Podcasts about I Wish You Would

Acclaimed singer-songwriter, Mackenzie Carpenter stopped by The Bull Studio at Audacy Houston to chat about her new single featuring the group, Midland, called "I Wish You Would." We talk about the idea behind the song, her incredible contributions in songwriting for Megan Moroney, Lily Rose and more. Plus, she recounts the experience of performing with Megan Moroney near her hometown of Hull, Georgia.

Welcome to another LEGENDARY episode of Storybeast! Our Legendaries are special guests who are an expert within their area of storytelling. In this episode, Ghabiba Weston and Courtney Shack have the pleasure of interviewing Legendary Eva Des Lauriers.Eva Des Lauriers is the author of the Young Adult romance, I WISH YOU WOULD, out with Henry Holt & Co (BYR) May 21, 2024. When she isn't writing, you can find her wandering through the redwoods, staring at the sea, or pretending she's in a music video. She lives with her family and her collection of kissing books in Oakland, CA.In this episode, you'll hear aboutthe aftermath of I WISH YOU WOULD's debutthe gorgeous editions of IWYWthe mental health experience after debutingEva's way to protect her creative spacethe quiet grief cycle of creationEva's one piece of advice to debut authorsEva sophomore novelEva's advice for channeling your inner young adult when writing YAwhat book 2 has taught Eva (be prepared to feel inspired)how Eva gets unstuckEva's writing ritual, including a meditation by Julia Jacksonhow Eva settles the tea battle between Ghabiba and Zeyneb HoldridgeFor more storytelling content to your inbox, subscribe to our newsletter.⁠⁠⁠Feel free to reach out if you want to talk story or snacks!A warm thank you to Deore for our musical number. You can find more of her creative work on Spotify.As ever, thank you for listening, Beasties! Please consider leaving a review to support this podcast.Be brave, stay beastly!

It's time for our Las Vegas wishes, plus a resort fee disclosure status check and a change in wagering account use rules The post FHBM #948: I Wish You Would first appeared on Five Hundy By Midnight.

Trevor Noah jokes about Switzerland in his Netflix special, "I Wish You Would".

It's here!! Our episode with the amazing Eva Des Lauriers! @evadeslaurbooks Eva's debut YA Romance I WISH YOU WOULD is out TODAY!!! Happy debut day baby!!! Join us and let's all celebrate together!! About I WISH YOU WOULD: In this drama-filled love story, private confessions are scattered on the beach during a senior class overnight and explosive secrets threaten to tear everyone apart, including best friends (or maybe more?), Natalia and Ethan.It's Senior Sunrise, the epic overnight at the beach that kicks off senior year. But for Natalia and Ethan, it's the first time seeing each other after what happened at junior prom―when they almost crossed the line from best friends to something more and ruined everything. After ghosting each other all summer, Natalia is desperate to pretend she doesn't care and Ethan is desperate to fix his mistake.When the senior class carries out their tradition of writing private letters to themselves―what they wish they would do this year if they were braver―Natalia pours her heart out. So does Ethan. So does everyone in their entire class. But in Natalia's panicked attempt to retrieve her heartfelt confession, the wind scatters seven of the notes across the beach. Now, Ethan and Natalia are forced to work together to find the lost letters before any secrets are revealed―especially their own.Seven private confessions. Seven time bombs loose for anyone to find. And one last chance before the sun rises for these two to fall in love. https://www.evadeslauriers.com/ I WISH YOU WOULD here: https://www.evadeslauriers.com/books I WISH YOU WOULD to Goodreads here: https://www.goodreads.com/book/show/179031684-i-wish-you-would #OfthePublishingPersuasion #podcast #evadeslauriers #iwishyouwould #iwishyouwouldbook #Bookstagram #Publishing #writing #podcastsforwriters #writingcommunity #writingpodcast  #authorsofig #authorscommunity #writersofinstagram #writerspodcast #writeradvice #podcasting #podcasts #podcastersofinstagram #Query #querying #yaromance #yaauthor #2024debut #youngadultbooks #yacontemporaryromance #ireadya #yalit #bookobsessed #youngadultfiction

Who did it better: Bowie or a bunch of rockin' rockers from the Sixties? Following up on our exploration of Bowie's influences on Side A, we delve into the album Pin Ups itself on Side B. Erik brings in his thoughts on the original versions of each Bowie cover. If you would like to listen to them, here's a link to his playlist on Apple Music. https://music.apple.com/us/playlist/bowies-pin-ups-with-the-originals/pl.u-Lpq3tPLDXr The key moments in this episode are: 00:00:59 - Cocaine Talk and Sodastream 00:05:58 - Pinups Album Review 00:13:09 - Original vs. Bowie Versions 00:15:06 - Bowie's Singing Style 00:20:51 - Yardbirds' "I Wish You Would" 00:25:32 - Comparison to Pink Floyd 00:45:24 - Sorrow by The Mercies 01:10:40 - Anticipation for Diamond Dogs Album

To kick off season 3 of Write Where it Hurts, Eva and Katryn discuss writing on contract--from the reality of deadlines after you've sold a book, to the creative process around pitching books after the book deal. Kate and Eva can't stop/won't stop talking about minotaur erotica. Sources Pre-order I Wish You Would now!  Also, for Bay Area folks, please come out to Eva's launch in conversation with the great YA Author Kristin Dwyer at Mrs. Dalloway's Books  Check out the gorgeous cover of Katryn's upcoming book, We Are Not Alone, if you missed the reveal! Stop everything you're doing right now and read the summary (and some of the reviews!) for Morning Glory Milking Farm

In this bonus episode, Eva and Katryn discuss their evolution as artists & authors--from making peace with the revision process and finding your best critique balance, to the hurdles they've faced as artists. Katryn grieves lost pop-culture references and Eva kinda-accidentally makes her husband sound like a cannibal. CONTENT CLARIFICATION: Hi, all! Kate here. I just wanted to clarify that, in the segment where I talk about feeling like I have the right to educate myself, I realized I was being super vague. I wanted to clarify that I was talking about bad publishing and writing advice. I realized that, bookended with my mini-rant about Barbie, it might have sounded like I was deliberately vaguepodding about something else. Did I just make up a new word? I think I did!  Sources: Pre-order I Wish You Would now! Also, for Bay Area folks, please come out to Eva's launch in conversation with the great YA Author Kristin Dwyer at Mrs. Dalloway's Books Check out the gorgeous cover of Katryn's upcoming book, We Are Not Alone, if you missed the reveal!

I Wish You Would solidified a beautiful relationship that we all love and respect, the one between Taylor Swift and Jack Antonoff. They bonded over a sick beat and have been ride-or-die ever since.   IWYW is that 80s romcom classic when you let you guard down and say how you really feel. It was Taylor's first time rekindling a friendship after a failed relationship, and she toyed with the idea of that ex that just bought a house BY HER to actually stop by on his way home.Yes, we are referring to Harry Styles once again! He was a big muse for the 1989 album.Plus, the start of the Glitch. Who remembers that first TikTok that started the glitch in the first place?! And a misheard lyric preceded by a major fail.AND we check the Google Voicemail to hear from fellow Swifties and share some of their love and ideas!Ana Szabo, Amy Nichols and Lacey Gee break down the lyrics, the emotions and hear from Taylor herself about the intent with this song!Don't forget that we are now streaming on YouTube! The video for this episode will be dropping soon, so be sure to subscribe to our channel for the latest!What did we miss? What would you like to hear from us? There are lots of ways to reach us!Also, a big thanks to this week's sponsor- BetterHelp! Visit Betterhelp.com/taylorswiftfan to get 10% off your first month!CONTACT THE PODCAST!Voicemail Number- (689) 214-1313Email- the13podcast@gmail.comIG- https://www.instagram.com/the13podcast TikTok- https://www.tiktok.com/@the13podcastTwitter- https://twitter.com/the13TSpodcastYouTube- https://www.youtube.com/@13ATaylorSwiftFanPodcast FOLLOW US!Ana - https://www.instagram.com/anaszabo13Lacey – https://www.instagram.com/laceygee13Amy – https://www.instagram.com/amysnicholsNick – https://www.instagram.com/nickadamsonair CHECK OUT OUR OTHER PODCASTS!Nick – "Shut Up!" & "The Chatty Daddies" This podcast is in no way related to or endorsed by Taylor Swift, her companies, or record labels. All opinions are our own.

Not WELCOME TO NEW YORK welcome to Breakdowns For Breakfast. This week Monster and Danger discuss a request with Taylor Swift's 1989. The fan said I WISH YOU WOULD but will we be OUT OF THE WOODS? Whatever happens, we SHAKE IT OFF and leave this episode feeling CLEAN.

It's Grammy week here in Los Angeles, and two-time nominated comedian, actor, author, podcast host, and former "Daily Show" host Trevor Noah returns to host the 2024 Grammys. He always does the best job at this. It will be his fourth time as host of music's biggest night. And by the way, he's also nominated for a Grammy in the Best Comedy Album category for his 2020 Netflix comedy special "I Wish You Would." Now, in the meantime, there is so much stuff going on in town. They are back with all of the great stuff that goes on during this week. But I gotta tell you, the hottest story is about two of music's biggest rap stars. I'm not sure when the feud began between Megan Thee and Nicki Minaj but honey, it heated up over the weekend as the war of words started hitting the internet. Okay, so you probably know by now that on Friday, Meg released her latest single, "Hiss." It's a fierce track criticizing her haters, which fans have speculated included a line targeting Minaj. Well, Nicki Minaj fired back with an all-new diss track. The rap superstar dropped the one-off single, "Big Foot," which she revealed in multiple posts across social media, is directly aimed at Megan Thee Stallion, and is a follow-up to the song she released on Friday. Now, Meg mentioned Megan's Law -- the policy that requires sex offenders to register with the state -- and you know, Nicki Minaj's husband, Kenneth Petty, is a level two sex offender in New York. He actually served four years in prison after being convicted of an attempted rape. Minaj's brother is also incarcerated for raping an 11-year-old girl. Horrible story. But Nicki said, hey, that's her family. She hit back with "Bigfoot" making accusations about Megan Thee Stallion, referring to her mother's death and how she was shot in the foot by Tory Lanez in 2020. Oh, good Lord. There is just so much drama. It goes on and on and on. Lots of name-calling. But I'm just wondering, what happened to women in the business trying to get together and support each other? Or is this just for publicity? Whoo! Whatever. Like I said, it has heated up the internet just in time for the Grammys. Oh, and by the way, we will be there backstage and on the red carpet. You do not want to miss our coverage of the 2024 Grammys. Learn more about your ad choices. Visit megaphone.fm/adchoices

Eva and Katryn celebrate the last episode of Write Where it Hurts Season 2 with a very special episode (VSE™): and Instagram Live. They discuss the ups and downs of the year, answer your craft, publishing and podcast questions, and reveal what lies in store for season 3! Sources Pre-order Eva's debut I WISH YOU WOULD out 5/21/24 and add it on Goodreads Please buy Katryn's books and also add her next book WE ARE NOT ALONE on Goodreads. Check out our pod's Linktree and remember to follow us on IG!

...Ready For It? Call It What You Want, but recording this episode was truly The Best Day. I Wish You Would listen to our Out Of The Woods takes on Taylor Swift's top songs if you want to be The Man. Besides our Taylor Swift song draft, we discuss meeting Ben Rector, Ed Sheeran being sued, and the NFL Draft. To top off an already packed episode, Dane and Samuel listen to the 1st voice memos sent to the podcast and we have an unexpected guest call into the pod. If you're new to the podcast, we hope you stay awhile. If you're a returning listener, we're glad you're back. If you clicked on this by mistake, please let it run for at least 1 minute, so our play count goes up. Please follow our Instagram (@UntilNextWeekPodcast), leave us a 5 Star Review on Spotify or Apple Podcasts, and send us a voice message below to be featured on one of our next episodes! Actual review of our podcast: "The other day, I was having a rough day and I listened to the podcast and it made me laugh because it was so ridiculous." --- Send in a voice message: https://podcasters.spotify.com/pod/show/untilnextweek/message Support this podcast: https://podcasters.spotify.com/pod/show/untilnextweek/support

In part two of Write Where It Hurts' series on querying, Eva and Katryn discuss how to navigate everyone's least favorite part of the path to publishing: rejection. Eva and Katryn appear to pull back from yet another Gilmore Girls tangent but this week's outtake suggests otherwise. This episode contains multiple love letters to the irreplaceable Chelsea Eberly. *Content warnings: Religion, depression Sources Formation: a song by Beyonce Remember to add I Wish You Would on Goodreads or Tinker Bell will DIE. Meg Cabot's awesome blog about her many rejections Check out our agency sib's fantastic fantasy duology, Emily Thiede's This Vicious Grace and This Cursed Light Follow us on Instagram: @evadeslaurbooks @katrynwrites @writewhereithurtspod *Tune in next time for another episode powered by broken hearts, belly laughs (and bourbon). Don't forget to RATE, REVIEW, and SUBSCRIBE wherever you listen

You asked for a whole episode dedicated to querying--and you got it! This week, Eva and Katryn start a two-part series on querying and rejection. In part one, they discuss how to craft a query letter, picking the right agent, tactics of sending queries in batches, and much more! Stay tuned to the end to hear the query letters that landed them their agents! NOTE TO NEW LISTENERS: This episode is slightly different than our usual format. If this is your first time, we recommend starting with an earlier episode (like last week's) to get an idea of our usual style. Sources Agent Barbara Poelle discusses “The Hook, The Book, & The Cook” Manuscript Wish List Database #DVPit: an amazing pitch contest for marginalized creators that got both Eva and Katryn the interest that led to an agent. This blog by agent John Cusick shows a great equation for a perfect short and sweet query. Jane Friedman's amazing blog on how to write a query letter Query Shark has a huge amount of examples, with notes from an agent to help you see what works. Use Query Tracker to see if an agent is currently open, or check author comments to get an idea of their usual response time. If an agent asks you for THE CALL, check out Jim McCarthy's amazing advice on what to ask. Facebook is meh, but Kidlit 411 is a great group where aspiring authors can share queries and get feedback. Writing queries is HARD! Katryn used editorial services to help her with some of her queries. She recommends Julia Weber and Katherine Locke. Buy Katryn's debut, Drew Leclair Gets a Clue and add Eva's upcoming novel, I Wish You Would, on Goodreads! Follow us on Instagram: @evadeslaurbooks @katrynwrites @writewhereithurtspod *Tune in next time for another episode powered by broken hearts, belly laughs (and bourbon). Don't forget to RATE, REVIEW, and SUBSCRIBE wherever you listen

This week, Eva and Katryn talk about how much “invisible” time is taken up by writing (social media, running a website, emailing with your editorial team, etc.) and the toll it can take on the life you led before publishing. Eva gets philosophical about the sacrifices necessary when pursuing your dream, and Kate also gets philosophical, but while talking like a Ferengi. Sources Add Eva's debut, I Wish You Would, on Goodreads! Listen to Katryn's burn-it-all-down Rage playlist on Spotify. Check out Eva's debut author headshot! Follow us on Instagram: @evadeslaurbooks @katrynwrites @writewhereithurtspod *Tune in next time for another episode powered by broken hearts, belly laughs (and bourbon). Don't forget to RATE, REVIEW, and SUBSCRIBE wherever you listen

Trevor Noah jokes about the little mermaid in his Netflix special, "I Wish You Would".

Surprise! This week, on a very special episode of (not Blossom, but) Write Where it Hurts, Eva talks about the daily process of navigating offers for HER DEBUT BOOK DEAL!!!! Recorded back when it happened, Katryn interviews Eva about ALL the feels and all the details that come along with this process--from acquisitions to accepting an offer and everything in between. Sources: Eva's deal announcement on Publisher's Weekly! Add Eva's debut, I WISH YOU WOULD, on Goodreads! Check out the Instagram celebration after Eva announces to the world! Follow us on Instagram: @evadeslaurbooks @katrynwrites @writewhereithurtspod *Tune in next Season for more episodes powered by broken hearts, belly laughs (and bourbon). Don't forget to RATE, REVIEW, and SUBSCRIBE wherever you listen.

