Podcasts about Jimmy Edwards

Whether you're a long-time fan or new to the series, "Take It From Here" offers a delightful blend of humor, satire, and cultural commentary. Join us as we revisit the world of "The Glums" and other beloved characters, and experience the comedic genius that has entertained generations. Welcome to "Take It From Here," a pioneering British radio comedy series that delighted audiences from 1948 to 1960. Broadcast by the BBC, this iconic program was crafted by the comedic talents of Frank Muir and Denis Norden. Known for its clever wit and memorable characters, "Take It From Here" set the standard for post-war radio comedy and continues to be celebrated for its innovative approach.The Story Behind Take It From Here"Take It From Here" was born from the collaboration between Frank Muir and Denis Norden, who were brought together by radio producer Charles Maxwell. The show starred the comedic trio of Jimmy Edwards, Dick Bentley, and Joy Nichols, later joined by June Whitfield and Alma Cogan. The series became famous for its segment "The Glums," which introduced audiences to a dysfunctional family that became a staple of British humor.Key Characters and VoicesThe main cast includes: Jimmy Edwards as the bombastic Pa Glum Dick Bentley as the hapless Ron Glum Joy Nichols and later June Whitfield as Eth, Ron's long-suffering fiancée Influence and Legacy"Take It From Here" played a significant role in shaping British comedy, influencing later shows like "Round the Horne" and contributing material to the "Carry On" films. The show's parody sketches and sharp humor resonated with audiences, both in the UK and internationally, and its legacy endures through re-broadcasts and recordings. Take It From Here British radio comedy Frank Muir Denis Norden Jimmy Edwards Dick Bentley Joy Nichols The Glums BBC radio shows Classic comedy Post-war humour Spotify podcasts Google search comedy series

Whether you're a long-time fan or new to the series, "Take It From Here" offers a delightful blend of humor, satire, and cultural commentary. Join us as we revisit the world of "The Glums" and other beloved characters, and experience the comedic genius that has entertained generations. Welcome to "Take It From Here," a pioneering British radio comedy series that delighted audiences from 1948 to 1960. Broadcast by the BBC, this iconic program was crafted by the comedic talents of Frank Muir and Denis Norden. Known for its clever wit and memorable characters, "Take It From Here" set the standard for post-war radio comedy and continues to be celebrated for its innovative approach.The Story Behind Take It From Here"Take It From Here" was born from the collaboration between Frank Muir and Denis Norden, who were brought together by radio producer Charles Maxwell. The show starred the comedic trio of Jimmy Edwards, Dick Bentley, and Joy Nichols, later joined by June Whitfield and Alma Cogan. The series became famous for its segment "The Glums," which introduced audiences to a dysfunctional family that became a staple of British humor.Key Characters and VoicesThe main cast includes: Jimmy Edwards as the bombastic Pa Glum Dick Bentley as the hapless Ron Glum Joy Nichols and later June Whitfield as Eth, Ron's long-suffering fiancée Influence and Legacy"Take It From Here" played a significant role in shaping British comedy, influencing later shows like "Round the Horne" and contributing material to the "Carry On" films. The show's parody sketches and sharp humor resonated with audiences, both in the UK and internationally, and its legacy endures through re-broadcasts and recordings. Take It From Here British radio comedy Frank Muir Denis Norden Jimmy Edwards Dick Bentley Joy Nichols The Glums BBC radio shows Classic comedy Post-war humor Spotify podcasts Google search comedy series

Even though average occupancy can be decreasing in a market, it doesn't mean a well-managed property needs to experience lower occupancy. If you maintain the property, communicate effectively with tenants, and handle maintenance issues promptly, you can far exceed the average market occupancy levels and also exceed average rents. Jimmy Edwards, Founder and Director of Acquisitions at High Five Group, has excelled at adding value and repositioning Class C assets and selling them for a large profit. Jimmy is currently looking for Value Add opportunities in the I 35 corridor between Dallas and San Antonio, but still not seeing enough price concessions to make most of these deals pencil.

Les festivals Werchter Boutique et TW Classic ne seront pas organisés cette année annonce l'organisateur Live Nation, Rock Werchter lui aura bien lieu avec Classic 21 début juillet à l'affiche : le Boss, Maneskin , les Foo Fighters… De grandes retrouvailles pour les Doobie Brothers et Michael McDonald sur scène et en studio pour travailler sur un nouvel album après 4 décénnies. La Marque d'instruments de musique Fender célèbre le 70ème anniversaire de la guitare Stratocaster avec un clip montrant une multitude de musiciens : Nile Rodgers, Jimmie Vaughan, Rebecca Lovell, Tyler Bryant … Bryan Ferry, le chanteur de Roxy Music, vend la moitié de son catalogue musical, tout comme Michael Jackson et Rod Stewart, à la firme Iconic Artists Group. 2 Bob Dylan reprend "Big River" de Johnny Cash pour la première fois en 21 ans, déjà repris sur les ‘'Basement Tapes'' en 1967 et l'avait ensuite chanté en duo avec l'homme en noir deux ans plus tard lors des sessions "Nashville Skyline". AC/DC : l'acteur qui jouera le rôle de Bon Scott dans le biopic du chanteur a été dévoilé, il s'agit du jeune acteur Lee Tiger Halley qui a été choisi pour incarner l'icône du rock dans le film, intitulé ‘'The Kid From Harvest Road''. Mots-Clés : guitariste, chanteur, Pat Simmons, Facebook, John Shanks, tonalité, guitaristes, monstres sacrés, Jimi Hendrix, David Gilmour, Jeff Beck, Ritchie Blackmore, Stevie Ray Vaughan, Andy Gill, Gang of Four, Brother Wayne Kramer, MC5, fondateur, Chic, The Hitmaker, célèbre, instrument, chansons, succès, dance, disco, funk, pop, jazz, country, folk, société, production, australien, Halo Films, Protocol Pictures, histoire, magie, passion Fremantle, série, Boy Swallows Universe, roman, Trent Dalton, comique, Crazy Fun Park, Belgique, Dessel, propriétaires, actif, carrière musicale, solo, héritage, génération, fans, président, Jimmy Edwards, art, mode, tournée, Ruth Eckerd Hall, Clearwater, Floride, passion, enfance, tourne-disque, portable, route, autobiographie, coulisses, spectacle, tournée, Amérique, monde. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Jimmy is the Founder of the High Five Group, which has primarily focused on single-family homes, and since 2017 has acquired properties in the multifamily space. We are currently looking for deals in the DFW and San Antonio area around 60-250 units.  Support the showhttps://www.buzzsprout.com/1187780/supporters/newFollow Rama on socials!LinkedIn | Meta | Twitter | Instagram|YoutubeConnect to Rama Krishnahttps://calendly.com/rama-krishna/ E-mail: info@ushacapital.comWebsite: www.ushacapital.comRegister for Multifamily AP360 - 2024 Capital Raising virtual conference - https://multifamilyap360.mykajabi.com/offers/8BUi5nUm To find out more about partnering or investing in a multifamily deal: email: info@ushacapital.com

