Podcasts about I Walk

Order of Service: - Prelude - The Sixth Petition of the Lord's Prayer (p. 34): And lead us not into temptation. What does this mean? God tempts no one. We pray in this petition that God would guard and keep us so that the devil, the world, and our sinful nature may not deceive us or mislead us into false belief, despair, and other great shame and vice. Although we are attacked by these things, we pray that we may finally overcome them and win the victory. - The Seventh Petition of the Lord's Prayer (p. 34): But deliver us from evil. What does this mean? We pray in this petition, in summary, that our Father in heaven would rescue us from every evil of body and soul, possessions and reputation, and finally, when our last hour comes, give us a blessed end, and graciously take us from this valley of sorrow to Himself in heaven. - Hymn 252 - I Walk in Danger All the Way: vv. 1 - 4 - 1 Peter 5:6-11: Therefore humble yourselves under the mighty hand of God, that He may exalt you in due time, casting all your care upon Him, for He cares for you. Be sober, be vigilant; because your adversary the devil walks about like a roaring lion, seeking whom he may devour. Resist him, steadfast in the faith, knowing that the same sufferings are experienced by your brotherhood in the world. But may the God of all grace, who called us to His eternal glory by Christ Jesus, after you have suffered a while, perfect, establish, strengthen, and settle you. To Him be the glory and the dominion forever and ever. Amen. - Devotion - Prayer #41, p. 152 - Hymn 252 - I Walk in Danger All the Way: vv. 5, 6 - Blessing - Postlude Service Participants: Chaplain Don Moldstad (Preacher), Rev. Prof. Mark DeGarmeaux (Organist)

#RingRust with my #ROHglobalWars & #MLWintimidation #MLWgames #IntimidationGames chat... & I Walk with the latest TNA signee, in this week's #3WayDanceOff! #TagMeIn  ~ ~ ~ I'd like to hear from you! Please drop me a line @ ring-rust@hotmail.com {Subject Line: Ring Rust} & let me know what you like {or dislike} about my show! I'm always on the lookout for constructive criticism {if you want playlists again, start giving me feedback, people!}  ~ ~ ~ Check out my #Unboxing videos, all that snazzy anti-social media & support all my shows http://markjabroni.mysite.com/ ~ ~ ~ RECORDED LIVE @ the Holy Smackdown Hotel in Sunny St. John's NL! Learn more @ https://www.chmr.ca/ If you want to contribute to Betty Cisneros' Stage 4 Cancer treatment, please donate @ https://www.gofundme.com/f/help-betty-battle-her-cancer-away & if you wanted to contribute to the surgeries of wrestling veteran Lufisto, you can check out her store @ http://www.lufisto.com/store-1/ Anybody interested in helping raise funds to get the late "Viking King" Vince Austin home to us in Newfoundland, can donate @ https://www.gofundme.com/f/in-memory-of-vince-austin SHOW NOTES... 0:04:37 Pay-Per-Review: Ring of Honor Wrestling's Global Wars Australia 1 0:07:12 Musicular Interlude 1 0:14:42 Pay-Per-Review: Ring of Honor Wrestling's Global Wars Australia 2 0:15:53 Musicular Interlude 2 0:24:05 Pre-Per-View: Major League Wrestling's Intimidation Games 1 0:25:17 Musicular Interlude 3 0:36:01 Pre-Per-View: Major League Wrestling's Intimidation Games 2 0:37:00 Musicular Interlude 4 0:46:43 Battle Royle With Cheese: Lucha Tax!? 0:48:15 Musicular Interlude 5 0:55:58 Assuming the Intermissionary Position   1:00:13 This Week's Macho Fact 1:08:09 Pre-Per-View: Major League Wrestling's Intimidation Games 3 1:08:41 Musicular Interlude 6 1:16:47 Pre-Per-View Update: WWE's Elimination Chamber: Toronto 1:17:56 Musicular Interlude 7 1:27:23 This Week's 3-Way Dance-Off: Walking with... Elijah!? 1:37:37 Battle Royle With Cheese: Keeping Your Nawwwwwlins Frosted Mini Feets Under You! 1:39:34 Musicular Interlude 8  1:47:08 Battle Royle With Cheese: an important Max Moon Update! 1:48:22 Musicular Interlude 9 

Tue, 25 Feb 2025 23:01:00 +0000 https://einfach-beten.podigee.io/535-neue-episode e1bc74e272d5c4d5799632fa753c148d Unterstützung Wenn Ihnen "einfach beten!" gefällt, freuen wir uns über Ihre Unterstützung auf Donorbox oder Twint. Mit Ihrer Spende ermöglichen Sie es uns, unsere Arbeit und das kostenlose Angebote fortzusetzen, um Menschen eine alltägliche Gebetshilfe zugänglich zu machen. Herzlichen Dank für Ihre Hilfe! Lesung Mk 9, 38-40 Einheitsübersetzung der Heiligen Schrift © 2016 Katholische Bibelanstalt GmbH, Stuttgart Musik Present Yourselves as a Living Sacrifice ©, Choir of St Sepulchre's London & Peter Lionel Rolls Asprey, «Soul's Desire». I Walk ©, Hans Christian Bleib mit deiner Gnade bei uns ©, Taizé Instrumental, ® Ateliers et Presses de Taize. France. full no Jesuiten in Zentraleuropa

Ephesians 5:1-2 The post I Walk in Love appeared first on New Boston's First Baptist Church.

Tue, 21 Jan 2025 23:01:00 +0000 https://einfach-beten.podigee.io/499-neue-episode 68e2341d906fd8a4a4421bd0286b81c0 Unterstützung Wenn Ihnen "einfach beten!" gefällt, freuen wir uns über Ihre Unterstützung auf Donorbox oder Twint. Mit Ihrer Spende ermöglichen Sie es uns, unsere Arbeit und das kostenlose Angebote fortzusetzen, um Menschen eine alltägliche Gebetshilfe zugänglich zu machen. Herzlichen Dank für Ihre Hilfe! Lesung Mk 3, 1-6 Einheitsübersetzung der Heiligen Schrift © 2016 Katholische Bibelanstalt GmbH, Stuttgart Musik See, I am near © Mane nobiscum ® Ateliers et Presses de Taize. France. I Walk © , Hans Christian Beyond all ages © , Hans Christian full no Jesuiten in Zentraleuropa

Johnny Cash had a long-time affinity for the work of — and for his friendship with — Bob Dylan.In his book Cash: The Autobiography, Johnny wrote of being on the road in the early ‘60s. “I had a portable record player that I'd take along on the road, and I'd put on Freewheelin' Bob Dylan backstage, then go out and do my show, then listen again as soon as I came off.“After a while at that, I wrote Bob a letter telling him how much of a fan I was,” he said. “He wrote back almost immediately, saying he'd been following my music since I Walk the Line, and so we began a correspondence.” The two finally met in person during the 1964 Newport Folk Festival. They remained close friends for the remaining 40 years of John's life. When his friend died in 2003, Dylan wrote, “In plain terms, Johnny was — and is — the North Star; you could guide your ship by him, the greatest of the greats, then and now.”“Truly he is what the land and country is all about,” continued Dylan, “the heart and soul of it personified and what it means to be here; and he said it all in plain English. I think we can have recollections of him, but we can't define him, any more than we can define a fountain of truth, light and beauty.”Despite their mutual admiration, Dylan and Cash collaborated only one time. That was on Dylan's landmark 1969 recording of the Nashville Skyline album, produced by Bob Johnston.Johnston also had produced Cash's At Folsom Prison the year earlier, and he hoped he could get the two artists to record an entire album together. To that end, Cash and Dylan recorded 15 songs together at the Nashville sessions, but ended up keeping only one of those tracks, “Girl from the North Country.”About This SongAmong those 15 tracks was one of Cash's all-time favorite Dylan compositions, the wistful “One Too Many Mornings,” which Bob wrote for his third studio album, The Times They Are a-Changin'.As noted here recently, the song was famously among a series of tunes Dylan wrote after his breakup with his lover Suze Rotolo. After its album release in 1964, the song sometimes pops up on Dylan's set lists, notably during his 1966 world tour and then, 10 years later, in his second Rolling Thunder Revue tour.But Johnny Cash embraced the song even more, covering it numerous times, including on the album Johnny & June in 1978.He recorded it again in 1986 as a duet with Waylon Jennings for their Heroes album. In 2012, a remix combining Cash's original vocals with new recordings by the Avett Brothers was included on the benefit album Chimes of Freedom: The Songs of Bob Dylan Honoring 50 Years of Amnesty International.Meanwhile, Johnny and Waylon's vocals on that original Heroes rendition later were augmented by Willie Nelson and Kris Kristofferson when the four of them created the supergroup The Highwaymen in the 1990s.Our Take on the TuneCharlie Bowen started doing this song back in college to have something to sing and play to the jam sessions in the dorms. It then was one of the songs Charlie brought along in that summer and fall of 1974 when Dave Peyton, Roger Samples and he started The Flood. And this lonely, lovely Dylan tune is still welcome at Flood gatherings, as you can heard on this track from last week's rehearsal.Want More Bob?By the way, if you'd like a little more Dylan in your diet, The Flood has an entire Bob-centric playlist set in up the free Radio Floodango music streaming service. Click here to read all about it. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Order of Service: - Prelude - Hymn 252 - I Walk in Danger All the Way: vv. 1 - 4 - 2 Samuel 12:1-10, 13: Then the Lord sent Nathan to David. And he came to him, and said to him: “There were two men in one city, one rich and the other poor. The rich man had exceedingly many flocks and herds. But the poor man had nothing, except one little ewe lamb which he had bought and nourished; and it grew up together with him and with his children. It ate of his own food and drank from his own cup and lay in his bosom; and it was like a daughter to him. And a traveler came to the rich man, who refused to take from his own flock and from his own herd to prepare one for the wayfaring man who had come to him; but he took the poor man's lamb and prepared it for the man who had come to him.” So David's anger was greatly aroused against the man, and he said to Nathan, “As the Lord lives, the man who has done this shall surely die! And he shall restore fourfold for the lamb, because he did this thing and because he had no pity.” Then Nathan said to David, “You are the man! Thus says the Lord God of Israel: ‘I anointed you king over Israel, and I delivered you from the hand of Saul. I gave you your master's house and your master's wives into your keeping, and gave you the house of Israel and Judah. And if that had been too little, I also would have given you much more! Why have you despised the commandment of the Lord, to do evil in His sight? You have killed Uriah the Hittite with the sword; you have taken his wife to be your wife, and have killed him with the sword of the people of Ammon. Now therefore, the sword shall never depart from your house, because you have despised Me, and have taken the wife of Uriah the Hittite to be your wife.' Thus says the Lord: ‘Behold, I will raise up adversity against you from your own house; and I will take your wives before your eyes and give them to your neighbor, and he shall lie with your wives in the sight of this sun. For you did it secretly, but I will do this thing before all Israel, before the sun.'” So David said to Nathan, “I have sinned against the Lord.” And Nathan said to David, “The Lord also has put away your sin; you shall not die. - Devotion - Prayer - Hymn 252 - I Walk in Danger All the Way: vv. 5, 6 - Blessing - Postlude Service Participants: Rev. Ben Wiechmann, Peace Lutheran Church, N. Mankato (Preacher), Laura Matzke (Organist)

Order of Service: - Prelude - Hymn 252 - I Walk in Danger All the Way: vv. 1 - 4 - 2 Samuel 12:1-10, 13: Then the Lord sent Nathan to David. And he came to him, and said to him: “There were two men in one city, one rich and the other poor. The rich man had exceedingly many flocks and herds. But the poor man had nothing, except one little ewe lamb which he had bought and nourished; and it grew up together with him and with his children. It ate of his own food and drank from his own cup and lay in his bosom; and it was like a daughter to him. And a traveler came to the rich man, who refused to take from his own flock and from his own herd to prepare one for the wayfaring man who had come to him; but he took the poor man's lamb and prepared it for the man who had come to him.” So David's anger was greatly aroused against the man, and he said to Nathan, “As the Lord lives, the man who has done this shall surely die! And he shall restore fourfold for the lamb, because he did this thing and because he had no pity.” Then Nathan said to David, “You are the man! Thus says the Lord God of Israel: ‘I anointed you king over Israel, and I delivered you from the hand of Saul. I gave you your master's house and your master's wives into your keeping, and gave you the house of Israel and Judah. And if that had been too little, I also would have given you much more! Why have you despised the commandment of the Lord, to do evil in His sight? You have killed Uriah the Hittite with the sword; you have taken his wife to be your wife, and have killed him with the sword of the people of Ammon. Now therefore, the sword shall never depart from your house, because you have despised Me, and have taken the wife of Uriah the Hittite to be your wife.' Thus says the Lord: ‘Behold, I will raise up adversity against you from your own house; and I will take your wives before your eyes and give them to your neighbor, and he shall lie with your wives in the sight of this sun. For you did it secretly, but I will do this thing before all Israel, before the sun.'” So David said to Nathan, “I have sinned against the Lord.” And Nathan said to David, “The Lord also has put away your sin; you shall not die. - Devotion - Prayer - Hymn 252 - I Walk in Danger All the Way: vv. 5, 6 - Blessing - Postlude Service Participants: Rev. Ben Wiechmann, Peace Lutheran Church, N. Mankato (Preacher), Laura Matzke (Organist)

Order of Service: - Prelude - Hymn 252 - I Walk in Danger All the Way: vv. 1 - 4 - 2 Samuel 12:1-10, 13: Then the Lord sent Nathan to David. And he came to him, and said to him: “There were two men in one city, one rich and the other poor. The rich man had exceedingly many flocks and herds. But the poor man had nothing, except one little ewe lamb which he had bought and nourished; and it grew up together with him and with his children. It ate of his own food and drank from his own cup and lay in his bosom; and it was like a daughter to him. And a traveler came to the rich man, who refused to take from his own flock and from his own herd to prepare one for the wayfaring man who had come to him; but he took the poor man's lamb and prepared it for the man who had come to him.” So David's anger was greatly aroused against the man, and he said to Nathan, “As the Lord lives, the man who has done this shall surely die! And he shall restore fourfold for the lamb, because he did this thing and because he had no pity.” Then Nathan said to David, “You are the man! Thus says the Lord God of Israel: ‘I anointed you king over Israel, and I delivered you from the hand of Saul. I gave you your master's house and your master's wives into your keeping, and gave you the house of Israel and Judah. And if that had been too little, I also would have given you much more! Why have you despised the commandment of the Lord, to do evil in His sight? You have killed Uriah the Hittite with the sword; you have taken his wife to be your wife, and have killed him with the sword of the people of Ammon. Now therefore, the sword shall never depart from your house, because you have despised Me, and have taken the wife of Uriah the Hittite to be your wife.' Thus says the Lord: ‘Behold, I will raise up adversity against you from your own house; and I will take your wives before your eyes and give them to your neighbor, and he shall lie with your wives in the sight of this sun. For you did it secretly, but I will do this thing before all Israel, before the sun.'” So David said to Nathan, “I have sinned against the Lord.” And Nathan said to David, “The Lord also has put away your sin; you shall not die. - Devotion - Prayer - Hymn 252 - I Walk in Danger All the Way: vv. 5, 6 - Blessing - Postlude Service Participants: Rev. Ben Wiechmann, Peace Lutheran Church, N. Mankato (Preacher), Laura Matzke (Organist)

Al Tsai is a cardiac arrest survivor, and Vice President of Community Impact for American Heart Association Puget Sound. Al is an ideal spokesperson to underscore the case for learning CPR, as it saved his life. Al shares his story and extends an invite to the AHA's annual Puget Sound Heart and Stroke Walk, taking place September 21, 9AM at Seattle Center, and September 28, 10am in at Tacoma's Cheney Stadium. The theme for this year's walk is "I Walk to Save Lives". With heart disease and stroke leading causes of death or disability in the US, we are doing this for ourselves, for our family and community. We are fundraising and saving lives.www.pugetsoundheartwalk.org Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Al Tsai is a cardiac arrest survivor, and Vice President of Community Impact for American Heart Association Puget Sound. Al is an ideal spokesperson to underscore the case for learning CPR, as it saved his life. Al shares his story and extends an invite to the AHA's annual Puget Sound Heart and Stroke Walk, taking place September 21, 9AM at Seattle Center, and September 28, 10am in at Tacoma's Cheney Stadium. The theme for this year's walk is "I Walk to Save Lives". With heart disease and stroke leading causes of death or disability in the US, we are doing this for ourselves, for our family and community. We are fundraising and saving lives. www.pugetsoundheartwalk.org

This week, we have I Walk in the Night, an episode of Inner Sanctum. This episode was first broadcast over CBS on February 26, 1946. It was written by prolific pulpster Emile Tepperman. Find more on The Beginner's Guide to Pulp Fiction at https://brickpicklemedia.com/pulpguide/.

Hello friends! Songwriter, producer, and business woman extraordinaire Brandi Warden is my guest for episode 1406! Brandi comes from a music industry family that has had 8 decades of someone in the family having a song on the billboard charts. Brandi is no different. She most recently co-wrote and co-produced the album Jackpot! by her husband's band, Monte Warden and the Dangerous Few, which is currently at #47 on the Americana chart and their song "Waxahatchee Hoochie Coo" is currently at #42 on the Americana singles chart. We have an amazing conversation about her incredible family from her uncle working at Sun Records in the 50's and recording "Great Balls of Fire" for Jerry Lee Lewis and "I Walk the Line" for Johnny Cash and more, her grandparents had hits with Johnny Paycheck and others, her dad wrote from Johnny Paycheck, Garth Brooks, George Strait and more and sold over 35 millions albums (and that's not even all of it), her journey in the publishing part of music, songwriting, producing and much more. I had a blast hanging with Brandi. I'm sure you will too. Let's get down!   Follow us on Instagram, Facebook, Spotify, Apple Podcasts, or anywhere you pod.   If you feel so inclined. Venmo: www.venmo.com/John-Goudie-1  Paypal: paypal.me/johnnygoudie 

Book by Robert Cary and Des McAnuff Music and Lyrics by Johnny Cash, June Carter Cash and others Directed by Des McAnuff Love is a burning thing Country music royalty Johnny Cash and June Carter Cash remain to this day one of the most famous couples of the 20th Century. Created with the support of the family and told through the eyes of their son John Carter Cash, this new musical covers it all: their childhoods, their 1956 meeting at the Grand Ole Opry, the storied on-stage proposal in 1968, and the soaring highs and whiplash lows of fame, life on the road, addiction, arrests, controversies, marriage, family and devotion. This is a whole-hearted and clear-eyed telling of one of the most iconic love stories in music history, complete with a soundtrack of beloved hits — I Walk the Line, Ring of Fire, Hey Porter, Jackson, I've Been Everywhere and many more.

In this episode, I count down the top 5 acoustic guitar riffs, offering insights and tips on mastering each one. From Bob Marley's "Redemption Song" to Johnny Cash's "I Walk the Line," these riffs are perfect for beginners and can be simplified to match various skill levels. To access the tab for the riffs mentioned in this episode, head over to www.bgapodcast.com/5acousticriffs.

Today we reflect on your morning mantra; I Walk in Harmony with Nature.See omnystudio.com/listener for privacy information.

Your Morning Mantra guides you back to nature's rhythm. Join us for "I Walk in Harmony with Nature" and discover how to reconnect with the world around you. Find peace in the rustling leaves, feel grounded by the steady earth, and awaken your sense of belonging. Start your day feeling centered and inspired by the beauty of the natural world.See omnystudio.com/listener for privacy information.

