Podcasts about The Lonesome Road

Sintonía: "Oh Mary Don´t You Weep" - The Fisk Jubilee Singers"Up Above My Head" - Sister Rosetta Tharpe & Marie Knight with The Sam Price Trio; "God´s Gonna Gut ´em Down" - The Golden Gate Quartet; "I Want My Crown" - The Pilgrim Travellers; "Get On Board Little Children" - Alphabetical Four; "Climbing Up The Mountain" - Morris Brown Quartet; "Precious Memories" - Sister Rosetta Tharpe & Marie Knight; "Didn´t It Rain" - The Golden Gate Quartet; "Let The Church Roll On" - Capitol City Four; "Standing On The Highway" - The Pilgrim Travellers; "Wake Me, Shake Me, Don´t Let Me Sleep Too Long" - The Wright Brothers Gospel Singers; "Rock Me" - Sister Rosetta Tharpe; "Where Could I Go But To The Lord" - Sister Ernestine Washington with Bunk Johnson´s Jazz Band; "I Heard Zion Mourn" - Southern Sons; "Lonesome Road" - Sister Rosetta Tharpe with Lucky Millinder & His Orchestra; "You´ve Got To Move" - Elder Charles Beck; "Don´t Take Everybody To Be Your Friend" - Sister Rosetta Tharpe & The Sam Price Trio; "Amazing Grace" - Mahalia JacksonTodas las músicas extraídas de la recopilación (2xCD) "Black Gospel" de la serie "As Good As It Gets" del sello Disky Communications (2000).Escuchar audio

Welcome to Get Up in the Cool: Old Time Music with Cameron DeWhitt and Friends. This week's friend is Morgan Harris! I interviewed her back in August in NY state on a day off of tour with Tall Poppy String Band. Thanks again to Lillian and Adam Kology for hosting us! Tunes in this episode: * Old Sage Friend (1:06) * Girl with the Blue Dress On (11:44) * Lonesome Road (20:58) * Love Has Brought Me to Despair (30:47) * Peep O'Day (40:54) * Bonus Track: Betty Baker Check out a live performance video of ‘Old Sage Friend' on YouTube (https://www.youtube.com/watch?v=OKUVRLzzxoY) Pre-order Alone Will Tell (https://morganharrisguitar.bandcamp.com/album/alone-will-tell) Pre-save streaming (https://distrokid.com/hyperfollow/morganharris1/alone-will-tell) Visit Morgan Harris' website (https://www.morganharrisguitar.com) Follow her on Instagram (https://www.instagram.com/morganharrisguitar/) Support Get Up in the Cool on Patreon (https://www.patreon.com/getupinthecool) Send Tax Deductible Donations to Get Up in the Cool through Fracture Atlas (https://fundraising.fracturedatlas.org/get-up-in-the-cool) Sign up at Pitchfork Banjo for my clawhammer instructional series! (https://www.pitchforkbanjo.com/) Schedule a banjo lesson with Cameron (https://www.camerondewhitt.com/banjolessons) Visit Tall Poppy String Band's website (https://www.tallpoppystringband.com/) and follow us on Instagram (https://www.instagram.com/tallpoppystringband/)

 | Artist  | Title  | Album Name  | Album Copyright  |  | J.D. Harris  | The Grey Eagle  | The Stuff that Dreams are Made Of (disc 1)  | Lonnie Johnson  | Lonesome Road  | Lonnie Johnson Tomorrow Night 1970  | Tampa Red  | Through Train Blues  | Tampa Red Vol. 1 (1928-1929)  |   | Lightnin' Hopkins  | Mean Old Frisco  | The Blues of Lightnin' Hopkins (1967)  | Big Bill Broonzy  | Sad Letter Blues  | Chicago 1937-1938 (CD8)  1937-1940 Part 2  | Leecan and Cooksey  | Dirty Guitar Blues  | A Richer Tradition - Country Blues & String Band Music, 1923-1928  | Corey Harris  | Jack O' Diamonds  | Fish Ain't Bitin'  |   |   | Half Deaf Clatch  | Storm Brewin  | The Blues Continuum  |   | Sonny Terry and Brownie McGhee  | Worried Life Blues (Recorded Live At The Free Trade Hall, Manchester  | Chris Barber Presents The Blues Legacy Lost & Found Series  | Jake Leg Jug Band  | I Love Me  | Break A leg  |   |   | Dik Banovich  | Pay Day  | Run to You  |   |   | Blind Blake  | Fancy Tricks  | All The Recorded Sides  |   | Tom Doughty  | Come Back Baby  | You Can't Teach An Old Dog  |   | Bluesblabber  | The Ballad of Mr. Wright  | Like It Raw  |   |   | Bessie Jones & with the Georgia Sea Island Singers  | That Suits Me  | Get In Union  | Alan Lomax Archives/Association For Cultural Equity  | Peg Leg Howell  | Coal Man Blues  | Country Southern Blues  | 

Singles Going Around- Sunshine & ThunderEverly Brothers- "Gone, Gone, Gone"Link Wray- "Juke Box Mama"Nirvana- "Love Buzz"Shocking Blue- "Long and Lonesome Road"Flying Burrito Brothers- "High Fashion Queen"Jack White- "Fly Farm Blues"The Byrds- "Captain Soul"Magic Sam- "All Of Your Love"Nancy Sinatra & Lee Hazelwood-"Elusive Dreams"The Beatles- "Baby's In Black"Simon & Garfunkel- "Richard Cory"Neil Young- "Lost In Space"Aretha Franklin- "Save Me"The Doors- "L.A. Woman"The Beach Boys- "The Warmth Of The Sun"Johnny Cash- "Folsom Prison Blues"Led Zeppelin- "Rock and Roll" (Live)

Esta série de leituras em forma de áudio de textos do mundo psi, tem como objetivo o de oferecer mais um instrumento de acesso aos grandes textos e capítulos dos livros imperdíveis para pensar a complexa clínica contemporânea. As leituras não visam perfeição, erros de concordância, de pronuncias e equívocos ocorrerão naturalmente, espero por sua tolerância e compreensão. Leitura do texto de Arnaldo Chuster. Dr. Arnaldo Chuster é Médico psiquiatra, Mestre em Ensino Superior pelo IPEMIG, Doutor em Psicologia Médica pela FMSM, psicanalista docente e didata da SPRJ e do Newport psychoanalytical institute, Califórnia, membro honorário e fundador do instituto W. Bion, Porto Alegre. Autor de 14 livros sobre a obra de Bion: Um resgate da Originalidade (1989), Diálogos psicanalíticos (1994), Cadernos de Bion 1 (1997), Cadernos de Bion 2 (1998), Novas leituras 1 (1999), Novas leituras 2 (2002), As 7 invejas capitais (2005), Infidelidade e traição (2007), O objeto psicanalítico (2011), WRBion: a obra complexa (2014), Capacidade negativa (2019), A Lonesome Road (2013), Simetria e objeto (2018). BIBLIOGRAFIA Bion, W.R. (1957) Diferenciação entre a personalidade psicótica e a personalidade não psicótica. In Estudos Psicanalíticos Revisados, Rio de Janeiro, Imago, 1988, pp. 45-62 (tradução de Wellington M. De Melo Dantas). _________ (1957) Sobre Arrogância. In Estudos Psicanalíticos Revisados, Rio de Janeiro, Imago, 1988, pp. 81-86 (tradução de Wellington M. De Melo Dantas). __________ (1962) Uma Teoria sobre o Processo do Pensar. In Estudos Psicanalíticos Revisados, Rio de Janeiro, Imago, 1988, pp. 101-109 (tradução de Wellington M. De Melo Dantas). ___________(1963) Os Elementos da Psicanálise. O Aprender da Expoeriência. Rio de Janeiro, Zahar, 1966. ___________ (1965) Transformations: Change from learning to growth, London, W. Heinemann. ____________ (1970) Attention and Interpretation. London, Tavistock. _____________ (1971) Two papers: The Grid and Caesura. Rio de Janeiro, Imago, 1977. _____________ (1979) Making the best of a bad Job. In Clinical Seminars and Four papers. Abingdon: Fleetwood Press, 1987. _____________ (1987) Clinical Seminars and Four papers. Abingdon: Fleetwood Press, 1987. Chuster, A.(1999) W.R. Bion: Novas Leituras. A psicanálise dos modelos científicos aos princípios ético-estéticos, vol. I, Companhia de Freud, 1999. __________ (2002) W.R. Bion: Novas Leituras. A psicanálise dos princípios ético-estéticos à clínica, vol. II, Companhia de Freud, 2002. __________ (2011) O Objeto Psicanalítico: Fundamentos de uma mudança de paradigma na psicanálise, edição Instituto Bion, Porto Alegre. __________ (2012) Cesura e Imaginação radical: obtendo imagens para a ressignificação da história primitiva no processo analítico. In Sobre a Linguagem e o Pensar. Concepção e Organização de Jose Renato Avzaradel, Casa do psicólogo, São Paulo. Chuster, A. e Trachtenberg (2008) R. As Sete Invejas Capitais, Artmed, Porto Alegre. Etchegoyen, H. (1968) Supervisão com Bion. Material clinico apresentado por Dr. Horácio Etchegoyen, Buenos Aires, 1968. Revista Brasileira de Psicanálise, 27: 659-670 (tradução de Isaias Kirchbaum). Green, A. (1973) O Discurso Vivo. Uma Teoria Psicanalítica do Afeto. Francisco Alves, 1982. ________ (1993) El Trabajo del Negativo, Amorrortu, Buenos Aires. Meltzer, D. (1997) Meltzer em São Paulo. Organização de Maria Olympia França. Casa do psicólogo. São Paulo.

Women are hitting the road alone, but where are they going and why? This week, Sarah and Tennille are joined by travel agent Mitzi Hamilton to discuss some U.S. cities that women are choosing for their solo travel adventures.

Sintonía: "Rockin´ The Keys" - Jose Melisand & His Piano"Open The Door Richard" - Bill Doggett; "Bla Bla Bla Cha Cha Cha" - Titus Turner and Mort Garson Orchestra; "Rex The Hex" - The King´s Jesters; "Lookout" - Savina and The Love Orchestra; "Minor Mad" - Roby Davis; "All or Nothing At All (Take Your Lips Offa My Cheek)" - Page Cavanaugh Trio; "Sister Jenny" - The Four Hues & George Cates Orchestra; "Guitar Rock" - Irving Ashby; "Walking Together" - Reed Harper & The Notes; "Nite Train To Wabash" - Billy Wayne Combo; "The Girl With The Swingin´ Derriere" - Ruth Wallis & Jimmy Carroll Orchestra; "Rock´n´Roll Cha Cha Cha" - The Shepherd Sisters; "Abdullahs Pets" - Henri De Pari & His Orchestra. Todas las músicas extraídas de la recopilación (1x10") "Down at the Ugly Men´s Lounge Vol. 3" (Roof Records, 2018)"Get A Load of That Walk" - Randy Van Horne & The Tigers; "Lonesome Road" - Jackie Jocko & The Barrett Singers; "Rock Mr. Banjo" - Bobby Schmidt & Sein Sextett; "Leave My Heart" - Mary Del & Archie Bleyer Orchestra; "Neptune Part 1" - Sammy Benskin & The Spacemen y "Out Of The Picture" de Mike Phillips & The Vocalaires, extraídas de la recopilación "Down at the Ugly Men´s Lounge Vol. 7 (Roof Records, 2023)Escuchar audio

Sister Rosetta Tharpe, the renowned guitarist and gospel singer, was born on March 20, 1915, in Arkansas. One of the few Black women guitarists of her era, Tharpe had a unique sound that played a pivotal role in popularizing gospel music. She is hailed as the godmother of modern rock 'n' roll. In 1938, Tharpe relocated to New York City, where she recorded four gospel hits with Decca Records: "Rock Me," "That's All," "The Man and I," and "The Lonesome Road," all of which became instant successes, firmly establishing her as one of the earliest commercially successful gospel artists. Tharpe's career spanned over three decades, during which she continued to captivate audiences with her live performances until her passing at the age of 58 in 1973. Learn more about your ad choices. Visit megaphone.fm/adchoices

Lee Pulaski returns to share his recent books, Heartsong of the Lonesome Road, and The Tragic Tale of Tabby and Henny. After diving into those, we discuss his upcoming works, which include a mystery, a fantasy, an anthology and a drag queen.  https://leepulaski.com/  http://www.wrotepodcast.com/lee-pulaski/ 

Raymond Lewis – Smooth Operator Little Stevie Wonder – Lonesome Road Bo Diddley – Crackin' Up The Bobbettes - Look at the Stars Phil Flowers – Satan's Little Baby Julie Dassin – Aiko Aiko Dorothy Berry - You're So Fine Nottriel Vilela - 16 Toneladas Oliver Morgan - Roll Call Johnny Copeland – It's Me Mattie Moultrie - That' s How Strong My Love Is Johnnie & Jackie – Someday We'll Be Together

Peter Orner and Yvette Benavides discuss "Lonesome Road" by Gina Berriault.

In Your House Canadian Stampede is on THWF! The greatest $20 pay per view you'll ever watch! The entire crowd is full of Harts but Stone Cold still manages to flip off an entire nation!OTH stands back because Hurricane Taylor is coming through and there might be some chemistry between her and Nathan.Even better news... ANNA'S DEAD TOO! Well, I'm dead tired of seeing her on my screen and she's taking the long walk off a short pier, yayyyyyyy!!!Follow us on Tik Tok and Instagram @treehillwf.podcast and listen in on all streaming services!

Singles Going Around- Love And A Lonesome RoadShocking Blue- "Love Buzz"The Moving Sidewalks- "Joe Blues"Allen Toussaint- "Whirlaway" The Staple Singers- "Let Me Ride"Led Zepplin- "Boogie With Stu"Esquerita- "Hey, Miss Lucy"Blossom Dearie- "'Deed I Do"Bob Dylan- "Visions  Of Johanna"13th Floor Elevators- "Before You Acuse Me"Simon & Garfunkel- "At The Zoo"Shocking Blue- "Venus"Captain Beefheart & His Magic Band- "Tarotplane"*All selections taken from the original lp's.

Welcome to Get Up in the Cool: Old Time Music with Cameron DeWhitt and Friends! This is a special call-in episode. Thanks for submitting your questions and requests, folks! I'd love to do this again, so send submissions to getupinthecool@gmail (thanks)! Tune in this episode: * Marion Reece's Cumberland Gap (8:39) * Black Jack Grove (20:06) * Backwater Boys Breakdown (34:04) * Oh How He Lied (48:54) * Lonesome Road (54:28) * Bonus Track: Shady Grove Sign up for Cameron's A Tunes Up the Neck online banjo workshop taking place Sunday, July 16 at 5pm Pacific! (https://www.camerondewhitt.com/store) Support Get Up in the Cool on Patreon (https://www.patreon.com/getupinthecool) Sign up at Pitchfork Banjo for my clawhammer instructional series! (https://www.pitchforkbanjo.com/) Schedule a banjo lesson with Cameron (https://www.camerondewhitt.com/banjolessons) Check out Cameron's other podcast, Think Outside the Box Set (https://boxset.fireside.fm/) Check out Cameron's old time trio Tall Poppy String Band (https://www.tallpoppystringband.com/)

Jimmy Bryant and Speedy West "Stratosphere Boogie"Elvis Costello & The Attractions "Love For Tender"Martha Davis "Kitchen Blues"Freakwater "Bolshevik and Bollweevil"The Light Crust Doughboys "Dirty Dish Rag Blues"Adia Victoria "Mortimer's Blues"The Carter Family "Bear Creek Blues"Memphis Jug Band "Papa's Got Your Bath Water On"Chris Whitley "Dust Radio"Billie Holiday "Long Gone Blues"Homesick James "Lonesome Road"Ray Wylie Hubbard "Bad Trick"Wynonie Harris "Quiet Whiskey"Roger Miller "Private John Q"Fletcher Henderson "Sing, Sing, Sing"Viola James "On That Rock"Angel Olsen "Lights Out"Stack Waddy "Willie the Pimp"Clem Snide "Moment in the Sun"Andrew Bird "Railroad Bill"Duke Ellington and His Orchestra "Love Is Like a Cigarette"Bob Corritore - Valerie June "Crawdad Hole"Kansas City Kitty & Georgia Tom "Gym's Too Much For Me"Loretta Lynn "Blue Steel"Rebirth Brass Band "Leave That Pipe Alone"Tom Waits "I Wish I Was In New Orleans [in The Ninth Ward]"The Nite Owls "Married Man Blues"S.G. Goodman "Dead Soldiers"Bukka White "Aberdeen Mississippi Blues"Hank Williams "Nobody's Lonesome For Me"Blue Lu Barker "That's How I Got My Man (10-25-49)"Trapper Schoepp "Eliza"Jimmie Rodgers "Let Me Be Your Side Track"Hound Dog Taylor & The HouseRockers "Give Me Back My Wig"Bessie Jones "So Glad I'm Here"The Breeders "When I Was a Painter"R.L. Burnside "Peaches"Dead Meadow "Sleepy Silver Door"Billy Bragg "Greetings To The New Brunette"Drag The River "Fire & Flood"Willie Humphrey "Oh How I Miss You Tonight"Howlin' Wolf "Ridin' In the Moonlight"The Yardbirds "Respectable (Live)"Gang of Four "Armalite Rifle"Jimmy Smith "Got My Mojo Workin'"John Lee Hooker "Boogie Chillen  (1949 Original Version)"Lucero "San Francisco"

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"

We're back! This month we played the 4 story add-ons for Fallout New Vegas: Dead Money, Honest Hearts, Old World Blues, & Lonesome Road. Some were bad, some were mid, some were even delightful! Pretty good encapsulation of Fallout as a whole, really. Join us as we bring our Fallout expedition to a close. Kind of. You'll see next month.