If anything is holding you back from going to multifamily, you'll be motivated by this episode with Jimmy Edwards. He joins the show to share what made him realize the better benefits of transitioning from single-family to apartment investing and some advice for investors to grab the best deals in the market. Investing knowledge is a significant factor in your journey and success, so check this out!Key Points & Relevant TopicsReasons why Jimmy shifted from single-family to multifamily apartment investingHow to successfully jump into larger multifamily dealsSome factors to consider when finding the right dealWhat multifamily investors can possibly expect in today's housing marketThe importance of having patience in real estate investingWhat is analysis paralysis in real estate and how to overcome itResources & LinksApartment Syndication Due Diligence Checklist for Passive InvestorWho Not How: The Formula to Achieve Bigger Goals by Dan Sullivan and Benjamin HardyAbout Jimmy EdwardsJimmy Edwards is the co-founder of High Five Multifamily, which is a real estate solutions company that focuses on the acquisition and revitalization of distressed and value add multifamily investment property. Since 2017, High Five Multifamily has bought and sold 868 units and is currently looking for opportunities in the DFW and San Antonio area around 60-250 units. Jimmy has been an investor since 2011 in both single-family and multifamily properties, has bought and sold over 100 single-family houses, and has purchased six apartment complexes. Located primarily in Texas, we have gone full cycle on four apartment complexes, with an average investment return of 2.63X and 37% IRR. High Five Multifamily has a passion for real estate investing and specializes in buying and selling properties that need rehabilitation, updating, and TLC. Its acquisitions team is constantly searching for apartments that have been poorly managed, distressed, abandoned, foreclosed, or simply outdated. These conditions can be the perfect opportunity for the right investor. High Five Multifamily provides a quick, easy, and seamless transaction for all parties involved. Get in Touch with JimmyWebsite: High Five MultifamilyTo Connect With UsPlease visit our website www.bonavestcapital.com and click here to leave a rating and written review!

246. Summertime always means that it's really ROCKIN' on your radio! Listen in to DJ Del Villarreal for the Tuesday nite "Go Kat, GO! The Rock-A-Billy Show!" for a fun, festive and far-out program filled with the finest 50's-styled roots rock sounds! Hot rod season is now upon us and we're getting excited about the Hoodrats 5th Annual Pied Pipers Car Show this Saturday in Warren, MI -enjoy a fun, exclusive interview with co-organizer Darrell Noble and get the complete lowdown on this Detroit summertime kustom kulture celebration! Roaring out of your speakers in this program are HOT new songs from The Hi-Views, The Roadkill Rockers, Dale Rocka & The Volcanoes, The Blue Valley Boys, Peter Egri's One Man Boogie '55, Deke Dickerson & The Whipersnappers, The Hub Caps, Mozzy Dee Fuentes, The Buick '55's, Same Old Shoes, Johnny Bach and the Moonshine Boozers, McKinley James, Mama's Hot Sauce and MORE! Plenty of vintage rockers as well; you can ear selections from Link Wray, Jimmy Edwards, Big Al Downing, The Everly Brothers, Johnny Cash, Ricky Nelson, Glen Glenn, Johnny Burnette Trio, Carl Perkins and even Ronnie Self! Endure a bit more hype for the Rockabilly Summer Motor Expo (this Sunday, July 23rd at the Token Lounge, Westland, MI!  Don't miss!). 3 big hours of the BEST rockabilly music of the past 70 years on DJ Del's "Go Kat, GO!" -good to the last bop!™Make a request: del@motorbilly.com Please follow on FaceBook, Instagram & Twitter!

"Step back in time and relive the golden era of radio with our website!  Audioshows.e-junkie.com Relive classic dramas, comedies, mysteries, and more. Click the link and start exploring now to rediscover the magic of radio's golden age." "Love our podcast? Help us keep it going! Donate to AudioshowsUK on BuyMeACoffee and ensure we upload regularly with more shows. Your donation will go a long way towards keeping the podcast world spinning. Click now and show us your support!" Audio Shows (buymeacoffee.com) Whack-O! is a British sitcom TV series starring Jimmy Edwards, written by Frank Muir and Denis Norden. The series ran on the BBC from 1956 to 1960 and was revived for an eighth series in color running through the winter of 1971 - 197212. The show is set in a somewhat run-down public school and features Professor James Edwards as one of the great characters of sitcom, an unapologetic, scheming drunk who constantly runs rings around everyone.