Trevor Noah jokes about learning German in his Netflix Special, "I Wish You Would".

Sisters Who Saga (and their brother) continue their coverage of the Disney+ series "Willow." They get caught up on Sorcha's possible ulterior motivations, revel in Willow's continued comedy gold (Warwick Davis), and wonder what audience the show was intended for. Then the siblings discuss what has enchanted them this week, including Trevor Noah's Netflix special "I Wish You Would," the cinematic masterpiece "The Chipmunk Adventure," Netflix's "Lady Chatterley's Lover," Amazon Prime Video's "Three Pines," Netflix's "Wednesday," and ABC's "Alaska Daily."

如何评价Trevor Noah宣布退出“崔娃每日秀”后的第一个喜剧专场？ ｜本期人物｜ Trevor Noah Gabriel Iglesias (Fluffy) ｜时间轴｜ 01:27 在美国讲笑话的瑞士德国裔南非土著？什么是多文化背景Comedian？ 02:21 许愿太多导致新冠？崔娃Trevor Noah 2022最新专场《I Wish You Would》 08:44 史上最低分？崔娃被爆喷？ 16:15 墨西哥裔美国人！摩登家庭里的重量级角色如何称霸5万人的体育馆？ ｜歌单｜ In Jazz and Blues ｜制作｜ 策划/主播：肯尼 策划/后期/文案：布基 感谢收听，欢迎在评论区畅所欲言。

Some good news on the economy ahead of the holidays as the push to control inflation and soaring prices could be working—Tom Costello shares the latest. Also, a Virginia man accused of murdering the mother and grandparents of a teenage girl he met online after using a fake identity, now the victim's family speak out urging parents to know who their kids are talking to online. Plus, Trevor Noah in studio 1A to talk about his new Netflix comedy special “I Wish You Would” as he is set to end his 7 year run as a host of “The Daily Show.” And, Hoda kotb has a one on one with Dolly Parton to talk about her new Christmas special and more.

Justin and Micah open by discussing Trevor Noah and his newest standup special, ‘I Wish You Would' (4:23). Micah follows by explaining his viewing experience of ‘The White Lotus' (19:42). They continue with Justin describing Mario Lopez's career and his latest movie, ‘Stepping Into the Holidays,' and the world of evangelical Christmas movies (29:01). Hosts: Justin Charity and Micah Peters Associate Producer: Stefan Anderson Justin's list:  ‘Country Crush' (2016) ‘Believe' (2016) ‘A Christmas Hero' (2020) Learn more about your ad choices. Visit podcastchoices.com/adchoices

Trevor Noah jokes about acting too familiar in his Netflix special, "I Wish You Would".

On today's What to Watch: Kumail Nanjiana and Murray Bartlett star on in the Hulu limited series Welcome to Chippendales, about the rise of the '80s male strip group and behind-the-scenes drama that ended in murder. See which couple gets engaged and which couples go their separate ways on the season finale of Bachelor in Paradise. The Daily Show host Trevor Noah drops a new Netflix comedy special, I Wish You Would. Plus, Hollywood trivia and entertainment headlines, including Brandy's return to the world of Disney playing Cinderella again, Jeopardy! crowns its latest Tournament of Champions winner, and the death of Michael Myers stunt actor James Winburn. More at ew.com, ew.com/wtw, and @EW. Host/Producer: Gerrad Hall (@gerradhall); Producer: Ashley Boucher (@ashleybreports); Editor: Samee Junio (@it_your_sam); Writer: Calie Schepp; Executive Producer: Chanelle Johnson (@chanelleberlin). Learn more about your ad choices. Visit megaphone.fm/adchoices

01. Fed Up - ft. Usher, Young Jeezy, Rick Ross & Drake [0:00] 02. Bitches & Bottles [Let's Get It Started] - ft. Future, T.I. & Lil Wayne [2:40] 03. How Many Times - ft. Chris Brown, Lil Wayne & Big Sean [5:50] 04. Gold Slugs - ft. Chris Brown, August Alsina & Fetty Wap [8:57] 05. Take It To The Head - ft. Chris Brown, Rick Ross, Nicki Minaj & Lil Wayne [12:43] 06. I Wanna Be With You - ft. Nicki Minaj, Future & Rick Ross [16:27] 07. No New Friends - ft. Drake, Lil Wayne & Rick Ross [19:32] 08. I'm On One - ft. Drake, Rick Ross & Lil Wayne [23:30] 09. It Ain't Over Til It's Over - ft. Mary J. Blige, Fabolous & Jadakiss [27:29] 10. Brown Paper Bag - ft. Young Jeezy & Dre [Cool & Dre] [31:01] 11. I'm So Hood - ft. T-Pain, Trick Daddy, Rick Ross, Plies & Young Jeezy [32:06] 12. All I Do Is Win [Remix] - ft. T-Pain, Rick Ross, Busta Rhymes, Diddy, Nicki Minaj, Fabolous, Jadakiss, Fat Joe & Swizz Beatz [35:28] 13. Welcome To My Hood [Remix] - ft. T-Pain, Ludacris, Busta Rhymes, Fat Joe, Jadakiss, Bun B & Waka Flocka Flame [39:21] 14. I Got the Keys - ft. Jay-Z & Future [43:03] 15. Yellow Tape - ft. Fat Joe, Lil Wayne, A$AP Rocky & French Montana [45:59] 16. I Feel Like Pac / I Feel Like Biggie - ft. Diddy, Meek Mill, Rick Ross, T.I. & Swizz Beatz [49:28] 17. Foolish [Remix] - ft. Shawty Lo [R.I.P], Birdman, Rick Ross & Jim Jones [53:17] 18. I Did It For My Dawgz - ft. Rick Ross, Meek Mill, French Montana & Jadakiss [57:19] 19. They Don't Love You No More [Remix] - ft. Remy Ma, Jay-Z & French Montana [1:01:34] 20. Nas Album Done - ft. Nas [1:04:15] 21. Cold - ft. Kanye West [1:06:41] 22. I Wish You Would - ft. Kanye West & Rick Ross [1:08:54] 23. Never Surrender - ft. Scarface, Jadakiss, Meek Mill, John Legend, Anthony Hamilton & Akon [1:11:21] 24. You Mine - ft. Trey Songz, Jeremih & Future [1:16:40] 25. Hold U Down - ft. Chris Brown, August Alsina, Future & Jeremih [1:19:40] 26. Rockin' That Shit [Remix] - ft. The-Dream, Fabolous, Juelz Santana, Ludacris & Rick Ross [1:22:59] 27. It's On - ft. R. Kelly & Ace Hood [1:27:14]

This week Kait and Sam discuss Taylor Swift not performing the Super Bowl Halftime Show. Then they head back into the 1989 era with I Wish You Would. What do Sam and Jason think? Is it a bop? Is it a flop? Tune in and find out! 

So many sixes! It's the sixth episode of the sixth season and the 36th episode overall—and it's the final episode of the season on top of all of that. In this extremely momentous episode, Kevin welcomes old friend and Taylor Swift Subject Matter Expert Juliana O'Callaghan to the show—a Taylor-cast, if you will, where the two do an extremely deep dive on a selection of Swift's music, from the beginning of her career up through 2020's Evermore.     For more information about the "award winning" music criticism site, Anhedonic Headphones, click here   Episode Musical Credits Opening Theme Music- "Flava In Ya Ear" (Instrumental); written by Osten Harvey Jr, Craig Mack, Roger Nichols, and Paul Williams. Bad Boy Records, 1994. Closing Theme Music - "Feelin'"; written by Rashad Harden. Hyperdub Records, 2013.   "The Archer," written by Taylor Swift and Jack Antonoff; performed by Taylor Swift. Lover, Republic, 2019. "Closure," written by Taylor Swift and Aaron Dessner; performed by Taylor Swift. Evermore, Republic, 2020. "I Wish You Would," written by Taylor Swift and Jack Antonoff; performed by Taylor Swift. 1989, Big Machine, 2014. "Cardigan," written by Taylor Swift and Aaron Dessner; performed by Taylor Swift. Folklore, Republic, 2020. "Cold as You," written by Taylor Swift and Liz Rose; performed by Taylor Swift. Taylor Swift, Big Machine, 2006. "I Almost Do (Taylor's Version)," written and performed by Taylor Swift. Red (Taylor's Version), Republic, 2021. "Call it What You Want," written by Taylor Swift and Jack Antonoff; performed by Taylor Swift. Reputation, Big Machine, 2017. "Out of The Woods," written by Taylor Swift and Jack Antonoff; performed by Taylor Swift. 1989, Big Machine, 2014. "This is Me Trying," written by Taylor Swift and Jack Antonoff; performed by Taylor Swift. Folklore, Republic, 2020. "Hoax," written by Taylor Swift and Aaron Dessner; performed by Taylor Swift. Folklore, Republic, 2020. "Coney Island," written by Taylor Swift, Joe Alwyn, Aaron Dessner, and Bryce Dessner; performed by Taylor Swift featuring The National. Evermore, Republic, 2020.

In this episode we chat about "I Wish You Would" from Taylor's album "1989." We talk about how much we love this song and how amazing a collaborator Jack Antonoff is. Gossip Gab goes into who this song might be about, and how the song began!Hosts: Devin and GabSound Design: Devin Johnson-Nieporent and Peter Leigh-NilsenTheme Song: Devin Johnson-Nieporent, Peter Leigh-Nilsen, and Eric JohnsonThank you to our Patrons!Ashley Shawn, Ingunn Markiewicz, Jordan Nash, Marcia Lane-McGee, Caroline Francois, Jessica Hutter, Eoin Macken, Cally I, Emily Hugo, Hilary Davies, Brittany Perlmuter, Kaitlyn Carlton, Alan Bass, Jessi Sanders, Blue Magnetic Night, Mona N.J, Valentina Paredes, Jessica Parham, Heather Teig, Brittany Super, Dana Meyerson, Ashley Moore, Maura Sabini, Kylie Seaton, Katie Macqueen.Support the show (https://www.patreon.com/taytozpodcast)

Billy Boy Arnold joins me on episode 53.Today we have a little part of blues harmonica history, as Billy lived through the heyday of the blues in Chicago and was a peer of the many great players at the time, being born just five years after Little Walter himself. He took a couple of lessons with John Lee Williamson, aka SBWI, at just 12 years of age. Billy released his first record at the age of 17 and then went on to release two songs with Bo Diddley, including coming up with possibly the most well known harmonica riff ever on I'm A Man. Shortly afterwards Billy went on to record his harmonica classic, I Wish You Would. Billy took some time off from touring for a few years before he came back strong with two albums released through Alligator records in the 1990s. He has continued to record and release great albums until recently, and his passion for the harmonica is as infectious as ever after over 70 years of playing.Links:Discography:https://www.wirz.de/music/arnoldbb.htmMore Blues On The South Side album:https://www.youtube.com/watch?v=ML3xmmjhItUThe Blues Dream of Billy Boy Arnold book (by Kim Field):https://press.uchicago.edu/ucp/books/book/chicago/B/bo119945396.htmlKim Field website:https://www.kimfield.comVideos:Tom Jones playing I Wish You Would live:https://www.youtube.com/watch?v=5CgmJgQzcrIAmerican Blues Legends Tour 1975:https://www.youtube.com/watch?v=xvUa_56XysMStudio recording of song from SBWI album:https://www.youtube.com/watch?v=BmqHIjTenHwJohn Peel session with BBC from 1977:https://www.youtube.com/watch?v=tAL-0nwbzZ8Three Harp Boogie song with James Cotton and Paul Butterfield:https://www.youtube.com/watch?v=GkHchw-sHzkPodcast website:https://www.harmonicahappyhour.comDonations: If you want to make a voluntary donation to help support the running costs of the podcast then please use this link (or visit the podcast website link above):https://paypal.me/harmonicahappyhour?locale.x=en_GBAlso check out the Spotify Playlist, which contains many of the songs discussed in the podcast:https://open.spotify.com/playlist/5QC6RF2VTfs4iPuasJBqwT?si=M-j3IkiISeefhR7ybm9qIQ

On this episode we get to know Coach E the guys talk about what they did this Halloween and old memories of what they did when they were younger. We also catch up on what is going on with Bedford Bearcat football team. The coaches dive into the Browns loss to the Steelers and where they think the Browns go from here. Coach E and "The Grown Ass Man" dive deep into the OBJ Sr. video that he posted on Instagram about Baker Mayfield not throwing to OBJ Jr. What will happen to their relationship after this? In the post game word Coach E talks to us about "I Wish You Would "

It's CAREER WEEK on THE SWIRL! And we've got a music-filled, jam-packed piece of entertainment for your podcast-listening joys. We start with some follow-up plans and strategies from our very popular AAPI Checki-In Emergency podcast with Erin Quill & Pearl Sun – just because it isn't in the news, doesn't mean it isn't happening. Then it's time for a quick “Vaccination Update” and a new stab at a new jingle. (Get vaccinated, everybody!) This week's THIS WEEK IN GAGGERY is next, with a shout-out to our sister Chantal Nchako's gag-worthy shoe line CHOOBIZ (www.chantalnhako.com), before launching into our discussion of our careers, the navigation of their twists and turns, and how Swirly racial dynamics played a role even in the best of recent times. Then, in a far-reaching, freewheeling interview, the great singer-songwriter Morgan James talks us through her journey to the center of Broadway, Motown The Musical, Sony Music, Singer/Songwriter Recording Artist for LA Reid, and Producer and Star of the all-female “Jesus Christ Superstar,” punctuated by some choice music excerpts you will not wanna miss. Pick up Morgan's latest album “Memphis Magnetic,” “Quarantunes,” on her YouTube channel, or on every platform from her website, www.morganjamesonline.com. You are so very welcome. Songs by Morgan excerpted on this podcast: “I Wish You Would,” “You Know My Name,” and “I Don't Mind Waking Up (To A Love This Good”) With Ryan Shaw; and excerpts from “Jesus Christ Superstar, She Is Risen”, music by Andrew Lloyd Webber, lyrics by Tim Rice: “Simon Zealots,” and “Gethsemane." Enjoy this very special musical episode, and… you know the rest. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/david-goldsmith/support

This week, Gabrielle Owen joins hosts Daniel, Emily and Raphe to evaluate the lauded album 1989. Songs discussed: Welcome to New York; Blank Space; Style; Out of the Woods; All You Had to Do Was Stay; Shake It Off; I Wish You Would; Bad Blood; Wildest Dreams; How You Get the Girl; This Love; I Know Places; Clean

In this chonky, wilful episode of STAB!, human participation ribbon and host Jesse Jones welcomes the most adorable panel of Becky Lynn, Emma Haney & Jack Brown to share with the world their three different takes on FCCC, nine Biden presidency prediction Haiku, closing arguments in defense of someone who just replies “k” to your … Continue reading »

Episode 005:  Nerd Skool:  Incredible Hulk Part 1:  I Wish You Would.  This week we begin on 2008’s Incredible Hulk starring Ed Norton and Liv Tyler.  Artstar expresses his disdain for Liv Tyler.  We discuss why Ed Norton was booted from the MCU, Hulk movie confusion, the terms “Requels” and “Easter Chicken”, Stan Lee cameos and Tiffany confirms her badassery. Part of the Queen City Podcast Network: www.queencitypodcastnetwork.com. Music by DJones. Buy his music here:  https://djoneshiphop.bandcamp.com/

