Podcast appearances and mentions of John Fahey

President Trump campaigned on addressing the migrant crisis and promising mass deportations. Now, those deportations have begun as U.S. Immigration and Customs Enforcement has been conducting raids in cities across the country.  This past week, FOX News Rundown host Dave Anthony spoke to John Fahey, who was the acting ICE Director at the end of the Trump administration, about the current border and migrant crackdown.  Hear the full interview where John Fahey weighs in on the ongoing ICE raids and other immigration-related policies being implemented by the Trump administration.  Photo Credit: AP Learn more about your ad choices. Visit podcastchoices.com/adchoices

President Trump campaigned on addressing the migrant crisis and promising mass deportations. Now, those deportations have begun as U.S. Immigration and Customs Enforcement has been conducting raids in cities across the country.  This past week, FOX News Rundown host Dave Anthony spoke to John Fahey, who was the acting ICE Director at the end of the Trump administration, about the current border and migrant crackdown.  Hear the full interview where John Fahey weighs in on the ongoing ICE raids and other immigration-related policies being implemented by the Trump administration.  Photo Credit: AP Learn more about your ad choices. Visit podcastchoices.com/adchoices

President Trump campaigned on addressing the migrant crisis and promising mass deportations. Now, those deportations have begun as U.S. Immigration and Customs Enforcement has been conducting raids in cities across the country.  This past week, FOX News Rundown host Dave Anthony spoke to John Fahey, who was the acting ICE Director at the end of the Trump administration, about the current border and migrant crackdown.  Hear the full interview where John Fahey weighs in on the ongoing ICE raids and other immigration-related policies being implemented by the Trump administration.  Photo Credit: AP Learn more about your ad choices. Visit podcastchoices.com/adchoices

Long-time musical collaborators Mariah Parker (piano, santur) and Matthew Montfort (scalloped fretboard guitar) share their unique blend of captivating music that is sure to uplift. Performing original compositions inspired by the musical cultures of Spain, Brazil and India mixed with the contemporary colors of jazz, the duo creates a mesmerizing sound that has been described by concert goers as ‘absolutely spellbinding' ‘dazzling and unforgettable' and ‘a transporting experience.' Mariah Parker Mariah Parker has been playing music from the time she could reach the keys on the grand piano in her family home. As a composer, pianist and bandleader her work crosses cultural boundaries with an exuberant quest for defying musical labels or categorization. Her academic tenure at UC Santa Cruz was distinguished by her involvement with ethnomusicologist Fred Lieberman and the iconic drummer Mickey Hart on the “Planet Drum” project, marking her early foray into the fusion of musical traditions. Her discography began with the critically acclaimed Sangria in February 2009, followed by Indo Latin Jazz Live in Concert in 2017 and Windows Through Time in 2024. The last two albums have both enjoyed months of prominence on the National Jazzweek Airplay chart and been celebrated globally for their innovative soundscapes and compositional brilliance. Windows Through Time (released June, 2024) “One of the most beautiful and surprising releases of 2024” — Thierry De Clemensat, US correspondent – Paris-Move and ABS magazine “Genre-bending brilliance….with Windows Through Time, Mariah Parker cements her position as a leading voice in contemporary music” — Jazz Sensibilities Matthew Montfort Matthew Montfort is the leader of the innovative world fusion group Ancient Future, and a pioneer of the scalloped fretboard guitar, an instrument combining qualities of the South Indian vina and the steel string guitar. Montfort studied intensively with vina master K.S. Subramanian in order to apply the note-bending techniques to the guitar. In 2012, he was added to the 100 Greatest Acoustic Guitarists list at http://DigitalDreamDoor.com , joining luminaries such as Michael Hedges, Chet Atkins, John Fahey, and John Renbourn. Montfort has recorded with legendary world music figures ranging from Bolivian panpipe master Gonzalo Vargas to tabla maestros Swapan Chaudhuri and Zakir Hussain. He has performed concerts worldwide, including the Festival Internacional de la Guitarra on the Golden Coast of Spain near Barcelona and the Mumbai Festival at the Gateway of India in Bombay. Find out more about The New School at Commonweal on our website: tns.commonweal.org. And like/follow our Soundcloud channel for more great podcasts. #commonweal #sacredmusic #musicthatheals #healingmusic #solsticeofheroes commonweal, sacredmusic, musicthatheals, healingmusic, solstice, summersolstice, summersolstice, winter solstice, winter

The history of Takoma records from the early recordings of John Fahey to Robbie Basho, to Bukka White as well as Leo Kottke and Craig Leon. Playlist: https://spinitron.com/WRFI/pl/19642812/Threading-The-Needle

https://www.theguardian.com/music/2013/nov/26/john-fahey-blues-folk-guitar-pioneer#:~:text=For%20the%20uninitiated%2C%20The%20Transfiguration,good%20survey%20of%20his%20style.John Fahey (1939-2001) was a singular folklore musicologist, archivist, and record label entrepreneur who played his instrument like no other person alive.He made weird, earthy, mystical music, and lived a life to match.Bill and Rich are pleased to offer this excerpt from a 1979 Halloween concert given by Mr. Fahey in San Francisco at the famed Great American Music Hall. 

We are joined by a man, Byron Coley, who has more stories than we could fit into every past episode of our podcast and we surely packed as much as we could into a single sit down. We start off with some talk about what we're listening to as usual and we move on to record fair talk (don't forget about our Record Fair at Counter Weight Brewing Co. on October 13th featuring Byron selling upstairs!). Byron tells tales of driving John Fahey around looking for classical records, his process for listening to 10 new records everyday, writing for weekly publications and magazines like the Wire, Forced Exposure, Spin and on and on.  We talk about the label and store he runs with his friend Ted in Florence, Western Massachusetts. We go back to his start writing a tour diary with Devo, but this is yet a scratch on the surface and this podcast is our longest yet for good reason! Check it out! Links: https://feedingtuberecords.com/ https://feedingtuberecords.bandcamp.com/music https://www.facebook.com/FeedingtubeRecords https://bsky.app/profile/byroncoley.bsky.social (Blue Sky) https://www.instagram.com/feedingtuberecords_rozztoxart (run by Ted) Music on this episode: Opening: Mike Watt, J Mascis, Murph, Byron Coley, John Petkovich as Hellride East May 2, 2012, Le Poisson Rouge, New York City. (YouTube) Rick: Melt-Banana "Code" 3+5 (A-Zap) Lolina "Dejavu" Unrecognisable (Relaxin Records) Parallel "In Flashes" Flooded (Play Alone) Holy Tongue meets Shackleton "The Merciful Lake" The Tumbling Psychic Joy of Now (AD 93) Josh: TR/ST "All At Once" Performance (Dais) Jesus Lizard "Hide & Seek" Rack (Ipecac) Ginger Root "No Problems" Shinbangumi (Ghostly International) Jamie XX "All You Children ft. The Avalanches" In Waves (Young) Disfigure "Stygian Chalice" New Age of Judgement (Self-Released) Byron: Chris Corsano "Everything I Tried To Understand Wasn't Understandable at All" The Key (Became The Important Thing [& Then Just Faded Away]) (Drag City) Closing: Byron Coley "Punk Day" Dating Tips For Touring Bands (Hot Cars Warp Records) The Redscroll Podcast is a monthly show (first of the month going forward) that works as a companion to what we do at Redscroll Records in Wallingford, CT USA. We are a record store that has a heavy emphasis on the left of center / underground music of the world. Whether it be underappreciated or just has a niche audience, marginalized or just off the radar it's all of interest to us. With the show we'll generally have a localized focus. We'll discuss upcoming releases and what is in our personal rotation at the moment. We'll talk about upcoming area musical activities. We'll talk to guests who have to do with all of the above. And we'll talk about specific dealings with the store. If you have input you're welcome to contact us through email (redscroll@gmail.com).

Detroit-based guitarist Nick Shillace joins us this week to talk about discovering the music of John Fahey, running a successful music school, and his excellent new album, A Rich Boy's Measured Blues. Nick is one of dozens of musicians and luthiers attending our 2024 Fretboard Summit, taking place August 23-25, 2024 at Chicago's Old Town School of Folk Music. https://fretboardsummit.org Subscribe to the Fretboard Journal print edition and reserve your copy of Fretboard Journal 54: https://shop.fretboardjournal.com/products/fretboard-journal-annual-subscription This week's show is sponsored by: StewMac: https://stewmac.sjv.io/R5jvRR (Affiliate link) Stringjoy Strings: https://stringjoy.com (Use the code FRETBOARD to save 10% off your first order) Mike & Mike's Guitar Bar: https://mmguitarbar.com Collings Guitars: https://www.collingsguitars.com Peghead Nation: https://www.pegheadnation.com (Get your first month free or $20 off any annual subscription with the promo code FRETBOARD at checkout). Love the podcast and want to support it? We have a Patreon page just for Fretboard Journal fans and loaded with bonus content. https://www.patreon.com/Fretboard_Journal

This week on a far-ranging episode of Transmissions: guitarist, folklorist, and all-around-top-notch thinker Daniel Bachman.  A songwriter and composer from Fredericksburg, Virginia, Bachman first began releasing records under the name Sacred Harp, before adopting his own name for a series of finger-picked classics like 2012's Seven Pines and 2015's River, which Aquarium Drunkard's Tyler Wilcox called “a solo acoustic tour de force that can easily stand proud next to John Fahey's Days America or Jack Rose's Kensington Blues. It's that good.”  In the years since, Bachman's music has grown more and more experimental, and also, it's become more directly informed by climate change. His latest, for the fine folks at Longform Edition, who've appeared on this very podcast, is called Quaker Run Wildfire (10​/​24​/​23​–​11​/​17​/​23) for Fiddle and Guitar. A 25-minute piece of drone, guitar, fiddle, and field recordings, it was inspired and directly confronts the devastating wildfire that tore through the Middle Appalachians. “How additional global heating at the cost of extractive industry will impact future climate breakdown in the region remains unknown. One thing however is certain… a new fire regime has arrived,” Bachman writes.  Aquarium Drunkard is supported by our subscribers. Head over and peruse our site, where you'll find nearly 20 years of playlists, recommendations, reviews, interviews, podcasts, essays, and more. Head to Aquarium Drunkard and subscribe, where you can also read an abridged and edited transcript of this conversation. Subscribe at Aquarium Drunkard.  Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts. This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/aquariumdrunkard

In this episode, Bob Holmes from SUSS is joined by his co-host Eli Goldberg aka Ann Annie, the composer from Portland, Oregon, who has just released a new album of pastoral ambient music called The Wind. They discuss his creative process, his music, his influences, and recent tracks that have moved him, including Joe Hisaishi, Hana Stretton, North Americans, John Fahey, The Album Leaf and more. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.flowstate.fm/subscribe

Host Bob Holmes of SUSS is joined by co-host Hayden Pedigo to discuss the 10 guitar records that inspired him as a teenager, including Genesis, John Fahey, Leo Kottke, Ry Cooder and many more. This is a unique extended episode exploring the artist as a young man. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.flowstate.fm/subscribe

American attorney, politician, academic, and law enforcement official John Fahey talks with Dan Mandis about the current campus protests, immigration and many legal issues in the U.S.See omnystudio.com/listener for privacy information.

Black metal for midwest drives, post-apocalyptic collage, ragas for John. The Manchester, UK-based ambient folk artist discusses three important albums.Ethan's picks:Wolves In The Throne Room – Two HuntersGodspeed You! Black Emperor – F# A# ∞Pelt – AyahuascaThe new Black Brunswicker EP, A Moment Of Clarity, is out April 26th on Nettwerk. You can hear several tracks over on the Black Brunswicker bandcamp, and also see a couple of official videos over on Youtube. Ethan is also on Instagram.Donate to Crucial Listening on Ko-fi: https://ko-fi.com/cruciallistening

On what would have been his 85th birthday, we tell you where to begin with the sprawling discography of the influential American guitarist.  Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart, Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, covered by Frank Muffin. Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.

Cantillon 2024, scheduled for 7th March at Ballygarry Estate Hotel, Tralee, marks its 10th year as a pivotal platform for thought leaders, visionaries, and industry experts to delve into the urgent issues arising from the transformation towards a sustainable future. The conference will be an opportunity to hear from industry experts on topics including strategic planning, meeting future talent needs, and the evolving culture of organisations. The conference will explore how business leaders can navigate complex transformation processes, framing transformation not just as a strategic imperative but as a commitment to a resilient and prosperous world for generations to come. Cantillon 2024 is not to be missed for those looking to lead transformation in their organisation. President of MTU, Professor Maggie Cusack, expressed the urgency of the conference, stating: "Tickets are selling fast, be sure to secure your place at Cantillon 2024 which aims to spark innovative solutions to the most pressing issues in securing a sustainable future, honouring the legacy of Richard Cantillon, the pioneering economist." In a rapidly changing global landscape, Cantillon 2024 highlights the importance of the need for transformation across sectors from technology and energy to healthcare and manufacturing. The conference serves as a nexus for industry leaders, policymakers, scholars, and innovators to collectively address challenges and strategically plan for a sustainable future. The need for transformation extends beyond businesses - influencing economies, shaping policies, and necessitating the cultivation of a dynamic talent pool geared for the future. Cantillon 2024 will feature a diverse array of presentations, interactive panel discussions, and networking opportunities, fostering collaboration and knowledge exchange. The conference will emphasise the urgency recognised by governmental bodies to develop and implement policies fostering sustainability. From carbon emissions reduction to incentivising green innovations, policymakers play a crucial role in steering industries towards a secure and sustainable future. Organisers are urging those interested to secure their tickets fast before they are sold out. Highlights from the programme include keynotes from industry leaders: Shane McGibney, Chief Business Transformation Officer at Kerry Group, who will be discussing how to create a transformational culture mindset; Senior Economist at AIB, John Fahey who will be sharing the future transformation requirements from a global economic perspective; Gemma Corrigan of Federated Hermes Limited, focusing on the multi-stakeholder engagement process when leading sustainable transformation; and Disruptive innovation expert Aidan McCullen, who will explain the need to embrace the paradigm shift impacting every facet of global industries, economies, policies, and talent development. Following the keynotes, panel discussions will dissect the seismic shift towards sustainability across industries. The rising demand for professionals with expertise in sustainability, environmental science, and technology will be a central focus, reflecting the changing landscape of the workforce. Expert panellists across a host of industries will include: Mr. Padraig McGillycuddy, CEO Ballygarry Estate Hotel: Transforming the Business Model for a Secure Future Ms. Sheena Dympsey Executive Vice President and Chief Solutions Officer at Indivi.: Navigating Transformation in a Complex Digital Health environment. Mr. Cathal Foley CEO, PACE; CCO, Fexco Drive: Platforming to analyse Carbon Emissions in the Air! Dr Assumpta O'Kane, Business Psychologist: Workforce of the Future: The Competing Forces shaping 2040 and beyond! Dr Alison Hampton, Ulster University:? Transformation through the lens of the Zillenial and AI! With networking opportunities built in throughout the day, key topics of discussion will include the value of collective problem-solving approaches through cross-in...

