cantó la voz principal en algunas canciones durante los shows en vivo de Foo Fighters, como una versión de "Somebody To Love" de Queen en su último concierto con la banda. También contribuyó a la composición de canciones de la banda y fue incluido como coautor en todos los álbumes desde There Is Nothing Left to Lose. La última actuación de Hawkins con los Foo Fighters antes de su muerte fue en el festival Lollapalooza Argentina el 20 de marzo de 2022. Hawkins ganó póstumamente tres premios Grammy con los Foo Fighters el 3 de abril de 2022.

Episode one hundred and forty-seven of A History of Rock Music in Five Hundred Songs looks at “Hey Joe" by the Jimi Hendrix Experience, and is the longest episode to date, at over two hours. Patreon backers also have a twenty-two-minute bonus episode available, on "Making Time" by The Creation. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud mix containing all the music excerpted in this episode. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. Information on Arthur Lee and Love came from Forever Changes: Arthur Lee and the Book of Love by John Einarson, and Arthur Lee: Alone Again Or by Barney Hoskyns. Information on Gary Usher's work with the Surfaris and the Sons of Adam came from The California Sound by Stephen McParland, which can be found at https://payhip.com/CMusicBooks Information on Jimi Hendrix came from Room Full of Mirrors by Charles R. Cross, Crosstown Traffic by Charles Shaar Murray, and Wild Thing by Philip Norman. Information on the history of "Hey Joe" itself came from all these sources plus Hey Joe: The Unauthorised Biography of a Rock Classic by Marc Shapiro, though note that most of that book is about post-1967 cover versions. Most of the pre-Experience session work by Jimi Hendrix I excerpt in this episode is on this box set of alternate takes and live recordings. And "Hey Joe" can be found on Are You Experienced? Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before we start – this episode deals with a song whose basic subject is a man murdering a woman, and that song also contains references to guns, and in some versions to cocaine use. Some versions excerpted also contain misogynistic slurs. If those things are likely to upset you, please skip this episode, as the whole episode focusses on that song. I would hope it goes without saying that I don't approve of misogyny, intimate partner violence, or murder, and my discussing a song does not mean I condone acts depicted in its lyrics, and the episode itself deals with the writing and recording of the song rather than its subject matter, but it would be impossible to talk about the record without excerpting the song. The normalisation of violence against women in rock music lyrics is a subject I will come back to, but did not have room for in what is already a very long episode. Anyway, on with the show. Let's talk about the folk process, shall we? We've talked before, like in the episodes on "Stagger Lee" and "Ida Red", about how there are some songs that aren't really individual songs in themselves, but are instead collections of related songs that might happen to share a name, or a title, or a story, or a melody, but which might be different in other ways. There are probably more songs that are like this than songs that aren't, and it doesn't just apply to folk songs, although that's where we see it most notably. You only have to look at the way a song like "Hound Dog" changed from the Willie Mae Thornton version to the version by Elvis, which only shared a handful of words with the original. Songs change, and recombine, and everyone who sings them brings something different to them, until they change in ways that nobody could have predicted, like a game of telephone. But there usually remains a core, an archetypal story or idea which remains constant no matter how much the song changes. Like Stagger Lee shooting Billy in a bar over a hat, or Frankie killing her man -- sometimes the man is Al, sometimes he's Johnny, but he always done her wrong. And one of those stories is about a man who shoots his cheating woman with a forty-four, and tries to escape -- sometimes to a town called Jericho, and sometimes to Juarez, Mexico. The first version of this song we have a recording of is by Clarence Ashley, in 1929, a recording of an older folk song that was called, in his version, "Little Sadie": [Excerpt: Clarence Ashley, "Little Sadie"] At some point, somebody seems to have noticed that that song has a slight melodic similarity to another family of songs, the family known as "Cocaine Blues" or "Take a Whiff on Me", which was popular around the same time: [Excerpt: The Memphis Jug Band, "Cocaine Habit Blues"] And so the two songs became combined, and the protagonist of "Little Sadie" now had a reason to kill his woman -- a reason other than her cheating, that is. He had taken a shot of cocaine before shooting her. The first recording of this version, under the name "Cocaine Blues" seems to have been a Western Swing version by W. A. Nichol's Western Aces: [Excerpt: W.A. Nichol's Western Aces, "Cocaine Blues"] Woody Guthrie recorded a version around the same time -- I've seen different dates and so don't know for sure if it was before or after Nichol's version -- and his version had himself credited as songwriter, and included this last verse which doesn't seem to appear on any earlier recordings of the song: [Excerpt: Woody Guthrie, "Cocaine Blues"] That doesn't appear on many later recordings either, but it did clearly influence yet another song -- Mose Allison's classic jazz number "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] The most famous recordings of the song, though, were by Johnny Cash, who recorded it as both "Cocaine Blues" and as "Transfusion Blues". In Cash's version of the song, the murderer gets sentenced to "ninety-nine years in the Folsom pen", so it made sense that Cash would perform that on his most famous album, the live album of his January 1968 concerts at Folsom Prison, which revitalised his career after several years of limited success: [Excerpt: Johnny Cash, "Cocaine Blues (live at Folsom Prison)"] While that was Cash's first live recording at a prison, though, it wasn't the first show he played at a prison -- ever since the success of his single "Folsom Prison Blues" he'd been something of a hero to prisoners, and he had been doing shows in prisons for eleven years by the time of that recording. And on one of those shows he had as his support act a man named Billy Roberts, who performed his own song which followed the same broad outlines as "Cocaine Blues" -- a man with a forty-four who goes out to shoot his woman and then escapes to Mexico. Roberts was an obscure folk singer, who never had much success, but who was good with people. He'd been part of the Greenwich Village folk scene in the 1950s, and at a gig at Gerde's Folk City he'd met a woman named Niela Miller, an aspiring songwriter, and had struck up a relationship with her. Miller only ever wrote one song that got recorded by anyone else, a song called "Mean World Blues" that was recorded by Dave Van Ronk: [Excerpt: Dave Van Ronk, "Mean World Blues"] Now, that's an original song, but it does bear a certain melodic resemblance to another old folk song, one known as "Where Did You Sleep Last Night?" or "In the Pines", or sometimes "Black Girl": [Excerpt: Lead Belly, "Where Did You Sleep Last Night?"] Miller was clearly familiar with the tradition from which "Where Did You Sleep Last Night?" comes -- it's a type of folk song where someone asks a question and then someone else answers it, and this repeats, building up a story. This is a very old folk song format, and you hear it for example in "Lord Randall", the song on which Bob Dylan based "A Hard Rain's A-Gonna Fall": [Excerpt: Ewan MacColl, "Lord Randall"] I say she was clearly familiar with it, because the other song she wrote that anyone's heard was based very much around that idea. "Baby Please Don't Go To Town" is a question-and-answer song in precisely that form, but with an unusual chord progression for a folk song. You may remember back in the episode on "Eight Miles High" I talked about the circle of fifths -- a chord progression which either increases or decreases by a fifth for every chord, so it might go C-G-D-A-E [demonstrates] That's a common progression in pop and jazz, but not really so much in folk, but it's the one that Miller had used for "Baby, Please Don't Go to Town", and she'd taught Roberts that song, which she only recorded much later: [Excerpt: Niela Miller, "Baby, Please Don't Go To Town"] After Roberts and Miller broke up, Miller kept playing that melody, but he changed the lyrics. The lyrics he added had several influences. There was that question-and-answer folk-song format, there's the story of "Cocaine Blues" with its protagonist getting a forty-four to shoot his woman down before heading to Mexico, and there's also a country hit from 1953. "Hey, Joe!" was originally recorded by Carl Smith, one of the most popular country singers of the early fifties: [Excerpt: Carl Smith, "Hey Joe!"] That was written by Boudleaux Bryant, a few years before the songs he co-wrote for the Everly Brothers, and became a country number one, staying at the top for eight weeks. It didn't make the pop chart, but a pop cover version of it by Frankie Laine made the top ten in the US: [Excerpt: Frankie Laine, "Hey Joe"] Laine's record did even better in the UK, where it made number one, at a point where Laine was the biggest star in music in Britain -- at the time the UK charts only had a top twelve, and at one point four of the singles in the top twelve were by Laine, including that one. There was also an answer record by Kitty Wells which made the country top ten later that year: [Excerpt: Kitty Wells, "Hey Joe"] Oddly, despite it being a very big hit, that "Hey Joe" had almost no further cover versions for twenty years, though it did become part of the Searchers' setlist, and was included on their Live at the Star Club album in 1963, in an arrangement that owed a lot to "What'd I Say": [Excerpt: The Searchers, "Hey Joe"] But that song was clearly on Roberts' mind when, as so many American folk musicians did, he travelled to the UK in the late fifties and became briefly involved in the burgeoning UK folk movement. In particular, he spent some time with a twelve-string guitar player from Edinburgh called Len Partridge, who was also a mentor to Bert Jansch, and who was apparently an extraordinary musician, though I know of no recordings of his work. Partridge helped Roberts finish up the song, though Partridge is about the only person in this story who *didn't* claim a writing credit for it at one time or another, saying that he just helped Roberts out and that Roberts deserved all the credit. The first known recording of the completed song is from 1962, a few years after Roberts had returned to the US, though it didn't surface until decades later: [Excerpt: Billy Roberts, "Hey Joe"] Roberts was performing this song regularly on the folk circuit, and around the time of that recording he also finally got round to registering the copyright, several years after it was written. When Miller heard the song, she was furious, and she later said "Imagine my surprise when I heard Hey Joe by Billy Roberts. There was my tune, my chord progression, my question/answer format. He dropped the bridge that was in my song and changed it enough so that the copyright did not protect me from his plagiarism... I decided not to go through with all the complications of dealing with him. He never contacted me about it or gave me any credit. He knows he committed a morally reprehensible act. He never was man enough to make amends and apologize to me, or to give credit for the inspiration. Dealing with all that was also why I made the decision not to become a professional songwriter. It left a bad taste in my mouth.” Pete Seeger, a friend of Miller's, was outraged by the injustice and offered to testify on her behalf should she decide to take Roberts to court, but she never did. Some time around this point, Roberts also played on that prison bill with Johnny Cash, and what happened next is hard to pin down. I've read several different versions of the story, which change the date and which prison this was in, and none of the details in any story hang together properly -- everything introduces weird inconsistencies and things which just make no sense at all. Something like this basic outline of the story seems to have happened, but the outline itself is weird, and we'll probably never know the truth. Roberts played his set, and one of the songs he played was "Hey Joe", and at some point he got talking to one of the prisoners in the audience, Dino Valenti. We've met Valenti before, in the episode on "Mr. Tambourine Man" -- he was a singer/songwriter himself, and would later be the lead singer of Quicksilver Messenger Service, but he's probably best known for having written "Get Together": [Excerpt: Dino Valenti, "Get Together"] As we heard in the "Mr. Tambourine Man" episode, Valenti actually sold off his rights to that song to pay for his bail at one point, but he was in and out of prison several times because of drug busts. At this point, or so the story goes, he was eligible for parole, but he needed to prove he had a possible income when he got out, and one way he wanted to do that was to show that he had written a song that could be a hit he could make money off, but he didn't have such a song. He talked about his predicament with Roberts, who agreed to let him claim to have written "Hey Joe" so he could get out of prison. He did make that claim, and when he got out of prison he continued making the claim, and registered the copyright to "Hey Joe" in his own name -- even though Roberts had already registered it -- and signed a publishing deal for it with Third Story Music, a company owned by Herb Cohen, the future manager of the Mothers of Invention, and Cohen's brother Mutt. Valenti was a popular face on the folk scene, and he played "his" song to many people, but two in particular would influence the way the song would develop, both of them people we've seen relatively recently in episodes of the podcast. One of them, Vince Martin, we'll come back to later, but the other was David Crosby, and so let's talk about him and the Byrds a bit more. Crosby and Valenti had been friends long before the Byrds formed, and indeed we heard in the "Mr. Tambourine Man" episode how the group had named themselves after Valenti's song "Birdses": [Excerpt: Dino Valenti, "Birdses"] And Crosby *loved* "Hey Joe", which he believed was another of Valenti's songs. He'd perform it every chance he got, playing it solo on guitar in an arrangement that other people have compared to Mose Allison. He'd tried to get it on the first two Byrds albums, but had been turned down, mostly because of their manager and uncredited co-producer Jim Dickson, who had strong opinions about it, saying later "Some of the songs that David would bring in from the outside were perfectly valid songs for other people, but did not seem to be compatible with the Byrds' myth. And he may not have liked the Byrds' myth. He fought for 'Hey Joe' and he did it. As long as I could say 'No!' I did, and when I couldn't any more they did it. You had to give him something somewhere. I just wish it was something else... 'Hey Joe' I was bitterly opposed to. A song about a guy who murders his girlfriend in a jealous rage and is on the way to Mexico with a gun in his hand. It was not what I saw as a Byrds song." Indeed, Dickson was so opposed to the song that he would later say “One of the reasons David engineered my getting thrown out was because I would not let Hey Joe be on the Turn! Turn! Turn! album.” Dickson was, though, still working with the band when they got round to recording it. That came during the recording of their Fifth Dimension album, the album which included "Eight Miles High". That album was mostly recorded after the departure of Gene Clark, which was where we left the group at the end of the "Eight Miles High" episode, and the loss of their main songwriter meant that they were struggling for material -- doubly so since they also decided they were going to move away from Dylan covers. This meant that they had to rely on original material from the group's less commercial songwriters, and on a few folk songs, mostly learned from Pete Seeger The album ended up with only eleven songs on it, compared to the twelve that was normal for American albums at that time, and the singles on it after "Eight Miles High" weren't particularly promising as to the group's ability to come up with commercial material. The next single, "5D", a song by Roger McGuinn about the fifth dimension, was a waltz-time song that both Crosby and Chris Hillman were enthused by. It featured organ by Van Dyke Parks, and McGuinn said of the organ part "When he came into the studio I told him to think Bach. He was already thinking Bach before that anyway.": [Excerpt: The Byrds, "5D"] While the group liked it, though, that didn't make the top forty. The next single did, just about -- a song that McGuinn had written as an attempt at communicating with alien life. He hoped that it would be played on the radio, and that the radio waves would eventually reach aliens, who would hear it and respond: [Excerpt: The Byrds, "Mr. Spaceman"] The "Fifth Dimension" album did significantly worse, both critically and commercially, than their previous albums, and the group would soon drop Allen Stanton, the producer, in favour of Gary Usher, Brian Wilson's old songwriting partner. But the desperation for material meant that the group agreed to record the song which they still thought at that time had been written by Crosby's friend, though nobody other than Crosby was happy with it, and even Crosby later said "It was a mistake. I shouldn't have done it. Everybody makes mistakes." McGuinn said later "The reason Crosby did lead on 'Hey Joe' was because it was *his* song. He didn't write it but he was responsible for finding it. He'd wanted to do it for years but we would never let him.": [Excerpt: The Byrds, "Hey Joe"] Of course, that arrangement is very far from the Mose Allison style version Crosby had been doing previously. And the reason for that can be found in the full version of that McGuinn quote, because the full version continues "He'd wanted to do it for years but we would never let him. Then both Love and The Leaves had a minor hit with it and David got so angry that we had to let him do it. His version wasn't that hot because he wasn't a strong lead vocalist." The arrangement we just heard was the arrangement that by this point almost every group on the Sunset Strip scene was playing. And the reason for that was because of another friend of Crosby's, someone who had been a roadie for the Byrds -- Bryan MacLean. MacLean and Crosby had been very close because they were both from very similar backgrounds -- they were both Hollywood brats with huge egos. MacLean later said "Crosby and I got on perfectly. I didn't understand what everybody was complaining about, because he was just like me!" MacLean was, if anything, from an even more privileged background than Crosby. His father was an architect who'd designed houses for Elizabeth Taylor and Dean Martin, his neighbour when growing up was Frederick Loewe, the composer of My Fair Lady. He learned to swim in Elizabeth Taylor's private pool, and his first girlfriend was Liza Minelli. Another early girlfriend was Jackie DeShannon, the singer-songwriter who did the original version of "Needles and Pins", who he was introduced to by Sharon Sheeley, whose name you will remember from many previous episodes. MacLean had wanted to be an artist until his late teens, when he walked into a shop in Westwood which sometimes sold his paintings, the Sandal Shop, and heard some people singing folk songs there. He decided he wanted to be a folk singer, and soon started performing at the Balladeer, a club which would later be renamed the Troubadour, playing songs like Robert Johnson's "Cross Roads Blues", which had recently become a staple of the folk repertoire after John Hammond put out the King of the Delta Blues Singers album: [Excerpt: Robert Johnson, "Cross Roads Blues"] Reading interviews with people who knew MacLean at the time, the same phrase keeps coming up. John Kay, later the lead singer of Steppenwolf, said "There was a young kid, Bryan MacLean, kind of cocky but nonetheless a nice kid, who hung around Crosby and McGuinn" while Chris Hillman said "He was a pretty good kid but a wee bit cocky." He was a fan of the various musicians who later formed the Byrds, and was also an admirer of a young guitarist on the scene named Ryland Cooder, and of a blues singer on the scene named Taj Mahal. He apparently was briefly in a band with Taj Mahal, called Summer's Children, who as far as I can tell had no connection to the duo that Curt Boettcher later formed of the same name, before Taj Mahal and Cooder formed The Rising Sons, a multi-racial blues band who were for a while the main rivals to the Byrds on the scene. MacLean, though, firmly hitched himself to the Byrds, and particularly to Crosby. He became a roadie on their first tour, and Hillman said "He was a hard-working guy on our behalf. As I recall, he pretty much answered to Crosby and was David's assistant, to put it diplomatically – more like his gofer, in fact." But MacLean wasn't cut out for the hard work that being a roadie required, and after being the Byrds' roadie for about thirty shows, he started making mistakes, and when