Gen and Jette end up at a bar with Taylor and Nathan in Georgia. Anna's old girlfriend visits and inspires her. Lucas and Andy work on taking Dan down. Brooke learns what having a parent is like when she lives with Karen. Peyton and Jake continue to hide Jenny and worry about the future. Don't forget to follow us on Instagram @teenagedaydreampodcast and on Twitter @teendreampod.

A Semana de Arte Moderna de 1922, neste ano completa 100 anos, para além de um simples evento é um movimento que reverbera até os dias de hoje, convidei o grande Psicanalista Arnaldo Chuster para discorrer sobre sua fala na Sociedade de Psicanálise do RJ recentemente apresentada, confira! Dr. Arnaldo Chuster é Médico psiquiatra, Mestre em Ensino Superior pelo IPEMIG, Doutor em Psicologia Médica pela FMSM, psicanalista docente e didata da SPRJ e do Newport psychoanalytical institute, Califórnia, membro honorário e fundador do instituto W. Bion, Porto Alegre. Autor de 14 livros sobre a obra de Bion, conforme abaixo: Um resgate da Originalidade (1989), Diálogos psicanalíticos (1994), Cadernos de Bion 1 (1997), Cadernos de Bion 2 (1998), Novas leituras 1 (1999), Novas leituras 2 (2002), As 7 invejas capitais (2005), Infidelidade e traição (2007), O objeto psicanalítico (2011), WRBion: a obra complexa (2014), Capacidade negativa (2019), A Lonesome Road (2013), Simetria e objeto (2018).

Found this in my files. I never play "Swallowtail" anymore...and I'm not thrilled with my version here, but...I like the initial song.

In our episode on S2E18: The Lonesome Road, we discuss Nathan and Taylor's almost-kiss, Sherlock Holmes references, and the lesson Brooke learned. We also discuss Jake turning himself in to the police and whether Nicki deserves a second chance. And of course, we unpack Anna's coming out story, Darby's support, and Anna's ultimate decision to leave Tree Hill. Jeremy also shares their experience coming out and how Anna's story deeply inspired them. Be sure to leave us a review on Apple Podcasts! That's the easiest way to support us and to help One Tree Hill fans, new and old, find us! We're Kaitlyn Ilinitch (@MissIReads) and Jeremy Rodriguez (@RodriguezJeremy) and you can find Always and Forever on Twitter, Instagram and Facebook @alwaysothpod or email us at alwaysothpod@gmail.com. Check out our One Tree Hill season 2 Spotify playlist here: https://spoti.fi/3eNZm5R. Always and Forever is now on Patreon! Join our community to gain access to our private Discord server, early episode releases, and bonus content. Visit patreon.com/alwaysothpod for more information.   

We're back after a six month break. Less chat, more music this time round. We start with a very laid back Louis Armstrong and his version of Blueberry Hill. Billie Anthony was born Philomena McGeachie Levy in Glasgow in 1932. Here she sings her biggest hit, This Ole House. There were a few covers of this record in the British charts. Rosemary Clooney made no1 but Billie Anthony made no4. She had a great voice and it's surprising that her career had just petered out by 1960.  Tony Martin stirs up  passions with Kiss of Fire. He had a seven decade career and was married to Alice Faye and Cyd Charisse-  but not at the same time!  Strict tempo dance music next. Developed to standardise dance styles strict tempo bands never had a vocalist. I suppose it could be accused of being a little souless but in this section of records its comes over as chilled and relaxing. Two from the king of strict tempo Victor Silvester. A dancer himself he, along with Josephine Bradley, was a founder member of The Imperial Society of teachers of dance. Which I have to say does sound a tad pompous! Silvester sold 70 million records in his time. Check him out below. Its a fascinating read:   https://en.wikipedia.org/wiki/Victor_Silvester Both Josephine Bradley and Henry Jasques were originally dancers. Indeed Jasques was British Ballroom champion from 1934 to 36. His 1944 book on ballroom is still a highly sort after work. Latvian born Oscar Rabin joins the strict tempo crew with Love is all. Jo Stafford had highly successful career over five decades. Opera trained her voice is very pure. She married the band leader Paul Weston and they produced alot of fine work together. They had a side project though: Jonathon and Darlene Edwards, a truly bad caberet act. Listen here, if you dare: https://youtu.be/NySAbB2JLII Some more obscure artists next. Victor Olof with Tancuf, a Slovakian dance, Harry Wulson yodelling in 1929. He produced a few such records but I cannot find a biog of him. The Accordion Emsemble were probably a Zonophone house band, here they play Espana Valise recorded in 1920. Gene Austin was extremely well known in his time. One of the first crooners he was also a fine songwriter, When My Sugar Walks Down the Street and, Forgotten Songs favourite, The Lonesome Road are just two of his compositions. Here he sings- I've grown so lonesome thinking of you. PIano duo and co bandleaders Victor Arden and Phil Ohman give us Kiddie Kapers. That leads us perfectly to two records on 45rpm. First a track that was very popular in my 1960s and 70s childhood. Sparky's talking piano. It was actually recorded in 1947 with the child actor Henry Blair voicing Sparky. The rather creepy piano's voice was created by a Sonovox voice processor. Which makes the human voice sound, well, both robotic and musical. It was invented in 1939 and had an early notable demonstration by Lucille Ball in a Pathe newsreel. We dissolve seemlessly from that to Sacha Distel singing Ich bin ein spielman. Back to 78s with with Coleman Hawkins with Half step down please. Tito Burns and his Sextet play Sloppy Joe. Burns had a career as a musician, accordian and piano, and as an impresario and manager. He discovered Dusty Springfield, managed Cliff Richard and organised the European tours of Simon and Garfunkle. We close with Joe Daniels and Drumnastics. Hope you enjoy it. Its good to be back.    

LIVE from NRB 2022! Matt interviews former truck driver Gary Rayburn, who has a great conversion story and subsequently began a "rolling church", focused on ministering to long-haul truck drivers. Lonesome Road Ministries: https://www.lonesomeroad.org/ (https://www.lonesomeroad.org/) For more information about Christian Crusaders, the ministry under which The CC Podcast is produced: https://christiancrusaders.org/ (https://christiancrusaders.org/) To listen to The CC Podcast: Daily Dose Devotions, where we're currently going through an overview of the Bible each day, https://christiancrusaders.org/ccpod-daily-dose (click here). To listen to our weekly radio broadcast, The CC Broadcast, which has aired for over 85 years, and which features a 30 minute worship service, including music and preaching, https://christiancrusaders.org/the-cc-broadcast (click here). Thanks to Andrew, our Technical Director, and Terri, our intro/outro announcer! Music by https://pixabay.com/users/lesfm-22579021/?tab=audio&utm_source=link-attribution&utm_medium=referral&utm_campaign=audio&utm_content=5878 (Lesfm) from https://pixabay.com/?utm_source=link-attribution&utm_medium=referral&utm_campaign=music&utm_content=5878 (Pixabay)

Dance and sing along with the Irish & Celtic Music Podcast. Conor Caldwell, The Jig Is Up!, Muireann Nic Amhlaoibh, Ellen Gibling, Des Wade, Slainte, Spirited Lads, Celtic Wood and Wires, Pauline Scanlon, The Fire, Gillian Boucher & Bob McNeill, Barleyjuice, Tuatha de Danann, The Pikeys, Doolin', Brad Tuck I hope you enjoyed this week's show. If you Heard a song, tune or artist that you loved, I'd like you to share this episode and tag the artist on social either on your page or in a Celtic group you're a part of. Include the show time so they can quickly listen and enjoy. The Irish & Celtic Music Podcast is here to build our diverse Celtic community and help the incredible artists who so generously share their music with you. Musicians rely on your support so they can keep creating new music. If music in this show inspired you, you can buy their CDs, digital downloads, shirts, pins, and other merch. You can follow them on streaming and see their shows. More and more Celtic musicians are on Patreon, just like this podcast. And of course, I always appreciate it when you drop artists an email to let them know you heard them on the Irish and Celtic Music Podcast. How would you like Celtic music news in your inbox? The Irish & Celtic Music Magazine is a quick and easy way to plug yourself into more great Celtic culture. Subscribe and get 34 Celtic MP3s for Free. THIS WEEK IN CELTIC MUSIC 0:06 - Conor Caldwell “Bunting MS 6 No.14” from To Belfast… 3:31 - WELCOME 4:34 - The Jig Is Up! “Lonesome Road to Dingle  -  Star Above the Garter  -  Newmarket Polka” from First Steps 8:10 - Muireann Nic Amhlaoibh “Slan le Maigh” from daybreak: fainne an lae 11:40 - Ellen Gibling “Hop Jigs: Cucanandy/ Coleman's/ The Boys of Ballisodare” from The Bend in the Light 16:17 - Des Wade “The Sign of the Claddagh” from The Book of My Days 19:52 - FEEDBACK 22:05 - Slainte “Lark in the Morning  -  The Atholl Highlanders” from Cup of Tea 26:13 - Spirited Lads “Joe Batts Arm Longliners” from Tall Tales and Fond Farewells 30:28 - Celtic Wood and Wires “High Road to Linton” from Close the Back Door 32:30 - Pauline Scanlon “The Lover's Ghost” from Gossamer 36:28 - The Fire “The Duchess of Hamilton” from Marigold 40:38 - Gillian Boucher & Bob McNeill “Emily Bay” from Race for the Sun 45:33 - THANKS 47:10 - Barleyjuice “Crackin' Jenny's Teacup” from The Old Speakeasy 49:20 - Tuatha de Danann “The Dream One Dreamt” from In Nomine Éireann 53:42 - The Pikeys “The Briar and the Sword” from The Sons of War & Whisky 57:45 - Doolin' “Famine” from Doolin' 1:00:39 - CLOSING 1:03:10 - Brad Tuck “It's Alright” from The Rocky Isle The Irish & Celtic Music Podcast was edited by Mitchell Petersen with Graphics by Miranda Nelson Designs. The show was produced by Marc Gunn, The Celtfather. Subscribe through your favorite podcatcher or on our website where you can become a Patron of the Podcast for as little as $1 per episode. Promote Celtic culture through music at http://celticmusicpodcast.com/. WELCOME TO CELTIC MUSIC * Helping you celebrate Celtic culture through music. I am Marc Gunn. I'm a musician and podcaster. I share my love of Irish and Celtic music from around the globe with you. I want to introduce you to some amazing Celtic bands and musicians. The artists in this show need your support which you can do by buying their music or telling a friend about the band you found. You can find a link to all of the artists, along with show times and chapters for each song when you visit our website at celticmusicpodcast.com. You can also support this podcast on Patreon. There's a new episode of Pub Songs & Stories. I do a countdown of the Top 20 Celtic Bands of 2021. I also play a few tracks from some of those top bands. You can subscribe and listen at pubsong.com. VOTE IN THE CELTIC TOP 20 FOR 2022 This is our way of finding the best songs and artists each year. You can vote for as many songs and tunes that inspire you in each episode. Your vote helps me create next year's Best Celtic music of 2022 episode. But it also helps me populate a new playlist on Spotify. Every week, I am adding new tracks to the playlist, which started off featuring many of the Best Celtic Songs and Tunes of 2021. Last week, I added House of Hamill and Muireann Nic Amhlaoibh to that list. They had the top voted songs from the first episode of the year. Follow and Listen on Spotify. Now just because they received lots of initial votes does NOT mean they will be a part of the Celtic Top 20. You can still vote for your favorite tracks for another couple weeks. So get those votes in ASAP. Then go vote for your favorites in THIS show. You do need to be a Patron of the Podcast. But you can Vote Right Now on Patreon! It's really easy to do. It's a simple poll. Just click it. THANK YOU PATRONS OF THE PODCAST! Because of Your kind and generous support, this show comes out nearly every week. Your generosity funds the creation, promotion and production of the show. It allows us to attract new listeners and to help our community grow. As a patron, you hear episodes before regular listeners and you can vote in the Celtic Top 20. You can pledge a dollar or more per episode and cap how much you want to spend each month over on Patreon. You can also get music - only episodes and free MP3s when you become a Song Henger. Thanks to Kirsten and Paul Crowley who raised their pledges last month. You can become a generous Patron of the Podcast on Patreon at SongHenge.com. TRAVEL WITH CELTIC INVASION VACATIONS Every year, I take a small group of Celtic music fans on the relaxing adventure of a lifetime. We don't see everything. Instead, we stay in one area. We get to know the region through its culture, history, and legends. You can join us with an auditory and visual adventure through podcasts and videos. Learn more about the invasion at http://celticinvasion.com/ #celticmusic #irishmusic #celticmusicpodcast I WANT YOUR FEEDBACK What are you doing today while listening to the podcast? You can send a written comment along with a picture of what you're doing while listening. Email a voicemail message to celticpodcast@gmail.com Bonnie Menard messaged on Facebook: "I am listening to your podcast from New Hampshire in USA. I just started to listen to it on Iheart radio while I work and I want you to know that I enjoy listening." Alina Larson responded to a post on facebook: "I love The Fire! I've gotta get back into listening to podcasts  -  I've really enjoyed the selection of music you play & have found out about a bunch of great bands through this podcast." Thurman Burnley commented on Apple Podcasts: “I discovered your podcast about a year after you started it and have enjoyed each and every episode. I come from Irish, English, and Scottish stock so Celtic music speaks to my soul. I listen to it everywhere I go and with everything I do, out loud. When people ask me what I'm listening to, I happily tell them all about your many podcasts. You have made my life better with the Irish & Celtic Music Podcast and I am forever grateful. Thank you”

Join Brody, Caitlin, and Jessi as they go to a bar that is definitely, absolutely not, Coyote Ugly.  Highlights include:  immediately forgetting what our notes are about, casual aiding and abetting, flirting too hard with your sister in law, aggressively upbeat allies, Bevin has lines!, Coyote Ugly is a cinematic masterpiece and we will take no arguments, James Lafferty doesn't know what to do with his hands, bad Oceans 11 impressions, Dan Scott's nanny cam, this episode brought to you by mark. cosmetics and their chunky lip gloss, JakeJake's east coast accent is escaping, unexpectedly progressive plot lines, do they think this conversation is sneaky?, Luke can read and dribble a basketball, excellent big sister advice, Anna had to be good to counteract Felix's awful, Andy and Lucas puzzle time!, Grandpa Whitey doesn't know how to install a car seat, and more!Don't forget to subscribe and rate the podcast on itunes or any of your favorite podcatchers!  Follow us on Instagram, Facebook, Twitter, and TikTok at @onwednesdayspod, follow us on Spotify at Nostalgic Millennials, or email us at onwednesdayspod@gmail.com.

Michael goes full Lambomatic and takes time away for "personal reasons". Danny breaks it all down solo with the help of a surprise guest?

Alex MacLeod passes along some of the wisest advice I've heard about how to connect with an audience and truly be a pro musician. He also gives some tips on how to learn and advance your bluegrass talents. Also, as you heard in the full episode, Alex had the opportunity to play in one of the most well-known New England bluegrass bands of all time, Northern Lights. And to me... it's just such a wonderful thing that he got to be a part of representing Rhode Island in that way. After being a band for 35 years Northern Lights played their last show on March 13th, 2010. At the end of this mini-episode I've included a song from that evening - "Lonesome Road" (audio credit: steveide59) that featured Alex on rhythm guitar and vocals. I hope you enjoy it! // Interview recorded September 9th, 2021 via Zoom // Intro music by Cedros // Hosted by James Toomey // /// If you enjoy the episode please leave a rating or review wherever you're listening right now! ///

The Ravens - a One Tree Hill Podcast is focused on the tv show One Tree Hill. Each episode of the podcast will focus on a single episode of One Tree Hill, we will be covering every episode of the show, in order, from the start of Season 1 to the end of Season 9 - it will be a momentous journey.    Simon loves One Tree Hill, to the extent that he claims that it positively changed his life, Dom on the other hand has never seen it - so join us on this adventure through Ravens history.    Click here for - Patreon - Ravens Instagram - Ravens Twitter - Ravens Facebook Page - Ravens Facebook Group - Merchandise Store - tenthirtypodcasts@gmail.com - Simon's Podcast Instagram - Simon's YouTube - One Tree Hill Memories on Instagram   Thank you for your support.   Simon and Dom. 