Brace yourself for one of the wildest musician stories you've ever heard. Amarillo, Texas' Hayden Pedigo makes gorgeous fingerstyle guitar music inspired by the likes of Will Ackerman and John Fahey. But Hayden has broken every mold imaginable when it comes to his career in music.  The son of a truck stop preacher, Hayden worked at local Amarillo banks, recording music after-hours and aggressively reaching out to his music heroes to see if they wanted to collaborate (they often did). He finally ditched the life of a bank teller, got signed to indie label Mexican Summer, and - thanks to a quirky internet video - found himself running for Amarillo city council (he came in second). As if that wasn't unique enough, at some point, Gucci spotted him and recruited him to be in a fashion show.  Stranger still, here's a working musician with a guitar and string endorsement deal (Yamaha and D'Addario) and an NPR Tiny Desk concert under his belt whose only touring to date has been opening for big indie acts like Jenny Lewis and Devendra Banhardt. We talk about growing up in Amarillo, his Opus acoustic guitar, his recent signing to Yamaha, and so much more. You'll love it and you'll love Hayden's unique approach towards his art. Subscribe to the Fretboard Journal and get our new 53rd issue with Ben Harper, Joanna Sternberg and much more:  https://shop.fretboardjournal.com/products/fretboard-journal-annual-subscription Registration is now open to attend our 2024 Fretboard Summit: https://fretboardsummit.org/ If you enjoy this episode, please leave us a review on Apple Podcasts and consider joining the Fretboard Journal's new Patreon page. Thank you to our sponsors: Mike & Mike's Guitar Bar, Peghead Nation (use the promo code FRETBOARD and get your first month free or $20 off any annual subscription); and Stringjoy Strings (get 10% off your order with the FRETBOARD discount code). This episode is also sponsored by iZotope. Use the discount code FRET10 to save 10% off of your Izotope order. 

Singles Going Around- Christmas 2023The Crystals- "Santa Claus Is Coming To Town"B.B. King- "Christmas Celebration"Harry Fontenot- "Jingle Bells"Thelma Cooper- "I Need A Man For Christmas"Jimi Hendrix- "Little Drummer Boy/Silent Night/Auld Lang Syne"Brenda Lee- "I'm Gonna Lasso Santa Claus"Chuck Berry- "Merry Christmas Baby"Kay Starr- "Everybody's Waiting For The Man With The Bag"The Crystals- "Rudolph The Red Nosed Reindeer"Riff Ruffin- "Christmas Baby"John Fahey- "Hark, The Herald Angels Sing/ O Come All Ye Faithful"The Beach Boys- "Christmas Day"Louis Armstrong & The Commanders- "Cool Yule"The Elves- "White/Hot Christmas"Ella Fitzgerald- "Sleigh Ride"Bob B. Soxx & The Blue Jeans- "Here Comes Santa Claus"Chuck Berry- "Spending Christmas"Jesse Belvin- "I Want You With You With Me"Belton Richard- "Blue Christmas"Oscar McLollie- "Dig That Santa Claus"Hadda Brooks- "White Christmas"The Beach Boys- "We Three Kings Of Orient Are"Jimi Hendrix- "Little Drummer Boy/Silent Night/Auld Lang Syne" (Extended Version)*All selections from the original lp's.

Jack Rose was an old soul guitarist who took John Fahey and other fingerpickers as role models.  Born in Virginia in 1971, Rose moved to Philadelphia in 1998, where he became part of the alternative music scene.  As he taught himself the primitive styles of Blind Blake, Charlie Patton, and others, he took on the name “Dr. Ragtime”.  His album “Raag Manifesto” was named one of the top 50 records of the year by British music magazine “The Wire”.  Davendra Banhart included one of his songs in the compilation “Golden Apples of the Sun”.  His fourth recording, “Kensington Blues”, was his breakthrough and he toured extensively.  Rose's career was tragically cut short in 2009 when he died before his 39th birthday and just before the release of his 5th album “Luck in the Valley”.  He is interred in the Nature's Sanctuary section of Laurel Hill West, one of our green burial spaces.  But his music lives on.

Vanguard Records is best known for its eclectic catalog of pivotal jazz, folk, rock and blues recordings by iconic artists like Joan Baez, Linda Ronstadt, Buddy Guy, Charlie Musselwhite, John Fahey, Buffy Sainte-Marie, Doc Watson, Country Joe and the Fish and countless others. Most recently, Vanguard has carried forward the label's legacy of artistic excellence with a diverse roster including Barenaked Ladies, Indigo Girls, O.A.R. and Collective Soul.Riding the tail end of the popular boom of  commercialized  Folk Music, Vanguard's unexpected mega-hit "Walk Right In" soared to the top of the pop chart.  Looking for a long forgotten treasure to mine, Erik Darling and Bill Svanoe, doing what many had done before them, updated an old string band tune, composed by Gus Cannon and recorded with his Jug Stompers in 1929. They arranged it for TWO 12-String guitars (one of which, a leftie model, had to be specially constructed  for Bill), and adding the mellifluous tones of Lynne Taylor to complete the trio, the magic concoction was brewed to MOR perfection.And, just in time for Gus Cannon, too!  He had recently pawned his banjo to pay his heating bill, and the royalties and national recognition breathed new life into a long dormant career. 

What the H? Exactly. The award-winning* Lickers discuss some of their favorite records filed under the letter H. -- In the early 1970s, legendary collaborator and self-proclaimed non-musician Brian Eno famously designed a deck of 115 cards containing elliptical imperatives to spark in the user creative connections unobtainable through regular modes of work. He called his creation "Oblique Strategies." For nearly one half of a century, countless artists and professionals across the globe have benefited from utilizing the oblique strategies technique when attempting to overcome a lull in creative output. In 2023, idiotic, introverted hobby podcasters and self-proclaimed Lightnin' Lickers Jay and Deon found themselves uninspired when contemplating the potential themes of their upcoming thirty-third episode. Together, they decided... to default back to the alphabet. Because they have a reasonably good solid grasp of the alphabet and how it works. They had previously utilized the letters A thru G, so naturally, they went with H. LLR "H" mixtape:  [SIDE H-A] (1) Kristian Harting - Digging Up Graves (2) Steve Harley & Cockney Rebel - Hideaway (3) Height Keech - Working Woman Blues / This Brutal World... (4) Honey Ltd. - Tomorrow Your Heart (5) Tim Hecker - Voice Crack [SIDE H-B] (1) Hurrah! - If Love Could Kill (2) Donny Hathaway - I Believe To My Soul (3) Daryl Hall - Why Was It So Easy (4) H.E.R. - Focus (5) John Hartford - Holding Sonic contributors to episode thirty-one of Lightnin' Licks Radio include:  Holland-Dozier-Holland, Lee Moses, James Todd Smith, SZA, Herbie Hancock, Placido Flamingo,  Babyface, The Rascals, B.L.K., Donny Hathaway, Roberta Flack, John Lennon, Ray Charles, Daryl Hall, John Oates, Elton John, Robert Frip, David Bowie, Kristian Harting, Mike Kroll, Honey Limited, Lee Hazlewood, Nancy Sinatra, The Mamas and the Papas, The Wrecking Crew, Height Keech, Future Islands, Hemlock Ernst, Steve Harley, Cockney Rebel, super special secret guest student disc jockey Billy Lalonde form the WHCW archives circa 1992(ish), Faith No More, The Waterboys, John Fahey, John Hartford, Glenn Campbell, Randy Scruggs, Norman Blake, Emma Ruth Rundle, Tim Hecker, Brian Eno, H.E.R., TLC, Home, U2, Elvin Bishop, DJ Shadow, Arc of All, The Clockers, Ashley Alexander, Mister and Jenn Wasner. *2023 REVIEW magazine fans' choice award for best live-streaming production. --- Send in a voice message: https://podcasters.spotify.com/pod/show/llradio/message

We spin the reels of the rock and roll fruit machine this week and get the following pay-outs … … the preposterous present they gave Bobby Charlton when he retired. ... “the leaning man from Alabam”. … ‘Skinny Minnie Shimmy' by Lattie Moore And The Emperors and other apparently fictitious rock and roll hits. … a Radio One DJ who was also an actor, erotic sculptor, travel writer, sheep farmer, flamenco guitarist and ballet dancer. Why has no-one made a film of the life of Mike Raven? … why Born To Run was “a quantum leap”, the record where Springsteen wanted “to sing like Roy Orbison and write like Bob Dylan on an album that sounded like it was produced by Phil Spector”. … a leaked 1982 Radio One memo of ground rules for DJs! “Don't resort to ‘common talk' in a pathetic attempt at humour.” “You can say Cornflakes but not Shredded Wheat …” … how rock is adopting the Gilbert & Sullivan business model.   … Richard Thompson, Steve Cropper, John Fahey, Hubert Sumlin … : who's the greatest guitarist of all time? … the story-spinning genius of John Prine. … the afterlife of the Love Affair. … Ernest ‘Boom' Carter's brief but marvellous moment of glory.… and birthday guest Giles Fraser wonders at what point a band shouldn't use their original name.Rolling Stone's top 250 guitarists …http://www.rollingstone.com/music/music-lists/best-guitarists-1234814010/nile-rodgers-5-1234814197/ The amazing story of Mike Raven …http://en.wikipedia.org/wiki/Mike_Raven Everybody's in the Mood by Howlin' Wolf …https://www.youtube.com/watch?v=XV0gDlzEnYUGet your exclusive Nord VPN deal here: https://nordvpn.com/yourearIt's risk-free with Nord's 30-day-money-back guarantee!Tickets for Word In Your Ear live at 21 Soho on November 27th here: https://www.tickettext.co.uk/ZOthfatjxiSubscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

We spin the reels of the rock and roll fruit machine this week and get the following pay-outs … … the preposterous present they gave Bobby Charlton when he retired. ... “the leaning man from Alabam”. … ‘Skinny Minnie Shimmy' by Lattie Moore And The Emperors and other apparently fictitious rock and roll hits. … a Radio One DJ who was also an actor, erotic sculptor, travel writer, sheep farmer, flamenco guitarist and ballet dancer. Why has no-one made a film of the life of Mike Raven? … why Born To Run was “a quantum leap”, the record where Springsteen wanted “to sing like Roy Orbison and write like Bob Dylan on an album that sounded like it was produced by Phil Spector”. … a leaked 1982 Radio One memo of ground rules for DJs! “Don't resort to ‘common talk' in a pathetic attempt at humour.” “You can say Cornflakes but not Shredded Wheat …” … how rock is adopting the Gilbert & Sullivan business model.   … Richard Thompson, Steve Cropper, John Fahey, Hubert Sumlin … : who's the greatest guitarist of all time? … the story-spinning genius of John Prine. … the afterlife of the Love Affair. … Ernest ‘Boom' Carter's brief but marvellous moment of glory.… and birthday guest Giles Fraser wonders at what point a band shouldn't use their original name.Rolling Stone's top 250 guitarists …http://www.rollingstone.com/music/music-lists/best-guitarists-1234814010/nile-rodgers-5-1234814197/ The amazing story of Mike Raven …http://en.wikipedia.org/wiki/Mike_Raven Everybody's in the Mood by Howlin' Wolf …https://www.youtube.com/watch?v=XV0gDlzEnYUGet your exclusive Nord VPN deal here: https://nordvpn.com/yourearIt's risk-free with Nord's 30-day-money-back guarantee!Tickets for Word In Your Ear live at 21 Soho on November 27th here: https://www.tickettext.co.uk/ZOthfatjxiSubscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

We spin the reels of the rock and roll fruit machine this week and get the following pay-outs … … the preposterous present they gave Bobby Charlton when he retired. ... “the leaning man from Alabam”. … ‘Skinny Minnie Shimmy' by Lattie Moore And The Emperors and other apparently fictitious rock and roll hits. … a Radio One DJ who was also an actor, erotic sculptor, travel writer, sheep farmer, flamenco guitarist and ballet dancer. Why has no-one made a film of the life of Mike Raven? … why Born To Run was “a quantum leap”, the record where Springsteen wanted “to sing like Roy Orbison and write like Bob Dylan on an album that sounded like it was produced by Phil Spector”. … a leaked 1982 Radio One memo of ground rules for DJs! “Don't resort to ‘common talk' in a pathetic attempt at humour.” “You can say Cornflakes but not Shredded Wheat …” … how rock is adopting the Gilbert & Sullivan business model.   … Richard Thompson, Steve Cropper, John Fahey, Hubert Sumlin … : who's the greatest guitarist of all time? … the story-spinning genius of John Prine. … the afterlife of the Love Affair. … Ernest ‘Boom' Carter's brief but marvellous moment of glory.… and birthday guest Giles Fraser wonders at what point a band shouldn't use their original name.Rolling Stone's top 250 guitarists …http://www.rollingstone.com/music/music-lists/best-guitarists-1234814010/nile-rodgers-5-1234814197/ The amazing story of Mike Raven …http://en.wikipedia.org/wiki/Mike_Raven Everybody's in the Mood by Howlin' Wolf …https://www.youtube.com/watch?v=XV0gDlzEnYUGet your exclusive Nord VPN deal here: https://nordvpn.com/yourearIt's risk-free with Nord's 30-day-money-back guarantee!Tickets for Word In Your Ear live at 21 Soho on November 27th here: https://www.tickettext.co.uk/ZOthfatjxiSubscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In this roundtable discussion, Diego Figueiredo, Gwenifer Raymond, and Yasmin Williams share their unique perspectives on composing for solo guitar. Through conversation and inspiring demonstrations, our guests explore the differences between improvising and refining a piece, techniques for making one guitar feel like a full band, and more.This episode is sponsored by ToneWoodAmp, a magnetically attached game-changing multi-effects device for acoustic guitars. Get reverb, delay, and more—no amp required! Learn more at tonewoodamp.com.Additional resources:Listen to Part 2, where our guests discuss first songs, life-changing compositions, favorite tunings, and advice for finding your own voice on guitar.Visit Diego Figueiredo's website and watch this Acoustic Guitar Sessions video for his lightning-fast performance of the bossa nova standard, “One Note Samba.”Visit Gwenifer Raymond's website and watch her video lesson on how to play John Fahey's "Uncloudy Day."Visit Yasmin William's website and learn to play one of her compositions, "New Beginnings," a contemplative study in open-D tuning. Learn more about her unique Skytop Grand Concert built by luthier Eric Weigeshoff.The Acoustic Guitar Podcast theme music is composed by Adam Perlmutter and performed for this episode by Gwenifer Raymond.This episode is hosted by Nick Grizzle, produced by Tanya Gonzalez, and directed and edited by Joey Lusterman. Executive producers are Lyzy Lusterman and Stephanie Campos Dal Broi.The Acoustic Guitar Podcast is produced by the team at Acoustic Guitar magazine, including:Publisher: Lyzy LustermanEditorial Director: Adam PerlmutterManaging Editor: Kevin OwensCreative Director: Joey LustermanDigital Content Director: Stephanie Campos Dal BroiDigital Content Manager: Nick GrizzleMarketing Services Manager: Tanya GonzalezSupport the show

Senior Economist, John Fahey and AIB Treasury's John Heffernan, talk through the latest interest rate updates from the central banks, what is priced in to markets and what these interest rate updates mean for the currency pairs.Visit our website and subscribe to receive AIB's Economic Analysis direct to your inbox. You can also find us on Twitter @TreasuryAIB . Our full legal disclaimer can be viewed here https://aib.ie/fxcentre/podcast-disclaimer. Registered in Ireland: No: 24173 Allied Irish Bank p.l.c is regulated by the Central Bank of Ireland AIB Customer Treasury Services is a registered business name of Allied Irish Banks, p.l.c. Registered Office: 10 Molesworth Street, Dublin 2

Episode 656: September 10, 2023 playlist: Godflesh, "Nero (Remix)" (Nero) 2023 Avalanche Sparkle Division, "Oh Yeah!" (Foxy) 2023 Temporary Residence Edward Ka-Spel, "Spectrescape 13" (Spectrescapes 3) 2016 self-released Big Blood, "James Bay" (Deep Maine) 2019 Don't Rust the Ruin / 2023 Feeding Tube Nervous Gender, "Monsters" (Music From Hell) 1981 Subterranean / 2023 Dark Entries Jeremiah Chiu, "In Electric Time" (In Electric Time) 2023 International Anthem Mary Lattimore, "Horses, Glossy on the Hill" (Goodbye, Hotel Arkada) 2023 Ghostly International Arpanet, "P2101V" (Wireless Internet) 2002 Record Makers / Source John Fahey, "Morning (Pt. 2)" (Proofs and Refutations) 2023 Drag City Midwife and Nyxy Nyx, "it's ok 2 lie 2 me" (it's ok 2 lie 2 me b/w Andy) 2023 self-released Blonde Redhead, "Before" (Sit Down for Dinner) 2023 Section1 in be tween noise, "the apostle" (humming endlessly in the hush) 1995 New Plastic Music Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening.