When it comes to talent selection, it's not just always about hiring more people. Rather, organizing tasks to keep them aware of what they're good at and what energizes them is more crucial. In today's episode, our guest Jimmy Edwards talks about the importance of having the right people in the right seats in your business. He shares his journey of how he found his way into the real estate industry and multifamily market.He also discusses with us his hiring process and how he ensures that he's hiring the right people for his team and how he itemizes people's strengths and weaknesses to understand who is best suited for what role. Tune in now and learn more about what made Jimmy successful and how he delegates tasks the right way!  Key Points From This Episode: Jimmy shares how he got into real estate, his hiring process and how he finds the right talent.The current scaling of Jimmy's business.The importance of having the right person in the right seat, as well as Jimmy's transition from being in the wrong seat to learning what the right seat was.The process of ensuring the team is in the right place and how Jimmy thinks through their strengths and weaknesses.How did Jimmy approach his team members?How to know if there's a person better suited for a certain role.The way Jimmy is preparing for the next recession or a downturn and how to ensure they're prepared for the next deal.Jimmy's best source for meeting new investors.The most important metrics that Jimmy tracks both personally and professionally.Tweetables:“We had a bunch of deals under contract that kind of fell apart, everything's kind of happens for a reason, I believe… and then you figure it out and you look back you're like awesome.” - Jimmy Edwards“I have a few deals under management right now which allows me to reorganize, restructure and systemize the business so that throughout the next expansion, we can buy 10,000 doors.” - Jimmy Edwards“I know I'm headed in the right direction when immediately my personal energy changes. I know I have the right idea because I get energized and all the weight falls off.” - Jimmy Edwards“Hopefully, we've been successful at systemizing and organizing, getting people in the right seats so that we can scale through the next expansion.” - Jimmy Edwards“I'm just trying to get back to my team, empower them, let them,  get them happy, get through some of these things so that we can keep scaling.” - Jimmy Edwards“Sometimes you miss things because you're solving a small problem along the way, but you don't realize that you took a misstep until it starts clogging up the wheel.” - Jimmy EdwardsLinks Mentioned in Today's Episode:Rich Dad Poor Dad BookHigh Five Multifamily WebsiteAbout Jimmy EdwardsJimmy Edwards is the Founder of High Five Multifamily, a real estate solutions company that focuses on the acquisition and revitalization of distressed and value-add multifamily investment property. Since 2017, High Five Multifamily has bought and sold 868 units and is currently looking for opportunities in the DFW and San Antonio areas. Jimmy has been an investor since 2011 in both single-family and multifamily properties, has bought and sold over 100 single-family houses, and has purchased six apartment complexes.

After many years of a massive upward trajectory, multifamily real estate is facing headwinds, especially for older C and B class properties. In many markets, occupancy is starting to fall and rents along with it. In addition, many operators have taken on risky debt that they may not be able to service. As such, these operators may get into hot water in the upcoming months and be at jeopardy of having to sell their properties at a loss and lose their investor's money. Jimmy Edwards, Owner and Director of acquisitions at High Five Group, has done heavier value-add projects in Dallas with conservative underwriting and debt over the past five years and done extremely well. He sold a number of properties this past year and is poised to make great acquisitions in 2023.

Jimmy Edwards owns High Five Multifamily, which sources, acquires, and manages multifamily assets in the B- and C-class space. In this episode, he shares the pain points that motivated him to scale his business, how he builds relationships with brokers, and how he learned the hard lesson of knowing when to walk away from a deal.  Jimmy Edwards | Real Estate Background Owner of High Five Multifamily, which sources, acquires, and manages multifamily assets in the B- and C-class space. Previous episodes:  JF1421: Using Passive Investing to Catapult into Your Own Large Multifamily Deals with Jimmy Edwards JF2539: 100% Returns in 25 Months with Jimmy Edwards #SkillsetSunday Portfolio: 570 units (168 multifamily units, net seller 2022, will be a net buyer in 2023–2026) Purchased, rehabbed, and successfully sold over 100 SFRs Based in: Dallas, TX Say hi to him at:  highfivemultifamily.com Best Ever Book: Rich Dad, Poor Dad by Robert Kiyosaki Join the newsletter for expert tips & investing content.   Sign up to be a guest on the show. FREE eBook: The Ultimate Guide to Multifamily Deals & Investing Register for this year's Best Ever Conference in Salt Lake City Stay in touch with us! www.bestevercre.com YouTube Facebook LinkedIn Instagram Click here to know more about our sponsors: MFIN CON |Reliant

Visit our store for more shows Audioshows.e-junkie.com We have all of the Classics and More Dad's Army , Round the Horne , Take it from Here, Benny Hill , Beyond Our Ken , Navy Lark, Westerns and many many more are being added day by Day. Instant Old radio Shows for Instant Downloads. at fantastic Prices Classic Old Radio Show Comedy Downloads Whack-O! featured the wonderful Jimmy Edwards as Professor James Edwards. Prof Edwards is one of the great characters of sitcom, an unapologetic, scheming drunk, who constantly runs rings around his fellow masters and thinks nothing of cheating and manipulating charges and colleagues alike. Teachers v Pupils is standard fare throughout film and TV, but usually it's like St Trinians - we're on the side of the kids. Whack-O! brilliantly realised that adults wanted to see a teacher prevail, particularly when the teacher in question was a charming sociopath.

Visit our store for more shows Audioshows.e-junkie.com We have all of the Classics and More Dad's Army , Round the Horne , Take it from Here, Benny Hill , Beyond Our Ken , Navy Lark, Westerns and many many more are being added day by Day. Instant Old radio Shows for Instant Downloads. at fantastic Prices Classic Old Radio Show Comedy Downloads Whack-O! featured the wonderful Jimmy Edwards as Professor James Edwards. Prof Edwards is one of the great characters of sitcom, an unapologetic, scheming drunk, who constantly runs rings around his fellow masters and thinks nothing of cheating and manipulating charges and colleagues alike. Teachers v Pupils is standard fare throughout film and TV, but usually it's like St Trinians - we're on the side of the kids. Whack-O! brilliantly realised that adults wanted to see a teacher prevail, particularly when the teacher in question was a charming sociopath.

The statues all shrieked and ran for their lives.