Morgan James (morganjamesonline.com)(IG:@morganajames) Let’s start with the voice, an instrument through which she can communicate anything. A gift bestowed upon her that she has expertly trained, meticulously nurtured, and passionately galvanized into action by an urgency to make real music. Next, the stories, and she has them in spades. They are full of truth and beauty, heartache and thoughtfulness. They reveal colors we weren’t expecting to see. They make us close our eyes and relate. And finally, the soul – the emotional and intellectual energy through which these parts are fueled. That special something that prompted The Wall Street Journal to herald her as "the most promising young vocalist to come along so far this century." That young vocalist is Morgan James. And Morgan James is a soul singer.Armed with her dedication to create authentic soul music, James and her husband Doug Wamble, her producer, co-writer and arranger, spent months writing twelve new songs in New York City. “Doug and I have always wanted to make a classic record like this,” she says. “Doug is originally from Memphis and we are both so inspired by the roots of classic soul music. Being entrenched in a place like that really informs everything you make there.” So, instead of recording in New York, she aimed straight for the source and booked a week at a new music studio in Memphis, at the recommendation of drummer George Sluppick. She immediately connected with the space: Memphis Magnetic, a renovated old bank transformed into a classic recording studio, decked out with a collection of vintage Nashville gear by owner Scott McEwen. The space exemplified exactly what James wanted her album to be: something new through the prism of something old. She and Wamble assembled a group of local musicians, including Sluppick, organist Al Gamble, bassist Landon Moore, and pianist Alvie Givhan. They tapped legendary Memphis musicians Reverend Charles Hodges and Leroy Hodges, who were the backbone of the Hi Records rhythm section, which played with Al Green and Ann Peebles, to contribute to two tracks. And finally, the team was rounded out with a classic Memphis horn section, plus the amazing Memphis String Quartet.“What I’ve learned over the years is to hire great people and let them do what they do best,” says James. “We came in with all the music charted and ready, and left space for people to be themselves and infuse it with their own magic. I really wanted every single person involved in the album to be from Memphis and to channel the great albums I admire so much. From every end of the spectrum, in every department, it felt like the right people.”   The entire album was recorded to analog tape, a first for James. She wanted to be less precious about the process overall and to capture the same invigorated feeling as her live performances. Much of the album comes from single, complete takes, giving it a vibrant, in-the-moment sensibility. The songs on the album range in tone, but there’s a hopeful, life-affirming feeling that threads through the tracks. The playful “I Wish You Would” takes its cues from “Mr. Big Stuff,” while “All I Ever Gave You” looks back on losing someone after endless sacrifices. The album also features two duets, another first for James, with Marc Broussard and three-time Grammy nominee Ryan Shaw. The collaboration with Shaw, “I Don’t Mind Waking Up (To A Love This Good)” is the first single and a song James calls one of her favorites she’s ever written. And a standout moment comes on the closing track “Who’s Going to Listen To You? (When You’re Crying Now),” a song James and Wamble wrote with lyrics from a poem by Spin Doctors’ lead singer Chris Barron. It creates a poignant and heart-wrenching final note for the album, a collection of genuine, satisfying songs that embrace the best of American songwriting. The experience was so inspiring and affirming that James ended up titling the album Memphis Magnetic after the studio where it was made (an homage to Jimi Hendrix and his Electric Ladyland). For James, Memphis Magnetic is the culmination of a life-long love affair with music. She grew up listening to everyone from Joni Mitchell to Paul Simon to Prince to Aretha Franklin, cultivating an insatiable love for strong songwriters. After graduating from The Juilliard School with a classical music degree, and performing in the original companies of four Broadway productions, James began writing and recording her own music. Meeting her mentor Berry Gordy, Jr. led to a record deal at Epic Records, where she recorded and released her solo album Hunter in 2014. In addition to her studio albums, James recorded and released a full album cover of Joni Mitchell’s seminal Blue as well as The Beatles’ White Album in 2018 to celebrate the 50th anniversary. Through her unique and varied career, there have been many ups and downs, but James cites her failures as more important than her successes in shaping the artist she is today.After her tenure with Epic Records, she took charge of her career from the business side as well. She cultivated a new world of fans with her viral YouTube videos, and while connecting with them on social media and at her live shows, she found the support and strength to go out on her own as an independent artist. Over the last several years, James has built her own empire and established herself as a touring powerhouse, allowing her to raise the funds to create her albums and make every decision from the ground up.“This album feels so unburdened by anybody or anything. All of the songs were written for this project. They were recorded in the same way, in the same room. It’s a moment in time captured. I felt like I was a part of the lineage of soul music. My guiding force throughout the record was ‘What would Aretha say? What would Otis say?’ It’s not a retro album or a throwback by any means. This album is me: classic elements, timeless melodies, and lyrics from my soul and experience. We need that right now. We need real music now more than ever.”

Morgan James (morganjamesonline.com)(IG:@morganajames) Let’s start with the voice, an instrument through which she can communicate anything. A gift bestowed upon her that she has expertly trained, meticulously nurtured, and passionately galvanized into action by an urgency to make real music. Next, the stories, and she has them in spades. They are full of truth and beauty, heartache and thoughtfulness. They reveal colors we weren’t expecting to see. They make us close our eyes and relate. And finally, the soul – the emotional and intellectual energy through which these parts are fueled. That special something that prompted The Wall Street Journal to herald her as "the most promising young vocalist to come along so far this century." That young vocalist is Morgan James. And Morgan James is a soul singer.Armed with her dedication to create authentic soul music, James and her husband Doug Wamble, her producer, co-writer and arranger, spent months writing twelve new songs in New York City. “Doug and I have always wanted to make a classic record like this,” she says. “Doug is originally from Memphis and we are both so inspired by the roots of classic soul music. Being entrenched in a place like that really informs everything you make there.” So, instead of recording in New York, she aimed straight for the source and booked a week at a new music studio in Memphis, at the recommendation of drummer George Sluppick. She immediately connected with the space: Memphis Magnetic, a renovated old bank transformed into a classic recording studio, decked out with a collection of vintage Nashville gear by owner Scott McEwen. The space exemplified exactly what James wanted her album to be: something new through the prism of something old. She and Wamble assembled a group of local musicians, including Sluppick, organist Al Gamble, bassist Landon Moore, and pianist Alvie Givhan. They tapped legendary Memphis musicians Reverend Charles Hodges and Leroy Hodges, who were the backbone of the Hi Records rhythm section, which played with Al Green and Ann Peebles, to contribute to two tracks. And finally, the team was rounded out with a classic Memphis horn section, plus the amazing Memphis String Quartet.“What I’ve learned over the years is to hire great people and let them do what they do best,” says James. “We came in with all the music charted and ready, and left space for people to be themselves and infuse it with their own magic. I really wanted every single person involved in the album to be from Memphis and to channel the great albums I admire so much. From every end of the spectrum, in every department, it felt like the right people.”   The entire album was recorded to analog tape, a first for James. She wanted to be less precious about the process overall and to capture the same invigorated feeling as her live performances. Much of the album comes from single, complete takes, giving it a vibrant, in-the-moment sensibility. The songs on the album range in tone, but there’s a hopeful, life-affirming feeling that threads through the tracks. The playful “I Wish You Would” takes its cues from “Mr. Big Stuff,” while “All I Ever Gave You” looks back on losing someone after endless sacrifices. The album also features two duets, another first for James, with Marc Broussard and three-time Grammy nominee Ryan Shaw. The collaboration with Shaw, “I Don’t Mind Waking Up (To A Love This Good)” is the first single and a song James calls one of her favorites she’s ever written. And a standout moment comes on the closing track “Who’s Going to Listen To You? (When You’re Crying Now),” a song James and Wamble wrote with lyrics from a poem by Spin Doctors’ lead singer Chris Barron. It creates a poignant and heart-wrenching final note for the album, a collection of genuine, satisfying songs that embrace the best of American songwriting. The experience was so inspiring and affirming that James ended up titling the album Memphis Magnetic after the studio where it was made (an homage to Jimi Hendrix and his Electric Ladyland). For James, Memphis Magnetic is the culmination of a life-long love affair with music. She grew up listening to everyone from Joni Mitchell to Paul Simon to Prince to Aretha Franklin, cultivating an insatiable love for strong songwriters. After graduating from The Juilliard School with a classical music degree, and performing in the original companies of four Broadway productions, James began writing and recording her own music. Meeting her mentor Berry Gordy, Jr. led to a record deal at Epic Records, where she recorded and released her solo album Hunter in 2014. In addition to her studio albums, James recorded and released a full album cover of Joni Mitchell’s seminal Blue as well as The Beatles’ White Album in 2018 to celebrate the 50th anniversary. Through her unique and varied career, there have been many ups and downs, but James cites her failures as more important than her successes in shaping the artist she is today.After her tenure with Epic Records, she took charge of her career from the business side as well. She cultivated a new world of fans with her viral YouTube videos, and while connecting with them on social media and at her live shows, she found the support and strength to go out on her own as an independent artist. Over the last several years, James has built her own empire and established herself as a touring powerhouse, allowing her to raise the funds to create her albums and make every decision from the ground up.“This album feels so unburdened by anybody or anything. All of the songs were written for this project. They were recorded in the same way, in the same room. It’s a moment in time captured. I felt like I was a part of the lineage of soul music. My guiding force throughout the record was ‘What would Aretha say? What would Otis say?’ It’s not a retro album or a throwback by any means. This album is me: classic elements, timeless melodies, and lyrics from my soul and experience. We need that right now. We need real music now more than ever.”

Kings Of The Blues : Elmore James - "Dust My Broom" Billy Boy Arnold - "I Wish You Would" Freddy King - "Sa-Ho-Zay" George Butler - "Open Up Baby" Frank Frost - "My Back Scratcher" Lowell Fulson - "Thug" Guitar Junior - "The Crawl" John Lee Hooker - "I Love You Honey" Jerry McCain - "Honky Tonk" Little Joe Blue - "Loose Me" Albert King - "Born Under A Bad Sign" Shuggie Otis - "Hideaway" Jimmy Reed - "I Ain't Got You" Fenton Robinson - "Somebody Loan Me A Dime" little Johnny Taylor - "Part Time Love" Ted Taylor - "I Need Your Love So Bad" Revenge A Tribute To Jimi Hendrix : John Lee Hooker - "Red House" Triad - "Message To Love" Phenomenon - "Purple Haze" Escuchar audio

I Wish You Would #001: Jared and Nathan start off the new off week bonus episodes with a decision between a urination trap vs a penis ring toss game.   Follow us: Network: forgeaudio.net Patreon: patreon.com/hihungrypodcast Website: hihungrypodcast.com FB: www.facebook.com/hihungrypodcast/ Twitter: @hihungrypodcast IG: @hihungrypodcast Merch: forgeaudio.net/merch