We learn that, after jamming namelessly for a year and a half, the band finally started using the Sunburned moniker. Then we tune in to learn about their earliest excursions playing outside the Charlestown loft, including their first show as Sunburned as part of an exhibition at the Institute of Contemporary Art, Boston. We hear how the interplay between these new locations and contexts provoked new modes of performance and artistic connections. They describe how an invitation to join a tour opening for No-Neck Blues Band (who were opening for John Fahey) prompted them to assemble their first CD – Mind of a Brother. After this tour story, we meet the rest of the band members interviewed for this podcast. Finally, we examine the chain of events that ultimately catapulted the band onto the international stage. This is Julian Cope's Album of the Month write up of Sunburned Hand of the Man. You can read the full liner notes that Rob Thomas wrote for the Mind of a Brother reissue. If you want to know more about The No-Neck Blues Band, then check out the (More) Letters from the Earth feature on Aquarium Drunkard. Here's the band playing a set at P.A.'s Lounge. Check out Sunburned Hand of the Man's Instagram profile for more pictures related to this episode! Sunburned's Bandcamp  Sunburned's Website Songs heard in this episode: Jaybird - Jaybird Franklin's Mint - Show Me the Way - Tir Na Nog Too High To Fly No More - Jaybird Buried Pleasure - Rare Wood Wild Animal 3 - Wild Animal Or  Check out this Spotify playlist with all the songs heard in this and previous week's episodes! You can email or go here for Kelly. Allison Hussey is here and on Twitter. Go here for more Aquarium Drunkard or Talkhouse Podcast Network.