Evan and Amanda review "I Walk the Line" by Johnny Cash." Happy Tuesday! Find us on Instagram and Threads @worstpodonmars Find us on Facebook @ The Worst Podcast on Mars Send us an email: worstpodonmars@gmail.com

Johnny Cash was a prolific hitmaker in the mid 50's to early 60's.  In the late 60's  he released a couple of live albums which had crossover appeal:  "Johnny Cash at Folsom Prison," and "Johnny Cash at San Quentin."  By 1969, Johnny Cash had become an international musical success, selling more records than the Beatles at the time.Cash had left his original label, Sun Records, back in 1958.  However, he had left an extensive catalogue of songs with Sam Phillips at Sun.  Given his success and the upcoming Johnny Cash TV show, Sun Records decided it would be a good time to release a compilation of his earlier hits from 1954 through 1958.  This compilation was released on two albums, "Original Golden Hits, Volume I" and "Original Golden Hits, Volume II," which reached numbers 4 and 3 on the US Country charts respectively.  Cash would go on to fame in TV and film in the 70's, and would continue recording up until his death in 2003.While not strictly rock music, the Man in Black was an icon of American music and an inspiration for many in country, rock, and pop genres.  It is also a special memory for Wayne, as he listened to this  8-track as he traveled with his father out of California to Alabama.Wayne takes us through this greatest hits album for today's podcast. Home of the BluesThe inspiration for this song was the "Home of the Blues" record shop on Beale Street in Memphis, Tennessee.  The store which was open from the late 40's until the mid 70's was a place he used to hang out, buy records, and meet other musicians. Hey PorterThis is Cash's first recorded song.  The setting is just after World War II, and the song focuses on a man returning home from overseas who feels elated to be returning to his native South, the last leg of which is by train.  Note that there is no percussion in this song, but Cash played his guitar with dampened strings to acquire a percussive effect.I Walk the LineJohnny Cash's first number 1 hit on the Billboard country charts eventually crossed over to the US pop charts, reaching number 17 and selling over 2 million copies in the United States.  The lyrics reflect temptations and the need to be accountable for your actions.  The frequent key changes make this song distinctive.Get RhythmThis was the B-side to "I Walk the Line."  It was re-released in 1969 as an A-side, and went to number 60 on the Billboard pop chart.   ENTERTAINMENT TRACK:Main theme from the television series “Fat Albert”The origin of Bill Cosby's animated series was an animated primetime television special that first aired on NBC on November 12, 1969.  STAFF PICKS:Birthday by Underground SunshineRob starts off the staff picks with a cover of the Beatles song by a group from Wisconsin.  The band had been around for a few years, but this cover helped them attain greater success.  Their cover made it to number 26 on the Billboard Hot 100.  Down on the Corner by Credence Clearwater RevivalLynch's staff pick is one of the best known songs by CCR.  The song talks about a band called "Willy and the Poor Boys" playing in the street for spare change.  It went to number 3 on the Billboard Hot 100 by the end of 1969.  I Can't Get Next to You by The Temptations Bruce gets us all moving with the number 1 single from David Ruffin, Melvin Franklin, Otis Williams, Eddie Kendricks, and Paul Williams - better known as The Temptations.  This was the second of four number 1 hits from the group, and was written by Norman Whitfield and Barrett Strong for the Motown label. I'm Tired by Savoy BrownWayne's staff pick charted at number 74 on the top 100, and has a very heavy electric blues feel.  Three members of this group out of London would go on to form Foghat.  The group's name came from American Blues label Savoy Records - a name that had an elegant sound.  "Brown" was added as an extremely plain word that contrasted nicely with the elegance of "Savoy." INSTRUMENTAL TRACK:Treat by SantanaSantana would produce a number of excellent instrumental hits during his decades in the rock scene, and this one is from his debut album. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Two + hours of CrimeFirst a look at this day in History.Then Calling All Cars, originally broadcast February 26, 1935, 89 years ago, California's Two-man Crime Wave. Two men have robbed a bank while wearing masks. There's more crime to come.Followed by Casey Crime Photographer starring Staats Cotsworth, originally broadcast February 26, 1948, 76 years ago, The Fix. Mike Warren has been murdered. Keep your eye on the trick derby! ..Then Inner Sanctum Mysteries, originally broadcast February 26, 1946, 78 years ago, I Walk in the Night. What does a man think of when there's murder in the air?Followed by Let George Do It starring Bob Bailey and Virginia Gregg, originally broadcast February 26, 1951, 73 years ago, See Me Once, You See Me Twice. Mr. Wallace has been told to stay away from Lucy Lameroux...or he'll be killed. However, there are two Lucys.Finally Lum and Abner, originally broadcast February 26, 1942, 82 years ago, Mousy, Airplane Watcher. Lum has been lying through his teeth to convince Diogenes' helper that he's an honest man. He has "an official air raid warden's uniform," but it says "P-O-R-T-E-R" on it! Mousie is appointed an airplane watcher.Thanks to Doug for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.stream

Föstudagsgestur Mannlega þáttarins í þetta sinn var Linda Blöndal frétta- og fjölmiðlakona. Hún lærði stjórnmálafræði og hefur unnið í fjölmiðlum í á þriðja áratug, hún byrjaði á Bylgjunni en færði sig svo yfir á Rás 2 rétt fyrir aldamótin í Morgunútvarpið var einnig í Síðdegisútvarpinu og fleiri þáttum. Hún færði sig svo yfir í fréttirnar og hefur verið fréttakona hér á RÚV, á Stöð 2 og svo á Hringbraut, áður en hún kom aftur á fréttastofu RÚV. Við fórum með Lindu aftur í tímann og fengum hana til að segja okkur frá æskuárunum í Breiðholtinu og í Æfinga- og tilraunaskólanum. Svo sagði hún okkur frá tengslum sínum við eyjuna Möltu og þegar hún fór í kosningaeftirlit til Tadsjikistan og að lokum sagði hún áhugaverðar sögur úr fréttamennskunni. Svo var það auðvitað matarspjallið, Sigurlaug Margrét kom til okkar og í þetta sinn töluðum við um ísskáps- og búrhreinsun. Þegar við búum til mat úr því sem er til í eldhúsinu, sem getur oft orðið glettilega gott. Stundum er það eini valkosturinn, til dæmis ef gesti ber óvænt að garði. Tónlist í þættinum í dag: Ég fann þig / Björgvin Halldórsson (Bandarískt þjóðlag, Jón Sigurðsson) I Walk the Line / Johnny Cash (Johnny Cash & Burt Bacharach) UMSJÓN: GUNNAR HANSSON OG GUÐRÚN GUNNARSDÓTTIR

"Papyrus or I WALK."Break out the Instapot! This week on Destructo Discourse Origins, we attempt to seal the evil by covering episodes 109-111 of the original hit anime, Dragon Ball. Join us as we hit Pandora's Slay Button, Watch a season of Cardcaptor Shagkura, and finally find that Yaji flav' we know and crave.Your hosts this week are:Jayson, Matt, Melissa, TheoYou can also check out Tyler's other podcasts,What The FolklorePiece Meal

Click to listen to episode (5:44). Sections below are the following:Transcript of AudioAudio Notes and AcknowledgmentsImagesSourcesRelated Water Radio EpisodesFor Virginia Teachers (Relevant SOLs, etc.)Unless otherwise noted, all Web addresses mentioned were functional as of 12-26-23. TRANSCRIPT OF AUDIO From the Cumberland Gap to the Atlantic Ocean, this is Virginia Water Radio for the weeks of December 25, 2023, and January 1, 2024. MUSIC – ~13 sec – instrumental. That's part of “The Foggy Dew” by Timothy Seaman.  It's one of the songs heard on Virginia Water Radio in 2023, and it opens our annual episode where we listen back to some of the previous year's sounds and music.  We start with a medley of mystery sounds.  Have a listen for about 40 seconds, and see how many you recognize. SOUNDS - ~39 sec. 1.  Eastern Narrrow-mouthed Toad.2.  Humpback Whale.3.  Hooded Merganser.4.  Cascades waterfall.5.  Gray Tree Frogs, an Eastern Screech Owl, Eastern Wood-Pewee, and Wood Thrush. If you knew all of most of those, you're a 2023 authentic aquatic ace! You heard, first, an Eastern Narrow-mouthed Toad; second; a Humpback Whale; third, a Hooded Merganser; fourth, the Cascades Falls in Giles County, Virginia; and, last, the sounds of Gray Tree Frogs, an Eastern Screech Owl, an Eastern Wood-Pewee, and a Wood Thrush, all recorded at a pond in Blacksburg, Va., at sundown on July 27, 2023. Thanks to the Virginia Department of Wildlife Resources and to Lang Elliott for permission to use this week's sounds, from the 2008 CD, “The Calls of Virginia Frogs and Toads”; to the National Park Service for the Humpback Whale Sound; and to Lang Elliott for permission to use the Hooded Merganser sound, from the Stokes Field Guide to Bird Songs. We close out 2023 with a 1 minute/45 second sample of music heard this year, with parts of “I Walk in Beauty,” by the late Madeline MacNeil; “Driftage,” by Andrew and Noah VanNorstrand; “Frog Level Yacht Club,” by Trevor McKenzie; “Backburner,” by the group The Faux Paws; and, last, “World's Too Big,” by Kat Mills, whose lyrics help us look toward the coming year.  Thanks to all the musicians who gave permission to use their music, and thanks to Janita Baker for permission to use Madeline MacNeil's music. So long to 2023, and here's hoping for a 2024 the brings to your ears, good sounds; to your heart, good music; and to your health, good water. MUSIC – ~1 min./43 sec. 1.  From “I Walk in Beauty” – lyrics: “Beauty is behind me, above and below me.” 2. From “Driftage” – instrumental. 3.  From “Frog Level Yacht Club” – lyrics: “I know it's fantasy and my plays tricks on my memory, but that's how I recall the Frog Level Yacht Club.” 4.  From “Backburner” – lyrics: “I put my heart in the freezer, I put my love on ice, I tell myself I don't need her, wouldn't that be nice?  I put  my heart in the freezer, I put my love on hold, I tell myself I don't need her, and then I wonder why I feel so cold.  I wonder why I feel, I wonder why I feel, I wonder why I feel so cold.” 5.  From “World's Too Big” – lyrics: “World's too big to see in one lifetime; what do you think you'll do this year in the world, world, world, in the world?” SHIP'S BELL Virginia Water Radio is produced by the Virginia Water Resources Research Center, part of Virginia Tech's College of Natural Resources and Environment.  For more Virginia water sounds, music, or information, visit us online at virginiawaterradio.org, or call the Water Center at (540) 231-5624.  Thanks to Ben Cosgrove for his version of “Shenandoah” to open and close this episode.  In Blacksburg, I'm Alan Raflo, thanking you for listening, and wishing you health, wisdom, and good water. AUDIO NOTES AND ACKNOWLEDGEMENTS Click here if you'd like to hear the full version (2 min./22 sec.) of the “Shenandoah” arrangement/performance by Ben Cosgrove that opens and closes this episode.  More information about Mr. Cosgrove is available online at http://www.bencosgrove.com. Sounds Used and Their Previous 2023 Virginia Water Radio Episodes  (listed in the order heard in this episode's audio). The sounds of the Eastern Narrrow-mouthed Toad was from “The Calls of Virginia Frogs and Toads” CD, copyright 2008 by the Virginia Department of Game and Inland Fisheries (now the Department of Wildlife Resources) and Lang Elliott/NatureSoundStudio, used with permission.   The CD accompanies A Guide to the Frogs and Toads of Virginia, Special Publication Number 3, Virginia Department of Game and Inland Fisheries; that publication is no longer available at Virginia Department of Wildlife Resources online store, https://www.shopdwr.com/.  For more information, contact the Department at P.O. Box 90778, Henrico, VA 23228-0778; phone: (804) 367-1000 (VTDD); main Web page is https://dwr.virginia.gov/; to send e-mail, visit https://dwr.virginia.gov/contact/.  Lang Elliott's work is available online at the “Music of Nature” Web site, http://www.musicofnature.org/.  This sound was used in Episode 649, 2-20-23, a medley of frog and toad calls. The Humpback Whale sound was from the National Park Service ‘Sound Gallery,” online at https://www.nps.gov/subjects/sound/sounds-humpback-whale.htm, as of 12-22-23.  This sound was used in Episode 651, 3-20-23, on ocean and  marine biodiversity. The Hooded Merganser sound was from the Stokes Field Guide to Bird Songs-Eastern Region CD set, by Lang Elliott with Donald and Lillian Stokes (Time Warner Audio Books, copyright 1997), used with permission of Lang Elliott.  Lang Elliot's work is available online at the “Music of Nature” Web site, http://www.musicofnature.org/.  This sound was used in Episode 670, 12-11-23, a duck names quiz. 4.  The waterfall sound was recorded by Virginia Water Radio at the Cascades waterfall in Giles County, Va., on September 28, 2023.  This sound was used in Episode 666, 10-16-23, on waterfalls in Virginia. 5.  The sounds of Gray Tree Frogs, an Eastern Screech Owl, and an Eastern Wood-Pewee, with the less prominent sounds of a Wood Thrush, were recorded by Virginia Water Radio at a pond in Blacksburg, Va., at about 8:30 p.m. on July 27, 2023.  These sounds were used in Episode 661, 8-7-23, on the sounds between dawn and dusk on a summer day at a Virginia pond. Musical Selections Used and Their Previous 2023 Virginia Water Radio Episodes (listed in the order heard in this episode's audio)

“Generations” is the theme of this week's Dark Nation Radio, the first half of which is old-school goth followed by a second half that is brand new dark electro. Hour one includes classics from Bauhaus, Siouxsie, Alien Sex Fiend, New Model Army, The Bolshoi, and The Cure, while hour two introduces new tracks from DEAD LIGHTS, Bara Hari, Unitcode:Machine, Owl Vision, and Techlash, among others. Hour 1 is familiar, hour 2 brand new, but both halves should appeal to fans of dark music! https://www.mixcloud.com/cypheractive/dj-cyphers-dark-nation-radio-15-october-2023/ And I hope you will make plans to join me for the annual Dark Nation Radio Halloween party this Sunday, October 22nd. I'll be expanding the show to three full hours to pack in as many terrifying treats as possible! The dreadful fun starts at 9 PM Eastern US time PM on sorradio.org and requests are always welcome during the “live” show. RSVP at https://fb.me/e/fXwgBucdf Thank you for your support! DJ cypher's Dark Nation Radio Playlist 15 October 2023 The Cure, “Like Cockatoos” Bauhaus, “Double Dare” The Danse Society, “Somewhere” The Chameleons UK, “Don't Fall” The Bolshoi, “Happy Boy” The Sisters of Mercy, “Flood II” The Birthday Party, “Release the Bats” Siouxsie & the Banshees, “The Playground Twist” New Model Army, “The Green and the Gray” Alien Sex Fiend, “I Walk the Line” Faith & the Muse, “Cantus” London After Midnight, “Kiss” Peter Murphy, “I'll Fall With Your Knife” DEAD LIGHTS, “Elevator Muzak in Heaven” VNV Nation, “The Game” Amulet, “Last Ditch (Stabbing Westward remix)” A Cloud of Ravens, “Nature of Artifice” Pixel Grip, “Club Mania” Slighter, “Nit S” Male Tears, “Never Again” Brigade Enzephalon, “Ohne Dich (F.O.D. remix)” Bara Hari, “Violence Rising (ESA remix)” Owl Vision ft. Aesthetic Perfection, “Joykill” Techlash, “Sound the Alarm” Curse Mackey, “O Blasphemy (Twin Tribes remix)” Unitcode:Machine, “Emptiness” DJ CYPHER'S DARK NATION RADIO—24 years strong! **Live Sundays @ 9 PM Eastern US on Spirit of Resistance Radio sorradio.org **Recorded @ http://www.mixcloud.com/cypheractive **Downloadable @ http://www.hearthis.at/cypheractive **Questions and material for airplay consideration to darknationradio[at] gmail[dot]com **Facebook @ http://www.facebook.com/groups/darknationradio

Order of Service: - Prelude - The Confession of Sin (p. 120) - The Versicles (pp. 120-121) - Hymn 252 - I Walk in Danger All the Way: vv. 5 & 6 - Philippians 3:8-14: Yet indeed I also count all things loss for the excellence of the knowledge of Christ Jesus my Lord, for whom I have suffered the loss of all things, and count them as rubbish, that I may gain Christ and be found in Him, not having my own righteousness, which is from the law, but that which is through faith in Christ, the righteousness which is from God by faith; that I may know Him and the power of His resurrection, and the fellowship of His sufferings, being conformed to His death, if, by any means, I may attain to the resurrection from the dead. - Homily: What to Do with Your Spiritual Stuff - The Versicle (p. 122) - The Nunc Dimittis (p. 124) - The Kyrie (p. 124) - The Lord's Prayer (p. 125) - The Collect (pp. 125-127) - Hymn 569 - Now Rest Beneath Night's Shadow: vv. 1, 5, 6 - Postlude Service Participants: Caleb Strutz, Seminarian (Preacher), Kaleb Schmidt (Organist)

Order of Service: - Prelude - The Confession of Sin (p. 120) - The Versicles (pp. 120-121) - Hymn 252 - I Walk in Danger All the Way: vv. 5 & 6 - Philippians 3:8-14: Yet indeed I also count all things loss for the excellence of the knowledge of Christ Jesus my Lord, for whom I have suffered the loss of all things, and count them as rubbish, that I may gain Christ and be found in Him, not having my own righteousness, which is from the law, but that which is through faith in Christ, the righteousness which is from God by faith; that I may know Him and the power of His resurrection, and the fellowship of His sufferings, being conformed to His death, if, by any means, I may attain to the resurrection from the dead. - Homily: What to Do with Your Spiritual Stuff - The Versicle (p. 122) - The Nunc Dimittis (p. 124) - The Kyrie (p. 124) - The Lord's Prayer (p. 125) - The Collect (pp. 125-127) - Hymn 569 - Now Rest Beneath Night's Shadow: vv. 1, 5, 6 - Postlude Service Participants: Caleb Strutz, Seminarian (Preacher), Kaleb Schmidt (Organist)

Order of Service: - Prelude - The Confession of Sin (p. 120) - The Versicles (pp. 120-121) - Hymn 252 - I Walk in Danger All the Way: vv. 5 & 6 - Philippians 3:8-14: Yet indeed I also count all things loss for the excellence of the knowledge of Christ Jesus my Lord, for whom I have suffered the loss of all things, and count them as rubbish, that I may gain Christ and be found in Him, not having my own righteousness, which is from the law, but that which is through faith in Christ, the righteousness which is from God by faith; that I may know Him and the power of His resurrection, and the fellowship of His sufferings, being conformed to His death, if, by any means, I may attain to the resurrection from the dead. - Homily: What to Do with Your Spiritual Stuff - The Versicle (p. 122) - The Nunc Dimittis (p. 124) - The Kyrie (p. 124) - The Lord's Prayer (p. 125) - The Collect (pp. 125-127) - Hymn 569 - Now Rest Beneath Night's Shadow: vv. 1, 5, 6 - Postlude Service Participants: Caleb Strutz, Seminarian (Preacher), Kaleb Schmidt (Organist)

Do you have a favorite country song? Here's 3 fun and simple-to-play songs that sound great on guitar! In this episode Marlene talks about the backgrounds and how to play 3 classic country hits, I Walk the Line, Jolene & The Gambler. Guitar Courses & Learning Resources  Learn to Play Guitar in a Day!  Coaching Sessions Marlene's Tips For Guitar Playing Success book Thursday Tips blog Thank you to our sponsors! GatorCo.com  LevysLeathers.com Find Your Breedlove Guitar and more guitars and gear at Sweetwater.com  Available at Sweetwater.com We are a Sweetwater.com affiliate. So. when you purchase your Breedlove Guitar or any guitars, guitar gear or anything else you might need from  you are also helping to support this show - thank you!  Available on... #ApplePodcasts #Spotify #iTunes #GooglePodcast #AmazonMusicPodcast #iHeartRadio #Pandora #Stitcher #Castbox #PlayerFm #FeedSpot and more! @applepodcasts @applemusic @spotify @spotifypodcasts @podbean #IWalkTheLine #JohnnyCash #Jolene #DOllyParton #TheGambler #KennyRogers #countrysongs #countrymusic #Howto #guitar #howto #learnguitar #playguitar #guitartips #guitarpodcast #playon Credits: Creator, Host, Producer: Marlene Hutchinson This podcast was made possible in part by I Create Sound For help getting your best sound, go to www.icreatesound.com

Today The Family answer the question, How do I Walk with God when im the only one who even knows him in my family? To get in touch with us please email us at spellmanministries@gmail.com You can find us on all our socials & website below! www.spellmanministries.org  www.Facebook.com/SpellmanMinistries  www.Instagram.com/SpellmanMinistries

Zilla is back to wrap up the early 2000's college mixtape with 40 minutes of rock, pop, jazz, and turntablism: 1. Pulp "Disco 2000"  2. Weezer "El Scorcho"  3. Buddy Holly "Everyday"  4. Louis Jordan "Knock Me a Kiss"  5. Henry Mancini "Baby Elephant Walk"  6. Kid Koala "Emperor's Main Course"  7. Broadcast "Message From Home"  8. Belle and Sebastian "She's Losing It"  9. Nick Drake "Pink Moon"  10. G Love & Special Sauce "Love"  11. King Biscuit Time "I Walk the Earth" 12. David Bowie & Queen "Under Pressure"  13. The Divine Comedy "Tonight We Fly" 14. Shel Silverstein "The One Who Stayed" --- Support this podcast: https://podcasters.spotify.com/pod/show/calloutculture/support

This week we welcome the Million Dollar Quartet! THE BOYS ARE BACK IN BRANSON! The fan-favorite Rock 'n‘ Roll show “The Million Dollar Quartet” is back in Branson in the Playhouse Dinner Theater at Shepherd of the Hills. This smash hit, based on the Tony award- winning production, takes you back to 1956 to the studio of the Father of Rock n Roll, Sam Phillips at the Sun Records Studios when Elvis Presley, Johnny Cash, Carl Perkins, and Jerry Lee Lewis actually came together for the greatest jam session in music history. Million Dollar Quartet takes you behind the scenes and puts you in the middle of the action as these four musicians, who became legends, returned to the studio of legendary producer, Sam Phillips, the man who invented Rock 'n' Roll. It is equal parts stage drama and foot-tapping live performance with hits like “Great Balls of Fire”, “Hound Dog”, “I Walk the Line”, “Whole Lotta Shakin' Goin' On”, and more. We're serving up a delicious dinner while enjoying an unforgettable night of Rock'n'Roll! Shepherd of the Hills Homestead has been a favorite of Branson visitors for decades. The Ozark Mountains caught Nation's interest in 1907 when Harold Bell Wright's novel, The Shepherd of the Hills, was published. Wright's characters in the novel are based on people he met during his visit to the Ozark Mountains in the late 1800's, and the places he describes are on or surrounding the Shepherd of the Hills property of today.
While visiting, you can take a Historic Farm Tour and experience the Shepherd of the Hills Outdoor Drama, which bring Wright's timeless tale to life. You can check out their website: www.TheShepherdOfTheHills.com. Or call: 417-334-4191.

