Podcast appearances and mentions of James Carr

We're back! Sorry for the absence. Albums discussed are James Carr's 'You Got My Mind Messed Up' (11:40), and The Cult's 'Love' (32:13). We also discuss the passing of Mutlu's mom Banu Onaral, which happened in December (the reason the pod was off). She was an amazing woman who as known worldwide in the field of biomedical engineering, and was a lover of the arts, as well as a great mother, wife, and friend. You can learn all about her legacy at https://banuonaral.org/.For all of Mutlu's tour dates and tickets visit⁠ ⁠https://www.mutlusounds.com/⁠The intro music is "I Should Let You Know" by Marian Hill.This is Carl Landry Record Club episode #157

Side Quests is back and this episode's host is writer and vacationer trying to relax at Isle Delfino, James Carr! The game he is talking about today is Super Mario Sunshine by Nintendo. You can also find his work here. We have a Patreon! Gain access to episode shout outs, bonus podcasts, reviews, early downloads of regular episodes, an exclusive rss feed and more! Click here! You can find the show on Bluesky, Instagram and YouTube! Please rate and review us on Apple Podcasts! Rate us on Spotify! Wanna join the Certain POV Discord? Click here!

Another two hours of Groovy Soul as our man in France brings you a number of tracks that lay in the vaults; a tribute to Quincy Jones; three Northern Soul tunes from before 1963 that got a spin at The Twisted Wheel plus crackers from amongst others Chairmen of the Board, James Carr, Ann Peebles, Sly & The Family Stone, Prince and Gene ChandlerFor more info and tracklisting, visit :https://thefaceradio.com/groovy-soulTune into new broadcasts of Groovy Soul, LIVE, Sundays 12 - 2 PM EST / 5 - 7 PM GMT.https://thefaceradio.com/archives/groovy-soul//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Humble Kumara, James Carr, J.M, LA Felix, Allana Goldsmith

In Iron Lab's Perfectly Unfinished Conversations second episode, hosts Coach Jo and Coach Kim tackle the topic of habits that are no longer working for them. Amidst all the diet dogma floating around the internet, they address commonly-held beliefs and habits that aren't serving the purposes we want them to. They break down why those habits don't work and then discuss what does work, and things that we should consider replacing the old habits with.Coach Kim and Coach Jo list habits we are very fond of because of routine or comfort that nonetheless don't serve our fitness or health goals. Habits like drive-through food, skipping breakfast and even lunch, not getting enough protein in our diets, inconsistency in our eating, and demonizing food groups instead of understanding the needs of our bodies. They approach these habits from experience, from having done and tried every one of them along their journeys, and having discovered how little the habits contribute to their wellness and goals. In talking about what habits to switch to instead, they focus on what works for the health and strength of our bodies, exploring protein levels, the benefits of sleep, regular eating, and how our bodies function without proper nutrition, debunking common diet myths along the way.—Contact Joely Churchill and Kim Berube | Iron Lab: Website: IronLabLacombe.comInstagram: Iron.Lab.LacombeFacebook: IronLabLacombeCoach Jo Instagram: @CoachJoChurchCoach Kim Instagram: @CoachKimBerubeCourse: Metabolic Blueprint—Transcript Coach Jo: [00:00:08] Welcome to Perfectly Unfinished Conversations, the Iron Lab podcast with Coach Jo. Coach Kim: [00:00:13] And Coach Kim. Coach Jo: [00:00:15] Where you ride shotgun with us as we have raw, real, unfiltered and unfinished conversations about trying to eat, sleep, train, and live with some integrity in a messy, imperfect life. Coach Kim: [00:00:27] We're all about creating a strong support system, taking radical personal responsibility, having fun, and being authentic. And one of the most common themes you're going to find in this podcast is the idea that we create positive momentum in our life by doing what we call B minus work. Coach Jo: [00:00:45] We are making gains and getting ahead and loving life without self-sabotaging our goals by striving for perfection. We get it done by moving ahead... Coach Kim: [00:00:55] ... before we're ready... Coach Jo: [00:00:56] ... when we aren't feeling like it... Coach Kim: [00:00:58] ... and without hesitation. Coach Jo: [00:01:00] Be sure to subscribe now on Apple or Spotify so you don't miss a single episode. It's good enough. Let's go. Coach Kim: [00:01:10] Here we are, episode two of the Iron Lab podcast. Coach Jo: [00:01:15] Perfectly Unfinished Conversations. Thank you for joining us again. Coach Kim: [00:01:19] Yeah, today we've got sugar-coated lies. These are the nutrition habits that just aren't working for us. Coach Jo: [00:01:27] So in this podcast today, Kim and I sat down, we were brainstorming, we were thinking like, what are all of the diet dogma lies that are floating around the internet or things that people think are working, but it's literally just not working for us. That was kind of the premise of this podcast. Coach Kim: [00:01:43] I always say, well, I recently I've been saying to my clients, like, we are fighting so hard to keep some of these habits, you know, like we just want to, we just want to fight for what we like. And the simple fact of the matter is, is that you're fighting to keep things that aren't working. Coach Jo: [00:02:01] Exactly. Boom. So a couple of examples that we just decided to, you know, point form right out, one of them being the high carb, high fat, and the perfect example of this is literally anything drive-through. Coach Kim: [00:02:16] Literally, literally. Coach Jo: [00:02:17] Literally anything drive-through. Coach Kim: [00:02:20] Your breakfast wrap, your chicken sandwich. Yeah, all of it. Coach Jo: [00:02:25] And a lot of that is because we want ease and we know the route or we've built the habit. If I leave five minutes early, I have enough time to turn right and get through the drive-through and get back on track, on the road, on time to my destination. Coach Kim: [00:02:38] Well, and it's also a happy place, you know, like our routines, the routines you have are because they feel good to you. And so if your routine includes a double double and a breakfast wrap or two, that's, you like it. And so it's going to be awfully hard to break that habit until you can come up with a new habit to replace it. Coach Jo: [00:03:03] Exactly. And that's just, you know, the law of habits. You know, James Carr with Atomic Habits, he has a-- Coach Kim: [00:03:09] -- Clear, Clear. Coach Jo: [00:03:10] Sorry, James Clear. My fault. He's got a brilliant book. And if you have not read it, I guarantee you will just leave that so mind blown because it's our situations, it's our environments, it's, you know, the cue, the reward. And like Kim said, the reward is you just want to feel good and you have to learn to short-circuit that thought in order to choose a new habit to become a new version of yourself. Yeah, and high carb, high fat is, it's just empty crap calories that's not going to serve you. Coach Kim: [00:03:40] It's double the fuel. So high carb, high fat. When you look at the fact that carbs are a fuel and fat is a fuel, now you got high carbs, high fat, which are double the fuel, which is high energy density. And I don't mean energy like physical energy density. I'm talking like-- Coach Jo: [00:03:57] -- too much gas in the tank. Coach Kim: [00:03:58] Too, yeah. And so remember that, you know, high carb, high fat are all the things we love. Pizza, ice cream, chips and dip, guac and tortilla chips. Coach Jo: [00:04:09] Like fresh-baked chocolate chip cookies out of the oven. Coach Kim: [00:04:12] Yeah. That's Jo's favorite. Coach Jo: [00:04:14] It is. I love 'em. Coach Kim: [00:04:16] I like tortilla chips and guacamole. Well, pretty much anything like straight-up habits that don't work for me. Like if I am ra...

This episode is part of Pledge Week 2024. From Tuesday through Saturday this week I'm posting some of my old Patreon bonuses to the main feed, as a taste of what Patreon backers get. If you enjoy them, why not subscribe for a dollar a month at patreon.com/andrewhickey ? (more…)

Today's show features music performed by Aretha Franklin and James Carr

This week join me as James Carr (President of Culinary Equipment Group) stops by to talk about being an equipment rep. Who they are, what they are, and ultimately how they can help. Culinary Equipment Group Website

This special episode is an interview with pro-skier and filmmaker Paddy Graham. Paddy was one of the first wave of British freeskiers who burst out of the UK dry slope and indoor scene into the international arena in the early-2000s.  Paddy is an extremely accomplished freeride and freestyle skier, but is best known for the incredibly creative ski films that he's starred in and produced, as co-founder of the legendary production company Legs of Steel.  SHOW NOTES Legs of Steel started in 2009 (2:45) Paddy learned to ski at Sheffield Ski Village (6:00) Sheffield Ski Village had its own ‘fun park' (8:00) Natives organised ‘The New Breed' quarter-pipe comp at the Birmingham Ski Show Listen to Iain's interview with Pat Sharples (10:00) Stu Brass organised the AIM series (11:30) Listen to Iain's interview with Jim Adlington, founder of Planks Clothing (12:15) Paddy went to Serre Chevalier with Ben Hawker and Noddy Gowans (13:30) He followed that with a trip to the States to film ‘Rad' (16:00) Murray Buchan, James Kilner, James Carr and Laura Berry, Adam Gendle, Ed Leigh, Tim Warwood, Matt Barr and Jonny Verity were also on the trip (17:45) Red Bull asked Paddy to go for the Sochi Olympics (19:30) The ski movie ‘Same Difference' in 2017 featured THE kicker (22:00) The kicker was created in Livigno (23:30) They needed to hit the kicker between 110-117 km/h (26:30) “It was like being shot out of a cannon!” (28:30) The second attempt at jumping did not go so well (31:00) ‘Action Men' came out in 2020 (33:30) Legs of Steel crew produced ‘The Ultimate Run' with Markus Eder in 2021 (33:45) https://www.youtube.com/watch?v=fbqHK8i-HdA Paddy shot in Sheffield in 2023 after Storm Larissa (38:30) https://www.youtube.com/watch?v=mb9lZlLMLUk Watch Paddy's ‘How To' features for Red Bull (45:00) 'Skiers Jump over chairlift' was filmed for Red Bull at Mammoth Mountain (45:30) https://www.youtube.com/watch?v=t1P0SeYt2TA Listen to Iain's interview with Kirsty Muir (48:00) Paddy has been on some very long bike rides! (49:45) Find out more about Stance Ski Socks (52:00) Advice for aspiring filmmakers and skiers (57:00) Paddy wears a range of Stance socks which all feature Freshtek and Infiknit™ technology; Sargent Snow, Flynn Snow and Baron Snow. Freshtek Performance Mesh keeps you cool with maximised airflow and breathability, whilst Stance's Infiknit™ technology never rips, never tears. FEEDBACK  I enjoy all feedback about the show, I like to know what you think, especially about our features so please contact on social @theskipodcast or theskipodcast@gmail.com    Tim Boyse: "I think I was “that guy“ you recently mentioned who listened to your very first episode. I retired to the Swiss Alps in 2017 and have listening since then. I loved the early episodes with Jim, but I have to say the podcast has gone from strength to strength since you took it on alone. Keep up the good work - you keep giving me so many ideas I can't keep up." rms1765 (Apple Podcasts): “I love the mix of guests on this podcast and everything you are doing to raise awareness about issues facing skiing.” If you like the podcast, there are a couple of things you can do to help:    1) Review us on Apple Podcasts or Spotify   2) Subscribe and every episode will automatically be downloaded for you There are now 216 episodes to catch up with, and 91 were listened to in the last week. 50% of our listeners were in the UK, 18% in the States and the remaining 32% across the world, including Portugal, Taiwan and Brazil.  You can follow me @skipedia and the podcast @theskipodcast.

Embark on a soulful journey through the heart of the blues with "Blues is the Truth," where host Ian McHugh guides you through an unforgettable musical experience. Joining him once more is the illustrious Paul Michael, who presents another timeless track in his Blues Driver segment. This episode is enriched by the diverse requests of devoted listeners Joe Brabant and David Sinclair, ensuring a tapestry of blues brilliance. Get ready to be enthralled by an extraordinary lineup featuring the likes of George Thorogood, The Reverend Shawn Amos, Betty Padgett, James Carr, Connolly Hayes, Ray Charles, Van Morrison, Doug MacLeod, Koko Taylor, Buddy Guy, Misty Blues, Big Harp George, Ry Cooder and Taj Mahal, John Mayall and the Bluesbreakers, Pat West, Noe Socha, Kirk Fletcher, The Kokomo Kings, Rick Estrin and the Nightcats, T Bone Walker, Duke Robillard, Petra Bornerova Trio, Boogie Beasts, Deb Ryder, and Ronnie Earl and the Broadcasters. From searing guitar solos to heartfelt vocals, each artist brings a unique flavor to the blues, reminding us of its enduring power and authenticity. Join us as we delve into the rich tapestry of blues music on "Blues is the Truth."

Paul Rodgers & Nils Lofgren, Jean Patrick Capdevielle, Francesco de Gregori, James Carr, Porter Vagoner y Dolly Parton, Lee Hazlewood & Ann Margret, Aretha Franklin, Andrew Strong ft The Comminments, Honey Boy, the Flying Burrito Brothers, Landy McNeil, Big Sandy & His Fly-Rite Boys, Van Morrison, RuthAnne, Joni Mitchell, Tracy Chapman y Luke Combs.