Visit our store for more Radio Shows Audioshows.e-junkie.com To Purchase the Complete collection of Take it from Here visit Audioshows.e-junkie.com Old Radio Show Take It from Here (often referred to as TIFH, pronounced – and sometimes humorously spelt – "TIFE") was a BBC Radio comedy programme broadcast by the BBC between 1948 and 1960. It was written by Frank Muir and Denis Norden, and starred Jimmy Edwards, Dick Bentley and Joy Nichols. Classic Old Radio Show Comedy Downloads. Visit our store for more shows Audioshows.e-junkie.com We have all of the Classics and More Dad's Army , Round the Horne , Take it from Here, Benny Hill , Beyond Our Ken , Navy Lark, Westerns and many many more are being added day by Day. Instant Old radio Shows for Instant Downloads. at fantastic Prices

Joy, Hilarie and Sophia recap one of the most pivotal episodes of One Tree Hill - “With Tired Eyes, Tired Minds, Tired Souls, We Slept.” As emotional as the episode that aired was, what went on behind the scenes was impossible to describe, until now.  The Drama Queens are joined by Colin Fickes who played Jimmy Edwards as they discuss the powerful making of the show and what it meant on a larger, real-life scale. So much we didn't know and a reminder of things we need to remember...It's truly an episode you won't want to miss.See omnystudio.com/listener for privacy information.

The time capsule is mysteriously opened and revealed to the entire school. Looking back now is a lot like opening a time capsule in itself.  In a true “If I knew then what I know now” discussion the Drama Queens discuss the realness of Jimmy Edwards' story.  Art imitated life as the ladies recall the violation of a real life email hack.  It may be 16 years later but the fireworks are still exploding!  For tickets to Drama Queens Live - visit dramaqueensoth.com!See omnystudio.com/listener for privacy information.

Jimmy Edwards is the owner of the High Five Group. His experience includes property evaluation, underwriting, loan origination, rehab, asset management, finance, marketing and sales. Jimmy has a knack for taking worn down things and making them incredible. He's been buying distressed assets in Dallas Fort Worth since 2011, has rehabbed and successfully sold over 100 single family residences and now is solely in the multifamily space. In this episode Jimmy talks about one of his early investments in a 16 unit deal where he partnered with the police department in an 18 person round table strategy session to drive out crime. Jimmy talks about his well oiled machine business specializing in multifamily investments and his bullish investment approach. Lastly he talks about where interest rates are headed with volatility in the stock market. Connect with Jimmy: Website: www.highfivemultifamily.com Partner with us: www.pac3capital.com Follow the show on Instagram: @themultifamilytakeoff

The Ravens - One Tree Hill, Movies & Tv Shows is focused on the tv show One Tree Hill as well as other Movies and Tv Shows. Each episode of the podcast will focus on a single episode of One Tree Hill, a Movie or Tv Show. We will be covering every episode of One Tree Hill, in order, from the start of Season 1 to the end of Season 9 - it will be a momentous journey.    Simon loves One Tree Hill, to the extent that he claims that it positively changed his life, Dom on the other hand has never seen it - so join us on this adventure through Ravens history.    Click here for - Patreon - Ravens Instagram - Merchandise Store - tenthirtypodcasts@gmail.com - Simon's Podcast Instagram - Simon's YouTube  Here are some cool OTH Instagram Fan pages - Tree Hill Style - One Squeaky Hill Thank you for your support.   Simon and Dom. 

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

Jimmy Edwards, Co-Founder of High Five Multifamily, joins us to discuss leaving his corporate career, turning around deeply distressed real estate investment deals, growing into larger multifamily real estate assets, and much more. Connect with Jimmy at https://highfivemultifamily.com/. To join the DJE Investor list visit https://djetexas.com/access. For multifamily mentoring visit https://www.ApartmentEducators.com    

All hail the Roly-Poly Regent of Raspberries, the Moon-Faced Monarch of Mirth, the Spherical Sovereign of Song! (Alright, that's enough – Ed.) This week Tyler is joined by Tony Cross to talk about Harry Secombe, focusing on his two volumes of memoir Arias & Raspberries and Strawberries & Cheam. The emphasis is on the pre-Goons days, particularly his wartime service and post-war pursuit of fame as a fledgling comedian and variety turn. It's a warm appreciation of the man who would go on to become Ned of Wales and one of Britain's best-loved entertainers. Features stories such as Jimmy Edwards and a case of mistaken identity, a troublesome kidney stone, that fateful first meeting with Spike, Harry as a young shaver belting out hymns from the outdoor thunderbox and his time touring Italy to entertain the troops. Some honourable mentions along the way for Bill Hall, Peter Sellers, Muir & Norden, Vivian Van Damm, Bruce Forsyth and Tony Hancock. And we ask: Why hasn't there been a definitive Secombe biography? Check out Tony on Twitter @Lokster71 and his website is https://acrosstime.tv/ As always, check out the podcast @goonshowpod

Jimmy Edwards has been buying distressed assets in Dallas Fort Worth Since 2011. He has purchased, rehabbed, and successfully sold over 100 Single family properties and is currently invested in 570 units. Learn More About Jimmy Here: High Five Multifamily: https://highfivemultifamily.com/   What do you want to hear/see more of and less of? What question do you always wish I would ask but I never do? Connect with the Global Investors Show, Charles Carillo, and Harborside Partners: ◾ Setup a FREE 30 Minute Strategy Call with Charles: schedulecharles.com/  ◾ Global Investors Web Page: https://charleskcarillo.com/global-investors-podcast/ .◾ Join Our Email Newsletter: http://bit.ly/32pehL0 ◾ Foreign Investing in US Real Estate Facebook Group: facebook.com/groups/ForeignInvestingInUSRealEstate/  

To Purchase the Complete collection of Take it from Here visit Audioshows.e-junkie.com Old Radio Show Take It from Here (often referred to as TIFH, pronounced – and sometimes humorously spelt – "TIFE") was a BBC Radio comedy programme broadcast by the BBC between 1948 and 1960. It was written by Frank Muir and Denis Norden, and starred Jimmy Edwards, Dick Bentley and Joy Nichols.