Welcome to episode thirty of A History of Rock Music in Five Hundred Songs. This is the last of our three-part look at Chess Records, and focuses on “Bo Diddley” by Bo Diddley. Click the full post to read liner notes, links to more information, and a transcript of the episode.  —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.I accidentally used a later rerecording of “I Wish You Would” by Billy Boy Arnold on the playlist, but I use the correct version in the podcast itself. Sorry about that. As this is part three of the Chess Records trilogy, you might want to listen to part one, on the Moonglows, and part two, on Chuck Berry, if you haven’t already. Along with the resources mentioned in the previous two episodes, the resource I used most this time was Bo Diddley: Living Legend by George R. White, a strong biography told almost entirely in Diddley’s own words from interviews, and the only full-length book on Diddley. This compilation contains Diddley’s first six albums plus a bunch of non-album and live tracks, and has everything you’re likely to want by Diddley on it, for under ten pounds. If you want to hear more Muddy Waters after hearing his back-and-forth with Diddley, this double CD set is a perfect introduction to him. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to the final part of our trilogy about Chess Records. Last week, we looked at Chuck Berry. This week, we’re going to deal with someone who may even have been more important. One of the many injustices in copyright law — and something that we’ll have a lot of cause to mention during the course of this series — is that, for the entire time period covered by this podcast, it was impossible to copyright a groove or a rhythm, but you could copyright a melody line and lyric. And this has led to real inter-racial injustice. In general, black musical culture in the USA has emphasised different aspects of musical invention than white culture has. While white American musical culture — particularly *rich* white musical culture — has stressed inventive melodies and harmonic movement — think of, say, Burt Bacharach or George Gershwin — it has not historically stressed rhythmic invention. On the other hand, black musical culture has stressed that above everything else — you’ll notice that all the rhythmic innovations we’ve talked about in this series so far, like boogie woogie, and the backbeat, and the tresillo rhythm, all came from black musicians. That’s not, of course, to say that black musicians can’t be melodically inventive or white musicians rhythmically — I’m not here saying “black people have a great sense of rhythm” or any of that racist nonsense. I’m just talking about the way that different cultures have prioritised different things. But this means that when black musicians have produced innovative work, it’s not been possible for them to have any intellectual property ownership in the result. You can’t steal a melody by Bacharach, but anyone can play a song with a boogie beat, or a shuffle, or a tresillo… or with the Bo Diddley beat. [Very short excerpt: “Bo Diddley”, Bo Diddley] Elias McDaniel’s distinctive sound came about because he started performing so young that he couldn’t gain entrance to clubs, and so he and his band had to play on street corners. But you can’t cart a drum kit around and use it on the streets, so McDaniel and his band came up with various inventive ways to add percussion to the act. At first, they had someone who would come round with a big bag of sand and empty it onto the pavement. He’d then use a brush on the sand, and the noise of the brushing would provide percussion — at the end of the performance this man, whose name was Sam Daniel but was called Sandman by everyone, would sweep all the sand back up and put it back into his bag for the next show. Eventually, though, Sandman left, and McDaniel hit on the idea of using his girlfriend’s neighbour Jerome Green as part of the act. We heard Jerome last week, playing on “Maybellene”, but he’s someone who there is astonishingly little information about. He doesn’t even have a Wikipedia page, and you’ll find barely more than a few paragraphs about him online. No-one even knows when he was born or died – *if* he died, though he seems to have disappeared around 1972. And this is quite astonishing when you consider that Green played on all Bo Diddley’s classic records, and sang duet on a few of the most successful ones, *and* he played on many of Chuck Berry’s, and on various other records by Willie Dixon, Otis Spann, the Moonglows… yet when you Google him, the third hit that comes up is about Robson Green and Jerome Flynn, a nineties soft-pop duo who span out of a soap opera. At first, Jerome’s job was to pass the hat around and collect the money, but McDaniel decided to build Jerome a pair of maracas, and teach him how to play. And he learned to play very well indeed, adding a Latin sound to what had previously been just a blues band. Jerome’s maracas weren’t the only things that Elias McDaniel built, though. He had a knack for technology, though he was always rather modest about his own abilities. He built himself one of the very first tremelo systems for a guitar, making something out of old car bits and electronic junk that would break the electronic signal up. Before commercial tremelo systems existed, McDaniel was the only one who could make his guitar sound like that. The choppy guitar, with its signal breaking up deliberately, and the maracas being shook frantically, gave McDaniel’s music a rhythmic drive unlike anything else in rock and roll. McDaniel and his band eventually got their music heard by Leonard Chess at Chess Records. Chess was impressed by a song called “Uncle John”, which had lyrics that went “Uncle John’s got corn ain’t never been shucked/Uncle John’s got daughters ain’t never been… to school”; but he said the song needed less salacious lyrics, and he suggested retitling it “Bo Diddley”, which also became the stage name of the man who up until now had been called Elias McDaniel. The new lyrics were inspired by the black folk song “Hambone”, which a few years earlier had become a novelty hit: [Excerpt: “Hambone”, Red Saunders Orchestra with the Hambone Kids] Now, I have to be a bit careful here, because here I’m talking about something that’s from a different culture from my own, and my understanding of it is that of an outsider. To *me*, “Hambone” seems to be a unified thing that’s part song, part dance, part game. But my understanding may be very, very flawed, and I don’t want to pretend to knowledge I don’t have. But this is my best understanding of what “Hambone” is. “Hambone”, like many folk songs, is not in itself a single song, but a collection of different songs with similar elements. The name comes from a dance which, it is said, dates back to enslaved people attempting to entertain themselves. Slaves in most of the US were banned from using drums, because it was believed they might use them to send messages to each other, so when they wanted to dance and sing music, they would slap different parts of their own bodies to provide percussive accompaniment. Now, I tend to be a little dubious of narratives that claim that aspects of twentieth-century black culture date back to slavery or, as people often claim, to Africa. A lot of the time these turn out to be urban myths of the “ring a ring a roses is about the bubonic plague” kind. One of the real tragedies of slavery is that the African culture that the enslaved black people brought over to the US was largely lost in the ensuing centuries, and so there’s a very strong incentive to try to find things that could be a continuation of that. But that’s the story around “Hambone”, which is also known as the “Juba beat”. Another influence Diddley would always cite for the lyrical scansion is the song “Hey Baba Reba”, which he would usually misremember as having been by either Cab Calloway or Louis Jordan, but was actually by Lionel Hampton: [Excerpt: Lionel Hampton, “Hey Baba Reba”] But the important thing to note is that the rhythm of all these records is totally different from the rhythm of the song “Bo Diddley”. There’s a bit of misinformation that goes around in almost every article about Diddley, saying “the Bo Diddley beat is just the ‘Hambone’ beat”, and while Diddley would correct this in almost every interview he ever gave, the misinformation would persist — to the point that when I first heard “Hambone” I was shocked, because I’d assumed that there must at least have been some slight similarity. There’s no similarity at all. And that’s not the only song where I’ve seen claims that there’s a Bo Diddley beat where none exists. As a reminder, here’s the actual Bo Diddley rhythm: [Very short excerpt: Bo Diddley, “Bo Diddley”] Now the PhD thesis on the development of the backbeat which I talked about back in episode two claims that the beat appears on about thirteen records before Diddley’s, mostly by people we’ve discussed before, like Louis Jordan, Johnny Otis, Fats Domino, and Roy Brown. But here’s a couple of examples of the songs that thesis cites. Here’s “Mardi Gras in New Orleans” by Fats Domino: [Excerpt: “Mardi Gras in New Orleans, Fats Domino] And here’s “That’s Your Last Boogie”, by Joe Swift, produced by Johnny Otis: [Excerpt: Joe Swift, “That’s Your Last Boogie”] As you can hear, they both have something that’s *sort of* the Bo Diddley beat, but not really, among their other rhythms. It’s most notable at the very start of “That’s Your Last Boogie” [Intro: “That’s Your Last Boogie”] That’s what’s called a clave beat — it’s sort of like the tresillo, with an extra bom-bom on the end. Bom bom-bom, bom-bom. That’s not the Bo Diddley beat. The Bo Diddley beat actually varies subtly from bar to bar, but it’s generally a sort of chunk-a chunk-a-chunk a-chunk a-chunk ah. It certainly stresses the five beats of the clave, but it’s not them, and nor is it the “shave and a haircut, two bits” rhythm other people seem to claim for it. Most ridiculously, Wikipedia even claims that the Andrews Sisters’ version of Lord Invader’s great calypso song, “Rum and Coca Cola”, has the Bo Diddley beat: [Excerpt: “Rum and Coca Cola”, the Andrews Sisters] Both records have maracas, but that’s about it. Incidentally, that song was, in the Andrews Sisters version, credited to a white American thief rather than to the black Trinidadian men who wrote it. Sadly appropriate for a song about the exploitation of Trinidadians for “the Yankee dollar”. But none of these records have the Bo Diddley beat, despite what anyone might say. None of them even sound very much like Diddley’s beat at all. The origins of the Bo Diddley beat were, believe it or not, with Gene Autry. We’ve talked before about Autry, who was the biggest Western music star of the late thirties and early forties, and who inspired all sorts of people you wouldn’t expect, from Les Paul to Hank Ballard. But Diddley hit upon his rhythm when trying to play Autry’s “I’ve Got Spurs That Jingle Jangle Jingle”. [excerpt, Gene Autry, “I’ve Got Spurs that Jingle Jangle Jingle”] No, I don’t see the resemblance either. But this ties back into what we were talking about last week, with the influence of country musicians on the blues and R&B musicians at Chess. And if you become familiar with his later work, it becomes clear that Diddley truly loved the whole iconography of the Western, and country music. He did albums called “Have Guitar Will Travel” (named after the Western TV show “Have Gun Will Travel”) and “Bo Diddley is a Gunslinger”. Diddley’s work is rooted in black folklore — things like hambone, but also the figure of Stagger Lee and other characters like the Signifying Monkey — but it should be understood that black American folklore has always included the image of the black cowboy. The combination of these influences – the “Hambone” lyrical ideas, the cowboy rhythm, and the swaggering character Diddley created for himself – became this: [Excerpt: “Bo Diddley” by Bo Diddley] The B-side to the record, meanwhile, was maybe even more important. It’s also an early example of Diddley *not* just reusing his signature rhythm. The popular image of Diddley has him as a one-idea artist remaking the same song over and over again — and certainly he did often return to the Bo Diddley beat — but he was a far more interesting artist than that, and recorded in a far wider variety of styles than you might imagine. And in “I’m A Man” he took on another artist’s style, beating Muddy Waters at his own game. “I’m A Man” was a response to Waters’ earlier “Hoochie Coochie Man”: [Excerpt: “Hoochie Coochie Man”, Muddy Waters] “Hoochie Coochie Man” had been written for Muddy Waters by Willie Dixon and was, as far as I can tell, the first blues record ever to have that da-na-na na-na riff that later became the riff that for most people defines the blues. “Hoochie Coochie Man” had managed to sum up everything about Waters’ persona in a way that Waters himself had never managed with his own songs. It combined sexual braggadocio with hoodoo lore — the character Waters was singing in was possessed of supernatural powers, from the day he was born, and he used those powers to “make pretty women jump and shout”. He had a black cat bone, and a mojo, and a John the Conqueror root. It was a great riff, and a great persona, and a great record. But it was still a conventionally structured sixteen-bar blues, with the normal three chords that almost all blues records have. But Bo Diddley heard that and decided that was two chords too many. When you’ve got a great riff, you don’t *need* chord changes, not if you can just hammer on that riff. So he came up with a variant of Dixon’s song, and called it “I’m a Man”. In his version, there was only the one chord: [Excerpt: Bo Diddley, “I’m a Man”] Willie Dixon guested on bass for that song, as it wasn’t felt that Diddley’s own bass player was getting the feeling right. There were also some changes made to the song in the studio — as Diddley put it later: “They wanted me to spell ‘man’, but they weren’t explaining it right. They couldn’t get me to spell ‘man’. I didn’t understand what they were talking about!” But eventually he did sing that man is spelled m-a-n, and the song went on to be covered by pretty much every British band of the sixties, and become a blues standard. The most important cover version of it though was when Muddy Waters decided to make his own answer record to Diddley, in which he stated that *he* was a man, not a boy like Diddley. Diddley got a co-writing credit on this, though Willie Dixon, whose riff had been the basis of “I’m a Man”, didn’t. [Excerpt: Muddy Waters, “Mannish Boy”] And then there was Etta James’ answer record, “W.O.M.A.N.”, which once again has wild west references in it: [Excerpt: Etta James, “W.O.M.A.N.”] And that… “inspired” Jerry Leiber and Mike Stoller to write this for Peggy Lee: [Excerpt: Peggy Lee, “I’m A Woman”] Of course, none of those records, except Muddy Waters’, gave Bo Diddley a writing credit, just as Diddley didn’t credit Dixon for his riff. At the same session as the single was recorded, Diddley’s harmonica player, Billy Boy Arnold, recorded a single of his own, backed by Diddley and his band. “I’m Sweet on you Baby” wasn’t released at the time, but it’s a much more straightforward blues song, and more like Chess’ normal releases. Chess were interested in making more records with Arnold, but we’ll see that that didn’t turn out well: [Excerpt: Billy Boy Arnold, “I’m Sweet on you Baby”] Despite putting out a truly phenomenal single, Diddley hit upon a real problem with his career, and one that would be one of the reasons he was never as popular as contemporaries like Chuck Berry. The problem, at first, looked like anything but. He was booked on the Ed Sullivan Show to promote his first single. The Ed Sullivan Show was the biggest TV show of the fifties and sixties. A variety show presented by the eponymous Sullivan, who somehow even after twenty years of presenting never managed to look or sound remotely comfortable in front of a camera, it was the programme that boosted Elvis Presley from stardom to superstardom, and which turned the Beatles from a local phenomenon in the UK and Europe into the biggest act the world had ever seen. Getting on it was the biggest possible break Diddley could have got, and it should have made his career. Instead, it was a disaster, all because of a misunderstanding. At the time, the country song “Sixteen Tons” by Tennessee Ernie Ford was a big hit: [Excerpt: “Sixteen Tons”, Tennessee Ernie Ford] Diddley liked the song — enough that he would later record his own version of it: [Excerpt: Bo Diddley, “Sixteen Tons”] And so he was singing it to himself in his dressing room. One of the production staff happened to walk past and hear him, and asked if he could perform that song on the show. Diddley assumed he was being asked if he would do it as well as the song he was there to promote, and was flattered to be asked to do a second song. [Excerpt: Ed Sullivan introducing “Dr Jive”, with all the confusion about what words he’s using] When he got out on to the stage he saw the cue card saying “Bo Diddley Sixteen Tons”, assumed it meant the song “Bo Diddley” followed by the song “Sixteen Tons”, and so he launched into “Bo Diddley”. After all, why would he go on the show to promote someone else’s record? He was there to promote his own debut single. So of course he was going to play it. This was not what the production person had intended, and was not what Ed Sullivan wanted. Backstage, there was a confrontation that got so heated that Diddley had to be physically restrained from beating Sullivan with his guitar after Sullivan called Diddley a “black boy” (according to Diddley, “black” at that time and in that place, was a racial slur, though it’s the polite term to use today). Sullivan yelled and screamed at Diddley and told him he would be blacklisted from network TV, and would certainly never appear on Sullivan’s show again under any circumstances. After that first TV appearance, it would be seven years until Diddley’s second. And unlike all his contemporaries he didn’t even get to appear in films. Even Alan Freed, who greatly respected Diddley and booked him on his live shows, and who Diddley also respected, didn’t have him appear in any of the five rock and roll films he made. As far as I can tell, the two minutes he was on the Ed Sullivan show is the only record of Bo Diddley on film or video from 1955 through 1962. And this meant, as well, that Chess put all their promotional efforts behind Chuck Berry, who for all his faults was more welcome in the TV studios. If Diddley wanted success, he had to let his records and live performances do the work for him, because he wasn’t getting any help from the media. Luckily, his records were great. Not only was Diddley’s first hit one of the great two-sided singles of all time, but his next single was also impressive. The story of “Diddley Daddy” dates back to one of the white cover versions of “Bo Diddley”. Essex Records put out this cover version by Jean Dinning, produced by Dave Miller, who had earlier produced Bill Haley and the Comets’ first records: [Excerpt: Jean Dinning, “Bo Diddley”] And, as with Georgia Gibbs’ version of “Tweedle Dee”, the record label wanted to make the record sound as much like the original as possible, and so tried to get the original musicians to play on it, and made an agreement with Chess. They couldn’t get Bo Diddley himself, and without his tremelo guitar it sounded nothing like the original, but they *did* get Willie Dixon on bass, Diddley’s drummer Clifton James (who sadly isn’t the same Clifton James who played the bumbling sheriff in “Live and Let Die” and “Superman II”, though it would be great if he was), and Billy Boy Arnold on harmonica. But Billy Boy Arnold made the mistake of going to Chess and asking for the money he was owed for the session. Leonard Chess didn’t like when musicians wanted paying, and complained to Bo Diddley about Arnold. Diddley told Arnold that Chess wasn’t happy with him, and so Arnold decided to take a song he’d written, “Diddy Diddy Dum Dum”, to another label rather than give it to Chess. He changed the lyrics around a bit, and called it “I Wish You Would”: [Excerpt: Billy Boy Arnold, “I Wish You Would”] Arnold actually recorded that for Vee-Jay Records on the very day that Bo Diddley’s second single was due to be recorded, and the Diddley session was held up because nobody knew where Arnold was. They eventually found him and got him to Diddley’s session — where Diddley started playing “Diddy Diddy Dum Dum”. Leonard Chess suggested letting Arnold sing the song, but Arnold said “I can’t — I just recorded that for VeeJay”, and showed Chess the contract. Diddley and Harvey Fuqua, who was there to sing backing vocals with the rest of the Moonglows, quickly reworked the song. Arnold didn’t want to play harmonica on something so close to a record he’d just made, though he played on the B-side, and so Muddy Waters’ harmonica player Little Walter filled in instead. The new song, entitled “Diddley Daddy”, became another of Diddley’s signature songs: [Excerpt: Bo Diddley, “Diddley Daddy”] but the B-side, “She’s Fine, She’s Mine”, was the one that would truly become influential: [Excerpt: Bo Diddley, “She’s Fine, She’s Mine”] That song was later slightly reworked into this, by Willie Cobbs: [Excerpt: Willie Cobbs, “You Don’t Love Me”] That song was covered by pretty much every white guitar band of the late sixties — the Grateful Dead, Quicksilver Messenger Service, the Allman Brothers, Steve Stills and Al Kooper… the list goes on. But Cobbs’ song itself was also slightly reworked, by Dawn Penn, in 1967, and became a minor reggae classic. Twenty-seven years later, in 1994, Penn rerecorded her song, based on Cobbs’ song, based on Bo Diddley’s song, and it became a worldwide smash hit, with Diddley getting cowriting credit: [Excerpt: Dawn Penn, “You Don’t Love Me (No, No, No)”] And *that* has later been covered by Beyonce and Rhianna, and sampled by Ghostface Killah and Usher. And that’s how important Bo Diddley was at this point in time. The B-side to his less-good follow-up to his debut provided enough material for sixty years’ worth of hits in styles from R&B to jam band to reggae to hip-hop. And the song “Bo Diddley” itself, of course, would provide a rhythm for generations of musicians to take, everyone from Buddy Holly: [Excerpt: Buddy Holly, “Not Fade Away”] to George Michael: [Excerpt George Michael, “Faith”] to U2: [Excerpt: U2, “Desire”] Because that rhythm was so successful – even though most of the success went to white people who didn’t credit or pay Diddley – people tend to think of Diddley as a one-idea musician, which is far from the truth. Like many of his contemporaries he only had a short period where he was truly inventive — his last truly classic track was recorded in 1962. But that period was an astoundingly inventive one, and we’re going to be seeing him again during the course of this series. In his first four tracks, Diddley had managed to record three of the most influential tracks in rock history. But the next time we look at him, it will be with a song he wrote for other people — a song that would indirectly have massive effects on the whole of popular music.  