Helen and Gavin chat about Barbie and Oppenheimer, and it's Week 85 from the list of Rolling Stone's 500 Best Songs Ever, numbers 80 to 76; What'd I Say by Ray Charles, Back to Black by Amy Winehouse, Reach Out (I'll Be There) by The Four Tops, Roadrunner by The Modern Lovers, and I Walk the Line by Johnny Cash.

Conflict.  It's a part of life.  Sibling Conflict.  It's gonna happen in your home.  I'm sharing how you can handle sibling conflict well in your home so that there is less arguing, teasing, and siblings annoying each other and lots more peace, joy, and everyone getting along. Even better yet, let's help your children handle the conflict on their own, successfully solving their own disagreements.  That's a life skill we want them to have.    

Recorded 2023-06-03 20:19:06 Tracklisting: * Leniz - Life's More Complicated Than It Seems * Ikon-B & Flashback - Hypnosis * DPR feat. Leo Wood - Eden (The Vanguard Project Remix) * Chrisp - Hound (Ulterior Motive Remix) * Dan Guidance - First Love * Alpha Rhythm & Rezilient feat. Leo Wood - One Day At A Time * Data 3 - Atomic * Quadrant & Iris & Ill Truth - Is This Now * Conrad Subs - Amens In Ipswich * MSDOS - Jazz Beer * RISE - Intertwined * Kings Of The Rollers - Guitar Track * Ominous - Stay High * Marvellous Cain - So Much Trouble * RISE & Viridity - U&I * Walk:r - Bedouin * FX909 - Chatter (Half Step Mix) * Simon V feat. MC Fava - Night Sail * Monty & Trail - Cinnamon * Kings Of The Rollers -You Got Me (S.P.Y Remix) * Battledrone - Space Funk * DJ Hybrid - My Selecta * Ominous - NinJesus * Noisia - Collider (GROUND Remix) * Amoss - Paprika Dust * Paul SG feat. Angelina Dove - Cherry Blossom Tears (Kenobi Remix) * BCee & Mr. Maph - Easy Roller * Jackie Edwards - So Jah Seh (Quadrant & Kid Hops & Iris Remix) * Data 3 - Matter * Fluidity & Loz Contreras - Back To You * Mozey & Shady Novelle feat. Dynamite MC - Midnight Caller * Dr Meaker & Cappo D & Blaze - Love You Gently * Ed:it & Creatures - Indecisive * Workforce - Observer (Mantra Remix) * Zero T & Steo & [ K S R ] - Jazz Tone (VIP) * Sully - Eraser * Qua Rush & Frame - One Nation Under A Breakbeat * ASC - Flotation * Monty & Trail - Ferns * Dissident - Release * Metrik - Fall To The Dust * Fracture - Dropping You (Slow Mix) * Trail & Sydney Bryce - Act Like That * Marvellous Cain - Isley * Trail - Shojo Bookshop * Marvellous Cain - In The Mood * Kings Of The Rollers & Redders - Round Here * enta - Bling * Mozey - Lady Killaz * RISE - Around Town * FarFlow - Toxic Remains * Kings Of The Rollers - Tisno * RISE - In Your Arms * Marvellous Cain & NGP - Looking Up To You * Dan Guidance - Souled Up * enta - Little Terror * Flowrian - Jill * Mozey & Shady Novelle - Sometimes * Fishy - Can You Show Me * Natus - Moonlight * Ikon-B & Flashback - Tear Us Apart * Levela & Eksman - Zone Out (VIP) * Duskee & Deadline & Slay - Chica * Data 3 - Biometric * Jack Flynn-Oakley - Ov The Night Download, Distribute, and Donate!