they went off on their UK tour they decided not to keep employing him. He was heartbroken, but got back into trying his own musical career. He auditioned for the Monkees, unsuccessfully, but shortly after that -- some sources say even the same day as the audition, though that seems a little too neat -- he went to Ben Frank's -- the LA hangout that had actually been namechecked in the open call for Monkees auditions, which said they wanted "Ben Franks types", and there he met Arthur Lee and Johnny Echols. Echols would later remember "He was this gadfly kind of character who knew everybody and was flitting from table to table. He wore striped pants and a scarf, and he had this long, strawberry hair. All the girls loved him. For whatever reason, he came and sat at our table. Of course, Arthur and I were the only two black people there at the time." Lee and Echols were both Black musicians who had been born in Memphis. Lee's birth father, Chester Taylor, had been a cornet player with Jimmie Lunceford, whose Delta Rhythm Boys had had a hit with "The Honeydripper", as we heard way back in the episode on "Rocket '88": [Excerpt: Jimmie Lunceford and the Delta Rhythm Boys, "The Honeydripper"] However, Taylor soon split from Lee's mother, a schoolteacher, and she married Clinton Lee, a stonemason, who doted on his adopted son, and they moved to California. They lived in a relatively prosperous area of LA, a neighbourhood that was almost all white, with a few Asian families, though the boxer Sugar Ray Robinson lived nearby. A year or so after Arthur and his mother moved to LA, so did the Echols family, who had known them in Memphis, and they happened to move only a couple of streets away. Eight year old Arthur Lee reconnected with seven-year-old Johnny Echols, and the two became close friends from that point on. Arthur Lee first started out playing music when his parents were talked into buying him an accordion by a salesman who would go around with a donkey, give kids free donkey rides, and give the parents a sales pitch while they were riding the donkey, He soon gave up on the accordion and persuaded his parents to buy him an organ instead -- he was a spoiled child, by all accounts, with a TV in his bedroom, which was almost unheard of in the late fifties. Johnny Echols had a similar experience which led to his parents buying him a guitar, and the two were growing up in a musical environment generally. They attended Dorsey High School at the same time as both Billy Preston and Mike Love of the Beach Boys, and Ella Fitzgerald and her then-husband, the great jazz bass player Ray Brown, lived in the same apartment building as the Echols family for a while. Ornette Coleman, the free-jazz saxophone player, lived next door to Echols, and Adolphus Jacobs, the guitarist with the Coasters, gave him guitar lessons. Arthur Lee also knew Johnny Otis, who ran a pigeon-breeding club for local children which Arthur would attend. Echols was the one who first suggested that he and Arthur should form a band, and they put together a group to play at a school talent show, performing "Last Night", the instrumental that had been a hit for the Mar-Keys on Stax records: [Excerpt: The Mar-Keys, "Last Night"] They soon became a regular group, naming themselves Arthur Lee and the LAGs -- the LA Group, in imitation of Booker T and the MGs – the Memphis Group. At some point around this time, Lee decided to switch from playing organ to playing guitar. He would say later that this was inspired by seeing Johnny "Guitar" Watson get out of a gold Cadillac, wearing a gold suit, and with gold teeth in his mouth. The LAGs started playing as support acts and backing bands for any blues and soul acts that came through LA, performing with Big Mama Thornton, Johnny Otis, the O'Jays, and more. Arthur and Johnny were both still under-age, and they would pencil in fake moustaches to play the clubs so they'd appear older. In the fifties and early sixties, there were a number of great electric guitar players playing blues on the West Coast -- Johnny "Guitar" Watson, T-Bone Walker, Guitar Slim, and others -- and they would compete with each other not only to play well, but to put on a show, and so there was a whole bag of stage tricks that West Coast R&B guitarists picked up, and Echols learned all of them -- playing his guitar behind his back, playing his guitar with his teeth, playing with his guitar between his legs. As well as playing their own shows, the LAGs also played gigs under other names -- they had a corrupt agent who would book them under the name of whatever Black group had a hit at the time, in the belief that almost nobody knew what popular groups looked like anyway, so they would go out and perform as the Drifters or the Coasters or half a dozen other bands. But Arthur Lee in particular wanted to have success in his own right. He would later say "When I was a little boy I would listen to Nat 'King' Cole and I would look at that purple Capitol Records logo. I wanted to be on Capitol, that was my goal. Later on I used to walk from Dorsey High School all the way up to the Capitol building in Hollywood -- did that many times. I was determined to get a record deal with Capitol, and I did, without the help of a fancy manager or anyone else. I talked to Adam Ross and Jack Levy at Ardmore-Beechwood. I talked to Kim Fowley, and then I talked to Capitol". The record that the LAGs released, though, was not very good, a track called "Rumble-Still-Skins": [Excerpt: The LAGs, "Rumble-Still-Skins"] Lee later said "I was young and very inexperienced and I was testing the record company. I figured if I gave them my worst stuff and they ripped me off I wouldn't get hurt. But it didn't work, and after that I started giving my best, and I've been doing that ever since." The LAGs were dropped by Capitol after one single, and for the next little while Arthur and Johnny did work for smaller labels, usually labels owned by Bob Keane, with Arthur writing and producing and Johnny playing guitar -- though Echols has said more recently that a lot of the songs that were credited to Arthur as sole writer were actually joint compositions. Most of these records were attempts at copying the style of other people. There was "I Been Trying", a Phil Spector soundalike released by Little Ray: [Excerpt: Little Ray, "I Been Trying"] And there were a few attempts at sounding like Curtis Mayfield, like "Slow Jerk" by Ronnie and the Pomona Casuals: [Excerpt: Ronnie and the Pomona Casuals, "Slow Jerk"] and "My Diary" by Rosa Lee Brooks: [Excerpt: Rosa Lee Brooks, "My Diary"] Echols was also playing with a lot of other people, and one of the musicians he was playing with, his old school friend Billy Preston, told him about a recent European tour he'd been on with Little Richard, and the band from Liverpool he'd befriended while he was there who idolised Richard, so when the Beatles hit America, Arthur and Johnny had some small amount of context for them. They soon broke up the LAGs and formed another group, the American Four, with two white musicians, bass player John Fleckenstein and drummer Don Costa. Lee had them wear wigs so they seemed like they had longer hair, and started dressing more eccentrically -- he would soon become known for wearing glasses with one blue lens and one red one, and, as he put it "wearing forty pounds of beads, two coats, three shirts, and wearing two pairs of shoes on one foot". As well as the Beatles, the American Four were inspired by the other British Invasion bands -- Arthur was in the audience for the TAMI show, and quite impressed by Mick Jagger -- and also by the Valentinos, Bobby Womack's group. They tried to get signed to SAR Records, the label owned by Sam Cooke for which the Valentinos recorded, but SAR weren't interested, and they ended up recording for Bob Keane's Del-Fi records, where they cut "Luci Baines", a "Twist and Shout" knock-off with lyrics referencing the daughter of new US President Lyndon Johnson: [Excerpt: The American Four, "Luci Baines"] But that didn't take off any more than the earlier records had. Another American Four track, "Stay Away", was recorded but went unreleased until 2006: [Excerpt: Arthur Lee and the American Four, "Stay Away"] Soon the American Four were changing their sound and name again. This time it was because of two bands who were becoming successful on the Sunset Strip. One was the Byrds, who to Lee's mind were making music like the stuff he heard in his head, and the other was their rivals the Rising Sons, the blues band we mentioned earlier with Taj Mahal and Ry Cooder. Lee was very impressed by them as an multiracial band making aggressive, loud, guitar music, though he would always make the point when talking about them that they were a blues band, not a rock band, and *he* had the first multiracial rock band. Whatever they were like live though, in their recordings, produced by the Byrds' first producer Terry Melcher, the Rising Sons often had the same garage band folk-punk sound that Lee and Echols would soon make their own: [Excerpt: The Rising Sons, "Take a Giant Step"] But while the Rising Sons recorded a full album's worth of material, only one single was released before they split up, and so the way was clear for Lee and Echols' band, now renamed once again to The Grass Roots, to become the Byrds' new challengers. Lee later said "I named the group The Grass Roots behind a trip, or an album I heard that Malcolm X did, where he said 'the grass roots of the people are out in the street doing something about their problems instead of sitting around talking about it'". After seeing the Rolling Stones and the Byrds live, Lee wanted to get up front and move like Mick Jagger, and not be hindered by playing a guitar he wasn't especially good at -- both the Stones and the Byrds had two guitarists and a frontman who just sang and played hand percussion, and these were the models that Lee was following for the group. He also thought it would be a good idea commercially to get a good-looking white boy up front. So the group got in another guitarist, a white pretty boy who Lee soon fell out with and gave the nickname "Bummer Bob" because he was unpleasant to be around. Those of you who know exactly why Bobby Beausoleil later became famous will probably agree that this was a more than reasonable nickname to give him (and those of you who don't, I'll be dealing with him when we get to 1969). So when Bryan MacLean introduced himself to Lee and Echols, and they found out that not only was he also a good-looking white guitarist, but he was also friends with the entire circle of hipsters who'd been going to Byrds gigs, people like Vito and Franzoni, and he could get a massive crowd of them to come along to gigs for any band he was in and make them the talk of the Sunset Strip scene, he was soon in the Grass Roots, and Bummer Bob was out. The Grass Roots soon had to change their name again, though. In 1965, Jan and Dean recorded their "Folk and Roll" album, which featured "The Universal Coward"... Which I am not going to excerpt again. I only put that pause in to terrify Tilt, who edits these podcasts, and has very strong opinions about that song. But P. F. Sloan and Steve Barri, the songwriters who also performed as the Fantastic Baggies, had come up with a song for that album called "Where Where You When I Needed You?": [Excerpt: Jan and Dean, "Where Were You When I Needed You?"] Sloan and Barri decided to cut their own version of that song under a fake band name, and then put together a group of other musicians to tour as that band. They just needed a name, and Lou Adler, the head of Dunhill Records, suggested they call themselves The Grass Roots, and so that's what they did: [Excerpt: The Grass Roots, "Where Were You When I Needed You?"] Echols would later claim that this was deliberate malice on Adler's part -- that Adler had come in to a Grass Roots show drunk, and pretended to be interested in signing them to a contract, mostly to show off to a woman he'd brought with him. Echols and MacLean had spoken to him, not known who he was, and he'd felt disrespected, and Echols claims that he suggested the name to get back at them, and also to capitalise on their local success. The new Grass Roots soon started having hits, and so the old band had to find another name, which they got as a joking reference to a day job Lee had had at one point -- he'd apparently worked in a specialist bra shop, Luv Brassieres, which the rest of the band found hilarious. The Grass Roots became Love. While Arthur Lee was the group's lead singer, Bryan MacLean would often sing harmonies, and would get a song or two to sing live himself. And very early in the group's career, when they were playing a club called Bido Lito's, he started making his big lead spot a version of "Hey Joe", which he'd learned from his old friend David Crosby, and which soon became the highlight of the group's set. Their version was sped up, and included the riff which the Searchers had popularised in their cover version of  "Needles and Pins", the song originally recorded by MacLean's old girlfriend Jackie DeShannon: [Excerpt: The Searchers, "Needles and Pins"] That riff is a very simple one to play, and variants of it became very, very, common among the LA bands, most notably on the Byrds' "I'll Feel a Whole Lot Better": [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] The riff was so ubiquitous in the LA scene that in the late eighties Frank Zappa would still cite it as one of his main memories of the scene. I'm going to quote from his autobiography, where he's talking about the differences between the LA scene he was part of and the San Francisco scene he had no time for: "The Byrds were the be-all and end-all of Los Angeles rock then. They were 'It' -- and then a group called Love was 'It.' There were a few 'psychedelic' groups that never really got to be 'It,' but they could still find work and get record deals, including the West Coast Pop Art Experimental Band, Sky Saxon and the Seeds, and the Leaves (noted for their cover version of "Hey, Joe"). When we first went to San Francisco, in the early days of the Family Dog, it seemed that everybody was wearing the same costume, a mixture of Barbary Coast and Old West -- guys with handlebar mustaches, girls in big bustle dresses with feathers in their hair, etc. By contrast, the L.A. costumery was more random and outlandish. Musically, the northern bands had a little more country style. In L.A., it was folk-rock to death. Everything had that" [and here Zappa uses the adjectival form of a four-letter word beginning with 'f' that the main podcast providers don't like you saying on non-adult-rated shows] "D chord down at the bottom of the neck where you wiggle your finger around -- like 'Needles and Pins.'" The reason Zappa describes it that way, and the reason it became so popular, is that if you play that riff in D, the chords are D, Dsus2, and Dsus4 which means you literally only wiggle one finger on your left hand: [demonstrates] And so you get that on just a ton of records from that period, though Love, the Byrds, and the Searchers all actually play the riff on A rather than D: [demonstrates] So that riff became the Big Thing in LA after the Byrds popularised the Searchers sound there, and Love added it to their arrangement of "Hey Joe". In January 1966, the group would record their arrangement of it for their first album, which would come out in March: [Excerpt: Love, "Hey Joe"] But that wouldn't be the first recording of the song, or of Love's arrangement of it – although other than the Byrds' version, it would be the only one to come out of LA with the original Billy Roberts lyrics. Love's performances of the song at Bido Lito's had become the talk of the Sunset Strip scene, and soon every band worth its salt was copying it, and it became one of those songs like "Louie Louie" before it that everyone would play. The first record ever made with the "Hey Joe" melody actually had totally different lyrics. Kim Fowley had the idea of writing a sequel to "Hey Joe", titled "Wanted Dead or Alive", about what happened after Joe shot his woman and went off. He produced the track for The Rogues, a group consisting of Michael Lloyd and Shaun Harris, who later went on to form the West Coast Pop Art Experimental Band, and Lloyd and Harris were the credited writers: [Excerpt: The Rogues, "Wanted Dead or Alive"] The next version of the song to come out was the first by anyone to be released as "Hey Joe", or at least as "Hey Joe, Where You Gonna Go?", which was how it was titled on its initial release. This was by a band called The Leaves, who were friends of Love, and had picked up on "Hey Joe", and was produced by Nik Venet. It was also the first to have the now-familiar opening line "Hey Joe, where you going with that gun in your hand?": [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] Roberts' original lyric, as sung by both Love and the Byrds, had been "where you going with that money in your hand?", and had Joe headed off to *buy* the gun. But as Echols later said “What happened was Bob Lee from The Leaves, who were friends of ours, asked me for the words to 'Hey Joe'. I told him I would have the words the next day. I decided to write totally different lyrics. The words you hear on their record are ones I wrote as a joke. The original words to Hey Joe are ‘Hey Joe, where you going with that money in your hand? Well I'm going downtown to buy me a blue steel .44. When I catch up with that woman, she won't be running round no more.' It never says ‘Hey Joe where you goin' with that gun in your hand.' Those were the words I wrote just because I knew they were going to try and cover the song before we released it. That was kind of a dirty trick that I played on The Leaves, which turned out to be the words that everybody uses.” That first release by the Leaves also contained an extra verse -- a nod to Love's previous name: [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] That original recording credited the song as public domain -- apparently Bryan MacLean had refused to tell the Leaves who had written the song, and so they assumed it was traditional. It came out in November 1965, but only as a promo single. Even before the Leaves, though, another band had recorded "Hey Joe", but it didn't get released. The Sons of Adam had started out as a surf group called the Fender IV, who made records like "Malibu Run": [Excerpt: The Fender IV, "Malibu Run"] Kim Fowley had suggested they change their name to the Sons of Adam, and they were another group who were friends with Love -- their drummer, Michael Stuart-Ware, would later go on to join Love, and Arthur Lee wrote the song "Feathered Fish" for them: [Excerpt: Sons of Adam, "Feathered Fish"] But while they were the first to record "Hey Joe", their version has still to this day not been released. Their version was recorded for Decca, with producer Gary Usher, but before it was released, another Decca artist also recorded the song, and the label weren't sure which one to release. And then the label decided to press Usher to record a version with yet another act -- this time with the Surfaris, the surf group who had had a hit with "Wipe Out". Coincidentally, the Surfaris had just changed bass players -- their most recent bass player, Ken Forssi, had quit and joined Love, whose own bass player, John Fleckenstein, had gone off to join the Standells, who would also record a version of “Hey Joe” in 1966. Usher thought that the Sons of Adam were much better musicians than the Surfaris, who he was recording with more or less under protest, but their version, using Love's arrangement and the "gun in your hand" lyrics, became the first version to come out on a major label: [Excerpt: The Surfaris, "Hey Joe"] They believed the song was in the public domain, and so the songwriting credits on the record are split between Gary Usher, a W. Hale who nobody has been able to identify, and Tony Cost, a pseudonym for Nik Venet. Usher said later "I got writer's credit on it because I was told, or I assumed at the time, the song was Public Domain; meaning a non-copyrighted song. It had already been cut two or three times, and on each occasion the writing credit had been different. On a traditional song, whoever arranges it, takes the songwriting credit. I may have changed a few words and arranged and produced it, but I certainly did not co-write it." The public domain credit also appeared on the Leaves' second attempt to cut the song, which was actually given a general release, but flopped. But when the Leaves cut the song for a *third* time, still for the same tiny label, Mira, the track became a hit in May 1966, reaching number thirty-one: [Excerpt: The Leaves, "Hey Joe"] And *that* version had what they thought was the correct songwriting credit, to Dino Valenti. Which came as news to Billy Roberts, who had registered the copyright to the song back in 1962 and had no idea that it had become a staple of LA garage rock until he heard his song in the top forty with someone else's name on the credits. He angrily confronted Third Story Music, who agreed to a compromise -- they would stop giving Valenti songwriting royalties and start giving them to Roberts instead, so long as he didn't sue them and let them keep the publishing rights. Roberts was indignant about this -- he deserved all the money, not just half of it -- but he went along with it to avoid a lawsuit he might not win. So Roberts was now the credited songwriter on the versions coming out of the LA scene. But of course, Dino Valenti had been playing "his" song to other people, too. One of those