Welcome to episode thirty of A History of Rock Music in Five Hundred Songs. This is the last of our three-part look at Chess Records, and focuses on “Bo Diddley” by Bo Diddley. Click the full post to read liner notes, links to more information, and a transcript of the episode.  —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.I accidentally used a later rerecording of “I Wish You Would” by Billy Boy Arnold on the playlist, but I use the correct version in the podcast itself. Sorry about that. As this is part three of the Chess Records trilogy, you might want to listen to part one, on the Moonglows, and part two, on Chuck Berry, if you haven’t already. Along with the resources mentioned in the previous two episodes, the resource I used most this time was Bo Diddley: Living Legend by George R. White, a strong biography told almost entirely in Diddley’s own words from interviews, and the only full-length book on Diddley. This compilation contains Diddley’s first six albums plus a bunch of non-album and live tracks, and has everything you’re likely to want by Diddley on it, for under ten pounds. If you want to hear more Muddy Waters after hearing his back-and-forth with Diddley, this double CD set is a perfect introduction to him. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to the final part of our trilogy about Chess Records. Last week, we looked at Chuck Berry. This week, we’re going to deal with someone who may even have been more important. One of the many injustices in copyright law — and something that we’ll have a lot of cause to mention during the course of this series — is that, for the entire time period covered by this podcast, it was impossible to copyright a groove or a rhythm, but you could copyright a melody line and lyric. And this has led to real inter-racial injustice. In general, black musical culture in the USA has emphasised different aspects of musical invention than white culture has. While white American musical culture — particularly *rich* white musical culture — has stressed inventive melodies and harmonic movement — think of, say, Burt Bacharach or George Gershwin — it has not historically stressed rhythmic invention. On the other hand, black musical culture has stressed that above everything else — you’ll notice that all the rhythmic innovations we’ve talked about in this series so far, like boogie woogie, and the backbeat, and the tresillo rhythm, all came from black musicians. That’s not, of course, to say that black musicians can’t be melodically inventive or white musicians rhythmically — I’m not here saying “black people have a great sense of rhythm” or any of that racist nonsense. I’m just talking about the way that different cultures have prioritised different things. But this means that when black musicians have produced innovative work, it’s not been possible for them to have any intellectual property ownership in the result. You can’t steal a melody by Bacharach, but anyone can play a song with a boogie beat, or a shuffle, or a tresillo… or with the Bo Diddley beat. [Very short excerpt: “Bo Diddley”, Bo Diddley] Elias McDaniel’s distinctive sound came about because he started performing so young that he couldn’t gain entrance to clubs, and so he and his band had to play on street corners. But you can’t cart a drum kit around and use it on the streets, so McDaniel and his band came up with various inventive ways to add percussion to the act. At first, they had someone who would come round with a big bag of sand and empty it onto the pavement. He’d then use a brush on the sand, and the noise of the brushing would provide percussion — at the end of the performance this man, whose name was Sam Daniel but was called Sandman by everyone, would sweep all the sand back up and put it back into his bag for the next show. Eventually, though, Sandman left, and McDaniel hit on the idea of using his girlfriend’s neighbour Jerome Green as part of the act. We heard Jerome last week, playing on “Maybellene”, but he’s someone who there is astonishingly little information about. He doesn’t even have a Wikipedia page, and you’ll find barely more than a few paragraphs about him online. No-one even knows when he was born or died – *if* he died, though he seems to have disappeared around 1972. And this is quite astonishing when you consider that Green played on all Bo Diddley’s classic records, and sang duet on a few of the most successful ones, *and* he played on many of Chuck Berry’s, and on various other records by Willie Dixon, Otis Spann, the Moonglows… yet when you Google him, the third hit that comes up is about Robson Green and Jerome Flynn, a nineties soft-pop duo who span out of a soap opera. At first, Jerome’s job was to pass the hat around and collect the money, but McDaniel decided to build Jerome a pair of maracas, and teach him how to play. And he learned to play very well indeed, adding a Latin sound to what had previously been just a blues band. Jerome’s maracas weren’t the only things that Elias McDaniel built, though. He had a knack for technology, though he was always rather modest about his own abilities. He built himself one of the very first tremelo systems for a guitar, making something out of old car bits and electronic junk that would break the electronic signal up. Before commercial tremelo systems existed, McDaniel was the only one who could make his guitar sound like that. The choppy guitar, with its signal breaking up deliberately, and the maracas being shook frantically, gave McDaniel’s music a rhythmic drive unlike anything else in rock and roll. McDaniel and his band eventually got their music heard by Leonard Chess at Chess Records. Chess was impressed by a song called “Uncle John”, which had lyrics that went “Uncle John’s got corn ain’t never been shucked/Uncle John’s got daughters ain’t never been… to school”; but he said the song needed less salacious lyrics, and he suggested retitling it “Bo Diddley”, which also became the stage name of the man who up until now had been called Elias McDaniel. The new lyrics were inspired by the black folk song “Hambone”, which a few years earlier had become a novelty hit: [Excerpt: “Hambone”, Red Saunders Orchestra with the Hambone Kids] Now, I have to be a bit careful here, because here I’m talking about something that’s from a different culture from my own, and my understanding of it is that of an outsider. To *me*, “Hambone” seems to be a unified thing that’s part song, part dance, part game. But my understanding may be very, very flawed, and I don’t want to pretend to knowledge I don’t have. But this is my best understanding of what “Hambone” is. “Hambone”, like many folk songs, is not in itself a single song, but a collection of different songs with similar elements. The name comes from a dance which, it is said, dates back to enslaved people attempting to entertain themselves. Slaves in most of the US were banned from using drums, because it was believed they might use them to send messages to each other, so when they wanted to dance and sing music, they would slap different parts of their own bodies to provide percussive accompaniment. Now, I tend to be a little dubious of narratives that claim that aspects of twentieth-century black culture date back to slavery or, as people often claim, to Africa. A lot of the time these turn out to be urban myths of the “ring a ring a roses is about the bubonic plague” kind. One of the real tragedies of slavery is that the African culture that the enslaved black people brought over to the US was largely lost in the ensuing centuries, and so there’s a very strong incentive to try to find things that could be a continuation of that. But that’s the story around “Hambone”, which is also known as the “Juba beat”. Another influence Diddley would always cite for the lyrical scansion is the song “Hey Baba Reba”, which he would usually misremember as having been by either Cab Calloway or Louis Jordan, but was actually by Lionel Hampton: [Excerpt: Lionel Hampton, “Hey Baba Reba”] But the important thing to note is that the rhythm of all these records is totally different from the rhythm of the song “Bo Diddley”. There’s a bit of misinformation that goes around in almost every article about Diddley, saying “the Bo Diddley beat is just the ‘Hambone’ beat”, and while Diddley would correct this in almost every interview he ever gave, the misinformation would persist — to the point that when I first heard “Hambone” I was shocked, because I’d assumed that there must at least have been some slight similarity. There’s no similarity at all. And that’s not the only song where I’ve seen claims that there’s a Bo Diddley beat where none exists. As a reminder, here’s the actual Bo Diddley rhythm: [Very short excerpt: Bo Diddley, “Bo Diddley”] Now the PhD thesis on the development of the backbeat which I talked about back in episode two claims that the beat appears on about thirteen records before Diddley’s, mostly by people we’ve discussed before, like Louis Jordan, Johnny Otis, Fats Domino, and Roy Brown. But here’s a couple of examples of the songs that thesis cites. Here’s “Mardi Gras in New Orleans” by Fats Domino: [Excerpt: “Mardi Gras in New Orleans, Fats Domino] And here’s “That’s Your Last Boogie”, by Joe Swift, produced by Johnny Otis: [Excerpt: Joe Swift, “That’s Your Last Boogie”] As you can hear, they both have something that’s *sort of* the Bo Diddley beat, but not really, among their other rhythms. It’s most notable at the very start of “That’s Your Last Boogie” [Intro: “That’s Your Last Boogie”] That’s what’s called a clave beat — it’s sort of like the tresillo, with an extra bom-bom on the end. Bom bom-bom, bom-bom. That’s not the Bo Diddley beat. The Bo Diddley beat actually varies subtly from bar to bar, but it’s generally a sort of chunk-a chunk-a-chunk a-chunk a-chunk ah. It certainly stresses the five beats of the clave, but it’s not them, and nor is it the “shave and a haircut, two bits” rhythm other people seem to claim for it. Most ridiculously, Wikipedia even claims that the Andrews Sisters’ version of Lord Invader’s great calypso song, “Rum and Coca Cola”, has the Bo Diddley beat: [Excerpt: “Rum and Coca Cola”, the Andrews Sisters] Both records have maracas, but that’s about it. Incidentally, that song was, in the Andrews Sisters version, credited to a white American thief rather than to the black Trinidadian men who wrote it. Sadly appropriate for a song about the exploitation of Trinidadians for “the Yankee dollar”. But none of these records have the Bo Diddley beat, despite what anyone might say. None of them even sound very much like Diddley’s beat at all. The origins of the Bo Diddley beat were, believe it or not, with Gene Autry. We’ve talked before about Autry, who was the biggest Western music star of the late thirties and early forties, and who inspired all sorts of people you wouldn’t expect, from Les Paul to Hank Ballard. But Diddley hit upon his rhythm when trying to play Autry’s “I’ve Got Spurs That Jingle Jangle Jingle”. [excerpt, Gene Autry, “I’ve Got Spurs that Jingle Jangle Jingle”] No, I don’t see the resemblance either. But this ties back into what we were talking about last week, with the influence of country musicians on the blues and R&B musicians at Chess. And if you become familiar with his later work, it becomes clear that Diddley truly loved the whole iconography of the Western, and country music. He did albums called “Have Guitar Will Travel” (named after the Western TV show “Have Gun Will Travel”) and “Bo Diddley is a Gunslinger”. Diddley’s work is rooted in black folklore — things like hambone, but also the figure of Stagger Lee and other characters like the Signifying Monkey — but it should be understood that black American folklore has always included the image of the black cowboy. The combination of these influences – the “Hambone” lyrical ideas, the cowboy rhythm, and the swaggering character Diddley created for himself – became this: [Excerpt: “Bo Diddley” by Bo Diddley] The B-side to the record, meanwhile, was maybe even more important. It’s also an early example of Diddley *not* just reusing his signature rhythm. The popular image of Diddley has him as a one-idea artist remaking the same song over and over again — and certainly he did often return to the Bo Diddley beat — but he was a far more interesting artist than that, and recorded in a far wider variety of styles than you might imagine. And in “I’m A Man” he took on another artist’s style, beating Muddy Waters at his own game. “I’m A Man” was a response to Waters’ earlier “Hoochie Coochie Man”: [Excerpt: “Hoochie Coochie Man”, Muddy Waters] “Hoochie Coochie Man” had been written for Muddy Waters by Willie Dixon and was, as far as I can tell, the first blues record ever to have that da-na-na na-na riff that later became the riff that for most people defines the blues. “Hoochie Coochie Man” had managed to sum up everything about Waters’ persona in a way that Waters himself had never managed with his own songs. It combined sexual braggadocio with hoodoo lore — the character Waters was singing in was possessed of supernatural powers, from the day he was born, and he used those powers to “make pretty women jump and shout”. He had a black cat bone, and a mojo, and a John the Conqueror root. It was a great riff, and a great persona, and a great record. But it was still a conventionally structured sixteen-bar blues, with the normal three chords that almost all blues records have. But Bo Diddley heard that and decided that was two chords too many. When you’ve got a great riff, you don’t *need* chord changes, not if you can just hammer on that riff. So he came up with a variant of Dixon’s song, and called it “I’m a Man”. In his version, there was only the one chord: [Excerpt: Bo Diddley, “I’m a Man”] Willie Dixon guested on bass for that song, as it wasn’t felt that Diddley’s own bass player was getting the feeling right. There were also some changes made to the song in the studio — as Diddley put it later: “They wanted me to spell ‘man’, but they weren’t explaining it right. They couldn’t get me to spell ‘man’. I didn’t understand what they were talking about!” But eventually he did sing that man is spelled m-a-n, and the song went on to be covered by pretty much every British band of the sixties, and become a blues standard. The most important cover version of it though was when Muddy Waters decided to make his own answer record to Diddley, in which he stated that *he* was a man, not a boy like Diddley. Diddley got a co-writing credit on this, though Willie Dixon, whose riff had been the basis of “I’m a Man”, didn’t. [Excerpt: Muddy Waters, “Mannish Boy”] And then there was Etta James’ answer record, “W.O.M.A.N.”, which once again has wild west references in it: [Excerpt: Etta James, “W.O.M.A.N.”] And that… “inspired” Jerry Leiber and Mike Stoller to write this for Peggy Lee: [Excerpt: Peggy Lee, “I’m A Woman”] Of course, none of those records, except Muddy Waters’, gave Bo Diddley a writing credit, just as Diddley didn’t credit Dixon for his riff. At the same session as the single was recorded, Diddley’s harmonica player, Billy Boy Arnold, recorded a single of his own, backed by Diddley and his band. “I’m Sweet on you Baby” wasn’t released at the time, but it’s a much more straightforward blues song, and more like Chess’ normal releases. Chess were interested in making more records with Arnold, but we’ll see that that didn’t turn out well: [Excerpt: Billy Boy Arnold, “I’m Sweet on you Baby”] Despite putting out a truly phenomenal single, Diddley hit upon a real problem with his career, and one that would be one of the reasons he was never as popular as contemporaries like Chuck Berry. The problem, at first, looked like anything but. He was booked on the Ed Sullivan Show to promote his first single. The Ed Sullivan Show was the biggest TV show of the fifties and sixties. A variety show presented by the eponymous Sullivan, who somehow even after twenty years of presenting never managed to look or sound remotely comfortable in front of a camera, it was the programme that boosted Elvis Presley from stardom to superstardom, and which turned the Beatles from a local phenomenon in the UK and Europe into the biggest act the world had ever seen. Getting on it was the biggest possible break Diddley could have got, and it should have made his career. Instead, it was a disaster, all because of a misunderstanding. At the time, the country song “Sixteen Tons” by Tennessee Ernie Ford was a big hit: [Excerpt: “Sixteen Tons”, Tennessee Ernie Ford] Diddley liked the song — enough that he would later record his own version of it: [Excerpt: Bo Diddley, “Sixteen Tons”] And so he was singing it to himself in his dressing room. One of the production staff happened to walk past and hear him, and asked if he could perform that song on the show. Diddley assumed he was being asked if he would do it as well as the song he was there to promote, and was flattered to be asked to do a second song. [Excerpt: Ed Sullivan introducing “Dr Jive”, with all the confusion about what words he’s using] When he got out on to the stage he saw the cue card saying “Bo Diddley Sixteen Tons”, assumed it meant the song “Bo Diddley” followed by the song “Sixteen Tons”, and so he launched into “Bo Diddley”. After all, why would he go on the show to promote someone else’s record? He was there to promote his own debut single. So of course he was going to play it. This was not what the production person had intended, and was not what Ed Sullivan wanted. Backstage, there was a confrontation that got so heated that Diddley had to be physically restrained from beating Sullivan with his guitar after Sullivan called Diddley a “black boy” (according to Diddley, “black” at that time and in that place, was a racial slur, though it’s the polite term to use today). Sullivan yelled and screamed at Diddley and told him he would be blacklisted from network TV, and would certainly never appear on Sullivan’s show again under any circumstances. After that first TV appearance, it would be seven years until Diddley’s second. And unlike all his contemporaries he didn’t even get to appear in films. Even Alan Freed, who greatly respected Diddley and booked him on his live shows, and who Diddley also respected, didn’t have him appear in any of the five rock and roll films he made. As far as I can tell, the two minutes he was on the Ed Sullivan show is the only record of Bo Diddley on film or video from 1955 through 1962. And this meant, as well, that Chess put all their promotional efforts behind Chuck Berry, who for all his faults was more welcome in the TV studios. If Diddley wanted success, he had to let his records and live performances do the work for him, because he wasn’t getting any help from the media. Luckily, his records were great. Not only was Diddley’s first hit one of the great two-sided singles of all time, but his next single was also impressive. The story of “Diddley Daddy” dates back to one of the white cover versions of “Bo Diddley”. Essex Records put out this cover version by Jean Dinning, produced by Dave Miller, who had earlier produced Bill Haley and the Comets’ first records: [Excerpt: Jean Dinning, “Bo Diddley”] And, as with Georgia Gibbs’ version of “Tweedle Dee”, the record label wanted to make the record sound as much like the original as possible, and so tried to get the original musicians to play on it, and made an agreement with Chess. They couldn’t get Bo Diddley himself, and without his tremelo guitar it sounded nothing like the original, but they *did* get Willie Dixon on bass, Diddley’s drummer Clifton James (who sadly isn’t the same Clifton James who played the bumbling sheriff in “Live and Let Die” and “Superman II”, though it would be great if he was), and Billy Boy Arnold on harmonica. But Billy Boy Arnold made the mistake of going to Chess and asking for the money he was owed for the session. Leonard Chess didn’t like when musicians wanted paying, and complained to Bo Diddley about Arnold. Diddley told Arnold that Chess wasn’t happy with him, and so Arnold decided to take a song he’d written, “Diddy Diddy Dum Dum”, to another label rather than give it to Chess. He changed the lyrics around a bit, and called it “I Wish You Would”: [Excerpt: Billy Boy Arnold, “I Wish You Would”] Arnold actually recorded that for Vee-Jay Records on the very day that Bo Diddley’s second single was due to be recorded, and the Diddley session was held up because nobody knew where Arnold was. They eventually found him and got him to Diddley’s session — where Diddley started playing “Diddy Diddy Dum Dum”. Leonard Chess suggested letting Arnold sing the song, but Arnold said “I can’t — I just recorded that for VeeJay”, and showed Chess the contract. Diddley and Harvey Fuqua, who was there to sing backing vocals with the rest of the Moonglows, quickly reworked the song. Arnold didn’t want to play harmonica on something so close to a record he’d just made, though he played on the B-side, and so Muddy Waters’ harmonica player Little Walter filled in instead. The new song, entitled “Diddley Daddy”, became another of Diddley’s signature songs: [Excerpt: Bo Diddley, “Diddley Daddy”] but the B-side, “She’s Fine, She’s Mine”, was the one that would truly become influential: [Excerpt: Bo Diddley, “She’s Fine, She’s Mine”] That song was later slightly reworked into this, by Willie Cobbs: [Excerpt: Willie Cobbs, “You Don’t Love Me”] That song was covered by pretty much every white guitar band of the late sixties — the Grateful Dead, Quicksilver Messenger Service, the Allman Brothers, Steve Stills and Al Kooper… the list goes on. But Cobbs’ song itself was also slightly reworked, by Dawn Penn, in 1967, and became a minor reggae classic. Twenty-seven years later, in 1994, Penn rerecorded her song, based on Cobbs’ song, based on Bo Diddley’s song, and it became a worldwide smash hit, with Diddley getting cowriting credit: [Excerpt: Dawn Penn, “You Don’t Love Me (No, No, No)”] And *that* has later been covered by Beyonce and Rhianna, and sampled by Ghostface Killah and Usher. And that’s how important Bo Diddley was at this point in time. The B-side to his less-good follow-up to his debut provided enough material for sixty years’ worth of hits in styles from R&B to jam band to reggae to hip-hop. And the song “Bo Diddley” itself, of course, would provide a rhythm for generations of musicians to take, everyone from Buddy Holly: [Excerpt: Buddy Holly, “Not Fade Away”] to George Michael: [Excerpt George Michael, “Faith”] to U2: [Excerpt: U2, “Desire”] Because that rhythm was so successful – even though most of the success went to white people who didn’t credit or pay Diddley – people tend to think of Diddley as a one-idea musician, which is far from the truth. Like many of his contemporaries he only had a short period where he was truly inventive — his last truly classic track was recorded in 1962. But that period was an astoundingly inventive one, and we’re going to be seeing him again during the course of this series. In his first four tracks, Diddley had managed to record three of the most influential tracks in rock history. But the next time we look at him, it will be with a song he wrote for other people — a song that would indirectly have massive effects on the whole of popular music.  