Season 2 Episode 28 The Blurrg races have begun! The crew has located their contact and must now negotiate. Tink places a bet. Support us on Patreon! www.patreon.com/tabletopsquadron   Content Warnings Vomiting Rocket/explosion sound effect at 41:49 Sexual suggestions and scenarios Drug and alcohol use Strong Language Violence, injury, death Music Credits In The 21st Century by Keshco is licensed under a Attribution-ShareAlike License. http://freemusicarchive.org/music/Keshco/Beware_Vision_Vol_9_Keshco_-_Kneewear_Pigeon_151018/In_The_21st_Century John Edmond by Quimorucru is licensed under a Attribution-NonCommercial-NoDerivatives 4.0 International License. https://freemusicarchive.org/music/Quimorucru/Un_mchant_party/Quimorucru_-_Un_mchant_party__Compilation__-_06_John_Edmond Mornin', Noon & Nite by Daddy Long Legs is licensed under a Attribution-NonCommercial-NoDerivatives 4.0 International License. https://freemusicarchive.org/music/Daddy_Long_Legs/Live_at_WFMU_with_Todd-O-Phonic_Todd_262016/Mornin_Noon__Nite_1638 Dancing at the Marketplace (ID 1365) by Lobo Loco is licensed under a Attribution-NonCommercial-ShareAlike 4.0 International License. https://freemusicarchive.org/music/Lobo_Loco/who-made-you/dancing-at-the-marketplace-id-1365 Long John's Jump by Daddy Long Legs is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 http://freemusicarchive.org/music/Daddy_Long_Legs/Live_at_WFMU_with_Todd-O-Phonic_Todd_262016/Long_Johns_Jump_1195 In Your Arms by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3906-in-your-arms License: https://filmmusic.io/standard-license Monkeys Spinning Monkeys by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4071-monkeys-spinning-monkeys License: https://filmmusic.io/standard-license Hopefully (ID 515) by Lobo Loco is licensed under a Attribution-NonCommercial-NoDerivatives 4.0 International License. http://freemusicarchive.org/music/Lobo_Loco/JA/Hopefully_ID_515 Running Eiskrokodil by Lobo Loco is licensed under a Attribution-NonCommercial-NoDerivatives 4.0 International License. http://freemusicarchive.org/music/Lobo_Loco/Moments_1950/Eiskrokodil_Blues_ID_01 Dusty by Crowander is licensed under a Attribution-NonCommercial 4.0 International License. https://freemusicarchive.org/music/crowander/acoustic-miniband-acoustic-minimals/dusty Lonesome Road by Black Twig Pickers is licensed under a Attribution-NonCommercial-NoDerivatives (aka Music Sharing) 3.0 International License. https://freemusicarchive.org/music/Black_Twig_Pickers/Live_on_WFMUs_Shrunken_Planet_with_Jeffrey_Davison_on_102012_1586/The_Black_Twig_Pickers_-_05_-_Lonesome_Road_1473 Tite tuque (Bosco Stomp) by Quimorucru is licensed under a Attribution-NonCommercial-NoDerivatives 4.0 International License . https://freemusicarchive.org/music/Quimorucru/Un_mchant_party/Quimorucru_-_Un_mchant_party__Compilation__-_11_Tite_tuque__Bosco_Stomp_ Artillery Explosion (Close) (Mixed) by EFlexMusic https://freesound.org/people/EFlexMusic/sounds/388528/ explosion_012 by deleted_user_5405837 https://freesound.org/people/deleted_user_5405837/sounds/399303/ Little Canyon Ride (ID 1308) by Lobo Loco is licensed under a Attribution-NonCommercial-NoDerivatives 4.0 International License. https://freemusicarchive.org/music/Lobo_Loco/next-wildwestworld/little-canyon-ride-id-1308 Wilhelm Scream Author: unknown, but likely Sheb Wooley https://archive.org/details/WilhelmScreamSample

Aunt Jemima xx-xx-xx (09) First Song - Look Down, Look Down, That Lonesome Road

Sintonía: "Yacht Club Swing" - Fats Waller "Water Boy", "Lonesome Road", "That Old Feeling", "I Can´t Give You Anything But Love", "Two Sleepy People", "Shame! Shame!", "I´ll Never Forgive Myself", "You Look Good To Me", "Tell Me With Your Kisses", "Love, I´d Give My Life For You", "I Wish I Had You", "I´ll Dance At Your Wedding", "Imagine My Surprise", "I Won´t Believe It", "The Spider and The Fly", "A Good Man Is Hard To Find", "You Out - Smarted Yourself". Todas las canciones interpretadas al piano y voz por Fats Waller. Adjuntamos relación con los anteriores capítulos de este coleccionable dedicado a uno de los imprescindibles del Jazz de todos los tiempos: Capítulo 01, emitido el 29/07/20; capítulo 02, emitido el 26/08/20; capítulo 03, emitido el 21/10/20; capítulo 04, emitido el 02/12/20 y el capítulo 5 se emitió el 02/02/21. Puedes escucharlos en el servicio de podcasts de la web de Radio 3 Escuchar audio

This week, Zach and Aaron from the Zach Griffith Band come in to chat about life, the pandemic, and recording this past year! Enjoying the show? Become an official Squires Station donor to see bonus episode outtakes, original Davey music content, and artist videos you can't find anywhere else! ▶Become a Davey Donor on Patron: https://www.patreon.com/daveysquires▶Follow The Zach Griffith Band: Facebook: https://www.facebook.com/SalinasPaliMusicInstagram: https://www.instagram.com/salinaspalimusic/Youtube: https://www.youtube.com/channel/UCdeRCsrTgW07bR7dfR7wE5ADavey Links! ▶Davey's Official Website: www.dsquires.com▶Official Squires Station Page: https://www.dsquires.com/squires-station▶Follow Davey on Facebook: Davey Squires Music ▶Follow Davey on Instagram: @davey_squires▶Squires Station Spotify: https://open.spotify.com/show/2JLM2JiyPBxo6JhM1o8ONr▶Squires Station Apple Podcasts: https://podcasts.apple.com/us/podcast/squires-station/id1534348825▶Squires Station Buzzsprout: https://www.buzzsprout.com/1344319▶Squires Station Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5idXp6c3Byb3V0LmNvbS8xMzQ0MzE5LnJzcw?sa=X&ved=0CBAQ27cFahcKEwjYw8iEnKrsAhUAAAAAHQAAAAAQBA▶Squires Station on iHeartRadio: https://www.iheart.com/podcast/269-squires-station-73775468/#▶Squires Station Session Playlist: https://www.youtube.com/watch?v=WlvfCJeABIg&list=PLcICVI5_QsUR8I1YUGPdD3oVZlhv-X3eu&ab_channel=DaveySquires▶Davey Squires Original Music: https://open.spotify.com/artist/57yMuQso3AFGi3A2TKvwJvFollow Area 67 Studio! ▶Facebook: https://www.facebook.com/Area67Music▶Instagram: https://www.instagram.com/area67recordingstudio/▶Youtube: https://www.youtube.com/channel/UCePe2CZMFJ1UtTzzkxbRH1gThanks for listening!

Original ThinkSoJoE Show co-host B Lee Muller returns for one night only to celebrate episode 250! Plus music from Rude Ways, Lonesome Road, Mindy Davey Music, and Tokyo Monsters! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Sintonía: "Steal Away" (1925) - Paul Robeson El nuevo "librisco" (libro y CD) del gran Paco Espínola es la primera biografía sobre Paul Robeson realizada en nuestro país, y la primera en castellano, una de las voces icónicas del s.XX: "Deep River" (1927), "Ol´ Man River" (1928), "The Lonesome Road" (1929), "Rockin´ Chair" (1931), "Lazy Bones" (1933), "Blue Prelude" (1933), "The Canoe Song" (de la película "Sanders of the River", 1935) y "King Joe" (The Joe Louis Blues) (1941). Todas las canciones interpretadas (cantadas) por Paul Robeson Emitido el 16 de Febrero del 2021 Escuchar audio

Okay he's a favourite, so its four from Harry Parry, Angry, Lonesome Road, I never knew(vocals: Primrose Hayes, can't find anything out about this woman) and Pontiac jump. We start though with Hot Lips Page and Randy Halls and the Tin fluters. Not on his hot trumpet but brilliant vocals. Much sadness, this record is cracked! Fantastic combination of Joe Sullivan(pictured) and Big Joe Turner next and the brilliantly titled: Low down, dirty shame blues.  I have a real soft spot for the unjustly neglected Joe Sullivan. He returns with the flip side, I can't give you anything but my love. Also up Harry Roy and Marjorie Kingsley, Roberto Inglez and Nat King Cole.  Another return to FS is Charlie Barnett. Wonderful, joyous fare, Ebony Rhapsody and I like to Riff. A decent copy of the magnificent Munson Street Breakdown has turned up, Utter brilliance from Lionel Hampton. We end with a 1950s song from the Tanner Sisters and a little bit of Culture from Maggie Teyte. She sees out with with Plassir d'amour.   

Ugh...so it's The War Report featuring Cyrus and Visibilities! We talk about *squints at teleprompter*...No.1 contenderships, COVID-19 and...ugh...AEW Dynamite...stuff! forgot to say it on the episode follow @RNCRADIOLive & @h_visiblity on twitter :)

Sasha Marie is an audio and visual storyteller from San Diego, California and a member of the LA based label Soulection. With a deep rooted love of music instilled from an early age by her father, Sasha draws on influences from every side of the musical ecosystem. This mix explores a fusion of sounds thoughtfully selected from around the world, aimed to take you to various emotional spaces. Enjoy.

Sasha Marie is an audio and visual storyteller from San Diego, California and a member of the LA based label Soulection. With a deep rooted love of music instilled from an early age by her father, Sasha draws on influences from every side of the musical ecosystem. This mix explores a fusion of sounds thoughtfully selected from around the world, aimed to take you to various emotional spaces. Enjoy.

Its a right old mix this time round. We start with the familiar and Bob Crosby and his Bob Cats from 1937.Then four from the 1920s. Hal Kemp, the purveyor of 'soothing, sweet dance music,' 1928. He sadly died at the age of 36. The Sunshine Boys from 1929. They were brothers Joe and Dan Mooney and they only recorded between 1929 and 1931. The Savoy(Hotel) Havana Band, led by Bert Ralton from 1923 and from1929 Ray Starita and his Ambassador Orchestra. Vocals by Betty Bolton. Bolton was an all round entertainer, actor, singer and a childhood star in World War One. She died at the age of 99 in 2005. Forgotten Songs is all about variety. So up next is Danish Folk Dance and Gujarati film music from 1950. The Barmy Brothers sing 'Puss, Puss, Puss,' 1933. Could find nothing out about them. Neither could I about Kirk Stevens and his very 1950s rendition of Forevermore. Emile Vacher was certainly well known. Deemed the creator of 'Bas Musette.' Very French accordion music. We go out with two Mugsy Spanier tracks- 'At the jazz band ball' and Lonesome Road. Both from 1939. Great and a great trumpet player. 

Hour 2 of A&G features LA Mayor Garcetti's threat to turn-off power to those who fight for the right to party, presidential tweets, the world's deepest voice, Biden tolerance and a Japanese architect designs see-through walls

Médico psiquiatra, Mestre em Ensino Superior pelo IPEMIG, Doutor em Psicologia Médica pela FMSM, psicanalista docente e didata da SPRJ e do Newport psychoanalytical institute, Califórnia, membro honorário e fundador do instituto W. Bion, Porto Alegre. Autor de 14 livros sobre a obra de Bion, conforme abaixo: Um resgate da Originalidade (1989), Diálogos psicanalíticos (1994), Cadernos de Bion 1 (1997), Cadernos de Bion 2 (1998), Novas leituras 1 (1999), Novas leituras 2 (2002), As 7 invejas capitais (2005), Infidelidade e traição (2007), O objeto psicanalítico (2011), WRBion: a obra complexa (2014), Capacidade negativa (2019), A Lonesome Road (2013), Simetria e objeto (2018). ......................Grupo de WhatsApp Curso Metacomunicação https://chat.whatsapp.com/JGHWYoCxHGQ3OmDLpiJk5M Teste: Você é intuitivo? (UOL) https://tab.uol.com.br/inconsciente Facebook https://www.facebook.com/normamelhoranca YouTube https://youtube.com/normamelhoranca

EP 199 A poem by Jason Gee published in 2014 that I thought would help you start the day with appreciation and gratitude for those who serve you/us/me. ABOUT JEFF ALTMAN, THE BIG GAME HUNTER Jeff Altman, The Big Game Hunter is a coach who worked in recruiting for what seems like one hundred years. He is the head coach for NoBSCoachingAdvice.com. He is the host of “The No BS Coaching Advice Podcast,” and “No BS Job Search Advice Radio." If you have a quick question for me, you can get it answered with a 3-5 minute video at https://www.wisio.com/TheBigGameHunter. Want to do it live? Are you interested in my coaching you? Visit NoBSCoachingAdvice.com and schedule time with me. If you have a quick question for me, you can get it answered with a 3-5 minute video at https://www.wisio.com/TheBigGameHunter at 30% less than what I charge through my website. Connect with Me on LinkedIn For more No BS Coaching Advice, visit my website. www.NoBSCoachingAdvice.com

Thanks to Snoof, Kvasir and Redfern are finally defeated, but now our heroes are face-to-face with the Lord of the Underworld... and he's in the mood to make a deal. Our heroes will need to use all their wits about them to face their final challenge. Will Junkman be able to lead their convoy of the dead and damned out of hell and back to the City Limits?

Episode 2 of the Red Line Roots podcast sees Ken talking with Alan Barnosky, a songwriter and musician from Durham, NC.The release comes a couple of days before Alan's new EP release titled "Lonesome Road". Merging in a place where the roads of Appalachian mountain music and modern day folk collide, its a collection of songs that Barnosky has culled from an experience on a two-month solo bicycle tour, which he tells us "quite literally served as the material for the title-track".https://alanbarnosky.com/photo credit - Mick Schultemusic used with permission from the artist