Episode 165 of A History of Rock Music in Five Hundred Songs looks at “Dark Stat” and the career of the Grateful Dead. This is a long one, even longer than the previous episode, but don't worry, that won't be the norm. There's a reason these two were much longer than average. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Codine" by the Charlatans. Errata I mispronounce Brent Mydland's name as Myland a couple of times, and in the introduction I say "Touch of Grey" came out in 1988 -- I later, correctly, say 1987. (I seem to have had a real problem with dates in the intro -- I also originally talked about "Blue Suede Shoes" being in 1954 before fixing it in the edit to be 1956) Resources No Mixcloud this week, as there are too many songs by the Grateful Dead, and Grayfolded runs to two hours. I referred to a lot of books for this episode, partly because almost everything about the Grateful Dead is written from a fannish perspective that already assumes background knowledge, rather than to provide that background knowledge. Of the various books I used, Dennis McNally's biography of the band and This Is All a Dream We Dreamed: An Oral History of the Grateful Dead by Blair Jackson and David Gans are probably most useful for the casually interested. Other books on the Dead I used included McNally's Jerry on Jerry, a collection of interviews with Garcia; Deal, Bill Kreutzmann's autobiography; The Grateful Dead FAQ by Tony Sclafani; So Many Roads by David Browne; Deadology by Howard F. Weiner; Fare Thee Well by Joel Selvin and Pamela Turley; and Skeleton Key: A Dictionary for Deadheads by David Shenk and Steve Silberman. Tom Wolfe's The Electric Kool-Aid Acid Test is the classic account of the Pranksters, though not always reliable. I reference Slaughterhouse Five a lot. As well as the novel itself, which everyone should read, I also read this rather excellent graphic novel adaptation, and The Writer's Crusade, a book about the writing of the novel. I also reference Ted Sturgeon's More Than Human. For background on the scene around Astounding Science Fiction which included Sturgeon, John W. Campbell, L. Ron Hubbard, and many other science fiction writers, I recommend Alec Nevala-Lee's Astounding. 1,000 True Fans can be read online, as can the essay on the Californian ideology, and John Perry Barlow's "Declaration of the Independence of Cyberspace". The best collection of Grateful Dead material is the box set The Golden Road, which contains all the albums released in Pigpen's lifetime along with a lot of bonus material, but which appears currently out of print. Live/Dead contains both the live version of "Dark Star" which made it well known and, as a CD bonus track, the original single version. And archive.org has more live recordings of the group than you can possibly ever listen to. Grayfolded can be bought from John Oswald's Bandcamp Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Tuning from "Grayfolded", under the warnings Before we begin -- as we're tuning up, as it were, I should mention that this episode contains discussions of alcoholism, drug addiction, racism, nonconsensual drugging of other people, and deaths from drug abuse, suicide, and car accidents. As always, I try to deal with these subjects as carefully as possible, but if you find any of those things upsetting you may wish to read the transcript rather than listen to this episode, or skip it altogether. Also, I should note that the members of the Grateful Dead were much freer with their use of swearing in interviews than any other band we've covered so far, and that makes using quotes from them rather more difficult than with other bands, given the limitations of the rules imposed to stop the podcast being marked as adult. If I quote anything with a word I can't use here, I'll give a brief pause in the audio, and in the transcript I'll have the word in square brackets. [tuning ends] All this happened, more or less. In 1910, T. S. Eliot started work on "The Love Song of J. Alfred Prufrock", which at the time was deemed barely poetry, with one reviewer imagining Eliot saying "I'll just put down the first thing that comes into my head, and call it 'The Love Song of J. Alfred Prufrock.'" It is now considered one of the great classics of modernist literature. In 1969, Kurt Vonnegut wrote "Slaughterhouse-Five, or, The Children's Crusade: A Duty-Dance with Death", a book in which the protagonist, Billy Pilgrim, comes unstuck in time, and starts living a nonlinear life, hopping around between times reliving his experiences in the Second World War, and future experiences up to 1976 after being kidnapped by beings from the planet Tralfamadore. Or perhaps he has flashbacks and hallucinations after having a breakdown from PTSD. It is now considered one of the great classics of modernist literature or of science fiction, depending on how you look at it. In 1953, Theodore Sturgeon wrote More Than Human. It is now considered one of the great classics of science fiction. In 1950, L. Ron Hubbard wrote Dianetics: The Modern Science of Mental Health. It is now considered either a bad piece of science fiction or one of the great revelatory works of religious history, depending on how you look at it. In 1994, 1995, and 1996 the composer John Oswald released, first as two individual CDs and then as a double-CD, an album called Grayfolded, which the composer says in the liner notes he thinks of as existing in Tralfamadorian time. The Tralfamadorians in Vonnegut's novels don't see time as a linear thing with a beginning and end, but as a continuum that they can move between at will. When someone dies, they just think that at this particular point in time they're not doing so good, but at other points in time they're fine, so why focus on the bad time? In the book, when told of someone dying, the Tralfamadorians just say "so it goes". In between the first CD's release and the release of the double-CD version, Jerry Garcia died. From August 1942 through August 1995, Jerry Garcia was alive. So it goes. Shall we go, you and I? [Excerpt: The Grateful Dead, "Dark Star (Omni 3/30/94)"] "One principle has become clear. Since motives are so frequently found in combination, it is essential that the complex types be analyzed and arranged, with an eye kept single nevertheless to the master-theme under discussion. Collectors, both primary and subsidiary, have done such valiant service that the treasures at our command are amply sufficient for such studies, so extensive, indeed, that the task of going through them thoroughly has become too great for the unassisted student. It cannot be too strongly urged that a single theme in its various types and compounds must be made predominant in any useful comparative study. This is true when the sources and analogues of any literary work are treated; it is even truer when the bare motive is discussed. The Grateful Dead furnishes an apt illustration of the necessity of such handling. It appears in a variety of different combinations, almost never alone. Indeed, it is so widespread a tale, and its combinations are so various, that there is the utmost difficulty in determining just what may properly be regarded the original kernel of it, the simple theme to which other motives were joined. Various opinions, as we shall see, have been held with reference to this matter, most of them justified perhaps by the materials in the hands of the scholars holding them, but none quite adequate in view of later evidence." That's a quote from The Grateful Dead: The History of a Folk Story, by Gordon Hall Gerould, published in 1908. Kurt Vonnegut's novel Slaughterhouse-Five opens with a chapter about the process of writing the novel itself, and how difficult it was. He says "I would hate to tell you what this lousy little book cost me in money and anxiety and time. When I got home from the Second World War twenty-three years ago, I thought it would be easy for me to write about the destruction of Dresden, since all I would have to do would be to report what I had seen. And I thought, too, that it would be a masterpiece or at least make me a lot of money, since the subject was so big." This is an episode several of my listeners have been looking forward to, but it's one I've been dreading writing, because this is an episode -- I think the only one in the series -- where the format of the podcast simply *will not* work. Were the Grateful Dead not such an important band, I would skip this episode altogether, but they're a band that simply can't be ignored, and that's a real problem here. Because my intent, always, with this podcast, is to present the recordings of the artists in question, put them in context, and explain why they were important, what their music meant to its listeners. To put, as far as is possible, the positive case for why the music mattered *in the context of its time*. Not why it matters now, or why it matters to me, but why it matters *in its historical context*. Whether I like the music or not isn't the point. Whether it stands up now isn't the point. I play the music, explain what it was they were doing, why they were doing it, what people saw in it. If I do my job well, you come away listening to "Blue Suede Shoes" the way people heard it in 1956, or "Good Vibrations" the way people heard it in 1966, and understanding why people were so impressed by those records. That is simply *not possible* for the Grateful Dead. I can present a case for them as musicians, and hope to do so. I can explain the appeal as best I understand it, and talk about things I like in their music, and things I've noticed. But what I can't do is present their recordings the way they were received in the sixties and explain why they were popular. Because every other act I have covered or will cover in this podcast has been a *recording* act, and their success was based on records. They may also have been exceptional live performers, but James Brown or Ike and Tina Turner are remembered for great *records*, like "Papa's Got a Brand New Bag" or "River Deep, Mountain High". Their great moments were captured on vinyl, to be listened back to, and susceptible of analysis. That is not the case for the Grateful Dead, and what is worse *they explicitly said, publicly, on multiple occasions* that it is not possible for me to understand their art, and thus that it is not possible for me to explain it. The Grateful Dead did make studio records, some of them very good. But they always said, consistently, over a thirty year period, that their records didn't capture what they did, and that the only way -- the *only* way, they were very clear about this -- that one could actually understand and appreciate their music, was to see them live, and furthermore to see them live while on psychedelic drugs. [Excerpt: Grateful Dead crowd noise] I never saw the Grateful Dead live -- their last UK performance was a couple of years before I went to my first ever gig -- and I have never taken a psychedelic substance. So by the Grateful Dead's own criteria, it is literally impossible for me to understand or explain their music the way that it should be understood or explained. In a way I'm in a similar position to the one I was in with La Monte Young in the last episode, whose music it's mostly impossible to experience without being in his presence. This is one reason of several why I placed these two episodes back to back. Of course, there is a difference between Young and the Grateful Dead. The Grateful Dead allowed -- even encouraged -- the recording of their live performances. There are literally thousands of concert recordings in circulation, many of them of professional quality. I have listened to many of those, and I can hear what they were doing. I can tell you what *I* think is interesting about their music, and about their musicianship. And I think I can build up a good case for why they were important, and why they're interesting, and why those recordings are worth listening to. And I can certainly explain the cultural phenomenon that was the Grateful Dead. But just know that while I may have found *a* point, *an* explanation for why the Grateful Dead were important, by the band's own lights and those of their fans, no matter how good a job I do in this episode, I *cannot* get it right. And that is, in itself, enough of a reason for this episode to exist, and for me to try, even harder than I normally do, to get it right *anyway*. Because no matter how well I do my job this episode will stand as an example of why this series is called "*A* History", not *the* history. Because parts of the past are ephemeral. There are things about which it's true to say "You had to be there". I cannot know what it was like to have been an American the day Kennedy was shot, I cannot know what it was like to be alive when a man walked on the Moon. Those are things nobody my age or younger can ever experience. And since August the ninth, 1995, the experience of hearing the Grateful Dead's music the way they wanted it heard has been in that category. And that is by design. Jerry Garcia once said "if you work really hard as an artist, you may be able to build something they can't tear down, you know, after you're gone... What I want to do is I want it here. I want it now, in this lifetime. I want what I enjoy to last as long as I do and not last any longer. You know, I don't want something that ends up being as much a nuisance as it is a work of art, you know?" And there's another difficulty. There are only two points in time where it makes sense to do a podcast episode on the Grateful Dead -- late 1967 and early 1968, when the San Francisco scene they were part of was at its most culturally relevant, and 1988 when they had their only top ten hit and gained their largest audience. I can't realistically leave them out of the story until 1988, so it has to be 1968. But the songs they are most remembered for are those they wrote between 1970 and 1972, and those songs are influenced by artists and events we haven't yet covered in the podcast, who will be getting their own episodes in the future. I can't explain those things in this episode, because they need whole episodes of their own. I can't not explain them without leaving out important context for the Grateful Dead. So the best I can do is treat the story I'm telling as if it were in Tralfamadorian time. All of it's happening all at once, and some of it is happening in different episodes that haven't been recorded yet. The podcast as a whole travels linearly from 1938 through to 1999, but this episode is happening in 1968 and 1972 and 1988 and 1995 and other times, all at once. Sometimes I'll talk about things as if you're already familiar with them, but they haven't happened yet in the story. Feel free to come unstuck in time and revisit this time after episode 167, and 172, and 176, and 192, and experience it again. So this has to be an experimental episode. It may well be an experiment that you think fails. If so, the next episode is likely to be far more to your taste, and much shorter than this or the last episode, two episodes that between them have to create a scaffolding on which will hang much of the rest of this podcast's narrative. I've finished my Grateful Dead script now. The next one I write is going to be fun: [Excerpt: Grateful Dead, "Dark Star"] Infrastructure means everything. How we get from place to place, how we transport goods, information, and ourselves, makes a big difference in how society is structured, and in the music we hear. For many centuries, the prime means of long-distance transport was by water -- sailing ships on the ocean, canal boats and steamboats for inland navigation -- and so folk songs talked about the ship as both means of escape, means of making a living, and in some senses as a trap. You'd go out to sea for adventure, or to escape your problems, but you'd find that the sea itself brought its own problems. Because of this we have a long, long tradition of sea shanties which are known throughout the world: [Excerpt: A. L. Lloyd, "Off to Sea Once More"] But in the nineteenth century, the railway was invented and, at least as far as travel within a landmass goes, it replaced the steamboat in the popular imaginary. Now the railway was how you got from place to place, and how you moved freight from one place to another. The railway brought freedom, and was an opportunity for outlaws, whether train robbers or a romanticised version of the hobo hopping onto a freight train and making his way to new lands and new opportunity. It was the train that brought soldiers home from wars, and the train that allowed the Great Migration of Black people from the South to the industrial North. There would still be songs about the riverboats, about how ol' man river keeps rolling along and about the big river Johnny Cash sang about, but increasingly they would be songs of the past, not the present. The train quickly replaced the steamboat in the iconography of what we now think of as roots music -- blues, country, folk, and early jazz music. Sometimes this was very literal. Furry Lewis' "Kassie Jones" -- about a legendary train driver who would break the rules to make sure his train made the station on time, but who ended up sacrificing his own life to save his passengers in a train crash -- is based on "Alabamy Bound", which as we heard in the episode on "Stagger Lee", was about steamboats: [Excerpt: Furry Lewis, "Kassie Jones"] In the early episodes of this podcast we heard many, many, songs about the railway. Louis Jordan saying "take me right back to the track, Jack", Rosetta Tharpe singing about how "this train don't carry no gamblers", the trickster freight train driver driving on the "Rock Island Line", the mystery train sixteen coaches long, the train that kept-a-rollin' all night long, the Midnight Special which the prisoners wished would shine its ever-loving light on them, and the train coming past Folsom Prison whose whistle makes Johnny Cash hang his head and cry. But by the 1960s, that kind of song had started to dry up. It would happen on occasion -- "People Get Ready" by the Impressions is the most obvious example of the train metaphor in an important sixties record -- but by the late sixties the train was no longer a symbol of freedom but of the past. In 1969 Harry Nilsson sang about how "Nobody Cares About the Railroads Any More", and in 1968 the Kinks sang about "The Last of the Steam-Powered Trains". When in 1968 Merle Haggard sang about a freight train, it was as a memory, of a child with hopes that ended up thwarted by reality and his own nature: [Excerpt: Merle Haggard, "Mama Tried"] And the reason for this was that there had been another shift, a shift that had started in the forties and accelerated in the late fifties but had taken a little time to ripple through the culture. Now the train had been replaced in the popular imaginary by motorised transport. Instead of hopping on a train without paying, if you had no money in your pocket you'd have to hitch-hike all the way. Freedom now meant individuality. The ultimate in freedom was the biker -- the Hell's Angels who could go anywhere, unburdened by anything -- and instead of goods being moved by freight train, increasingly they were being moved by truck drivers. By the mid-seventies, truck drivers took a central place in American life, and the most romantic way to live life was to live it on the road. On The Road was also the title of a 1957 novel by Jack Kerouac, which was one of the first major signs of this cultural shift in America. Kerouac was writing about events in the late forties and early fifties, but his book was also a precursor of the sixties counterculture. He wrote the book on one continuous sheet of paper, as a stream of consciousness. Kerouac died in 1969 of an internal haemmorage brought on by too much alcohol consumption. So it goes. But the big key to this cultural shift was caused by the Federal-Aid Highway Act of 1956, a massive infrastructure spending bill that led to the construction of the modern American Interstate Highway system. This accelerated a program that had already started, of building much bigger, safer, faster roads. It also, as anyone who has read Robert Caro's The Power Broker knows, reinforced segregation and white flight. It did this both by making commuting into major cities from the suburbs easier -- thus allowing white people with more money to move further away from the cities and still work there -- and by bulldozing community spaces where Black people lived. More than a million people lost their homes and were forcibly moved, and orders of magnitude more lost their communities' parks and green spaces. And both as a result of deliberate actions and unconscious bigotry, the bulk of those affected were Black people -- who often found themselves, if they weren't forced to move, on one side of a ten-lane highway where the park used to be, with white people on the other side of the highway. The Federal-Aid Highway Act gave even more power to the unaccountable central planners like Robert Moses, the urban planner in New York who managed to become arguably the most powerful man in the city without ever getting elected, partly by slowly compromising away his early progressive ideals in the service of gaining more power. Of course, not every new highway was built through areas where poor Black people lived. Some were planned to go through richer areas for white people, just because you can't completely do away with geographical realities. For example one was planned to be built through part of San Francisco, a rich, white part. But the people who owned properties in that area had enough political power and clout to fight the development, and after nearly a decade of fighting it, the development was called off in late 1966. But over that time, many of the owners of the impressive buildings in the area had moved out, and they had no incentive to improve or maintain their properties while they were under threat of demolition, so many of them were rented out very cheaply. And when the beat community that Kerouac wrote about, many of whom had settled in San Francisco, grew too large and notorious for the area of the city they were in, North Beach, many of them moved to these cheap homes in a previously-exclusive area. The area known as Haight-Ashbury. [Excerpt: The Grateful Dead, "Grayfolded"] Stories all have their starts, even stories told in Tralfamadorian time, although sometimes those starts are shrouded in legend. For example, the story of Scientology's start has been told many times, with different people claiming to have heard L. Ron Hubbard talk about how writing was a mug's game, and if you wanted to make real money, you needed to get followers, start a religion. Either he said this over and over and over again, to many different science fiction writers, or most science fiction writers of his generation were liars. Of course, the definition of a writer is someone who tells lies for money, so who knows? One of the more plausible accounts of him saying that is given by Theodore Sturgeon. Sturgeon's account is more believable than most, because Sturgeon went on to be a supporter of Dianetics, the "new science" that Hubbard turned into his religion, for decades, even while telling the story. The story of the Grateful Dead probably starts as it ends, with Jerry Garcia. There are three things that everyone writing about the Dead says about Garcia's childhood, so we might as well say them here too. The first is that he was named by a music-loving father after Jerome Kern, the songwriter responsible for songs like "Ol' Man River" (though as Oscar Hammerstein's widow liked to point out, "Jerome Kern wrote dum-dum-dum-dum, *my husband* wrote 'Ol' Man River'" -- an important distinction we need to bear in mind when talking about songwriters who write music but not lyrics). The second is that when he was five years old that music-loving father drowned -- and Garcia would always say he had seen his father dying, though some sources claim this was a false memory. So it goes. And the third fact, which for some reason is always told after the second even though it comes before it chronologically, is that when he was four he lost two joints from his right middle finger. Garcia grew up a troubled teen, and in turn caused trouble for other people, but he also developed a few interests that would follow him through his life. He loved the fantastical, especially the fantastical macabre, and became an avid fan of horror and science fiction -- and through his love of old monster films he became enamoured with cinema more generally. Indeed, in 1983 he bought the film rights to Kurt Vonnegut's science fiction novel The Sirens of Titan, the first story in which the Tralfamadorians appear, and wrote a script based on it. He wanted to produce the film himself, with Francis Ford Coppola directing and Bill Murray starring, but most importantly for him he wanted to prevent anyone who didn't care about it from doing it badly. And in that he succeeded. As of 2023 there is no film of The Sirens of Titan. He loved to paint, and would continue that for the rest of his life, with one of his favourite subjects being Boris Karloff as the Frankenstein monster. And when he was eleven or twelve, he heard for the first time a record that was hugely influential to a whole generation of Californian musicians, even though it was a New York record -- "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Garcia would say later "That was an important song. That was the first kind of, like where the voices had that kind of not-trained-singer voices, but tough-guy-on-the-street voice." That record introduced him to R&B, and soon he was listening to Chuck Berry and Bo Diddley, to Ray Charles, and to a record we've not talked about in the podcast but which was one of the great early doo-wop records, "WPLJ" by the Four Deuces: [Excerpt: The Four Deuces, "WPLJ"] Garcia said of that record "That was one of my anthem songs when I was in junior high school and high school and around there. That was one of those songs everybody knew. And that everybody sang. Everybody sang that street-corner favorite." Garcia moved around a lot as a child, and didn't have much time for school by his own account, but one of the few teachers he did respect was an art teacher when he was in North Beach, Walter Hedrick. Hedrick was also one of the earliest of the conceptual artists, and one of the most important figures in the San Francisco arts scene that would become known as the Beat Generation (or the Beatniks, which was originally a disparaging term). Hedrick was a painter and sculptor, but also organised happenings, and he had also been one of the prime movers in starting a series of poetry readings in San Francisco, the first one of which had involved Allen Ginsberg giving the first ever reading of "Howl" -- one of a small number of poems, along with Eliot's "Prufrock" and "The Waste Land" and possibly Pound's Cantos, which can be said to have changed twentieth-century literature. Garcia was fifteen when he got to know Hedrick, in 1957, and by then the Beat scene had already become almost a parody of itself, having become known to the public because of the publication of works like On the Road, and the major artists in the scene were already rejecting the label. By this point tourists were flocking to North Beach to see these beatniks they'd heard about on TV, and Hedrick was actually employed by one cafe to sit in the window wearing a beret, turtleneck, sandals, and beard, and draw and paint, to attract the tourists who flocked by the busload because they could see that there was a "genuine beatnik" in the cafe. Hedrick was, as well as a visual artist, a guitarist and banjo player who played in traditional jazz bands, and he would bring records in to class for his students to listen to, and Garcia particularly remembered him bringing in records by Big Bill Broonzy: [Excerpt: Big Bill Broonzy, "When Things Go Wrong (It Hurts Me Too)"] Garcia was already an avid fan of rock and roll music, but it was being inspired by Hedrick that led him to get his first guitar. Like his contemporary Paul McCartney around the same time, he was initially given the wrong instrument as a birthday present -- in Garcia's case his mother gave him an accordion -- but he soon persuaded her to swap it for an electric guitar he saw in a pawn shop. And like his other contemporary, John Lennon, Garcia initially tuned his instrument incorrectly. He said later "When I started playing the guitar, believe me, I didn't know anybody that played. I mean, I didn't know anybody that played the guitar. Nobody. They weren't around. There were no guitar teachers. You couldn't take lessons. There was nothing like that, you know? When I was a kid and I had my first electric guitar, I had it tuned wrong and learned how to play on it with it tuned wrong for about a year. And I was getting somewhere on it, you know… Finally, I met a guy that knew how to tune it right and showed me three chords, and it was like a revelation. You know what I mean? It was like somebody gave me the key to heaven." He joined a band, the Chords, which mostly played big band music, and his friend Gary Foster taught him some of the rudiments of playing the guitar -- things like how to use a capo to change keys. But he was always a rebellious kid, and soon found himself faced with a choice between joining the military or going to prison. He chose the former, and it was during his time in the Army that a friend, Ron Stevenson, introduced him to the music of Merle Travis, and to Travis-style guitar picking: [Excerpt: Merle Travis, "Nine-Pound Hammer"] Garcia had never encountered playing like that before, but he instantly recognised that Travis, and Chet Atkins who Stevenson also played for him, had been an influence on Scotty Moore. He started to realise that the music he'd listened to as a teenager was influenced by music that went further back. But Stevenson, as well as teaching Garcia some of the rudiments of Travis-picking, also indirectly led to Garcia getting discharged from the Army. Stevenson was not a well man, and became suicidal. Garcia decided it was more important to keep his friend company and make sure he didn't kill himself than it was to turn up for roll call, and as a result he got discharged himself on psychiatric grounds -- according to Garcia he told the Army psychiatrist "I was involved in stuff that was more important to me in the moment than the army was and that was the reason I was late" and the psychiatrist thought it was neurotic of Garcia to have his own set of values separate from that of the Army. After discharge, Garcia did various jobs, including working as a transcriptionist for Lenny Bruce, the comedian who was a huge influence on the counterculture. In one of the various attacks over the years by authoritarians on language, Bruce was repeatedly arrested for obscenity, and in 1961 he was arrested at a jazz club in North Beach. Sixty years ago, the parts of speech that were being criminalised weren't pronouns, but prepositions and verbs: [Excerpt: Lenny Bruce, "To is a Preposition, Come is a Verb"] That piece, indeed, was so controversial that when Frank Zappa quoted part of it in a song in 1968, the record label insisted on the relevant passage being played backwards so people couldn't hear such disgusting filth: [Excerpt: The Mothers of Invention, "Harry You're a Beast"] (Anyone familiar with that song will understand that the censored portion is possibly the least offensive part of the whole thing). Bruce was facing trial, and he needed transcripts of what he had said in his recordings to present in court. Incidentally, there seems to be some confusion over exactly which of Bruce's many obscenity trials Garcia became a transcriptionist for. Dennis McNally says in his biography of the band, published in 2002, that it was the most famous of them, in autumn 1964, but in a later book, Jerry on Jerry, a book of interviews of Garcia edited by McNally, McNally talks about it being when Garcia was nineteen, which would mean it was Bruce's first trial, in 1961. We can put this down to the fact that many of the people involved, not least Garcia, lived in Tralfamadorian time, and were rather hazy on dates, but I'm placing the story here rather than in 1964 because it seems to make more sense that Garcia would be involved in a trial based on an incident in San Francisco than one in New York. Garcia got the job, even though he couldn't type, because by this point he'd spent so long listening to recordings of old folk and country music that he was used to transcribing indecipherable accents, and often, as Garcia would tell it, Bruce would mumble very fast and condense multiple syllables into one. Garcia was particularly impressed by Bruce's ability to improvise but talk in entire paragraphs, and he compared his use of language to bebop. Another thing that was starting to impress Garcia, and which he also compared to bebop, was bluegrass: [Excerpt: Bill Monroe, "Fire on the Mountain"] Bluegrass is a music that is often considered very traditional, because it's based on traditional songs and uses acoustic instruments, but in fact it was a terribly *modern* music, and largely a postwar creation of a single band -- Bill Monroe and his Blue Grass Boys. And Garcia was right when he said it was "white bebop" -- though he did say "The only thing it doesn't have is the harmonic richness of bebop. You know what I mean? That's what it's missing, but it has everything else." Both bebop and bluegrass evolved after the second world war, though they were informed by music from before it, and both prized the ability to improvise, and technical excellence. Both are musics that involved playing *fast*, in an ensemble, and being able to respond quickly to the other musicians. Both musics were also intensely rhythmic, a response to a faster paced, more stressful world. They were both part of the general change in the arts towards immediacy that we looked at in the last episode with the creation first of expressionism and then of pop art. Bluegrass didn't go into the harmonic explorations that modern jazz did, but it was absolutely as modern as anything Charlie Parker was doing, and came from the same impulses. It was tradition and innovation, the past and the future simultaneously. Bill Monroe, Jackson Pollock, Charlie Parker, Jack Kerouac, and Lenny Bruce were all in their own ways responding to the same cultural moment, and it was that which Garcia was responding to. But he didn't become able to play bluegrass until after a tragedy which shaped his life even more than his father's death had. Garcia had been to a party and was in a car with his friends Lee Adams, Paul Speegle, and Alan Trist. Adams was driving at ninety miles an hour when they hit a tight curve and crashed. Garcia, Adams, and Trist were all severely injured but survived. Speegle died. So it goes. This tragedy changed Garcia's attitudes totally. Of all his friends, Speegle was the one who was most serious about his art, and who treated it as something to work on. Garcia had always been someone who fundamentally didn't want to work or take any responsibility for anything. And he remained that way -- except for his music. Speegle's death changed Garcia's attitude to that, totally. If his friend wasn't going to be able to practice his own art any more, Garcia would practice his, in tribute to him. He resolved to become a virtuoso on guitar and banjo. His girlfriend of the time later said “I don't know if you've spent time with someone rehearsing ‘Foggy Mountain Breakdown' on a banjo for eight hours, but Jerry practiced endlessly. He really wanted to excel and be the best. He had tremendous personal ambition in the musical arena, and he wanted to master whatever he set out to explore. Then he would set another sight for himself. And practice another eight hours a day of new licks.” But of course, you can't make ensemble music on your own: [Excerpt: Jerry Garcia and Bob Hunter, "Oh Mary Don't You Weep" (including end)] "Evelyn said, “What is it called when a person needs a … person … when you want to be touched and the … two are like one thing and there isn't anything else at all anywhere?” Alicia, who had read books, thought about it. “Love,” she said at length." That's from More Than Human, by Theodore Sturgeon, a book I'll be quoting a few more times as the story goes on. Robert Hunter, like Garcia, was just out of the military -- in his case, the National Guard -- and he came into Garcia's life just after Paul Speegle had left it. Garcia and Alan Trist met Hunter ten days after the accident, and the three men started hanging out together, Trist and Hunter writing while Garcia played music. Garcia and Hunter both bonded over their shared love for the beats, and for traditional music, and the two formed a duo, Bob and Jerry, which performed together a handful of times. They started playing together, in fact, after Hunter picked up a guitar and started playing a song and halfway through Garcia took it off him and finished the song himself. The two of them learned songs from the Harry Smith Anthology -- Garcia was completely apolitical, and only once voted in his life, for Lyndon Johnson in 1964 to keep Goldwater out, and regretted even doing that, and so he didn't learn any of the more political material people like Pete Seeger, Phil Ochs, and Bob Dylan were doing at the time -- but their duo only lasted a short time because Hunter wasn't an especially good guitarist. Hunter would, though, continue to jam with Garcia and other friends, sometimes playing mandolin, while Garcia played solo gigs and with other musicians as well, playing and moving round the Bay Area and performing with whoever he could: [Excerpt: Jerry Garcia, "Railroad Bill"] "Bleshing, that was Janie's word. She said Baby told it to her. She said it meant everyone all together being something, even if they all did different things. Two arms, two legs, one body, one head, all working together, although a head can't walk and arms can't think. Lone said maybe it was a mixture of “blending” and “meshing,” but I don't think he believed that himself. It was a lot more than that." That's from More Than Human In 1961, Garcia and Hunter met another young musician, but one who was interested in a very different type of music. Phil Lesh was a serious student of modern classical music, a classically-trained violinist and trumpeter whose interest was solidly in the experimental and whose attitude can be summed up by a story that's always told about him meeting his close friend Tom Constanten for the first time. Lesh had been talking with someone about serialism, and Constanten had interrupted, saying "Music stopped being created in 1750 but it started again in 1950". Lesh just stuck out his hand, recognising a kindred spirit. Lesh and Constanten were both students of Luciano Berio, the experimental composer who created compositions for magnetic tape: [Excerpt: Luciano Berio, "Momenti"] Berio had been one of the founders of the Studio di fonologia musicale di Radio Milano, a studio for producing contemporary electronic music where John Cage had worked for a time, and he had also worked with the electronic music pioneer Karlheinz Stockhausen. Lesh would later remember being very impressed when Berio brought a tape into the classroom -- the actual multitrack tape for Stockhausen's revolutionary piece Gesang Der Juenglinge: [Excerpt: Karlheinz Stockhausen, "Gesang Der Juenglinge"] Lesh at first had been distrustful of Garcia -- Garcia was charismatic and had followers, and Lesh never liked people like that. But he was impressed by Garcia's playing, and soon realised that the two men, despite their very different musical interests, had a lot in common. Lesh was interested in the technology of music as well as in performing and composing it, and so when he wasn't studying he helped out by engineering at the university's radio station. Lesh was impressed by Garcia's playing, and suggested to the presenter of the station's folk show, the Midnight Special, that Garcia be a guest. Garcia was so good that he ended up getting an entire solo show to himself, where normally the show would feature multiple acts. Lesh and Constanten soon moved away from the Bay Area to Las Vegas, but both would be back -- in Constanten's case he would form an experimental group in San Francisco with their fellow student Steve Reich, and that group (though not with Constanten performing) would later premiere Terry Riley's In C, a piece influenced by La Monte Young and often considered one of the great masterpieces of minimalist music. By early 1962 Garcia and Hunter had formed a bluegrass band, with Garcia on guitar and banjo and Hunter on mandolin, and a rotating cast of other musicians including Ken Frankel, who played banjo and fiddle. They performed under different names, including the Tub Thumpers, the Hart Valley Drifters, and the Sleepy Valley Hog Stompers, and played a mixture of bluegrass and old-time music -- and were very careful about the distinction: [Excerpt: The Hart Valley Drifters, "Cripple Creek"] In 1993, the Republican political activist John Perry Barlow was invited to talk to the CIA about the possibilities open to them with what was then called the Information Superhighway. He later wrote, in part "They told me they'd brought Steve Jobs in a few weeks before to indoctrinate them in modern information management. And they were delighted when I returned later, bringing with me a platoon of Internet gurus, including Esther Dyson, Mitch Kapor, Tony Rutkowski, and Vint Cerf. They sealed us into an electronically impenetrable room to discuss the radical possibility that a good first step in lifting their blackout would be for the CIA to put up a Web site... We told them that information exchange was a barter system, and that to receive, one must also be willing to share. This was an alien notion to them. They weren't even willing to share information among themselves, much less the world." 1962 brought a new experience for Robert Hunter. Hunter had been recruited into taking part in psychological tests at Stanford University, which in the sixties and seventies was one of the preeminent universities for psychological experiments. As part of this, Hunter was given $140 to attend the VA hospital (where a janitor named Ken Kesey, who had himself taken part in a similar set of experiments a couple of years earlier, worked a day job while he was working on his first novel) for four weeks on the run, and take different psychedelic drugs each time, starting with LSD, so his reactions could be observed. (It was later revealed that these experiments were part of a CIA project called MKUltra, designed to investigate the possibility of using psychedelic drugs for mind control, blackmail, and torture. Hunter was quite lucky in that he was told what was going to happen to him and paid for his time. Other subjects included the unlucky customers of brothels the CIA set up as fronts -- they dosed the customers' drinks and observed them through two-way mirrors. Some of their experimental subjects died by suicide as a result of their experiences. So it goes. ) Hunter was interested in taking LSD after reading Aldous Huxley's writings about psychedelic substances, and he brought his typewriter along to the experiment. During the first test, he wrote a six-page text, a short excerpt from which is now widely quoted, reading in part "Sit back picture yourself swooping up a shell of purple with foam crests of crystal drops soft nigh they fall unto the sea of morning creep-very-softly mist ... and then sort of cascade tinkley-bell-like (must I take you by the hand, ever so slowly type) and then conglomerate suddenly into a peal of silver vibrant uncomprehendingly, blood singingly, joyously resounding bells" Hunter's experience led to everyone in their social circle wanting to try LSD, and soon they'd all come to the same conclusion -- this was something special. But Garcia needed money -- he'd got his girlfriend pregnant, and they'd married (this would be the first of several marriages in Garcia's life, and I won't be covering them all -- at Garcia's funeral, his second wife, Carolyn, said Garcia always called her the love of his life, and his first wife and his early-sixties girlfriend who he proposed to again in the nineties both simultaneously said "He said that to me!"). So he started teaching guitar at a music shop in Palo Alto. Hunter had no time for Garcia's incipient domesticity and thought that his wife was trying to make him live a conventional life, and the two drifted apart somewhat, though they'd still play together occasionally. Through working at the music store, Garcia got to know the manager, Troy Weidenheimer, who had a rock and roll band called the Zodiacs. Garcia joined the band on bass, despite that not being his instrument. He later said "Troy was a lot of fun, but I wasn't good enough a musician then to have been able to deal with it. I was out of my idiom, really, 'cause when I played with Troy I was playing electric bass, you know. I never was a good bass player. Sometimes I was playing in the wrong key and didn't even [fuckin'] know it. I couldn't hear that low, after playing banjo, you know, and going to electric...But Troy taught me the principle of, hey, you know, just stomp your foot and get on it. He was great. A great one for the instant arrangement, you know. And he was also fearless for that thing of get your friends to do it." Garcia's tenure in the Zodiacs didn't last long, nor did this experiment with rock and roll, but two other members of the Zodiacs will be notable later in the story -- the harmonica player, an old friend of Garcia's named Ron McKernan, who would soon gain the nickname Pig Pen after the Peanuts character, and the drummer, Bill Kreutzmann: [Excerpt: The Grateful Dead, "Drums/Space (Skull & Bones version)"] Kreutzmann said of the Zodiacs "Jerry was the hired bass player and I was the hired drummer. I only remember playing that one gig with them, but I was in way over my head. I always did that. I always played things that were really hard and it didn't matter. I just went for it." Garcia and Kreutzmann didn't really get to know each other then, but Garcia did get to know someone else who would soon be very important in his life. Bob Weir was from a very different background than Garcia, though both had the shared experience of long bouts of chronic illness as children. He had grown up in a very wealthy family, and had always been well-liked, but he was what we would now call neurodivergent -- reading books about the band he talks about being dyslexic but clearly has other undiagnosed neurodivergences, which often go along with dyslexia -- and as a result he was deemed to have behavioural problems which led to him getting expelled from pre-school and kicked out of the cub scouts. He was never academically gifted, thanks to his dyslexia, but he was always enthusiastic about music -- to a fault. He learned to play boogie piano but played so loudly and so often his parents sold the piano. He had a trumpet, but the neighbours complained about him playing it outside. Finally he switched to the guitar, an instrument with which it is of course impossible to make too loud a noise. The first song he learned was the Kingston Trio's version of an old sea shanty, "The Wreck of the John B": [Excerpt: The Kingston Trio, "The Wreck of the John B"] He was sent off to a private school in Colorado for teenagers with behavioural issues, and there he met the boy who would become his lifelong friend, John Perry Barlow. Unfortunately the two troublemakers got on with each other *so* well that after their first year they were told that it was too disruptive having both of them at the school, and only one could stay there the next year. Barlow stayed and Weir moved back to the Bay Area. By this point, Weir was getting more interested in folk music that went beyond the commercial folk of the Kingston Trio. As he said later "There was something in there that was ringing my bells. What I had grown up thinking of as hillbilly music, it started to have some depth for me, and I could start to hear the music in it. Suddenly, it wasn't just a bunch of ignorant hillbillies playing what they could. There was some depth and expertise and stuff like that to aspire to.” He moved from school to school but one thing that stayed with him was his love of playing guitar, and he started taking lessons from Troy Weidenheimer, but he got most of his education going to folk clubs and hootenannies. He regularly went to the Tangent, a club where Garcia played, but Garcia's bluegrass banjo playing was far too rigorous for a free spirit like Weir to emulate, and instead he started trying to copy one of the guitarists who was a regular there, Jorma Kaukonnen. On New Year's Eve 1963 Weir was out walking with his friends Bob Matthews and Rich Macauley, and they passed the music shop where Garcia was a teacher, and heard him playing his banjo. They knocked and asked if they could come in -- they all knew Garcia a little, and Bob Matthews was one of his students, having become interested in playing banjo after hearing the theme tune to the Beverly Hillbillies, played by the bluegrass greats Flatt and Scruggs: [Excerpt: Flatt and Scruggs, "The Beverly Hillbillies"] Garcia at first told these kids, several years younger than him, that they couldn't come in -- he was waiting for his students to show up. But Weir said “Jerry, listen, it's seven-thirty on New Year's Eve, and I don't think you're going to be seeing your students tonight.” Garcia realised the wisdom of this, and invited the teenagers in to jam with him. At the time, there was a bit of a renaissance in jug bands, as we talked about back in the episode on the Lovin' Spoonful. This was a form of music that had grown up in the 1920s, and was similar and related to skiffle and coffee-pot bands -- jug bands would tend to have a mixture of portable string instruments like guitars and banjos, harmonicas, and people using improvised instruments, particularly blowing into a jug. The most popular of these bands had been Gus Cannon's Jug Stompers, led by banjo player Gus Cannon and with harmonica player Noah Lewis: [Excerpt: Gus Cannon's Jug Stompers, "Viola Lee Blues"] With the folk revival, Cannon's work had become well-known again. The Rooftop Singers, a Kingston Trio style folk group, had had a hit with his song "Walk Right In" in 1963, and as a result of that success Cannon had even signed a record contract with Stax -- Stax's first album ever, a month before Booker T and the MGs' first album, was in fact the eighty-year-old Cannon playing his banjo and singing his old songs. The rediscovery of Cannon had started a craze for jug bands, and the most popular of the new jug bands was Jim Kweskin's Jug Band, which did a mixture of old songs like "You're a Viper" and more recent material redone in the old style. Weir, Matthews, and Macauley had been to see the Kweskin band the night before, and had been very impressed, especially by their singer Maria D'Amato -- who would later marry her bandmate Geoff Muldaur and take his name -- and her performance of Leiber and Stoller's "I'm a Woman": [Excerpt: Jim Kweskin's Jug Band, "I'm a Woman"] Matthews suggested that they form their own jug band, and Garcia eagerly agreed -- though Matthews found himself rapidly moving from banjo to washboard to kazoo to second kazoo before realising he was surplus to requirements. Robert Hunter was similarly an early member but claimed he "didn't have the embouchure" to play the jug, and was soon also out. He moved to LA and started studying Scientology -- later claiming that he wanted science-fictional magic powers, which L. Ron Hubbard's new religion certainly offered. The group took the name Mother McRee's Uptown Jug Champions -- apparently they varied the spelling every time they played -- and had a rotating membership that at one time or another included about twenty different people, but tended always to have Garcia on banjo, Weir on jug and later guitar, and Garcia's friend Pig Pen on harmonica: [Excerpt: Mother McRee's Uptown Jug Champions, "On the Road Again"] The group played quite regularly in early 1964, but Garcia's first love was still bluegrass, and he was trying to build an audience with his bluegrass band, The Black Mountain Boys. But bluegrass was very unpopular in the Bay Area, where it was simultaneously thought of as unsophisticated -- as "hillbilly music" -- and as elitist, because it required actual instrumental ability, which wasn't in any great supply in the amateur folk scene. But instrumental ability was something Garcia definitely had, as at this point he was still practising eight hours a day, every day, and it shows on the recordings of the Black Mountain Boys: [Excerpt: The Black Mountain Boys, "Rosa Lee McFall"] By the summer, Bob Weir was also working at the music shop, and so Garcia let Weir take over his students while he and the Black Mountain Boys' guitarist Sandy Rothman went on a road trip to see as many bluegrass musicians as they could and to audition for Bill Monroe himself. As it happened, Garcia found himself too shy to audition for Monroe, but Rothman later ended up playing with Monroe's Blue Grass Boys. On his return to the Bay Area, Garcia resumed playing with the Uptown Jug Champions, but Pig Pen started pestering him to do something different. While both men had overlapping tastes in music and a love for the blues, Garcia's tastes had always been towards the country end of the spectrum while Pig Pen's were towards R&B. And while the Uptown Jug Champions were all a bit disdainful of the Beatles at first -- apart from Bob Weir, the youngest of the group, who thought they were interesting -- Pig Pen had become enamoured of another British band who were just starting to make it big: [Excerpt: The Rolling Stones, "Not Fade Away"] 29) Garcia liked the first Rolling Stones album too, and he eventually took Pig Pen's point -- the stuff that the Rolling Stones were doing, covers of Slim Harpo and Buddy Holly, was not a million miles away from the material they were doing as Mother McRee's Uptown Jug Champions. Pig Pen could play a little electric organ, Bob had been fooling around with the electric guitars in the music shop. Why not give it a go? The stuff bands like the Rolling Stones were doing wasn't that different from the electric blues that Pig Pen liked, and they'd all seen A Hard Day's Night -- they could carry on playing with banjos, jugs, and kazoos and have the respect of a handful of folkies, or they could get electric instruments and potentially have screaming girls and millions of dollars, while playing the same songs. This was a convincing argument, especially when Dana Morgan Jr, the son of the owner of the music shop, told them they could have free electric instruments if they let him join on bass. Morgan wasn't that great on bass, but what the hell, free instruments. Pig Pen had the best voice and stage presence, so he became the frontman of the new group, singing most of the leads, though Jerry and Bob would both sing a few songs, and playing harmonica and organ. Weir was on rhythm guitar, and Garcia was the lead guitarist and obvious leader of the group. They just needed a drummer, and handily Bill Kreutzmann, who had played with Garcia and Pig Pen in the Zodiacs, was also now teaching music at the music shop. Not only that, but about three weeks before they decided to go electric, Kreutzmann had seen the Uptown Jug Champions performing and been astonished by Garcia's musicianship and charisma, and said to himself "Man, I'm gonna follow that guy forever!" The new group named themselves the Warlocks, and started rehearsing in earnest. Around this time, Garcia also finally managed to get some of the LSD that his friend Robert Hunter had been so enthusiastic about three years earlier, and it was a life-changing experience for him. In particular, he credited LSD with making him comfortable being a less disciplined player -- as a bluegrass player he'd had to be frighteningly precise, but now he was playing rock and needed to loosen up. A few days after taking LSD for the first time, Garcia also heard some of Bob Dylan's new material, and realised that the folk singer he'd had little time for with his preachy politics was now making electric music that owed a lot more to the Beat culture Garcia considered himself part of: [Excerpt: Bob Dylan, "Subterranean Homesick Blues"] Another person who was hugely affected by hearing that was Phil Lesh, who later said "I couldn't believe that was Bob Dylan on AM radio, with an electric band. It changed my whole consciousness: if something like that could happen, the sky was the limit." Up to that point, Lesh had been focused entirely on his avant-garde music, working with friends like Steve Reich to push music forward, inspired by people like John Cage and La Monte Young, but now he realised there was music of value in the rock world. He'd quickly started going to rock gigs, seeing the Rolling Stones and the Byrds, and then he took acid and went to see his friend Garcia's new electric band play their third ever gig. He was blown away, and very quickly it was decided that Lesh would be the group's new bass player -- though everyone involved tells a different story as to who made the decision and how it came about, and accounts also vary as to whether Dana Morgan took his sacking gracefully and let his erstwhile bandmates keep their instruments, or whether they had to scrounge up some new ones. Lesh had never played bass before, but he was a talented multi-instrumentalist with a deep understanding of music and an ability to compose and improvise, and the repertoire the Warlocks were playing in the early days was mostly three-chord material that doesn't take much rehearsal -- though it was apparently beyond the abilities of poor Dana Morgan, who apparently had to be told note-by-note what to play by Garcia, and learn it by rote. Garcia told Lesh what notes the strings of a bass were tuned to, told him to borrow a guitar and practice, and within two weeks he was on stage with the Warlocks: [Excerpt: The Grateful Dead, “Grayfolded"] In September 1995, just weeks after Jerry Garcia's death, an article was published in Mute magazine identifying a cultural trend that had shaped the nineties, and would as it turned out shape at least the next thirty years. It's titled "The Californian Ideology", though it may be better titled "The Bay Area Ideology", and it identifies a worldview that had grown up in Silicon Valley, based around the ideas of the hippie movement, of right-wing libertarianism, of science fiction authors, and of Marshall McLuhan. It starts "There is an emerging global orthodoxy concerning the relation between society, technology and politics. We have called this orthodoxy `the Californian Ideology' in honour of the state where it originated. By naturalising and giving a technological proof to a libertarian political philosophy, and therefore foreclosing on alternative futures, the Californian Ideologues are able to assert that social and political debates about the future have now become meaningless. The California Ideology is a mix of cybernetics, free market economics, and counter-culture libertarianism and is promulgated by magazines such as WIRED and MONDO 2000 and preached in the books of Stewart Brand, Kevin Kelly and others. The new faith has been embraced by computer nerds, slacker students, 30-something capitalists, hip academics, futurist bureaucrats and even the President of the USA himself. As usual, Europeans have not been slow to copy the latest fashion from America. While a recent EU report recommended adopting the Californian free enterprise model to build the 'infobahn', cutting-edge artists and academics have been championing the 'post-human' philosophy developed by the West Coast's Extropian cult. With no obvious opponents, the global dominance of the Californian ideology appears to be complete." [Excerpt: Grayfolded] The Warlocks' first gig with Phil Lesh on bass was on June the 18th 1965, at a club called Frenchy's with a teenage clientele. Lesh thought his playing had been wooden and it wasn't a good gig, and apparently the management of Frenchy's agreed -- they were meant to play a second night there, but turned up to be told they'd been replaced by a band with an accordion and clarinet. But by September the group had managed to get themselves a residency at a small bar named the In Room, and playing there every night made them cohere. They were at this point playing the kind of sets that bar bands everywhere play to this day, though at the time the songs they were playing, like "Gloria" by Them and "In the Midnight Hour", were the most contemporary of hits. Another song that they introduced into their repertoire was "Do You Believe in Magic" by the Lovin' Spoonful, another band which had grown up out of former jug band musicians. As well as playing their own sets, they were also the house band at The In Room and as such had to back various touring artists who were the headline acts. The first act they had to back up was Cornell Gunter's version of the Coasters. Gunter had brought his own guitarist along as musical director, and for the first show Weir sat in the audience watching the show and learning the parts, staring intently at this musical director's playing. After seeing that, Weir's playing was changed, because he also picked up how the guitarist was guiding the band while playing, the small cues that a musical director will use to steer the musicians in the right direction. Weir started doing these things himself when he was singing lead -- Pig Pen was the frontman but everyone except Bill sang sometimes -- and the group soon found that rather than Garcia being the sole leader, now whoever was the lead singer for the song was the de facto conductor as well. By this point, the Bay Area was getting almost overrun with people forming electric guitar bands, as every major urban area in America was. Some of the bands were even having hits already -- We Five had had a number three hit with "You Were On My Mind", a song which had originally been performed by the folk duo Ian and Sylvia: [Excerpt: We Five, "You Were On My Mind"] Although the band that was most highly regarded on the scene, the Charlatans, was having problems with the various record companies they tried to get signed to, and didn't end up making a record until 1969. If tracks like "Number One" had been released in 1965 when they were recorded, the history of the San Francisco music scene may have taken a very different turn: [Excerpt: The Charlatans, "Number One"] Bands like Jefferson Airplane, the Great Society, and Big Brother and the Holding Company were also forming, and Autumn Records was having a run of success with records by the Beau Brummels, whose records were produced by Autumn's in-house A&R man, Sly Stone: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Warlocks were somewhat cut off from this, playing in a dive bar whose clientele was mostly depressed alcoholics. But the fact that they were playing every night for an audience that didn't care much gave them freedom, and they used that freedom to improvise. Both Lesh and Garcia were big fans of John Coltrane, and they started to take lessons from his style of playing. When the group played "Gloria" or "Midnight Hour" or whatever, they started to extend the songs and give themselves long instrumental passages for soloing. Garcia's playing wasn't influenced *harmonically* by Coltrane -- in fact Garcia was always a rather harmonically simple player. He'd tend to play lead lines either in Mixolydian mode, which is one of the most standard modes in rock, pop, blues, and jazz, or he'd play the notes of the chord that was being played, so if the band were playing a G chord his lead would emphasise the notes G, B, and D. But what he was influenced by was Coltrane's tendency to improvise in long, complex, phrases that made up a single thought -- Coltrane was thinking musically in paragraphs, rather than sentences, and Garcia started to try the same kind of th