For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the fourth and final part of a four-episode look at the Byrds in 1966-69 and the birth of country rock, this time mostly focused on what Gram Parsons and Chris Hillman did after leaving the band. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode, on “The Dark End of the Street” by James Carr. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ (more…)

Deep soul cuts, both classic and new that touch the mind and set shivers down the spine. The record labels include favorites BQE, Curtom, Big Crown, Colemine, Brunswick. Featuring Smokey Robinson, Mary Wells, Curtis Mayfield, Lady Wray, Pete Rock, The Chi-Lites, James Carr, Dojo Cuts, Carlton Jumel Smith, Bobby Harden & The Soulful Saints and loads more. Tune into new broadcasts of Matt Pape Mixtape, Friday from 12 - 1 AM EST / 5 - 6 AM GMTFor more info visit: https://thefaceradio.com/matt-pape-mixtape///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Two more action-packed hours of soul, R&B, and other 1960s dance tunes! You'll hear Gene Chandler, The Velvelettes, Lou Johnson, James Carr, J.J. Barnes, Tina Britt, Billy Stewart, Bobby Hebb, two by Chubby Checker, a silly thing about The Beatles, Northern Soul classics by The Valentines and Tony Clarke, plus one from somebody just called Tim? Originally broadcast September 17, 2023 Willie Mitchell / That Driving BeatMitty Collier / Do It With ConfidenceThe Human Beinz / Nobody But MeOtis Redding / Don't Mess With CupidThe Velvelettes / These Things Will Keep Me Loving YouGene Chandler / A Song Called SoulThe Impressions / You've Been Cheatin'Smokey Johnson / I Can't Help It (Part 1)Lynn Martini & the Jolly Jax / NowThe Valentines / BreakawayTony Clarke / Landslide Louis Curry / I'll Try Again TomorrowLong John Baldry / Let Him Go (And Let Me Love You)Lou Johnson / If I Never Get To Love YouBilly Stewart / SummertimeErnie K-Doe / Mother In LawPaul Revere & The Raiders / Have Love, Will TravelChubby Checker / Back In The U.S.S.R.The Contours / Just a Little MisunderstandingThe Olympics / Do the Slauson ShuffleEdwin Starr / Agent Double-O-SoulJackie Wilson And Count Basie / Chain GangChubby Checker / (At the) DiscothequeJimmy George / It Was Fun While it LastedJ. J. Barnes / Real HumdingerRay Charles / If You Were MineJames Carr / That's What I Want To KnowThe Best Of Both Worlds / Moma Bakes BuiscuitsLittle Carl Carlton / Competition Ain't Nothin'Gerry and the Pacemakers / JambalayaMartha & The Vandellas / One Way OutTina Britt / LookThe Elgins / Heaven Must Have Sent YouThe Patty Cakes / I Understand Them (A Love Song to The Beatles)Bobby Hebb / Love, Love, LoveTim / I Need Your LoveDobie Gray / Out on the FloorLen Barry / 1-2-3 Hosted on Acast. See acast.com/privacy for more information.

You are invited to listen to the latest Relaxing Focus Music_4 . Click ⁠Enter Prize Drawing⁠ To Win A Free Gift. Early Black Friday Deals- Go Holiday Gift Shopping at ⁠⁠⁠⁠⁠⁠⁠Spoken Wordplay Podcast Community Store⁠⁠⁠⁠⁠⁠⁠-> Male ⁠⁠⁠⁠⁠Short⁠⁠⁠⁠ ⁠& ⁠⁠⁠⁠⁠Long⁠ ⁠⁠⁠⁠ and Female ⁠⁠⁠⁠Short⁠⁠⁠ & ⁠⁠⁠⁠⁠Long⁠⁠⁠⁠ Sleeves "I Am Thankful" T-Shirts , "I Am Blessed" ⁠⁠⁠⁠Vanilla Scent Jar Candle⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠15-Minutes Break Spiral Sketch books⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠Daily Planners Spiral Notebook⁠⁠⁠⁠⁠⁠⁠s & ⁠⁠⁠⁠⁠⁠⁠Pocket Folder Notebooks⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠Retro Backpack⁠⁠⁠⁠. Welcome Students to your first semester holiday season prize drawing giveaway at Spoken Wordplay Podcast Community. Students be the first to enter into a prize drawing giveaway to win a free gift this holiday season sponsored by Spoken Wordplay Podcast head instructor, Ms. Tonya Michelle Wilkerson. Students will be given the chance to win one of these prize giveaways such as ‘ I Am Thankful' long or short sleeves T-shirts, Retro Backpacks, ‘ I Am Blessed' Vanilla Scented Jar Candles, Daily Planners & Students 15-Minutes Breaks Spiral Notebooks or Pocket Folders and more meditation and educational products. One student will become a winner of Spoken Wordplay Podcast holiday season prize giveway drawing which starts November 5th and ends December 31st of 2023. Join, Ms. Tonya as she announces the winner name live on Spoken Wordplay Podcast YouTube Channel on January 1 2024. Students, I am wishing you a harvest of bleesing during Thanksgiving & Christmas holiday seasons. Have an Happy New Years, may all the good things of life be yours, not only during the holiday seasons but throughout the coming year of 2024. How to Submit and Enter Prize Drawing Giveaway: Students will upload and submit positive images of themselves below creating a photo gallery caputuring ” What you are doing when you are most happy during the holidays?” and or showing “How would you maintain a healthy lifestyle in 2024 as a New Years Resolution?” Follow These Steps To Submit and Display Your Photo Gallery: 1. Fill in Real Name, Current Email Adderess, Post Titile (Post Tags are optional) 2. Next, Click Add Media Link To Upload Your Photo Images 3. Then, Check the Small Box And Agree To Website Photo Terms 4. Next, Answer the Question ” What are the dates to enter prize drawing giveaway?Answer is: November 5th-December 31 Lastly, Click Submit Post To Display Your Photo Gallery. Spoken Wordplay Podcast Community has created a 46-minutes Focus Music Playlist for students to listen while they're studying to help enhance and stimulate creative learning. I would like to give recognition to 5 amazing artist for their hard work creating these relaxing and dreamy Alternative Hip Hop music such as ⁠⁠ ⁠⁠⁠⁠ Epidemic Sound⁠⁠⁠⁠ Artists- "Cloudshifter" by Auxjack "From Uptown" by Don Vayei "Warm and Cozy" by Sarah, the lllstrumentalist "State of Emergency" by James Carr "Gentle Echo" by Dylan Sitts Students listen to these relaxing focus and study instrumental music when you are feeling stress or having anxiety such as while cramming to study for your test or quiz. Listening to relaxing music will help you be more productive and do well academically in completing your work assignments and projects where as you can remember and concentrate more in receiving the information needed to even write a term paper including passing your mid-term and final exams. Students, Become a Paid Subscriber on ⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠Spotify⁠⁠, ⁠⁠Apple Podcast⁠⁠ ⁠⁠and Spoken Wordplay Community ⁠⁠⁠⁠⁠podcast website⁠⁠⁠⁠⁠ and listen to Season 1 and Season 2 Full Podcast Episodes right from your own computer and mobile phones. --- Send in a voice message: https://podcasters.spotify.com/pod/show/spokenwordplaypodcast/message