Do you want to learn how to leverage 1031's and/or syndications to grow your wealth? Kathryn Schmeltz worked for a large apartment owner. She also worked for a large multifamily due diligence company. She walked over 5,000 units as an employee. She then decided she wanted to be on the other side of the table as an owner. She and her partner, Jimmy Edwards, who was on the show episode 52, have now syndicated three multifamily deals for 400 units. Listen as she shares some fantastic growth mindset examples! For links and resources discussed in this episode, please visit our show notes at https://darinbatchelder.com/growth-mindset-examples  

To Purchase the Complete collection of Take it from Here visit Audioshows.e-junkie.com Old Radio Show Take It from Here (often referred to as TIFH, pronounced – and sometimes humorously spelt – "TIFE") was a BBC Radio comedy programme broadcast by the BBC between 1948 and 1960. It was written by Frank Muir and Denis Norden, and starred Jimmy Edwards, Dick Bentley and Joy Nichols.

The Fitzroy Crossing Bull Sale is truly a one-of-a-kind event. While Bulls Sales are a dime a dozen in the Eastern States, the Fitzroy Crossing Sale is the only bull sale in Northern Western Australia. This is because the majority of cattle in the pastoral regions of Western Australia are commercial cattle, bred to go direct to market. There are very few cattle studs in the pastoral region, so when pastoralists want to improve their herd genetics, they often have to source herd bulls from the Eastern States – mostly Queelsand, which runs similar breeds in similar environments to northern WA. This means that pastoralists often have to travel to Queensland and inspect bulls on various properties, and then have the bulls trucked back to WA. As you can imagine, there are a huge number of cattle studs on the East Coast – how would you even know where to start? The Fitzroy Crossing Bull Sale began over a decade ago, with the aim of bringing quality bulls directly to pastoralists in the Kimberley region of WA. The bulls are selected by an impressive team of people, including livestock agents who live and breathe the Kimberley cattle industry, and know exacrtly what their clients are looking for, and a great man by the name of Jimmy Edwards who spent many years flying in the Kimberley and Pilbara, as well as running his own stations, and also knows what type of cattle will do well in the regions. Each year the event continues to grow, and this year was no different, with total sales exceeding one million dollars. This year also boasted the highest number of registered bidders, including a number from the Northern Territory and Queensland, and a record price of $20,000. I attended the event and had a quick chat to Jim Edwards, who started the sale all those years ago, Andrew Stewart – one of the livestock agents and auctioneers who runs the event each year, and Rusty Cook, one of the many buyers. **** This episode is sponsored by Red Range Stock Supplements - a locally owned family run business based in Kununurra, Western Australia and servicing the whole North West. They offer a range of custom blended supplements for cattle and horses tailored specifically to your individual requirements. For more information or to discuss your supplement needs please visit redrangestocksupplements.com.au

#multifamilyinvesting #investingsuccess #realestateeducation On this episode, Jimmy Edwards shares his awe-inspiring journey in the real estate investing space. Jimmy is the owner of the High Five Group, which has primarily focused on single-family homes since 2013, and is aggressively looking to acquire properties in the multifamily space. As an expert resource for real estate investors and home sellers, he has over 12 years of experience in real estate negotiations, and he works every deal as if it were his own. He enjoys solving problems, and thinking "outside of the box". Don't miss out on this episode if you want to learn how real estate investing can help you create a life of abundance, financial and time freedom. Some of the key points from the podcast are as follows: ✔ When Jimmy graduated from Texas Tech, he knew he wanted to pursue career in real estate. He dreamt of being the expert resource for real estate knowledge. That dream took him to Houston, TX where he found an awesome job selling high-end condos. In 2006, he helped facilitate over 10 million dollars in transactions in Houston's Premier Luxury High Rise Living Community. ✔ When the market shifted in 2008, he moved to Dallas, TX. It was then he saw the opportunity to utilize his financial skills to help distressed homeowners. He became licensed as a mortgage loan officer for the State of Texas. In 2011, he closed over 30 million dollars in government mortgage loans for military Veterans. It was then, that he began to shift his focus back to real estate. ✔ With prices near all time lows, he began accumulating investment property around the DFW metroplex. While searching for investment properties, I discovered a highly competitive market, and the need for an investment specialist. He realized that most investors did not have the time to hunt for distressed assets, and most realtors were not investor savvy. ✔ In 2012, he put his background and experience to work and The High Five Group was born! Listen to the podcast to know what you can learn from Jimmy's success story and how you can begin yours. Hungry for more of the How in real estate investing? Visit www.ezfiuniversity.com for in-depth articles and webinar recordings to start down your own road to Financial Independence. 1. Listen and Learn on our Podcast, "10,000 Roads to Financial Independence": https://bityl.co/4l3z 2. Subscribe to our channel: https://ytube.io/3C4F 3. Check out more about High Five: https://www.linkedin.com/company/g5-properties-group-five-/ About Elisa Zhang: I am an owner and principal of over 1,000 apartment units across the USA. I'm an educator, an artist and a mother of two beautiful children. I am on a mission to help motivated individuals make money while they sleep and retire faster than they dreamed. What makes me so confident that I can guide someone to achieving this goal? It's the exact process I used to replace my annual full-time corporate income of over $200K. I came from the IT world and focused on leveraging the power of real estate investing to form passive streams of income that now funds my family's life, independent from working at a day job. Why not keep this all a secret for myself? Sharing the formula for Financial Independence is my way of showing gratitude and adding more value to the world.

Jimmy Edwards just closed his first full cycle deal in his college town, giving 100% returns in just 35 months. Today we're getting down to the numbers and learning his exact step-by-step process for successful rehabbing and rebranding. Jimmy shares what he told investors when he found out how poor conditions actually were, 6 key things he did to let the community know there's new ownership, and how he knew it was time to sell.  Jimmy Edwards Real Estate Background:  Previous episode: JF1421 Just closed on first full cycle deal - 2x multiple in 35 months, purchased at 50% occupancy, decreased to 38% occupancy, sold at 92% Full time multifamily investor Invested in 570 units Purchased, rehabbed, and successfully sold over 100 SFRs Based in Dallas, TX Say hi to him at: www.HighFiveMultifamily.com   Click here to know more about our sponsors: Real Estate CFO Services | ThinkMultifamily.com/coaching | Rent Redi | Rentify

Jimmy has flipped over 100 single-family homes and has now shifted his focus to large multi-family assets. He's not afraid of deep value add projects and has been rehabbing real estate for over a decade!