Episode 166 of A History of Rock Music in Five Hundred Songs looks at “Crossroads", Cream, the myth of Robert Johnson, and whether white men can sing the blues. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-eight-minute bonus episode available, on “Tip-Toe Thru' the Tulips" by Tiny Tim. 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/ Errata I talk about an interview with Clapton from 1967, I meant 1968. I mention a Graham Bond live recording from 1953, and of course meant 1963. I say Paul Jones was on vocals in the Powerhouse sessions. Steve Winwood was on vocals, and Jones was on harmonica. Resources As I say at the end, the main resource you need to get if you enjoyed this episode is Brother Robert by Annye Anderson, Robert Johnson's stepsister. There are three Mixcloud mixes this time. As there are so many songs by Cream, Robert Johnson, John Mayall, and Graham Bond excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here -- one, two, three. This article on Mack McCormick gives a fuller explanation of the problems with his research and behaviour. The other books I used for the Robert Johnson sections were McCormick's Biography of a Phantom; Up Jumped the Devil: The Real Life of Robert Johnson, by Bruce Conforth and Gayle Dean Wardlow; Searching for Robert Johnson by Peter Guralnick; and Escaping the Delta by Elijah Wald. I can recommend all of these subject to the caveats at the end of the episode. The information on the history and prehistory of the Delta blues mostly comes from Before Elvis by Larry Birnbaum, with some coming from Charley Patton by John Fahey. The information on Cream comes mostly from Cream: How Eric Clapton Took the World by Storm by Dave Thompson. I also used Ginger Baker: Hellraiser by Ginger Baker and Ginette Baker, Mr Showbiz by Stephen Dando-Collins, Motherless Child by Paul Scott, and  Alexis Korner: The Biography by Harry Shapiro. The best collection of Cream's work is the four-CD set Those Were the Days, which contains every track the group ever released while they were together (though only the stereo mixes of the albums, and a couple of tracks are in slightly different edits from the originals). You can get Johnson's music on many budget compilation records, as it's in the public domain in the EU, but the double CD collection produced by Steve LaVere for Sony in 2011 is, despite the problems that come from it being associated with LaVere, far and away the best option -- the remasters have a clarity that's worlds ahead of even the 1990s CD version it replaced. And for a good single-CD introduction to the Delta blues musicians and songsters who were Johnson's peers and inspirations, Back to the Crossroads: The Roots of Robert Johnson, compiled by Elijah Wald as a companion to his book on Johnson, can't be beaten, and contains many of the tracks excerpted in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick note that this episode contains discussion of racism, drug addiction, and early death. There's also a brief mention of death in childbirth and infant mortality. It's been a while since we looked at the British blues movement, and at the blues in general, so some of you may find some of what follows familiar, as we're going to look at some things we've talked about previously, but from a different angle. In 1968, the Bonzo Dog Band, a comedy musical band that have been described as the missing link between the Beatles and the Monty Python team, released a track called "Can Blue Men Sing the Whites?": [Excerpt: The Bonzo Dog Band, "Can Blue Men Sing the Whites?"] That track was mocking a discussion that was very prominent in Britain's music magazines around that time. 1968 saw the rise of a *lot* of British bands who started out as blues bands, though many of them went on to different styles of music -- Fleetwood Mac, Ten Years After, Jethro Tull, Chicken Shack and others were all becoming popular among the kind of people who read the music magazines, and so the question was being asked -- can white men sing the blues? Of course, the answer to that question was obvious. After all, white men *invented* the blues. Before we get any further at all, I have to make clear that I do *not* mean that white people created blues music. But "the blues" as a category, and particularly the idea of it as a music made largely by solo male performers playing guitar... that was created and shaped by the actions of white male record executives. There is no consensus as to when or how the blues as a genre started -- as we often say in this podcast "there is no first anything", but like every genre it seems to have come from multiple sources. In the case of the blues, there's probably some influence from African music by way of field chants sung by enslaved people, possibly some influence from Arabic music as well, definitely some influence from the Irish and British folk songs that by the late nineteenth century were developing into what we now call country music, a lot from ragtime, and a lot of influence from vaudeville and minstrel songs -- which in turn themselves were all very influenced by all those other things. Probably the first published composition to show any real influence of the blues is from 1904, a ragtime piano piece by James Chapman and Leroy Smith, "One O' Them Things": [Excerpt: "One O' Them Things"] That's not very recognisable as a blues piece yet, but it is more-or-less a twelve-bar blues. But the blues developed, and it developed as a result of a series of commercial waves. The first of these came in 1914, with the success of W.C. Handy's "Memphis Blues", which when it was recorded by the Victor Military Band for a phonograph cylinder became what is generally considered the first blues record proper: [Excerpt: The Victor Military Band, "Memphis Blues"] The famous dancers Vernon and Irene Castle came up with a dance, the foxtrot -- which Vernon Castle later admitted was largely inspired by Black dancers -- to be danced to the "Memphis Blues", and the foxtrot soon overtook the tango, which the Castles had introduced to the US the previous year, to become the most popular dance in America for the best part of three decades. And with that came an explosion in blues in the Handy style, cranked out by every music publisher. While the blues was a style largely created by Black performers and writers, the segregated nature of the American music industry at the time meant that most vocal performances of these early blues that were captured on record were by white performers, Black vocalists at this time only rarely getting the chance to record. The first blues record with a Black vocalist is also technically the first British blues record. A group of Black musicians, apparently mostly American but led by a Jamaican pianist, played at Ciro's Club in London, and recorded many tracks in Britain, under a name which I'm not going to say in full -- it started with Ciro's Club, and continued alliteratively with another word starting with C, a slur for Black people. In 1917 they recorded a vocal version of "St. Louis Blues", another W.C. Handy composition: [Excerpt: Ciro's Club C**n Orchestra, "St. Louis Blues"] The first American Black blues vocal didn't come until two years later, when Bert Williams, a Black minstrel-show performer who like many Black performers of his era performed in blackface even though he was Black, recorded “I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,” [Excerpt: Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,”] But it wasn't until 1920 that the second, bigger, wave of popularity started for the blues, and this time it started with the first record of a Black *woman* singing the blues -- Mamie Smith's "Crazy Blues": [Excerpt: Mamie Smith, "Crazy Blues"] You can hear the difference between that and anything we've heard up to that point -- that's the first record that anyone from our perspective, a hundred and three years later, would listen to and say that it bore any resemblance to what we think of as the blues -- so much so that many places still credit it as the first ever blues record. And there's a reason for that. "Crazy Blues" was one of those records that separates the music industry into before and after, like "Rock Around the Clock", "I Want to Hold Your Hand", Sgt Pepper, or "Rapper's Delight". It sold seventy-five thousand copies in its first month -- a massive number by the standards of 1920 -- and purportedly went on to sell over a million copies. Sales figures and market analysis weren't really a thing in the same way in 1920, but even so it became very obvious that "Crazy Blues" was a big hit, and that unlike pretty much any other previous records, it was a big hit among Black listeners, which meant that there was a market for music aimed at Black people that was going untapped. Soon all the major record labels were setting up subsidiaries devoted to what they called "race music", music made by and for Black people. And this sees the birth of what is now known as "classic blues", but at the time (and for decades after) was just what people thought of when they thought of "the blues" as a genre. This was music primarily sung by female vaudeville artists backed by jazz bands, people like Ma Rainey (whose earliest recordings featured Louis Armstrong in her backing band): [Excerpt: Ma Rainey, "See See Rider Blues"] And Bessie Smith, the "Empress of the Blues", who had a massive career in the 1920s before the Great Depression caused many of these "race record" labels to fold, but who carried on performing well into the 1930s -- her last recording was in 1933, produced by John Hammond, with a backing band including Benny Goodman and Jack Teagarden: [Excerpt: Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer"] It wouldn't be until several years after the boom started by Mamie Smith that any record companies turned to recording Black men singing the blues accompanied by guitar or banjo. The first record of this type is probably "Norfolk Blues" by Reese DuPree from 1924: [Excerpt: Reese DuPree, "Norfolk Blues"] And there were occasional other records of this type, like "Airy Man Blues" by Papa Charlie Jackson, who was advertised as the “only man living who sings, self-accompanied, for Blues records.” [Excerpt: Papa Charlie Jackson, "Airy Man Blues"] But contrary to the way these are seen today, at the time they weren't seen as being in some way "authentic", or "folk music". Indeed, there are many quotes from folk-music collectors of the time (sadly all of them using so many slurs that it's impossible for me to accurately quote them) saying that when people sang the blues, that wasn't authentic Black folk music at all but an adulteration from commercial music -- they'd clearly, according to these folk-music scholars, learned the blues style from records and sheet music rather than as part of an oral tradition. Most of these performers were people who recorded blues as part of a wider range of material, like Blind Blake, who recorded some blues music but whose best work was his ragtime guitar instrumentals: [Excerpt: Blind Blake, "Southern Rag"] But it was when Blind Lemon Jefferson started recording for Paramount records in 1926 that the image of the blues as we now think of it took shape. His first record, "Got the Blues", was a massive success: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] And this resulted in many labels, especially Paramount, signing up pretty much every Black man with a guitar they could find in the hopes of finding another Blind Lemon Jefferson. But the thing is, this generation of people making blues records, and the generation that followed them, didn't think of themselves as "blues singers" or "bluesmen". They were songsters. Songsters were entertainers, and their job was to sing and play whatever the audiences would want to hear. That included the blues, of course, but it also included... well, every song anyone would want to hear.  They'd perform old folk songs, vaudeville songs, songs that they'd heard on the radio or the jukebox -- whatever the audience wanted. Robert Johnson, for example, was known to particularly love playing polka music, and also adored the records of Jimmie Rodgers, the first country music superstar. In 1941, when Alan Lomax first recorded Muddy Waters, he asked Waters what kind of songs he normally played in performances, and he was given a list that included "Home on the Range", Gene Autry's "I've Got Spurs That Jingle Jangle Jingle", and Glenn Miller's "Chattanooga Choo-Choo". We have few recordings of these people performing this kind of song though. One of the few we have is Big Bill Broonzy, who was just about the only artist of this type not to get pigeonholed as just a blues singer, even though blues is what made him famous, and who later in his career managed to record songs like the Tin Pan Alley standard "The Glory of Love": [Excerpt: Big Bill Broonzy, "The Glory of Love"] But for the most part, the image we have of the blues comes down to one man, Arthur Laibley, a sales manager for the Wisconsin Chair Company. The Wisconsin Chair Company was, as the name would suggest, a company that started out making wooden chairs, but it had branched out into other forms of wooden furniture -- including, for a brief time, large wooden phonographs. And, like several other manufacturers, like the Radio Corporation of America -- RCA -- and the Gramophone Company, which became EMI, they realised that if they were going to sell the hardware it made sense to sell the software as well, and had started up Paramount Records, which bought up a small label, Black Swan, and soon became the biggest manufacturer of records for the Black market, putting out roughly a quarter of all "race records" released between 1922 and 1932. At first, most of these were produced by a Black talent scout, J. Mayo Williams, who had been the first person to record Ma Rainey, Papa Charlie Jackson, and Blind Lemon Jefferson, but in 1927 Williams left Paramount, and the job of supervising sessions went to Arthur Laibley, though according to some sources a lot of the actual production work was done by Aletha Dickerson, Williams' former assistant, who was almost certainly the first Black woman to be what we would now think of as a record producer. Williams had been interested in recording all kinds of music by Black performers, but when Laibley got a solo Black man into the studio, what he wanted more than anything was for him to record the blues, ideally in a style as close as possible to that of Blind Lemon Jefferson. Laibley didn't have a very hands-on approach to recording -- indeed Paramount had very little concern about the quality of their product anyway, and Paramount's records are notorious for having been put out on poor-quality shellac and recorded badly -- and he only occasionally made actual suggestions as to what kind of songs his performers should write -- for example he asked Son House to write something that sounded like Blind Lemon Jefferson, which led to House writing and recording "Mississippi County Farm Blues", which steals the tune of Jefferson's "See That My Grave is Kept Clean": [Excerpt: Son House, "Mississippi County Farm Blues"] When Skip James wanted to record a cover of James Wiggins' "Forty-Four Blues", Laibley suggested that instead he should do a song about a different gun, and so James recorded "Twenty-Two Twenty Blues": [Excerpt: Skip James, "Twenty-Two Twenty Blues"] And Laibley also suggested that James write a song about the Depression, which led to one of the greatest blues records ever, "Hard Time Killing Floor Blues": [Excerpt: Skip James, "Hard Time Killing Floor Blues"] These musicians knew that they were getting paid only for issued sides, and that Laibley wanted only blues from them, and so that's what they gave him. Even when it was a performer like Charlie Patton. (Incidentally, for those reading this as a transcript rather than listening to it, Patton's name is more usually spelled ending in ey, but as far as I can tell ie was his preferred spelling and that's what I'm using). Charlie Patton was best known as an entertainer, first and foremost -- someone who would do song-and-dance routines, joke around, play guitar behind his head. He was a clown on stage, so much so that when Son House finally heard some of Patton's records, in the mid-sixties, decades after the fact, he was astonished that Patton could actually play well. Even though House had been in the room when some of the records were made, his memory of Patton was of someone who acted the fool on stage. That's definitely not the impression you get from the Charlie Patton on record: [Excerpt: Charlie Patton, "Poor Me"] Patton is, as far as can be discerned, the person who was most influential in creating the music that became called the "Delta blues". Not a lot is known about Patton's life, but he was almost certainly the half-brother of the Chatmon brothers, who made hundreds of records, most notably as members of the Mississippi Sheiks: [Excerpt: The Mississippi Sheiks, "Sitting on Top of the World"] In the 1890s, Patton's family moved to Sunflower County, Mississippi, and he lived in and around that county until his death in 1934. Patton learned to play guitar from a musician called Henry Sloan, and then Patton became a mentor figure to a *lot* of other musicians in and around the plantation on which his family lived. Some of the musicians who grew up in the immediate area around Patton included Tommy Johnson: [Excerpt: Tommy Johnson, "Big Road Blues"] Pops Staples: [Excerpt: The Staple Singers, "Will The Circle Be Unbroken"] Robert Johnson: [Excerpt: Robert Johnson, "Crossroads"] Willie Brown, a musician who didn't record much, but who played a lot with Patton, Son House, and Robert Johnson and who we just heard Johnson sing about: [Excerpt: Willie Brown, "M&O Blues"] And Chester Burnett, who went on to become known as Howlin' Wolf, and whose vocal style was equally inspired by Patton and by the country star Jimmie Rodgers: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] Once Patton started his own recording career for Paramount, he also started working as a talent scout for them, and it was him who brought Son House to Paramount. Soon after the Depression hit, Paramount stopped recording, and so from 1930 through 1934 Patton didn't make any records. He was tracked down by an A&R man in January 1934 and recorded one final session: [Excerpt, Charlie Patton, "34 Blues"] But he died of heart failure two months later. But his influence spread through his proteges, and they themselves influenced other musicians from the area who came along a little after, like Robert Lockwood and Muddy Waters. This music -- or that portion of it that was considered worth recording by white record producers, only a tiny, unrepresentative, portion of their vast performing repertoires -- became known as the Delta Blues, and when some of these musicians moved to Chicago and started performing with electric instruments, it became Chicago Blues. And as far as people like John Mayall in Britain were concerned, Delta and Chicago Blues *were* the blues: [Excerpt: John Mayall and the Bluesbreakers, "It Ain't Right"] John Mayall was one of the first of the British blues obsessives, and for a long time thought of himself as the only one. While we've looked before at the growth of the London blues scene, Mayall wasn't from London -- he was born in Macclesfield and grew up in Cheadle Hulme, both relatively well-off suburbs of Manchester, and after being conscripted and doing two years in the Army, he had become an art student at Manchester College of Art, what is now Manchester Metropolitan University. Mayall had been a blues fan from the late 1940s, writing off to the US to order records that hadn't been released in the UK, and by most accounts by the late fifties he'd put together the biggest blues collection in Britain by quite some way. Not only that, but he had one of the earliest home tape recorders, and every night he would record radio stations from Continental Europe which were broadcasting for American service personnel, so he'd amassed mountains of recordings, often unlabelled, of obscure blues records that nobody else in the UK knew about. He was also an accomplished pianist and guitar player, and in 1956 he and his drummer friend Peter Ward had put together a band called the Powerhouse Four (the other two members rotated on a regular basis) mostly to play lunchtime jazz sessions at the art college. Mayall also started putting on jam sessions at a youth club in Wythenshawe, where he met another drummer named Hughie Flint. Over the late fifties and into the early sixties, Mayall more or less by himself built up a small blues scene in Manchester. The Manchester blues scene was so enthusiastic, in fact, that when the American Folk Blues Festival, an annual European tour which initially featured Willie Dixon, Memhis Slim, T-Bone Walker, Sonny Terry & Brownie McGhee, and John Lee Hooker, first toured Europe, the only UK date it played was at the Manchester Free Trade Hall, and people like Mick Jagger, Keith Richards, Brian Jones and Jimmy Page had to travel up from London to see it. But still, the number of blues fans in Manchester, while proportionally large, was objectively small enough that Mayall was captivated by an article in Melody Maker which talked about Alexis Korner and Cyril Davies' new band Blues Incorporated and how it was playing electric blues, the same music he was making in Manchester. He later talked about how the article had made him think that maybe now people would know what he was talking about. He started travelling down to London to play gigs for the London blues scene, and inviting Korner up to Manchester to play shows there. Soon Mayall had moved down to London. Korner introduced Mayall to Davey Graham, the great folk guitarist, with whom Korner had recently recorded as a duo: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] Mayall and Graham performed together as a duo for a while, but Graham was a natural solo artist if ever there was one. Slowly Mayall put a band together in London. On drums was his old friend Peter Ward, who'd moved down from Manchester with him. On bass was John McVie, who at the time knew nothing about blues -- he'd been playing in a Shadows-style instrumental group -- but Mayall gave him a stack of blues records to listen to to get the feeling. And on guitar was Bernie Watson, who had previously played with Screaming Lord Sutch and the Savages. In late 1963, Mike Vernon, a blues fan who had previously published a Yardbirds fanzine, got a job working for Decca records, and immediately started signing his favourite acts from the London blues circuit. The first act he signed was John Mayall and the Bluesbreakers, and they recorded a single, "Crawling up a Hill": [Excerpt: John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)"] Mayall later called that a "clumsy, half-witted attempt at autobiographical comment", and it sold only five hundred copies. It would be the only record the Bluesbreakers would make with Watson, who soon left the band to be replaced by Roger Dean (not the same Roger Dean who later went on to design prog rock album covers). The second group to be signed by Mike Vernon to Decca was the Graham Bond Organisation. We've talked about the Graham Bond Organisation in passing several times, but not for a while and not in any great detail, so it's worth pulling everything we've said about them so far together and going through it in a little more detail. The Graham Bond Organisation, like the Rolling Stones, grew out of Alexis Korner's Blues Incorporated. As we heard in the episode on "I Wanna Be Your Man" a couple of years ago, Blues Incorporated had been started by Alexis Korner and Cyril Davies, and at the time we're joining them in 1962 featured a drummer called Charlie Watts, a pianist called Dave Stevens, and saxophone player Dick Heckstall-Smith, as well as frequent guest performers like a singer who called himself Mike Jagger, and another one, Roderick Stewart. That group finally found themselves the perfect bass player when Dick Heckstall-Smith put together a one-off group of jazz players to play an event at Cambridge University. At the gig, a little Scottish man came up to the group and told them he played bass and asked if he could sit in. They told him to bring along his instrument to their second set, that night, and he did actually bring along a double bass. Their bluff having been called, they decided to play the most complicated, difficult, piece they knew in order to throw the kid off -- the drummer, a trad jazz player named Ginger Baker, didn't like performing with random sit-in guests -- but astonishingly he turned out to be really good. Heckstall-Smith took down the bass player's name and phone number and invited him to a jam session with Blues Incorporated. After that jam session, Jack Bruce quickly became the group's full-time bass player. Bruce had started out as a classical cellist, but had switched to the double bass inspired by Bach, who he referred to as "the guv'nor of all bass players". His playing up to this point had mostly been in trad jazz bands, and he knew nothing of the blues, but he quickly got the hang of the genre. Bruce's first show with Blues Incorporated was a BBC recording: [Excerpt: Blues Incorporated, "Hoochie Coochie Man (BBC session)"] According to at least one source it was not being asked to take part in that session that made young Mike Jagger decide there was no future for him with Blues Incorporated and to spend more time with his other group, the Rollin' Stones. Soon after, Charlie Watts would join him, for almost the opposite reason -- Watts didn't want to be in a band that was getting as big as Blues Incorporated were. They were starting to do more BBC sessions and get more gigs, and having to join the Musicians' Union. That seemed like a lot of work. Far better to join a band like the Rollin' Stones that wasn't going anywhere. Because of Watts' decision to give up on potential stardom to become a Rollin' Stone, they needed a new drummer, and luckily the best drummer on the scene was available. But then the best drummer on the scene was *always* available. Ginger Baker had first played with Dick Heckstall-Smith several years earlier, in a trad group called the Storyville Jazzmen. There Baker had become obsessed with the New Orleans jazz drummer Baby Dodds, who had played with Louis Armstrong in the 1920s. Sadly because of 1920s recording technology, he hadn't been able to play a full kit on the recordings with Armstrong, being limited to percussion on just a woodblock, but you can hear his drumming style much better in this version of "At the Jazz Band Ball" from 1947, with Mugsy Spanier, Jack Teagarden, Cyrus St. Clair and Hank Duncan: [Excerpt: "At the Jazz Band Ball"] Baker had taken Dobbs' style and run with it, and had quickly become known as the single best player, bar none, on the London jazz scene -- he'd become an accomplished player in multiple styles, and was also fluent in reading music and arranging. He'd also, though, become known as the single person on the entire scene who was most difficult to get along with. He resigned from his first band onstage, shouting "You can stick your band up your arse", after the band's leader had had enough of him incorporating bebop influences into their trad style. Another time, when touring with Diz Disley's band, he was dumped in Germany with no money and no way to get home, because the band were so sick of him. Sometimes this was because of his temper and his unwillingness to suffer fools -- and he saw everyone else he ever met as a fool -- and sometimes it was because of his own rigorous musical ideas. He wanted to play music *his* way, and wouldn't listen to anyone who told him different. Both of these things got worse after he fell under the influence of a man named Phil Seaman, one of the only drummers that Baker respected at all. Seaman introduced Baker to African drumming, and Baker started incorporating complex polyrhythms into his playing as a result. Seaman also though introduced Baker to heroin, and while being a heroin addict in the UK in the 1960s was not as difficult as it later became -- both heroin and cocaine were available on prescription to registered addicts, and Baker got both, which meant that many of the problems that come from criminalisation of these drugs didn't affect addicts in the same way -- but it still did not, by all accounts, make him an easier person to get along with. But he *was* a fantastic drummer. As Dick Heckstall-Smith said "With the advent of Ginger, the classic Blues Incorporated line-up, one which I think could not be bettered, was set" But Alexis Korner decided that the group could be bettered, and he had some backers within the band. One of the other bands on the scene was the Don Rendell Quintet, a group that played soul jazz -- that style of jazz that bridged modern jazz and R&B, the kind of music that Ray Charles and Herbie Hancock played: [Excerpt: The Don Rendell Quintet, "Manumission"] The Don Rendell Quintet included a fantastic multi-instrumentalist, Graham Bond, who doubled on keyboards and saxophone, and Bond had been playing occasional experimental gigs with the Johnny Burch Octet -- a group led by another member of the Rendell Quartet featuring Heckstall-Smith, Bruce, Baker, and a few other musicians, doing wholly-improvised music. Heckstall-Smith, Bruce, and Baker all enjoyed playing with Bond, and when Korner decided to bring him into the band, they were all very keen. But Cyril Davies, the co-leader of the band with Korner, was furious at the idea. Davies wanted to play strict Chicago and Delta blues, and had no truck with other forms of music like R&B and jazz. To his mind it was bad enough that they had a sax player. But the idea that they would bring in Bond, who played sax and... *Hammond* organ? Well, that was practically blasphemy. Davies quit the group at the mere suggestion. Bond was soon in the band, and he, Bruce, and Baker were playing together a *lot*. As well as performing with Blues Incorporated, they continued playing in the Johnny Burch Octet, and they also started performing as the Graham Bond Trio. Sometimes the Graham Bond Trio would be Blues Incorporated's opening act, and on more than one occasion the Graham Bond Trio, Blues Incorporated, and the Johnny Burch Octet all had gigs in different parts of London on the same night and they'd have to frantically get from one to the other. The Graham Bond Trio also had fans in Manchester, thanks to the local blues scene there and their connection with Blues Incorporated, and one night in February 1963 the trio played a gig there. They realised afterwards that by playing as a trio they'd made £70, when they were lucky to make £20 from a gig with Blues Incorporated or the Octet, because there were so many members in those bands. Bond wanted to make real money, and at the next rehearsal of Blues Incorporated he announced to Korner that he, Bruce, and Baker were quitting the band -- which was news to Bruce and Baker, who he hadn't bothered consulting. Baker, indeed, was in the toilet when the announcement was made and came out to find it a done deal. He was going to kick up a fuss and say he hadn't been consulted, but Korner's reaction sealed the deal. As Baker later said "‘he said “it's really good you're doing this thing with Graham, and I wish you the best of luck” and all that. And it was a bit difficult to turn round and say, “Well, I don't really want to leave the band, you know.”'" The Graham Bond Trio struggled at first to get the gigs they were expecting, but that started to change when in April 1963 they became the Graham Bond Quartet, with the addition of virtuoso guitarist John McLaughlin. The Quartet soon became one of the hottest bands on the London R&B scene, and when Duffy Power, a Larry Parnes teen idol who wanted to move into R&B, asked his record label to get him a good R&B band to back him on a Beatles cover, it was the Graham Bond Quartet who obliged: [Excerpt: Duffy Power, "I Saw Her Standing There"] The Quartet also backed Power on a package tour with other Parnes acts, but they were also still performing their own blend of hard jazz and blues, as can be heard in this recording of the group live in June 1953: [Excerpt: The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)"] But that lineup of the group didn't last very long. According to the way Baker told the story, he fired McLaughlin from the group, after being irritated by McLaughlin complaining about something on a day when Baker was out of cocaine and in no mood to hear anyone else's complaints. As Baker said "We lost a great guitar player and I lost a good friend." But the Trio soon became a Quartet again, as Dick Heckstall-Smith, who Baker had wanted in the band from the start, joined on saxophone to replace McLaughlin's guitar. But they were no longer called the Graham Bond Quartet. Partly because Heckstall-Smith joining allowed Bond to concentrate just on his keyboard playing, but one suspects partly to protect against any future lineup changes, the group were now The Graham Bond ORGANisation -- emphasis on the organ. The new lineup of the group got signed to Decca by Vernon, and were soon recording their first single, "Long Tall Shorty": [Excerpt: The Graham Bond Organisation, "Long Tall Shorty"] They recorded a few other songs which made their way onto an EP and an R&B compilation, and toured intensively in early 1964, as well as backing up Power on his follow-up to "I Saw Her Standing There", his version of "Parchman Farm": [Excerpt: Duffy Power, "Parchman Farm"] They also appeared in a film, just like the Beatles, though it was possibly not quite as artistically successful as "A Hard Day's Night": [Excerpt: Gonks Go Beat trailer] Gonks Go Beat is one of the most bizarre films of the sixties. It's a far-future remake of Romeo and Juliet. where the two star-crossed lovers are from opposing countries -- Beatland and Ballad Isle -- who only communicate once a year in an annual song contest which acts as their version of a war, and is overseen by "Mr. A&R", played by Frank Thornton, who would later star in Are You Being Served? Carry On star Kenneth Connor is sent by aliens to try to bring peace to the two warring countries, on pain of exile to Planet Gonk, a planet inhabited solely by Gonks (a kind of novelty toy for which there was a short-lived craze then). Along the way Connor encounters such luminaries of British light entertainment as Terry Scott and Arthur Mullard, as well as musical performances by Lulu, the Nashville Teens, and of course the Graham Bond Organisation, whose performance gets them a telling-off from a teacher: [Excerpt: Gonks Go Beat!] The group as a group only performed one song in this cinematic masterpiece, but Baker also made an appearance in a "drum battle" sequence where eight drummers played together: [Excerpt: Gonks Go Beat drum battle] The other drummers in that scene included, as well as some lesser-known players, Andy White who had played on the single version of "Love Me Do", Bobby Graham, who played on hits by the Kinks and the Dave Clark Five, and Ronnie Verrell, who did the drumming for Animal in the Muppet Show. Also in summer 1964, the group performed at the Fourth National Jazz & Blues Festival in Richmond -- the festival co-founded by Chris Barber that would evolve into the Reading Festival. The Yardbirds were on the bill, and at the end of their set they invited Bond, Baker, Bruce, Georgie Fame, and Mike Vernon onto the stage with them, making that the first time that Eric Clapton, Ginger Baker, and Jack Bruce were all on stage together. Soon after that, the Graham Bond Organisation got a new manager, Robert Stigwood. Things hadn't been working out for them at Decca, and Stigwood soon got the group signed to EMI, and became their producer as well. Their first single under Stigwood's management was a cover version of the theme tune to the Debbie Reynolds film "Tammy". While that film had given Tamla records its name, the song was hardly an R&B classic: [Excerpt: The Graham Bond Organisation, "Tammy"] That record didn't chart, but Stigwood put the group out on the road as part of the disastrous Chuck Berry tour we heard about in the episode on "All You Need is Love", which led to the bankruptcy of  Robert Stigwood Associates. The Organisation moved over to Stigwood's new company, the Robert Stigwood Organisation, and Stigwood continued to be the credited producer of their records, though after the "Tammy" disaster they decided they were going to take charge themselves of the actual music. Their first album, The Sound of 65, was recorded in a single three-hour session, and they mostly ran through their standard set -- a mixture of the same songs everyone else on the circuit was playing, like "Hoochie Coochie Man", "Got My Mojo Working", and "Wade in the Water", and originals like Bruce's "Train Time": [Excerpt: The Graham Bond Organisation, "Train Time"] Through 1965 they kept working. They released a non-album single, "Lease on Love", which is generally considered to be the first pop record to feature a Mellotron: [Excerpt: The Graham Bond Organisation, "Lease on Love"] and Bond and Baker also backed another Stigwood act, Winston G, on his debut single: [Excerpt: Winston G, "Please Don't Say"] But the group were developing severe tensions. Bruce and Baker had started out friendly, but by this time they hated each other. Bruce said he couldn't hear his own playing over Baker's loud drumming, Baker thought that Bruce was far too fussy a player and should try to play simpler lines. They'd both try to throw each other during performances, altering arrangements on the fly and playing things that would trip the other player up. And *neither* of them were particularly keen on Bond's new love of the Mellotron, which was all over their second album, giving it a distinctly proto-prog feel at times: [Excerpt: The Graham Bond Organisation, "Baby Can it Be True?"] Eventually at a gig in Golders Green, Baker started throwing drumsticks at Bruce's head while Bruce was trying to play a bass solo. Bruce retaliated by throwing his bass at Baker, and then jumping on him and starting a fistfight which had to be broken up by the venue security. Baker fired Bruce from the band, but Bruce kept turning up to gigs anyway, arguing that Baker had no right to sack him as it was a democracy. Baker always claimed that in fact Bond had wanted to sack Bruce but hadn't wanted to get his hands dirty, and insisted that Baker do it, but neither Bond nor Heckstall-Smith objected when Bruce turned up for the next couple of gigs. So Baker took matters into his own hands, He pulled out a knife and told Bruce "If you show up at one more gig, this is going in you." Within days, Bruce was playing with John Mayall, whose Bluesbreakers had gone through some lineup changes by this point. Roger Dean had only played with the Bluesbreakers for a short time before Mayall had replaced him. Mayall had not been impressed with Eric Clapton's playing with the Yardbirds at first -- even though graffiti saying "Clapton is God" was already starting to appear around London -- but he had been *very* impressed with Clapton's playing on "Got to Hurry", the B-side to "For Your Love": [Excerpt: The Yardbirds, "Got to Hurry"] When he discovered that Clapton had quit the band, he sprang into action and quickly recruited him to replace Dean. Clapton knew he had made the right choice when a month after he'd joined, the group got the word that Bob Dylan had been so impressed with Mayall's single "Crawling up a Hill" -- the one that nobody liked, not even Mayall himself -- that he wanted to jam with Mayall and his band in the studio. Clapton of course went along: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] That was, of course, the session we've talked about in the Velvet Underground episode and elsewhere of which little other than that survives, and which Nico attended. At this point, Mayall didn't have a record contract, his experience recording with Mike Vernon having been no more successful than the Bond group's had been. But soon he got a one-off deal -- as a solo artist, not with the Bluesbreakers -- with Immediate Records. Clapton was the only member of the group to play on the single, which was produced by Immediate's house producer Jimmy Page: [Excerpt: John Mayall, "I'm Your Witchdoctor"] Page was impressed enough with Clapton's playing that he invited him round to Page's house to jam together. But what Clapton didn't know was that Page was taping their jam sessions, and that he handed those tapes over to Immediate Records -- whether he was forced to by his contract with the label or whether that had been his plan all along depends on whose story you believe, but Clapton never truly forgave him. Page and Clapton's guitar-only jams had overdubs by Bill Wyman, Ian Stewart, and drummer Chris Winter, and have been endlessly repackaged on blues compilations ever since: [Excerpt: Jimmy Page and Eric Clapton, "Draggin' My Tail"] But Mayall was having problems with John McVie, who had started to drink too much, and as soon as he found out that Jack Bruce was sacked by the Graham Bond Organisation, Mayall got in touch with Bruce and got him to join the band in McVie's place. Everyone was agreed that this lineup of the band -- Mayall, Clapton, Bruce, and Hughie Flint -- was going places: [Excerpt: John Mayall's Bluesbreakers with Jack Bruce, "Hoochie Coochie Man"] Unfortunately, it wasn't going to last long. Clapton, while he thought that Bruce was the greatest bass player he'd ever worked with, had other plans. He was going to leave the country and travel the world as a peripatetic busker. He was off on his travels, never to return. Luckily, Mayall had someone even better waiting in the wings. A young man had, according to Mayall, "kept coming down to all the gigs and saying, “Hey, what are you doing with him?” – referring to whichever guitarist was onstage that night – “I'm much better than he is. Why don't you let me play guitar for you?” He got really quite nasty about it, so finally, I let him sit in. And he was brilliant." Peter Green was probably the best blues guitarist in London at that time, but this lineup of the Bluesbreakers only lasted a handful of gigs -- Clapton discovered that busking in Greece wasn't as much fun as being called God in London, and came back very soon after he'd left. Mayall had told him that he could have his old job back when he got back, and so Green was out and Clapton was back in. And soon the Bluesbreakers' revolving door revolved again. Manfred Mann had just had a big hit with "If You Gotta Go, Go Now", the same song we heard Dylan playing earlier: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] But their guitarist, Mike Vickers, had quit. Tom McGuinness, their bass player, had taken the opportunity to switch back to guitar -- the instrument he'd played in his first band with his friend Eric Clapton -- but that left them short a bass player. Manfred Mann were essentially the same kind of band as the Graham Bond Organisation -- a Hammond-led group of virtuoso multi-instrumentalists who played everything from hardcore Delta blues to complex modern jazz -- but unlike the Bond group they also had a string of massive pop hits, and so made a lot more money. The combination was irresistible to Bruce, and he joined the band just before they recorded an EP of jazz instrumental versions of recent hits: [Excerpt: Manfred Mann, "(I Can't Get No) Satisfaction"] Bruce had also been encouraged by Robert Stigwood to do a solo project, and so at the same time as he joined Manfred Mann, he also put out a solo single, "Drinkin' and Gamblin'" [Excerpt: Jack Bruce, "Drinkin' and Gamblin'"] But of course, the reason Bruce had joined Manfred Mann was that they were having pop hits as well as playing jazz, and soon they did just that, with Bruce playing on their number one hit "Pretty Flamingo": [Excerpt: Manfred Mann, "Pretty Flamingo"] So John McVie was back in the Bluesbreakers, promising to keep his drinking under control. Mike Vernon still thought that Mayall had potential, but the people at Decca didn't agree, so Vernon got Mayall and Clapton -- but not the other band members -- to record a single for a small indie label he ran as a side project: [Excerpt: John Mayall and Eric Clapton, "Bernard Jenkins"] That label normally only released records in print runs of ninety-nine copies, because once you hit a hundred copies you had to pay tax on them, but there was so much demand for that single that they ended up pressing up five hundred copies, making it the label's biggest seller ever. Vernon eventually convinced the heads at Decca that the Bluesbreakers could be truly big, and so he got the OK to record the album that would generally be considered the greatest British blues album of all time -- Blues Breakers, also known as the Beano album because of Clapton reading a copy of the British kids' comic The Beano in the group photo on the front. [Excerpt: John Mayall with Eric Clapton, "Ramblin' On My Mind"] The album was a mixture of originals by Mayall and the standard repertoire of every blues or R&B band on the circuit -- songs like "Parchman Farm" and "What'd I Say" -- but what made the album unique was Clapton's guitar tone. Much to the chagrin of Vernon, and of engineer Gus Dudgeon, Clapton insisted on playing at the same volume that he would on stage. Vernon later said of Dudgeon "I can remember seeing his face the very first time Clapton plugged into the Marshall stack and turned it up and started playing at the sort of volume he was going to play. You could almost see Gus's eyes meet over the middle of his nose, and it was almost like he was just going to fall over from the sheer power of it all. But after an enormous amount of fiddling around and moving amps around, we got a sound that worked." [Excerpt: John Mayall with Eric Clapton, "Hideaway"] But by the time the album cane out. Clapton was no longer with the Bluesbreakers. The Graham Bond Organisation had struggled on for a while after Bruce's departure. They brought in a trumpet player, Mike Falana, and even had a hit record -- or at least, the B-side of a hit record. The Who had just put out a hit single, "Substitute", on Robert Stigwood's record label, Reaction: [Excerpt: The Who, "Substitute"] But, as you'll hear in episode 183, they had moved to Reaction Records after a falling out with their previous label, and with Shel Talmy their previous producer. The problem was, when "Substitute" was released, it had as its B-side a song called "Circles" (also known as "Instant Party -- it's been released under both names). They'd recorded an earlier version of the song for Talmy, and just as "Substitute" was starting to chart, Talmy got an injunction against the record and it had to be pulled. Reaction couldn't afford to lose the big hit record they'd spent money promoting, so they needed to put it out with a new B-side. But the Who hadn't got any unreleased recordings. But the Graham Bond Organisation had, and indeed they had an unreleased *instrumental*. So "Waltz For a Pig" became the B-side to a top-five single, credited to The Who Orchestra: [Excerpt: The Who Orchestra, "Waltz For a Pig"] That record provided the catalyst for the formation of Cream, because Ginger Baker had written the song, and got £1,350 for it, which he used to buy a new car. Baker had, for some time, been wanting to get out of the Graham Bond Organisation. He was trying to get off heroin -- though he would make many efforts to get clean over the decades, with little success -- while Bond was starting to use it far more heavily, and was also using acid and getting heavily into mysticism, which Baker despised. Baker may have had the idea for what he did next from an article in one of the music papers. John Entwistle of the Who would often tell a story about an article in Melody Maker -- though I've not been able to track down the article itself to get the full details -- in which musicians were asked to name which of their peers they'd put into a "super-group". He didn't remember the full details, but he did remember that the consensus choice had had Eric Clapton on lead guitar, himself on bass, and Ginger Baker on drums. As he said later "I don't remember who else was voted in, but a few months later, the Cream came along, and I did wonder if somebody was maybe believing too much of their own press". Incidentally, like The Buffalo Springfield and The Pink Floyd, Cream, the band we are about to meet, had releases both with and without the definite article, and Eric Clapton at least seems always to talk about them as "the Cream" even decades later, but they're primarily known as just Cream these days. Baker, having had enough of the Bond group, decided to drive up to Oxford to see Clapton playing with the Bluesbreakers. Clapton invited him to sit in for a couple of songs, and by all accounts the band sounded far better than they had previously. Clapton and Baker could obviously play well together, and Baker offered Clapton a lift back to London in his new car, and on the drive back asked Clapton if he wanted to form a new band. Clapton was as impressed by Baker's financial skills as he was by his musicianship. He said later "Musicians didn't have cars. You all got in a van." Clearly a musician who was *actually driving a new car he owned* was going places. He agreed to Baker's plan. But of course they needed a bass player, and Clapton thought he had the perfect solution -- "What about Jack?" Clapton knew that Bruce had been a member of the Graham Bond Organisation, but didn't know why he'd left the band -- he wasn't particularly clued in to what the wider music scene was doing, and all he knew was that Bruce had played with both him and Baker, and that he was the best bass player he'd ever played with. And Bruce *was* arguably the best bass player in London at that point, and he was starting to pick up session work as well as his work with Manfred Mann. For example it's him playing on the theme tune to "After The Fox" with Peter Sellers, the Hollies, and the song's composer Burt Bacharach: [Excerpt: The Hollies with Peter Sellers, "After the Fox"] Clapton was insistent. Baker's idea was that the band should be the best musicians around. That meant they needed the *best* musicians around, not the second best. If Jack Bruce wasn't joining, Eric Clapton wasn't joining either. Baker very reluctantly agreed, and went round to see Bruce the next day -- according to Baker it was in a spirit of generosity and giving Bruce one more chance, while according to Bruce he came round to eat humble pie and beg for forgiveness. Either way, Bruce agreed to join the band. The three met up for a rehearsal at Baker's home, and immediately Bruce and Baker started fighting, but also immediately they realised that they were great at playing together -- so great that they named themselves the Cream, as they were the cream of musicians on the scene. They knew they had something, but they didn't know what. At first they considered making their performances into Dada projects, inspired by the early-twentieth-century art movement. They liked a band that had just started to make waves, the Bonzo Dog Doo-Dah Band -- who had originally been called the Bonzo Dog Dada Band -- and they bought some props with the vague idea of using them on stage in the same way the Bonzos did. But as they played together they realised that they needed to do something different from that. At first, they thought they needed a fourth member -- a keyboard player. Graham Bond's name was brought up, but Clapton vetoed him. Clapton wanted Steve Winwood, the keyboard player and vocalist with the Spencer Davis Group. Indeed, Winwood was present at what was originally intended to be the first recording session the trio would play. Joe Boyd had asked Eric Clapton to round up a bunch of players to record some filler tracks for an Elektra blues compilation, and Clapton had asked Bruce and Baker to join him, Paul Jones on vocals, Winwood on Hammond and Clapton's friend Ben Palmer on piano for the session. Indeed, given that none of the original trio were keen on singing, that Paul Jones was just about to leave Manfred Mann, and that we know Clapton wanted Winwood in the band, one has to wonder if Clapton at least half-intended for this to be the eventual lineup of the band. If he did, that plan was foiled by Baker's refusal to take part in the session. Instead, this one-off band, named The Powerhouse, featured Pete York, the drummer from the Spencer Davis Group, on the session, which produced the first recording of Clapton playing on the Robert Johnson song originally titled "Cross Road Blues" but now generally better known just as "Crossroads": [Excerpt: The Powerhouse, "Crossroads"] We talked about Robert Johnson a little back in episode ninety-seven, but other than Bob Dylan, who was inspired by his lyrics, we had seen very little influence from Johnson up to this point, but he's going to be a major influence on rock guitar for the next few years, so we should talk about him a little here. It's often said that nobody knew anything about Robert Johnson, that he was almost a phantom other than his records which existed outside of any context as artefacts of their own. That's... not really the case. Johnson had died a little less than thirty years earlier, at only twenty-seven years old. Most of his half-siblings and step-siblings were alive, as were his son, his stepson, and dozens of musicians he'd played with over the years, women he'd had affairs with, and other assorted friends and relatives. What people mean is that information about Johnson's life was not yet known by people they consider important -- which is to say white blues scholars and musicians. Indeed, almost everything people like that -- people like *me* -- know of the facts of Johnson's life has only become known to us in the last four years. If, as some people had expected, I'd started this series with an episode on Johnson, I'd have had to redo the whole thing because of the information that's made its way to the public since then. But here's what was known -- or thought -- by white blues scholars in 1966. Johnson was, according to them, a field hand from somewhere in Mississippi, who played the guitar in between working on the cotton fields. He had done two recording sessions, in 1936 and 1937. One song from his first session, "Terraplane Blues", had been a very minor hit by blues standards: [Excerpt: Robert Johnson, "Terraplane Blues"] That had sold well -- nobody knows how well, but maybe as many as ten thousand copies, and it was certainly a record people knew in 1937 if they liked the Delta blues, but ten thousand copies total is nowhere near the sales of really successful records, and none of the follow-ups had sold anything like that much -- many of them had sold in the hundreds rather than the thousands. As Elijah Wald, one of Johnson's biographers put it "knowing about Johnson and Muddy Waters but not about Leroy Carr or Dinah Washington was like knowing about, say, the Sir Douglas Quintet but not knowing about the Beatles" -- though *I* would add that the Sir Douglas Quintet were much bigger during the sixties than Johnson was during his lifetime. One of the few white people who had noticed Johnson's existence at all was John Hammond, and he'd written a brief review of Johnson's first two singles under a pseudonym in a Communist newspaper. I'm going to quote it here, but the word he used to talk about Black people was considered correct then but isn't now, so I'll substitute Black for that word: "Before closing we cannot help but call your attention to the greatest [Black] blues singer who has cropped up in recent years, Robert Johnson. Recording them in deepest Mississippi, Vocalion has certainly done right by us and by the tunes "Last Fair Deal Gone Down" and "Terraplane Blues", to name only two of the four sides already released, sung to his own guitar accompaniment. Johnson makes Leadbelly sound like an accomplished poseur" Hammond had tried to get Johnson to perform at the Spirituals to Swing concerts we talked about in the very first episodes of the podcast, but he'd discovered that he'd died shortly before. He got Big Bill Broonzy instead, and played a couple of Johnson's records from a record player on the stage. Hammond introduced those recordings with a speech: "It is tragic that an American audience could not have been found seven or eight years ago for a concert of this kind. Bessie Smith was still at the height of her career and Joe Smith, probably the greatest trumpet player America ever knew, would still have been around to play obbligatos for her...dozens of other artists could have been there in the flesh. But that audience as well as this one would not have been able to hear Robert Johnson sing and play the blues on his guitar, for at that time Johnson was just an unknown hand on a Robinsonville, Mississippi plantation. Robert Johnson was going to be the big surprise of the evening for this audience at Carnegie Hall. I know him only from his Vocalion blues records and from the tall, exciting tales the recording engineers and supervisors used to bring about him from the improvised studios in Dallas and San Antonio. I don't believe Johnson had ever worked as a professional musician anywhere, and it still knocks me over when I think of how lucky it is that a talent like his ever found its way onto phonograph records. We will have to be content with playing two of his records, the old "Walkin' Blues" and the new, unreleased, "Preachin' Blues", because Robert Johnson died last week at the precise moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall on December 23. He was in his middle twenties and nobody seems to know what caused his death." And that was, for the most part, the end of Robert Johnson's impact on the culture for a generation. The Lomaxes went down to Clarksdale, Mississippi a couple of years later -- reports vary as to whether this was to see if they could find Johnson, who they were unaware was dead, or to find information out about him, and they did end up recording a young singer named Muddy Waters for the Library of Congress, including Waters' rendition of "32-20 Blues", Johnson's reworking of Skip James' "Twenty-Two Twenty Blues": [Excerpt: Muddy Waters, "32-20 Blues"] But Johnson's records remained unavailable after their initial release until 1959, when the blues scholar Samuel Charters published the book The Country Blues, which was the first book-length treatment ever of Delta blues. Sixteen years later Charters said "I shouldn't have written The Country Blues when I did; since I really didn't know enough, but I felt I couldn't afford to wait. So The Country Blues was two things. It was a romanticization of certain aspects of black life in an effort to force the white society to reconsider some of its racial attitudes, and on the other hand it was a cry for help. I wanted hundreds of people to go out and interview the surviving blues artists. I wanted people to record them and document their lives, their environment, and their music, not only so that their story would be preserved but also so they'd get a little money and a little recognition in their last years." Charters talked about Johnson in the book, as one of the performers who played "minor roles in the story of the blues", and said that almost nothing was known about his life. He talked about how he had been poisoned by his common-law wife, about how his records were recorded in a pool hall, and said "The finest of Robert Johnson's blues have a brooding sense of torment and despair. The blues has become a personified figure of despondency." Along with Charters' book came a compilation album of the same name, and that included the first ever reissue of one of Johnson's tracks, "Preaching Blues": [Excerpt: Robert Johnson, "Preaching Blues"] Two years later, John Hammond, who had remained an ardent fan of Johnson, had Columbia put out the King of the Delta Blues Singers album. At the time no white blues scholars knew what Johnson looked like and they had no photos of him, so a generic painting of a poor-looking Black man with a guitar was used for the cover. The liner note to King of the Delta Blues Singers talked about how Johnson was seventeen or eighteen when he made his recordings, how he was "dead before he reached his twenty-first birthday, poisoned by a jealous girlfriend", how he had "seldom, if ever, been away from the plantation in Robinsville, Mississippi, where he was born and raised", and how he had had such stage fright that when he was asked to play in front of other musicians, he'd turned to face a wall so he couldn't see them. And that would be all that any of the members of the Powerhouse would know about Johnson. Maybe they'd also heard the rumours that were starting to spread that Johnson had got his guitar-playing skills by selling his soul to the devil at a crossroads at midnight, but that would have been all they knew when they recorded their filler track for Elektra: [Excerpt: The Powerhouse, "Crossroads"] Either way, the Powerhouse lineup only lasted for that one session -- the group eventually decided that a simple trio would be best for the music they wanted to play. Clapton had seen Buddy Guy touring with just a bass player and drummer a year earlier, and had liked the idea of the freedom that gave him as a guitarist. The group soon took on Robert Stigwood as a manager, which caused more arguments between Bruce and Baker. Bruce was convinced that if they were doing an all-for-one one-for-all thing they should also manage themselves, but Baker pointed out that that was a daft idea when they could get one of the biggest managers in the country to look after them. A bigger argument, which almost killed the group before it started, happened when Baker told journalist Chris Welch of the Melody Maker about their plans. In an echo of the way that he and Bruce had been resigned from Blues Incorporated without being consulted, now with no discussion Manfred Mann and John Mayall were reading in the papers that their band members were quitting before those members had bothered to mention it. Mayall was furious, especially since the album Clapton had played on hadn't yet come out. Clapton was supposed to work a month's notice while Mayall found another guitarist, but Mayall spent two weeks begging Peter Green to rejoin the band. Green was less than eager -- after all, he'd been fired pretty much straight away earlier -- but Mayall eventually persuaded him. The second he did, Mayall turned round to Clapton and told him he didn't have to work the rest of his notice -- he'd found another guitar player and Clapton was fired: [Excerpt: John Mayall's Bluesbreakers, "Dust My Blues"] Manfred Mann meanwhile took on the Beatles' friend Klaus Voorman to replace Bruce. Voorman would remain with the band until the end, and like Green was for Mayall, Voorman was in some ways a better fit for Manfred Mann than Bruce was. In particular he could double on flute, as he did for example on their hit version of Bob Dylan's "The Mighty Quinn": [Excerpt: Manfred Mann "The Mighty Quinn"] The new group, The Cream, were of course signed in the UK to Stigwood's Reaction label. Other than the Who, who only stuck around for one album, Reaction was not a very successful label. Its biggest signing was a former keyboard player for Screaming Lord Sutch, who recorded for them under the names Paul Dean and Oscar, but who later became known as Paul Nicholas and had a successful career in musical theatre and sitcom. Nicholas never had any hits for Reaction, but he did release one interesting record, in 1967: [Excerpt: Oscar, "Over the Wall We Go"] That was one of the earliest songwriting attempts by a young man who had recently named himself David Bowie. Now the group were public, they started inviting journalists to their rehearsals, which were mostly spent trying to combine their disparate musical influences --