Episode one hundred and sixty-seven of A History of Rock Music in Five Hundred Songs looks at “The Weight" by the Band, the Basement Tapes, and the continuing controversy over Dylan going electric. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "S.F. Sorrow is Born" by the Pretty Things. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Also, a one-time request here -- Shawn Taylor, who runs the Facebook group for the podcast and is an old and dear friend of mine, has stage-three lung cancer. I will be hugely grateful to anyone who donates to the GoFundMe for her treatment. Errata At one point I say "when Robertson and Helm travelled to the Brill Building". I meant "when Hawkins and Helm". This is fixed in the transcript but not the recording. Resources There are three Mixcloud mixes this time. As there are so many songs by Bob Dylan and the Band excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two, three. I've used these books for all the episodes involving Dylan: Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald, which is recommended, as all Wald's books are. Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. Information on Tiny Tim comes from Eternal Troubadour: The Improbable Life of Tiny Tim by Justin Martell. Information on John Cage comes from The Roaring Silence by David Revill Information on Woodstock comes from Small Town Talk by Barney Hoskyns. For material on the Basement Tapes, I've used Million Dollar Bash by Sid Griffin. And for the Band, I've used This Wheel's on Fire by Levon Helm with Stephen Davis, Testimony by Robbie Robertson, The Band by Craig Harris and Levon by Sandra B Tooze. I've also referred to the documentaries No Direction Home and Once Were Brothers. The complete Basement Tapes can be found on this multi-disc box set, while this double-CD version has the best material from the sessions. All the surviving live recordings by Dylan and the Hawks from 1966 are on this box set. There are various deluxe versions of Music From Big Pink, but still the best way to get the original album is in this twofer CD with the Band's second album. Transcript Just a brief note before I start – literally while I was in the middle of recording this episode, it was announced that Robbie Robertson had died today, aged eighty. Obviously I've not had time to alter the rest of the episode – half of which had already been edited – with that in mind, though I don't believe I say anything disrespectful to his memory. My condolences to those who loved him – he was a huge talent and will be missed. There are people in the world who question the function of criticism. Those people argue that criticism is in many ways parasitic. If critics knew what they were talking about, so the argument goes, they would create themselves, rather than talk about other people's creation. It's a variant of the "those who can't, teach" cliche. And to an extent it's true. Certainly in the world of rock music, which we're talking about in this podcast, most critics are quite staggeringly ignorant of the things they're talking about. Most criticism is ephemeral, published in newspapers, magazines, blogs and podcasts, and forgotten as soon as it has been consumed -- and consumed is the word . But sometimes, just sometimes, a critic will have an effect on the world that is at least as important as that of any of the artists they criticise. One such critic was John Ruskin. Ruskin was one of the preeminent critics of visual art in the Victorian era, particularly specialising in painting and architecture, and he passionately advocated for a form of art that would be truthful, plain, and honest. To Ruskin's mind, many artists of the past, and of his time, drew and painted, not what they saw with their own eyes, but what other people expected them to paint. They replaced true observation of nature with the regurgitation of ever-more-mannered and formalised cliches. His attacks on many great artists were, in essence, the same critiques that are currently brought against AI art apps -- they're just recycling and plagiarising what other people had already done, not seeing with their own eyes and creating from their own vision. Ruskin was an artist himself, but never received much acclaim for his own work. Rather, he advocated for the works of others, like Turner and the pre-Raphaelite school -- the latter of whom were influenced by Ruskin, even as he admired them for seeing with their own vision rather than just repeating influences from others. But those weren't the only people Ruskin influenced. Because any critical project, properly understood, becomes about more than just the art -- as if art is just anything. Ruskin, for example, studied geology, because if you're going to talk about how people should paint landscapes and what those landscapes look like, you need to understand what landscapes really do look like, which means understanding their formation. He understood that art of the kind he wanted could only be produced by certain types of people, and so society had to be organised in a way to produce such people. Some types of societal organisation lead to some kinds of thinking and creation, and to properly, honestly, understand one branch of human thought means at least to attempt to understand all of them. Opinions about art have moral consequences, and morality has political and economic consequences. The inevitable endpoint of any theory of art is, ultimately, a theory of society. And Ruskin had a theory of society, and social organisation. Ruskin's views are too complex to summarise here, but they were a kind of anarcho-primitivist collectivism. He believed that wealth was evil, and that the classical liberal economics of people like Mill was fundamentally anti-human, that the division of labour alienated people from their work. In Ruskin's ideal world, people would gather in communities no bigger than villages, and work as craftspeople, working with nature rather than trying to bend nature to their will. They would be collectives, with none richer or poorer than any other, and working the land without modern technology. in the first half of the twentieth century, in particular, Ruskin's influence was *everywhere*. His writings on art inspired the Impressionist movement, but his political and economic ideas were the most influential, right across the political spectrum. Ruskin's ideas were closest to Christian socialism, and he did indeed inspire many socialist parties -- most of the founders of Britain's Labour Party were admirers of Ruskin and influenced by his ideas, particularly his opposition to the free market. But he inspired many other people -- Gandhi talked about the profound influence that Ruskin had on him, saying in his autobiography that he got three lessons from Ruskin's Unto This Last: "That 1) the good of the individual is contained in the good of all. 2) a lawyer's work has the same value as the barber's in as much as all have the same right of earning their livelihood from their work. 3) a life of labour, i.e., the life of the tiller of the soil and the handicraftsman is the life worth living. The first of these I knew. The second I had dimly realized. The third had never occurred to me. Unto This Last made it clear as daylight for me that the second and third were contained in the first. I arose with the dawn, ready to reduce these principles to practice" Gandhi translated and paraphrased Unto this Last into Gujurati and called the resulting book Sarvodaya (meaning "uplifting all" or "the welfare of all") which he later took as the name of his own political philosophy. But Ruskin also had a more pernicious influence -- it was said in 1930s Germany that he and his friend Thomas Carlyle were "the first National Socialists" -- there's no evidence I know of that Hitler ever read Ruskin, but a *lot* of Nazi rhetoric is implicit in Ruskin's writing, particularly in his opposition to progress (he even opposed the bicycle as being too much inhuman interference with nature), just as much as more admirable philosophies, and he was so widely read in the late nineteenth and early twentieth centuries that there's barely a political movement anywhere that didn't bear his fingerprints. But of course, our focus here is on music. And Ruskin had an influence on that, too. We've talked in several episodes, most recently the one on the Velvet Underground, about John Cage's piece 4'33. What I didn't mention in any of the discussions of that piece -- because I was saving it for here -- is that that piece was premiered at a small concert hall in upstate New York. The hall, the Maverick Concert Hall, was owned and run by the Maverick arts and crafts collective -- a collective that were so called because they were the *second* Ruskinite arts colony in the area, having split off from the Byrdcliffe colony after a dispute between its three founders, all of whom were disciples of Ruskin, and all of whom disagreed violently about how to implement Ruskin's ideas of pacifist all-for-one and one-for-all community. These arts colonies, and others that grew up around them like the Arts Students League were the thriving centre of a Bohemian community -- close enough to New York that you could get there if you needed to, far enough away that you could live out your pastoral fantasies, and artists of all types flocked there -- Pete Seeger met his wife there, and his father-in-law had been one of the stonemasons who helped build the Maverick concert hall. Dozens of artists in all sorts of areas, from Aaron Copland to Edward G Robinson, spent time in these communities, as did Cage. Of course, while these arts and crafts communities had a reputation for Bohemianism and artistic extremism, even radical utopian artists have their limits, and legend has it that the premiere of 4'33 was met with horror and derision, and eventually led to one artist in the audience standing up and calling on the residents of the town around which these artistic colonies had agglomerated: “Good people of Woodstock, let's drive these people out of town.” [Excerpt: The Band, "The Weight"] Ronnie Hawkins was almost born to make music. We heard back in the episode on "Suzie Q" in 2019 about his family and their ties to music. Ronnie's uncle Del was, according to most of the sources on the family, a member of the Sons of the Pioneers -- though as I point out in that episode, his name isn't on any of the official lists of group members, but he might well have performed with them at some point in the early years of the group. And he was definitely a country music bass player, even if he *wasn't* in the most popular country and western group of the thirties and forties. And Del had had two sons, Jerry, who made some minor rockabilly records: [Excerpt: Jerry Hawkins, "Swing, Daddy, Swing"] And Del junior, who as we heard in the "Susie Q" episode became known as Dale Hawkins and made one of the most important rock records of the fifties: [Excerpt: Dale Hawkins, "Susie Q"] Ronnie Hawkins was around the same age as his cousins, and was in awe of his country-music star uncle. Hawkins later remembered that after his uncle moved to Califormia to become a star “He'd come home for a week or two, driving a brand new Cadillac and wearing brand new clothes and I knew that's what I wanted to be." Though he also remembered “He spent every penny he made on whiskey, and he was divorced because he was running around with all sorts of women. His wife left Arkansas and went to Louisiana.” Hawkins knew that he wanted to be a music star like his uncle, and he started performing at local fairs and other events from the age of eleven, including one performance where he substituted for Hank Williams -- Williams was so drunk that day he couldn't perform, and so his backing band asked volunteers from the audience to get up and sing with them, and Hawkins sang Burl Ives and minstrel-show songs with the band. He said later “Even back then I knew that every important white cat—Al Jolson, Stephen Foster—they all did it by copying blacks. Even Hank Williams learned all the stuff he had from those black cats in Alabama. Elvis Presley copied black music; that's all that Elvis did.” As well as being a performer from an early age, though, Hawkins was also an entrepreneur with an eye for how to make money. From the age of fourteen he started running liquor -- not moonshine, he would always point out, but something far safer. He lived only a few miles from the border between Missouri and Arkansas, and alcohol and tobacco were about half the price in Missouri that they were in Arkansas, so he'd drive across the border, load up on whisky and cigarettes, and drive back and sell them at a profit, which he then used to buy shares in several nightclubs, which he and his bands would perform in in later years. Like every man of his generation, Hawkins had to do six months in the Army, and it was there that he joined his first ever full-time band, the Blackhawks -- so called because his name was Hawkins, and the rest of the group were Black, though Hawkins was white. They got together when the other four members were performing at a club in the area where Hawkins was stationed, and he was so impressed with their music that he jumped on stage and started singing with them. He said later “It sounded like something between the blues and rockabilly. It sort of leaned in both directions at the same time, me being a hayseed and those guys playing a lot funkier." As he put it "I wanted to sound like Bobby ‘Blue' Bland but it came out sounding like Ernest Tubb.” Word got around about the Blackhawks, both that they were a great-sounding rock and roll band and that they were an integrated band at a time when that was extremely unpopular in the southern states, and when Hawkins was discharged from the Army he got a call from Sam Phillips at Sun Records. According to Hawkins a group of the regular Sun session musicians were planning on forming a band, and he was asked to front the band for a hundred dollars a week, but by the time he got there the band had fallen apart. This doesn't precisely line up with anything else I know about Sun, though it perhaps makes sense if Hawkins was being asked to front the band who had variously backed Billy Lee Riley and Jerry Lee Lewis after one of Riley's occasional threats to leave the label. More likely though, he told everyone he knew that he had a deal with Sun but Phillips was unimpressed with the demos he cut there, and Hawkins made up the story to stop himself losing face. One of the session players for Sun, though, Luke Paulman, who played in Conway Twitty's band among others, *was* impressed with Hawkins though, and suggested that they form a band together with Paulman's bass player brother George and piano-playing cousin Pop Jones. The Paulman brothers and Jones also came from Arkansas, but they specifically came from Helena, Arkansas, the town from which King Biscuit Time was broadcast. King Biscuit Time was the most important blues radio show in the US at that time -- a short lunchtime programme which featured live performances from a house band which varied over the years, but which in the 1940s had been led by Sonny Boy Williamson II, and featured Robert Jr. Lockwood, Robert Johnson's stepson, on guiitar: [Excerpt: Sonny Boy Williamson II "Eyesight to the Blind (King Biscuit Time)"] The band also included a drummer, "Peck" Curtis, and that drummer was the biggest inspiration for a young white man from the town named Levon Helm. Helm had first been inspired to make music after seeing Bill Monroe and his Blue Grass Boys play live when Helm was eight, and he had soon taken up first the harmonica, then the guitar, then the drums, becoming excellent at all of them. Even as a child he knew that he didn't want to be a farmer like his family, and that music was, as he put it, "the only way to get off that stinking tractor  and out of that one hundred and five degree heat.” Sonny Boy Williamson and the King Biscuit Boys would perform in the open air in Marvell, Arkansas, where Helm was growing up, on Saturdays, and Helm watched them regularly as a small child, and became particularly interested in the drumming. “As good as the band sounded,” he said later “it seemed that [Peck] was definitely having the most fun. I locked into the drums at that point. Later, I heard Jack Nance, Conway Twitty's drummer, and all the great drummers in Memphis—Jimmy Van Eaton, Al Jackson, and Willie Hall—the Chicago boys (Fred Belew and Clifton James) and the people at Sun Records and Vee-Jay, but most of my style was based on Peck and Sonny Boy—the Delta blues style with the shuffle. Through the years, I've quickened the pace to a more rock-and-roll meter and time frame, but it still bases itself back to Peck, Sonny Boy Williamson, and the King Biscuit Boys.” Helm had played with another band that George Paulman had played in, and he was invited to join the fledgling band Hawkins was putting together, called for the moment the Sun Records Quartet. The group played some of the clubs Hawkins had business connections in, but they had other plans -- Conway Twitty had recently played Toronto, and had told Luke Paulman about how desperate the Canadians were for American rock and roll music. Twitty's agent Harold Kudlets booked the group in to a Toronto club, Le Coq D'Or, and soon the group were alternating between residencies in clubs in the Deep South, where they were just another rockabilly band, albeit one of the better ones, and in Canada, where they became the most popular band in Ontario, and became the nucleus of an entire musical scene -- the same scene from which, a few years later, people like Neil Young would emerge. George Paulman didn't remain long in the group -- he was apparently getting drunk, and also he was a double-bass player, at a time when the electric bass was becoming the in thing. And this is the best place to mention this, but there are several discrepancies in the various accounts of which band members were in Hawkins' band at which times, and who played on what session. They all *broadly* follow the same lines, but none of them are fully reconcilable with each other, and nobody was paying enough attention to lineup shifts in a bar band between 1957 and 1964 to be absolutely certain who was right. I've tried to reconcile the various accounts as far as possible and make a coherent narrative, but some of the details of what follows may be wrong, though the broad strokes are correct. For much of their first period in Ontario, the group had no bass player at all, relying on Jones' piano to fill in the bass parts, and on their first recording, a version of "Bo Diddley", they actually got the club's manager to play bass with them: [Excerpt: Ronnie Hawkins, "Hey Bo Diddley"] That is claimed to be the first rock and roll record made in Canada, though as everyone who has listened to this podcast knows, there's no first anything. It wasn't released as by the Sun Records Quartet though -- the band had presumably realised that that name would make them much less attractive to other labels, and so by this point the Sun Records Quartet had become Ronnie Hawkins and the Hawks. "Hey Bo Diddley" was released on a small Canadian label and didn't have any success, but the group carried on performing live, travelling back down to Arkansas for a while and getting a new bass player, Lefty Evans, who had been playing in the same pool of musicians as them, having been another Sun session player who had been in Conway Twitty's band, and had written Twitty's "Why Can't I Get Through to You": [Excerpt: Conway Twitty, "Why Can't I Get Through to You"] The band were now popular enough in Canada that they were starting to get heard of in America, and through Kudlets they got a contract with Joe Glaser, a Mafia-connected booking agent who booked them into gigs on the Jersey Shore. As Helm said “Ronnie Hawkins had molded us into the wildest, fiercest, speed-driven bar band in America," and the group were apparently getting larger audiences in New Jersey than Sammy Davis Jr was, even though they hadn't released any records in the US. Or at least, they hadn't released any records in their own name in the US. There's a record on End Records by Rockin' Ronald and the Rebels which is very strongly rumoured to have been the Hawks under another name, though Hawkins always denied that. Have a listen for yourself and see what you think: [Excerpt: Rockin' Ronald and the Rebels, "Kansas City"] End Records, the label that was on, was one of the many record labels set up by George Goldner and distributed by Morris Levy, and when the group did release a record in their home country under their own name, it was on Levy's Roulette Records. An audition for Levy had been set up by Glaser's booking company, and Levy decided that given that Elvis was in the Army, there was a vacancy to be filled and Ronnie Hawkins might just fit the bill. Hawkins signed a contract with Levy, and it doesn't sound like he had much choice in the matter. Helm asked him “How long did you have to sign for?” and Hawkins replied "Life with an option" That said, unlike almost every other artist who interacted with Levy, Hawkins never had a bad word to say about him, at least in public, saying later “I don't care what Morris was supposed to have done, he looked after me and he believed in me. I even lived with him in his million-dollar apartment on the Upper East Side." The first single the group recorded for Roulette, a remake of Chuck Berry's "Thirty Days" retitled "Forty Days", didn't chart, but the follow-up, a version of Young Jessie's "Mary Lou", made number twenty-six on the charts: [Excerpt: Ronnie Hawkins and the Hawks, "Mary Lou"] While that was a cover of a Young Jessie record, the songwriting credits read Hawkins and Magill -- Magill was a pseudonym used by Morris Levy. Levy hoped to make Ronnie Hawkins into a really big star, but hit a snag. This was just the point where the payola scandal had hit and record companies were under criminal investigation for bribing DJs to play their records. This was the main method of promotion that Levy used, and this was so well known that Levy was, for a time, under more scrutiny than anyone. He couldn't risk paying anyone off, and so Hawkins' records didn't get the expected airplay. The group went through some lineup changes, too, bringing in guitarist Fred Carter (with Luke Paulman moving to rhythm and soon leaving altogether)  from Hawkins' cousin Dale's band, and bass player Jimmy Evans. Some sources say that Jones quit around this time, too, though others say he was in the band for  a while longer, and they had two keyboards (the other keyboard being supplied by Stan Szelest. As well as recording Ronnie Hawkins singles, the new lineup of the group also recorded one single with Carter on lead vocals, "My Heart Cries": [Excerpt: Fred Carter, "My Heart Cries"] While the group were now playing more shows in the USA, they were still playing regularly in Canada, and they had developed a huge fanbase there. One of these was a teenage guitarist called Robbie Robertson, who had become fascinated with the band after playing a support slot for them, and had started hanging round, trying to ingratiate himself with the band in the hope of being allowed to join. As he was a teenager, Hawkins thought he might have his finger on the pulse of the youth market, and when Hawkins and Helm travelled to the Brill Building to hear new songs for consideration for their next album, they brought Robertson along to listen to them and give his opinion. Robertson himself ended up contributing two songs to the album, titled Mr. Dynamo. According to Hawkins "we had a little time after the session, so I thought, Well, I'm just gonna put 'em down and see what happens. And they were released. Robbie was the songwriter for words, and Levon was good for arranging, making things fit in and all that stuff. He knew what to do, but he didn't write anything." The two songs in question were "Someone Like You" and "Hey Boba Lou": [Excerpt: Ronnie Hawkins and the Hawks, "Hey Boba Lou"] While Robertson was the sole writer of the songs, they were credited to Robertson, Hawkins, and Magill -- Morris Levy. As Robertson told the story later, “It's funny, when those songs came out and I got a copy of the album, it had another name on there besides my name for some writer like Morris Levy. So, I said to Ronnie, “There was nobody there writing these songs when I wrote these songs. Who is Morris Levy?” Ronnie just kinda tapped me on the head and said, “There are certain things about this business that you just let go and you don't question.” That was one of my early music industry lessons right there" Robertson desperately wanted to join the Hawks, but initially it was Robertson's bandmate Scott Cushnie who became the first Canadian to join the Hawks. But then when they were in Arkansas, Jimmy Evans decided he wasn't going to go back to Canada. So Hawkins called Robbie Robertson up and made him an offer. Robertson had to come down to Arkansas and get a couple of quick bass lessons from Helm (who could play pretty much every instrument to an acceptable standard, and so was by this point acting as the group's musical director, working out arrangements and leading them in rehearsals). Then Hawkins and Helm had to be elsewhere for a few weeks. If, when they got back, Robertson was good enough on bass, he had the job. If not, he didn't. Robertson accepted, but he nearly didn't get the gig after all. The place Hawkins and Helm had to be was Britain, where they were going to be promoting their latest single on Boy Meets Girls, the Jack Good TV series with Marty Wilde, which featured guitarist Joe Brown in the backing band: [Excerpt: Joe Brown, “Savage”] This was the same series that Eddie Cochran and Gene Vincent were regularly appearing on, and while they didn't appear on the episodes that Hawkins and Helm appeared on, they did appear on the episodes immediately before Hawkins and Helm's two appearances, and again a couple of weeks after, and were friendly with the musicians who did play with Hawkins and Helm, and apparently they all jammed together a few times. Hawkins was impressed enough with Joe Brown -- who at the time was considered the best guitarist on the British scene -- that he invited Brown to become a Hawk. Presumably if Brown had taken him up on the offer, he would have taken the spot that ended up being Robertson's, but Brown turned him down -- a decision he apparently later regretted. Robbie Robertson was now a Hawk, and he and Helm formed an immediate bond. As Helm much later put it, "It was me and Robbie against the world. Our mission, as we saw it, was to put together the best band in history". As rockabilly was by this point passe, Levy tried converting Hawkins into a folk artist, to see if he could get some of the Kingston Trio's audience. He recorded a protest song, "The Ballad of Caryl Chessman", protesting the then-forthcoming execution of Chessman (one of only a handful of people to be executed in the US in recent decades for non-lethal offences), and he made an album of folk tunes, The Folk Ballads of Ronnie Hawkins, which largely consisted of solo acoustic recordings, plus a handful of left-over Hawks recordings from a year or so earlier. That wasn't a success, but they also tried a follow-up, having Hawkins go country and do an album of Hank Williams songs, recorded in Nashville at Owen Bradley's Quonset hut. While many of the musicians on the album were Nashville A-Team players, Hawkins also insisted on having his own band members perform, much to the disgust of the producer, and so it's likely (not certain, because there seem to be various disagreements about what was recorded when) that that album features the first studio recordings with Levon Helm and Robbie Robertson playing together: [Excerpt: Ronnie Hawkins and the Hawks, "Your Cheatin' Heart"] Other sources claim that the only Hawk allowed to play on the album sessions was Helm, and that the rest of the musicians on the album were Harold Bradley and Hank Garland on guitar, Owen Bradley and Floyd Cramer on piano, Bob Moore on bass, and the Anita Kerr singers. I tend to trust Helm's recollection that the Hawks played at least some of the instruments though, because the source claiming that also seems to confuse the Hank Williams and Folk Ballads albums, and because I don't hear two pianos on the album. On the other hand, that *does* sound like Floyd Cramer on piano, and the tik-tok bass sound you'd get from having Harold Bradley play a baritone guitar while Bob Moore played a bass. So my best guess is that these sessions were like the Elvis sessions around the same time and with several of the same musicians, where Elvis' own backing musicians played rhythm parts but left the prominent instruments to the A-team players. Helm was singularly unimpressed with the experience of recording in Nashville. His strongest memory of the sessions was of another session going on in the same studio complex at the time -- Bobby "Blue" Bland was recording his classic single "Turn On Your Love Light", with the great drummer Jabo Starks on drums, and Helm was more interested in listening to that than he was in the music they were playing: [Excerpt: Bobby "Blue" Bland, "Turn On Your Love Light"] Incidentally, Helm talks about that recording being made "downstairs" from where the Hawks were recording, but also says that they were recording in Bradley's Quonset hut.  Now, my understanding here *could* be very wrong -- I've been unable to find a plan or schematic anywhere -- but my understanding is that the Quonset hut was a single-level structure, not a multi-level structure. BUT the original recording facilities run by the Bradley brothers were in Owen Bradley's basement, before they moved into the larger Quonset hut facility in the back, so it's possible that Bland was recording that in the old basement studio. If so, that won't be the last recording made in a basement we hear this episode... Fred Carter decided during the Nashville sessions that he was going to leave the Hawks. As his son told the story: "Dad had discovered the session musicians there. He had no idea that you could play and make a living playing in studios and sleep in your own bed every night. By that point in his life, he'd already been gone from home and constantly on the road and in the service playing music for ten years so that appealed to him greatly. And Levon asked him, he said, “If you're gonna leave, Fred, I'd like you to get young Robbie over here up to speed on guitar”…[Robbie] got kind of aggravated with him—and Dad didn't say this with any malice—but by the end of that week, or whatever it was, Robbie made some kind of comment about “One day I'm gonna cut you.” And Dad said, “Well, if that's how you think about it, the lessons are over.” " (For those who don't know, a musician "cutting" another one is playing better than them, so much better that the worse musician has to concede defeat. For the remainder of Carter's notice in the Hawks, he played with his back to Robertson, refusing to look at him. Carter leaving the group caused some more shuffling of roles. For a while, Levon Helm -- who Hawkins always said was the best lead guitar player he ever worked with as well as the best drummer -- tried playing lead guitar while Robertson played rhythm and another member, Rebel Payne, played bass, but they couldn't find a drummer to replace Helm, who moved back onto the drums. Then they brought in Roy Buchanan, another guitarist who had been playing with Dale Hawkins, having started out playing with Johnny Otis' band. But Buchanan didn't fit with Hawkins' personality, and he quit after a few months, going off to record his own first solo record: [Excerpt: Roy Buchanan, "Mule Train Stomp"] Eventually they solved the lineup problem by having Robertson -- by this point an accomplished lead player --- move to lead guitar and bringing in a new rhythm player, another Canadian teenager named Rick Danko, who had originally been a lead player (and who also played mandolin and fiddle). Danko wasn't expected to stay on rhythm long though -- Rebel Payne was drinking a lot and missing being at home when he was out on the road, so Danko was brought in on the understanding that he was to learn Payne's bass parts and switch to bass when Payne quit. Helm and Robertson were unsure about Danko, and Robertson expressed that doubt, saying "He only knows four chords," to which Hawkins replied, "That's all right son. You can teach him four more the way we had to teach you." He proved himself by sheer hard work. As Hawkins put it “He practiced so much that his arms swoll up. He was hurting.” By the time Danko switched to bass, the group also had a baritone sax player, Jerry Penfound, which allowed the group to play more of the soul and R&B material that Helm and Robertson favoured, though Hawkins wasn't keen. This new lineup of the group (which also had Stan Szelest on piano) recorded Hawkins' next album. This one was produced by Henry Glover, the great record producer, songwriter, and trumpet player who had played with Lucky Millinder, produced Wynonie Harris, Hank Ballard, and Moon Mullican, and wrote "Drowning in My Own Tears", "The Peppermint Twist", and "California Sun". Glover was massively impressed with the band, especially Helm (with whom he would remain friends for the rest of his life) and set aside some studio time for them to cut some tracks without Hawkins, to be used as album filler, including a version of the Bobby "Blue" Bland song "Farther On Up the Road" with Helm on lead vocals: [Excerpt: Levon Helm and the Hawks, "Farther On Up the Road"] There were more changes on the way though. Stan Szelest was about to leave the band, and Jones had already left, so the group had no keyboard player. Hawkins had just the replacement for Szelest -- yet another Canadian teenager. This one was Richard Manuel, who played piano and sang in a band called The Rockin' Revols. Manuel was not the greatest piano player around -- he was an adequate player for simple rockabilly and R&B stuff, but hardly a virtuoso -- but he was an incredible singer, able to do a version of "Georgia on My Mind" which rivalled Ray Charles, and Hawkins had booked the Revols into his own small circuit of clubs around Arkanasas after being impressed with them on the same bill as the Hawks a couple of times. Hawkins wanted someone with a good voice because he was increasingly taking a back seat in performances. Hawkins was the bandleader and frontman, but he'd often given Helm a song or two to sing in the show, and as they were often playing for several hours a night, the more singers the band had the better. Soon, with Helm, Danko, and Manuel all in the group and able to take lead vocals, Hawkins would start missing entire shows, though he still got more money than any of his backing group. Hawkins was also a hard taskmaster, and wanted to have the best band around. He already had great musicians, but he wanted them to be *the best*. And all the musicians in his band were now much younger than him, with tons of natural talent, but untrained. What he needed was someone with proper training, someone who knew theory and technique. He'd been trying for a long time to get someone like that, but Garth Hudson had kept turning him down. Hudson was older than any of the Hawks, though younger than Hawkins, and he was a multi-instrumentalist who was far better than any other musician on the circuit, having trained in a conservatory and learned how to play Bach and Chopin before switching to rock and roll. He thought the Hawks were too loud sounding and played too hard for him, but Helm kept on at Hawkins to meet any demands Hudson had, and Hawkins eventually agreed to give Hudson a higher wage than any of the other band members, buy him a new Lowry organ, and give him an extra ten dollars a week to give the rest of the band music lessons. Hudson agreed, and the Hawks now had a lineup of Helm on drums, Robertson on guitar, Manuel on piano, Danko on bass, Hudson on organ and alto sax, and Penfound on baritone sax. But these new young musicians were beginning to wonder why they actually needed a frontman who didn't turn up to many of the gigs, kept most of the money, and fined them whenever they broke one of his increasingly stringent set of rules. Indeed, they wondered why they needed a frontman at all. They already had three singers -- and sometimes a fourth, a singer called Bruce Bruno who would sometimes sit in with them when Penfound was unable to make a gig. They went to see Harold Kudlets, who Hawkins had recently sacked as his manager, and asked him if he could get them gigs for the same amount of money as they'd been getting with Hawkins. Kudlets was astonished to find how little Hawkins had been paying them, and told them that would be no problem at all. They had no frontman any more -- and made it a rule in all their contracts that the word "sideman" would never be used -- but Helm had been the leader for contractual purposes, as the musical director and longest-serving member (Hawkins, as a non-playing singer, had never joined the Musicians' Union so couldn't be the leader on contracts). So the band that had been Ronnie Hawkins and the Hawks became the Levon Helm Sextet briefly -- but Penfound soon quit, and they became Levon and the Hawks. The Hawks really started to find their identity as their own band in 1964. They were already far more interested in playing soul than Hawkins had been, but they were also starting to get into playing soul *jazz*, especially after seeing the Cannonball Adderley Sextet play live: [Excerpt: Cannonball Adderley, "This Here"] What the group admired about the Adderley group more than anything else was a sense of restraint. Helm was particularly impressed with their drummer, Louie Hayes, and said of him "I got to see some great musicians over the years, and you see somebody like that play and you can tell, y' know, that the thing not to do is to just get it down on the floor and stomp the hell out of it!" The other influence they had, and one which would shape their sound even more, was a negative one. The two biggest bands on the charts at the time were the Beatles and the Beach Boys, and as Helm described it in his autobiography, the Hawks thought both bands' harmonies were "a blend of pale, homogenised, voices". He said "We felt we were better than the Beatles and the Beach Boys. We considered them our rivals, even though they'd never heard of us", and they decided to make their own harmonies sound as different as possible as a result. Where those groups emphasised a vocal blend, the Hawks were going to emphasise the *difference* in their voices in their own harmonies. The group were playing prestigious venues like the Peppermint Lounge, and while playing there they met up with John Hammond Jr, who they'd met previously in Canada. As you might remember from the first episode on Bob Dylan, Hammond Jr was the son of the John Hammond who we've talked about in many episodes, and was a blues musician in his own right. He invited Helm, Robertson, and Hudson to join the musicians, including Michael Bloomfield, who were playing on his new album, So Many Roads: [Excerpt: John P. Hammond, "Who Do You Love?"] That album was one of the inspirations that led Bob Dylan to start making electric rock music and to hire Bloomfield as his guitarist, decisions that would have profound implications for the Hawks. The first single the Hawks recorded for themselves after leaving Hawkins was produced by Henry Glover, and both sides were written by Robbie Robertson. "uh Uh Uh" shows the influence of the R&B bands they were listening to. What it reminds me most of is the material Ike and Tina Turner were playing at the time, but at points I think I can also hear the influence of Curtis Mayfield and Steve Cropper, who were rapidly becoming Robertson's favourite songwriters: [Excerpt: The Canadian Squires, "Uh Uh Uh"] None of the band were happy with that record, though. They'd played in the studio the same way they played live, trying to get a strong bass presence, but it just sounded bottom-heavy to them when they heard the record on a jukebox. That record was released as by The Canadian Squires -- according to Robertson, that was a name that the label imposed on them for the record, while according to Helm it was an alternative name they used so they could get bookings in places they'd only recently played, which didn't want the same band to play too often. One wonders if there was any confusion with the band Neil Young played in a year or so before that single... Around this time, the group also met up with Helm's old musical inspiration Sonny Boy Williamson II, who was impressed enough with them that there was some talk of them being his backing band (and it was in this meeting that Williamson apparently told Robertson "those English boys want to play the blues so bad, and they play the blues *so bad*", speaking of the bands who'd backed him in the UK, like the Yardbirds and the Animals). But sadly, Williamson died in May 1965 before any of these plans had time to come to fruition. Every opportunity for the group seemed to be closing up, even as they knew they were as good as any band around them. They had an offer from Aaron Schroeder, who ran Musicor Records but was more importantly a songwriter and publisher who  had written for Elvis Presley and published Gene Pitney. Schroeder wanted to sign the Hawks as a band and Robertson as a songwriter, but Henry Glover looked over the contracts for them, and told them "If you sign this you'd better be able to pay each other, because nobody else is going to be paying you". What happened next is the subject of some controversy, because as these things tend to go, several people became aware of the Hawks at the same time, but it's generally considered that nothing would have happened the same way were it not for Mary Martin. Martin is a pivotal figure in music business history -- among other things she discovered Leonard Cohen and Gordon Lightfoot, managed Van Morrison, and signed Emmylou Harris to Warner Brothers records -- but a somewhat unknown one who doesn't even have a Wikipedia page. Martin was from Toronto, but had moved to New York, where she was working in Albert Grossman's office, but she still had many connections to Canadian musicians and kept an eye out for them. The group had sent demo tapes to Grossman's offices, and Grossman had had no interest in them, but Martin was a fan and kept pushing the group on Grossman and his associates. One of those associates, of course, was Grossman's client Bob Dylan. As we heard in the episode on "Like a Rolling Stone", Dylan had started making records with electric backing, with musicians who included Mike Bloomfield, who had played with several of the Hawks on the Hammond album, and Al Kooper, who was a friend of the band. Martin gave Richard Manuel a copy of Dylan's new electric album Highway 61 Revisited, and he enjoyed it, though the rest of the group were less impressed: [Excerpt: Bob Dylan, "Highway 61 Revisited"] Dylan had played the Newport Folk Festival with some of the same musicians as played on his records, but Bloomfield in particular was more interested in continuing to play with the Paul Butterfield Blues Band than continuing with Dylan long-term. Mary Martin kept telling Dylan about this Canadian band she knew who would be perfect for him, and various people associated with the Grossman organisation, including Hammond, have claimed to have been sent down to New Jersey where the Hawks were playing to check them out in their live setting. The group have also mentioned that someone who looked a lot like Dylan was seen at some of their shows. Eventually, Dylan phoned Helm up and made an offer. He didn't need a full band at the moment -- he had Harvey Brooks on bass and Al Kooper on keyboards -- but he did need a lead guitar player and drummer for a couple of gigs he'd already booked, one in Forest Hills, New York, and a bigger gig at the Hollywood Bowl. Helm, unfamiliar with Dylan's work, actually asked Howard Kudlets if Dylan was capable of filling the Hollywood Bowl. The musicians rehearsed together and got a set together for the shows. Robertson and Helm thought the band sounded terrible, but Dylan liked the sound they were getting a lot. The audience in Forest Hills agreed with the Hawks, rather than Dylan, or so it would appear. As we heard in the "Like a Rolling Stone" episode, Dylan's turn towards rock music was *hated* by the folk purists who saw him as some sort of traitor to the movement, a movement whose figurehead he had become without wanting to. There were fifteen thousand people in the audience, and they listened politely enough to the first set, which Dylan played acoustically, But before the second set -- his first ever full electric set, rather than the very abridged one at Newport -- he told the musicians “I don't know what it will be like out there It's going to be some kind of  carnival and I want you to all know that up front. So go out there and keep playing no matter how weird it gets!” There's a terrible-quality audience recording of that show in circulation, and you can hear the crowd's reaction to the band and to the new material: [Excerpt: Bob Dylan, "Ballad of a Thin Man" (live Forest Hills 1965, audience noise only)] The audience also threw things  at the musicians, knocking Al Kooper off his organ stool at one point. While Robertson remembered the Hollywood Bowl show as being an equally bad reaction, Helm remembered the audience there as being much more friendly, and the better-quality recording of that show seems to side with Helm: [Excerpt: Bob Dylan, "Maggie's Farm (live at the Hollywood Bowl 1965)"] After those two shows, Helm and Robertson went back to their regular gig. and in September they made another record. This one, again produced by Glover, was for Atlantic's Atco subsidiary, and was released as by Levon and the Hawks. Manuel took lead, and again both songs were written by Robertson: [Excerpt: Levon and the Hawks, "He Don't Love You (And He'll Break Your Heart)"] But again that record did nothing. Dylan was about to start his first full electric tour, and while Helm and Robertson had not thought the shows they'd played sounded particularly good, Dylan had, and he wanted the two of them to continue with him. But Robertson and, especially, Helm, were not interested in being someone's sidemen. They explained to Dylan that they already had a band -- Levon and the Hawks -- and he would take all of them or he would take none of them. Helm in particular had not been impressed with Dylan's music -- Helm was fundamentally an R&B fan, while Dylan's music was rooted in genres he had little time for -- but he was OK with doing it, so long as the entire band got to. As Mary Martin put it “I think that the wonderful and the splendid heart of the band, if you will, was Levon, and I think he really sort of said, ‘If it's just myself as drummer and Robbie…we're out. We don't want that. It's either us, the band, or nothing.' And you know what? Good for him.” Rather amazingly, Dylan agreed. When the band's residency in New Jersey finished, they headed back to Toronto to play some shows there, and Dylan flew up and rehearsed with them after each show. When the tour started, the billing was "Bob Dylan with Levon and the Hawks". That billing wasn't to last long. Dylan had been booked in for nine months of touring, and was also starting work on what would become widely considered the first double album in rock music history, Blonde on Blonde, and the original plan was that Levon and the Hawks would play with him throughout that time.  The initial recording sessions for the album produced nothing suitable for release -- the closest was "I Wanna Be Your Lover", a semi-parody of the Beatles' "I Want to be Your Man": [Excerpt: Bob Dylan with Levon and the Hawks, "I Wanna Be Your Lover"] But shortly into the tour, Helm quit. The booing had continued, and had even got worse, and Helm simply wasn't in the business to be booed at every night. Also, his whole conception of music was that you dance to it, and nobody was dancing to any of this. Helm quit the band, only telling Robertson of his plans, and first went off to LA, where he met up with some musicians from Oklahoma who had enjoyed seeing the Hawks when they'd played that state and had since moved out West -- people like Leon Russell, J.J. Cale (not John Cale of the Velvet Underground, but the one who wrote "Cocaine" which Eric Clapton later had a hit with), and John Ware (who would later go on to join the West Coast Pop Art Experimental Band). They started loosely jamming with each other, sometimes also involving a young singer named Linda Ronstadt, but Helm eventually decided to give up music and go and work on an oil rig in New Orleans. Levon and the Hawks were now just the Hawks. The rest of the group soldiered on, replacing Helm with session drummer Bobby Gregg (who had played on Dylan's previous couple of albums, and had previously played with Sun Ra), and played on the initial sessions for Blonde on Blonde. But of those sessions, Dylan said a few weeks later "Oh, I was really down. I mean, in ten recording sessions, man, we didn't get one song ... It was the band. But you see, I didn't know that. I didn't want to think that" One track from the sessions did get released -- the non-album single "Can You Please Crawl Out Your Window?" [Excerpt: Bob Dylan, "Can You Please Crawl Out Your Window?"] There's some debate as to exactly who's playing drums on that -- Helm says in his autobiography that it's him, while the credits in the official CD releases tend to say it's Gregg. Either way, the track was an unexpected flop, not making the top forty in the US, though it made the top twenty in the UK. But the rest of the recordings with the now Helmless Hawks were less successful. Dylan was trying to get his new songs across, but this was a band who were used to playing raucous music for dancing, and so the attempts at more subtle songs didn't come off the way he wanted: [Excerpt: Bob Dylan and the Hawks, "Visions of Johanna (take 5, 11-30-1965)"] Only one track from those initial New York sessions made the album -- "One Of Us Must Know (Sooner or Later)" -- but even that only featured Robertson and Danko of the Hawks, with the rest of the instruments being played by session players: [Excerpt: Bob Dylan (One of Us Must Know (Sooner or Later)"] The Hawks were a great live band, but great live bands are not necessarily the same thing as a great studio band. And that's especially the case with someone like Dylan. Dylan was someone who was used to recording entirely on his own, and to making records *quickly*. In total, for his fifteen studio albums up to 1974's Blood on the Tracks, Dylan spent a total of eighty-six days in the studio -- by comparison, the Beatles spent over a hundred days in the studio just on the Sgt Pepper album. It's not that the Hawks weren't a good band -- very far from it -- but that studio recording requires a different type of discipline, and that's doubly the case when you're playing with an idiosyncratic player like Dylan. The Hawks would remain Dylan's live backing band, but he wouldn't put out a studio recording with them backing him until 1974. Instead, Bob Johnston, the producer Dylan was working with, suggested a different plan. On his previous album, the Nashville session player Charlie McCoy had guested on "Desolation Row" and Dylan had found him easy to work with. Johnston lived in Nashville, and suggested that they could get the album completed more quickly and to Dylan's liking by using Nashville A-Team musicians. Dylan agreed to try it, and for the rest of the album he had Robertson on lead guitar and Al Kooper on keyboards, but every other musician was a Nashville session player, and they managed to get Dylan's songs recorded quickly and the way he heard them in his head: [Excerpt: Bob Dylan, "Most Likely You Go Your Way and I'll Go Mine"] Though Dylan being Dylan he did try to introduce an element of randomness to the recordings by having the Nashville musicians swap their instruments around and play each other's parts on "Rainy Day Women #12 & 35", though the Nashville players were still competent enough that they managed to get a usable, if shambolic, track recorded that way in a single take: [Excerpt: Bob Dylan, "Rainy Day Women #12 & 35"] Dylan said later of the album "The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up." The album was released in late June 1966, a week before Freak Out! by the Mothers of Invention, another double album, produced by Dylan's old producer Tom Wilson, and a few weeks after Pet Sounds by the Beach Boys. Dylan was at the forefront of a new progressive movement in rock music, a movement that was tying thoughtful, intelligent lyrics to studio experimentation and yet somehow managing to have commercial success. And a month after Blonde on Blonde came out, he stepped away from that position, and would never fully return to it. The first half of 1966 was taken up with near-constant touring, with Dylan backed by the Hawks and a succession of fill-in drummers -- first Bobby Gregg, then Sandy Konikoff, then Mickey Jones. This tour started in the US and Canada, with breaks for recording the album, and then moved on to Australia and Europe. The shows always followed the same pattern. First Dylan would perform an acoustic set, solo, with just an acoustic guitar and harmonica, which would generally go down well with the audience -- though sometimes they would get restless, prompting a certain amount of resistance from the performer: [Excerpt: Bob Dylan, "Just Like a Woman (live Paris 1966)"] But the second half of each show was electric, and that was where the problems would arise. The Hawks were playing at the top of their game -- some truly stunning performances: [Excerpt: Bob Dylan and the Hawks, "Just Like Tom Thumb's Blues (live in Liverpool 1966)"] But while the majority of the audience was happy to hear the music, there was a vocal portion that were utterly furious at the change in Dylan's musical style. Most notoriously, there was the performance at Manchester Free Trade Hall where this happened: [Excerpt: Bob Dylan, "Like a Rolling Stone (live Manchester 1966)"] That kind of aggression from the audience had the effect of pushing the band on to greater heights a lot of the time -- and a bootleg of that show, mislabelled as the Royal Albert Hall, became one of the most legendary bootlegs in rock music history. Jimmy Page would apparently buy a copy of the bootleg every time he saw one, thinking it was the best album ever made. But while Dylan and the Hawks played defiantly, that kind of audience reaction gets wearing. As Dylan later said, “Judas, the most hated name in human history, and for what—for playing an electric guitar. As if that is in some kind of way equitable to betraying our Lord, and delivering him up to be crucified; all those evil mothers can rot in hell.” And this wasn't the only stress Dylan, in particular, was under. D.A. Pennebaker was making a documentary of the tour -- a follow-up to his documentary of the 1965 tour, which had not yet come out. Dylan talked about the 1965 documentary, Don't Look Back, as being Pennebaker's film of Dylan, but this was going to be Dylan's film, with him directing the director. That footage shows Dylan as nervy and anxious, and covering for the anxiety with a veneer of flippancy. Some of Dylan's behaviour on both tours is unpleasant in ways that can't easily be justified (and which he has later publicly regretted), but there's also a seeming cruelty to some of his interactions with the press and public that actually reads more as frustration. Over and over again he's asked questions -- about being the voice of a generation or the leader of a protest movement -- which are simply based on incorrect premises. When someone asks you a question like this, there are only a few options you can take, none of them good. You can dissect the question, revealing the incorrect premises, and then answer a different question that isn't what they asked, which isn't really an option at all given the kind of rapid-fire situation Dylan was in. You can answer the question as asked, which ends up being dishonest. Or you can be flip and dismissive, which is the tactic Dylan chose. Dylan wasn't the only one -- this is basically what the Beatles did at press conferences. But where the Beatles were a gang and so came off as being fun, Dylan doing the same thing came off as arrogant and aggressive. One of the most famous artifacts of the whole tour is a long piece of footage recorded for the documentary, with Dylan and John Lennon riding in the back of a taxi, both clearly deeply uncomfortable, trying to be funny and impress the other, but neither actually wanting to be there: [Excerpt Dylan and Lennon conversation] 33) Part of the reason Dylan wanted to go home was that he had a whole new lifestyle. Up until 1964 he had been very much a city person, but as he had grown more famous, he'd found New York stifling. Peter Yarrow of Peter, Paul, and Mary had a cabin in Woodstock, where he'd grown up, and after Dylan had spent a month there in summer 1964, he'd fallen in love with the area. Albert Grossman had also bought a home there, on Yarrow's advice, and had given Dylan free run of the place, and Dylan had decided he wanted to move there permanently and bought his own home there. He had also married, to Sara Lowndes (whose name is, as far as I can tell, pronounced "Sarah" even though it's spelled "Sara"), and she had given birth to his first child (and he had adopted her child from her previous marriage). Very little is actually known about Sara, who unlike many other partners of rock stars at this point seemed positively to detest the limelight, and whose privacy Dylan has continued to respect even after the end of their marriage in the late seventies, but it's apparent that the two were very much in love, and that Dylan wanted to be back with his wife and kids, in the country, not going from one strange city to another being asked insipid questions and having abuse screamed at him. He was also tired of the pressure to produce work constantly. He'd signed a contract for a novel, called Tarantula, which he'd written a draft of but was unhappy with, and he'd put out two single albums and a double-album in a little over a year -- all of them considered among the greatest albums ever made. He could only keep up this rate of production and performance with a large intake of speed, and he was sometimes staying up for four days straight to do so. After the European leg of the tour, Dylan was meant to take some time to finish overdubs on Blonde on Blonde, edit the film of the tour for a TV special, with his friend Howard Alk, and proof the galleys for Tarantula, before going on a second world tour in the autumn. That world tour never happened. Dylan was in a motorcycle accident near his home, and had to take time out to recover. There has been a lot of discussion as to how serious the accident actually was, because Dylan's manager Albert Grossman was known to threaten to break contracts by claiming his performers were sick, and because Dylan essentially disappeared from public view for the next eighteen months. Every possible interpretation of the events has been put about by someone, from Dylan having been close to death, to the entire story being put up as a fake. As Dylan is someone who is far more protective of his privacy than most rock stars, it's doubtful we'll ever know the precise truth, but putting together the various accounts Dylan's injuries were bad but not life-threatening, but they acted as a wake-up call -- if he carried on living like he had been, how much longer could he continue? in his sort-of autobiography, Chronicles, Dylan described this period, saying "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race. Having children changed my life and segregated me from just about everybody and everything that was going on. Outside of my family, nothing held any real interest for me and I was seeing everything through different glasses." All his forthcoming studio and tour dates were cancelled, and Dylan took the time out to recover, and to work on his film, Eat the Document. But it's clear that nobody was sure at first exactly how long Dylan's hiatus from touring was going to last. As it turned out, he wouldn't do another tour until the mid-seventies, and would barely even play any one-off gigs in the intervening time. But nobody knew that at the time, and so to be on the safe side the Hawks were being kept on a retainer. They'd always intended to work on their own music anyway -- they didn't just want to be anyone's backing band -- so they took this time to kick a few ideas around, but they were hamstrung by the fact that it was difficult to find rehearsal space in New York City, and they didn't have any gigs. Their main musical work in the few months between summer 1966 and spring 1967 was some recordings for the soundtrack of a film Peter Yarrow was making. You Are What You Eat is a bizarre hippie collage of a film, documenting the counterculture between 1966 when Yarrow started making it and 1968 when it came out. Carl Franzoni, one of the leaders of the LA freak movement that we've talked about in episodes on the Byrds, Love, and the Mothers of Invention, said of the film “If you ever see this movie you'll understand what ‘freaks' are. It'll let you see the L.A. freaks, the San Francisco freaks, and the New York freaks. It was like a documentary and it was about the makings of what freaks were about. And it had a philosophy, a very definite philosophy: that you are free-spirited, artistic." It's now most known for introducing the song "My Name is Jack" by John Simon, the film's music supervisor: [Excerpt: John Simon, "My Name is Jack"] That song would go on to be a top ten hit in the UK for Manfred Mann: [Excerpt: Manfred Mann, "My Name is Jack"] The Hawks contributed backing music for several songs for the film, in which they acted as backing band for another old Greenwich Village folkie who had been friends with Yarrow and Dylan but who was not yet the star he would soon become, Tiny Tim: [Excerpt: Tiny Tim, "Sonny Boy"] This was their first time playing together properly since the end of the European tour, and Sid Griffin has noted that these Tiny Tim sessions are the first time you can really hear the sound that the group would develop over the next year, and which would characterise them for their whole career. Robertson, Danko, and Manuel also did a session, not for the film with another of Grossman's discoveries, Carly Simon, playing a version of "Baby Let Me Follow You Down", a song they'd played a lot with Dylan on the tour that spring. That recording has never been released, and I've only managed to track down a brief clip of it from a BBC documentary, with Simon and an interviewer talking over most of the clip (so this won't be in the Mixcloud I put together of songs): [Excerpt: Carly Simon, "Baby Let Me Follow You Down"] That recording is notable though because as well as Robertson, Danko, and Manuel, and Dylan's regular studio keyboard players Al Kooper and Paul Griffin, it also features Levon Helm on drums, even though Helm had still not rejoined the band and was at the time mostly working in New Orleans. But his name's on the session log, so he must have m