Let's get creative and intentional about financing loans and raising capital! Jimmy Edwards is the owner of the High Five Group. His experience includes property evaluation, underwriting, loan origination, rehab, asset management, finance, marketing and sales. Jimmy has a knack for taking worn down things and making them incredible. He's been buying distressed assets in Dallas Fort Worth since 2011, has rehabbed and successfully sold over 100 single family residences and now is solely in the multifamily space.[00:01 – 02:24] Opening SegmentLet's get to know today's guest, Jimmy EdwardsJimmy's road to get to where he is today[02:25 – 08:43] From Single-Family to Multi-FamilyHolding ground in a depreciating marketThe process transitioning into MultifamilySelf-managing vs. the lenders[08:44 – 13:19] A Vital Partnership SituationReverse 1031, what does that mean and how did it workJimmy talks about his partnership[13:20 – 20:21] From Multi-Family to Launching a FundJimmy shares how his Buy Box looksThe thought process from going for B-class productFinancing loans and Raising capital[20:22 – 23:13] Final Four SegmentKevin's advice to aspiring investorsJust get started, participate and stop over-analyzing everythingHow he stays on top of his gameHitting the gym early, listening to podcastsHis way to make the world a better placeSharing knowledgeReach out to our guest– see links belowFinal wordsTweetable Quotes: “It's easier to do a bigger deal than it is to do a smaller deal, and so it was really a mindset shift for me.” - Jimmy EdwardsResources Mentioned: Big Mike Fund------------------------------------------------------------------------------------------Connect with Jimmy on LinkedIn. Check out https://highfivemultifamily.com/ to learn more about setting up a call.Connect with me:I love helping others place money outside of traditional investments that both diversify strategy and provide solid predictable returns.Call: 901-500-6191FacebookLinkedInLike, subscribe, and leave us a review on Apple Podcasts, Spotify, Google Podcasts, or whatever platform you listen on. Thank you for tuning in! Email me --> sam@brickeninvestmentgroup.com

Let's get creative and intentional about financing loans and raising capital! Jimmy Edwards is the owner of the High Five Group. His experience includes property evaluation, underwriting, loan origination, rehab, asset management, finance, marketing and sales. Jimmy has a knack for taking worn down things and making them incredible. He's been buying distressed assets in Dallas Fort Worth since 2011, has rehabbed and successfully sold over 100 single family residences and now is solely in the multifamily space.[00:01 – 02:24] Opening SegmentLet's get to know today's guest, Jimmy EdwardsJimmy's road to get to where he is today[02:25 – 08:43] From Single-Family to Multi-FamilyHolding ground in a depreciating marketThe process transitioning into MultifamilySelf-managing vs. the lenders[08:44 – 13:19] A Vital Partnership SituationReverse 1031, what does that mean and how did it workJimmy talks about his partnership[13:20 – 20:21] From Multi-Family to Launching a FundJimmy shares how his Buy Box looksThe thought process from going for B-class productFinancing loans and Raising capital[20:22 – 23:13] Final Four SegmentTweetable Quotes: “It's easier to do a bigger deal than it is to do a smaller deal, and so it was really a mindset shift for me.” - Jimmy EdwardsResources Mentioned: Big Mike Fund------------------------------------------------------------------------------------------Connect with Jimmy on LinkedIn. Check out https://highfivemultifamily.com/ to learn more about setting up a call.Connect with me:I love helping others place money outside of traditional investments that both diversify strategy and provide solid predictable returns.Call: 901-500-6191FacebookLinkedInLike, subscribe, and leave us a review on Apple Podcasts, Spotify, Google Podcasts, or whatever platform you listen on. Thank you for tuning in! Email me --> sam@brickeninvestmentgroup.com

VISIT https://audioshows.e-junkie.com for more Downloads The Glums was spawned at the start of the third series of Take It From Here, a British radio comedy programme broadcast by the BBC between 1948 and 1960. Written by Frank Muir and Denis Norden, it starred Jimmy Edwards, Dick Bentley, and Joy Nichols. When Nichols moved to New York City in 1953 she was replaced by June Whitfield and Alma Cogan.

VISIT https://audioshows.e-junkie.com for more Downloads WHACKO or Whack-O! classic sit-com started life on BBC Television in October 1956 and starred 'Professor' Jimmy Edwards. Written by the masterful team of Frank Muir and Denis Norden, this was undoubtedly one of the major successes of early British television. There were 8 series in all with a couple of special shows, giving a grand total of 60 half hour shows, and 3 shorts. But the story doesn't stop there, and this is one of the more unusual shows where a radio series and even a film were spawned from the TV version Old Radio Shows

Are you looking to invest in distressed assets? Jimmy Edwards started in residential and scaled into multifamily. He is a general partner in about 600 multifamily units. He's not afraid of the tough stuff, and he's made it work time and again. His latest deal doubled investors' money in three years on a West Texas multifamily property. He and his team grew occupancy from 50% to 92%. Listen to hear how Jimmy is used to being comfortable with being uncomfortable and how he and his team find ways to improve the value of distressed assets. For links and resources discussed in this episode, please visit our show notes at https://darinbatchelder.com/Distressed-Assets  

Visit our store for more Radio Shows Audioshows.e-junkie.com Old Radio ShowTake It from Here (often referred to as TIFH, pronounced – and sometimes humorously spelt – "TIFE") was a BBC Radio comedy programme broadcast by the BBC between 1948 and 1960. It was written by Frank Muir and Denis Norden, and starred Jimmy Edwards, Dick Bentley and Joy Nichols.