Episode 640: July 2, 2023 playlist: Cloudland Canyon (feat. Sonic Boom), "Future Perfect (Bad Decision)" (Cloudland Canyon) 2023 Medical Creep Show, "Matinee" (Yawning Abyss) 2023 Bella Union Dean McPhee, "The Second Message" (When the Frog from the Well Sees the Ocean (Reports from English UFOlklore)) 2023 Folklore Tapes Natural Wonder Beauty Concept, "Natural Wonder Beauty Concept" (Natural Wonder Beauty Concept) 2023 Mexican Summer Mona Mur, "Illusions" (Warsaw) 2023 Play Loud! Lea Bertucci and Lawrence English, "Geology Of Fire" (Chthonic) 2023 American Dreams soccer Committee, "Imagining you in the room" (heart / lamb) 2023 Morc John Fahey, "Evening, Not Night (Pt. 2)" (Proofs and Refutations) 2023 Drag City Matthewdavid, "Zithercelium" (Mycelium Music) 2023 Leaving Black To Comm, "Traum GmbH" (Alphabet 1968 (2023 Reissue)) 2009 Cellule 75 58918012, "Brainwave" (Blue) 2023 Syntes Sultan, "Yenilik (Part I)" (Sultan) 1996 Fax / 2023 Silent State Bendik Giske, "Rise and Fall (Beatrice Dillon remix)" (Bendik Giske) 2023 Smalltown Supersound Monte Cazazza, "First / Last" (Something For Nobody) 1980 Industrial Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening.