Novelist Abbi Waxman makes us laugh talking process and inspiration almost as much as we do when reading her books, with emphasis on using settings you know and love.Our transcription assistant reports that this was “her favorite episode ever.” It’s definitely a contender—Abbi Waxman is funny and candid about the challenges of creating characters and worlds that are engrossingly real yet also comical—and about her next novel, the first one not fully set in her California ‘hood. Episode links and a transcript follow—but first, you don’t want to miss the #WritersTopFive that will be dropping into #AmWriting supporter inboxes on Monday, October 28, 2019: Top 5 Goodreads Secrets for Authors. It’s a good one! If you haven’t yet plunked down a tiny chunk of cash to support the podcast, maybe now is the time. Support the podcast you love AND get weekly #WriterTopFives with actionable advice you can use for just $7 a month. As always, this episode (and every episode) will appear for all subscribers in your usual podcast listening places, totally free as the #AmWriting Podcast has always been. This shownotes email is free, too, so please—forward it to a friend, and if you haven’t already, join our email list and be on top of it with the shownotes and a transcript every time there’s a new episode. LINKS FROM THE PODCAST#AmReading (Watching, Listening)Abbi: A Miss Silver Mystery: Lonesome Road (#3), Patricia WentworthJess: Home, Run Away, Harlan CobenKJ: Confessions of a Bookseller, Shaun BythellThree Things You Need to Know about Rockets: A Real-Life Scottish Romance, Jessica A. FoxThe Gyrth Chalice Mystery, Margery Allingham#FaveIndieBookstoreChevalier’s Books Los Angeles, CA — if you’ve read Nina Hill, this is the real life bookstore she works in, and we love that. Our guest for this episode is Abbi Waxman. Abbi is the author of:The Bookish Life of Nina HillOther People’s HousesThe Garden of Small BeginningsThis episode was sponsored by Author Accelerator, the book coaching program that helps you get your work DONE. Visit https://www.authoraccelerator.com/amwritingfor details, special offers and Jennie Nash’s Inside-Outline template.Find more about Jess here, Sarina here and about KJ here.If you enjoyed this episode, we suggest you check out Marginally, a podcast about writing, work and friendship.Transcript (We use an AI service for transcription, and while we do clean it up a bit, some errors are the price of admission here. We hope it’s still helpful—and, this time around, Jess is “New Speaker.” We don’t know why. AI is mysterious.)KJ:                                        00:01                    Hey writers—you all know we love our sponsor, Author Accelerator, which offers intense book coaching to help writers keep their butts in the chair and their heads in the game and finish what we start. But what if you’re not ready for full on coaching? What if you’re still trying to figure out where your story or memoir is going, and you need help? In that case, Author Accelerator has something new: the four-week Inside Outline Coaching program, which will help you quickly and efficiently visualize your entire story, spot the holes and places where your characters have lost momentum and ensure that you’re working forward with a structure that will support the story you want to tell. I love this tool, and working with someone to stick to it and get it right is going to save you a lot of time and a lot of typing. Find out more at https://www.authoraccelerator.com/insideoutline.New Speaker:                    00:01                    Go ahead.KJ:                                        00:01                    This is the part where I stare blankly at the microphone like I don't remember what I was supposed to be doing.New Speaker:                    00:01                    All right, let's start over.KJ:                                        00:01                    Awkward pause, I'm going to rustle some papers.New Speaker:                    00:01                    Okay.KJ:                                        00:01                    Now one, two, three. Hey, I'm KJ Dell'Antonia and this is #AmWriting. The podcast about writing, which is pretty much why we named it that. We are a podcast about writing all things - fictional, non-fictional, proposals, pitches, writing emails in the quest to get an agent, and I've run out of my list, but it's one I give you guys weekly and as I hope you know, we are the podcast about sitting down and getting your work done.New Speaker:                    01:50                    And I'm Jess Lahey. I'm the author of the Gift of Failure and a book I just turned in on preventing substance abuse in kids. And you can find me at the New York Times, and the Atlantic, and the Washington Post .KJ:                                        02:03                    You're killing it. This actually is your due date and I'm so delighted.New Speaker:                    02:08                    I'm a little bit giddy today.KJ:                                        02:11                    You should be. I am KJ Dell'Antonia, author of a novel coming out next year, The Chicken Sisters, and of How To Be a Happier Parent, former editor of the Motherlode blog at the New York Times, where I'm still a reasonably regular contributor, and at the moment working on novel number two. And I am delighted to say that we have a guest today. So before I introduce her, since she's sitting there silently, I will just say, 'Hi Abby.'Abbi:                                    02:39                    I wasn't sure if I should be making little chicken noises in the background. It's probably a good idea for me to sit excitedly until prompted.KJ:                                        02:55                    Abbi is the author of three novels, all of which I've totally enjoyed and I believe have recommended at one point or another on the podcast. They are - I'll go in backwards order - her most recent novel is The Bookish Life of Nina Hill, preceded by Other People's Houses. And then, gosh, there ought to be another word for this - preceded by The Garden of Small Beginnings. I would call them comic, commercial fiction, with plenty of snark and a little tiny touch of the darkness of life, and our huge fun. And we're so glad to have you.Abbi:                                    03:36                    It is my pleasure to be here.KJ:                                        03:38                    Thank you.New Speaker:                    03:41                    I have to say, she's been so excited to talk to you. So the fact that she's just overflowing with questions...KJ:                                        03:52                    I've really enjoyed The Bookish Life of Nina Hill. And I want to go back and talk about - I guess what we like to do when we have a guest is go just a little bit back into your career. A lot of our listeners are somewhere sort of mid-career, a lot of them are just getting started, and everybody wants to know things like - how did you get started? I know that you were in advertising, so I think my question is what's the first thing you wrote that wasn't advertising that you got paid for?Abbi:                                    04:27                    So yeah, I worked in advertising for a long time. But I always knew that I wanted to write books, ultimately. But that's because that's what I saw growing up. My mother was a murder mystery writer. My biological dad was also in advertising. My stepfather was not a writer, so this is just what I saw grown ups doing a lot of the time and certainly that's what I thought mothers did. So, I had a career, I had my own agency for a while ,and then I decided I wanted to quit that, write books, and have children. Which those two things are inextricably linked in my head. The problem being, of course, having children is a hundred percent contra-indicated if what you're trying to do is actually get work done. So it took me a very long time to write my first novel and then subsequent ones were much quicker because I didn't have three kids under five in the house. But while I had those three small kids and I wasn't being super successful at finishing my own work, I got hired to ghost write a novel for a celebrity, who shall remain nameless.KJ:                                        05:36                    And that's always such a bummer, but we know that's the way it works.Abbi:                                    05:39                    That's the way it works. So I wrote a novel, a piece of fiction for this person and my name wasn't on the cover, but it was on the check and that's all I really actually care about. So that was good. Not that all I care about is money, far be it for me to suggest I am just venal in that way, but I do enjoy making money for my work. Because I did it for free for so long that it is still very pleasant to get paid for it.KJ:                                        06:08                    I'm impressed that it was a whole novel.Abbi:                                    06:11                    Well, before I wrote that one, I had written several novels that were too crap to see the light of day. So finishing a novel was a sort of a barrier I'd already cracked. Finishing a good novel was one that you could argue I haven't yet cracked, but which I'm working on.KJ:                                        06:29                    We will not argue that. How did you convince a celebrity and a publishing company that you could do the novel for the celebrity?Abbi:                                    06:40                    You know, it's a mystery, to this day. So I have a friend whose name is Hillary Liftin, who is a very successful ghost writer of both (she writes fiction herself and she writes nonfiction books with celebrities) and she's written dozens of them and she's really, really good at it. And she recommended me to an agent who approached her about writing this piece of fiction. And she said, 'No, no, but you should have my friend Abbi do it.' I don't even remember writing a proposal. So I had to go and meet - there's actually a good story attached to this, but I don't know if I can tell it without revealing it. So I went to meet with this celebrity, along with several other writers (not at the same time, although that would have been hilarious), but one after the other. And she had us meet her at Chateau Marmont in Hollywood, which is just just right there. I was so happy to even be doing this because it was so ludicrous. It is so incredibly Hollywood and I was just like, it's ridiculous. So I show up wearing my jeans, my Target T-shirt, and the one cool jacket that I possessed and could still fit into. Cause I worked hard on gaining weight after I had my kids and I was very successful at it. And so I squeezed into these clothes, I go in, the first thing she says to me (she's tiny, tiny little celebrity as they all are all) 'Oh, I love your T-shirt.' And I said, 'I got it at Target.' So literally that was my opening - I got it at Target, which you think would be enough to end the whole thing. And so she arrived. She walks in just before I get there, I see her walk in and she literally asks whatever you call the person at Chateau Marmont who's in charge of helping celebrities deal with their lives, She's like, 'I need breakfast cereal.' And he sent someone out to shop for breakfast cereal for her so that she could have (I nearly swore) Captain Crunch at like 11 o'clock on a whatever day it at the Chateau.New Speaker:                    08:57                    That's really impressive. I actually was going to tell you the last time I got a compliment from a celebrity, I actually said, 'I got it at a garage sale.' And it was about an article of clothing, so I can actually one up on that one. Yeah, it came out of my mouth and I said, 'Oh, that, that wasn't what I meant to say.'Abbi:                                    09:19                    But at the same time, you know, I don't know, do celebrities shop at Target? I'm sure they do, everybody shops at Target, everybody shops at garage sales. I would feel much worse saying, 'Yes, it's Gucci.' Like that would not fly. So, you know, it is what it is. So anyways, so she interviewed me and a load of other people, and the funny part is that I didn't hear anything for weeks. So I was like, 'Okay, whatever.' Then I get a call that she had told her manager who was sitting there that she wanted this other person whose name I won't say, but she got on the phone with this other writer and then 15 minutes into the conversation she suddenly goes, 'Oh wait, I have to go.' and hung up on this other writer. Because it turned out she didn't want that writer, she wanted me, but she had mixed us up. I imagine she said, 'The English one.' But this other writer was also English. So this poor woman (who it turns out also knows Hilary Liftin, my friend) was like, 'Yeah, it was the weirdest thing. We were talking and all of a sudden she's like, 'Sorry, my shoes are on fire.' and hung up on me and I never heard another word because of course she didn't have the balls to actually say, 'Oh my God, I've made a terrible mistake. I do apologize.'KJ:                                        11:06                    Celebrities, they're just like us, only ruder.Abbi:                                    11:20                    So then I met with her, we talked about her ideas for the book, and then I wrote it in six weeks. So there you go.KJ:                                        11:28                    And from there - straight into your own novels or were there any pit stops along the way?Abbi:                                    11:34                    I started doing a second novel for her and she wasn't happy with what I had done, and I had already done quite a bit, so my agent was like, 'Okay, well she'll start over, but of course it will cost you more money.' And she's like, 'Well, I don't want to pay any more money.' And I said, 'Then I don't want to write any more words.' And so that's how that happened. And so then The Garden of Small Beginnings got written and that agent and I came to a parting of the ways, cause we had a different point of views on what should happen with the book. And then I actually put that book away for a year or two and tried to write screenplays and get involved with TV, had minor, minor encouragement in that direction, which then didn't come to pass. And so I was like blow this, I'm going back to writing books where the only a*****e I have to deal with this is myself. And so that's what I did. And then I got a new agent, a wonderful agent who agreed with me about the book. And the rest is history.KJ:                                        12:39                    Same agent, all three books?Abbi:                                    12:40                    Same agent, all three books, and the fourth which I just handed in and two more that I'm on the hook for. So I have two more to go.KJ:                                        12:48                    When's the fourth one coming out?Abbi:                                    12:49                    Presumably next spring/summer.KJ:                                        12:52                    Ah, excellent, we shall be together.Abbi:                                    12:55                    Well at the moment, I still think it's a piece of s**t. So that is always what happens. I'm like, 'This is it. My career is over. Every time.'KJ:                                        13:07                    You don't feel like you're getting better? So I read them in this order: first, The Garden of Small Beginnings (because I read that one I suspect right around when it came out), then, The Bookish Life of Nina Hill (obviously sometime later), then back to Other People's Houses. I mean, they were all extremely fun and there's something in particular I want to ask you about, but I would say you're definitely building skill. You're not feeling that?Abbi:                                    13:36                    No, I do feel that. I feel like every time I write something it's better than what I've written before. But what I'm not building in is necessarily confidence about it once when it's too close. So when I had it in Nina, I was like, 'It's a piece of crap.' And then by the time it came out and I went back and looked at it again, I was like, 'Oh. No, it's all right. It's all right.' And there were even bits, you know, when you read something that you're like, 'Wow, that's really good. I have no idea who wrote that part because I don't remember writing that part.' You know, there are more of those each time. So that I guess is good. But I find that the gap between what it's going to be in my head and what it ends up on paper, that doesn't seem to get a great deal smaller. I'm always a little bit like, 'That was not what I was really going for and part of the time it's because I'm not capable of doing what I think I can do. And part of it is just that the writing process itself changes the nature of the idea. Right? Like different things come out on paper and you follow that direction and it's not quite what you had in mind originally, but you know, it's still better than ice fishing.'.New Speaker:                    14:44                    It's the same for nonfiction. Nonfiction works the same, I always quote Mary Roach. You know, I usually have an idea about something I'd like to research and possibly write about. And then Mary Roach refers to this period of time as a 'research flail' that she flails about in the research for a couple of months and then figures out what the book might be and that gap is always really hard for me cause you have to take that leap of faith that words will end up on the page on the other side. So definitely, nonfiction and fiction seem to have that similarity to them.Abbi:                                    15:19                    Yeah. I mean I think any large project, even if it's not writing, like you build a house, or you have a child and you have this idea of what it's going to be. But then the actual everyday practicalities of creating something change the nature of the finished product itself.New Speaker:                    15:38                    Yeah, absolutely.Abbi:                                    15:52                    You know, the book itself (this is going to sound ridiculous), but the book itself has sort of an influence, you know what I mean? Like it takes on a life of its own and the characters do what the characters do. And so you just have to sort of trail along.KJ:                                        16:19                    So what is your process around that? Sarina who isn't with us today and I, and now Jess, who's gonna go in for some fiction next, have been talking a lot about what we plan ahead of time, what we don't plan ahead of time. It seems to vary a little bit. What's your process look like?Abbi:                                    16:40                    It's cracked.KJ:                                        16:41                    You'd recommend it then?Abbi:                                    16:44                    I am writing a book about it now because it really needs to be down on paper. No, it's terrible. My process is that I have an idea about, that's usually a character idea or a situation. So for example, the book I just wrote that I just finished, which at the moment is called Mothers, Daughters, and Unexpected Outcomes, which is a title that was sort of arrived at by a huge number of people.KJ:                                        17:12                    Oh, good. Titling by committee.Abbi:                                    17:14                    But I'm sure it's a great title. It's gonna be great. Anyway, the point is - that book was inspired by my real life experience that I know we all share, of that moment where you realize that the child you've been raising for the past 13, 14 years has suddenly turned into a totally different person and all the skills that you've gathered raising that child up until that point are completely useless. So you have to sort of come up with a whole new way of trying to relate to this person, who is now a different person, and who you respect and love, but who is deeply freaking irritating and annoying and bumptious and narcissistic and...KJ:                                        17:57                    And knows where all your buttons are. And still hesitates not to press them.Abbi:                                    18:03                    No, leans on them in fact. So that's what this book is about. So my process was, I want to write about the period I'm in right now. And the situation I set up was the woman and her teenage daughter are taking a college tour. So that was the structure of the book. I'm going to take them away from home, they're going to be on their own together with another group of parents taking this group college tour up the East coast. So that gave me my structure and then I just have at it. So what usually happens is, I write the first 10 - 15,000 words in a froth of excitement and confidence. Then I come up against whatever the floor in my original idea was and flail around flailing big, an excellent word for the process. Flail around and freak out and panic and that panic period lasts usually a week or two. Then I write everything. I've got down so far on index cards and stick them up on a noticeboard and stare at them for a while. Then I decided to work out what the next 10,000 words are going to do. I work that out, I write those, then I panic. Do it again, rinse and repeat. So that's basically my processes. Write a chunk, freak out, write it down, look at it, try and come up with what the next bit is going to be, write that, it changes, panic. It's lurching, it's sort of like the progress of a drunk person trying to get home. I lurched from lamppost to lamppost and then eventually I get there. It's good, right? You like it, right? You feel inspired, right?KJ:                                        19:38                    Yeah. I think you should patent it because it works really well.Abbi:                                    19:42                    The panicky lamppost process.KJ:                                        19:45                    So, it sounds like you start from an emotion. Like a mental place where your people are, kind of. But one of the things that really strikes me about your books is that your people are always very much in a really defined physical place. And I don't mean like, I know that the bookstore has blue walls. I mean, it's almost like workplace fiction. Like The Garden of Small Beginnings had this very strong, not just gardened theme, but this sort of teaching, the placement of the garden and the thing the person was doing. And then Other People's Houses had that neighborhood setting. And it was a really distinct California neighborhood. And then The Bookish Life of Nina Hill, same sort of city bookstore.Abbi:                                    20:36                    Same neighborhood. All three of the first three books are all set in the same neighborhood.KJ:                                        20:40                    Yeah. I thought so, but it's not the neighborhood so much as they all have such a really strong setting for the action. And I wondered when that comes into play. Well, and you're leaving that too, if they're all heading out.Abbi:                                    21:04                    Oh no, that's why this next one is a piece of crap. So, here's the thing. I struggle with structure. I feel like that's my weakness as a writer. I think I'm good at characters, I like writing dialogue, but I really struggle with plot and structure. And so in order to try and help myself, you will notice I always create this structure, this sort of artificial structure that I then lean on. So, in The Garden of Small Beginnings, she was taking a gardening course. I was able to break up the book by these lessons, right? So it sort of gives me a calendar and a structure to cling to. And then I separated each section. So each lesson, each class, was sort of a break, and then there would be another set of action as a result. The second one, Other People's Houses, she had to take the kids to school every day, right? So she was carpooling these kids to school and the sort of going from house to house gave me the structure I wanted. And then Nina, she had a planner, right? The action of the book takes place over a number of weeks during the summer. And so that gives me the structure and so then I can sort of cling and we're back to lampposts again. Then I can cling to the structure and move the story along sort of forcibly. And that's just my anxious cheater's way of giving the book some kind of structure because I feel like my plots aren't strong enough. Very little happens in my books, like they are not plot-driven because I'm not really interested in that. I love reading it, and I admire it in other writers, but I'm not very good at it myself. And I'm much more interested in the action that's going on between your ears as you drive your kids to school each day than I am in how you actually got to school because that's what's interesting to me.KJ:                                        23:00                    That is funny that you would say that because I would say the same thing about what I write. And I've always felt it as sort of a flaw, but I would not have said it about your work as a reader. I see your point, nothing blows up. Although in Other People's Houses, it kind of does. That one's got a pretty clear plot high point. I feel like that whole plot driven structure thing is a very masculine way of looking at book structure.New Speaker:                    23:41                    Right. I agree.KJ:                                        23:43                    It's very external.Abbi:                                    23:44                    It is very external, and I'm not interested in external stuff. I'm much more interested in relationships between people, conversations that you have in the normal course of the day, the small conversations you have with strangers, and the gap between what you're thinking and what you're saying, and also the gap between what you are presenting and what is really going on. The gap between your inside and your outside. That's what interests me as a person, as a human being. And so that's what I tend to write about. And then I tried to write about kids and dogs because I like kids and dogs.KJ:                                        24:18                    Now how about the funny? Your books are funny. Especially Nina Hill. I mean, I think I laughed out loud multiple times at the end as they're sort of lurching around. It had that fun, tastic, caper feel. Do you feel that when you're writing it, do you plan it? How do you make that happen? Come on, give us the secret.Abbi:                                    24:57                    Well, as you can tell from talking to me, I am just naturally a laugh riot and a charismatic maelstrom of humor. And so, it just comes out that way. No, I just can't take everything very seriously. And so when I'm writing I just can't take it seriously. I've tried writing serious books and I fail. I could just can't do it because I think most things are funny. Most things are ridiculous. Life is just a series of ridiculous predicaments. And so that's what I tend to write about.KJ:                                        25:34                    And you do it very well.Abbi:                                    25:36                    That's very kind of you to say.KJ:                                        25:39                    So you were talking earlier about novels in the drawer. I think all of us would love to know how many it took you to get to the point where you could get one out.Abbi:                                    25:50                    Okay. So I wrote two complete novels that were s**t. And I also wrote probably three movie screenplays that were crap and a TV pilot that nearly got made. So that I guess was marginally better. And which is now going to be the basis of the book I'm writing next. Yeah, so several. The very first one I wrote, I literally threw away. Like, I don't have it anymore. It was written 17 years ago when I was pregnant with my first child and it was pretty poor. And so I threw that one away completely. The second one I kept in a drawer. Well, not really a drawer but you know a folder on the desktop. And I tend to keep everything because I have many, many starts as well. As I said before, I seem to be able to write 12 to 15,000 words.KJ:                                        26:52                    I was going to ask you how many of those sort of frothy beginnings - cause that's the hard part for a lot of writers is getting paid. So many people have like a really polished first three chapters or a lot of really enthusiastic bursty first three chapters. But it's, it's sitting down and going, okay, I'm gonna make this work. Do you have anything to say about the first time you managed to bring that off? Did someone lock you in a room?Abbi:                                    27:25                    I was pregnant and bored and this was before the internet was really as interesting as it is now. So I didn't really have much to do. It was after September 11th I was pregnant with Julia, my eldest. We were in New York when September 11th happened. And then we went and lived with a friend in Berkeley for six weeks. And it was during that period of time that I finished the first piece of crap. I don't know, I think that's where being a professional comes in. Is that you can't just write the parts that are fun and easy. You have to just keep writing. I write every day. Often I say I write every day, I want to write every day, and I set out to write every day. But because of life, often I end up taking someone to the dentist or picking up groceries. So life trumps my work in a way that I think sometimes is something that women suffer from more than men. Not because of any inherent sexism, God forbid that there was any suggestion that there is any institutionalized sexism at work. It does appear to be a kind of expectation, that apparently I've bought into, that if some little child needs to go to the doctor, it's me that does it. So, work gets trumped all the time. But less and less as my kids get older and less and less as I get more bolshy. And so, I go and work every day, ideally. And you just keep plugging along.KJ:                                        29:02                    But you were able to tell yourself this is what professionals do. It sounds like - before anyone was telling you that with a paycheck.Abbi:                                    29:10                    Oh yeah.KJ:                                        29:10                    That's hard for a lot of people.Abbi:                                    29:11                    Bear in mind, I worked as a writer in advertising. So I was getting paid to write for decade and a half. So putting words on paper and getting a paycheck was something that I'd always done. And so I treated it that way. And advertising is also a great training for writers because you get used to throwing your work away and you get used to starting over. Like over and over and over and over again. And usually you work relatively hard on something and then someone will s**t all over it and you're like, 'Okay.' And you tear it up and start over. And after a while, that becomes just part of the process, and that's why it's such good training. Like journalism, like any career where you're basically selling words and other people, who haven't written them, have power to buy or sell them. So yeah, you get used to not caring so much and at the same time caring a lot. I don't know if that makes any sense, but you know what I mean? Being professional about it.KJ:                                        30:15                    So we have a new question that I'm trying out on people. It's kind of a silly one, but what do you write in your head? I think all of us as writers wander around, sort of writing in our head constantly. What do you write in your head - when you're in the shower, or when you're lost in thought, or when you're driving kids to school? What are you writing in your head?Abbi:                                    30:38                    At the moment? To be completely honest, I'm writing my eldest daughter's personal statement for her college applications.KJ:                                        30:46                    That's an awesome answer.Abbi:                                    30:48                    That is absolutely what I am writing and rewriting over and over again, which is unfortunate because I'm not actually the one who's writing the personal statements. Yeah. I have written bullet points for my child's personal statement many, many times on the way to the grocery store.KJ:                                        31:13                    And I'm sure she's disregarded every single one.Abbi:                                    31:16                    Oh, she's thrilled. She loves it when I come home and I burst into her room and I say, (well, after I've said what the hell happened in here?) Then I say, I've had some ideas for your personal statement and she sits up in bed and she, tugs out at least one of her ear bud things and says, 'Get out of my room.' Yup. Every time.KJ:                                        31:41                    That's beautiful. It's really touching.Abbi:                                    31:43                    It's a bonding moment. It's happened a lot lately. You know what it is, I don't even know that I'm writing as I'm driving around, but I'm always thinking about the book and sometimes I get an emotional feeling that I'm then trying to sort of get on paper. And so I'm always very happy when I'm driving around because I feel like I'm working, but I'm not actually producing anything.KJ:                                        32:12                    Yeah, I write some amazing stuff on long drives, you wouldn't believe it. Yeah, it's good. It's really good. Then recently I tried turning on the notes app in my phone and (our friend Sarina, who has actually managed to do this successfully) I dictated a few of the great words that were in my head and I think that ended as we can all predict, which is that I did not even bother sending them...Jess:                    32:39                    I have my children email me or text me. Like if I have a kid in the car with me, I'm like, 'Oh my gosh, I just had an idea. I need you to email me with the words.' and I'll come up with some random string of words. And they look at me like, who are you?, What is it you do with your life? It's always really revealing.Abbi:                                    32:59                    My children are amazed I've lived as long as I have. They're so perplexed that somehow I have managed to make it to nearly 50 when I'm clearly barely capable of getting through the day. You know, it's part of this mysterious force that keeps them moving forward. It's like we must find out what she is actually doing with her life.KJ:                                        33:25                    We don't want them to have an answer. That's all. That's my theory, anyway. I'm hopefully just gonna remain a mystery to them for long enough that none of them writes a book about me.Abbi:                                    33:37                    Oh, I'll be dead long before I hope.KJ:                                        33:43                    Well, speaking of books we always like to let the guest go first. So let's do #AmReading. Have you read anything good lately or that you would recommend?Abbi:                                    33:54                    When I'm writing, I can't read the genre that I'm writing. So I don't ever read fiction when I'm writing because I'm worried that I will steal from it or I'm just will become so despondent that this other person is doing it so much better that I will be unable to continue. So, my favorite genre is murder mysteries, which is what I grew up reading, cause that's what my mother did. And so when I am left to my own devices, I will go back and read golden age mysteries, like Agatha Christie, Patricia Wentworth, Ngaio Marsh, Margery Allingham, etc. I am reading a Miss Silver mystery, which is Patricia Wentworth. And I couldn't be happier, I just go back over and over. Nero Wolfe, which is actually an American guy writer. I love those books and I've read them all 50 times and I will read them all 50 times more.KJ:                                        34:59                    I have shelves and shelves and shelves. Which Patricia Wentworth are you savoring at the moment?Abbi:                                    35:05                    I believe this one I'm reading is called Lonesome Road. I'm also terrible in general at titles. But they're all good and I love the Nero Wolfe mysteries. I think they're perfect. Just constructionist perfect.KJ:                                        35:36                    So fun and such a great place to just go back and refresh and cleanse. There are some great people writing murder mysteries now, but I just tend to go back and reread them. It sounds like you do too.Abbi:                                    35:52                    All the time. All the time. And I'll try not to, like right now I'm not reading Nero Wolfe's because I've read them so many times that I'm trying to forget some of it. But the problem is as soon as you start the book, you're like, no, I remember exactly. But it doesn't matter, it doesn't matter.KJ:                                        36:09                    I think it actually frees your mind up to sort of churn around in the background.Abbi:                                    36:13                    Yeah. And I just appreciate it, the writing is so good. Agatha Christie, you know, there's a reason that she is a success. Her plots are so perfect, her characterization is so deft, and they're so satisfyingly pleasing to read, that it's just a joy. So that is what I am always reading, a mystery of some kind or another. And that's what I would love to write. But I don't. Unfortunately I've been semi-successful writing this other genre and my publisher is not interested in me writing mysteries.KJ:                                        36:47                    I have one in a drawer in which a guy at law school is killed in a parking lot and he bears a lot of resemblance to a guy I went to...yeah. It can never come out of the drawer.Abbi:                                    37:08                    Well, the thing is, so I wrote a mystery - and my publisher probably doesn't want me to talk about this, but whatever - I wrote a mystery that I loved, and has a set of characters that I adore, and they don't want to publish it. And so that's fine. I'm actually going to rewrite it as not a mystery for my next book because I love the characters so much. And that's fine. I've discovered that I'm totally comfortable with that. I just want to write about these characters. So that's real