Welcome to episode thirty of A History of Rock Music in Five Hundred Songs. This is the last of our three-part look at Chess Records, and focuses on "Bo Diddley" by Bo Diddley. Click the full post to read liner notes, links to more information, and a transcript of the episode.  ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.I accidentally used a later rerecording of "I Wish You Would" by Billy Boy Arnold on the playlist, but I use the correct version in the podcast itself. Sorry about that. As this is part three of the Chess Records trilogy, you might want to listen to part one, on the Moonglows, and part two, on Chuck Berry, if you haven't already. Along with the resources mentioned in the previous two episodes, the resource I used most this time was Bo Diddley: Living Legend by George R. White, a strong biography told almost entirely in Diddley's own words from interviews, and the only full-length book on Diddley. This compilation contains Diddley's first six albums plus a bunch of non-album and live tracks, and has everything you're likely to want by Diddley on it, for under ten pounds. If you want to hear more Muddy Waters after hearing his back-and-forth with Diddley, this double CD set is a perfect introduction to him. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to the final part of our trilogy about Chess Records. Last week, we looked at Chuck Berry. This week, we're going to deal with someone who may even have been more important. One of the many injustices in copyright law -- and something that we'll have a lot of cause to mention during the course of this series -- is that, for the entire time period covered by this podcast, it was impossible to copyright a groove or a rhythm, but you could copyright a melody line and lyric. And this has led to real inter-racial injustice. In general, black musical culture in the USA has emphasised different aspects of musical invention than white culture has. While white American musical culture -- particularly *rich* white musical culture -- has stressed inventive melodies and harmonic movement -- think of, say, Burt Bacharach or George Gershwin -- it has not historically stressed rhythmic invention. On the other hand, black musical culture has stressed that above everything else -- you'll notice that all the rhythmic innovations we've talked about in this series so far, like boogie woogie, and the backbeat, and the tresillo rhythm, all came from black musicians. That's not, of course, to say that black musicians can't be melodically inventive or white musicians rhythmically -- I'm not here saying "black people have a great sense of rhythm" or any of that racist nonsense. I'm just talking about the way that different cultures have prioritised different things. But this means that when black musicians have produced innovative work, it's not been possible for them to have any intellectual property ownership in the result. You can't steal a melody by Bacharach, but anyone can play a song with a boogie beat, or a shuffle, or a tresillo... or with the Bo Diddley beat. [Very short excerpt: “Bo Diddley”, Bo Diddley] Elias McDaniel's distinctive sound came about because he started performing so young that he couldn't gain entrance to clubs, and so he and his band had to play on street corners. But you can't cart a drum kit around and use it on the streets, so McDaniel and his band came up with various inventive ways to add percussion to the act. At first, they had someone who would come round with a big bag of sand and empty it onto the pavement. He'd then use a brush on the sand, and the noise of the brushing would provide percussion -- at the end of the performance this man, whose name was Sam Daniel but was called Sandman by everyone, would sweep all the sand back up and put it back into his bag for the next show. Eventually, though, Sandman left, and McDaniel hit on the idea of using his girlfriend's neighbour Jerome Green as part of the act. We heard Jerome last week, playing on "Maybellene", but he's someone who there is astonishingly little information about. He doesn't even have a Wikipedia page, and you'll find barely more than a few paragraphs about him online. No-one even knows when he was born or died – *if* he died, though he seems to have disappeared around 1972. And this is quite astonishing when you consider that Green played on all Bo Diddley's classic records, and sang duet on a few of the most successful ones, *and* he played on many of Chuck Berry's, and on various other records by Willie Dixon, Otis Spann, the Moonglows... yet when you Google him, the third hit that comes up is about Robson Green and Jerome Flynn, a nineties soft-pop duo who span out of a soap opera. At first, Jerome's job was to pass the hat around and collect the money, but McDaniel decided to build Jerome a pair of maracas, and teach him how to play. And he learned to play very well indeed, adding a Latin sound to what had previously been just a blues band. Jerome's maracas weren't the only things that Elias McDaniel built, though. He had a knack for technology, though he was always rather modest about his own abilities. He built himself one of the very first tremelo systems for a guitar, making something out of old car bits and electronic junk that would break the electronic signal up. Before commercial tremelo systems existed, McDaniel was the only one who could make his guitar sound like that. The choppy guitar, with its signal breaking up deliberately, and the maracas being shook frantically, gave McDaniel's music a rhythmic drive unlike anything else in rock and roll. McDaniel and his band eventually got their music heard by Leonard Chess at Chess Records. Chess was impressed by a song called "Uncle John", which had lyrics that went "Uncle John's got corn ain't never been shucked/Uncle John's got daughters ain't never been... to school"; but he said the song needed less salacious lyrics, and he suggested retitling it “Bo Diddley”, which also became the stage name of the man who up until now had been called Elias McDaniel. The new lyrics were inspired by the black folk song "Hambone", which a few years earlier had become a novelty hit: [Excerpt: "Hambone", Red Saunders Orchestra with the Hambone Kids] Now, I have to be a bit careful here, because here I'm talking about something that's from a different culture from my own, and my understanding of it is that of an outsider. To *me*, "Hambone" seems to be a unified thing that's part song, part dance, part game. But my understanding may be very, very flawed, and I don't want to pretend to knowledge I don't have. But this is my best understanding of what “Hambone” is. "Hambone", like many folk songs, is not in itself a single song, but a collection of different songs with similar elements. The name comes from a dance which, it is said, dates back to enslaved people attempting to entertain themselves. Slaves in most of the US were banned from using drums, because it was believed they might use them to send messages to each other, so when they wanted to dance and sing music, they would slap different parts of their own bodies to provide percussive accompaniment. Now, I tend to be a little dubious of narratives that claim that aspects of twentieth-century black culture date back to slavery or, as people often claim, to Africa. A lot of the time these turn out to be urban myths of the "ring a ring a roses is about the bubonic plague" kind. One of the real tragedies of slavery is that the African culture that the enslaved black people brought over to the US was largely lost in the ensuing centuries, and so there's a very strong incentive to try to find things that could be a continuation of that. But that's the story around “Hambone”, which is also known as the “Juba beat”. Another influence Diddley would always cite for the lyrical scansion is the song “Hey Baba Reba”, which he would usually misremember as having been by either Cab Calloway or Louis Jordan, but was actually by Lionel Hampton: [Excerpt: Lionel Hampton, “Hey Baba Reba”] But the important thing to note is that the rhythm of all these records is totally different from the rhythm of the song "Bo Diddley". There's a bit of misinformation that goes around in almost every article about Diddley, saying "the Bo Diddley beat is just the 'Hambone' beat", and while Diddley would correct this in almost every interview he ever gave, the misinformation would persist -- to the point that when I first heard "Hambone" I was shocked, because I'd assumed that there must at least have been some slight similarity. There's no similarity at all. And that's not the only song where I've seen claims that there's a Bo Diddley beat where none exists. As a reminder, here's the actual Bo Diddley rhythm: [Very short excerpt: Bo Diddley, “Bo Diddley”] Now the PhD thesis on the development of the backbeat which I talked about back in episode two claims that the beat appears on about thirteen records before Diddley's, mostly by people we've discussed before, like Louis Jordan, Johnny Otis, Fats Domino, and Roy Brown. But here's a couple of examples of the songs that thesis cites. Here's "Mardi Gras in New Orleans" by Fats Domino: [Excerpt: "Mardi Gras in New Orleans, Fats Domino] And here's "That's Your Last Boogie", by Joe Swift, produced by Johnny Otis: [Excerpt: Joe Swift, "That's Your Last Boogie"] As you can hear, they both have something that's *sort of* the Bo Diddley beat, but not really, among their other rhythms. It's most notable at the very start of "That's Your Last Boogie" [Intro: "That's Your Last Boogie"] That's what's called a clave beat -- it's sort of like the tresillo, with an extra bom-bom on the end. Bom bom-bom, bom-bom. That's not the Bo Diddley beat. The Bo Diddley beat actually varies subtly from bar to bar, but it's generally a sort of chunk-a chunk-a-chunk a-chunk a-chunk ah. It certainly stresses the five beats of the clave, but it's not them, and nor is it the "shave and a haircut, two bits" rhythm other people seem to claim for it. Most ridiculously, Wikipedia even claims that the Andrews Sisters' version of Lord Invader's great calypso song, "Rum and Coca Cola", has the Bo Diddley beat: [Excerpt: "Rum and Coca Cola", the Andrews Sisters] Both records have maracas, but that's about it. Incidentally, that song was, in the Andrews Sisters version, credited to a white American thief rather than to the black Trinidadian men who wrote it. Sadly appropriate for a song about the exploitation of Trinidadians for "the Yankee dollar". But none of these records have the Bo Diddley beat, despite what anyone might say. None of them even sound very much like Diddley's beat at all. The origins of the Bo Diddley beat were, believe it or not, with Gene Autry. We've talked before about Autry, who was the biggest Western music star of the late thirties and early forties, and who inspired all sorts of people you wouldn't expect, from Les Paul to Hank Ballard. But Diddley hit upon his rhythm when trying to play Autry's "I've Got Spurs That Jingle Jangle Jingle". [excerpt, Gene Autry, "I've Got Spurs that Jingle Jangle Jingle"] No, I don't see the resemblance either. But this ties back into what we were talking about last week, with the influence of country musicians on the blues and R&B musicians at Chess. And if you become familiar with his later work, it becomes clear that Diddley truly loved the whole iconography of the Western, and country music. He did albums called "Have Guitar Will Travel" (named after the Western TV show "Have Gun Will Travel") and "Bo Diddley is a Gunslinger". Diddley's work is rooted in black folklore -- things like hambone, but also the figure of Stagger Lee and other characters like the Signifying Monkey -- but it should be understood that black American folklore has always included the image of the black cowboy. The combination of these influences – the “Hambone” lyrical ideas, the cowboy rhythm, and the swaggering character Diddley created for himself – became this: [Excerpt: “Bo Diddley” by Bo Diddley] The B-side to the record, meanwhile, was maybe even more important. It's also an early example of Diddley *not* just reusing his signature rhythm. The popular image of Diddley has him as a one-idea artist remaking the same song over and over again -- and certainly he did often return to the Bo Diddley beat -- but he was a far more interesting artist than that, and recorded in a far wider variety of styles than you might imagine. And in "I'm A Man" he took on another artist's style, beating Muddy Waters at his own game. "I'm A Man" was a response to Waters' earlier "Hoochie Coochie Man": [Excerpt: "Hoochie Coochie Man", Muddy Waters] "Hoochie Coochie Man" had been written for Muddy Waters by Willie Dixon and was, as far as I can tell, the first blues record ever to have that da-na-na na-na riff that later became the riff that for most people defines the blues. "Hoochie Coochie Man" had managed to sum up everything about Waters' persona in a way that Waters himself had never managed with his own songs. It combined sexual braggadocio with hoodoo lore -- the character Waters was singing in was possessed of supernatural powers, from the day he was born, and he used those powers to "make pretty women jump and shout". He had a black cat bone, and a mojo, and a John the Conqueror root. It was a great riff, and a great persona, and a great record. But it was still a conventionally structured sixteen-bar blues, with the normal three chords that almost all blues records have. But Bo Diddley heard that and decided that was two chords too many. When you've got a great riff, you don't *need* chord changes, not if you can just hammer on that riff. So he came up with a variant of Dixon's song, and called it "I'm a Man". In his version, there was only the one chord: [Excerpt: Bo Diddley, "I'm a Man"] Willie Dixon guested on bass for that song, as it wasn't felt that Diddley's own bass player was getting the feeling right. There were also some changes made to the song in the studio -- as Diddley put it later: "They wanted me to spell 'man', but they weren't explaining it right. They couldn't get me to spell 'man'. I didn't understand what they were talking about!" But eventually he did sing that man is spelled m-a-n, and the song went on to be covered by pretty much every British band of the sixties, and become a blues standard. The most important cover version of it though was when Muddy Waters decided to make his own answer record to Diddley, in which he stated that *he* was a man, not a boy like Diddley. Diddley got a co-writing credit on this, though Willie Dixon, whose riff had been the basis of "I'm a Man", didn't. [Excerpt: Muddy Waters, "Mannish Boy"] And then there was Etta James' answer record, "W.O.M.A.N.", which once again has wild west references in it: [Excerpt: Etta James, "W.O.M.A.N."] And that… "inspired" Jerry Leiber and Mike Stoller to write this for Peggy Lee: [Excerpt: Peggy Lee, "I'm A Woman"] Of course, none of those records, except Muddy Waters', gave Bo Diddley a writing credit, just as Diddley didn't credit Dixon for his riff. At the same session as the single was recorded, Diddley's harmonica player, Billy Boy Arnold, recorded a single of his own, backed by Diddley and his band. "I'm Sweet on you Baby" wasn't released at the time, but it's a much more straightforward blues song, and more like Chess' normal releases. Chess were interested in making more records with Arnold, but we'll see that that didn't turn out well: [Excerpt: Billy Boy Arnold, "I'm Sweet on you Baby"] Despite putting out a truly phenomenal single, Diddley hit upon a real problem with his career, and one that would be one of the reasons he was never as popular as contemporaries like Chuck Berry. The problem, at first, looked like anything but. He was booked on the Ed Sullivan Show to promote his first single. The Ed Sullivan Show was the biggest TV show of the fifties and sixties. A variety show presented by the eponymous Sullivan, who somehow even after twenty years of presenting never managed to look or sound remotely comfortable in front of a camera, it was the programme that boosted Elvis Presley from stardom to superstardom, and which turned the Beatles from a local phenomenon in the UK and Europe into the biggest act the world had ever seen. Getting on it was the biggest possible break Diddley could have got, and it should have made his career. Instead, it was a disaster, all because of a misunderstanding. At the time, the country song "Sixteen Tons" by Tennessee Ernie Ford was a big hit: [Excerpt: "Sixteen Tons", Tennessee Ernie Ford] Diddley liked the song -- enough that he would later record his own version of it: [Excerpt: Bo Diddley, "Sixteen Tons"] And so he was singing it to himself in his dressing room. One of the production staff happened to walk past and hear him, and asked if he could perform that song on the show. Diddley assumed he was being asked if he would do it as well as the song he was there to promote, and was flattered to be asked to do a second song. [Excerpt: Ed Sullivan introducing "Dr Jive", with all the confusion about what words he's using] When he got out on to the stage he saw the cue card saying "Bo Diddley Sixteen Tons", assumed it meant the song "Bo Diddley" followed by the song "Sixteen Tons", and so he launched into "Bo Diddley". After all, why would he go on the show to promote someone else's record? He was there to promote his own debut single. So of course he was going to play it. This was not what the production person had intended, and was not what Ed Sullivan wanted. Backstage, there was a confrontation that got so heated that Diddley had to be physically restrained from beating Sullivan with his guitar after Sullivan called Diddley a “black boy” (according to Diddley, “black” at that time and in that place, was a racial slur, though it's the polite term to use today). Sullivan yelled and screamed at Diddley and told him he would be blacklisted from network TV, and would certainly never appear on Sullivan's show again under any circumstances. After that first TV appearance, it would be seven years until Diddley's second. And unlike all his contemporaries he didn't even get to appear in films. Even Alan Freed, who greatly respected Diddley and booked him on his live shows, and who Diddley also respected, didn't have him appear in any of the five rock and roll films he made. As far as I can tell, the two minutes he was on the Ed Sullivan show is the only record of Bo Diddley on film or video from 1955 through 1962. And this meant, as well, that Chess put all their promotional efforts behind Chuck Berry, who for all his faults was more welcome in the TV studios. If Diddley wanted success, he had to let his records and live performances do the work for him, because he wasn't getting any help from the media. Luckily, his records were great. Not only was Diddley's first hit one of the great two-sided singles of all time, but his next single was also impressive. The story of "Diddley Daddy" dates back to one of the white cover versions of "Bo Diddley". Essex Records put out this cover version by Jean Dinning, produced by Dave Miller, who had earlier produced Bill Haley and the Comets' first records: [Excerpt: Jean Dinning, "Bo Diddley"] And, as with Georgia Gibbs' version of “Tweedle Dee”, the record label wanted to make the record sound as much like the original as possible, and so tried to get the original musicians to play on it, and made an agreement with Chess. They couldn't get Bo Diddley himself, and without his tremelo guitar it sounded nothing like the original, but they *did* get Willie Dixon on bass, Diddley's drummer Clifton James (who sadly isn't the same Clifton James who played the bumbling sheriff in "Live and Let Die" and "Superman II", though it would be great if he was), and Billy Boy Arnold on harmonica. But Billy Boy Arnold made the mistake of going to Chess and asking for the money he was owed for the session. Leonard Chess didn't like when musicians wanted paying, and complained to Bo Diddley about Arnold. Diddley told Arnold that Chess wasn't happy with him, and so Arnold decided to take a song he'd written, "Diddy Diddy Dum Dum", to another label rather than give it to Chess. He changed the lyrics around a bit, and called it "I Wish You Would": [Excerpt: Billy Boy Arnold, "I Wish You Would"] Arnold actually recorded that for Vee-Jay Records on the very day that Bo Diddley's second single was due to be recorded, and the Diddley session was held up because nobody knew where Arnold was. They eventually found him and got him to Diddley's session -- where Diddley started playing "Diddy Diddy Dum Dum". Leonard Chess suggested letting Arnold sing the song, but Arnold said "I can't -- I just recorded that for VeeJay", and showed Chess the contract. Diddley and Harvey Fuqua, who was there to sing backing vocals with the rest of the Moonglows, quickly reworked the song. Arnold didn't want to play harmonica on something so close to a record he'd just made, though he played on the B-side, and so Muddy Waters' harmonica player Little Walter filled in instead. The new song, entitled "Diddley Daddy", became another of Diddley's signature songs: [Excerpt: Bo Diddley, "Diddley Daddy"] but the B-side, "She's Fine, She's Mine", was the one that would truly become influential: [Excerpt: Bo Diddley, "She's Fine, She's Mine"] That song was later slightly reworked into this, by Willie Cobbs: [Excerpt: Willie Cobbs, "You Don't Love Me"] That song was covered by pretty much every white guitar band of the late sixties -- the Grateful Dead, Quicksilver Messenger Service, the Allman Brothers, Steve Stills and Al Kooper... the list goes on. But Cobbs' song itself was also slightly reworked, by Dawn Penn, in 1967, and became a minor reggae classic. Twenty-seven years later, in 1994, Penn rerecorded her song, based on Cobbs' song, based on Bo Diddley's song, and it became a worldwide smash hit, with Diddley getting cowriting credit: [Excerpt: Dawn Penn, "You Don't Love Me (No, No, No)"] And *that* has later been covered by Beyonce and Rhianna, and sampled by Ghostface Killah and Usher. And that's how important Bo Diddley was at this point in time. The B-side to his less-good follow-up to his debut provided enough material for sixty years' worth of hits in styles from R&B to jam band to reggae to hip-hop. And the song “Bo Diddley” itself, of course, would provide a rhythm for generations of musicians to take, everyone from Buddy Holly: [Excerpt: Buddy Holly, “Not Fade Away”] to George Michael: [Excerpt George Michael, “Faith”] to U2: [Excerpt: U2, “Desire”] Because that rhythm was so successful – even though most of the success went to white people who didn't credit or pay Diddley – people tend to think of Diddley as a one-idea musician, which is far from the truth. Like many of his contemporaries he only had a short period where he was truly inventive -- his last truly classic track was recorded in 1962. But that period was an astoundingly inventive one, and we're going to be seeing him again during the course of this series. In his first four tracks, Diddley had managed to record three of the most influential tracks in rock history. But the next time we look at him, it will be with a song he wrote for other people -- a song that would indirectly have massive effects on the whole of popular music.  