You've never heard a tale like that of guitarist Rick Deitrick. A product of the '60s, Rick went from playing the accordion as a kid in Ohio to joining a rock band and performing at love-ins throughout Southern California. Once he found a $100 Yamaha acoustic at a pawn shop, his life took a new turn: He'd take his guitar (sans case) out on hikes and create acoustic instrumentals influenced by his surroundings. The byproduct of these hikes was a series of self-released albums, now reissued as a boxed set by Tompkins Square Records. Quirky backstory aside, it's gorgeous music that has stood the test of time.  This interview has it all: 1960s love-ins, a cranky John Fahey, a two-foot-tall chipmunk, a guitar sacrificed in a fit of rage, and a musician who continues to march to the beat of his own drummer. Learn more about Rick Deitrick's 'The Unguitarist: Complete Works, 1969-2022' here:  https://tompkinssquare.bandcamp.com/album/the-unguitarist-complete-works-1969-2022 Follow Jason's new Substack here for behind-the-scenes FJ content: https://substack.com/@fretboardjournal Subscribe to the Fretboard Journal and start with our new, 52nd issue: https://shop.fretboardjournal.com/products/fretboard-journal-annual-subscription Register for the Fretboard Summit (August 24-26, 2023 at Chicago's legendary Old Town School of Folk Music): https://fretboardsummit.org Our podcast is sponsored by Mike & Mike's Guitar Bar, Deering Banjos; Peghead Nation (use the promo code FRETBOARD and get your first month free or $20 off any annual subscription); and Stringjoy Strings (get 10% off your order with the FRETBOARD discount code). This episode is also supported by Native Instruments, iZotope, and Plugin Alliance. Check out their Summer of Sound, the best-ever savings on ALL software, with 50% off products, updates, and upgrades, plus special hardware and software bundle deals. 