To Support the Channel:https://www.patreon.com/AskZacTip jar:  https://paypal.me/AskZacVenmo @AskZac  Or check out my store for merch  - www.askzac.comSpotlight on the greatest unknown Memphis guitarist, Clarence Nelson. He was a major influence in both style and tone on Steve Cropper, Reggie Young, and Chips Moman. Clarence was an African-American guitarist who worked with bandleader, Ben Branch, and from there influenced the younger players that saw him live, or watched him in the studio on early Stax, American, and Hi/Royal sessions. Nelson also toured with both James Carr and William Bell in the 60s and 70s. He should be credited as an early adopter of the Telecaster in Memphis, and how he paved the way for others with his funky low string licks, and stuttering bends. Much thanks to Red Kelly's excellent detective work on Clarence which can be found here. http://souldetective.com/case8part1.htmlAlso, check out my interview with Reggie Young where we discuss Clarence Nelson later in the video   • Reggie Young | Tr...  Michael Ross mentioned Clarence in his piece on Reggiehttps://www.premierguitar.com/artists...Gear Used:1957 Fender Esquire with an added vintage neck pickup. Restoration and aging on the body by Dan "Danocaster" Strain. Rewind of bridge pickup by Ron Ellis.Strings: D'Addario NYXL 10-46 Amazon affiliate link https://amzn.to/3uD1WnZPick:D'Andrea Medium-HeavyAmp:2021 Fender Vibro Champ Reverb Effects used:amp verb#askzac #guitartech #telecasterSupport the show