other people was Vince Martin. Martin had been a member of a folk-pop group called the Tarriers, whose members also included the future film star Alan Arkin, and who had had a hit in the 1950s with "Cindy, Oh Cindy": [Excerpt: The Tarriers, "Cindy, Oh Cindy"] But as we heard in the episode on the Lovin' Spoonful, he had become a Greenwich Village folkie, in a duo with Fred Neil, and recorded an album with him, "Tear Down the Walls": [Excerpt: Fred Neil and Vince Martin, "Morning Dew"] That song we just heard, "Morning Dew", was another question-and-answer folk song. It was written by the Canadian folk-singer Bonnie Dobson, but after Martin and Neil recorded it, it was picked up on by Martin's friend Tim Rose who stuck his own name on the credits as well, without Dobson's permission, for a version which made the song into a rock standard for which he continued to collect royalties: [Excerpt: Tim Rose, "Morning Dew"] This was something that Rose seems to have made a habit of doing, though to be fair to him it went both ways. We heard about him in the Lovin' Spoonful episode too, when he was in a band named the Big Three with Cass Elliot and her coincidentally-named future husband Jim Hendricks, who recorded this song, with Rose putting new music to the lyrics of the old public domain song "Oh! Susanna": [Excerpt: The Big Three, "The Banjo Song"] The band Shocking Blue used that melody for their 1969 number-one hit "Venus", and didn't give Rose any credit: [Excerpt: Shocking Blue, "Venus"] But another song that Rose picked up from Vince Martin was "Hey Joe". Martin had picked the song up from Valenti, but didn't know who had written it, or who was claiming to have written it, and told Rose he thought it might be an old Appalchian murder ballad or something. Rose took the song and claimed writing credit in his own name -- he would always, for the rest of his life, claim it was an old folk tune he'd heard in Florida, and that he'd rewritten it substantially himself, but no evidence of the song has ever shown up from prior to Roberts' copyright registration, and Rose's version is basically identical to Roberts' in melody and lyrics. But Rose takes his version at a much slower pace, and his version would be the model for the most successful versions going forward, though those other versions would use the lyrics Johnny Echols had rewritten, rather than the ones Rose used: [Excerpt: Tim Rose, "Hey Joe"] Rose's version got heard across the Atlantic as well. And in particular it was heard by Chas Chandler, the bass player of the Animals. Some sources seem to suggest that Chandler first heard the song performed by a group called the Creation, but in a biography I've read of that group they clearly state that they didn't start playing the song until 1967. But however he came across it, when Chandler heard Rose's recording, he knew that the song could be a big hit for someone, but he didn't know who. And then he bumped into Linda Keith, Keith Richards' girlfriend,  who took him to see someone whose guitar we've already heard in this episode: [Excerpt: Rosa Lee Brooks, "My Diary"] The Curtis Mayfield impression on guitar there was, at least according to many sources the first recording session ever played on by a guitarist then calling himself Maurice (or possibly Mo-rees) James. We'll see later in the story that it possibly wasn't his first -- there are conflicting accounts, as there are about a lot of things, and it was recorded either in very early 1964, in which case it was his first, or (as seems more likely, and as I tell the story later) a year later, in which case he'd played on maybe half a dozen tracks in the studio by that point. But it was still a very early one. And by late 1966 that guitarist had reverted to the name by which he was brought up, and was calling himself Jimi Hendrix. Hendrix and Arthur Lee had become close, and Lee would later claim that Hendrix had copied much of Lee's dress style and attitude -- though many of Hendrix's other colleagues and employers, including Little Richard, would make similar claims -- and most of them had an element of truth, as Lee's did. Hendrix was a sponge. But Lee did influence him. Indeed, one of Hendrix's *last* sessions, in March 1970, was guesting on an album by Love: [Excerpt: Love with Jimi Hendrix, "Everlasting First"] Hendrix's name at birth was Johnny Allen Hendrix, which made his father, James Allen Hendrix, known as Al, who was away at war when his son was born, worry that he'd been named after another man who might possibly be the real father, so the family just referred to the child as "Buster" to avoid the issue. When Al Hendrix came back from the war the child was renamed James Marshall Hendrix -- James after Al's first name, Marshall after Al's dead brother -- though the family continued calling him "Buster". Little James Hendrix Junior didn't have anything like a stable home life. Both his parents were alcoholics, and Al Hendrix was frequently convinced that Jimi's mother Lucille was having affairs and became abusive about it. They had six children, four of whom were born disabled, and Jimi was the only one to remain with his parents -- the rest were either fostered or adopted at birth, fostered later on because the parents weren't providing a decent home life, or in one case made a ward of state because the Hendrixes couldn't afford to pay for a life-saving operation for him. The only one that Jimi had any kind of regular contact with was the second brother, Leon, his parents' favourite, who stayed with them for several years before being fostered by a family only a few blocks away. Al and Lucille Hendrix frequently split and reconciled, and while they were ostensibly raising Jimi (and for a  few years Leon), he was shuttled between them and various family members and friends, living sometimes in Seattle where his parents lived and sometimes in Vancouver with his paternal grandmother. He was frequently malnourished, and often survived because friends' families fed him. Al Hendrix was also often physically and emotionally abusive of the son he wasn't sure was his. Jimi grew up introverted, and stuttering, and only a couple of things seemed to bring him out of his shell. One was science fiction -- he always thought that his nickname, Buster, came from Buster Crabbe, the star of the Flash Gordon serials he loved to watch, though in fact he got the nickname even before that interest developed, and he was fascinated with ideas about aliens and UFOs -- and the other was music. Growing up in Seattle in the forties and fifties, most of the music he was exposed to as a child and in his early teens was music made by and for white people -- there wasn't a very large Black community in the area at the time compared to most major American cities, and so there were no prominent R&B stations. As a kid he loved the music of Bob Wills and the Texas Playboys, and when he was thirteen Jimi's favourite record was Dean Martin's "Memories are Made of This": [Excerpt: Dean Martin, "Memories are Made of This"] He also, like every teenager, became a fan of rock and roll music. When Elvis played at a local stadium when Jimi was fifteen, he couldn't afford a ticket, but he went and sat on top of a nearby hill and watched the show from the distance. Jimi's first exposure to the blues also came around this time, when his father briefly took in lodgers, Cornell and Ernestine Benson, and Ernestine had a record collection that included records by Lightnin' Hopkins, Howlin' Wolf, and Muddy Waters, all of whom Jimi became a big fan of, especially Muddy Waters. The Bensons' most vivid memory of Jimi in later years was him picking up a broom and pretending to play guitar along with these records: [Excerpt: Muddy Waters, "Baby Please Don't Go"] Shortly after this, it would be Ernestine Benson who would get Jimi his very first guitar. By this time Jimi and Al had lost their home and moved into a boarding house, and the owner's son had an acoustic guitar with only one string that he was planning to throw out. When Jimi asked if he could have it instead of it being thrown out, the owner told him he could have it for five dollars. Al Hendrix refused to pay that much for it, but Ernestine Benson bought Jimi the guitar. She said later “He only had one string, but he could really make that string talk.” He started carrying the guitar on his back everywhere he went, in imitation of Sterling Hayden in the western Johnny Guitar, and eventually got some more strings for it and learned to play. He would play it left-handed -- until his father came in. His father had forced him to write with his right hand, and was convinced that left-handedness was the work of the devil, so Jimi would play left-handed while his father was somewhere else, but as soon as Al came in he would flip the guitar the other way up and continue playing the song he had been playing, now right-handed. Jimi's mother died when he was fifteen, after having been ill for a long time with drink-related problems, and Jimi and his brother didn't get to go to the funeral -- depending on who you believe, either Al gave Jimi the bus fare and told him to go by himself and Jimi was too embarrassed to go to the funeral alone on the bus, or Al actually forbade Jimi and Leon from going.  After this, he became even more introverted than he was before, and he also developed a fascination with the idea of angels, convinced his mother now was one. Jimi started to hang around with a friend called Pernell Alexander, who also had a guitar, and they would play along together with Elmore James records. The two also went to see Little Richard and Bill Doggett perform live, and while Jimi was hugely introverted, he did start to build more friendships in the small Seattle music scene, including with Ron Holden, the man we talked about in the episode on "Louie Louie" who introduced that song to Seattle, and who would go on to record with Bruce Johnston for Bob Keane: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] Eventually Ernestine Benson persuaded Al Hendrix to buy Jimi a decent electric guitar on credit -- Al also bought himself a saxophone at the same time, thinking he might play music with his son, but sent it back once the next payment became due. As well as blues and R&B, Jimi was soaking up the guitar instrumentals and garage rock that would soon turn into surf music. The first song he learned to play was "Tall Cool One" by the Fabulous Wailers, the local group who popularised a version of "Louie Louie" based on Holden's one: [Excerpt: The Fabulous Wailers, "Tall Cool One"] As we talked about in the "Louie Louie" episode, the Fabulous Wailers used to play at a venue called the Spanish Castle, and Jimi was a regular in the audience, later writing his song "Spanish Castle Magic" about those shows: [Excerpt: The Jimi Hendrix Experience, "Spanish Castle Magic"] He was also a big fan of Duane Eddy, and soon learned Eddy's big hits "Forty Miles of Bad Road", "Because They're Young", and "Peter Gunn" -- a song he would return to much later in his life: [Excerpt: Jimi Hendrix, "Peter Gunn/Catastrophe"] His career as a guitarist didn't get off to a great start -- the first night he played with his first band, he was meant to play two sets, but he was fired after the first set, because he was playing in too flashy a manner and showing off too much on stage. His girlfriend suggested that he might want to tone it down a little, but he said "That's not my style".  This would be a common story for the next several years. After that false start, the first real band he was in was the Velvetones, with his friend Pernell Alexander. There were four guitarists, two piano players, horns and drums, and they dressed up with glitter stuck to their pants. They played Duane Eddy songs, old jazz numbers, and "Honky Tonk" by Bill Doggett, which became Hendrix's signature song with the band. [Excerpt: Bill Doggett, "Honky Tonk"] His father was unsupportive of his music career, and he left his guitar at Alexander's house because he was scared that his dad would smash it if he took it home. At the same time he was with the Velvetones, he was also playing with another band called the Rocking Kings, who got gigs around the Seattle area, including at the Spanish Castle. But as they left school, most of Hendrix's friends were joining the Army, in order to make a steady living, and so did he -- although not entirely by choice. He was arrested, twice, for riding in stolen cars, and he was given a choice -- either go to prison, or sign up for the Army for three years. He chose the latter. At first, the Army seemed to suit him. He was accepted into the 101st Airborne Division, the famous "Screaming Eagles", whose actions at D-Day made them legendary in the US, and he was proud to be a member of the Division. They were based out of Fort Campbell, the base near Clarksville we talked about a couple of episodes ago, and while he was there he met a bass player, Billy Cox, who he started playing with. As Cox and Hendrix were Black, and as Fort Campbell straddled the border between Kentucky and Tennessee, they had to deal with segregation and play to only Black audiences. And Hendrix quickly discovered that Black audiences in the Southern states weren't interested in "Louie Louie", Duane Eddy, and surf music, the stuff he'd been playing in Seattle. He had to instead switch to playing Albert King and Slim Harpo songs, but luckily he loved that music too. He also started singing at this point -- when Hendrix and Cox started playing together, in a trio called the Kasuals, they had no singer, and while Hendrix never liked his own voice, Cox was worse, and so Hendrix was stuck as the singer. The Kasuals started gigging around Clarksville, and occasionally further afield, places like Nashville, where Arthur Alexander would occasionally sit in with them. But Cox was about to leave the Army, and Hendrix had another two and a bit years to go, having enlisted for three years. They couldn't play any further away unless Hendrix got out of the Army, which he was increasingly unhappy in anyway, and so he did the only thing he could -- he pretended to be gay, and got discharged on medical grounds for homosexuality. In later years he would always pretend he'd broken his ankle parachuting from a plane. For the next few years, he would be a full-time guitarist, and spend the periods when he wasn't earning enough money from that leeching off women he lived with, moving from one to another as they got sick of him or ran out of money. The Kasuals expanded their lineup, adding a second guitarist, Alphonso Young, who would show off on stage by playing guitar with his teeth. Hendrix didn't like being upstaged by another guitarist, and quickly learned to do the same. One biography I've used as a source for this says that at this point, Billy Cox played on a session for King Records, for Frank Howard and the Commanders, and brought Hendrix along, but the producer thought that Hendrix's guitar was too frantic and turned his mic off. But other sources say the session Hendrix and Cox played on for the Commanders wasn't until three years later, and the record *sounds* like a 1965 record, not a 1962 one, and his guitar is very audible – and the record isn't on King. But we've not had any music to break up the narration for a little while, and it's a good track (which later became a Northern Soul favourite) so I'll play a section here, as either way it was certainly an early Hendrix session: [Excerpt: Frank Howard and the Commanders, "I'm So Glad"] This illustrates a general problem with Hendrix's life at this point -- he would flit between bands, playing with the same people at multiple points, nobody was taking detailed notes, and later, once he became famous, everyone wanted to exaggerate their own importance in his life, meaning that while the broad outlines of his life are fairly clear, any detail before late 1966 might be hopelessly wrong. But all the time, Hendrix was learning his craft. One story from around this time  sums up both Hendrix's attitude to his playing -- he saw himself almost as much as a scientist as a musician -- and his slightly formal manner of speech.  He challenged the best blues guitarist in Nashville to a guitar duel, and the audience actually laughed at Hendrix's playing, as he was totally outclassed. When asked what he was doing, he replied “I was simply trying to get that B.B. King tone down and my experiment failed.” Bookings for the King Kasuals dried up, and he went to Vancouver, where he spent a couple of months playing in a covers band, Bobby Taylor and the Vancouvers, whose lead guitarist was Tommy Chong, later to find fame as one half of Cheech and Chong. But he got depressed at how white Vancouver was, and travelled back down south to join a reconfigured King Kasuals, who now had a horn section. The new lineup of King Kasuals were playing the chitlin circuit and had to put on a proper show, and so Hendrix started using all the techniques he'd seen other guitarists on the circuit use -- playing with his teeth like Alphonso Young, the other guitarist in the band, playing with his guitar behind his back like T-Bone Walker, and playing with a fifty-foot cord that allowed him to walk into the crowd and out of the venue, still playing, like Guitar Slim used to. As well as playing with the King Kasuals, he started playing the circuit as a sideman. He got short stints with many of the second-tier acts on the circuit -- people who had had one or two hits, or were crowd-pleasers, but weren't massive stars, like Carla Thomas or Jerry Butler or Slim Harpo. The first really big name he played with was Solomon Burke, who when Hendrix joined his band had just released "Just Out of Reach (Of My Two Empty Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (Of My Two Empty Arms)"] But he lacked discipline. “Five dates would go beautifully,” Burke later said, “and then at the next show, he'd go into this wild stuff that wasn't part of the song. I just couldn't handle it anymore.” Burke traded him to Otis Redding, who was on the same tour, for two horn players, but then Redding fired him a week later and they left him on the side of the road. He played in the backing band for the Marvelettes, on a tour with Curtis Mayfield, who would be another of Hendrix's biggest influences, but he accidentally blew up Mayfield's amp and got sacked. On another tour, Cecil Womack threw Hendrix's guitar off the bus while he slept. In February 1964 he joined the band of the Isley Brothers, and he would watch the Beatles on Ed Sullivan with them during his first days with the group. Assuming he hadn't already played the Rosa Lee Brooks session (and I think there's good reason to believe he hadn't), then the first record Hendrix played on was their single "Testify": [Excerpt: The Isley Brothers, "Testify"] While he was with them, he also moonlighted on Don Covay's big hit "Mercy, Mercy": [Excerpt: Don Covay and the Goodtimers, "Mercy Mercy"] After leaving the Isleys, Hendrix joined the minor soul singer Gorgeous George, and on a break from Gorgeous George's tour, in Memphis, he went to Stax studios in the hope of meeting Steve Cropper, one of his idols. When he was told that Cropper was busy in the studio, he waited around all day until Cropper finished, and introduced himself. Hendrix was amazed to discover that Cropper was white -- he'd assumed that he must be Black -- and Cropper was delighted to meet the guitarist who had played on "Mercy Mercy", one of his favourite records. The two spent hours showing each other guitar licks -- Hendrix playing Cropper's right-handed guitar, as he hadn't brought along his own. Shortly after this, he joined Little Richard's band, and once again came into conflict with the star of the show by trying to upstage him. For one show he wore a satin shirt, and after the show Richard screamed at him “I am the only Little Richard! I am the King of Rock and Roll, and I am the only one allowed to be pretty. Take that shirt off!” While he was with Richard, Hendrix played on his "I Don't Know What You've Got, But It's Got Me", which like "Mercy Mercy" was written by Don Covay, who had started out as Richard's chauffeur: [Excerpt: Little Richard, "I Don't Know What You've Got, But It's Got Me"] According to the most likely version of events I've read, it was while he was working for Richard that Hendrix met Rosa Lee Brooks, on New Year's Eve 1964. At this point he was using the name Maurice James, apparently in tribute to the blues guitarist Elmore James, and he used various names, including Jimmy James, for most of his pre-fame performances. Rosa Lee Brooks was an R&B singer who had been mentored by Johnny "Guitar" Watson, and when she met Hendrix she was singing in a girl group who were one of the support acts for Ike & Tina Turner, who Hendrix went to see on his night off. Hendrix met Brooks afterwards, and told her she looked like his mother -- a line he used on a lot of women, but which was true in her case if photos are anything to go by. The two got into a relationship, and were soon talking about becoming a duo like Ike and Tina or Mickey and Sylvia -- "Love is Strange" was one of Hendrix's favourite records. But the only recording they made together was the "My Diary" single. Brooks always claimed that she actually wrote that song, but the label credit is for Arthur Lee, and it sounds like his work to me, albeit him trying hard to write like Curtis Mayfield, just as Hendrix is trying to play like him: [Excerpt: Rosa Lee Brooks, "My Diary"] Brooks and Hendrix had a very intense relationship for a short period. Brooks would later recall Little