A psychiatric Service Dog (PSD) can help with Panic Attacks, PTSD, Depression and Social anxiety.  I share how to qualify for a PSD and the meaning of Service Dog Training. I Walk you through the certification process to get a PSD - what to say and what you never have to say. Changes for Emotional Support Animals. The 3 federal laws governing PSD. ESA Pros.com Get a certified Psychiatric Service Dogs to go where you go and emotional support animals for house companions Serraphine.com for private sessions Serra on guided journeys for fullfilling your Life Desires  ·       Joanne's Recorded courses: Learndesk.us/PowerUpInnerWisdom ·       You Tube Channel- YouTube Channel< Anxiety Simplified Podcast Video Course 3 Steps to Concise Decision Make   Anxiety Simplified Show now going Beyond Psychology On Power Me Up station on IHeart Radio Mon. at 4:30 pm Pac.  M-F Anxiety Simplified Show 5pm. Pacific and 8 pm Eastern   

One thing Roseanne Cash and I had in common was that we didn't like the movie I Walk the Line. She was Johnny's daughter, and I interviewed him three times. The movie presented him as little more than a lovesick fool. But here is Roseanne reminiscing about her dad and talking about that "revolutionary" recording, You Don't Know Me, by Ray Charles. 

A professional safecracker at the top of his game hopes to build a future after doing one big score for the Chicago mob. Written and directed by Michael Mann. Based on the 1975 novel The Home Invaders: Confessions of a Cat Burglar by Frank Hohimer. Starring James Caan and Tuesday Weld. FOLLOW US ON LETTERBOXD - Zach1983 & MattCrosby Thank you so much for listening! E-mail address: greatestpod@gmail.com Please follow the show on Twitter: @GreatestPod Subscribe on Apple Podcasts / Podbean This week's recommendations: A Tuesday Weld double feature: I Walk the Line (1970) [Streaming Rental] Pretty Poison (1968) [Streaming Rental]