24. Rock th' boogie with DJ Del Villarreal's "Go Kat, GO!" radio show! Pouring on the real rockin' roll this Tuesday eve with fun vintage tunes from Frankie Laine, Robert Gordon, Johnny Burnette, Jimmy Edwards, Johnny Cash, Buddy Knox & Little Jimmy Dickens PLUS we've got some fantastic NEW recordings to share from Jared Petteys & The Headliners, The Nut Jumpers, The Honky Tonk Pounders, Little Dave & The Sun Sessions, Tav Falco, Jane Rose, Jack Rabbit Slim and even Hot Rod Walt & The Psycho Devilles! Wishing Robert Gordon a happy 73rd birthday and helping to promote the Rockabunny Rumble #9 in South Carolina this weekend. Getting you ready for a rockin' Easter -spring into the roots-rock'n'roll season with the Aztec Werewolf's "Go Kat, GO! The Rock-A-Billy Show!" -good to the last bop!™#rockabilly #rock-a-billy #rocknroll #roots #americana #ameripolitan #garage #hillbilly #country #hotrod #djdel #aztecwerewolf #50s #delvillarreal #gokatgo #radio #frankielaine #robertgordon #johnnyburnettetrio #thenutjumpers #thehonkytonkpounders #tavfalco #jackrabbitslim #hotrodwalt #johnnycash #janerose

To Purchase the Complete collection of Take it from Here visit Audioshows.e-junkie.com Old Radio Show Take It from Here (often referred to as TIFH, pronounced – and sometimes humorously spelt – "TIFE") was a BBC Radio comedy programme broadcast by the BBC between 1948 and 1960. It was written by Frank Muir and Denis Norden, and starred Jimmy Edwards, Dick Bentley and Joy Nichols.

Visit our store for more Radio Shows Audioshows.e-junkie.com Old Radio ShowTake It from Here (often referred to as TIFH, pronounced – and sometimes humorously spelt – "TIFE") was a BBC Radio comedy programme broadcast by the BBC between 1948 and 1960. It was written by Frank Muir and Denis Norden, and starred Jimmy Edwards, Dick Bentley and Joy Nichols.

Joey Smith the Public Health Director for Montgomery County and Jimmy Edwards the Chief of the Montgomery County EMS join Charlie and Katie to talk about what life is like on the front lines of the COVID 19 pandemic in Clarksville Montgomery County, how the county is responding to the pandemic, reporting cases to the public and what you can do to help slow the spread.

John once again "exudes" confidence with his "exemplary" argumentative skills...struggling to convey the source of his distaste for Reality shows. Mike's frustration's grow to a point never before heard on this podcast channel...01:00 Random word03:49 No laughing matter on this topic - Sitcoms12:06 A Shameless discussion14:10 Back to reality27:56 Sports31:18 House Hunters37:29 A vicious Circle42:23 American Idol51:41 Sports according to John53:15 Jimmy Edwards...who?55:02 Super drunk hiccup1:07:00 We finally come to our senses 

Jimmy Edwards is the owner of the High Five Group, which has primarily focused on single-family homes, and is aggressively looking to acquire properties in the multifamily space. He is currently looking for deals to co-sponsor in the DFW area around 60-250 units, along with passively investing in other multifamily opportunities. Jimmy has over 12 years of experience, including property valuation, underwriting, loan origination, rehab, asset management, finance, marketing, and sales.Connect with Jimmywww.HighFiveMultifamily.comFor today’s show notes, including audio and links to all the resources mentioned, visit www.limitless-estates.com/podcasts. For today’s video feed, visit our YouTube channel.To get access to our free Passive Investors Guide and monthly newsletters sign up at www.limitless-estates.comSchedule a free call with Kyle or Lalita hereTo find out more about partnering or investing in a multifamily deal email info@limitless-estates.com Local to Southern California? Attend our monthly meetup focused on Out of State Apartment investing. View our schedule at https://www.limitless-estates.com/events/meetupsJoin our Facebook Group - Passive Income through Multifamily Real EstateHave a question you would like answered on the show? Email us at info@limitless-estates.com.Today's Show Sponsor www.kylemitchellre.com

Raleigh siblings Colin Fickes and Mary Holt Collins started Humdinger Juice nearly eight years ago. We discovered it during Hopscotch 2013 and have been fans ever since. Fickes is also a former actor. You might remember him from a little show called - ONE TREE HILL! He played Jimmy Edwards from 2003 to 2006. He's also appeared on Law and Order: SVU. Fickes is returning to acting with a Lifetime Christmas movie (A Christmas Wish) with his some of former OTH co-stars, including Hilarie Burton.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Raleigh siblings Colin Fickes and Mary Holt Collins started Humdinger Juice nearly eight years ago. We discovered it during Hopscotch 2013 and have been fans ever since. Fickes is also a former actor. You might remember him from a little show called - ONE TREE HILL! He played Jimmy Edwards from 2003 to 2006. He's also appeared on Law and Order: SVU. Fickes is returning to acting with a Lifetime Christmas movie (A Christmas Wish) with his some of former OTH co-stars, including Hilarie Burton. 

Beware of internet scammers when it comes to raising money for apartment investing. In the first part of the podcast, Paul discusses a real problem that recently occurred to one of his borrower. The sponsor’s email address and database were hacked. The scammers sent out emails to the borrower’s investor database asking for $250,000 for additional rehab on an apartment building owned by the borrower. The scammer offered an unbelievable 45% rate of return. The scammers false email address was close to the borrower original- except a small “i” was added into their faux email address. Fortunately, a few spelling errors were caught by alert passive investors that felt that the email was fake and reported it. BEFORE sending money to your general partner, make sure that the transaction is real and the wiring instructions are correct. In the second part of the podcast- Kathryn Schmeltz, Jimmy Edwards and Tim Hammick came together to buy apartments. Within 12 months of forming their team, they had purchased 3 large apartment buildings. 2- Deep Value added buildings; 1- Stabilized building. They discuss some of the challenges they have encountered. 1st property purchased: 16 units https://el-paso-apartments.business.site 2nd property purchased: 100+ units https://www.courtyardsonthepark.com 3rd property purchased: 100+ units http://www.falconridge-apts.com To contact: www.HighFiveMultifamily.com To receive our FREE page WHITE PAPER REPORT on the (updated) 2019 FUNDAMENTALS OF MULTIFAMILY FINANCING 101 and to learn more about upcoming educational events at Old Capital Speaker Series please visit us at OldCapitalPodcast.com Are you interested in learning more about how Multifamily Syndications work? Please visit www.spiadvisory.com to learn more about Michael Becker’s Real Estate Syndication business with SPI Advisory LLC.