Playlist: Bobby Blackhat, Gubment Shutdown Blues, Ayala, Magpie, James Buddy Rogers, Puddle Jumper, Danny Lynn Wilson, Long Way Home, Will Jacobs, Runaway, Boogie Beasts, Inside, Bloodest Saxophone, Pork Chop Chic, Hat Fitz And Cara, ADHD, Dylan Bishop Band, I Wish You Would, Willa Vincitore, Trust, Seth Rosenbloom, Broke And Lonely, The Trevor B. Power Band, Baby, I’m Through With You, Benny Turner and Cash McCall, Got To Find A Way, The Dee Miller Band, Last Two Dollars, Vin Mott, Car TRoubles Made Me A Good Blues Singer, Ina Forsman, Miss Mistreated, Chris O’Leary, Driving Me Crazy, Charley Crockett, The Race Is On, Randy Casey, I Got Lucky, The Spear Shakers, Leaving It All Behind, Ruth Wyand & The Tribe Of One, Mint Julep, Old Riley & The Water, Power To Change, Tomislav Goluban, I’ll Go To My Cottage, Travelin’ Blue Kings, The Way It Used To Be, Sugar Ray & The Bluetones, Sweet Baby, Jason Ricci, Down At The Juke, Nick Moss Band, Before The Night Is Through, Joe Moss, Maricela’s Smile, Jake Kulak, Never Make It Easy, Mitch Kashmar feat Junior Watson, East Of 82nd Street, Mr. Nick & The Dirty Tricks, Hot Damn feat Junior WAtson, Vanessa Collier, Don’t Nobody Got Time To Waste, Mojomatics, Soy Baby Many Thanks To: We here at the Black-Eyed & Blues Show would like to thank all the PR and radio people that get us music including Frank Roszak, Rick Lusher ,Doug Deutsch Publicity Services,American Showplace Music, Alive Natural Sounds, Ruf Records, Vizztone Records,Blind Pig Records,Delta Groove Records, Electro-Groove Records,Betsie Brown, Blind Raccoon Records, BratGirl Media, Mark Pucci Media and all of the Blues Societies both in the U.S. and abroad. All of you help make this show as good as it is weekly. We are proud to play your artists.Thank you all very much! Blues In The Area: BLUES SCHEDULE WEEKLY REPORT 1/25 thru 1/31/2019 BAND VENUE LOCATION FRIDAY 1/25 ROCKY LAWRENCE SMOKIN WITH CHRIS SOUTHINGTON THE WELLS BLACK EYED SALLY'S HARTFORD THE RED HOTS VIVO BAR DANBURY THE TROLLS JUDY'S PLACE DANBURY BONE DRY DUO / BLUES BARZ NOTE KITCHEN & BAR BETHEL THE OUTCROPS COAL HOUSE PIZZA STAMFORD THE BERNADETTE'S DONAHUE'S BEACH BAR MADISON HANNAH'S FIELD MAPLE TREE CAFÉ SIMSBURY CREAMERY STATION BLEACHERS BRISTOL REAN TROY DANNER (SOLO ) ELKS CLUB #844 WINSTED THE COFFEE GRINDERS GREENHOUSE TAVERN BURLINGTON SHAWN TAYLOR CAVE-A-VIN NEW HAVEN BARRETT ANDERSON BAND STOMPING GROUND PUTNAM CHRIS O'LEARY BAND DARYL'S HOUSE PAWLING NY WILDCAT O'HALLOREN THEODORE'S SPRINGFIELD MA NEAL VITULLO & THE VIPERS KNICKERBOCKER MUSIC CENTER WESTERLY RI DAN STEVENS PERKS AND CORKS WESTERLY RI CHERYL TRACY & FRIENDS WAXY O'CONNOR'S PLAINVILLE CARL RICCI & 706 UNION AVE THE 350 GRILLE SPRINGFIELD MA DUKE ROBILLARD CHAN'S WOONSOCKET RI SATURDAY 1/26 VANESSA COLLIER BAND BLACK EYED SALLY'S HARTFORD BART BYRAN w BILL HOLLOMAN JUDY'S PLACE DANBURY TWO SHOTS OF BLUE THE HIDEAWAY RIDGEFIELD TONY FERRIGNO BAND OLD POST TAVERN FAIRFIELD POCKET FULL OF SOUL BIJOU THEATER BRIDGEPORT GREG SHERROD LA BOCA MIDDLETOWN DAN STEVENS CHRIST CHURCH BETHANY ORB MELLON VERACIOUS BREWERY MONROE SHAWN TAYLOR & CHRIS D'AMATO TIPPING CHAIR TAVERN (5 PM) MILLDALE TIM McDONALD &THE GHOST TONES MAPLE TREE CAFÉ SIMSBURY ERAN TROY DANNER (TRIO ) WAXY O'CONNOR'S PLAINVILLE LE MIXX DONAHUE'S BEACH BAR MADISON DANIELLE NICOLE BAND TURNING POINT PIERMONT NY KERRY KEARNY THEODORE'S SPRINGFIELD MA CREAMERY STATION BISHOP'S LOUNGE NORTHAMPTON MA SIX PACK OF BLUES RALLY'S SPORTS BAR WESTFIELD MA LAST FAIR DEAL PARROTT DELANEY TAVERN NEW HARTFORD VITAMIN B-3 HUNGRY TIGER MANCHESTER JR KRAUSS & THE SHAKES STATELINE STATION SOUTHWICK MA BOOGIE BOYS w PETEY HOP THE ROCK GARDEN WATERTOWN PROF HARP DOUG'S HOUSE OF HARMONY NEW BEDFORD MA THE COFFEE GRINDERS CONGREGATIONAL CHURCH DINNER ROCKY HILL SKYLARK CITY BAND RED'S TAVERN SOUTH WINDSOR SUNDAY 1/27 G LOVE & SPECIAL SAUCE FTC (STAGE ONE ) FAIRFIELD BRUCE GREGORI NOTE KITCHEN & BAR BETHEL JR KRAUSS & THE SHAKES BRASS HORSE (3 TO 7 PM ) BARKHAMSTED ERAN TROY DANNER ( SOLO ) THE HOPS CO (3 PM ) DERBY DAN STEVENS STEADY HABIT BREWERY (1:30 PM) HADDAM VITAMIN B-3 / JOSH SCUSSELL HUNGRY TIGER MANCHESTER ELECTRIC BLUES JAM SULLY'S PUB HARTFORD RICK HARRINGTON JAM CADY'S TAVERN CHPACHET RI ORB MELLON HANGING HILLS BREWERY (3 PM ) HARTFORD MAGIC DICK & SHUN NG DARYL'S HOUSE PAWLING NY BACK TO THE GARDEN TURNING POINT PIERMONT NY DAVID STOLTZ FLYING MONKEY (4 PM) HARTFORD FRONT ROW BAND OPEN MIC COLUMBUS PARK BOCCI CLUB MERIDEN WHAMMER JAMMER OPEN MIC VFW PRESTON OPEN MIC STONEHOUSE BAR BALTIC OPEN MIC STOMPING GROUND PUTNAM BLUES AND BEYOND OPEN MIC THE STILL BAR AGAWAM MA JIM'S BLUES JAM GREENDALE'S PUB WORCESTER MA PURE AMERICA MAIN PUB MANCHESTER VINCE THOMPSON DONAHUE'S BEACH BAR MADISON MONDAY 1/28 NEAL VITULLO w LIVIU POP TIPPING CHAIR TAVERN MILLDALE GREG PICCOLO STEAK LOFT MYSTIC TUXEDO JUNCTION (SWING) BILL'S SEAFOOD WESTBROOK GENE DONALDSON OPEN MIC HUNGRY TIGER MANCHESTER TOM CRIVELLONE OPEN MIC THE ACOUSTIC CAFÉ BRIDGEPORT BILL'S GARAGE ALL STARS STRANGE BREW PUB NORWICH PETEY HOP'S ACOUTIC OPEN MIC LUCY'S LOUNGE PLEASANTVILLE OPEN MIC JUNE'S OUTBACK PUB KILLINGWORTH TUESDAY 1/29 TOMMY WHALEN & RAGGED EDGE WATERFRONT HOLYOKE MA DAVE SADLOSKI HUNGRY TIGER MANCHESTER DAN STEVENS NIGHTINGALES CAFÉ (Pickin party 6 pm) OLD LYME BOOGIE CHILLUN VINCENT'S WORCESTER MA WEDNESDAY 1/30 WACKY BLUES JAM GREENDALES PUB WORCESTER MA PETEY HOP'S ROOTS AND BLUES FALCON UNDERGROUND MARLBORO NY OPEN MIC SLIDERS MIDDLETOWN OPEN MIC MAPLE TREE CAFÉ SIMSBURY VRBE PUB ON PARK CRANSTON RI CHARLIE KARP SEAGRAPE FAIRFIELD DAVE STOLTZ (SOLO ) OLD FARMS HOTEL AVON THE KEEPERS KNICKERBOCKER MUSIC CENTER WESTERLY RI MURRAY THE WHEEL TOOTZY PIZZA WILTON COMMUNITY BLUES JAM BLACK EYED SALLY'S HARTFORD FRIENDS DAY OPEN MIC THEODORE'S SPRINGFIELD MA OPEN MIC MAPLE TREE CAFÉ SIMSBURY DONHUE'S OPEN MIC DONAHUE'S BEACH BAR MADISON SANDY CONNOLLY OPEN MIC COUNTRY TAVERN GUILFORD CHERYL TRACY OPEN MIC VERO CUCINO MIDDLETOWN COBALT EXPRESS OPEN MIC CLUB ONE FEEDING HILLS MA VRBE PUB ON PARK CRANSTON RI ALI KAT AND THE REVELATORS HUNGRY TIGER MANCHESTER THURSDAY 1/31 PINE LOFT OPEN MIC PINE LOFT BERLIN DAVID STOLTZ (SOLO) OLD FARMS HOTEL AVON CHERYL TRACY JAM WAXY'S PLAINVILLE DANA FUCHS INFINITY MUSIC HALL NORFOLK TWANG THURSDAY HOG RIVER BREWERY HARTFORD VINNIE FERRONE PEACHES ON THE WATERFRONT NORWALK ERAN TROY DANNER (SOLO ) THE GOLF CLUB WATERTOWN KOSHER KID STEAK LOFT MYSTIC SONYA RAE TAYLOR w LIVIU POP BLACK EYED SALLY'S HARTFORD DAVE STOLTZ (SOLO ) OLD FARMS HOTEL AVON TIM McDONALD & HALLY JAEGGI MAPLE TREE CAFÉ SIMSBURY TWANG THURSDAY HOG RIVER BREWERY HARTFORD KEN SAFETY OPEN MIC CJ SPARROW'S CHESHIRE JIMMY PHOTON JAM HUNGRY TIGER MANCHESTER OPEN MIC FAST EDDIE'S BILLARDS NEW MILFORD OPEN MIC AT THE BISTRO INFINITY HALL NORFOLK WENDY MAY OPEN MIC BLACK DUCK WESTPORT GREG SHERROD OPEN MIC BLACK SHEEP NIANTIC DEE BROWN OPEN MIC O'NEIL'S BAR BRIDGEPORT DAVE COSTA'S OPEN MIC CAMBRIDGE BREW PUB GRANBY ROCKY LAWRENCE THE CRAVE (6:30 PM) ANSONIA https://itunes.apple.com/us/podcast/id502316055

Danny and Big Debo come together this week to discuss how they have gotten too old to fight, what can go wrong at the club, Danny's new ride, the last time getting seriously drunk, and being sensitive in LA! Join us for all this and so much more! MBF – Episode #269 - I Wish You Would.(mp3)

Billy Boy Arnold is one of a handful of musicians still standing to talk about the vibrant and important Chicago blues scene of the 1950’s. He was first inspired by John Lee Sonny Boy Williamson who he considered to be the most important purveyor of modern blues harmonica. After several meetings with Sonny Boy, while only a teenager, he cut his first two sides for the cool label before meeting Ellas McDaniel. Soon after, Arnold was in the studio with McDaniel cutting the two-sided smash “Bo Diddley/I'm a Man” for Checker which forever branded McDaniel with the moniker, Bo Diddley. This session led to Arnolds own hits for Veejay Records, “I Wish You Would” and “I Ain’t Got You.” Both hits put Arnold on the map and were later covered by British rockers the Yardbirds. “I Wish You Would” was covered by David Bowie.