Episode 163 of A History of Rock Music in Five Hundred Songs looks at “(Sittin' on) The Dock of the Bay", Stax Records, and the short, tragic, life of Otis Redding. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Soul Man" by Sam and Dave. 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 No Mixcloud this week, as there are too many songs by Redding, even if I split into multiple parts. The main resource I used for the biographical details of Redding was Dreams to Remember: Otis Redding, Stax Records, and the Transformation of Southern Soul by Mark Ribowsky. Ribowsky is usually a very good, reliable, writer, but in this case there are a couple of lapses in editing which make it not a book I can wholeheartedly recommend, but the research on the biographical details of Redding seems to be the best. Information about Stax comes primarily from two books: Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. There are two Original Album Series box sets which between them contain all the albums Redding released in his life plus his first few posthumous albums, for a low price. Volume 1, volume 2. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode ends with a description of a plane crash, which some people may find upsetting. There's also a mention of gun violence. In 2019 the film Summer of Soul came out. If you're unfamiliar with this film, it's a documentary of an event, the Harlem Cultural Festival, which gets called the "Black Woodstock" because it took place in the summer of 1969, overlapping the weekend that Woodstock happened. That event was a series of weekend free concerts in New York, performed by many of the greatest acts in Black music at that time -- people like Stevie Wonder, David Ruffin, Mahalia Jackson, B.B. King, the Staple Singers, Sly and the Family Stone, Nina Simone, and the Fifth Dimension. One thing that that film did was to throw into sharp relief a lot of the performances we've seen over the years by legends of white rock music of the same time. If you watch the film of Woodstock, or the earlier Monterey Pop festival, it's apparent that a lot of the musicians are quite sloppy. This is easy to dismiss as being a product of the situation -- they're playing outdoor venues, with no opportunity to soundcheck, using primitive PA systems, and often without monitors. Anyone would sound a bit sloppy in that situation, right? That is until you listen to the performances on the Summer of Soul soundtrack. The performers on those shows are playing in the same kind of circumstances, and in the case of Woodstock literally at the same time, so it's a fair comparison, and there really is no comparison. Whatever you think of the quality of the *music* (and some of my very favourite artists played at Monterey and Woodstock), the *musicianship* is orders of magnitude better at the Harlem Cultural Festival [Excerpt: Gladys Knight and the Pips “I Heard it Through the Grapevine (live)”] And of course there's a reason for this. Most of the people who played at those big hippie festivals had not had the same experiences as the Black musicians. The Black players were mostly veterans of the chitlin' circuit, where you had to play multiple shows a day, in front of demanding crowds who wanted their money's worth, and who wanted you to be able to play and also put on a show at the same time. When you're playing for crowds of working people who have spent a significant proportion of their money to go to the show, and on a bill with a dozen other acts who are competing for that audience's attention, you are going to get good or stop working. The guitar bands at Woodstock and Monterey, though, hadn't had the same kind of pressure. Their audiences were much more forgiving, much more willing to go with the musicians, view themselves as part of a community with them. And they had to play far fewer shows than the chitlin' circuit veterans, so they simply didn't develop the same chops before becoming famous (the best of them did after fame, of course). And so it's no surprise that while a lot of bands became more famous as a result of the Monterey Pop Festival, only three really became breakout stars in America as a direct result of it. One of those was the Who, who were already the third or fourth biggest band in the UK by that point, either just behind or just ahead of the Kinks, and so the surprise is more that it took them that long to become big in America. But the other two were themselves veterans of the chitlin' circuit. If you buy the Criterion Collection Blu-Ray of Monterey Pop, you get two extra discs along with the disc with the film of the full festival on it -- the only two performances that were thought worth turning into their own short mini-films. One of them is Jimi Hendrix's performance, and we will talk about that in a future episode. The other is titled Shake! Otis at Monterey: [Excerpt: Otis Redding, "Shake! (live at Monterey Pop Festival)"] Otis Redding came from Macon, Georgia, the home town of Little Richard, who became one of his biggest early influences, and like Richard he was torn in his early years between religion and secular music -- though in most other ways he was very different from Richard, and in particular he came from a much more supportive family. While his father, Otis senior, was a deacon in the church, and didn't approve much of blues, R&B, or jazz music or listen to it himself, he didn't prevent his son from listening to it, so young Otis grew up listening to records by Richard -- of whom he later said "If it hadn't been for Little Richard I would not be here... Richard has soul too. My present music has a lot of him in it" -- and another favourite, Clyde McPhatter: [Excerpt: Billy Ward and the Dominoes, "Have Mercy Baby"] Indeed, it's unclear exactly how much Otis senior *did* disapprove of those supposedly-sinful kinds of music. The biography I used as a source for this, and which says that Otis senior wouldn't listen to blues or jazz music at all, also quotes his son as saying that when he was a child his mother and father used to play him "a calypso song out then called 'Run Joe'" That will of course be this one: [Excerpt: Louis Jordan, "Run Joe"] I find it hard to reconcile the idea of someone who refused to listen to the blues or jazz listening to Louis Jordan, but then people are complex. Whatever Otis senior's feelings about secular music, he recognised from a very early age that his son had a special talent, and encouraged him to become a gospel singer. And at the same time he was listening to Little Richard, young Otis was also listening to gospel singers. One particular influence was a blind street singer, Reverend Pearly Brown: [Excerpt: Reverend Pearly Brown, "Ninety Nine and a Half Won't Do"] Redding was someone who cared deeply about his father's opinion, and it might well have been that he would eventually have become a gospel performer, because he started his career with a foot in both camps. What seems to have made the difference is that when he was sixteen, his father came down with tuberculosis. Even a few years earlier this would have been a terminal diagnosis, but thankfully by this point antibiotics had been invented, and the deacon eventually recovered. But it did mean that Otis junior had to become the family breadwinner while his father was sick, and so he turned decisively towards the kind of music that could make more money. He'd already started performing secular music. He'd joined a band led by Gladys Williams, who was the first female bandleader in the area. Williams sadly doesn't seem to have recorded anything -- discogs has a listing of a funk single by a Gladys Williams on a tiny label which may or may not be the same person, but in general she avoided recording studios, only wanting to play live -- but she was a very influential figure in Georgia music. According to her former trumpeter Newton Collier, who later went on to play with Redding and others, she trained both Fats Gonder and Lewis Hamlin, who went on to join the lineup of James Brown's band that made Live at the Apollo, and Collier says that Hamlin's arrangements for that album, and the way the band would segue from one track to another, were all things he'd been taught by Miss Gladys. Redding sang with Gladys Williams for a while, and she took him under her wing, trained him, and became his de facto first manager. She got him to perform at local talent shows, where he won fifteen weeks in a row, before he got banned from performing to give everyone else a chance. At all of these shows, the song he performed was one that Miss Gladys had rehearsed with him, Little Richard's "Heeby Jeebies": [Excerpt: Little Richard, "Heeby Jeebies"] At this time, Redding's repertoire was largely made up of songs by the two greats of fifties Georgia R&B -- Little Richard and James Brown -- plus some by his other idol Sam Cooke, and those singers would remain his greatest influences throughout his career. After his stint with Williams, Redding went on to join another band, Pat T Cake and the Mighty Panthers, whose guitarist Johnny Jenkins would be a major presence in his life for several years. The Mighty Panthers were soon giving Redding top billing, and advertising gigs as featuring Otis "Rockin' Robin" Redding -- presumably that was another song in his live repertoire. By this time Redding was sounding enough like Little Richard that when Richard's old backing band, The Upsetters, were looking for a new singer after Richard quit rock and roll for the ministry, they took Redding on as their vocalist for a tour. Once that tour had ended, Redding returned home to find that Johnny Jenkins had quit the Mighty Panthers and formed a new band, the Pinetoppers. Redding joined that band, who were managed by a white teenager named Phil Walden, who soon became Redding's personal manager as well. Walden and Redding developed a very strong bond, to the extent that Walden, who was studying at university, spent all his tuition money promoting Redding and almost got kicked out. When Redding found this out, he actually went round to everyone he knew and got loans from everyone until he had enough to pay for Walden's tuition -- much of it paid in coins. They had a strong enough bond that Walden would remain his manager for the rest of Redding's life, and even when Walden had to do two years in the Army in Germany, he managed Redding long-distance, with his brother looking after things at home. But of course, there wasn't much of a music industry in Georgia, and so with Walden's blessing and support, he moved to LA in 1960 to try to become a star. Just before he left, his girlfriend Zelma told him she was pregnant. He assured her that he was only going to be away for a few months, and that he would be back in time for the birth, and that he intended to come back to Georgia rich and marry her. Her response was "Sure you is". In LA, Redding met up with a local record producer, James "Jimmy Mack" McEachin, who would later go on to become an actor, appearing in several films with Clint Eastwood. McEachin produced a session for Redding at Gold Star studios, with arrangements by Rene Hall and using several of the musicians who later became the Wrecking Crew. "She's All Right", the first single that came from that session, was intended to sound as much like Jackie Wilson as possible, and was released under the name of The Shooters, the vocal group who provided the backing vocals: [Excerpt: The Shooters, "She's All Right"] "She's All Right" was released on Trans World, a small label owned by Morris Bernstein, who also owned Finer Arts records (and "She's All Right" seems to have been released on both labels). Neither of Bernstein's labels had any great success -- the biggest record they put out was a single by the Hollywood Argyles that came out after they'd stopped having hits -- and they didn't have any connection to the R&B market. Redding and McEachin couldn't find any R&B labels that wanted to pick up their recordings, and so Redding did return to Georgia and marry Zelma a few days before the birth of their son Dexter. Back in Georgia, he hooked up again with the Pinetoppers, and he and Jenkins started trying local record labels, attempting to get records put out by either of them. Redding was the first, and Otis Redding and the Pinetoppers put out a single, "Shout Bamalama", a slight reworking of a song that he'd recorded as "Gamma Lamma" for McEachin, which was obviously heavily influenced by Little Richard: [Excerpt: Otis Redding and the Pinetoppers, "Shout Bamalama"] That single was produced by a local record company owner, Bobby Smith, who signed Redding to a contract which Redding didn't read, but which turned out to be a management contract as well as a record contract. This would later be a problem, as Redding didn't have an actual contract with Phil Walden -- one thing that comes up time and again in stories about music in the Deep South at this time is people operating on handshake deals and presuming good faith on the part of each other. There was a problem with the record which nobody had foreseen though -- Redding was the first Black artist signed to Smith's label, which was called Confederate Records, and its logo was the Southern Cross. Now Smith, by all accounts, was less personally racist than most white men in Georgia at the time, and hadn't intended that as any kind of statement of white supremacy -- he'd just used a popular local symbol, without thinking through the implications. But as the phrase goes, intent isn't magic, and while Smith didn't intend it as racist, rather unsurprisingly Black DJs and record shops didn't see things in the same light. Smith was told by several DJs that they wouldn't play the record while it was on that label, and he started up a new subsidiary label, Orbit, and put the record out on that label. Redding and Smith continued collaborating, and there were plans for Redding to put out a second single on Orbit. That single was going to be "These Arms of Mine", a song Redding had originally given to another Confederate artist, a rockabilly performer called Buddy Leach (who doesn't seem to be the same Buddy Leach as the Democratic politician from Louisiana, or the saxophone player with George Thorogood and the Destroyers). Leach had recorded it as a B-side, with the slightly altered title "These Arms Are Mine". Sadly I can't provide an excerpt of that, as the record is so rare that even websites I've found by rockabilly collectors who are trying to get everything on Confederate Records haven't managed to get hold of copies. Meanwhile, Johnny Jenkins had been recording on another label, Tifco, and had put out a single called "Pinetop": [Excerpt: Johnny Jenkins and the Pinetoppers, "Pinetop"] That record had attracted the attention of Joe Galkin. Galkin was a semi-independent record promoter, who had worked for Atlantic in New York before moving back to his home town of Macon. Galkin had proved himself as a promoter by being responsible for the massive amounts of airplay given to Solomon Burke's "Just Out of Reach (of My Two Open Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (of My Two Open Arms)"] After that, Jerry Wexler had given Galkin fifty dollars a week and an expense account, and Galkin would drive to all the Black radio stations in the South and pitch Atlantic's records to them. But Galkin also had his own record label, Gerald Records, and when he went to those stations and heard them playing something from a smaller label, he would quickly negotiate with that smaller label, buy the master and the artist's contract, and put the record out on Gerald Records -- and then he would sell the track and the artist on to Atlantic, taking ten percent of the record's future earnings and a finder's fee. This is what happened with Johnny Jenkins' single, which was reissued on Gerald and then on Atlantic. Galkin signed Jenkins to a contract -- another of those contracts which also made him Jenkins' manager, and indeed the manager of the Pinetops. Jenkins' record ended up selling about twenty-five thousand records, but when Galkin saw the Pinetoppers performing live, he realised that Otis Redding was the real star. Since he had a contract with Jenkins, he came to an agreement with Walden, who was still Jenkins' manager as well as Redding's -- Walden would get fifty percent of Jenkins' publishing and they would be co-managers of Jenkins. But Galkin had plans for Redding, which he didn't tell anyone about, not even Redding himself. The one person he did tell was Jerry Wexler, who he phoned up and asked for two thousand dollars, explaining that he wanted to record Jenkins' follow-up single at Stax, and he also wanted to bring along a singer he'd discovered, who sang with Jenkins' band. Wexler agreed -- Atlantic had recently started distributing Stax's records on a handshake deal of much the same kind that Redding had with Walden. As far as everyone else was concerned, though, the session was just for Johnny Jenkins, the known quantity who'd already released a single for Atlantic. Otis Redding, meanwhile, was having to work a lot of odd jobs to feed his rapidly growing family, and one of those jobs was to work as Johnny Jenkins' driver, as Jenkins didn't have a driving license. So Galkin suggested that, given that Memphis was quite a long drive, Redding should drive Galkin and Jenkins to Stax, and carry the equipment for them. Bobby Smith, who still thought of himself as Redding's manager, was eager to help his friend's bandmate with his big break (and to help Galkin, in the hope that maybe Atlantic would start distributing Confederate too), and so he lent Redding the company station wagon to drive them to the session.The other Pinetoppers wouldn't be going -- Jenkins was going to be backed by Booker T and the MGs, the normal Stax backing band. Phil Walden, though, had told Redding that he should try to take the opportunity to get himself heard by Stax, and he pestered the musicians as they recorded Jenkins' "Spunky": [Excerpt: Johnny Jenkins, "Spunky"] Cropper later remembered “During the session, Al Jackson says to me, ‘The big tall guy that was driving Johnny, he's been bugging me to death, wanting me to hear him sing,' Al said, ‘Would you take some time and get this guy off of my back and listen to him?' And I said, ‘After the session I'll try to do it,' and then I just forgot about it.” What Redding didn't know, though Walden might have, is that Galkin had planned all along to get Redding to record while he was there. Galkin claimed to be Redding's manager, and told Jim Stewart, the co-owner of Stax who acted as main engineer and supervising producer on the sessions at this point, that Wexler had only funded the session on the basis that Redding would also get a shot at recording. Stewart was unimpressed -- Jenkins' session had not gone well, and it had taken them more than two hours to get two tracks down, but Galkin offered Stewart a trade -- Galkin, as Redding's manager, would take half of Stax's mechanical royalties for the records (which wouldn't be much) but in turn would give Stewart half the publishing on Redding's songs. That was enough to make Stewart interested, but by this point Booker T. Jones had already left the studio, so Steve Cropper moved to the piano for the forty minutes that was left of the session, with Jenkins remaining on guitar, and they tried to get two sides of a single cut. The first track they cut was "Hey Hey Baby", which didn't impress Stewart much -- he simply said that the world didn't need another Little Richard -- and so with time running out they cut another track, the ballad Redding had already given to Buddy Leach. He asked Cropper, who didn't play piano well, to play "church chords", by which he meant triplets, and Cropper said "he started singing ‘These Arms of Mine' and I know my hair lifted about three inches and I couldn't believe this guy's voice": [Excerpt: Otis Redding, "These Arms of Mine"] That was more impressive, though Stewart carefully feigned disinterest. Stewart and Galkin put together a contract which signed Redding to Stax -- though they put the single out on the less-important Volt subsidiary, as they did for much of Redding's subsequent output -- and gave Galkin and Stewart fifty percent each of the publishing rights to Redding's songs. Redding signed it, not even realising he was signing a proper contract rather than just one for a single record, because he was just used to signing whatever bit of paper was put in front of him at the time. This one was slightly different though, because Redding had had his twenty-first birthday since the last time he'd signed a contract, and so Galkin assumed that that meant all his other contracts were invalid -- not realising that Redding's contract with Bobby Smith had been countersigned by Redding's mother, and so was also legal. Walden also didn't realise that, but *did* realise that Galkin representing himself as Redding's manager to Stax might be a problem, so he quickly got Redding to sign a proper contract, formalising the handshake basis they'd been operating on up to that point. Walden was at this point in the middle of his Army service, but got the signature while he was home on leave. Walden then signed a deal with Galkin, giving Walden half of Galkin's fifty percent cut of Redding's publishing in return for Galkin getting a share of Walden's management proceeds. By this point everyone was on the same page -- Otis Redding was going to be a big star, and he became everyone's prime focus. Johnny Jenkins remained signed to Walden's agency -- which quickly grew to represent almost every big soul star that wasn't signed to Motown -- but he was regarded as a footnote. His record came out eventually on Volt, almost two years later, but he didn't release another record until 1968. Jenkins did, though, go on to have some influence. In 1970 he was given the opportunity to sing lead on an album backed by Duane Allman and the members of the Muscle Shoals studio band, many of whom went on to form the Allman Brothers Band. That record contained a cover of Dr. John's "I Walk on Guilded Splinters" which was later sampled by Beck for "Loser", the Wu-Tang Clan for "Gun Will Go" and Oasis for their hit "Go Let it Out": [Excerpt: Johnny Jenkins, "I Walk on Guilded Splinters"] Jenkins would play guitar on several future Otis Redding sessions, but would hold a grudge against Redding for the rest of his life for taking the stardom he thought was rightfully his, and would be one of the few people to have anything negative to say about Redding after his early death. When Bobby Smith heard about the release of "These Arms of Mine", he was furious, as his contract with Redding *was* in fact legally valid, and he'd been intending to get Redding to record the song himself. However, he realised that Stax could call on the resources of Atlantic Records, and Joe Galkin also hinted that if he played nice Atlantic might start distributing Confederate, too. Smith signed away all his rights to Redding -- again, thinking that he was only signing away the rights to a single record and song, and not reading the contract closely enough. In this case, Smith only had one working eye, and that wasn't good enough to see clearly -- he had to hold paper right up to his face to read anything on it -- and he simply couldn't read the small print on the contract, and so signed over Otis Redding's management, record contract, and publishing, for a flat seven hundred dollars. Now everything was legally -- if perhaps not ethically -- in the clear. Phil Walden was Otis Redding's manager, Stax was his record label, Joe Galkin got a cut off the top, and Walden, Galkin, and Jim Stewart all shared Redding's publishing. Although, to make it a hit, one more thing had to happen, and one more person had to get a cut of the song: [Excerpt: Otis Redding, "These Arms of Mine"] That sound was becoming out of fashion among Black listeners at the time. It was considered passe, and even though the Stax musicians loved the record, Jim Stewart didn't, and put it out not because he believed in Otis Redding, but because he believed in Joe Galkin. As Stewart later said “The Black radio stations were getting out of that Black country sound, we put it out to appease and please Joe.” For the most part DJs ignored the record, despite Galkin pushing it -- it was released in October 1962, that month which we have already pinpointed as the start of the sixties, and came out at the same time as a couple of other Stax releases, and the one they were really pushing was Carla Thomas' "I'll Bring it Home to You", an answer record to Sam Cooke's "Bring it On Home to Me": [Excerpt: Carla Thomas, "I'll Bring it Home to You"] "These Arms of Mine" wasn't even released as the A-side -- that was "Hey Hey Baby" -- until John R came along. John R was a Nashville DJ, and in fact he was the reason that Bobby Smith even knew that Redding had signed to Stax. R had heard Buddy Leach's version of the song, and called Smith, who was a friend of his, to tell him that his record had been covered, and that was the first Smith had heard of the matter. But R also called Jim Stewart at Stax, and told him that he was promoting the wrong side, and that if they started promoting "These Arms of Mine", R would play the record on his radio show, which could be heard in twenty-eight states. And, as a gesture of thanks for this suggestion -- and definitely not as payola, which would be very illegal -- Stewart gave R his share of the publishing rights to the song, which eventually made the top twenty on the R&B charts, and slipped into the lower end of the Hot One Hundred. "These Arms of Mine" was actually recorded at a turning point for Stax as an organisation. By the time it was released, Booker T Jones had left Memphis to go to university in Indiana to study music, with his tuition being paid for by his share of the royalties for "Green Onions", which hit the charts around the same time as Redding's first session: [Excerpt: Booker T. and the MGs, "Green Onions"] Most of Stax's most important sessions were recorded at weekends -- Jim Stewart still had a day job as a bank manager at this point, and he supervised the records that were likely to be hits -- so Jones could often commute back to the studio for session work, and could play sessions during his holidays. The rest of the time, other people would cover the piano parts, often Cropper, who played piano on Redding's next sessions, with Jenkins once again on guitar. As "These Arms of Mine" didn't start to become a hit until March, Redding didn't go into the studio again until June, when he cut the follow-up, "That's What My Heart Needs", with the MGs, Jenkins, and the horn section of the Mar-Keys. That made number twenty-seven on the Cashbox R&B chart -- this was in the period when Billboard had stopped having one. The follow-up, "Pain in My Heart", was cut in September and did even better, making number eleven on the Cashbox R&B chart: [Excerpt: Otis Redding, "Pain in My Heart"] It did well enough in fact that the Rolling Stones cut a cover version of the track: [Excerpt: The Rolling Stones, "Pain in My Heart"] Though Redding didn't get the songwriting royalties -- by that point Allen Toussaint had noticed how closely it resembled a song he'd written for Irma Thomas, "Ruler of My Heart": [Excerpt: Irma Thomas, "Ruler of My Heart"] And so the writing credit was changed to be Naomi Neville, one of the pseudonyms Toussaint used. By this point Redding was getting steady work, and becoming a popular live act. He'd put together his own band, and had asked Jenkins to join, but Jenkins didn't want to play second fiddle to him, and refused, and soon stopped being invited to the recording sessions as well. Indeed, Redding was *eager* to get as many of his old friends working with him as he could. For his second and third sessions, as well as bringing Jenkins, he'd brought along a whole gang of musicians from his touring show, and persuaded Stax to put out records by them, too. At those sessions, as well as Redding's singles, they also cut records by his valet (which was the term R&B performers in those years used for what we'd now call a gofer or roadie) Oscar Mack: [Excerpt: Oscar Mack, "Don't Be Afraid of Love"] For Eddie Kirkland, the guitarist in his touring band, who had previously played with John Lee Hooker and whose single was released under the name "Eddie Kirk": [Excerpt: Eddie Kirk, "The Hawg, Part 1"] And Bobby Marchan, a singer and female impersonator from New Orleans who had had some massive hits a few years earlier both on his own and as the singer with Huey "Piano" Smith and the Clowns, but had ended up in Macon without a record deal and been taken under Redding's wing: [Excerpt: Bobby Marchan, "What Can I Do?"] Redding would continue, throughout his life, to be someone who tried to build musical careers for his friends, though none of those singles was successful. The changes in Stax continued. In late autumn 1963, Atlantic got worried by the lack of new product coming from Stax. Carla Thomas had had a couple of R&B hits, and they were expecting a new single, but every time Jerry Wexler phoned Stax asking where the new single was, he was told it would be coming soon but the equipment was broken. After a couple of weeks of this, Wexler decided something fishy was going on, and sent Tom Dowd, his genius engineer, down to Stax to investigate. Dowd found when he got there that the equipment *was* broken, and had been for weeks, and was a simple fix. When Dowd spoke to Stewart, though, he discovered that they didn't know where to source replacement parts from. Dowd phoned his assistant in New York, and told him to go to the electronics shop and get the parts he needed. Then, as there were no next-day courier services at that time, Dowd's assistant went to the airport, found a flight attendant who was flying to Memphis, and gave her the parts and twenty-five dollars, with a promise of twenty-five more if she gave them to Dowd at the other end. The next morning, Dowd had the equipment fixed, and everyone involved became convinced that Dowd was a miracle worker, especially after he showed Steve Cropper some rudimentary tape-manipulation techniques that Cropper had never encountered before. Dowd had to wait around in Memphis for his flight, so he went to play golf with the musicians for a bit, and then they thought they might as well pop back to the studio and test the equipment out. When they did, Rufus Thomas -- Carla Thomas' father, who had also had a number of hits himself on Stax and Sun -- popped his head round the door to see if the equipment was working now. They told him it was, and he said he had a song if they were up for a spot of recording. They were, and so when Dowd flew back that night, he was able to tell Wexler not only that the next Carla Thomas single would soon be on its way, but that he had the tapes of a big hit single with him right there: [Excerpt: Rufus Thomas, "Walking the Dog"] "Walking the Dog" was a sensation. Jim Stewart later said “I remember our first order out of Chicago. I was in New York in Jerry Wexler's office at the time and Paul Glass, who was our distributor in Chicago, called in an order for sixty-five thousand records. I said to Jerry, ‘Do you mean sixty-five hundred?' And he said, ‘Hell no, he wants sixty-five thousand.' That was the first order! He believed in the record so much that we ended up selling about two hundred thousand in Chicago alone.” The record made the top ten on the pop charts, but that wasn't the biggest thing that Dowd had taken away from the session. He came back raving to Wexler about the way they made records in Memphis, and how different it was from the New York way. In New York, there was a strict separation between the people in the control room and the musicians in the studio, the musicians were playing from written charts, and everyone had a job and did just that job. In Memphis, the musicians were making up the arrangements as they went, and everyone was producing or engineering all at