Website: www.KofiBaker.com Website: www.musicofcream.com Drummers Only: Buy His Book "The Forgotten Foot" By Kofi Baker on Amazon To Purchase Music By CREAM & BLIND FAITH We Recommend SPOTIFY CREAM was ERIC CLAPTON (Guitar) JACK BRUCE (Bass) & GINGER BAKER (Drums) Popular CREAM Songs: Sunshine of Your Love, White Room, I Feel Free, Crossroads, Born Under A Bad Sign, Badge (Co-written By Eric Clapton & George Harrison), Strange Brew...and many more! God Bless You KOFI BAKER! You have endured what no child should have ever been forced to endure. To say you are an example of taking lemons that life dealt you and making lemonade is an understatement. If it were not for your strength of character and strong will to do always what is right you could have taken the wrong path and left us years ago. May you stand before the entire world as an example of right versus wrong, morality versus immorality, love versus hate, and integrity and common sense versus either limited amounts of same or, in some cases, having none at all. Thank-you for your valuable lessons and multiple examples which reminded us all that others need to be forgiven...for they know not what they do. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rick-flynn/support

1966年，21岁的英国吉他手Eric Clapton离开白人布鲁斯音乐家John Mayall的布鲁斯破坏者乐队之后，与26岁的鼓手金格·贝克、23岁的贝斯手杰克·布鲁斯组成了一个名为“奶油精华”的乐队。三位音乐家在英国音乐舞台上各自的乐器领域里都被认为是"最佳乐手"。尤其是有“吉他上帝”美誉的Eric Clapton，由于英国最天才的吉他手的加入，这只年轻的乐队成立不久便受到诸多乐迷的推崇。7月29日，“奶油乐队”在曼彻斯特的一家俱乐部“扭轮”举行了第一次小型公演，两天后在温莎赛马场举办的第六届“国家爵士与布鲁斯音乐节”正式亮相后开始风生水起。The YardBirds时期，Eric Clapton是一位纯粹的吉他手。在For your love登上TOP TEN之前，Eric Clapton就离开了这支乐队。在奶油乐队时期，除了继续担任吉他手的角色，Eric Clapton开唱了，开始向歌手和歌曲作者方向发展。60年代末，奶油乐队连续推出了三张重量级唱片。奶油时期，Eric Clapton的目标是“掀起一场音乐思想的革命，让这支三种乐器组成的乐队所演奏的布鲁斯摇滚来改变世界，让人们震惊”。后来事实证明了他实现了这个目标，奶油乐队很快便成为了60年代末期世界上最卓越的摇滚组合。成功的三张专辑新鲜奶油（Fresh Cream），迪斯雷利齿轮（Disraeli Gears）和风火轮（Wheels of Fire）加上频繁的现场演出，使Cream乐队在国际上获得了与The Beatles 和 Rolling Stones同样高的声誉。《Fresh Cream》是一张典型的布鲁斯＋迷幻摇滚风格的专辑。老式的Les Paul电吉他，现在听这种复古的音色好听的要命。由于吉他大师的加入，专辑中吉他solo无疑占据了相当大比重，由于乐队的构成只有吉他、贝斯和鼓三种乐器，因此，演奏时Clapton会特意增加许多扫弦与大横按指法以求营造出更丰满的音效。杰克布鲁斯弹的贝司riff真的太好听了，还有金哥的鼓点，这首金曲的鼓点必须只有金哥才能打出这味道。吉他、贝斯和鼓都是独一无二的，都可以拆开听，加在一起又有一种浑然天成的自然感。Cream的伟大不仅在于有吉他上帝。乐队还有两位传奇音乐大师，历史最佳之一的心脏与发动机。摇滚赐予我们生命的力量。仅仅三年时间，Cream销售了1500万张唱片。并且在欧洲和美国巡回演出，获得巨大的成功。天下没有不散的宴席。1968年11月26日，奶油乐队在英国伦敦的皇家阿尔伯特厅举行了两场告别演出。随着专辑《Goodbye》的发行，Cream乐队宣告解散，但是即便在乐队解散之后，乐队的最后一张专辑《Goodbye》仍然在美国的专辑榜上稳坐亚军。这期节目我要特别致敬这只经典的乐队Cream已经逝去的贝司手Jack Bruce和鼓手Ginger Baker。致敬他们不朽的摇滚精神。1. I Feel Free ，2.For your love：The yardbirds，3.Sleepy Time Time ，4.Spoonful，5.Strange Brew，6.Lawdy　Mama ，7.Sunshine of your love，8.Outside Woman blues ，9. Write Room ，10.Crossroad，11.I&`&M So Glad ，12.Spoonful（2005 Cream重聚），13.Toad（2005 Cream重聚）