Episode fifty of A History of Rock Music in Five Hundred Songs looks at "Honky Tonk" by Bill Doggett, and uses his career to provide a brief summary of the earlier episodes of the podcast as we're now moving forward into the next stage of the story. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Sixteen Tons" by Tennessee Ernie Ford. ----more---- Resources  As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are many best-of collections of Doggett's work available. This one seems to have the best sound quality and is a decent overview of his work. Information for this one comes from all over the place, including Shout, Sister, Shout!: The Untold Story of Rock-and-roll Trailblazer Sister Rosetta Tharpe by Gayle F Wald, Honkers & Shouters: The Golden Years of Rhythm and Blues by Arnold Shaw, and Inkspots.ca    Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to the fiftieth episode of A History of Rock Music in Five Hundred Songs. We're now ten percent of the way through our story, and also most of the way through 1956. I'm told that when history podcasts hit a big round number, it's customary for them to do a jumping-on episode, perhaps a "story so far" which covers everything that's been discussed up to that point, but in brief, so that new listeners can get up to speed. That's sort of what I'm about to do here. This week, we're going to look at a hit song from 1956, but by someone whose career interacted with almost everyone in the first twenty or so episodes of the podcast. We're going to look again at some of that old music, not as isolated records by different artists, but as stages in the career of a single individual. We're going to look at someone who was a jobbing musician, who'd take any job that was on offer, but who by virtue of just being a hard-working competent jobbing player and arranger managed to have an astonishing influence on the development of music. While rock and roll was primarily a vocal music, it wasn't a completely clean break with the past, and for most of the decades from the 1920s through to the early 50s, if you wanted music for dancing you would want instrumental groups. The big bands did employ vocalists, of course, but you can tell who the focus was on from looking at the names of the bands -- the Benny Goodman Orchestra, the Glenn Miller Orchestra, the Duke Ellington Orchestra, the Count Basie orchestra -- all of the leaders of the big bands were instrumentalists. They played clarinet or trombone or piano, they didn't sing. It was only with the musicians union strikes of the 1940s, which we've talked about before, that more through necessity than anything else the music industry moved from being dominated by instrumental music to being dominated by singers. But well into the 1960s we'll still be seeing rock and roll hits that were purely instrumental. Indeed, we probably wouldn't have rock and roll guitar bands at all without instrumental groups like the Ventures in the US or the Shadows in the UK who had hits with pure instrumental records. And one of the greatest of the early rock and roll instrumentals was by someone who didn't actually consider himself a rock and roll musician. It's a record that influenced everyone from James Brown to the Beach Boys, and it's called "Honky Tonk": [Excerpt: Bill Doggett, "Honky Tonk"] There is surprisingly little information out there about Bill Doggett, for someone who had such an impact on the fields of rock and roll, blues, jazz, and soul. There are no books about his life, and the only website devoted to him is one designed by his nephew, which... has all the flaws one might expect from a website put together about someone's uncle. Doggett was born in 1916 in Philadelphia, and he moved to New York in his late teens and formed his own band, for which he was the piano player. But in 1938, Lucky Millinder was looking for a new band -- the way Millinder worked was that he bought out, and took over the leadership, of existing bands, which then became "the Lucky Millinder Orchestra". This incarnation of the Lucky Millinder Orchestra, the one that was put together by Doggett before Millinder took the band over, is the one that got a residency at the Savoy after Chick Webb's band stopped playing there, and like Webb's band this group was managed by Moe Gale. Doggett stayed on with Millinder as his pianist, and while with the group he appeared with Millinder in the 1938 all-black film Paradise in Harlem, playing on this song: [Excerpt: Lucky Millinder, "I've Got To Put You Down"] Doggett was, from what I can tell, the de facto musical director for Millinder's band in this period -- Millinder was a frontman and occasional singer, but he couldn't play an instrument and was reliant on the musicians in his band to work the arrangements out for him. Doggett was in the band when Moe Gale suggested that Sister Rosetta Tharpe would work well paired up with Millinder's main singer, Trevor Bacon, in the same way that Louis Jordan and Ella Fitzgerald had worked well together in the Chick Webb band. Doggett was the pianist during the whole of Tharpe's time with the Millinder band, and he co-composed, with Millinder, the song that later gave its title to a biography of Tharpe, "Shout! Sister, Shout!": [Excerpt: Rosetta Tharpe, "Shout! Sister, Shout!"] If you listen to any of Tharpe's big band recordings from her time with Millinder, it's Doggett on the piano, and I strongly suspect it was Doggett who came up with the arrangements. Listen for example to his playing on "Lonesome Road", another song that the MIllinder band performed on film: [Excerpt: Rosetta Tharpe, "Lonesome Road"] The Millinder band were pivotal in the move from swing music to R&B, and Doggett was an important part in that move. While he'd left the band before they took on later singers like Wynonie Harris and Ruth Brown, he had helped set the band up to be the kind of band that those singers would feel comfortable in. Doggett was also in the band when they had their biggest hit, a song called "When the Lights Go on Again (All Over the World)": [Excerpt: Lucky Millinder, "When the Lights Go on Again (All Over the World)"] That's most notable now for being one of the first recordings of a young trumpeter who was just starting out, by the name of Dizzy Gillespie. Gillespie was quickly sacked by Millinder, who had a habit of getting rid of musicians before they reached their full potential. I've not been able to find out why Doggett left Millinder -- whether he was one of those musicians who was sacked, or whether he just wanted to move on to other things -- but whatever the reason, it can't have been anything that put a stain on his reputation, because Doggett remained with Millinder's manager, Moe Gale. We've mentioned Gale before several times, but he was the manager of almost every important black act based in New York in the late thirties and early forties, as well as running the Savoy Club, which we talked about in several of the earliest episodes of the podcast. Gale managed Millinder and Rosetta Tharpe, and also managed the Ink Spots, Ella Fitzgerald, Chick Webb, and Louis Jordan, and so whenever one of his acts needed a musician, he would tend to find them from his existing pool of talent. And so this is how, straight after leaving Lucky Millinder's band, Doggett found himself working for another Gale act, the Ink Spots. He joined them as their pianist and arranger, and stayed with them for several years: [Excerpt: The Ink Spots, "I'll Get By"] The Ink Spots, if you don't remember, were a vocal quartet who became the most popular black act of the forties, and who stuck to a unique formula based around Bill Kenny's high tenor and Hoppy Jones' low spoken bass. They had hit after hit during the forties with songs that all sound remarkably similar, and in the mid forties those songs were arranged by Bill Doggett. He was with the group for two years -- starting with the classic line-up of the group, and staying with them through Charlie Fuqua being drafted and Deek Watson being fired. While he was a sideman rather than a full member of the group, he was important enough to them that he now gets counted in lists of proper members put together by historians of the band. He ended up leaving them less than two weeks before Hoppy Jones died, and during that time he played on fourteen of their hit singles, almost all of them sticking to the same formula they'd used previously, the "top and bottom": [Excerpt: The Ink Spots, "Ev'ry Night About This Time"] The different acts managed by Moe Gale all sat in with each other when needed, so for example Trevor Bacon, the male vocalist with Millinder's band, temporarily joined the Ink Spots when Deke Watson got sick for a few weeks. And so during the times when the Ink Spots weren't touring, Doggett would also perform with Ella Fitzgerald, who was also managed by Gale. [Excerpt: Ella Fitzgerald, "Time Alone Will Tell"] And indeed, during the end of Doggett's time with the Ink Spots, Fitzgerald recorded a number of hit singles with the group, which of course featured Doggett on the piano. That included this one, which later went on to be the basis of "Train Kept A-Rollin'", which we looked at a few episodes back: [Excerpt: Ella Fitzgerald and the Ink Spots, "Cow Cow Boogie"] Doggett moved over full time to become Ella's arranger and pianist at some point during the couple of weeks between Deek Watson leaving the Ink Spots and Hoppy Jones dying, in early October 1944, and stayed with her for a couple of years, before moving on to Illinois Jacquet's band, taking the same role again, in the band that introduced the honking tenor saxophone into R&B, and thus into rock and roll: [Excerpt: Illinois Jacquet, "Doggin' With Doggett"] He also played on one of the most important records in forties R&B -- Johnny Otis' "Harlem Nocturne", the first hit for the man who would go on to produce most of the great R&B artists of the fifties: [Excerpt: Johnny Otis, "Harlem Nocturne"] And he also led his own band for a while, the Bill Doggett Octet. They were the ones who recorded "Be-Baba-Leba" with Helen Humes on vocals -- the song that probably inspired Gene Vincent to write a very similarly named song a few years later: [Excerpt: Helen Humes, "Be-Baba-Leba"] He then moved on to Louis Jordan's band full time, and this is where his career really starts. Jordan was another act in Moe Gale's stable, and indeed just like the Ink Spots he'd had hits duetting with Ella Fitzgerald, who he'd first worked with back in the 1930s in Chick Webb's band. He was also, as you may remember from earlier episodes, the leader of the most popular R&B group in the late forties and early fifties -- the one that inspired everyone from Chuck Berry to Bill Haley. And as with his tenure with the Ink Spots, Doggett was in Jordan's band during its period of peak commercial success. The timeline for who Doggett played with when, as you can probably tell, is all over the place, because he seemed to be playing with two or three acts at any given time. And so officially, if you look at the timelines, so far as they exist, you see that it's generally claimed that Bill Doggett joined Louis Jordan in 1949. But I've seen interviews with members of Jordan's organisation that suggest he joined much earlier, but he would alternate with Jordan's other piano player, Wild Bill Davis. The way they worked, according to Berle Adams, who was involved in Jordan's management, was that Davis would spend a week on the road as Jordan's piano player, while Doggett would spend the same week writing arrangements for the group, and then they would swap over, and Doggett would go out on the road while Davis would write arrangements. Either way, after a while, Doggett became the sole pianist for the group, as Davis struck out on his own, and Doggett once again basically became the musical director for one of the biggest bands in the R&B business. Doggett is often credited as the person who rewrote "Saturday Night Fish Fry" into one of Jordan's biggest hits from its inauspicious original version, though Jordan is credited on the record: [Excerpt: Louis Jordan, "Saturday Night Fish Fry"] During his time with Jordan, Doggett continued playing on records for Ella Fitzgerald, Bill Kenny of the Ink Spots, and other artists, but he was paying close attention to Wild Bill Davis, who he had replaced in Jordan's group. Davis had discovered the possibilities in a new musical instrument, the Hammond organ, and had formed a trio consisting of himself, a guitarist, and a drummer to exploit these possibilities in jazz music: [Excerpt: Wild Bill Davis, "Things Ain't What They Used To Be"] Doggett was also fascinated by this instrument, especially when hearing it up close, as when Davis rejoined Jordan's band to record "Tamburitza Boogie", which had Doggett on piano and Davis on the Hammond organ: [Excerpt: Louis Jordan, "Tamburitza Boogie"] When Doggett left Jordan's band, he decided to form an organ trio just like Davis'. The only problem was that it was just like Davis'. His group had the same instrumentation, and Doggett and Davis had very similar playing styles. Still, Henry Glover got him a contract with King Records, and he started recording Hammond organ blues tracks in the Davis style: [Excerpt: Bill Doggett Trio, "Big Dog"] Davis and Doggett between them gave the Hammond organ its prominence in the world of jazz, R&B, and soul music. The Hammond organ has an odd image, as most people associate it with the cheesiest sort of light entertainment -- certainly for anyone in Britain of the generation older than mine, for example, the name it conjures up is Reggie Dixon, possibly the least funky man ever. But in that part of music which is the intersection of jazz and R&B -- the part of music inhabited by Jimmy Smith, Booker T Jones, Ray Charles, Georgie Fame, Billy Preston and others -- the Hammond organ has become an essential instrument, used so differently that one might almost compare it to the violin, where the instrument is referred to as a fiddle when it's played on folk or country songs. And that comes from Davis and Doggett and their almost simultaneous invention of a new style of keyboards for the new style of music that was coming up in the late forties and early fifties. But after a year or two of playing in an organ trio, Doggett decided that he didn't want to keep making records that sounded so much like the ones Wild Bill Davis was making -- he didn't want to be seen as a copy. And so to vary the style, he decided to take on a honking saxophone player to be the group's lead instrumentalist, while Doggett would concentrate on providing a rhythmic pad. This lineup of his group would go on to make the record that would make Doggett's name. "Honky Tonk, Parts 1 and 2" came about almost by accident. As Doggett told the story, his biggest hit started out at a dance in Lima, Ohio on a Sunday night. The group were playing their normal set and people were dancing as normal, but then in between songs Billy Butler, Doggett's guitarist, just started noodling an instrumental line on his bass strings: [Excerpt: Bill Doggett, "Honky Tonk" intro] This hadn't been planned -- he was just noodling around, as all guitarists will do when given five seconds silence. But the audience started dancing to it, and if you're in a bar band and the audience is dancing, you keep doing what you're doing. As Butler was just playing a simple twelve-bar blues pattern, the rest of the group fell in with the riff he was playing, and he started soloing over them: [Excerpt: Bill Doggett, "Honky Tonk" guitar soloing] After three choruses of this, Butler nodded to Clifford Scott, the group's saxophone player, to take over, and Scott started playing a honking saxophone version of what Butler had been playing: [Excerpt: Bill Doggett, "Honky Tonk", sax] After Scott played through it a few times, he looked over to Doggett to see if Doggett wanted to take a solo too. Doggett shook his head. The song had already been going about five minutes and what Butler and Scott had been playing was enough. The group quickly brought the song to a close using a standard blues outro: [Excerpt: Bill Doggett, "Honky Tonk", outro] And that would have been the end of that. It's the kind of thing that bar bands have jammed a million times, the sort of thing that if you're a musician you think nothing of. They laughed at the end of the song, happy that they'd pulled off something that spontaneous and the audience had been OK with it, and carried on with the rest of their planned set. But then, a couple of songs later, someone in the audience came up and asked them if they could play that hot new song they'd been playing before again, not realising it had just been a spur-of-the-moment jam. OK, you give the audience what they want, the band members could remember more or less what they'd been playing, so they played it again. And the crowd went wild. And they played it again. And the crowd went wild again. By the end of the night they'd played that new song, the one they'd improvised based on Billy Butler's guitar noodling, ten times. Doggett immediately phoned Syd Nathan at King Records, his label, and told him that they had a hit on their hands and needed to get it out straight away. But there was one problem -- the song was over five minutes long, and a shellac 78RPM disc, which was still the most popular format for R&B music, could only hold three minutes per side. It would have to be a double-sided record. Nathan hated putting out records where the song continued onto the other side, because the jukebox operators who were his main customers didn't like them. But he eventually agreed, and Doggett and his band got together in the studio and recorded their new instrumental in a single take. It was released as "Honky Tonk Part One" and part two, and they pressed up five thousand copies in the first week. Those sold out straight away, so the next week they pressed up twelve thousand five hundred copies. Those also sold straight away, and so for the next few weeks they started pressing up a hundred thousand copies a week. The song went to number one on the R&B charts, and became the biggest selling R&B song of 1956, spending thirteen weeks in total at number one -- dropping down the charts and then back up again. It also reached number two on the pop charts, an astonishing feat for an R&B instrumental. It became a staple for cover bands, and it was recorded by the obvious instrumental acts like the Ventures and Duane Eddy -- and indeed Duane Eddy's whole style seems to have come from "Honky Tonk" -- but by other people you might not expect, like Buddy Holly: [Excerpt: Buddy Holly, "Honky Tonk"] The Beach Boys: [Excerpt: The Beach Boys, "Honky Tonk"] And even James Brown: [Excerpt: James Brown, Honky Tonk"]  Doggett never had another hit quite as big as "Honky Tonk", though his next few records, based on the "Honky Tonk" pattern, also made the top five on the R&B chart: [Excerpt: Bill Doggett, "Slow Walk"] He had ten more R&B top thirty hits over the course of the 1950s. But Doggett was being promoted as a rock and roll act, and playing bills with other rock and roll stars, and he didn't really feel comfortable in the rock and roll world. When "Honky Tonk" came out, he was forty years old -- by far the oldest of the people who had rock and roll hits in the mid fifties -- and he was a jazz organ player, not a Little Richard type. He was also stuck repeating a formula -- over the decade after "Honky Tonk" parts one and two he recorded tracks like "Honky Tonk (vocal version)", "Hippy Dippy", "Blip Blop", "Yocky Dock", and "Honky Tonk Bossa Nova". His career as a charting artist more or less stopped after 1960, when he made the mistake of asking Syd Nathan if he could have a higher royalty rate, given the millions of dollars his recordings had brought in to King Records, and King dropped him. But it didn't stop his career as a working musician. In 1962 he teamed up again with Ella Fitzgerald, who wanted to go back to making music with a bit more rhythm than her recent albums of ballads. The resulting album, "Rhythm is my Business", featured Doggett's arrangements and Hammond organ very prominently: [Excerpt: Ella Fitzgerald, "Hallelujah I Love Him So"] He also teamed up in 1969 with James Brown, who around that time was trying to pay back his dues to others who'd been artists on King Records when Brown had started with them in the fifties. As well as recording his album "Thinking About Little Willie John and Other Nice Things", Brown had also been producing records for Hank Ballard, and now it was Bill Doggett's turn. For Doggett, Brown produced and wrote "Honky Tonk Popcorn": [Excerpt: Bill Doggett, "Honky Tonk Popcorn"] Doggett spent most of the rest of his life touring the oldies circuit, a respected organist who would play hundreds of shows a year, until his death in 1996 aged eighty. He played "Honky Tonk" at every show, saying "I just wouldn't be Bill Doggett if I didn't play 'Honky Tonk'. That's what the people pay to hear, so that's what they get."