the same time. Dowd, as someone with more technical ability than anyone at Stax, and who was also a trained musician who could make musical suggestions, was soon regularly commuting down to Memphis to be part of the production team, and Jerry Wexler was soon going down to record with other Atlantic artists there, as we heard about in the episode on "Midnight Hour". Shortly after Dowd's first visit to Memphis, another key member of the Stax team entered the picture. Right at the end of 1963, Floyd Newman recorded a track called "Frog Stomp", on which he used his own band rather than the MGs and Mar-Keys: [Excerpt: Floyd Newman, "Frog Stomp"] The piano player and co-writer on that track was a young man named Isaac Hayes, who had been trying to get work at Stax for some time. He'd started out as a singer, and had made a record, "Laura, We're On Our Last Go-Round", at American Sound, the studio run by the former Stax engineer and musician Chips Moman: [Excerpt: Isaac Hayes, "Laura, We're On Our Last Go-Round"] But that hadn't been a success, and Hayes had continued working a day job at a slaughterhouse -- and would continue doing so for much of the next few years, even after he started working at Stax (it's truly amazing how many of the people involved in Stax were making music as what we would now call a side-hustle). Hayes had become a piano player as a way of getting a little extra money -- he'd been offered a job as a fill-in when someone else had pulled out at the last minute on a gig on New Year's Eve, and took it even though he couldn't actually play piano, and spent his first show desperately vamping with two fingers, and was just lucky the audience was too drunk to care. But he had a remarkable facility for the instrument, and while unlike Booker T Jones he would never gain a great deal of technical knowledge, and was embarrassed for the rest of his life by both his playing ability and his lack of theory knowledge, he was as great as they come at soul, at playing with feel, and at inventing new harmonies on the fly. They still didn't have a musician at Stax that could replace Booker T, who was still off at university, so Isaac Hayes was taken on as a second session keyboard player, to cover for Jones when Jones was in Indiana -- though Hayes himself also had to work his own sessions around his dayjob, so didn't end up playing on "In the Midnight Hour", for example, because he was at the slaughterhouse. The first recording session that Hayes played on as a session player was an Otis Redding single, either his fourth single for Stax, "Come to Me", or his fifth, "Security": [Excerpt: Otis Redding, "Security"] "Security" is usually pointed to by fans as the point at which Redding really comes into his own, and started directing the musicians more. There's a distinct difference, in particular, in the interplay between Cropper's guitar, the Mar-Keys' horns, and Redding's voice. Where previously the horns had tended to play mostly pads, just holding chords under Redding's voice, now they were starting to do answering phrases. Jim Stewart always said that the only reason Stax used a horn section at all was because he'd been unable to find a decent group of backing vocalists, and the function the horns played on most of the early Stax recordings was somewhat similar to the one that the Jordanaires had played for Elvis, or the Picks for Buddy Holly, basically doing "oooh" sounds to fatten out the sound, plus the odd sax solo or simple riff. The way Redding used the horns, though, was more like the way Ray Charles used the Raelettes, or the interplay of a doo-wop vocal group, with call and response, interjections, and asides. He also did something in "Security" that would become a hallmark of records made at Stax -- instead of a solo, the instrumental break is played by the horns as an ensemble: [Excerpt: Otis Redding, "Security"] According to Wayne Jackson, the Mar-Keys' trumpeter, Redding was the one who had the idea of doing these horn ensemble sections, and the musicians liked them enough that they continued doing them on all the future sessions, no matter who with. The last Stax single of 1964 took the "Security" sound and refined it, and became the template for every big Stax hit to follow. "Mr. Pitiful" was the first collaboration between Redding and Steve Cropper, and was primarily Cropper's idea. Cropper later remembered “There was a disc jockey here named Moohah. He started calling Otis ‘Mr. Pitiful' 'cause he sounded so pitiful singing his ballads. So I said, ‘Great idea for a song!' I got the idea for writing about it in the shower. I was on my way down to pick up Otis. I got down there and I was humming it in the car. I said, ‘Hey, what do you think about this?' We just wrote the song on the way to the studio, just slapping our hands on our legs. We wrote it in about ten minutes, went in, showed it to the guys, he hummed a horn line, boom—we had it. When Jim Stewart walked in we had it all worked up. Two or three cuts later, there it was.” [Excerpt: Otis Redding, "Mr. Pitiful"] Cropper would often note later that Redding would never write about himself, but that Cropper would put details of Redding's life and persona into the songs, from "Mr. Pitiful" right up to their final collaboration, in which Cropper came up with lines about leaving home in Georgia. "Mr Pitiful" went to number ten on the R&B chart and peaked at number forty-one on the hot one hundred, and its B-side, "That's How Strong My Love Is", also made the R&B top twenty. Cropper and Redding soon settled into a fruitful writing partnership, to the extent that Cropper even kept a guitar permanently tuned to an open chord so that Redding could use it. Redding couldn't play the guitar, but liked to use one as a songwriting tool. When a guitar is tuned in standard tuning, you have to be able to make chord shapes to play it, because the sound of the open strings is a discord: [demonstrates] But you can tune a guitar so all the strings are the notes of a single chord, so they sound good together even when you don't make a chord shape: [demonstrates open-E tuning] With one of these open tunings, you can play chords with just a single finger barring a fret, and so they're very popular with, for example, slide guitarists who use a metal slide to play, or someone like Dolly Parton who has such long fingernails it's difficult to form chord shapes. Someone like Parton is of course an accomplished player, but open tunings also mean that someone who can't play well can just put their finger down on a fret and have it be a chord, so you can write songs just by running one finger up and down the fretboard: [demonstrates] So Redding could write, and even play acoustic rhythm guitar on some songs, which he did quite a lot in later years, without ever learning how to make chords. Now, there's a downside to this -- which is why standard tuning is still standard. If you tune to an open major chord, you can play major chords easily but minor chords become far more difficult. Handily, that wasn't a problem at Stax, because according to Isaac Hayes, Jim Stewart banned minor chords from being played at Stax. Hayes said “We'd play a chord in a session, and Jim would say, ‘I don't want to hear that chord.' Jim's ears were just tuned into one, four, and five. I mean, just simple changes. He said they were the breadwinners. He didn't like minor chords. Marvell and I always would try to put that pretty stuff in there. Jim didn't like that. We'd bump heads about that stuff. Me and Marvell fought all the time that. Booker wanted change as well. As time progressed, I was able to sneak a few in.” Of course, minor chords weren't *completely* banned from Stax, and some did sneak through, but even ballads would often have only major chords -- like Redding's next single, "I've Been Loving You Too Long". That track had its origins with Jerry Butler, the singer who had been lead vocalist of the Impressions before starting a solo career and having success with tracks like "For Your Precious Love": [Excerpt: Jerry Butler, "For Your Precious Love"] Redding liked that song, and covered it himself on his second album, and he had become friendly with Butler. Butler had half-written a song, and played it for Redding, who told him he'd like to fiddle with it, see what he could do. Butler forgot about the conversation, until he got a phone call from Redding, telling him that he'd recorded the song. Butler was confused, and also a little upset -- he'd been planning to finish the song himself, and record it. But then Redding played him the track, and Butler decided that doing so would be pointless -- it was Redding's song now: [Excerpt: Otis Redding, "I've Been Loving You Too Long"] "I've Been Loving You Too Long" became Redding's first really big hit, making number two on the R&B chart and twenty-one on the Hot One Hundred. It was soon being covered by the Rolling Stones and Ike & Tina Turner, and while Redding was still not really known to the white pop market, he was quickly becoming one of the biggest stars on the R&B scene. His record sales were still not matching his live performances -- he would always make far more money from appearances than from records -- but he was by now the performer that every other soul singer wanted to copy. "I've Been Loving You Too Long" came out just after Redding's second album, The Great Otis Redding Sings Soul Ballads, which happened to be the first album released on Volt Records. Before that, while Stax and Volt had released the singles, they'd licensed all the album tracks to Atlantic's Atco subsidiary, which had released the small number of albums put out by Stax artists. But times were changing and the LP market was becoming bigger. And more importantly, the *stereo* LP market was becoming bigger. Singles were still only released in mono, and would be for the next few years, but the album market had a substantial number of audiophiles, and they wanted stereo. This was a problem for Stax, because they only had a mono tape recorder, and they were scared of changing anything about their setup in case it destroyed their sound. Tom Dowd, who had been recording in eight track for years, was appalled by the technical limitations at the McLemore Ave studio, but eventually managed to get Jim Stewart, who despite -- or possibly because of -- being a white country musician was the most concerned that they keep their Black soul sound, to agree to a compromise. They would keep everything hooked up exactly the same -- the same primitive mixers, the same mono tape recorder -- and Stax would continue doing their mixes for mono, and all their singles would come directly off that mono tape. But at the same time, they would *also* have a two-track tape recorder plugged in to the mixer, with half the channels going on one track and half on the other. So while they were making the mix, they'd *also* be getting a stereo dump of that mix. The limitations of the situation meant that they might end up with drums and vocals in one channel and everything else in the other -- although as the musicians cut everything together in the studio, which had a lot of natural echo, leakage meant there was a *bit* of everything on every track -- but it would still be stereo. Redding's next album, Otis Blue, was recorded on this new equipment, with Dowd travelling down from New York to operate it. Dowd was so keen on making the album stereo that during that session, they rerecorded Redding's two most recent singles, "I've Been Loving You Too Long" and "Respect" (which hadn't yet come out but was in the process of being released) in soundalike versions so there would be stereo versions of the songs on the album -- so the stereo and mono versions of Otis Blue actually have different performances of those songs on them. It shows how intense the work rate was at Stax -- and how good they were at their jobs -- that apart from the opening track "Ole Man Trouble", which had already been recorded as a B-side, all of Otis Blue, which is often considered the greatest soul album in history, was recorded in a twenty-eight hour period, and it would have been shorter but there was a four-hour break in the middle, from 10PM to 2AM, so that the musicians on the session could play their regular local club gigs. And then after the album was finished, Otis left the session to perform a gig that evening. Tom Dowd, in particular, was astonished by the way Redding took charge in the studio, and how even though he had no technical musical knowledge, he would direct the musicians. Dowd called Redding a genius and told Phil Walden that the only two other artists he'd worked with who had as much ability in the studio were Bobby Darin and Ray Charles. Other than those singles and "Ole Man Trouble", Otis Blue was made up entirely of cover versions. There were three versions of songs by Sam Cooke, who had died just a few months earlier, and whose death had hit Redding hard -- for all that he styled himself on Little Richard vocally, he was also in awe of Cooke as a singer and stage presence. There were also covers of songs by The Temptations, William Bell, and B.B. King. And there was also an odd choice -- Steve Cropper suggested that Redding cut a cover of a song by a white band that was in the charts at the time: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] Redding had never heard the song before -- he was not paying attention to the white pop scene at the time, just to his competition on the R&B charts -- but he was interested in doing it. Cropper sat by the turntable, scribbling down what he thought the lyrics Jagger was singing were, and they cut the track. Redding starts out more or less singing the right words: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] But quickly ends up just ad-libbing random exclamations in the same way that he would in many of his live performances: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] Otis Blue made number one on the R&B album chart, and also made number six on the UK album chart -- Redding, like many soul artists, was far more popular in the UK than in the US. It only made number seventy-five on the pop album charts in the US, but it did a remarkable thing as far as Stax was concerned -- it *stayed* in the lower reaches of the charts, and on the R&B album charts, for a long time. Redding had become what is known as a "catalogue artist", something that was almost unknown in rock and soul music at this time, but which was just starting to appear. Up to 1965, the interlinked genres that we now think of as rock and roll, rock, pop, blues, R&B, and soul, had all operated on the basis that singles were where the money was, and that singles should be treated like periodicals -- they go on the shelves, stay there for a few weeks, get replaced by the new thing, and nobody's interested any more. This had contributed to the explosive rate of change in pop music between about 1954 and 1968. You'd package old singles up into albums, and stick some filler tracks on there as a way of making a tiny bit of money from tracks which weren't good enough to release as singles, but that was just squeezing the last few drops of juice out of the orange, it wasn't really where the money was. The only exceptions were those artists like Ray Charles who crossed over into the jazz and adult pop markets. But in general, your record sales in the first few weeks and months *were* your record sales. But by the mid-sixties, as album sales started to take off more, things started to change. And Otis Redding was one of the first artists to really benefit from that. He wasn't having huge hit singles, and his albums weren't making the pop top forty, but they *kept selling*. Redding wouldn't have an album make the top forty in his lifetime, but they sold consistently, and everything from Otis Blue onward sold two hundred thousand or so copies -- a massive number in the much smaller album market of the time. These sales gave Redding some leverage. His contract with Stax was coming to an end in a few months, and he was getting offers from other companies. As part of his contract renegotiation, he got Jim Stewart -- who like so many people in this story including Redding himself liked to operate on handshake deals and assumptions of good faith on the part of everyone else, and who prided himself on being totally fair and not driving hard bargains -- to rework his publishing deal. Now Redding's music was going to be published by Redwal Music -- named after Redding and Phil Walden -- which was owned as a four-way split between Redding, Walden, Stewart, and Joe Galkin. Redding also got the right as part of his contract negotiations to record other artists using Stax's facilities and musicians. He set up his own label, Jotis Records -- a portmanteau of Joe and Otis, for Joe Galkin and himself, and put out records by Arthur Conley: [Excerpt: Arthur Conley, "Who's Fooling Who?"] Loretta Williams [Excerpt: Loretta Williams, "I'm Missing You"] and Billy Young [Excerpt: Billy Young, "The Sloopy"] None of these was a success, but it was another example of how Redding was trying to use his success to boost others. There were other changes going on at Stax as well. The company was becoming more tightly integrated with Atlantic Records -- Tom Dowd had started engineering more sessions, Jerry Wexler was turning up all the time, and they were starting to make records for Atlantic, as we discussed in the episode on "In the Midnight Hour". Atlantic were also loaning Stax Sam and Dave, who were contracted to Atlantic but treated as Stax artists, and whose hits were written by the new Stax songwriting team of Isaac Hayes and David Porter: [Excerpt: Sam and Dave, "Soul Man"] Redding was not hugely impressed by Sam and Dave, once saying in an interview "When I first heard the Righteous Brothers, I thought they were colored. I think they sing better than Sam and Dave", but they were having more and bigger chart hits than him, though they didn't have the same level of album sales. Also, by now Booker T and the MGs had a new bass player. Donald "Duck" Dunn had always been the "other" bass player at Stax, ever since he'd started with the Mar-Keys, and he'd played on many of Redding's recordings, as had Lewie Steinberg, the original bass player with the MGs. But in early 1965, the Stax studio musicians had cut a record originally intending it to be a Mar-Keys record, but decided to put it out as by Booker T and the MGs, even though Booker T wasn't there at the time -- Isaac Hayes played keyboards on the track: [Excerpt: Booker T and the MGs, "Boot-Leg"] Booker T Jones would always have a place at Stax, and would soon be back full time as he finished his degree, but from that point on Duck Dunn, not Lewie Steinberg, was the bass player for the MGs. Another change in 1965 was that Stax got serious about promotion. Up to this point, they'd just relied on Atlantic to promote their records, but obviously Atlantic put more effort into promoting records on which it made all the money than ones it just distributed. But as part of the deal to make records with Sam and Dave and Wilson Pickett, Atlantic had finally put their arrangement with Stax on a contractual footing, rather than their previous handshake deal, and they'd agreed to pay half the salary of a publicity person for Stax. Stax brought in Al Bell, who made a huge impression. Bell had been a DJ in Memphis, who had gone off to work with Martin Luther King for a while, before leaving after a year because, as he put it "I was not about passive resistance. I was about economic development, economic empowerment.” He'd returned to DJing, first in Memphis, then in Washington DC, where he'd been one of the biggest boosters of Stax records in the area. While he was in Washington, he'd also started making records himself. He'd produced several singles for Grover Mitchell on Decca: [Excerpt: Grover Mitchell, "Midnight Tears"] Those records were supervised by Milt Gabler, the same Milt Gabler who produced Louis Jordan's records and "Rock Around the Clock", and Bell co-produced them with Eddie Floyd, who wrote that song, and Chester Simmons, formerly of the Moonglows, and the three of them started their own label, Safice, which had put out a few records by Floyd and others, on the same kind of deal with Atlantic that Stax had: [Excerpt: Eddie Floyd, "Make Up Your Mind"] Floyd would himself soon become a staff songwriter at Stax. As with almost every decision at Stax, the decision to hire Bell was a cause of disagreement between Jim Stewart and his sister Estelle Axton, the "Ax" in Stax, who wasn't as involved in the day-to-day studio operations as her brother, but who was often regarded by the musicians as at least as important to the spirit of the label, and who tended to disagree with her brother on pretty much everything. Stewart didn't want to hire Bell, but according to Cropper “Estelle and I said, ‘Hey, we need somebody that can liaison between the disc jockeys and he's the man to do it. Atlantic's going into a radio station with six Atlantic records and one Stax record. We're not getting our due.' We knew that. We needed more promotion and he had all the pull with all those disc jockeys. He knew E. Rodney Jones and all the big cats, the Montagues and so on. He knew every one of them.” Many people at Stax will say that the label didn't even really start until Bell joined -- and he became so important to the label that he would eventually take it over from Stewart and Axton. Bell came in every day and immediately started phoning DJs, all day every day, starting in the morning with the drivetime East Coast DJs, and working his way across the US, ending up at midnight phoning the evening DJs in California. Booker T Jones said of him “He had energy like Otis Redding, except he wasn't a singer. He had the same type of energy. He'd come in the room, pull up his shoulders and that energy would start. He would start talking about the music business or what was going on and he energized everywhere he was. He was our Otis for promotion. It was the same type of energy charisma.” Meanwhile, of course, Redding was constantly releasing singles. Two more singles were released from Otis Blue -- his versions of "My Girl" and "Satisfaction", and he also released "I Can't Turn You Loose", which was originally the B-side to "Just One More Day" but ended up charting higher than its original A-side. It's around this time that Redding did something which seems completely out of character, but which really must be mentioned given that with very few exceptions everyone in his life talks about him as some kind of saint. One of Redding's friends was beaten up, and Redding, the friend, and another friend drove to the assailant's house and started shooting through the windows, starting a gun battle in which Redding got grazed. His friend got convicted of attempted murder, and got two years' probation, while Redding himself didn't face any criminal charges but did get sued by the victims, and settled out of court for a few hundred dollars. By this point Redding was becoming hugely rich from his concert appearances and album sales, but he still hadn't had a top twenty pop hit. He needed to break the white market. And so in April 1966, Redding went to LA, to play the Sunset Strip: [Excerpt: Otis Redding, "Respect (live at the Whisky A-Go-Go)"] Redding's performance at the Whisky A-Go-Go, a venue which otherwise hosted bands like the Doors, the Byrds, the Mothers of Invention, and Love, was his first real interaction with the white rock scene, part of a process that had started with his recording of "Satisfaction". The three-day residency got rave reviews, though the plans to release a live album of the shows were scuppered when Jim Stewart listened back to the tapes and decided that Redding's horn players were often out of tune. But almost everyone on the LA scene came out to see the shows, and Redding blew them away. According to one biography of Redding I used, it was seeing how Redding tuned his guitar that inspired the guitarist from the support band, the Rising Sons, to start playing in the same tuning -- though I can't believe for a moment that Ry Cooder, one of the greatest slide guitarists of his generation, didn't already know about open tunings. But Redding definitely impressed that band -- Taj Mahal, their lead singer, later said it was "one of the most amazing performances I'd ever seen". Also at the gigs was Bob Dylan, who played Redding a song he'd just recorded but not yet released: [Excerpt: Bob Dylan, "Just Like a Woman"] Redding agreed that the song sounded perfect for him, and said he would record it. He apparently made some attempts at rehearsing it at least, but never ended up recording it. He thought the first verse and chorus were great, but had problems with the second verse: [Excerpt: Bob Dylan, "Just Like a Woman"] Those lyrics were just too abstract for him to find a way to connect with them emotionally, and as a result he found himself completely unable to sing them. But like his recording of "Satisfaction", this was another clue to him that he should start paying more attention to what was going on in the white music industry, and that there might be things he could incorporate into his own style. As a result of the LA gigs, Bill Graham booked Redding for the Fillmore in San Francisco. Redding was at first cautious, thinking this might be a step too far, and that he wouldn't go down well with the hippie crowd, but Graham persuaded him, saying that whenever he asked any of the people who the San Francisco crowds most loved -- Jerry Garcia or Paul Butterfield or Mike Bloomfield -- who *they* most wanted to see play there, they all said Otis Redding. Redding reluctantly agreed, but before he took a trip to San Francisco, there was somewhere even further out for him to go. Redding was about to head to England but before he did there was another album to make, and this one would see even more of a push for the white market, though still trying to keep everything soulful. As well as Redding originals, including "Fa-Fa-Fa-Fa (Sad Song)", another song in the mould of "Mr. Pitiful", there was another cover of a contemporary hit by a guitar band -- this time a version of the Beatles' "Day Tripper" -- and two covers of old standards; the country song "Tennessee Waltz", which had recently been covered by Sam Cooke, and a song made famous by Bing Crosby, "Try a Little Tenderness". That song almost certainly came to mind because it had recently been used in the film Dr. Strangelove, but it had also been covered relatively recently by two soul greats, Aretha Franklin: [Excerpt: Aretha Franklin, "Try a Little Tenderness"] And Sam Cooke: [Excerpt: Sam Cooke, "Live Medley: I Love You For Sentimental Reasons/Try a Little Tenderness/You Send Me"] This version had horn parts arranged by Isaac Hayes, who by this point had been elevated to be considered one of the "Big Six" at Stax records -- Hayes, his songwriting partner David Porter, Steve Cropper, Duck Dunn, Booker T. Jones, and Al Jackson, were all given special status at the company, and treated as co-producers on every record -- all the records were now credited as produced by "staff", but it was the Big Six who split the royalties. Hayes came up with a horn part that was inspired by Sam Cooke's "A Change is Gonna Come", and which dominated the early part of the track: [Excerpt: Otis Redding, "Try a Little Tenderness"] Then the band came in, slowly at first: [Excerpt: Otis Redding, "Try a Little Tenderness"] But Al Jackson surprised them when they ran through the track by deciding that after the main song had been played, he'd kick the track into double-time, and give Redding a chance to stretch out and do his trademark grunts and "got-ta"s. The single version faded out shortly after that, but the version on the album kept going for an extra thirty seconds: [Excerpt: Otis Redding, "Try a Little Tenderness"] As Booker T. Jones said “Al came up with the idea of breaking up the rhythm, and Otis just took that and ran with it. He really got excited once he found out what Al was going to do on the drums. He realized how he could finish the song. That he could start it like a ballad and finish it full of emotion. That's how a lot of our arrangements would come together. Somebody would come up with something totally outrageous.” And it would have lasted longer but Jim Stewart pushed the faders down, realising the track was an uncommercial length even as it was. Live, the track could often stretch out to seven minutes or longer, as Redding drove the crowd into a frenzy, and it soon became one of the highlights of his live set, and a signature song for him: [Excerpt: Otis Redding, "Try a Little Tenderness (live in London)"] In September 1966, Redding went on his first tour outside the US. His records had all done much better in the UK than they had in America, and they were huge favourites of everyone on the Mod scene, and when he arrived in the UK he had a limo sent by Brian Epstein to meet him at the airport. The tour was an odd one, with multiple London shows, shows in a couple of big cities like Manchester and Bristol, and shows in smallish towns in Hampshire and Lincolnshire. Apparently the shows outside London weren't particularly well attended, but the London shows were all packed to overflowing. Redding also got his own episode of Ready! Steady! Go!, on which he performed solo as well as with guest stars Eric Burdon and Chris Farlowe: [Excerpt: Otis Redding, Chris Farlowe and Eric Burdon, "Shake/Land of a Thousand Dances"] After the UK tour, he went on a short tour of the Eastern US with Sam and Dave as his support act, and then headed west to the Fillmore for his three day residency there, introducing him to the San Francisco music scene. His first night at the venue was supported by the Grateful Dead, the second by Johnny Talbot and De Thangs and the third by Country Joe and the Fish, but there was no question that it was Otis Redding that everyone was coming to see. Janis Joplin turned up at the Fillmore every day at 3PM, to make sure she could be right at the front for Redding's shows that night, and Bill Graham said, decades later, "By far, Otis Redding was the single most extraordinary talent I had ever seen. There was no comparison. Then or now." However, after the Fillmore gigs, for the first time ever he started missing shows. The Sentinel, a Black newspaper in LA, reported a few days later "Otis Redding, the rock singer, failed to make many friends here the other day when he was slated to appear on the Christmas Eve show[...] Failed to draw well, and Redding reportedly would not go on." The Sentinel seem to think that Redding was just being a diva, but it's likely that this was the first sign of a problem that would change everything about his career -- he was developing vocal polyps that were making singing painful. It's notable though that the Sentinel refers to Redding as a "rock" singer, and shows again how different genres appeared in the mid-sixties to how they appear today. In that light, it's interesting to look at a quote from Redding from a few months later -- "Everybody thinks that all songs by colored people are rhythm and blues, but that's not true. Johnny Taylor, Muddy Waters, and B.B. King are blues singers. James Brown is not a blues singer. He has a rock and roll beat and he can sing slow pop songs. My own songs "Respect" and "Mr Pitiful" aren't blues songs. I'm speaking in terms of the beat and structure of the music. A blues is a song that goes twelve bars all the way through. Most of my songs are soul songs." So in Redding's eyes, neither he nor James Brown were R&B -- he was soul, which was a different thing from R&B, while Brown was rock and roll and pop, not soul, but journalists thought that Redding was rock. But while the lines between these things were far less distinct than they are today, and Redding was trying to cross over to the white audience, he knew what genre he was in, and celebrated that in a song he wrote with his friend Art