1966年，21岁的英国吉他手Eric Clapton离开白人布鲁斯音乐家John Mayall的布鲁斯破坏者乐队之后，与26岁的鼓手金格·贝克、23岁的贝斯手杰克·布鲁斯组成了一个名为“奶油精华”的乐队。三位音乐家在英国音乐舞台上各自的乐器领域里都被认为是"最佳乐手"。尤其是有“吉他上帝”美誉的Eric Clapton，由于英国最天才的吉他手的加入，这只年轻的乐队成立不久便受到诸多乐迷的推崇。7月29日，“奶油乐队”在曼彻斯特的一家俱乐部“扭轮”举行了第一次小型公演，两天后在温莎赛马场举办的第六届“国家爵士与布鲁斯音乐节”正式亮相后开始风生水起。The YardBirds时期，Eric Clapton是一位纯粹的吉他手。在For your love登上TOP TEN之前，Eric Clapton就离开了这支乐队。在奶油乐队时期，除了继续担任吉他手的角色，Eric Clapton开唱了，开始向歌手和歌曲作者方向发展。60年代末，奶油乐队连续推出了三张重量级唱片。奶油时期，Eric Clapton的目标是“掀起一场音乐思想的革命，让这支三种乐器组成的乐队所演奏的布鲁斯摇滚来改变世界，让人们震惊”。后来事实证明了他实现了这个目标，奶油乐队很快便成为了60年代末期世界上最卓越的摇滚组合。成功的三张专辑新鲜奶油（Fresh Cream），迪斯雷利齿轮（Disraeli Gears）和风火轮（Wheels of Fire）加上频繁的现场演出，使Cream乐队在国际上获得了与The Beatles 和 Rolling Stones同样高的声誉。《Fresh Cream》是一张典型的布鲁斯＋迷幻摇滚风格的专辑。老式的Les Paul电吉他，现在听这种复古的音色好听的要命。由于吉他大师的加入，专辑中吉他solo无疑占据了相当大比重，由于乐队的构成只有吉他、贝斯和鼓三种乐器，因此，演奏时Clapton会特意增加许多扫弦与大横按指法以求营造出更丰满的音效。杰克布鲁斯弹的贝司riff真的太好听了，还有金哥的鼓点，这首金曲的鼓点必须只有金哥才能打出这味道。吉他、贝斯和鼓都是独一无二的，都可以拆开听，加在一起又有一种浑然天成的自然感。Cream的伟大不仅在于有吉他上帝。乐队还有两位传奇音乐大师，历史最佳之一的心脏与发动机。摇滚赐予我们生命的力量。仅仅三年时间，Cream销售了1500万张唱片。并且在欧洲和美国巡回演出，获得巨大的成功。天下没有不散的宴席。1968年11月26日，奶油乐队在英国伦敦的皇家阿尔伯特厅举行了两场告别演出。随着专辑《Goodbye》的发行，Cream乐队宣告解散，但是即便在乐队解散之后，乐队的最后一张专辑《Goodbye》仍然在美国的专辑榜上稳坐亚军。这期节目我要特别致敬这只经典的乐队Cream已经逝去的贝司手Jack Bruce和鼓手Ginger Baker。致敬他们不朽的摇滚精神。1. I Feel Free ，2.For your love：The yardbirds，3.Sleepy Time Time ，4.Spoonful，5.Strange Brew，6.Lawdy　Mama ，7.Sunshine of your love，8.Outside Woman blues ，9. Write Room ，10.Crossroad，11.I&`&M So Glad ，12.Spoonful（2005 Cream重聚），13.Toad（2005 Cream重聚）