August 1, 2016 #YaJagoffPodcast / Episode #032 This is the second of 4 Summer Porch Tour Podcasts, presented by The Port Authority! We are in Mount Lebanon right next to the “T” line and Amanda and Steve’s place. It poured down rain so their porch was a little crowded! Comedian Terry Jones was with us as he’s getting ready to record an album at the Pittsburgh Improv and Scott Simmons from The ScareHouse brought some zombies! We interviewed the zombies AFTER they tried the Speed Pitch game from E.L.F Entertainment. LISTEN to the Podcast show right here below or on iTunes, Soundcloud, Google Play Music and TuneIn via “Pittsburgh Podcast Network” Episode 32 Line-up: “The 2nd Porch Tour Podcast: Terry Jones and Scarehouse Zombies” Episode Music: Dumpstafunk (from the upcoming Feastival), “I Wish You Would” 00:54 It’s raining but we’re eating Ricci’s Sausage and having a good time on the porch. Our theme? Fast Food misadventures. 06:24 Scott Simmons of The ScareHouse in Etna, PA. The place is world famous and has some deep, dark, secrets! What was his fast food story? 20:23 Pittsburgh comedian and all-around great guy, Terry Jones is with us (he brought Bill Cosby, Eddy Murphy and Sean Connery). He’s recording a digital album at the Pittsburgh Improv, August 11th. Get your tickets! 40:43 The zombies get interviewed. It’s a real….wait for it…. “FACE OFF!” 42:35 We meet Steve and Amanda who were our awesome hosts! They got a bunch of prizes like: $25 Gift Certificate from Matteo’s Restaurant $50 Gift Certificate from Cioppino of Pittsburgh $50 Gift Certificate from Osteria 2350 $50 Gift Card from Montana’s Rib & Chop House - Southpointe $25 Gift Card from Fame 15 Creative for one these restaurants: Nakama the Summit Big Y (Nola, Sonoma, Poros, Seviche, Perle) Passes from The Arcade Comedy Theater One Night Stay at The Allegheny Inn Visit Pittsburgh #LovePGH SWAG Cinnamon Bread Treats from 5 Generation Bakers Gourmet Granola from GetMoMuffins Passes for The Scarehouse 4 Tickets to Seven Springs Mountain Beer Festival (Aug 6-7) 48:29 Thanks again to our presenting sponsor, the Port Authority of Allegheny County! Thanks to The Food Tasters and the awesome 5 Generation Bakers who dropped off a couple of cases of cinnamon loaves! Make sure you check out their website and their new bakery! Find daily #Jagoffs posts at www.YaJagoff.com VIEW: Episode Full Photo Album https://goo.gl/photos/37uJjanHA67bnnFc9 How to Listen Regularly: – All shows on the “Pittsburgh Podcast Network” are free and available to listen 24/7 On-Demand in your hand on smartphone and tablet and on your laptop and desktop. – Apple users can find it on the iTunes Podcast app or player. – Android users can find it on the SoundCloud, Google Play Music or TuneIn website or app. * SEARCH: Pittsburgh Podcast Network • iTunes • Google Play Music • SoundCloud • tunein Production: Frank Murgia & Wayne Weil Follow Everyone on Twitter: The Podcast @YaJagoffPodcast John Chamberlin @YaJagoff Craig Tumas @CraigTumas John Knight @JKnight841 Jason Havelka @PittSportMonger E.L.F. Entertainment @ELFEnterainment The ScareHouse @TheScareHouse Scott Simmons @ScareHouseScott Terry Jones @TJonespoc Amanda Narcisi @alnarcisi Steve Fernald @stevefernald Bold Pittsburgh @boldpgh 5 Generations Bakers @JennyLeeSwirls Ricci’s Sausage @RicciSausage The Port Authority @PGHTransit The Food Tasters @TheFoodTasters Follow us on Snapchat: Search: PghPodcast and YaJagoffPodcast Produced at talent network, inc. @talentnetworktv by the Pittsburgh Podcast Network @pghpodcast

Continuing with the essentials series, we move on to Taylor Swift. This young lady is currently dominating pop music charts around the world with her latest album '1989' & the singles released from it. She always manages to get excellent club remixes of her commercial releases. Matt Pop, Cosmic Dawn, Joe Gauthreaux, Barry Harris, Dan Murphy, The Thin Red Men and Toy Armada & DJ Grind all turn in thumping club mixes of some of her biggest tracks such as "Style", "I Knew You Were Trouble", "Shake It Off", "Bad Blood" & "We Are Never, Ever Getting Back Together". Here's a little Taylor to take you into the New Year. Enjoy Anthony 1/ "I WISH YOU WOULD" (Matt Pop's Push My Buttons Club Mix) 2/ "WELCOME TO NEW YORK" (Matt Pop Club Mix) 3/ "BAD BLOOD" (Dan Murphy Club Mix) 4/ "22" (Happy HotDog Club Mix) 5/ "STYLE" (Barry Harris Remix) 6/ "WE ARE NEVER, EVER GETTING BACK TOGETHER" (The Thin Red Men Club Mix) 7/ "WILDEST DREAMS" (Lord N World Anthem Remix) 8/ "I KNEW YOU WERE TROUBLE" (Cosmic Dawn Club Mix) 9/ "SHAKE IT OFF" (Joe Gautreaux East Side Club Mix) 10/ "OUT OF THE WOODS" (Toy Armada & DJ GRIND Anthem Club Mix) 11/ "BLANK SPACE"(Joe Gauthreaux vs. Chris Moody Club Mix)

Episode 185 - Taylor Talk gives you everything and nothing. Just kidding. We give you a new episode, of course! In Episode 185 of Taylor Talk: The Taylor Swift Podcast, your hosts delve into the narrative complexity that is “I Wish You Would.” Taylor Swift wrote this song with Jack Antonoff, and they were inspired by the John Hughes movies of the 1980s. Which movie does this song remind you of? What’s your favorite lyric in the song? We’d love to hear your thoughts. Enjoy the episode!   Highlights from Episode 185 of Taylor Talk: The Taylor Swift Podcast Main Discussion: “I Wish You Would” Song Analysis – Fun fact: Taylor wrote this song based on a track Jack Antonoff gave her. – Why does 2AM seem to constantly re-appear in Taylor’s songs? – Serious question: why can’t this girl pick up the phone and tell him what she never said? – We analyze her most creative lyric: “We’re a crooked love, in a straight line down.” – Diane realizes something mid-episode that changes EVERYTHING! – Check out Steve’s “I Wish You Would” Spotify Playlist: https://open.spotify.com/user/stevesplaylist/playlist/524ypzVyWk9fkBKdcr47Gg Other Topics:   – New Taylor Talk t-shirts are available for a limited time only! Shop at Taylortalk.org/store – So far, Taylor has had Dan Reynolds of Imagine Dragons and Little Big Town as surprise guests on tour! – Remember: you MUST go visit Taylor Nation Headquarters if you attend a concert! – Swifties (and Taylor Swift) are listening to “Fight Song” by Rachel Platten. – The Swifties and Taylor are also listening to Kelsea Ballerini! Check out her interview with us on Taylor Talk Episode 178.  Calendar – June 8: The 1989 World Tour – Charlotte, NC – June 9: The 1989 World Tour – Raleigh, NC – June 12 & 13: The 1989 World Tour – Philadelphia, PA   – June 19 & 20: The 1989 World Tour – Cologne, Germany.

We're officially in the year of the 1989 tour and Taylor is already slaying 2015! 1989 worldwide sales are at 5,121,000 which means it went quintuple platinum in just 9 weeks! We can't wait to see how many more records Taylor shatters this year. The People's Choice Awards are airing this Wednesday, January 7th on CBS. Taylor is up for favorite female artist, favorite pop artist, and favorite song so make sure to tune in! #SwiftieProblems: I sing along to Blank Space far too aggressively for someone who has a nonexistent list of ex-lovers. -via @mariaaaa_n on  Twitter Taylor has been out and about in NYC in some really cute winter outfits lately. Thanks to TaySwiftStyle.com for tracking them down!  Back to our song discussions this week, we tackle I Wish You Would, track 7 on 1989 which Taylor wrote with Jack Antonoff. Taylor has said that the goal of this song was to have the feeling of an 80s John Hughes movie, and she definitely achieved that. We discuss what a music video for this song would be like, and predict how we think it will be performed on tour. Tell us your thoughts on I Wish You Would and any other thoughts on this episode by tweeting us at @swiftcast13 or via our website at swiftcast13.com. Thanks for listening! If you haven't done so yet, please SUBSCRIBE to us on iTunes and leave us a review and a 5 star rating.

SPECIAL EDITION - Taylor Swift reveals new song titles from 1989 in Rolling Stone, so we do a special edition episode of Taylor Talk! Listen as Adam, Diane, Sami, and guest host Eric (@spielerman) delve into Rolling Stone’s interview with Taylor Swift, “The Reinvention of Taylor Swift.” This article contains a wealth of information, so it was difficult to talk about everything, but we did touch on Taylor’s dating life (or lack thereof), her tight security, her decision to go pop, and most importantly… THE NEW SONG TITLES FROM 1989!! As we theorize about what each song could be about, feel free to share your opinions with us. We’ll find out on October 27th who was right  Enjoy the show! Highlights from Episode Scones of Taylor Talk: The Taylor Swift Podcast Main Discussion: Taylor Swift's in Rolling Stone - Although this article mentions how tight Taylor Swift's security team needs to be to keep her safe, the article is about how much Taylor Swift is loving life.  - Eric wonders if Taylor got her country pop/metaphor from a... fortune cookie? - Taylor claims that her 1989 album is not "boy-centric," and yet nearly all of the track titles she released are about boys! - Finish the sentence: "I Wish You Would"... what? - It seems like at least three songs on the album could be about Harry Styles (*braces self from angry Directioners) - Who needs an NDA when you have Taylor Swift hypnotizing you not to talk? - Which pop super star does Taylor Swift have "Bad Blood" with? We address the likelihood of each option suggested by Billboard.  - Fun Fact: Taylor Swift listens to Kendrick Lamar's "Backseat Freestyle" when she's being swarmed by paparazzi.

The Wall Street Geek is hosted by financial expert Michelle Price, Managing Principal of fee only financial advisor Price Capital LLC in NYC and the author of "How to Buy Stocks Online" (available at Amazon).   You know that moment when you lean over to turn on the AC, and the wind in your hair makes you feel like Beyonce? And you don't have a picture yet to go with your podcast? That's the story behind this selfie!   This is a lively one. You'll hear two new segments: "Whatchu Talkin' 'Bout Willis?" and "I Wish You Would". Also, new music, and three segments that are oldies but goodies: "Market Update", "Word of the Week", and "Empire State of Mind".   Thanks for listening!

What better way to start off this Podcast than with Country Joe & the Fish...their LP from 1967 "Electric Music for the Mind & Body" is the inspiration for this humble 1 hour Pod...Starting off with CJ & the Fish from EMFTM&B is "Flying High"....stuck on L.A. Freeway is no way to be, brothers & sister....so Smokey Joe Whitfield checks out the "Function at the Junction" via an old 78 rpm on the Crest label [L.A.] from 1955...Joel Scott Hill & the Strangers chime in with the very first 45 rpm on L.A.'s Titan label ..."Caterpiller Crawl" [1959]...Hill would go on to play in Canned Heat after guitar god, Harvey Mandell vacated the lead guitar chair....finishing off the first set is Blackburn & Snow, an excellent L.A. duo with "Stranger in a Strange Land" [Verve '66]...they put out 1 killer Lp and this 45 rpm written by Samuel F. Omar a.k.a. David Crosby. Lead guitar chores by The Ventures Jerry McGhee....Next up is Country Joe McDonald hisself with the title track from "Hold On It's Comin'' [Vanguard '71]...I dig this record and can't help but think how the material would sound with the Fish backing him up instead of some UK session cats!....The Cadillacs raise the beats-per-second level with an ultra rare 45 rpm "Please Mr. Johnson" [Josie '59] giving the Coasters a run for their moolah!! NYC gets to join in with Television's "Friction" offa their great debut record "Marquee Moon" [Elektra '77] and spinning back a decade The Shadows slip "Bombay Duck" on the turntable [Columbia '67]......At this point we'll take a minute to catch up while The Barry Gray Orchestra commands turntable #2 with "Joe 90 Theme" Joe 90 is a late-1960s British science-fiction television series concerning the adventures and exploits of nine-year-old Joe McClaine, who starts a double life as a schoolboy turned spy when his scientist father invents a pioneering machine capable of duplicating and then transferring expert knowledge and experience to another human brain. Equipped with the skills of the foremost academic and military minds, Joe enlists in the World Intelligence Network (WIN), becoming its "Most Special Agent", pursuing the ideal of world peace and saving human life....awesome, I say.Leaf Hound is up next from a stupidly rare record [their only one] on the Decca label [1971]. LH featured Pete French on vocals [Atomic Rooster / Cactus] and his cousin Mick Halls [Brunning Sunflower Blues Band / Mogul Thrash] on lead guitar....UK copies trade in the $1000's......We'll revisit Country Joe & Fish for "Section 43" an eerie instrumental that was more than likely inspired by some heavy drug inducing....July's "Friendly Man" switches the vibe for some incredible psych / pop from a band that morphed into Jade Warrior who eventually morphed into muzak of the worst kind...don't get me wrong, the first 3 Jade Warrior LP's KICK ASS!! but something happened along the way and they turned into a new age lump of crap....I'm only sayin'....Blue Cheer sends it back to California with "Man on the run" from "BC #5: The Original Human Being". Gary Yoder nee of KAK on guitar & Norman Mayall [Dr. West's Medicine Show / Sopwith Camel] on drums join Dickie Peterson for another terrific LP from these guys who started out life LOUDER THAN GOD!!! Milton Brown & His Musical Brownies cut the breeze with "Cheezy Breeze" from 1935 [Decca 78 rpm] and John Hammond gives the Pod a shot of bluesy r&r "I Wish You Would" with Robbie Robertson on guitar and Bill Wyman of the Stones on bass....from 1967's "I Can Tell"That's it for this week....join me next week when we take the "Last POD to Clarksville"