There's a quote attributed to Louis Armstrong: “All music is folk music. I ain't never heard a horse sing a song”. Apocryphal? Who knows? Still, it does raise the question as to what folk music actually is. It can be contemporary contemporary or traditional. It can be associated with any number of cultures. It can be instrumental or songs without instrumental accompaniment. The songs can be about tales of heroes, cads, fair maidens, murder, politics, or.....that very infrequent topic of song – love. Welcome to episode 167 of Love That Album podcast. I am joined once again by Shane Pacey, singer and guitarist for The Bondi Cigars, The Shane Pacey Trio and Pacey, King & Doley. His own music may be rooted in blues (another category that's more varied than is often given credit for), but Shane has a passion and huge knowledge about English folk music. Together we discussed the music of Scottish guitarist Bert Jansch. Bert was part of supergroup Pentangle (LTA episode 134), but before, during and after that group he recorded many albums in his own name. He has been put in the “folk” caregory, but he was part of a generation of UK musicians that were keen to expand what folk music could be. Bert and contemporaries like John Renbourn, Davy Graham, Wizz Jones and John Fahey were huge fans of American blues and jazz music. They sought to put all their musical passions into a pot and stir. Bert developed a guitar style that made him a revered figure amongst rock musicians like Johnny Marr, Jimmy Page and Neil Young, yet his playing was never about the flash or histrionics. He just quietly played original and traditional songs in HIS own sweet way....and his singing voice was not a classic voice in the rock sense, and yet it draws you in – there was no one who played or sang like him. Shane and I talk about Bert as musician, our relation to his work, contemporaries, and we focus on two of his albums – 1971's “Rosemary Lane” and 1974's “L.A. Turnaround” (produced by a Monkee and featuring a 5th Beatle on bass). It's always great having Shane bring his musical expertise to the show. I hope you dig this one. You can find Shane's music on line at https://shanepaceytrio.com.au/ or https://bondicigars.com/ or https://shanepacey.bandcamp.com/album/the-gardener. Here's a link to a tribute concert to Bert that we mention in the show: https://youtu.be/Y_MyH_Uc--s Download this episode of LTA from your podcast app of choice or you can get it from the website at https://lovethatalbumpodcast.blogspot.com/2023/06/love-that-album-episode-167-bert-jansch.html Love That Album is proudly part of the Pantheon Podcast network. Go to http://pantheonpodcasts.com to check out all their great shows. You can send me feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbum Proudly Pantheon. Learn more about your ad choices. Visit megaphone.fm/adchoices

There's a quote attributed to Louis Armstrong: “All music is folk music. I ain't never heard a horse sing a song”. Apocryphal? Who knows? Still, it does raise the question as to what folk music actually is. It can be contemporary contemporary or traditional. It can be associated with any number of cultures. It can be instrumental or songs without instrumental accompaniment. The songs can be about tales of heroes, cads, fair maidens, murder, politics, or.....that very infrequent topic of song – love. Welcome to episode 167 of Love That Album podcast. I am joined once again by Shane Pacey, singer and guitarist for The Bondi Cigars, The Shane Pacey Trio and Pacey, King & Doley. His own music may be rooted in blues (another category that's more varied than is often given credit for), but Shane has a passion and huge knowledge about English folk music. Together we discussed the music of Scottish guitarist Bert Jansch. Bert was part of supergroup Pentangle (LTA episode 134), but before, during and after that group he recorded many albums in his own name. He has been put in the “folk” caregory, but he was part of a generation of UK musicians that were keen to expand what folk music could be. Bert and contemporaries like John Renbourn, Davy Graham, Wizz Jones and John Fahey were huge fans of American blues and jazz music. They sought to put all their musical passions into a pot and stir. Bert developed a guitar style that made him a revered figure amongst rock musicians like Johnny Marr, Jimmy Page and Neil Young, yet his playing was never about the flash or histrionics. He just quietly played original and traditional songs in HIS own sweet way....and his singing voice was not a classic voice in the rock sense, and yet it draws you in – there was no one who played or sang like him. Shane and I talk about Bert as musician, our relation to his work, contemporaries, and we focus on two of his albums – 1971's “Rosemary Lane” and 1974's “L.A. Turnaround” (produced by a Monkee and featuring a 5th Beatle on bass). It's always great having Shane bring his musical expertise to the show. I hope you dig this one. You can find Shane's music on line at https://shanepaceytrio.com.au/ or https://bondicigars.com/ or https://shanepacey.bandcamp.com/album/the-gardener. Here's a link to a tribute concert to Bert that we mention in the show: https://youtu.be/Y_MyH_Uc--s Download this episode of LTA from your podcast app of choice. The wider back catalogue of episodes can also be found at http://lovethatalbumpodcast.blogspot.com Love That Album is proudly part of the Pantheon Podcast network. Go to http://pantheonpodcasts.com to check out all their great shows. You can send me feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbum Proudly Pantheon. Learn more about your ad choices. Visit megaphone.fm/adchoices

Musician, therapist and zine publisher Matt Baldwin joins us this week for an insightful chat about the creative process and so much more. Matt talks to us about his career as a guitarist and the influence that Robbie Basho and John Fahey had on his largely self-taught playing. We also talk about his 'How to Play Guitar' zine series, where he shares some of his favorite tips, quotes, and life hacks. Last but not least, we discuss the Ketamine-assisted psychotherapy that he's conducting out of his Southern California office and learn about the crucial role that music plays in these sessions with his clients.  Some links discussed in this episode: https://www.instagram.com/baldwin_unlimited/ https://www.ketamineprovidersnetwork.com/ https://www.music-centered.org/ https://bandcamp.com/tag/psychic-arts Want to meet some of the many personalities interviewed on this podcast? Come to our 2023 Fretboard Summit August 24-26, 2023 at Chicago's Old Town School of Folk Music. Register here: https://fretboardsummit.org/ Subscribe to our magazine here: https://shop.fretboardjournal.com/products/fretboard-journal-annual-subscription Our podcast is sponsored by Deering Banjos; Peghead Nation (use the promo code FRETBOARD and get your first month free or $20 off any annual subscription); Izotope (use the coupon code FRET10 to save 10% off their plug-ins); and Stringjoy Strings (get 10% off your order with the FRETBOARD discount code).

Bonus episode fourteen features the award-winning Lightnin' Lickers* Jay and Deon sharing what they've been sonically f#@%ing with as of late. A field trip to their record store of choice, Electric Kitsch, finds them seated in conversation with super special not-so-secret friend Trevor. Trev discusses then submits a LLR all-time record of FIVE (5) choice cuts to this month's mixtape. Five? You give an inch… Sonic contributors to the fourteenth bonus episode of Lightnin' Licks Radio include: Townes Van Zandt, the Jesus and Mary Chain, James Todd Smith, Supertramp, Wolf Alice, Jordana, Ohio Players, Arthur Brown, Liquid Mike, Arc of All, Jay Dilla, De La Soul, Madlib, A Tribe Called Quest, Flea, Nada Surf, Illuminated Hotti, Bonnie Hayes, Nic Cage & Deborah Foreman from Valley Girl, The Payolas, The Plimsouls, Yard Waste, John Fahey, Elizabeth Cotton, Sandy Bull, Bert Janache, Davy Graham, Quelle Chris, Aceyalone, Christopher Cross, Dave Coulier, Pesky Kid, The Meters, Elton John, The Neville Brothers, The Wild Tchoupitoulas, Adrian Young, Ali Shaheed Muhammed, Chico Hamilton, Yesterday's New Quintet, Ronnie Laws, Flying Lotus, Kendrick Lamar, Haim, Gorillaz, Buffalo Springfield, Lee Hazlewood, The Walker Brothers, Josh - Jordo - Deon, Rilo Kiley, Plains, Alabaster DePlume, Led Zepplin, and Kenny Beats. For the mix…Jay brought to the dining room table the musical stylings of:  FAZERDAZE, Pom Pom Squad, Gary Myrick, The Bambi Slam, and Gion Piero Reverberi. Deon suggested cuts from:  Slum Village, Suitcase, and Jenny Lewis. Our super special not-so-secret friend Trevor likes:  Leo Nocentelli, Gary Bartz, Thundercat, Neil Young, and Scott Walker. The wait is over, here's your gawl dang mix tape: [SIDE A] (1) The Bambi Slam – Long Time Coming (2) Thundercat – Friend Zone (3) Pom Pom Squad – Second That (4) Leo Nocentlli – Your Song (5) Slum Village – Look of Love (remix) (6) Gary Myrick – Time To Win [SIDE B] (1) Suitcase – Save Me Some Gravy (2) Scott Walker – It's Raining Today (3) FAZERDAZE – Winter (4) Gary Bartz – Spiritual Ideation (5) Jenny Lewis – Psychos (6) Gion Piero Reverberi – Cat Casanova (7) Neil Young & the Santa Monica Flyers – Mellow My Mind (live) [END] Q: Is there any bass better than dinosaur fart bass? *Review Magazine's Reader's Choice 2023. Thanks to whomever nominated and voted. You are appreciated. Coziness :) --- Send in a voice message: https://podcasters.spotify.com/pod/show/llradio/message

Singles Going Around- Waiting For The SunT Rex- "Telegram Sam"Beastie Boys- "Son of Neckbone"Bo Diddley- "You Can't Judge A Book By It's Cover"The Beach Boys- "Salt Lake City"Roger Miller- "My Uncle Used To Love Me, But She Died"The Doors- "Love Me Two Times"The Fury's- "Little Queenie"The Rolling Stones- "Everybody Needs Somebody To Love"Creedence Clearwater Revival- "My Baby Left Me"Bob Dylan- "When I Paint My Masterpiece"Booker T & The MG's- "Get Ready"Neil Young- "Don't Cry No Tears"The Satisfactions- "Girl Don't Tell Me"The Beach Boys- "Lttle Pad"The Beatles- "Yer Blues"The Doors- "Spanish Caravan"John Fahey- "Night Train of Valhalla"*All selections taken from the original lp's.

Johnny Cash "Get Rhythm"The Replacements "I Hate Music"Lil Hardin Armstrong "Harlem On Saturday Night"Steve Earle & The Dukes (& Duchesses) "After Mardi Gras"Jake Xerxes Fussell "Jump for Joy"The Two Poor Boys - Joe Evans & Arthur McClain "Sitting On Top of the World"S.G. Goodman "Patron Saint Of The Dollar Store"Joseph Spence "We Shall Be Happy"Jimmie Lunceford "I'm Nuts About Screwy Music"Shovels & Rope "Blue Eyes Crying in the Rain (feat. John Moreland)"Bessie Jones "Titanic"Etta Baker "Going Down the Road Feeling Bad"Freakwater "Bolshevik and Bollweevil"The Breeders "Do You Love Me Now?"Billie and De De Pierce "Lonesome Road"Joan Shelley "Pull Me Up One More Time"Amos Milburn "After Midnight"The Both "Volunteers of America"Aretha Franklin "Never Grow Old"Slim Cessna's Auto Club "Port Authority Band"Butterbeans & Susie "Been Some Changes Made"Nina Nastasia "Just Stay in Bed"Bo Diddley "Cops and Robbers"McKinney's Cotton Pickers "Wrap Your Troubles in Dreams - Take 1"Andrew Bird "Underlands"Superchunk "My Gap Feels Weird"John Fahey "St Louis Blues"Gillian Welch "I Made a Lovers Prayer"Huey "Piano" Smith "Don't You Just Know It"Billie Holiday "Sugar"Songs: Ohia "Blue Chicago Moon"Mississippi Fred McDowell "Poor Boy, Long Way From Home"Joel Paterson "Callin' the Cat"Chicago Stone Lightning Band "Do Yourself a Favor"Johnny Cash "You Win Again"Emile Barnes & Peter Bocage "When I Grow Too Old to Dream"The Yardbirds "Evil Hearted You"Muddy Waters "Hey, Hey"Bonnie "Prince" Billy "I Have Made a Place"Bessie Smith "After You've Gone"Elvis Costello & The Attractions "Colour of the Blues"Ruth Brown "Teardrops from My Eyes"Furry Lewis "Judge Boushay Blues"Sons of the Pioneers "One More River to Cross"Marty Stuart "Hey Porter"Bob Dylan & Johnny Cash "Girl from the North Country"Johnny Cash "I See a Darkness"Chisel "The Last Good Time"

Drive-by Truckers "Dragon Pants"Fleetwood Mac "Like It This Way"Fats Domino "The Big Beat"Aerial M "Wedding Song No.2"Valerie June "You And I"Hound Dog Taylor & The HouseRockers "Give Me Back My Wig (Live)"AC/DC "Let There Be Rock"John Fahey "Uncloudy Day"Adia Victoria "Stuck In The South"Andrew Bird "Underlands"Elizabeth Cotten "Going Down the Road Feeling Bad"Craig Finn "God in Chicago"Ian Noe "Strip Job Blues 1984"Esther Phillips "Tonight I'll Be Staying Here with You"R.L. Burnside "Miss Maybelle"Hank Williams "I'm Sorry for You My Friend"Joan Shelley "Amberlit Morning (feat. Bill Callahan)"John R. Miller "Lookin' Over My Shoulder"Max Roach "Garvey's Ghost (feat. Carlos "Patato" Valdes & Carlos "Totico" Eugenio)"Ranie Burnette "Hungry Spell"Nina Nastasia "This Is Love"Thurston Harris "I Got Loaded (In Smokey Joe's Joint)"Folk Implosion "Sputnik's Down"Slim Harpo "I'm a King Bee"Wipers "Youth of America"The Scotty McKay Quintet "The Train Kept a-Rollin'"Mississippi John Hurt "Sliding Delta"Magnolia Electric Co. "Montgomery"Dr. John "Memories of Professor Longhair"Billie McKenzie "I'd Rather Drink Muddy Water"Little Walter "Juke"Elvis Presley "Trying to Get to You"Billie Jo Spears "Get Behind Me Satan And Push"Ray Charles "Georgia On My Mind"Freddy King "Hide Away"Furry Lewis "Old Blue"Billie Holiday "What a Little Moonlight Can Do"Bob Dylan "One More Cup of Coffee"The Primitives "How  Do Yu Feel"Ramones "Blitzkrieg Bop"Ruth Brown "Lucky Lips"Bonnie 'Prince' Billy "A Minor Place"Pearl Bailey "Frankie and Johnnie"fIREHOSE "In Memory Of Elizabeth Cotton"James Booker "On The Sunny Side Of The Street"Ray Price "The Same Old Me"Mississippi Fred McDowell "My Babe"The Replacements "Here Comes a Regular"

Jim O'Rourke is a composer and producer living in Japan after spending most of his life in Chicago. His solo and collaborative works range from pop songwriting to electronic and avant-garde, being one of the first musicians to use a computer for live improvisations. His albums have been released on Table of the Elements, Drag City, Mego, and his own label Moikai. As a producer he has worked with Joanna Newsom, Wilco, US Maple, Stereolab and countless others. He has been a member of Sonic Youth, Loose Fur, Illusion of Safety, Boxhead Ensemble and Gastr Del Sol. O'Rourke's collaborators include Christian Fennesz, John Fahey, Tony Conrad, Loren Connors, Keiji Haino and the Red Krayola. As a film composer he has made contributions to School of Rock, Werner Herzog's Grizzly Man and a smattering of Japanese films. Jim chats from his home studio The Steam Room with Markly and guest host Dylan Shearer about his formative years, musicians he admires, his current works and aspirations, his take on the world of streaming music, responds to listener questions, and discusses why he no longer writes songs with lyrics or tours. Includes an introduction from Sean O'Hagan of Stereolab, High Llamas and Microdisney.Find this episode's website at lowprofilepodcast.com to dive even deeper.Special thanks to Forrest for editing in the music selections for this program, to Lani Morrison for this episode's illustration, and to Eli Moore and Miles Rozatti for helping with cleaning up the remote audio.If you enjoy this show and want to help support it, you can join the community of patrons at patreon.com/lowprofile. For a flexible monthly donation, most people go for 3 to 5 dollars a month, you'll receive access to things like advance release episodes, behind the scenes footage, insights into my research for this program, first dibs on merchandise, and unedited interview recordings. Plus you'll be helping to make this oral history project sustainable, and if you join up I'll also send you a sticker and a button as a thank you. Again, that link is patreon.com/lowprofile This show also receives in-kind support from several Olympia businesses including Rainy Day Records, San Francisco Street Bakery, Schwartz's Deli, Old School Pizzeria, and Scherler Easy Premium Shitty American Lager from 3 Magnets Brewing Company. Artists and musicians! Want vinyl records but can't afford to order 1000 and wait 8-12 months? Check out our friends at Lathecuts.com. They will make you vinyl singles in quantities as low as 50 as quickly as 3-4 weeks. All of their pricing is ala carte and they can help pick a package that fits your budget. Email Mike at Lathecuts@yahoo.com and Mention Low Profile to get a 10% overrun on your order for free!