The guys almost have this radio broadcasting thing down after over five years, but that charming amateurism is still on display. Here's 2 more hours of your radio dance party. We've got Sonny Fishback under his own name and his Sonny Fisher alias on this episode, plus K.C. Douglas, Johnny Nash, The Toys, The Shirelles, James Carr, Betty Everett & Jerry Butler, Detroit soul from Al Kent, The Four Sonics, and Marvin Gaye, plus a short diversion into some English-language Montreal pop! Originally broadcast June 25, 2023 Willie Mitchell / That Driving BeatChuck Edwards / Sweet Sweet LoveSonny Fisher / I'm Going (All The Way)Brenda & The Tabulations / The WashThe Young Folk / Lonely GirlJimmy Thomas / Hurry And Come HomeBobby Jameson / I'm LonelyK.C. Douglas / The Little Green HouseYoung Hearts / Get Yourself TogetherThe Soul Clan / Soul MeetingBetty Everett & Jerry Butler / Ain't That Loving You BabyDeon Jackson / Love Takes a Long Time GrowingAl Kent / The Way You Been Acting LatelyThe Four Sonics / It Takes TwoThe 4 Seasons / Beggin'Walter Jackson / One Heart LonelyThe Ovations / They SayVernon Harrell / If This Ain't Love (Ain't No Cows In Texas)The Toys / May My Heart Be Cast Into StoneThe Shirelles / Too Much of a Good ThingTimi Yuro / What's A Matter Baby (Is It Hurting You)Marvin Gaye / Your Unchanging LoveCassietta George / Somebody's WatchingKim Tolliver / I Gotta Find A WayThe Artistics / The Chase Is OnJerry-O / Funky Boo-Ga-LooWilmer & The Dukes / Give Me One More ChanceDon Gardner / My Baby Likes to BoogalooSonny Fishback / Heart Breaking ManJames Carr / Coming Back to Me BabyElvis Presley / Rubberneckin'The Classels / Tomorrow May Be Too LateSolomon King / I Get That Feeling Over YouThe Kingsmen / The Wolf Of ManhattanRay Singer / Who Can I Talk To About ItJames Brown & His Orchestra / Out Of SightJohnny Nash / UnderstandingCharlie Rich / Hurry Up Freight TrainThe Fenways / Hard Road Ahead Hosted on Acast. See acast.com/privacy for more information.