1966年，21岁的英国吉他手Eric Clapton离开白人布鲁斯音乐家John Mayall的布鲁斯破坏者乐队之后，与26岁的鼓手金格·贝克、23岁的贝斯手杰克·布鲁斯组成了一个名为“奶油精华”的乐队。三位音乐家在英国音乐舞台上各自的乐器领域里都被认为是"最佳乐手"。尤其是有“吉他上帝”美誉的Eric Clapton，由于英国最天才的吉他手的加入，这只年轻的乐队成立不久便受到诸多乐迷的推崇。7月29日，“奶油乐队”在曼彻斯特的一家俱乐部“扭轮”举行了第一次小型公演，两天后在温莎赛马场举办的第六届“国家爵士与布鲁斯音乐节”正式亮相后开始风生水起。The YardBirds时期，Eric Clapton是一位纯粹的吉他手。在For your love登上TOP TEN之前，Eric Clapton就离开了这支乐队。在奶油乐队时期，除了继续担任吉他手的角色，Eric Clapton开唱了，开始向歌手和歌曲作者方向发展。60年代末，奶油乐队连续推出了三张重量级唱片。奶油时期，Eric Clapton的目标是“掀起一场音乐思想的革命，让这支三种乐器组成的乐队所演奏的布鲁斯摇滚来改变世界，让人们震惊”。后来事实证明了他实现了这个目标，奶油乐队很快便成为了60年代末期世界上最卓越的摇滚组合。成功的三张专辑新鲜奶油（Fresh Cream），迪斯雷利齿轮（Disraeli Gears）和风火轮（Wheels of Fire）加上频繁的现场演出，使Cream乐队在国际上获得了与The Beatles 和 Rolling Stones同样高的声誉。《Fresh Cream》是一张典型的布鲁斯＋迷幻摇滚风格的专辑。老式的Les Paul电吉他，现在听这种复古的音色好听的要命。由于吉他大师的加入，专辑中吉他solo无疑占据了相当大比重，由于乐队的构成只有吉他、贝斯和鼓三种乐器，因此，演奏时Clapton会特意增加许多扫弦与大横按指法以求营造出更丰满的音效。杰克布鲁斯弹的贝司riff真的太好听了，还有金哥的鼓点，这首金曲的鼓点必须只有金哥才能打出这味道。吉他、贝斯和鼓都是独一无二的，都可以拆开听，加在一起又有一种浑然天成的自然感。Cream的伟大不仅在于有吉他上帝。乐队还有两位传奇音乐大师，历史最佳之一的心脏与发动机。摇滚赐予我们生命的力量。仅仅三年时间，Cream销售了1500万张唱片。并且在欧洲和美国巡回演出，获得巨大的成功。天下没有不散的宴席。1968年11月26日，奶油乐队在英国伦敦的皇家阿尔伯特厅举行了两场告别演出。随着专辑《Goodbye》的发行，Cream乐队宣告解散，但是即便在乐队解散之后，乐队的最后一张专辑《Goodbye》仍然在美国的专辑榜上稳坐亚军。这期节目我要特别致敬这只经典的乐队Cream已经逝去的贝司手Jack Bruce和鼓手Ginger Baker。致敬他们不朽的摇滚精神。1. I Feel Free ，2.For your love：The yardbirds，3.Sleepy Time Time ，4.Spoonful，5.Strange Brew，6.Lawdy　Mama ，7.Sunshine of your love，8.Outside Woman blues ，9. Write Room ，10.Crossroad，11.I&`&M So Glad ，12.Spoonful（2005 Cream重聚），13.Toad（2005 Cream重聚）