Like many others, Jimmy's first focus on real estate investing came after reading Rich Dad, Poor Dad. He obtained his real estate license, and started working for someone for free to get some experience. After getting his feet wet in real estate, He relocated to Houston to start building some cashflow! Topics discussed: Multifamily Cashflow Passive Investing Links mentioned in this episode: https://www.facebook.com/jimmy.edwards.54379 https://www.linkedin.com/in/edwardsjimmy/ https://highfivemultifamily.com/ BlueSpruce Capital For all lending opportunities please email the following: Name: Phone: Email: City/State where the property is Purchase Price LTV (loan to Purchase Price) ARV Rehab Costs Down Payment TO : errolroy@yahoo.com

After being a very successful house flipper, Jimmy decided he wanted to pivot into buy and hold. In order to gain experience, knowledge, and credibility, he decided to be a limited partner on some deals first. With everything learned from that experience, Jimmy and his team were able to start acquiring their own multifamily deals. Hear how he did it, and what he learned along the way. If you enjoyed today’s episode remember to subscribe in iTunes and leave us a review!   Best Ever Tweet: “6 weeks into the deal, and we’re still discovering surprises” - Jimmy Edwards   Jimmy Edwards Real Estate Background: Owner of High Five Group Been in real estate space for 12 years, flipped over 100 houses and in 400 multifamily units - both passively and actively Has primarily focused on single-family homes, and is aggressively looking to acquire properties in the multifamily space. Say hi to him at Based in Dallas, TX Best Ever Book: Rich Dad Poor Dad   Best Ever Listeners: We have launched   We profile 1 nonprofit or cause every month that is near and dear to our heart. To help get the word out, submit a cause, or donate, visit

Todays guest is a real estate investor in the DFW market, making big moves. Jimmy Edwards, a Texas Tech graduate, started out in real estate about 12 years ago selling high-end condos in Houston. Shortly after, he merged into mortgage origination in Dallas. Aching for more knowledge and a new challenge, he began to rehab single-family houses in the DFW area. With over a 100 flips under his belt, he had a squirrel moment and started to dig into multi-family investing, where he is now either the Lead Sponsor, Partner/Owner, or passive investor in over multi-family 400 units!

Episode 003 of the new podcast from the Stinking Pause stable of podcasts featuring Scott and Tony. Welcome to Reel Britannia-a very British podcast about very British films....with the occasional hint of professionalism. In this episode, Tony's choice is the 1967 short movie, The Plank,  starring a whole host of British comedy talent. Starring Eric Sykes, who also wrote and directed it, and featuring Tommy Cooper, Hattie Jacques, Jimmy Edwards and many more.   This and future episodes can be found on iTunes and Stitcher Radio as well as: reelbritannia.libsyn.com Follow us on Twitter @rbritanniapod email: reelbritannia@gmail.com Thanks for listening Scott and Tony http://reelbritannia.libsyn.com/

"Fires Burn Out" Dan Scott utters these words in the premiere of season 3, but our burning passion has just begun. It's a new school year! Gooooo Ravens! More importantly, it's the beginning of senior year. The citizens of Tree Hill better prepare themselves for the changing of the tides! Ball is making a comeback, relationships are about to be tested, revenge is being sought and maybe tragedy will break this year. Buckle up as Winston, Jimmy and Jeannette enter peak "One Tree Hill".   Join as we discuss all things Tree Hill in our binge-casting of the series! Jeannette, Jimmy and Winston sit down and discuss the pivotal Season 3 episode "With Tired Eyes, Tired Minds, Tired Souls, We Slept".   Join us as we sit down and talk One Tree Hill's most controversal episode right after watching it and discuss the pain that Jimmy Edwards felt and our own experiences as well. If you like what you hear, or you don't please send us feedback and don't forget to rate, review and subscribe!     Follow us on Twitter: https://twitter.com/OnlyOthPod Like Our Facebook Page: https://www.facebook.com/OnlyOTHpod/ Email us at: theresonlyothpod@gmail.com Check our Soundcloud!  Itunes Feed: https://itunes.apple.com/us/podcast/theres-only-one-tree-hill.../id1144795491  Our website where you can find all our eps and donate is here: http://theresonlyoth.podbean.com/ We're on Stitcher, check us out and rate us! We are on google play music as well!

Sounds of the Expo. Danny Meyers, Ilan Fong, Dane Hansen, Jeb Jarrell, Jimmy Edwards, Doc Rock and Liza Lust get a bit crazy on this show.

Jimmy Edwards shares his heart on the scandalous, yet SAVING love of God! #WeAreVSM

MERRY CHRISTMASThe Glums first appeared in a regular series of sketches during the 1950s in the BBC radio programme, Take It From Here. In the radio version, Pa Glum (Jimmy Edwards) was a bad-tempered old boozer with a tendency to "rant and rave" at his gormless son, Ron (Dick Bentley). The other regular character was Ron's fiancee, Eth (June Whitfield). The original series of sketches ended in March, 1960. The family reappeared briefly in 1962 as part of Jimmy Edwards' BBC television series, Faces Of Jim. In 1978, Frank Muir and Dennis Norden revived The Glums for a series of short sketches in an ITV variety programme, Bruce Forsyth's Big Night. Jimmy Edwards reprised his role as Pa Glum, with Ian Lavender and Patricia Brake taking over the roles of Ron and Eth. A second series of programmes was screened in 1979, each programme consisting of new versions of two of the original radio scripts from the 1950s.

Roy Plomley's castaway is comedian Jimmy Edwards.