THIS ONE IS FUN!  PLEASE DOWNLOAD AND WRITE A REVIEW! AND BUY MY NEW 99 CENT AMAZON SPECIAL FOR THE TRUE MEANING OF MAGA LOVING JACK CARR'S ONLY THE DEAD Republican voters clearly embrace Make America Great Again (MAGA) principles, including reshoring America's factories, secure borders, strategic energy dominance, an end to endless wars, draining the DC Swamp, and fair elections.  If this MAGA center holds, a Republican super-majority coupled with MAGA-leanin  g Independents and “Trump Democrats” will deliver a Republican landslide. Democrat strategists' best chance of winning is to turn MAGA into a four-letter word associated with “domestic terrorism” and “extremism.” Joe Biden used this messaging strategy with surprising success in the 2022 Congressional elections, and Republican strategists must counter it by more clearly articulating, as my new book describes it, The True Meaning of Trump's MAGA. While normally I would shamelessly urge you to buy this book (a 99-cent Amazon steal), instead, I recommend former Navy Seal Jack Carr's new thriller Only the Dead as a far more entertaining grassroots MAGA primer.

Martin Merrick sits back down with James Carr, senior intercounty footballer with Mayo, who works full time as a construction teacher while also running a herd of suckler cows and sheep on a 100 acre drystock farm in his home parish of Ardagh.

Today's show features music performed by Aretha Franklin and James Carr

Originally Broadcast April 9, 2023 James has been checking out the flip sides of a few of his records, and finding great stuff he didn't know was back there! Uwe brings a few great Louisville and Kentucky records. You'll hear tunes from the Flirtations, Freddie Scott, Christine Cooper, The Miracles, Lou Johnson, Billy Stewart, James Carr, Don Bryant, and the Osmonds?! Willie Mitchell / That Driving BeatEdwin Starr / Agent Double-O-SoulJimmy Norman / I Don't Love You No More (I Don't Care About You)The Flirtations / How Can You Tell Me?The Miracles / You're So Fine and SweetGayle Haness / We Got A Thing Going BabyKevin McQuinn / Ev'ry Step Of The WayFreddie Scott / (You) Got What I NeedBig Fred & The Ovations / Kinda GrooveyThe Spectrum / Portobello RoadThe Temptashuns / Strawberry ManGene Chandler / Nothing Can Stop MeLittle Anthony and The Imperials / Hurt So BadLily Fields / A Boy In A Man's WorldThe Flaming Ember / Westbound #9Billy Stewart / Ol' Man RiverJimmy James & The Vagabonds / Hi-Diddley Dee Dum Dum (It's A Good Feelin')Don Bryant / Coming On StrongEmotions / Every ManThe Original Emotions / You're A Better Man Then IThe Fabulous Shades / Mr. PitifulRonnie Milsap / A Thousand Miles from NowhereJimmy Norman / This I Beg of YouThe Miracles / You Really Got A Hold On MeThe Temptations / Girl (Why You Wanna Make Me Blue)The Miracles / Happy LandingThe Osmonds / Yo-YoChristine Cooper / S. O. S. (Heart In Distress)Lou Johnson / UnsatisfiedJimmy Holiday / I've Been Done WrongCosmo / You Gotta DanceBilly Stewart / Every Day I Have the BluesJames Carr / That's What I Want To KnowRusell Evans & the Nite Hawks / Send Me Some CornbreadThe Original Playboys / Now That I'm SomebodyThe Exciters / Tell HimSoul, Inc. / 727 Hosted on Acast. See acast.com/privacy for more information.

  DIONNE WARWICK  ARE YOU THERE (WITH ANOTHER GIRL)?ARETHA FRANKLIN  WALK ON BY.LOU JOHNSON  REACH OUT FOR ME.JERRY BUTLER  MAKE IT EASY ON YOURSELF.MARVA WHITNEY  THIS GIRL'S IN LOVE WITH YOU.EDWIN STARR  RAINDROP'S KEEP FALLIN' ON MY HEAD.MAVIS STAPLES  A HOUSE IS NOT A HOME.ISAAC HAYES  THE LOOK OF LOVE.THE DRIFTERS  IN THE LAND OF MAKE BELIEVE.PHYLLIS HYMAN  IN BETWEEN THE HEARTACHES.GLADYS KNIGHT & THE PIPS  ONE LESS BELL TO ANSWER.JAMES CARR  WHAT THE WORLD NEEDS NOW IS LOVE (COMPLETE VERSION).CISSY HOUSTON  I JUST DON'T KNOW WHAT TO DO WITH MYSELF.DEE DEE WARWICK  ALFIE.JERRY BUTLER  MESSAGE TO MARTHA.LUTHER VANDROSS  ANYONE WHO HAD A HEART.LYN COLLINS  DON'T MAKE ME OVER.DIONNE WARWICK  (THERE'S) ALWAYS SOMETHING THERE TO REMIND ME. 