Nat King Cole "The Christmas Song"Jon Spencer "Big Yule Log"Clarence Carter "Back Door Santa"Ella Fitzgerald "Let It Snow! Let It Snow! Let It Snow!"Mac McCaughan "Down We Go (Sledding Song)"Otis Gibbs "Color Wheel"Darlene Love "Marshmallow World (1963)"Count Basie "Good Morning Blues"Sufjan Stevens "We're Going to the Country!"Billy Briggs "North Pole Boogie"Charlie Parr "Slim Tall's Christmas On The Lam"Soltero "Songs of the Season"Esther Phillips "Far away christmas blues"Kermit Ruffins "Little Drummer Boy"Ted Hawkins "Golden Sun"She & Him "The Christmas Waltz"Lucinda Williams "Blue Christmas"Bonnie "Prince" Billy & Dawn McCarthy "Christmas Eve Can Kill You"John Fahey "Go I Will Send Thee (Instrumental)"JD McPherson "Hey Skinny Santa!"Squirrel Nut Zippers "Hanging Up My Stockings"Tom Waits "Silent Night"Willie Nelson "Pretty Paper"Valerie June "Winter Wonderland"Bessie Smith "At the Christmas Ball"Albert King "Santa Claus Wants Some Loving"Kitty Wells "Christmas Ain't Like Christmas Anymore"Brown Bird "The Old Church Bell"Phoebe Bridgers "7 O'Clock News / Silent Night"Huey 'Piano' Smith and The Clowns "'Twas the Night Before Christmas"Andrew Bird "Alabaster"John Prine "Christmas In Prison"The Both "Nothing Left to Do (Let's Make This Christmas Blue)"Kathleen Edwards "It's Christmastime (Let's Just Survive)"Buck Owens "Santa Looked A Lot Like Daddy"Les Paul & Mary Ford "Jungle Bells (Dingo-Dongo-Day) [Bonus Track]"The Staple Singers "No Room At the Inn"Hank Williams "At the First Fall of Snow"Louis Armstrong "'Zat You Santa Claus?"Merle Haggard "Daddy Won't Be Home Again For Christmas"Dinah Washington "Ole Santa - Single Version"Johnny Cash "The Ballad of the Harp Weaver"James Brown "Let's make christmas mean something this year pts. 1&2"Joel Paterson "Christmas Time Is Here"Nina Nastasia "Handmade Card"Vic Chesnutt "White Christmas"Low "Just Like Christmas"

One of the marks of a dedicated and accomplished artist is that they continue to level up, testing their own limits and working to break out of habits and patterns. New York-based guitarist, singer/songwriter, and collaborator Steve Gunn is such a one; he can tap into Indian classical modes, inhabit the drone of minimalist founding father La Monte Young, pick like fingerstyle players Jack Rose and John Fahey, and coax the reclusive Japanese folk legend, guitarist and songwriter Sachiko Kanenobu, back to playing (NY Times.) In Gunn's songs -which float between the worlds of Philadelphia soul, British folk, DC punk, and the cosmic jazz of Sun Ra with ease- one finds unexpected chromatic lyricism, and keen lyric observations. He's also done several challenging collaborations with a head-spinningly wide range of musical colleagues (Mary Lattimore, John Trusinski, Bridget St John, Mdou Moctar, Bing &Ruth, Kim Gordon, Kurt Vile) and continues to step outside of music into the worlds of film, line drawings, sculpture, or podcasts, in order to prevent tunnel vision (gathered from ToneGlow.substack.com.) The ace guitarist and fingerstyle folk rocker Steve Gunn plays recent songs from Other You and its companion EP, Nakama, in-studio. - Caryn Havlik Set list: “Fulton”, “Morning River”, “On the Way” Watch "Fulton":  Watch "Morning River":  Watch "On The Way": 

For the holidays this year, we're doing an Album Nerds-style Secret Santa album exchange. Join us for those picks, plus plenty of special guest and listener messages. Geri Allen – A Child is Born (Andy)John Fahey – The New Possibility: John Fahey's Guitar Soli Christmas Album (Don)Rob Halford and Friends – Celestial (Dude) What do […]

This week, Alan, Quinta, and Scott were joined by serial guest Lawfare executive editor Natalie Orpett to talk through the week's big national security news, including:“Surly Intervention.” Desperate circumstances in the island nation of Haiti have both Haitians and the international community thinking seriously about another international intervention. But no one seems excited about the prospect, or eager to lead it. How should the international community be approaching this situation?“What's the Penalty for Inequal Substitution?” The Biden administration finally negotiated the freedom of WNBA Star Brittany Griner this past week, but at a steep cost: the freedom of notorious Russian arms dealer Viktor Bout. And she leaves behind her another American, Paul Whelan, who has been in Russian prison since 2018. Was the trade worth making? How should the United States handle these difficult hostage-taking cases?“Justice Delayed is Justice in Stride.” Nearly thirty-four years after the Pan Am 103 bombing, the Justice Department has secured custody over Abu Agila Masud, a former Libyan intelligence operative believed to have built the bomb for, and played a key role in, the operation. How big a victory is this capture? How is the Justice Department likely to approach his prosecution?For object lessons, Alan embraced his inner Trekkie and endorsed the newest Star Trek series, "Star Trek: Strange New Worlds." Quinta endorsed Don Delillo's classic 1985 novel "White Noise," soon to be a feature film from Noah Baumbach. Scott encouraged listeners to incorporate folk guitarist John Fahey's 1968 album "The New Possibility" into their holiday music routine. And Natalie gave a few recommendations from her recent dive into short stories, including T. Coraghessan Boyle's short story "Princess" in a recent issue of the New Yorker and the late Hillary Mantel's collection of short stories, "The Assassination of Margaret Thatcher."Also, Rational Security will be doing its listener-submitted end-of-year episode later this month! So be sure to send any topics you want us to discuss or object lessons you want to share to rationalsecurity@lawfareblog.com. Hosted on Acast. See acast.com/privacy for more information.

LLR REWIND #5 features an excerpt from episode 4 of Lightnin' Licks Radio where Deon and special guest Cody discuss individuals in their lives who have served as musical influencers, those beautiful souls responsible for shaping their musical tastes. For Cody, a surprising number of said influencers all entered his life during his first abbreviated stint as a student at Northern Michigan University. Cody has since returned to the university and completed his studies, but the sonic impact made by those special friends remains intact. If you aren't streaming on Spotify, you can view the video here on YouTube. Check out Cody's musical projects YUM, Ampersand Castles, Yard Waste, and the kick ass band he most recently formed with friends at NMU, Liquid Mike on bandcamp. Much of the supplemental artwork / photos featured in the video were created by Cody as well. Very little to nothing was used with permission. Better to ask forgiveness. Sonic contributors to LLR REWIND #5 include: LEE MOSES / BROTHERS JOHNSON / L.L. COOL J. / MARVIN GAYE / EAZY E / SLICK RICK / JAM MASTER JAY / THE BOMB SQUAD / BEASTIE BOYS / DJ EVIL DEE / ISAAC HAYES / HEIGHT KEECH / YUM / RZA / GHOSTFACE KILLA / M.M. KNAPPS/ PILE / AMPERSAND CASTLES / HOOVER / NEIL YOUNG / JOHN FAHEY / SANDY BULL / STRIKERS. --- Send in a voice message: https://anchor.fm/llradio/message

Although he has a background in rock and experimental music, fingerstyle guitarist Glenn Jones is best known as a keeper of the flame of “American Primitive,” the folk-based style associated with the 20th century guitarist John Fahey. With a variety of tunings, capos, and even specially-made half-capos, Jones's country-blues music is full of unexpected textures. He plays new works from his 2022 record, Vade Mecum, in The Greene Space for the 2022 New York Guitar Festival. - John Schaefer Set list: Vade Mecum, Black & White and Gray, Each Crystal Pane of Glass, Ruthie's Farewell,  John Jackson of Fairfax, Virginia  Watch "Vade Mecum":   Watch "Black & White and Gray": Watch "Each Crystal Pane of Glass": Watch "Ruthie's Farewell": Watch "John Jackson of Fairfax, Virginia" Watch the whole show from Night 1 of the New York Guitar Festival: 

For another freestyle, Paul and Arlo are getting weird. As in “Weird Al” Yankovic, whom Arlo recently saw with their good buddy Kenn Edwards. Arlo recounts the concert moment he'd been waiting for all his life, then Paul discusses the joys and frustrations of the first-ever virtual Slayage conference. Plus, brief ruminations on Nope, Thor: Love and Thunder, and The Rehearsal; and we remember our friend Chelsea Hawk.   NEXT: TBD.     LINKS   GoFundMe: For Jared, Chelsea and Xion       MUSIC “We Would Be Building” by John Fahey, Days Have Gone By, Vol. 6 (1967) “Lame Claim to Fame” by “Weird Al” Yankovic, Mandatory Fun (2014)     GOBBLEDYCARES Abortion Funds in Every State: https://bit.ly/AbortionFundsTwitter National Suicide Prevention Lifeline: https://suicidepreventionlifeline.org/  Support AAPI communities and those affected by anti-Asian violence: https://www.gofundme.com/c/act/stop-aapi-hate Support the AAPI Civic Engagement Fund: https://aapifund.org/ Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ The Trevor Project provides information and support to LGBTQ youth: thetrevorproject.org Trans Lifeline: https://translifeline.org/  US (877) 565-8860 Canada (877) 330-6366 National Center for Transgender Equality: transequality.org Advocate for writers who might be owed money due to discontinuance of royalties: https://www.writersmustbepaid.org/  Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://ripmedicaldebt.org/ Register to vote: https://vote.gov/

Welcome to Aquarium Drunkard Transmissions. Our guest today on the show Glenn Jones, who joins us to discuss his new album Vade Mecum, out now on Thrill Jockey Records, as well as touch on and illuminate the complicated legacy of John Fahey. Both solo and as a member of Cul-de-Sac, Jones has been a force of creative energy in the world of solo acoustic guitar, guitar soli, or American Primitive music, a term we discuss in this chat. Before we get into the talk, we want to acknowledge a debt of gratitude to Steve Lowenthal, for his great book on Fahey, Dance of Death: The Life of John Fahey, American Guitarist. Though we mostly focus on Jones' own work—and the new album is a fantastic example of what makes him such an enduring presence in the avant-guitar field—we do at one point shift into discussion of the complicated relationship Fahey had with race. Steve's book serves as a great resource. We also want to thank Glenn for the candidness and honesty he brought to our talk.  I want to thank you for listening to Transmissions. We're a part of the Talkhouse Podcast Network. Check out Aquarium Drunkard on Patreon to support the show.

Crossover time. Today on the show, Canadian podcaster, broadcaster, music journalist, and music lifer Vish Khanna. He's the host of the long running and inspirational Kreative Kontrol, a podcast dedicated to creativity. Here's what Bonnie “Prince” Billy said about talking with him: “…it's rewarding, relaxing, fulfilling to engage with Vish, as the exchanges have always been just rife with that rarest rarity: communication.” Alongside Will Oldham, Vish has hosted members of Pavement, Sonic Youth, Warren Ellis of The Bad Seeds, Jeff Tweedy, Ian MacKaye, and many other major alt rock figures. For this episode of Transmissions, Khanna and host Jason P. Woodbury embark on a revealing conversation about niche music podcasting and creative process. Rate, review, subscribe, and spread the word if you dig Transmissions, which is part of the Talkhouse Podcast Network. Wanna go further? Check out Aquarium Drunkard on Patreon. Next week on the show: guitarist Glenn Jones on his new album Vade Mecum and John Fahey. Transmission concluded. 

Loren Connors is a guitarist, poet and painter who grew up in Connecticut but has called New York his home since early adulthood.  Since the late 1970s he was released over 50 albums of primarily improvised material, developing his unique avant-garde playing style in formed by early blues and 20th century composers. He has collaborated with a diverse array of likewise important musicians such as John Fahey, Sonic Youth, Jim O'Rourke, Kath bloom, and Alan Licht. His most frequent cohort is also his partner, Suzanne Langille. She and Loren join me from Brooklyn at their friend Bob Bellarue's home studio.  We talk about Loren‘s family doorway into music and the lessons learned along the way, his body of work, Suzanne and Loren‘s aesthetic partnership, and we'll also hear Loren‘s guitar improvisations in real time throughout the interview. Suzanne and Loren also improvise a piece together just for today's show, and David Grubbs gives a warm introduction.Special thanks to Bob Bellarue for engineering this episode.Links to the music from today's show, related videos and more can be found on this episode's page at lowprofilepodcast.com – all previous episodes are there as well.More about Loren at http://www.lorenconnors.net/More from Suzanne at https://suzannelangillenyc.bandcamp.com/Instagram: @lowpropodcastEpisode art by Nathan Berko Gibson @portablediskoThis show is supported by you on patreon.com/lowprofile and receives in-kind support from:San Francisco Street Bakerysfsbakery.comRainy Day Records and Tapes@rainydayolympiaSchwartz's Deli@schwartzsolympiaOld School Pizzeria@old_schoolpizzeriaand Scherler Easy Premium Shitty American Lager.  Visit scherlerbeer.com for info about the free Scherler Sundays with Markly Morrison happening weekly through August 19th, come say hi and hang out for the taping!

This week, it's a 90's NC indie rock scene reunion with our guest Chuck Johnson, a supremely talented guitarist, pedal steel guitairst and composer who's music has evolved from his indie rock days in NC with his band, Spatula to his John Fahey like acoustic work to his more recent lush, ambient pieces on such albums as "Basalms" and "The Cinder Grove". He is also on the 40 year balding plan, so these days he keeps his hair short and sweet. He and Brian discuss what goes into making atmospheric music that you pay attention to, how his dog Bubbles' back issues changed his musical direction, why selling out means something very different in your 40's, and Chuck plays an acoustic piece for the first time in A WHILE! __ Show Information Twitter: @baldtalkpodcast Instagram: @baldtalkpod Email: baldtalkpod@gmail.com Brian Huskey Twitter: @thebrianhuskey Instagram: @thebrianhuskey Charlie Sanders Instagram: @charliesanders

In this episode we discuss impending Fatherhood! Plus Bo Burnham's INSIDE, Burt Reynolds' HEAT, Branan's experience Cabin living, camping with the gang, John Fahey , Mr. Rogers discusses silence, Never Ending Story, Fellini's Toby Dammit excerpt from SPIRITS OF THE DEAD, Vivaldi's Stabat Mater in F minor, RV 621: VI Eja Mater, fons amoris and how is it compares to BB King and Shakespeare, MIDNIGHT MASS (Netflix), Mark Twain, I am One of You Forever by Fred chapel, The Alchemist by Paulo Coelho, SUCCESSION (HBO), THE DEATH OF STALIN, Our Mathematical Universe by Max Tegmark, Fabric or Reality by David Deutsch, Simulation theory, plus readings from Harper's Magazine “Writing Wrongs” and “Clause and Effect”and we read listener reviews. Artwork "Fatherhood" by Mahfuzur Rahman