I’m Danny Lane, the curator of The Music Museum. This exhibit is called Vietnam War: The Music. Our mission here at the Music Museum is to support all Vietnam Veterans and those who serve the United States, then and now. We thank you for your service. Early-on, in Vietnam, soldiers turned to music as a lifeline to the home front they promised to defend. Rock & roll (R&R) really became rest & relaxation (R&R) for the troops. It was this music that got you through another day, another day closer to going home. During the late 60s and early 70s, “Psychedelic Music” was a big part of a soldier’s down time that centered within the hooches of Vietnam. There are events you don’t want to remember, and then there are songs you REALLY remember. Many of these songs will have a special meaning for you. A place, a brother, a time gone by. This program is for you, the Vietnam Vets, who will never forget. Our goal with Vietnam War: The Music is to honor the fallen and the survivors with the music that got them through “just one more day”. Our shows are broadcast around the world. They say thank you & “welcome home” to all Vietnam Vets. There is no opinion offered on the War. It’s all about the music. *****Join the conversation on Facebook at----- https://www.facebook.com/profile.php?id=100008232395712 or by email at***** dannymemorylane@gmail.com *****For your service and your sacrifice, this is Vietnam War: The Music. This episode is called “The Psychedelic Hooch” ****** You’ll hear: 1) Psychedelic Shack by The Temptations 2) The Star Spangled Banner/4th of July Reprise by Boston 3) Down On Me [Live] by Big Brother & The Holding Company 4) Suffragette City by David Bowie 5) Ballad of A Thin Man (Mr. Jones) by The Grass Roots 6) Panama Red by New Riders of The Purple Sage 7) I'd Love To Change The World by Ten Years After 8) Got To Get Better In a Little While by Derek & The Dominos 9) Crimson And Clover by Joan Jett & The Blackhearts 10) I'm Your Captain/Closer To Home by Grand Funk Railroad 11) Dear Mr. Fantasy by Traffic 12) Free Ride by The Edger Winter Group 13) Signed D.C. by Love 14) Gasoline Alley by Rod Stewart 15) I'm A Man by The Spencer Davis Group 16) Your Time Is Gonna Come by Led Zeppelin 17) Quicksilver Girl by The Steve Miller Band 18) Smoke On The Water by Deep Purple 19) Naturally Stoned by Avant-Garde 20) Legend Of A Mind by The Moody Blues 21) Sookie Sookie by Steppenwolf 22) Fresh Air by Quicksilver Messenger Service 23) Mystic Eyes by Them 24) Five To One by The Doors 25) With A Little Help From My Friends by Joe Cocker 26) All The Young Dudes by Mott The Hoople 27) No Way Out by The Chocolate Watchband 28) Over Under Sideways Down by The Yardbirds 29) I Got a Line On You by Spirit 30) I Feel Free by Cream 31) Masters of War [Live] by Eddie Vedder & Mike McCready [Both members of Pearl Jam]

On utilise cette notion de liberté à toutes les sauces, sans même plus y penser. Esprit libre, libre arbitre, libre penseur, libre comme l’air, la voie est libre, libre choix, libre-service, liberté de mouvement, de culte, d’expression, de penser, liberté individuelle, liberté de la presse, de circulation, de réunion, liberté syndicale… Mais attention, la liberté des uns s’arrête où commence celle des autres. La liberté évoquée par Queen, par Elbow et un zoom particulier sur le "I Feel Free" de Cream, source d’inspiration pour de nombreux rockeurs. --- Du lundi au vendredi, Fanny Gillard et Laurent Rieppi vous dévoilent une anecdote sur le rock chaque matin dans le Morning Club à 6h30. Rediffusion à 13h30 dans Lunch Around The Clock sur Classic 21, la Radio Rock n' Pop.

On utilise cette notion de liberté à toutes les sauces, sans même plus y penser. Esprit libre, libre arbitre, libre penseur, libre comme l’air, la voie est libre, libre choix, libre-service, liberté de mouvement, de culte, d’expression, de penser, liberté individuelle, liberté de la presse, de circulation, de réunion, liberté syndicale… Mais attention, la liberté des uns s’arrête où commence celle des autres. La liberté évoquée par Queen, par Elbow et un zoom particulier sur le "I Feel Free" de Cream, source d’inspiration pour de nombreux rockeurs. --- Du lundi au vendredi, Fanny Gillard et Laurent Rieppi vous dévoilent une anecdote sur le rock chaque matin dans le Morning Club à 6h30. Rediffusion à 13h30 dans Lunch Around The Clock sur Classic 21, la Radio Rock n' Pop.

https://lofstrom.s3.eu-central-1.amazonaws.com/Lofstrom+loop+213+(16.05.2020).mp3 link 01. Johnny Marr — Hi Hello 02. Utah Saints — What Can You Do For Me 03. Cream — I Feel Free 04. Kool & The Gang — Ladies Night 05. The Cranberries — I Can’t Be With You 06. Mr. Big — To Be With You 07. The Brand New Heavies — … Продолжить чтение Lofstrom loop 213

This is the ultimate critical review of both Eric Clapton’s music, on film, on record and in concert. Drawing on rare film and television archive material, alongside interviews with a leading team of music critics, musicologists and working musicians, this penetrating critical analysis draws on archive footage from the early days in the Yardbirds and Cream in the sixties, through to his most important solo works.Featuring highlights from Sunshine of Your Love, White Room, I Feel Free, Crossroads, Layla, I Shot the Sheriff, It’s Too Late, Wonderful Tonight, Do What You Like and more.

Drawing on rare film and television archive material, this independent and highly authoritative review revisits every single Cream album and critically reassesses the work of this legendary band from the glorious debut album right through to the demise of the band.A leading team of music critics, musicologists and working musicians consider vintage performances by Cream and trace the secrets of the band’s success. This hard hitting powerful film makes no concessions to labels, artists or management and pulls no punches when it comes to deciding what made the music work and, sometimes, why it didn’t. Featured tracks include Sunshine Of Your love, Politician, White Room, I Feel Free and more...

We close up shop on the Season 6 finale #15 Robert Diaz as well as give our thoughts on Season 6 as a whole on this episode of The Blacklist Exposed. Support the Show! Be sure to #FillTheFedora on Patreon. Case Profile for Robert Diaz We close up shop on the Season 6 finale #15 Robert Diaz as well as give our thoughts on Season 6 as a whole on this episode of The Blacklist Exposed. We share your feedback from the finale, share how you thought Diaz was going to kill himself, plus analyze the double speak from the Jon and John in their post finale interviews. We then go through each character and if we felt their arcs were earned and left in a good place this season, plus we rank the seasons in order best to worst, then do it again for the finale eps themselves. Troy's is super interesting, but you have to listen for the goods. To close out the show we give our predictions for what to expect in Season 7 when it returns we predict September 27th at 8PM ET/PT, 7PM CT on NBC here in the states. Don't forget Jon Bokenkamp stops by next week to take questions from you so submit them in the comments below to be part of the show. Robert Diaz In Pictures Here are a just a few of our favorite scenes from this week. The Music of Robert Diaz The Prom as well as the breakout plans and escape belong to Sofi Tukker a return favorite on The Blacklist. First we hear “Best Friend” featuring Nervo, The Kocks, and Alisa Ueno as Tadashi and Liz come up with the plan. Then the execution takes place to Sofi's song “Batshit”. Sometimes you may find the song listed as "That’s It (I’m Crazy)" due to censorship laws. During the gun battle after a surprise rescue by Red we hear “Mascaron” from Lissom. When President Diaz is taken down and Agnes comes home we hear “Nothing Sacred / All Things Wild” from Kevin Morby, and we wrap up with an oldie but a goodie as we get the big Katarina reveal to Cream’s “I Feel Free”. You can hear these songs via the official Blacklist playlist on Spotify or the same playlist recreated by us on Apple Music.  Keep Connected Each week of The Blacklist Exposed will take a deep look at both the minor and major plot lines to this fantastic series. Be sure to subscribe and review us in Apple Podcasts, Stitcher, or through whichever podcast app you prefer. Also check out our other Golden Spiral Media Podcasts. A special thanks to Veruca Crews for creating our podcast cover art. If you love it, be sure to check out the rest of her Blacklist and other artwork on her tumblr page. Thanks for listening! We’ll talk to you soon. In the meantime, be sure to keep yourself off, The Blacklist.  Send Us Feedback: Check out our Feedback Form! Call our voicemail: (304)837-2278 Email Us Connect With Us: Facebook Community Twitter Instagram Tumblr Troy's Twitter Aaron's Twitter Subscribe to The Blacklist Exposed: Apple Podcasts,  Google Podcasts,  Spotify,  Pandora,  RSS Feed The Blacklist Exposed Podcast Quick Take for #15 Robert Diaz

Heaven, Dilly Dally's second album, is roaring and relentless, finding Katie Monks and co. more direct and dynamic than ever. In this session, the Toronto group perform four Heaven songs and in the KEXP Live Room and discuss making the album with DJ Troy Nelson. Recorded 10/30/2018. 74 songs - I Feel Free, Marijuana, Sober Motel, HeavenSupport the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