Old 97's "I Don't Wanna Die In This Town"Valerie June "Workin' Woman Blues"Mary Wells "The One Who Really Loves You"The Replacements "Alex Chilton"The Hold Steady "Entitlement Crew"Joe Tex "Hold What You Got"Fiona Apple "Sleep to Dream"Mavis Staples "If All I Was Was Black"Esther Phillips "Release Me"Lucero "That Much Further West"Shaver "Live Forever"Gillian Welch "Caleb Meyer"Ray Charles "I've Got A Woman"Nicole Atkins "Brokedown Luck"James Brown "Please Please Please"Will Johnson "A Solitary Slip"Slobberbone "Pinball Song"Will Johnson "Cornelius"The O "Candy"Eilen Jewell "I'm Gonna Dress In Black"Willie Nelson/Waylon Jennings "Good Hearted Woman"Charlie Parr "Empty Out Your Pockets"Aretha Franklin "Dr. Feelgood (Love Is Serious Business)"Mississippi John Hurt "Monday Morning Blues"JD McPherson "Bridgebuilder"Little Richard "The Girl Can't Help It"Johnny Cash "Sea of Heartbreak"Etta James "At Last"R.E.M. "So. Central Rain"Tom Petty and the Heartbreakers "Learning To Fly"Tom Petty & The Heartbreakers "Room At The Top"Bobby Bland "I Pity The Fool"Ruth Brown "Mama He Treats Your Daughter Mean"Two Cow Garage "My Concern"Patterson Hood "Better Off Without"Ramones "Do You Remember Rock And Roll Radio"Ike & Tina Turner "Proud Mary"Sierra Ferrell "Jeremiah"James Carr "The Dark End of the Street"New Moon Jelly Roll Freedom Rockers feat. Alvin Youngblood Hart "She's About a Mover"Wilson Pickett "634-5789"Willie Mae 'Big Mama' Thornton "Hound Dog"Jason Isbell and the 400 Unit "The Blue"Magnolia Electric Co. "Northstar Blues"Brook Benton "Rainy Night in Georgia"The Devil Makes Three "Car Wreck"

I chop it up with Ryan James Carr - Drummer, producer & sample pack maker. We talk a lot about the power of social media and how it has played a huge role in his career. He went from almost giving up on music to doubling down on his Instagram (now at 181K + followers) which lead to amazing opportunities such as playing with Usher and Scary Pockets. This was a super encouraging conversation to have and I hope it inspires you to find your super power and double down on YOU! Check out my new sample packs, sounds designed to help you make noise!

Another edition of your favourite blues podcast is now ready to stream! Like always is packed with great two hours of great music and blues news and available on all good podcasting platforms... Hit play for tunes from Muddy Waters, The Phantom Blues Band, Bob Margolin and Bob Corritore, Charlie Musselwhite, Bobby Parker, James Carr, Mighty Mike Schermer, Mississippi Fred McDowell, Angel Forrest, Hollie Rodgers, The Cinelli Brothers, Albert King, Robert Hokum and the Guv'nors, Al Brown, Jimmy Adler, Black Cat Biscuit, Mickey Jump, Miraculous Mule, Howling Wolf and many more amazing artists... Don't forget to like, review, comment and subscribe and join our Facebook group at www.facebook.com/groups/bluesisthetruth

Thank you for being here with me, Bruce Hilliard telling you they tattooed her in darkness. That is a line from Goddess Reborn, a song we'll hear and hear all about from guest and rockin' it James Carr. James is the front for the James Carr Band. If you get a chance, check them out. Very good. James Carr plays some kick ass guitar and what a great vocalist!  Okay, I'm back with a couple minutes to play this by request. A song I wrote about a promise made by a little girl to a little boy one sunny day in the 60s. Her name and the name of the song, Kerri.  

Un chanteur américain de soul et de R&B décrit comme « l’un des plus grands chanteurs que la soul profonde du Sud… The post S05E29 James CARR first appeared on Radio Campus Angers.

James Carr, Dan Penn, and Chips Moman.

Today I connected with James Carr, Founder of Farmers Jam, a collective of farmers and friends who play music, make jam, and plant fruit trees. Farmers Jam spreads joy through live music and local food and all of their jams, events and merch help them plant more trees on local farms. James chatted about how food connects people and the community. After being around farmers and his lineage of Irish agriculture James decided to create this initiative. And discussed the importance of how "soil heals the planet, which then heals us" Farmers Jam creates a fun vibe wherever it is, be it at Earth Day events, Serviceberry Fest, or local farmers markets. Continuing to spread "jam" with their own podcast, Farmers Jam Radio, James and his crew of farmers are jamming out on stage and in fruit orchards near you ( GA based for now!) https://www.thefarmersjam.com/ IG @farmersjamatl

It's Black History Month, so in true Jabroni U fashion, we celebrated by drafting the Best Black Pro-Wrestlers of All Time. We asked former Sports Jeopardy contestant James Carr to come back on and lend us his wrestling expertise and once again he did not disappoint. Here are our teams of black athletes who excel at sports entertainment. Follow James' exploits @jcarr912 (https://www.instagram.com/jcarr912/) on Instagram. www.jabroniu.com

Jawbreaker "Jinx Removing"Cafeteria "Gorgeous Friend"The Both "Milwaukee"Gillian Welch "Look at Miss Ohio"James Carr "You've Got My Mind Messed Up"Chicago Stone Lightning Band "Girlfriend Gone"Robert Finley "Honey, Let Me Stay the Night"Valerie June "Wanna Be On Your Mind"Tom Rush "Duncan And Brady"Louis Armstrong "Back O'Town Blues"Marc Ribot Y Los Cubanos Postizos "Postizos"Arthur Dodge & The Horsefeathers "Birmingham"Amy Helm "Didn't It Rain"Neil Young "The Old Laughing Lady"Andrew Bird "Fiery Crash"The Mountain Goats "The Recognition Scene"Jimmy Duck Holmes "It Had to Be the Devil"Kiki Cavazos "Cold Love"Lucero "Hello Sadness"Shovels & Rope "Birmingham"The Jam "The Modern World"Portastatic "Teenage Kicks"Superchunk "The Question Is How Fast"The White Stripes "Rag and Bone"Muddy Waters "She Moves Me"Bob Dylan "Tomorrow Night"Squirrel Nut Zippers "Wished For You"Cedric Burnside "I Be Trying"The Black Keys "Act Nice and Gentle"Tom Waits "Mockin' Bird"Neko Case "I Wish I Was the Moon"Billy Bragg & Wilco "Way over Yonder in the Minor Key"Steve Earle "Now She's Gone"The Black Crowes "(Only) Halfway To Everywhere"The Jon Spencer Blues Explosion "Bellbottoms"Louise Johnson "On The Wall"Funkadelic "Can You Get to That"George Jones "Stranger in the House"The Lonesome Doves "When We Were Wild"Lenny and the Piss Poor Boys "Leaving in the Morning"Two Cow Garage "Should've California"Alvin Youngblood hart "Mama Don't Allow"Shotgun Jazz Band "Old Man Mose"Nina Simone "Children Go Where I Send You"don't mean maybe "Fake Id"Jawbreaker "In Sadding Around"

HAPPY VALENTINE'S DAY! In a special Valentine's Day edition of the podcast, join host Aeric Azana as he discusses the X WIVES OF WOLVERINE! The Canucklehead has one of the most storied and tragic romantic histories of any comic book character, and in this Geeksplained Extra we'll be counting down the 10 best! Follow us! Twitter: twitter.com/geeksplainedpod?lang=en Instagram: www.instagram.com/geeksplainedpod/?hl=en Send us your questions for the Geeksplained Mailbag! Email: Geeksplained@gmail.com Music Sampled: "The Dark End of the Street" by James Carr

This week, we have a very special episode of the Camerosity Podcast.  Anthony, Paul, Theo, and myself sit down with director Dean Ginsburg and producer James Carr of the documentary film, REVIVAL: The Film to Bring Back Film. Dean and James are both passionate about all things film, the history, shooting, developing, printing, the gear, and after witnessing a similar level of enthusiasm from many others, young and old, all over the world, they started out on a quest to make a documentary film that explores what exactly it is about film photography that has captivated so many people. Listen in as the filmmakers share their motivation and rationale behind why making this documentary is important to them, and also soliciting stories and motivations from us the Camerosity crew.  Also joining the discussion were Hong Lee and Matt Jones who got to share their personal stories and ask the filmmakers their questions. This special 1 hour chat is a fascinating glimpse into the behind the scenes of a crowdfunded film project.  Also, check out their Kickstarter page where depending on how much you're willing to back, you might be able to earn an appearance in the film! Every week, the topics we discuss on the Camerosity Podcast are decided entirely upon you, so if you'd like to join us, be sure to look out for our next show announcement for Episode 20, which we will record at our normal time of 7pm CST (UTC -6), 8pm EST (UTC -5) on Monday, February 21st. Show Notes If you would like to offer feedback or contact me with questions or ideas for future episodes, please contact us in the Comments Section below, our Camerosity Facebook Group or Instagram page, or email us at camerosity.podcast@gmail.com. The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ REVIVAL: The Film to Bring Back Film Kickstarter - https://www.kickstarter.com/projects/revivaldocumentary/revival-the-film-to-bring-back-film Dean Ginsburg - https://www.facebook.com/dean.ginsburg.16 James Carr - https://www.facebook.com/james.carr.9803 Theo Panagopoulos - https://www.photothinking.com/ Paul Rybolt - https://www.ebay.com/usr/paulkris Anthony Rue - https://www.instagram.com/kino_pravda/

Tom Petty & The Heartbreakers "Supernatural Radio"Jake Xerxes Fussell "Love Farewell"Fiona Apple "Heavy Balloon"Little Richard "Long Tall Sally"Tom Waits "Long Way Home"Don Nix "Yazoo City Jail"Percy Sledge "Baby Help Me"Big Mama Thornton "Gimme A Penny"Outkast "Elevators (Me & You)"Cedric Burnside "We Made It"James Carr "To Love Somebody"Amanda Shires/Jason Isbell and the 400 Unit "Cross Bones Style"Esther Phillips "Use Me"Porter Wagoner "Better Move It on Home"Will Johnson "Just to Know What You've Been Dreaming"Taj Mahal "Lovin' in My Baby's Eyes"Lucero "A Dangerous Thing"Jim Dickinson "Nobody Wants You When You're Down And Out"Dave Rawlings Machine "Pilgrim (You Can't Go Home)"Phoebe Bridgers "Graceland Too"Drive-By Truckers "The Opening Act"John Hammond, Jr. "Drop Down Mama"Grateful Dead "Me & Bobby McGee"The Rolling Stones "Monkey Man"Sam Cooke "Bring It On Home To Me"Otis Redding "Cigarettes and Coffee"Duane Allman "B.B. King Medley: Sweet Little Angel / It's My Own Fault / How Blue Can You Get"Neil Young "Unknown Legend"Bonnie 'Prince' Billy "New Memory Box"Charlie Parr "Louis Collins"The Staple Singers "Be What You Are"Aimee Mann "Suicide is Murder"Billy Joe Shaver "Get Thee Behind Me Satan"Sallie Ford "Coulda Been"Centro-matic "Supercar"Dave Van Ronk "Duncan and Brady"The Fox Hunt "We Know This Town"R.E.M. "New Test Leper"Waxahatchee "Under a Rock"

Testing practices have increased its adoption by developers, shifting left the test responsibilities and increasing the quality of the code, besides that, continuous testing is an agile practice that impacts the software development life cycle.   In this podcast we are going to focus on the TDD anti-patterns, a list inspired by James Carr.  

Welcome to the 97th episode of The Castle Vault! In this week's journey exploring the famed Disney Vault through the Disney Plus streaming service, we play some spy games with ... Captain America: The Winter Soldier! In this episode, the boys are back in town! Jason and Josh return from their breaks from the podcast, and are better than ever before. They even bring along a +1 to the show, with James Carr joining the crew as a special guest! The second Captain America films brings the action and intensity, and obviously is highly regarded by the special guest, which is why James was excited to wax poetic about the movie. But where will it land on The Hierarchy? We also have all of our fun segments that we do weekly, including a brand new game and several new segments as well! All this and more in Episode 97 of the Castle Vault! Stay magical, friends.  Show Rundown Intro Housekeeping #CastleVaultCooking - THAI FOOD  Disney Plus check-in Count the Clicks The Castle Vault - CAPTAIN AMERICA: THE WINTER SOLDIER (2014) Comic Connections Hierarchy of Heroes Chillin' Like a Villain/ Villains Be Chillin Super Sidekicks Marvelous Moments We Stan ... Lee The Castle Vault MCU Mixtape Allusions Assemble Tech Time Post Credit ... Where It's Due Talkin' Tie-ins By the Numbers The Hierarchy I Spy ... With My One Good Eye Five Fun Facts Tough Trivia Time Emails We Recommend! NEXT WEEK'S MOVIE IS:GUARDIANS OF THE GALAXY  Want to contact us? SPECIAL GUEST!!! James: @racecarr_FIT FOR LIFE PODCAST Jason: @JasonInquires (Twitter and Instagram) & @JasonTCV (Twitter)/ @Jason_TCV (Instagram) Josh: @TheNoyse (Twitter and Instagram) Show: @TheCastleVault (Twitter and Instagram) Email: TheCastleVault@gmail.com Discord: https://discord.gg/gW5snxxUDm  TheCastleVault.com