Episode fifty of A History of Rock Music in Five Hundred Songs looks at “Honky Tonk” by Bill Doggett, and uses his career to provide a brief summary of the earlier episodes of the podcast as we’re now moving forward into the next stage of the story. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Sixteen Tons” by Tennessee Ernie Ford. —-more—- Resources  As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are many best-of collections of Doggett’s work available. This one seems to have the best sound quality and is a decent overview of his work. Information for this one comes from all over the place, including Shout, Sister, Shout!: The Untold Story of Rock-and-roll Trailblazer Sister Rosetta Tharpe by Gayle F Wald, Honkers & Shouters: The Golden Years of Rhythm and Blues by Arnold Shaw, and Inkspots.ca    Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to the fiftieth episode of A History of Rock Music in Five Hundred Songs. We’re now ten percent of the way through our story, and also most of the way through 1956. I’m told that when history podcasts hit a big round number, it’s customary for them to do a jumping-on episode, perhaps a “story so far” which covers everything that’s been discussed up to that point, but in brief, so that new listeners can get up to speed. That’s sort of what I’m about to do here. This week, we’re going to look at a hit song from 1956, but by someone whose career interacted with almost everyone in the first twenty or so episodes of the podcast. We’re going to look again at some of that old music, not as isolated records by different artists, but as stages in the career of a single individual. We’re going to look at someone who was a jobbing musician, who’d take any job that was on offer, but who by virtue of just being a hard-working competent jobbing player and arranger managed to have an astonishing influence on the development of music. While rock and roll was primarily a vocal music, it wasn’t a completely clean break with the past, and for most of the decades from the 1920s through to the early 50s, if you wanted music for dancing you would want instrumental groups. The big bands did employ vocalists, of course, but you can tell who the focus was on from looking at the names of the bands — the Benny Goodman Orchestra, the Glenn Miller Orchestra, the Duke Ellington Orchestra, the Count Basie orchestra — all of the leaders of the big bands were instrumentalists. They played clarinet or trombone or piano, they didn’t sing. It was only with the musicians union strikes of the 1940s, which we’ve talked about before, that more through necessity than anything else the music industry moved from being dominated by instrumental music to being dominated by singers. But well into the 1960s we’ll still be seeing rock and roll hits that were purely instrumental. Indeed, we probably wouldn’t have rock and roll guitar bands at all without instrumental groups like the Ventures in the US or the Shadows in the UK who had hits with pure instrumental records. And one of the greatest of the early rock and roll instrumentals was by someone who didn’t actually consider himself a rock and roll musician. It’s a record that influenced everyone from James Brown to the Beach Boys, and it’s called “Honky Tonk”: [Excerpt: Bill Doggett, “Honky Tonk”] There is surprisingly little information out there about Bill Doggett, for someone who had such an impact on the fields of rock and roll, blues, jazz, and soul. There are no books about his life, and the only website devoted to him is one designed by his nephew, which… has all the flaws one might expect from a website put together about someone’s uncle. Doggett was born in 1916 in Philadelphia, and he moved to New York in his late teens and formed his own band, for which he was the piano player. But in 1938, Lucky Millinder was looking for a new band — the way Millinder worked was that he bought out, and took over the leadership, of existing bands, which then became “the Lucky Millinder Orchestra”. This incarnation of the Lucky Millinder Orchestra, the one that was put together by Doggett before Millinder took the band over, is the one that got a residency at the Savoy after Chick Webb’s band stopped playing there, and like Webb’s band this group was managed by Moe Gale. Doggett stayed on with Millinder as his pianist, and while with the group he appeared with Millinder in the 1938 all-black film Paradise in Harlem, playing on this song: [Excerpt: Lucky Millinder, “I’ve Got To Put You Down”] Doggett was, from what I can tell, the de facto musical director for Millinder’s band in this period — Millinder was a frontman and occasional singer, but he couldn’t play an instrument and was reliant on the musicians in his band to work the arrangements out for him. Doggett was in the band when Moe Gale suggested that Sister Rosetta Tharpe would work well paired up with Millinder’s main singer, Trevor Bacon, in the same way that Louis Jordan and Ella Fitzgerald had worked well together in the Chick Webb band. Doggett was the pianist during the whole of Tharpe’s time with the Millinder band, and he co-composed, with Millinder, the song that later gave its title to a biography of Tharpe, “Shout! Sister, Shout!”: [Excerpt: Rosetta Tharpe, “Shout! Sister, Shout!”] If you listen to any of Tharpe’s big band recordings from her time with Millinder, it’s Doggett on the piano, and I strongly suspect it was Doggett who came up with the arrangements. Listen for example to his playing on “Lonesome Road”, another song that the MIllinder band performed on film: [Excerpt: Rosetta Tharpe, “Lonesome Road”] The Millinder band were pivotal in the move from swing music to R&B, and Doggett was an important part in that move. While he’d left the band before they took on later singers like Wynonie Harris and Ruth Brown, he had helped set the band up to be the kind of band that those singers would feel comfortable in. Doggett was also in the band when they had their biggest hit, a song called “When the Lights Go on Again (All Over the World)”: [Excerpt: Lucky Millinder, “When the Lights Go on Again (All Over the World)”] That’s most notable now for being one of the first recordings of a young trumpeter who was just starting out, by the name of Dizzy Gillespie. Gillespie was quickly sacked by Millinder, who had a habit of getting rid of musicians before they reached their full potential. I’ve not been able to find out why Doggett left Millinder — whether he was one of those musicians who was sacked, or whether he just wanted to move on to other things — but whatever the reason, it can’t have been anything that put a stain on his reputation, because Doggett remained with Millinder’s manager, Moe Gale. We’ve mentioned Gale before several times, but he was the manager of almost every important black act based in New York in the late thirties and early forties, as well as running the Savoy Club, which we talked about in several of the earliest episodes of the podcast. Gale managed Millinder and Rosetta Tharpe, and also managed the Ink Spots, Ella Fitzgerald, Chick Webb, and Louis Jordan, and so whenever one of his acts needed a musician, he would tend to find them from his existing pool of talent. And so this is how, straight after leaving Lucky Millinder’s band, Doggett found himself working for another Gale act, the Ink Spots. He joined them as their pianist and arranger, and stayed with them for several years: [Excerpt: The Ink Spots, “I’ll Get By”] The Ink Spots, if you don’t remember, were a vocal quartet who became the most popular black act of the forties, and who stuck to a unique formula based around Bill Kenny’s high tenor and Hoppy Jones’ low spoken bass. They had hit after hit during the forties with songs that all sound remarkably similar, and in the mid forties those songs were arranged by Bill Doggett. He was with the group for two years — starting with the classic line-up of the group, and staying with them through Charlie Fuqua being drafted and Deek Watson being fired. While he was a sideman rather than a full member of the group, he was important enough to them that he now gets counted in lists of proper members put together by historians of the band. He ended up leaving them less than two weeks before Hoppy Jones died, and during that time he played on fourteen of their hit singles, almost all of them sticking to the same formula they’d used previously, the “top and bottom”: [Excerpt: The Ink Spots, “Ev’ry Night About This Time”] The different acts managed by Moe Gale all sat in with each other when needed, so for example Trevor Bacon, the male vocalist with Millinder’s band, temporarily joined the Ink Spots when Deke Watson got sick for a few weeks. And so during the times when the Ink Spots weren’t touring, Doggett would also perform with Ella Fitzgerald, who was also managed by Gale. [Excerpt: Ella Fitzgerald, “Time Alone Will Tell”] And indeed, during the end of Doggett’s time with the Ink Spots, Fitzgerald recorded a number of hit singles with the group, which of course featured Doggett on the piano. That included this one, which later went on to be the basis of “Train Kept A-Rollin'”, which we looked at a few episodes back: [Excerpt: Ella Fitzgerald and the Ink Spots, “Cow Cow Boogie”] Doggett moved over full time to become Ella’s arranger and pianist at some point during the couple of weeks between Deek Watson leaving the Ink Spots and Hoppy Jones dying, in early October 1944, and stayed with her for a couple of years, before moving on to Illinois Jacquet’s band, taking the same role again, in the band that introduced the honking tenor saxophone into R&B, and thus into rock and roll: [Excerpt: Illinois Jacquet, “Doggin’ With Doggett”] He also played on one of the most important records in forties R&B — Johnny Otis’ “Harlem Nocturne”, the first hit for the man who would go on to produce most of the great R&B artists of the fifties: [Excerpt: Johnny Otis, “Harlem Nocturne”] And he also led his own band for a while, the Bill Doggett Octet. They were the ones who recorded “Be-Baba-Leba” with Helen Humes on vocals — the song that probably inspired Gene Vincent to write a very similarly named song a few years later: [Excerpt: Helen Humes, “Be-Baba-Leba”] He then moved on to Louis Jordan’s band full time, and this is where his career really starts. Jordan was another act in Moe Gale’s stable, and indeed just like the Ink Spots he’d had hits duetting with Ella Fitzgerald, who he’d first worked with back in the 1930s in Chick Webb’s band. He was also, as you may remember from earlier episodes, the leader of the most popular R&B group in the late forties and early fifties — the one that inspired everyone from Chuck Berry to Bill Haley. And as with his tenure with the Ink Spots, Doggett was in Jordan’s band during its period of peak commercial success. The timeline for who Doggett played with when, as you can probably tell, is all over the place, because he seemed to be playing with two or three acts at any given time. And so officially, if you look at the timelines, so far as they exist, you see that it’s generally claimed that Bill Doggett joined Louis Jordan in 1949. But I’ve seen interviews with members of Jordan’s organisation that suggest he joined much earlier, but he would alternate with Jordan’s other piano player, Wild Bill Davis. The way they worked, according to Berle Adams, who was involved in Jordan’s management, was that Davis would spend a week on the road as Jordan’s piano player, while Doggett would spend the same week writing arrangements for the group, and then they would swap over, and Doggett would go out on the road while Davis would write arrangements. Either way, after a while, Doggett became the sole pianist for the group, as Davis struck out on his own, and Doggett once again basically became the musical director for one of the biggest bands in the R&B business. Doggett is often credited as the person who rewrote “Saturday Night Fish Fry” into one of Jordan’s biggest hits from its inauspicious original version, though Jordan is credited on the record: [Excerpt: Louis Jordan, “Saturday Night Fish Fry”] During his time with Jordan, Doggett continued playing on records for Ella Fitzgerald, Bill Kenny of the Ink Spots, and other artists, but he was paying close attention to Wild Bill Davis, who he had replaced in Jordan’s group. Davis had discovered the possibilities in a new musical instrument, the Hammond organ, and had formed a trio consisting of himself, a guitarist, and a drummer to exploit these possibilities in jazz music: [Excerpt: Wild Bill Davis, “Things Ain’t What They Used To Be”] Doggett was also fascinated by this instrument, especially when hearing it up close, as when Davis rejoined Jordan’s band to record “Tamburitza Boogie”, which had Doggett on piano and Davis on the Hammond organ: [Excerpt: Louis Jordan, “Tamburitza Boogie”] When Doggett left Jordan’s band, he decided to form an organ trio just like Davis’. The only problem was that it was just like Davis’. His group had the same instrumentation, and Doggett and Davis had very similar playing styles. Still, Henry Glover got him a contract with King Records, and he started recording Hammond organ blues tracks in the Davis style: [Excerpt: Bill Doggett Trio, “Big Dog”] Davis and Doggett between them gave the Hammond organ its prominence in the world of jazz, R&B, and soul music. The Hammond organ has an odd image, as most people associate it with the cheesiest sort of light entertainment — certainly for anyone in Britain of the generation older than mine, for example, the name it conjures up is Reggie Dixon, possibly the least funky man ever. But in that part of music which is the intersection of jazz and R&B — the part of music inhabited by Jimmy Smith, Booker T Jones, Ray Charles, Georgie Fame, Billy Preston and others — the Hammond organ has become an essential instrument, used so differently that one might almost compare it to the violin, where the instrument is referred to as a fiddle when it’s played on folk or country songs. And that comes from Davis and Doggett and their almost simultaneous invention of a new style of keyboards for the new style of music that was coming up in the late forties and early fifties. But after a year or two of playing in an organ trio, Doggett decided that he didn’t want to keep making records that sounded so much like the ones Wild Bill Davis was making — he didn’t want to be seen as a copy. And so to vary the style, he decided to take on a honking saxophone player to be the group’s lead instrumentalist, while Doggett would concentrate on providing a rhythmic pad. This lineup of his group would go on to make the record that would make Doggett’s name. “Honky Tonk, Parts 1 and 2” came about almost by accident. As Doggett told the story, his biggest hit started out at a dance in Lima, Ohio on a Sunday night. The group were playing their normal set and people were dancing as normal, but then in between songs Billy Butler, Doggett’s guitarist, just started noodling an instrumental line on his bass strings: [Excerpt: Bill Doggett, “Honky Tonk” intro] This hadn’t been planned — he was just noodling around, as all guitarists will do when given five seconds silence. But the audience started dancing to it, and if you’re in a bar band and the audience is dancing, you keep doing what you’re doing. As Butler was just playing a simple twelve-bar blues pattern, the rest of the group fell in with the riff he was playing, and he started soloing over them: [Excerpt: Bill Doggett, “Honky Tonk” guitar soloing] After three choruses of this, Butler nodded to Clifford Scott, the group’s saxophone player, to take over, and Scott started playing a honking saxophone version of what Butler had been playing: [Excerpt: Bill Doggett, “Honky Tonk”, sax] After Scott played through it a few times, he looked over to Doggett to see if Doggett wanted to take a solo too. Doggett shook his head. The song had already been going about five minutes and what Butler and Scott had been playing was enough. The group quickly brought the song to a close using a standard blues outro: [Excerpt: Bill Doggett, “Honky Tonk”, outro] And that would have been the end of that. It’s the kind of thing that bar bands have jammed a million times, the sort of thing that if you’re a musician you think nothing of. They laughed at the end of the song, happy that they’d pulled off something that spontaneous and the audience had been OK with it, and carried on with the rest of their planned set. But then, a couple of songs later, someone in the audience came up and asked them if they could play that hot new song they’d been playing before again, not realising it had just been a spur-of-the-moment jam. OK, you give the audience what they want, the band members could remember more or less what they’d been playing, so they played it again. And the crowd went wild. And they played it again. And the crowd went wild again. By the end of the night they’d played that new song, the one they’d improvised based on Billy Butler’s guitar noodling, ten times. Doggett immediately phoned Syd Nathan at King Records, his label, and told him that they had a hit on their hands and needed to get it out straight away. But there was one problem — the song was over five minutes long, and a shellac 78RPM disc, which was still the most popular format for R&B music, could only hold three minutes per side. It would have to be a double-sided record. Nathan hated putting out records where the song continued onto the other side, because the jukebox operators who were his main customers didn’t like them. But he eventually agreed, and Doggett and his band got together in the studio and recorded their new instrumental in a single take. It was released as “Honky Tonk Part One” and part two, and they pressed up five thousand copies in the first week. Those sold out straight away, so the next week they pressed up twelve thousand five hundred copies. Those also sold straight away, and so for the next few weeks they started pressing up a hundred thousand copies a week. The song went to number one on the R&B charts, and became the biggest selling R&B song of 1956, spending thirteen weeks in total at number one — dropping down the charts and then back up again. It also reached number two on the pop charts, an astonishing feat for an R&B instrumental. It became a staple for cover bands, and it was recorded by the obvious instrumental acts like the Ventures and Duane Eddy — and indeed Duane Eddy’s whole style seems to have come from “Honky Tonk” — but by other people you might not expect, like Buddy Holly: [Excerpt: Buddy Holly, “Honky Tonk”] The Beach Boys: [Excerpt: The Beach Boys, “Honky Tonk”] And even James Brown: [Excerpt: James Brown, Honky Tonk”]  Doggett never had another hit quite as big as “Honky Tonk”, though his next few records, based on the “Honky Tonk” pattern, also made the top five on the R&B chart: [Excerpt: Bill Doggett, “Slow Walk”] He had ten more R&B top thirty hits over the course of the 1950s. But Doggett was being promoted as a rock and roll act, and playing bills with other rock and roll stars, and he didn’t really feel comfortable in the rock and roll world. When “Honky Tonk” came out, he was forty years old — by far the oldest of the people who had rock and roll hits in the mid fifties — and he was a jazz organ player, not a Little Richard type. He was also stuck repeating a formula — over the decade after “Honky Tonk” parts one and two he recorded tracks like “Honky Tonk (vocal version)”, “Hippy Dippy”, “Blip Blop”, “Yocky Dock”, and “Honky Tonk Bossa Nova”. His career as a charting artist more or less stopped after 1960, when he made the mistake of asking Syd Nathan if he could have a higher royalty rate, given the millions of dollars his recordings had brought in to King Records, and King dropped him. But it didn’t stop his career as a working musician. In 1962 he teamed up again with Ella Fitzgerald, who wanted to go back to making music with a bit more rhythm than her recent albums of ballads. The resulting album, “Rhythm is my Business”, featured Doggett’s arrangements and Hammond organ very prominently: [Excerpt: Ella Fitzgerald, “Hallelujah I Love Him So”] He also teamed up in 1969 with James Brown, who around that time was trying to pay back his dues to others who’d been artists on King Records when Brown had started with them in the fifties. As well as recording his album “Thinking About Little Willie John and Other Nice Things”, Brown had also been producing records for Hank Ballard, and now it was Bill Doggett’s turn. For Doggett, Brown produced and wrote “Honky Tonk Popcorn”: [Excerpt: Bill Doggett, “Honky Tonk Popcorn”] Doggett spent most of the rest of his life touring the oldies circuit, a respected organist who would play hundreds of shows a year, until his death in 1996 aged eighty. He played “Honky Tonk” at every show, saying “I just wouldn’t be Bill Doggett if I didn’t play ‘Honky Tonk’. That’s what the people pay to hear, so that’s what they get.”