Order of Service: - Prelude - Hymn 252 - I Walk in Danger All the Way: vv. 1-4 - Psalm 91: 1-4 Responsive reading: P: He who dwells in the secret place of the Most High, C: Shall abide under the shadow of the Almighty. P: I will say of the Lord, He is my refuge and my fortress, C: My God, in Him I will trust. P: Surely He shall deliver you from the snare of the fowler, C: And from the perilous pestilence. P: He shall cover you with His feathers, and under His wings you shall take refuge. C: His truth shall be your shield and buckler. All: Glory be to the Father, and to the Son, and to the Holy Ghost; As it was in the beginning, is now, and ever shall be forevermore. Amen. - Devotion - Prayer - Hymn 252 - I Walk in Danger All the Way: vv. 5 & 6 - Blessing - Postlude Service Participants: Rev. Dr. Timothy Schmeling (Preacher), Nathan Wildauer (Organist)

Inner Sanctum Mysteries, originally broadcast February 26, 1946, I Walk in the Night starring Larry Haines. What does a man think of when there's murder in the air? Also Lum and Abner, originally broadcast February 26, 1953, Cedric auditions to be a Radio Announcer. VPR goes on the air, With Cedric Wehunt as the announcer. The case of the cockeyed salmon!Visit my web page - http://www.classicradio.streamWe receive no revenue from YouTube. If you enjoy our shows, listen via the links on our web page or if you're so inclined, Buy me a coffee! https://www.buymeacoffee.com/wyattcoxelAHeard on almost 100 radio stations from coast to coast. Classic Radio Theater features great radio programs that warmed the hearts of millions for the better part of the 20th century. Host Wyatt Cox brings the best of radio classics back to life with both the passion of a long-time (as in more than half a century) fan and the heart of a forty-year newsman. But more than just “playing the hits”, Wyatt supplements the first hour of each day's show with historical information on the day and date in history including audio that takes you back to World War II, Korea, and Vietnam. FDR, Eisenhower, JFK, Reagan, Carter, Nixon, LBJ. It's a true slice of life from not just radio's past, but America's past.Wyatt produces 21 hours a week of freshly minted Classic Radio Theater presentations each week, and each day's broadcast is timely and entertaining!

Dracula (1931), Dracula's Daughter (1936), & Son of Dracula (1943). This is the series of films that really created and started what is now known as the Universal Classic Monster films. Dracula came out in Feb. in 1931 and did such business, the studio followed suit with another film. And another. And another. But are these classics remembered just because of nostalgia, or are they really well made films that are still effective today and rightly deserve the monster of "classic"? In this episode, we delve into the first three Dracula films and take a closer look at these titles to see if they hold up to us, and even more so, maybe getting you, the listener, interested enough to revisit them along with us! Films mentioned in this episode: The Black Cat (1934), The Bride of Frankenstein (1935), Bride of the Gorilla (1951), The Cabinet of Dr. Caligari (1919), The Cat and the Canary (1927), Creature with the Atom Brain (1955), Dracula (1931), Dracula – Spanish Version (1931), Dracula's Daughter (1936), Earth vs the Flying Saucer (1956), Frankenstein (1931), Frankenstein Meets the Wolf Man (1943), The Ghost of Frankenstein (1942), House of Frankenstein (1944),The Invisible Man (1933), The Invisible Ray (1936), I Walk with a Zombie (1943), The Mummy (1932), The Mummy's Tomb (1942), Nosferatu (1922), Old Dark House (1932), The Phantom of the Opera (1925), Phantom of the Opera (1943), Son of Dracula (1943), Son of Frankenstein (1939), The Wolf Man (1941)

BUZZ BUZZ, Baybee! We're doin it! This week, Sally Cantirino is here to talk about her wonderful horror comics! Her work at Vault Comics has resulted in some landmark horror comics. We talk about I Walk with Monsters, the upcoming trade release of Human Remains, and her new book, Door to Door, Night by Night with Cullen Bunn! We also talk about bugs, drugs and our love of horror. I had a blast chatting with Sally, and I really hope you all dig it too! Learn more about your ad choices. Visit megaphone.fm/adchoices

Apologies for the late post! Devotion Isaiah 30:23-26 Announcements Online Bible Class Bible Class and Sunday School has begun Romans Study Prayer List Carrie Dahle Family of Minnie Wreath Ann Hanel Sue Schweim Ty Landon The Wisdom of Solomon's Proverbs 7:24-27 Hymn #413 "I Walk in Danger All the Way"

Here's my #NWA74, #WorldsCollide & #AEWallOut chatter... & I Walk for 5 Minutes Alone since I'm Broken, in this week's #3wayDanceOff!  ~ ~ ~ I'd like to hear from you! Please drop me a line @ ring-rust@hotmail.com {Subject Line: Ring Rust} & let me know what you like {or dislike} about my show! I'm always on the lookout for constructive criticism {if you want playlists again, start giving me feedback, people!}  ~ ~ ~ Check out my #Unboxing videos, all that snazzy anti-social media & support all my shows http://markjabroni.mysite.com/ ~ ~ ~ RECORDED LIVE @ CHMR-FM Studios in Sunny St. John's NL! If you want to contribute to Betty Cisneros' Stage 4 Cancer treatment, please donate @ https://www.gofundme.com/f/help-betty-battle-her-cancer-away

It's a special episode of the Friday Night Karaoke Podcast featuring none other than Mr. Country himself, Mike Eli from the Eli Young Band! The video version of Episode 41 of the FNK Podcast is now live for #FNKCountry week, and this time we brought along an INCREDIBLE guest to listen to your songs, drop some commentary, and enlighten us with the life, thoughts, and aspirations of a true to life country rockstar! Behind Closed Doors all my Friends in Low Places have the Folsom Prison Blues, but they're Always on My Mind when I'm drinking Strawberry Wine and dancing the Boot Scootin' Boogie. I Should Have Been a Cowboy, but instead I Walk the Line between Your Cheatin' Heart and a Ring of Fire, so Take Me Home Country Roads while I'm Killin' Time Before the Next Teardrop Falls with some Smoky Mountain Rain and a karaoke mic. Mike Eli is the frontman and a founding member of the Eli Young Band - a band that has seen 8 Billboard singles, 4 of which landed #1 in the country charts, and over 2 BILLION streams on Pandora. PLEASE BE SURE TO SHOW MIKE SOME LOVE BY FOLLOWING HIM AND HIS BAND BELOW: Eli Young Band website: https://eliyoungband.com Eli Young Band Facebook: https://www.facebook.com/eliyoungband Eli Young Band Instagram: https://www.instagram.com/eliyoungband Eli Young Band on YouTube: https://www.youtube.com/channel/UCOIvDItIQheCkk8tD_xKm1Q Eli Young Band is TOURING! Be sure to catch them near you and give FNK a shoutout when you go!:https://eliyoungband.com/#!/events Featured in this episode alongside hosts Mike Wiston and Joe Rubin, and special guest Mike Eli: Ron R Green with Tennessee Whiskey by Chris Stapleton Autumn Thoennes with Jolene by Dolly Parton Kristoff Crafton with You Can Have the Crown by Sturgill Simpson Lauren Nichol with Unlove You by Jennifer Nettles KC Conner with Your Man by Josh Turner Love what you hear? Join the official Friday Night Karaoke FB group, a completely negativity free karaoke destination, and be part of the action! www.facebook.com/groups/fridaynightkaraoke. Hope to see you there!

Happy Father's Day! We celebrate father's with a smashing D&D session about Dads and their sons. We have Granpappy Coggs a gnome who was well known for his racing career in the town of Tillage. But that was years ago... His son Benji is the result of his coupling with his, now exe, wife, Bonnie. Benji is a tinkerer and has his own biological son, Traybar. He is another young gnome who also has a penchant for tinkering. With the three gnomes together they built a fantastic waterpark. But things went awry and the town flooded. With the orphanage destroyed by the floods the Coggs took on one of the many orphans who were left homeless. Thus, we have Bargos, the dragonborn and newly added son to the Coggs family. Now destitute the family has no choice to rent from grandma Bonnie, who lives in the big city. To make matters worse a local rich family, the Dolamites, seems to have it out for the Coggs and takes every opportunity to shun and embarrass them. Including showing up the Coggs at this years derby race. Surely they wouldn't cheat... would they? Game Master- Tiffany - Dungeon_Damsels Bargos Coggs-Morgan @ Mindflayedmun (Twitter) Benji Coggs-Scott @ZealZaddy Traybar Coggs- @GumMalao Granpappy Coggs -Thomas (No Handle) This is a non-cannon campaign New to the party?Here's Ep 1. https://www.youtube.com/watch?v=YaQamR_UkYk&list=PLZBlznBP3PFUw9HrmGRj7WLWtKxt1E_hk Link Tree for all the links https://linktr.ee/Dungeon_Damsels_DND Podbean https://www.podbean.com/site/Search/index?v=dungeon+damsels https://open.spotify.com/show/05zEpummzMrsabMsNGXuoI https://tunein.com/podcasts/Storytelling-Podcasts/Dungeon-Damsels-p1273640/ https://podcasts.apple.com/us/podcast/dungeon-damsels/id1488280644 https://podbay.fm/podcast/1488280644 Business Page https://www.facebook.com/DungeonDamselsthesororityofmadness/ Fan Page https://www.facebook.com/groups/632876427252024/ Merchandise https://www.gearbubble.com/gbstore/ddsom?fbclid=IwAR1N90KhsDe5LeB6j0dpdHEef0dS_5V4U2zTsIi30YoFfmuh29Sc8NiuM20 https://www.redbubble.com/people/Tiffytan/shop?asc=u Patreon https://www.patreon.com/user?u=5203587&fbclid=IwAR1lUgwz4SokFzdcbwmhPsf1L04Qbj5m_Uy731DMmewLSDU6Zc4y9iE9Q7E Music By Scott Buckley scottbuckley.com.au/ "SkyScraper Samba","Goliath","Undertow","High Games", "Mr. Lonogan", "Pomp and Celebration." "March of Midnight", "I Walk with Ghosts" "Fiji Music" by Aden CC License "Fiddle-de-dee Silverman" Music "Wandering Heart" by Harp Soup "Habenara" By Bizet Rock Background Music No Copyright "Village Ambience" by Serpent Sound Studios "Original Celtic Improv" by Benyomin Schofield Learn more about your ad choices. Visit megaphone.fm/adchoices

“But how are these women creating these crazy results?!”This is something I hear so often, so I wanted to really pull back the curtain here and share with you just some of the top growth strategies from my Content, Connections and Conversions Mastermind. What are some of these crazy results?

#15-11Intro/Outro: Singing the Blues by Guy Mitchell15. Bye Bye Love by The Everly Brothers14. La Bamba by Ritchie Valens13. What'd I Say by Ray Charles12. You Send Me by Sam Cooke11. I Walk the Line by Johnny CashVote on your favorite song from today's episodeVote on your favorite song from Week 3

Anne & Kevin discuss the Wynonna Earp season 1 finale, I Walk the Line, season 1 episode 13.I Walk The Line 1x13Written by: Emily AndrasDirected by: Paolo BarzmanAir Date: June 24, 2016Episode postmortems mentioned can be found here https://www.thetvjunkies.com/tag/wynonna-earp-postmortem/Kevin's other Wynonna Earp podcasts are: Earp Sister Feels on Twitter @EarpSisterFeels and Tales of the Black Badge on Twitter @WynonnaEarpPodAnne's other Wynonna Earp podcasts are: Wynaught on Twitter @WynaughtP and This Earper Life on Twitter @ThisEarperLifeYou can find us on Twitter  @Earpology_Pod https://twitter.com/Earpology_PodLeave us a voicemail at https://www.earpologypodcast.com/Email: earpologypodcast@gmail.com