Howlin' Wolf "Killing Floor"Charles Bradley "The World (Is Going Up In Flames)"Morgan Wade "Wilder Days"Jolie Holland "Sascha"Koko Taylor "I'd Rather Go Blind"Gillian Welch "Hello In There"Townes Van Zandt "Tecumseh Valley"The Beatles "Good Day Sunshine"Glossary "Chase Me out of the Dark"Shirley Ann Lee "There's A Light"Charlie Musselwhite "Hello Stranger"Son Volt "Arkey Blue"The Flying Burrito Brothers "Christine's Tune"Calvin Cook "Walk With Me"Tom Russell "Isaac Lewis"Big Maybelle "Say It Isn't' So"The Meters "Down By The River"Cedric Burnside "Step In"Candi Staton "The Best Thing You Ever Had"Jason Isbell "Chicago Promenade"Jeff Tweedy "Opaline"Wilco "Walken"Jeannie C. Riley "Games People Play"Grateful Dead "Brown-Eyed Women"Marie/Lepanto "Features / Fights"Will Johnson "Just to Know What You've Been Dreaming"Precious Bryant "Peepin' Out My Window"Guy Clark "Old Friends"Swamp Dogg "Sam Stone"Wanda Jackson "Two Shots"Aimee Mann "Suicide is Murder"Waxahatchee "Lilacs"Eilen Jewell "Rich Man's World"Bobbie Gentry "Okolona River Bottom Band"Bob Dylan "Drifter's Escape"Two Cow Garage "Continental Distance"Todd Snider "Turn Me Loose (I'll Never Be the Same)"Mississippi John Hurt "Candy Man Blues"James McMurtry "Out Here In the Middle"James Carr "I'm Going For Myself"Junior Kimbrough "Crawling King Snake"Baby Huey & The Baby Sitters "Hard Times"Allen Toussaint "Southern Nights"

This week's episode of State of Play explores The Black Homeownership Gap. Guests this week include the U.S. Sec. of Housing and Urban Development, Marcia L. Fudge; the Coleman A. Young Endowed Chair and Professor of Research at Wayne State University Department of Urban Planning, James Carr; Ass. Prof of Sociology at the University of New Mexico and author of "Race Brokers: Housing Markets and Segregation in 21st Century Urban America," Dr. Elizabeth Korver-Glenn; Chief Economist at Redfin, Daryl Fairweather, PhD; and, Mark Alston, President and CEO of Alston and Associates and Director of the National Association of Real Estate Brokers' Political Action Committee.

It's time for Part 2 in a spotlight on Dan Penn, the great R&B songwriter who wrote hits for Aretha Franklin, James & Bobby Purify, Percy Sledge, Joe Simon, James Carr, Conway Twitty and many others. In this episode, we'll hear the biggest hits from the Dan Penn songbook and some great behind-the-scenes stories from the man himself. The depth of soul found in Dan's music combined with his down-home, charming demeanor makes this episode especially captivating and one you'll undoubtedly want to listen to more than once!Your Host,Neil the Night Howler----------Songs:James Carr - The Dark End of the StreetDan Penn - The PuppetJames & Bobby Purify - I'm Your PuppetAretha Franklin - Do Right Woman, Do Right ManBarbara Lynn - You Left the Water RunningOtis Redding - Your Left the Water Running (demo with overdubs)Janis Joplin - A Woman Left LonelyPercy Sledge - Out of Left FieldVan Broussard - Feed the FlameWarren Storm (as "Abel") - My Far Away CowThe Sweet Inspirations - Sweet InspirationClyde McPhatter - DenverDan Penn - See You In My Dreams See acast.com/privacy for privacy and opt-out information.

An Evening With Dan Penn (Part 1)This episode is Part 1 of a spotlight on one of the all-time great R&B songwriters - Dan Penn. Dan has written hundreds of songs that have been recorded by an array of artists, including Percy Sledge, Aretha Franklin, Conway Twitty, Joe Simon, the Box Tops, Brenda Lee, James Carr, Otis Redding, Irma Thomas, Tony Joe White, Solomon Burke, Etta James and countless others. He's responsible for penning some of the greatest R&B and soul classics ever recorded. I had the pleasure of chatting with Dan live in the studio for my radio program on WWOZ in New Orleans on April 23, 2019. I'm digging that conversation out of the archive to share with you here on Trick Bag!Your Host,Neil the Night Howler-------Songs: Dan Penn - You Don't Treat Me RightConway Twitty - Is a Blue Bird BlueJimmy Hughes - I Worship the Ground You Walk OnJimmy Hughes - It's a Good ThingIrma Thomas - Cheater ManIrma Thomas - Good Things Don't Come EasyTony Borders - Pass the WordBrenda Lee - My DreamsThe Ovations - I'm Living GoodThe Box Tops - The LetterBetty Wright - Cry Like a BabyJoe Simon - Nine Pound SteelPercy Sledge - It Tears Me Up See acast.com/privacy for privacy and opt-out information.

In this week's episode we review 20 years of research and data to bring you a comprehensive account of what we know about racism and policing in Ireland. An Garda Síochána may not gather and publish all the data it should, but we still know a great deal. We are joined by Dr Sam O'Brien Olinger, Dr Aogan Mulcahy, Dr James Carr, Dr Lucy Michael and Haritha Olaganathan of Youths Against Racism and Inequality (YARI) all of whom have conducted essential research in this space. We show how findings of institutional racism in 2004 have only been reinforced by all later research Guests Research: Sam O'Brien Olinger - Aogán Mulcahy - James Carr - Lucy Michael - Haritha Olaganathan Join us at patreon.com/tortoiseshack

Konstantin Kovalev emigrated from Russia to Helsinki a decade ago and made himself an indispensible figure in the stylish retro blues scene there with his first band The Firebugs. His latest project is a long-term labor of love: eight neo-soul tunes meticulously crafted over years, recorded all-analog at the well-known Finnish guitarist Tomi Leino's studio. As they wrote on their Bandcamp site: "We began our musical journey in 2012 and after playing different types of venues for 9 years, several years of exploring the world of 40's-50's blues and r/n/b and finally settled for 60's soul/blues sound influenced by the likes of Bobby Bland, James Carr, Isaac Hayes and The Miracles." Follow this young soul band on Bandcamp, Youtube and hear for yourself. Take a blues journey with No Border Blues, the only blues podcast focused on international blues artists and hidden blues scenes around the world. Delmark recording artist Johnny Burgin and producer Stephanie Tice shine a spotlight on notable international blues performers, discuss the blues scenes in their home countries, and present intimate and exclusive musical performances. Stef couldn't make this interview, sorry!-- but she will be back in the next episode. Sponsored by Chicago Blues Network, bringing Chicago Blues to the world. noborderblues.com - chicagobluesnetwork.com - johnnyburgin.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's show features music performed by Aretha Franklin and James Carr

Make Me A Winner – Jimmy Ruffin – forthcoming North Broad St 45 – 2021 I Am – Laura Rain & The Caesars – Forthcoming LRK 45 – 2021 Ain’t Nobody Worrying – Tia Carroll – You Gotta Have It – 2021 Rebel – Carmy Love – Forthcoming Big AC 45 – 2021 Use Me – Mary Gresham – MD Records 45 – 2021 Southern Girl – Willie Clayton – 2021 Enuff – Mississippi Hummin Boy – Crunch Time – 2021 Boots Knockin – Jeter Jones – Jonez Boyz Presents Trailride Certified Vol 2 – 2021 Stop Before You Lose Me – Joe Adams – Forthcoming Soul Direction 45 – 2021 Isn’t She A Pretty Girl – Alexander Morris – IZIPHO Soul – 2021 Take Me Back - Jimmy Ruffin – forthcoming North Broad St 45 – 2021 I Still Love You – Raheem DeVaughn – 2021 Day By Day – Eric Roberson – Unreleased Warner Bros – 1994 Spoil You – Estee Pierce – 2021 God Is Love – Reverend Milton Brunson – God Is Love – 2021 Rest – Catherine Brinson – 2021 One More Chance Lord – Delores Fuller – Miles Away Reissue – 2021 Young Ideas – The Originals – Forthcoming MD Records 45 – 2021 Standing In The Safety Zone – The Soul Children – Everybody Makes Mistakes Sometimes Stax Southern Soul Vol 2 – 2021 I Aint Got The Love (Of One Girl On My Mind) – The Ambassadors – Arctic Records – 1969 You Are – Esquire – 2021 Rush - Mississippi Hummin Boy – Crunch Time – 2021 Choices – Kami Cole – 2021 Man Torn – Eric Shaun - 2021 You Might Have To Hurt – OB Buchanna – Southern Soul Brother – 2021 I Just Heard Your Leaving – The Bamboos – Hard Up – 2021 Even When I’m Not Alone - Tia Carroll – You Gotta Have It – 2021 I Don't Want To Be hurt Anymore – James Carr – Diggin Deep 45 – 2021 Rain ( Remix) – Jeter Jones, Big Pooh, Volton Wright & David Jones - Jonez Boyz Presents Trailride Certified Vol 2 – 2021 Waiting On You – Tony Rogers – 2021 Spend My Life With You – Nathan Mitchell feat Glenn Jones – Love Language – 2021 Hopes Up – JD’s Time Machine feat Jeff Ramsey – Forthcoming IZIPHO Soul 45 - 2021

You Don't Have To Be Hard – David Scott – 2021 Lovers Dream – Petawane Feat Alura – Forthcoming Six Nine Records 45 – 2021 But You Don't Care – Rickie Jones – 2021 You & Me – Gil – Sometimes A Man – 2021 Falling In Love Again – Bobbe Green – Life Is Beautiful & Other Classics – 2021 Forever – Sir Charles Jones – Chosen One – 2021 What Can I Do (To Prove My Love Is Real) – Harvey & The Phenomenals – Da Wood Reissue – 2021 Super High On Your Love – Bobby Barnes – Soul4Real 45 – 2021 I Can’t Spend The Night – Fillies Finazz – 2021 Can’t Get Enough (A Love Odyssey) – Monique Ella Rose – 2021 Nobody's Gonna Turn Me Against You – Mary Gresham - Forthcoming MD Records 45 – 2021 Thankful – James Cutts – Thankful – 2021 Be Ready (Caught Up) – Kedron Brown – 2021 One More Chance Lord – Delores Fuller – Forthcoming Miles Away Reissue 45 – 2021 Ive Been A Victim – Thaddeus Expose – 2021 Messing Up A Good Thing – Bottom & Co - Forthcoming MD Records 45 – 2021 There Goes My Used To Be – James Carr – Forthcoming Diggin Deep 45 – 2021 Isn't She A Pretty Girl – Alexander Morris – IZIPHO Soul Forthcoming 45 – 2021 You're My Life – Ruby Andrews – Forthcoming MD Records 45 – 2021 Don't Wanna Lose Your Love – Satin Finish – Family Love Reissue – 2021 Trying To Win Your Love – Swiss Movement – 2018 Heaven – Sir Charles Jones – The Chosen One – 2021 Its About To Go Down – Marlon Jones – 2021 Connect – Terry Harris - #The Evolution Of Me – 2021 Sheer Magic – Ice Cold Love – Reissue Tammy 45 – 2021 If You Think Your Lonely Now – Omar Wilson – 2021 Loves Knockin – Alexander Morris - IZIPHO Soul 45 – 2021 So Glad It’s You – Dee Dee Simon & Stan Mosley – Queens Presents A Soulful Love Story – 2021 The Love I Gave You – Eleanor Grant – 2020 Breaking My Heart – Sonia Ross – Hit & Run Reissue – 2021 Wonderful To Be Loved - Ice Cold Love – Reissue Tammy 45 – 2021 Over & Over – Wee Willie Walker & The Anthony Paule Orchestra – 2021 Giving Good Loving – Nathan Bartell – Forthcoming Nathan Bartell Athens Of The North – 2021

In this episode we hear from Isreal about his experiences as a young Black man in Ireland. You'll also hear from Dr James Carr of the University of Limerick, who has done significant research on issues of race and policing and Bashir Otukoya, Asst Professor of Law in DCU and a member of the Government's Anti-Racism Committee. We are deliberately launching this series with this episode in the wake of the killing of George Nkencho, and we are grateful to Isreal, who was a friend of George's, for finding the emotional capacity to talk to us. Support this project and get lots of additional content by joining us at: patreon.com/tortoiseshack Production, editing and sound design by Brian at Grooves Ahead.

This week on GameSpot After Dark, we are joined by our editorial intern, James Carr, to talk about farming simulators, the upcoming Sekiro update, and the latest Avengers stream.

Homeownership is a true benchmark of wealth. In this episode, Dedrick Asante-Muhammad sits down with James Carr, Coleman A. Young Endowed Chair and Professor of Urban Affairs at Wayne State University. James reveals his background, gives a quick history of African American homeownership in America and then discusses his article, "America Needs a 21st Century Housing Finance System.” Doug Ryan, Director of Homeownership at CFED, joins the conversation to discuss rental housing and improving Fannie and Freddie Mac.You can contact the Racial Wealth Divide Initiative of CFED at the Bridging the Racial Wealth Divide Facebook page - www.facebook.com/racialwealthdivide/"America Needs a 21st Century Housing Finance System.” by James Carr-http://www.urban.org/policy-centers/housing-finance-policy-center/projects/housing-finance-reform-incubator/james-h-carr-america-needs-21st-century-housing-finance-systemThe intro is "Curiousity" by Lee Rosevere from the Album- Music for Podcasts.The outro is "Credit Roll" by Lee Rosevere from the Album- Music for Podcasts.Both tracks can be found at http://freemusicarchive.org/music/lee_rosevere/music_for_podcasts/Race and Wealth is edited and produced by Kye Hunter and Jessika Lopez with Dedrick Asante-Muhammad as co-producer