Episode fifty of A History of Rock Music in Five Hundred Songs looks at “Honky Tonk” by Bill Doggett, and uses his career to provide a brief summary of the earlier episodes of the podcast as we’re now moving forward into the next stage of the story. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Sixteen Tons” by Tennessee Ernie Ford. —-more—- Resources  As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are many best-of collections of Doggett’s work available. This one seems to have the best sound quality and is a decent overview of his work. Information for this one comes from all over the place, including Shout, Sister, Shout!: The Untold Story of Rock-and-roll Trailblazer Sister Rosetta Tharpe by Gayle F Wald, Honkers & Shouters: The Golden Years of Rhythm and Blues by Arnold Shaw, and Inkspots.ca    Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to the fiftieth episode of A History of Rock Music in Five Hundred Songs. We’re now ten percent of the way through our story, and also most of the way through 1956. I’m told that when history podcasts hit a big round number, it’s customary for them to do a jumping-on episode, perhaps a “story so far” which covers everything that’s been discussed up to that point, but in brief, so that new listeners can get up to speed. That’s sort of what I’m about to do here. This week, we’re going to look at a hit song from 1956, but by someone whose career interacted with almost everyone in the first twenty or so episodes of the podcast. We’re going to look again at some of that old music, not as isolated records by different artists, but as stages in the career of a single individual. We’re going to look at someone who was a jobbing musician, who’d take any job that was on offer, but who by virtue of just being a hard-working competent jobbing player and arranger managed to have an astonishing influence on the development of music. While rock and roll was primarily a vocal music, it wasn’t a completely clean break with the past, and for most of the decades from the 1920s through to the early 50s, if you wanted music for dancing you would want instrumental groups. The big bands did employ vocalists, of course, but you can tell who the focus was on from looking at the names of the bands — the Benny Goodman Orchestra, the Glenn Miller Orchestra, the Duke Ellington Orchestra, the Count Basie orchestra — all of the leaders of the big bands were instrumentalists. They played clarinet or trombone or piano, they didn’t sing. It was only with the musicians union strikes of the 1940s, which we’ve talked about before, that more through necessity than anything else the music industry moved from being dominated by instrumental music to being dominated by singers. But well into the 1960s we’ll still be seeing rock and roll hits that were purely instrumental. Indeed, we probably wouldn’t have rock and roll guitar bands at all without instrumental groups like the Ventures in the US or the Shadows in the UK who had hits with pure instrumental records. And one of the greatest of the early rock and roll instrumentals was by someone who didn’t actually consider himself a rock and roll musician. It’s a record that influenced everyone from James Brown to the Beach Boys, and it’s called “Honky Tonk”: [Excerpt: Bill Doggett, “Honky Tonk”] There is surprisingly little information out there about Bill Doggett, for someone who had such an impact on the fields of rock and roll, blues, jazz, and soul. There are no books about his life, and the only website devoted to him is one designed by his nephew, which… has all the flaws one might expect from a website put together about someone’s uncle. Doggett was born in 1916 in Philadelphia, and he moved to New York in his late teens and formed his own band, for which he was the piano player. But in 1938, Lucky Millinder was looking for a new band — the way Millinder worked was that he bought out, and took over the leadership, of existing bands, which then became “the Lucky Millinder Orchestra”. This incarnation of the Lucky Millinder Orchestra, the one that was put together by Doggett before Millinder took the band over, is the one that got a residency at the Savoy after Chick Webb’s band stopped playing there, and like Webb’s band this group was managed by Moe Gale. Doggett stayed on with Millinder as his pianist, and while with the group he appeared with Millinder in the 1938 all-black film Paradise in Harlem, playing on this song: [Excerpt: Lucky Millinder, “I’ve Got To Put You Down”] Doggett was, from what I can tell, the de facto musical director for Millinder’s band in this period — Millinder was a frontman and occasional singer, but he couldn’t play an instrument and was reliant on the musicians in his band to work the arrangements out for him. Doggett was in the band when Moe Gale suggested that Sister Rosetta Tharpe would work well paired up with Millinder’s main singer, Trevor Bacon, in the same way that Louis Jordan and Ella Fitzgerald had worked well together in the Chick Webb band. Doggett was the pianist during the whole of Tharpe’s time with the Millinder band, and he co-composed, with Millinder, the song that later gave its title to a biography of Tharpe, “Shout! Sister, Shout!”: [Excerpt: Rosetta Tharpe, “Shout! Sister, Shout!”] If you listen to any of Tharpe’s big band recordings from her time with Millinder, it’s Doggett on the piano, and I strongly suspect it was Doggett who came up with the arrangements. Listen for example to his playing on “Lonesome Road”, another song that the MIllinder band performed on film: [Excerpt: Rosetta Tharpe, “Lonesome Road”] The Millinder band were pivotal in the move from swing music to R&B, and Doggett was an important part in that move. While he’d left the band before they took on later singers like Wynonie Harris and Ruth Brown, he had helped set the band up to be the kind of band that those singers would feel comfortable in. Doggett was also in the band when they had their biggest hit, a song called “When the Lights Go on Again (All Over the World)”: [Excerpt: Lucky Millinder, “When the Lights Go on Again (All Over the World)”] That’s most notable now for being one of the first recordings of a young trumpeter who was just starting out, by the name of Dizzy Gillespie. Gillespie was quickly sacked by Millinder, who had a habit of getting rid of musicians before they reached their full potential. I’ve not been able to find out why Doggett left Millinder — whether he was one of those musicians who was sacked, or whether he just wanted to move on to other things — but whatever the reason, it can’t have been anything that put a stain on his reputation, because Doggett remained with Millinder’s manager, Moe Gale. We’ve mentioned Gale before several times, but he was the manager of almost every important black act based in New York in the late thirties and early forties, as well as running the Savoy Club, which we talked about in several of the earliest episodes of the podcast. Gale managed Millinder and Rosetta Tharpe, and also managed the Ink Spots, Ella Fitzgerald, Chick Webb, and Louis Jordan, and so whenever one of his acts needed a musician, he would tend to find them from his existing pool of talent. And so this is how, straight after leaving Lucky Millinder’s band, Doggett found himself working for another Gale act, the Ink Spots. He joined them as their pianist and arranger, and stayed with them for several years: [Excerpt: The Ink Spots, “I’ll Get By”] The Ink Spots, if you don’t remember, were a vocal quartet who became the most popular black act of the forties, and who stuck to a unique formula based around Bill Kenny’s high tenor and Hoppy Jones’ low spoken bass. They had hit after hit during the forties with songs that all sound remarkably similar, and in the mid forties those songs were arranged by Bill Doggett. He was with the group for two years — starting with the classic line-up of the group, and staying with them through Charlie Fuqua being drafted and Deek Watson being fired. While he was a sideman rather than a full member of the group, he was important enough to them that he now gets counted in lists of proper members put together by historians of the band. He ended up leaving them less than two weeks before Hoppy Jones died, and during that time he played on fourteen of their hit singles, almost all of them sticking to the same formula they’d used previously, the “top and bottom”: [Excerpt: The Ink Spots, “Ev’ry Night About This Time”] The different acts managed by Moe Gale all sat in with each other when needed, so for example Trevor Bacon, the male vocalist with Millinder’s band, temporarily joined the Ink Spots when Deke Watson got sick for a few weeks. And so during the times when the Ink Spots weren’t touring, Doggett would also perform with Ella Fitzgerald, who was also managed by Gale. [Excerpt: Ella Fitzgerald, “Time Alone Will Tell”] And indeed, during the end of Doggett’s time with the Ink Spots, Fitzgerald recorded a number of hit singles with the group, which of course featured Doggett on the piano. That included this one, which later went on to be the basis of “Train Kept A-Rollin'”, which we looked at a few episodes back: [Excerpt: Ella Fitzgerald and the Ink Spots, “Cow Cow Boogie”] Doggett moved over full time to become Ella’s arranger and pianist at some point during the couple of weeks between Deek Watson leaving the Ink Spots and Hoppy Jones dying, in early October 1944, and stayed with her for a couple of years, before moving on to Illinois Jacquet’s band, taking the same role again, in the band that introduced the honking tenor saxophone into R&B, and thus into rock and roll: [Excerpt: Illinois Jacquet, “Doggin’ With Doggett”] He also played on one of the most important records in forties R&B — Johnny Otis’ “Harlem Nocturne”, the first hit for the man who would go on to produce most of the great R&B artists of the fifties: [Excerpt: Johnny Otis, “Harlem Nocturne”] And he also led his own band for a while, the Bill Doggett Octet. They were the ones who recorded “Be-Baba-Leba” with Helen Humes on vocals — the song that probably inspired Gene Vincent to write a very similarly named song a few years later: [Excerpt: Helen Humes, “Be-Baba-Leba”] He then moved on to Louis Jordan’s band full time, and this is where his career really starts. Jordan was another act in Moe Gale’s stable, and indeed just like the Ink Spots he’d had hits duetting with Ella Fitzgerald, who he’d first worked with back in the 1930s in Chick Webb’s band. He was also, as you may remember from earlier episodes, the leader of the most popular R&B group in the late forties and early fifties — the one that inspired everyone from Chuck Berry to Bill Haley. And as with his tenure with the Ink Spots, Doggett was in Jordan’s band during its period of peak commercial success. The timeline for who Doggett played with when, as you can probably tell, is all over the place, because he seemed to be playing with two or three acts at any given time. And so officially, if you look at the timelines, so far as they exist, you see that it’s generally claimed that Bill Doggett joined Louis Jordan in 1949. But I’ve seen interviews with members of Jordan’s organisation that suggest he joined much earlier, but he would alternate with Jordan’s other piano player, Wild Bill Davis. The way they worked, according to Berle Adams, who was involved in Jordan’s management, was that Davis would spend a week on the road as Jordan’s piano player, while Doggett would spend the same week writing arrangements for the group, and then they would swap over, and Doggett would go out on the road while Davis would write arrangements. Either way, after a while, Doggett became the sole pianist for the group, as Davis struck out on his own, and Doggett once again basically became the musical director for one of the biggest bands in the R&B business. Doggett is often credited as the person who rewrote “Saturday Night Fish Fry” into one of Jordan’s biggest hits from its inauspicious original version, though Jordan is credited on the record: [Excerpt: Louis Jordan, “Saturday Night Fish Fry”] During his time with Jordan, Doggett continued playing on records for Ella Fitzgerald, Bill Kenny of the Ink Spots, and other artists, but he was paying close attention to Wild Bill Davis, who he had replaced in Jordan’s group. Davis had discovered the possibilities in a new musical instrument, the Hammond organ, and had formed a trio consisting of himself, a guitarist, and a drummer to exploit these possibilities in jazz music: [Excerpt: Wild Bill Davis, “Things Ain’t What They Used To Be”] Doggett was also fascinated by this instrument, especially when hearing it up close, as when Davis rejoined Jordan’s band to record “Tamburitza Boogie”, which had Doggett on piano and Davis on the Hammond organ: [Excerpt: Louis Jordan, “Tamburitza Boogie”] When Doggett left Jordan’s band, he decided to form an organ trio just like Davis’. The only problem was that it was just like Davis’. His group had the same instrumentation, and Doggett and Davis had very similar playing styles. Still, Henry Glover got him a contract with King Records, and he started recording Hammond organ blues tracks in the Davis style: [Excerpt: Bill Doggett Trio, “Big Dog”] Davis and Doggett between them gave the Hammond organ its prominence in the world of jazz, R&B, and soul music. The Hammond organ has an odd image, as most people associate it with the cheesiest sort of light entertainment — certainly for anyone in Britain of the generation older than mine, for example, the name it conjures up is Reggie Dixon, possibly the least funky man ever. But in that part of music which is the intersection of jazz and R&B — the part of music inhabited by Jimmy Smith, Booker T Jones, Ray Charles, Georgie Fame, Billy Preston and others — the Hammond organ has become an essential instrument, used so differently that one might almost compare it to the violin, where the instrument is referred to as a fiddle when it’s played on folk or country songs. And that comes from Davis and Doggett and their almost simultaneous invention of a new style of keyboards for the new style of music that was coming up in the late forties and early fifties. But after a year or two of playing in an organ trio, Doggett decided that he didn’t want to keep making records that sounded so much like the ones Wild Bill Davis was making — he didn’t want to be seen as a copy. And so to vary the style, he decided to take on a honking saxophone player to be the group’s lead instrumentalist, while Doggett would concentrate on providing a rhythmic pad. This lineup of his group would go on to make the record that would make Doggett’s name. “Honky Tonk, Parts 1 and 2” came about almost by accident. As Doggett told the story, his biggest hit started out at a dance in Lima, Ohio on a Sunday night. The group were playing their normal set and people were dancing as normal, but then in between songs Billy Butler, Doggett’s guitarist, just started noodling an instrumental line on his bass strings: [Excerpt: Bill Doggett, “Honky Tonk” intro] This hadn’t been planned — he was just noodling around, as all guitarists will do when given five seconds silence. But the audience started dancing to it, and if you’re in a bar band and the audience is dancing, you keep doing what you’re doing. As Butler was just playing a simple twelve-bar blues pattern, the rest of the group fell in with the riff he was playing, and he started soloing over them: [Excerpt: Bill Doggett, “Honky Tonk” guitar soloing] After three choruses of this, Butler nodded to Clifford Scott, the group’s saxophone player, to take over, and Scott started playing a honking saxophone version of what Butler had been playing: [Excerpt: Bill Doggett, “Honky Tonk”, sax] After Scott played through it a few times, he looked over to Doggett to see if Doggett wanted to take a solo too. Doggett shook his head. The song had already been going about five minutes and what Butler and Scott had been playing was enough. The group quickly brought the song to a close using a standard blues outro: [Excerpt: Bill Doggett, “Honky Tonk”, outro] And that would have been the end of that. It’s the kind of thing that bar bands have jammed a million times, the sort of thing that if you’re a musician you think nothing of. They laughed at the end of the song, happy that they’d pulled off something that spontaneous and the audience had been OK with it, and carried on with the rest of their planned set. But then, a couple of songs later, someone in the audience came up and asked them if they could play that hot new song they’d been playing before again, not realising it had just been a spur-of-the-moment jam. OK, you give the audience what they want, the band members could remember more or less what they’d been playing, so they played it again. And the crowd went wild. And they played it again. And the crowd went wild again. By the end of the night they’d played that new song, the one they’d improvised based on Billy Butler’s guitar noodling, ten times. Doggett immediately phoned Syd Nathan at King Records, his label, and told him that they had a hit on their hands and needed to get it out straight away. But there was one problem — the song was over five minutes long, and a shellac 78RPM disc, which was still the most popular format for R&B music, could only hold three minutes per side. It would have to be a double-sided record. Nathan hated putting out records where the song continued onto the other side, because the jukebox operators who were his main customers didn’t like them. But he eventually agreed, and Doggett and his band got together in the studio and recorded their new instrumental in a single take. It was released as “Honky Tonk Part One” and part two, and they pressed up five thousand copies in the first week. Those sold out straight away, so the next week they pressed up twelve thousand five hundred copies. Those also sold straight away, and so for the next few weeks they started pressing up a hundred thousand copies a week. The song went to number one on the R&B charts, and became the biggest selling R&B song of 1956, spending thirteen weeks in total at number one — dropping down the charts and then back up again. It also reached number two on the pop charts, an astonishing feat for an R&B instrumental. It became a staple for cover bands, and it was recorded by the obvious instrumental acts like the Ventures and Duane Eddy — and indeed Duane Eddy’s whole style seems to have come from “Honky Tonk” — but by other people you might not expect, like Buddy Holly: [Excerpt: Buddy Holly, “Honky Tonk”] The Beach Boys: [Excerpt: The Beach Boys, “Honky Tonk”] And even James Brown: [Excerpt: James Brown, Honky Tonk”]  Doggett never had another hit quite as big as “Honky Tonk”, though his next few records, based on the “Honky Tonk” pattern, also made the top five on the R&B chart: [Excerpt: Bill Doggett, “Slow Walk”] He had ten more R&B top thirty hits over the course of the 1950s. But Doggett was being promoted as a rock and roll act, and playing bills with other rock and roll stars, and he didn’t really feel comfortable in the rock and roll world. When “Honky Tonk” came out, he was forty years old — by far the oldest of the people who had rock and roll hits in the mid fifties — and he was a jazz organ player, not a Little Richard type. He was also stuck repeating a formula — over the decade after “Honky Tonk” parts one and two he recorded tracks like “Honky Tonk (vocal version)”, “Hippy Dippy”, “Blip Blop”, “Yocky Dock”, and “Honky Tonk Bossa Nova”. His career as a charting artist more or less stopped after 1960, when he made the mistake of asking Syd Nathan if he could have a higher royalty rate, given the millions of dollars his recordings had brought in to King Records, and King dropped him. But it didn’t stop his career as a working musician. In 1962 he teamed up again with Ella Fitzgerald, who wanted to go back to making music with a bit more rhythm than her recent albums of ballads. The resulting album, “Rhythm is my Business”, featured Doggett’s arrangements and Hammond organ very prominently: [Excerpt: Ella Fitzgerald, “Hallelujah I Love Him So”] He also teamed up in 1969 with James Brown, who around that time was trying to pay back his dues to others who’d been artists on King Records when Brown had started with them in the fifties. As well as recording his album “Thinking About Little Willie John and Other Nice Things”, Brown had also been producing records for Hank Ballard, and now it was Bill Doggett’s turn. For Doggett, Brown produced and wrote “Honky Tonk Popcorn”: [Excerpt: Bill Doggett, “Honky Tonk Popcorn”] Doggett spent most of the rest of his life touring the oldies circuit, a respected organist who would play hundreds of shows a year, until his death in 1996 aged eighty. He played “Honky Tonk” at every show, saying “I just wouldn’t be Bill Doggett if I didn’t play ‘Honky Tonk’. That’s what the people pay to hear, so that’s what they get.”