Simon is away again so Ben puts together a classic Kettle set list, including a highly recommend middle of delicate, immersing, cinematic piano-driven works. Enjoying the show? Please support BFF.FM with a donation. Playlist 2′16″ The Morning After by Spiritualized on And Nothing Hurt (Fat Possum) 14′14″ 200 Deer, 1 Rabbit by Alvie & The Breakfast Pigs on Plastic Surgery (Bird Flu Kitchen) 18′03″ Young At Heart by Milo Greene on Adult Contemporary (Nettwerk) 21′10″ The Invisibles by Suede on The Blue Hour (Warner) 25′06″ I Feel Free by Dilly Dally on Heaven (Partisan) 33′48″ Funeral Singers (feat. Collections of Colonies of Bees) by Sylvan Esso on Funeral Singers (Loma Vista) 37′24″ Good Friday (Boards of Canada Remix) by WHY? on Alopecia (Joyful Noise) 43′20″ Fun Destruction by Teleman on Family of Aliens (Moshi Moshi) 46′39″ Love Leaks by TT on LoveLaws (LoveLeaks) 60′30″ Rise Up Wise Up Eyes Up by Ibeyi on August Hamildrop (XL) 63′22″ Wolfpack by Tuvaband on Soft Drop (AntiFragile) 68′07″ Agree by Poliça & Stargaze on The Wild Honey Pie Buzzsession (Totally Gross National Product) 71′20″ Prodigal Dog by Hilary Woods on Colt (Sacred Bones) 81′35″ Again by Villagers on Again EP (Domino) 85′18″ Maryam by The Album Leaf on Piano Cloud Series - Volume Four (1631 Recordings) 89′03″ Suspirium by Thom Yorke on Suspiria OST (XL) 91′48″ Blacked Out by Yussef Dayes & Alfa Mist (Cashmere Thoughts) 109′41″ Nonkilling 6 | Hunger by How to Dress Well on The Anteroom (Domino) 117′34″ Energy Fantasy by Totally Enormous Extinct Dinosaurs (Nice Age) Check out the full archives on the website.

Throwing some jungle tekno/jungle together earlier, playing on the cusp before it all went a bit too jungle and the 4 beat disappeared. Far from perfect, it was just a quick, off the cuff mix, but it was worthy of an upload imo. 1 Dark Matter '93 by Kev Bird & The Wax Doctor 2 Dance With The Speaker by Noise Factory 3 Osmosis (Ratty Remix) by Jumping Jack Frost 4 Lord Of The Null Lines (Foul Play Remix) by Hyper On Experience 5 Natural High by Chaos & Julia Set 6 The Core by FBD Project 7 Source Of All Evil by Dj Ratty 8 Life Began Changing by Van Kleef 9 Ccalling All The People (Remix) by Azone 10 Flammable by Johnny Jungle 11 Paragone by International Rude Boyz 12 This Is A Trip by Kev Bird 13 Plight Of The Navigators by Fast Floor 14 Attitude by Area 39 15 I Feel Free by Phantasy & Gemini 16 Rock To The Groove by Wax Doctor & Jack Smooth 17 Hear Me Hear Me by Poosie & Cru-L-T 18 Hitman by Marvellous Cain 19Kick Dis One by Bass Ballistics 20Bloodclot Artattack by Ed Rush 21The Beginning by The Invisible Man 22Positive Reaction by The Last Crusaders 23What Kind Of World xx by Asend & Ultravibe 24Deep Space by DJ Crystl 25Factor 5 (Album Mix) by Tango

Throwing some jungle tekno/jungle together earlier, playing on the cusp before it all went a bit too jungle and the 4 beat disappeared. Far from perfect, it was just a quick, off the cuff mix, but it was worthy of an upload imo. 1 Dark Matter '93 by Kev Bird & The Wax Doctor 2 Dance With The Speaker by Noise Factory 3 Osmosis (Ratty Remix) by Jumping Jack Frost 4 Lord Of The Null Lines (Foul Play Remix) by Hyper On Experience 5 Natural High by Chaos & Julia Set 6 The Core by FBD Project 7 Source Of All Evil by Dj Ratty 8 Life Began Changing by Van Kleef 9 Ccalling All The People (Remix) by Azone 10 Flammable by Johnny Jungle 11 Paragone by International Rude Boyz 12 This Is A Trip by Kev Bird 13 Plight Of The Navigators by Fast Floor 14 Attitude by Area 39 15 I Feel Free by Phantasy & Gemini 16 Rock To The Groove by Wax Doctor & Jack Smooth 17 Hear Me Hear Me by Poosie & Cru-L-T 18 Hitman by Marvellous Cain 19Kick Dis One by Bass Ballistics 20Bloodclot Artattack by Ed Rush 21The Beginning by The Invisible Man 22Positive Reaction by The Last Crusaders 23What Kind Of World xx by Asend & Ultravibe 24Deep Space by DJ Crystl 25Factor 5 (Album Mix) by Tango

Throwing some jungle tekno/jungle together earlier, playing on the cusp before it all went a bit too jungle and the 4 beat disappeared. Far from perfect, it was just a quick, off the cuff mix, but it was worthy of an upload imo. 1 Dark Matter '93 by Kev Bird & The Wax Doctor 2 Dance With The Speaker by Noise Factory 3 Osmosis (Ratty Remix) by Jumping Jack Frost 4 Lord Of The Null Lines (Foul Play Remix) by Hyper On Experience 5 Natural High by Chaos & Julia Set 6 The Core by FBD Project 7 Source Of All Evil by Dj Ratty 8 Life Began Changing by Van Kleef 9 Ccalling All The People (Remix) by Azone 10 Flammable by Johnny Jungle 11 Paragone by International Rude Boyz 12 This Is A Trip by Kev Bird 13 Plight Of The Navigators by Fast Floor 14 Attitude by Area 39 15 I Feel Free by Phantasy & Gemini 16 Rock To The Groove by Wax Doctor & Jack Smooth 17 Hear Me Hear Me by Poosie & Cru-L-T 18 Hitman by Marvellous Cain 19Kick Dis One by Bass Ballistics 20Bloodclot Artattack by Ed Rush 21The Beginning by The Invisible Man 22Positive Reaction by The Last Crusaders 23What Kind Of World xx by Asend & Ultravibe 24Deep Space by DJ Crystl 25Factor 5 (Album Mix) by Tango

Correction: NEEDS' lead singer Sean Orr is incorrectly referred to as "Scott". We regret this error. The guys discuss Tryal's Companion and their show at the Toronto Jazz Fest, Canada Day, why Canadian music sort of is a genre, (the underrated?) Gordon Lightfoot, Massey Hall, Constantines, Rhye, the Montreal Jazz Fest, NEEDS' Impressions, "New Growth" by Petra Glynt and "I Feel Free" by Dilly Dally. Fetaured Songs: Come On - Tryal Approaching Lavender - Gordon Lightfoot I Feel Free - Dilly Dally  

Tony Myers, Darrell Becker and I analyze and respond to the Gnostic Media presentation called “Nonviolent Communication, Pt. 1 “Is NVC Consistent with the Trivium Method?” This is Gnostic Media podcast #229, recorded on may 18th, 2015, with guest Bill Joslin. This was discussed at length in the School Sucks Facebook Group (link). Today we cover their presentation from 01:06:27 to 01:22:31, where they begin addressing the questions: is NVC consistent with the Trivium Method? can NVC replace rhetoric in the Trivium? Description from Gnostic Media: Bill Joslin at an early age developed a fascination with mind and awareness. Subsequently he spent 16 years studying Bonpo, Nyingma Buddhist and Taoist practices. He spent a year in Asia interviewing Buddhist monks in Laos, Cambodia, Nepal; Taoist practitioners in Indonesia, and Bonpo priests in Northwest Nepal, comparing practices as taught in the west with the original monasteries and traditions from which the teachings originated. Nine years ago, Bill was asked by a number of people to counsel them with mediation practices they were having difficulty with and not finding aid from their current teachers. From a sense of responsibility Bill then went through a process of questioning every aspect of meditative knowledge he had gained over those years, essentially applying critical thinking to spiritual practices. In short order the illusion of meditation, spiritual teachers, and philosophical frameworks dissolved and a concise, non-mystical view of mind, self and world emerged with simple clarity. Meditation and spiritual guru-ship is an ancient form of control, the residue of which we live with today. Professional Protesters make their way into legitimate causes by providing organization and training to sincere people. Once installed into the cause they then high jack the activities - marginalize or radicalise the participants. NVC is a core subject in activist training. Bumper Music: "I Feel Free" Cream "Volunteers" Jefferson Airplane Look Closer: GNOSTIC MEDIA PODCAST - Bill Joslin interview – “Nonviolent Communication, Pt. 1 “Is NVC Consistent with the Trivium Method?”” – #229 - http://www.gnosticmedia.com/BillJoslin_NVC_vs_Trivium_Method Bill Joslin's Slideshow - http://www.gnosticmedia.com/txtfiles/NVC-vs-TriviumMethod.pdf Darrell's Site: Voluntary Visions - http://voluntaryvisions.com/ Darrell's Communication Glossary - http://schoolsucksproject.com/practical-definitions-voluntary-communication-by-darrell-becker/ Jan's Other Site: Trivium Education - http://www.triviumeducation.com/ T&H Trivium Resources - https://www.tragedyandhope.com/trivium/ The Podcast Series Being Criticized: The Trivium Applied to Communication (2013-2014), with Darrell Becker - http://schoolsucksproject.com/category/podcast/the-trivium-applied-to-communication/

First Big shouts to Mims for coming thru town and showing love for the local DJs. Biggups to Westside Radio, my fans in London. My fans in Australia. I see you all. Thank you for your support. The playlist for this week: 1. “Move” by Mims 2. “Live Your Life” by T.I. feat. Rihanna 3. “Got Money” by Lil Wayne feat. T-Pain 4. “T-Shirt” by Shontelle ft. The Dream 5. “How It Was Supposed To Be” by Ryan Leslie 6. “Curtain Call” by Nina Sky Ft. Rick Ross 7. “Getting’ Up” by Q-tip 8. “I Feel Free” by Ricky Blaze ft. Ron Browz 9. “Blame It Tedsmooth RMX” by Jamie Foxx ft. T-Pain 10. “Burrrrup” by Nardo Ranks 11. “Belly Ring” by Leftside 12. “Cologne” by Leftside 13. “Grip” by Sean Paul 14. “Wine up on Meh (Road mix)” by Zoelah 15. “Feel It” by DJ Felli Fel ft. Sean Paul, T-Pain & Flo-rida 16. “I’m the Ish” by DJ Class 17. Drumline Outro