Do you think it’s possible that loneliness could ever be a gift from God? I know that loneliness leads to a heavy heart. I know that it can leave us feeling empty and depressed. Yet, loneliness might be a powerful way for God to get our attention. Join us Sunday, June 23 at 11:00 a.m. as we discuss That Lonesome Road.

主播打分： 隐形（青年编剧；《网络谜踪》等29期嘉宾）：7分； “白人司机的角色非常呆萌可爱，上路之后的剧情也极其流畅，而且影片的整体表达具备当下性。” 田野（青年编剧，《登月第一人》等10期节目嘉宾，豆瓣“雪盲”）：6.5分； “影片的公路片层次感很强，比如随着深入南方，黑人主角的安全区域变得越来越小，开始时需要停留在黑人酒店，但到最后连呆在车中都会被警察找麻烦。” 波米：6分；“阿里有至少四层身份：上等人、黑人、同性恋和音乐人，但最终只写他去黑人酒吧自我救赎，怎么不写他去同性恋酒吧或找到真正的乐迷呢？当你通片都在消费种族梗，就别怪从黑人原型家属到黑人导演都揪着你价值观不放了。” 《绿皮书》平均分：6.5分 本期节目流程与目录： 开场曲目：(The Green Book Copacabana Orchestra) 第12秒-第30秒：嘉宾信息介绍； 第30秒-10分半：影片信息介绍（无剧透）； 10分半-9分半：三位主播综合优缺点为影片打分（无剧透）； 9分半-第57分钟：嘉宾“田野”先谈《绿皮书》“优点”，嘉宾“隐形”和波米谈“不足”（涉及剧透）： 1、嘉宾“隐形”认为白人司机在“上路前后”的人设并不统一； 2、嘉宾“田野”觉得本片是“生理性的好看”，剧作水准一流：玉石、手枪等细节都非常好； 3、波米觉得影片视听语言“平庸至极”，在奥斯卡同届8部电影中处于末流，种族价值观“保守至极”，同时伴有篡改真相的争议； 1、田野认为影片并不具备太多所谓“当下性”，对此隐形有不同意见； 2、隐形认为两位主演的表演非常出色，他也在最后被白人司机的角色所打动； 3、波米认为剧本的叙事效率较高；整体也探讨了“歧视”的来源问题； 1小时28分钟-尾声：外延环节：简述相似影片《不可触碰》和《为黛西小姐开车》（涉及剧透）； 尾声曲目：(Kris Bowers)； 影片《绿皮书》(Green Book)重要信息： 本片北美分级：PG-13级； 《为黛西小姐开车》（1989） 《为所应为》（1989） 《阿呆与阿瓜》（1994） 《触不可及》（即主播提及的“不可触碰”，原版，2011） 《月光男孩》（2016） 《登月第一人》（2018） 《波西米亚狂想曲》（2018） 《黑色党徒》（2018）

This episode features a 9-day stretch of wrestling, including Brew City Wrestling, ACW Wisconsin, River City Championship Wrestling, and Insane Championship Wrestling. Interviews include Aesop Mitchell, The Beer City Bruiser, and a Q&A with Corp Robinson. ➢ Facebook pagehttp://www.facebook.com/WrongAlexRiley➢ Follow me on Twitter:@wrongalexriley➢ Follow me on Instagram: @wrongalexriley➢ YouTube channel:http://www.youtube.com/c/RilesBiniles "Lonesome Song" intro song created by Oxhorn! • iTunes: http://oxhorn.it/lonesome-road-itunes Support my friends!➢ raggbagg➢ Regular Guy Gaming Check out my store!http://www.prowrestlingtees.com/wrongalexriley  

This episode features a journey across the Midwest in the car with Maru/Regular Guy Gaming as we journey to River City Championship Wrestling, a show in Pontiac, IL to raise money for medical bills, and Insane Championship Wrestling-Milwaukee. Interviews include Koda Jacobs, Kidd Riot, and IMPACT! Star Kongo Kong with cameo appearances from The Ross Family Matters Prodcast! Also, a brief discussion and reaction to the huge #BE3 showcase from Bethesda! ➢ Facebook pagehttp://www.facebook.com/WrongAlexRiley➢ Follow me on Twitter:@wrongalexriley➢ Follow me on Instagram: @wrongalexriley➢ YouTube channel:http://www.youtube.com/c/RilesBiniles "Lonesome Song" intro song created by Oxhorn! • iTunes: http://oxhorn.it/lonesome-road-itunes Support my friends!➢ raggbagg➢ Regular Guy Gaming Check out my store!http://www.prowrestlingtees.com/wrongalexriley  

This episode features a journey to ACW Wisconsin in Oshkosh, riding alongside Devlin Kain & Maru (collectively known as the Savage Kings), plus an interview with "Simply Amazing" Justin Dredd! Also, more Fallout 76 talk leading up to #BE3 and more! ➢ Facebook pagehttp://www.facebook.com/WrongAlexRiley➢ Follow me on Twitter:@wrongalexriley➢ Follow me on Instagram: @wrongalexriley➢ YouTube channel:http://www.youtube.com/c/RilesBiniles "Lonesome Song" intro song created by Oxhorn! • iTunes: http://oxhorn.it/lonesome-road-itunes Support my friends!➢ raggbagg➢ Regular Guy Gaming Check out my store!http://www.prowrestlingtees.com/wrongalexriley  

This Memorial Day weekend episode features the journey to MKE Wrestling in West Allis, WI & Frozen Tundra's Wrestling in Fond du Lac, WI with interviews from Aesop Mitchell, Chris Black, and singer Rock Bouvier/Stormi Weyh! Also, discussion regarding Fallout 76, reaction and more! ➢ Facebook pagehttp://www.facebook.com/WrongAlexRiley➢ Follow me on Twitter:@wrongalexriley➢ Follow me on Instagram: @wrongalexriley➢ YouTube channel:http://www.youtube.com/c/RilesBiniles Support my friends!➢ raggbagg➢ Regular Guy Gaming Check out my store!http://www.prowrestlingtees.com/wrongalexriley  

This episode features the journey to Frozen Tundra's Wrestling inaugural show in Fond du Lac, WI with interviews from Mikey Wild & Peter Schwanz!   Facebook: www.facebook.com/ACRileyWI  Twitter: www.twitter.com/WrongAlexRiley YouTube: www.youtube.com/theirishman0823  Email: alexcsriley@gmail.com 

A new format to The Riley Factor. This episode includes a triple shot weekend to Milwaukee for ICW, Zelo Pro, and Brew City Wrestling with interviews from Sierra & Tylor Sundae!   Facebook: www.facebook.com/ACRileyWI  Twitter: www.twitter.com/WrongAlexRiley YouTube: www.youtube.com/theirishman0823  Email: alexcsriley@gmail.com 

Hold Onto Your Hats. Beltway Update with Jennifer Kerns, national politcal commentator. Preview of Trump's upcoming State of the Union Address. Notes on the Nunes Memo controversy and DOJ attempts to shut it down. The Strzok-Page Affair, text messages lost and then found. How's that happen? Wire Tapping and Not Firing Mueller. Meanwhile, Backbone Host offers stirring monologue about Trump's Successful First Year in office. The formerly Lonesome Road. The conservative Heritage Foundation gives President Trump higher policy ratings than it once gave Ronald Reagan. Life has become more difficult for recalcitrant Never Trumpers, subsisting as they are in the shadows of Trump's accomplishments. The bitter Bill Kristol continues being buried alive. We salute colleague Dennis Prager for coming around. We analyze Schumer's "six ways from Sunday" comments about the Deep State, which no longer seem operative in the Trump Era. Plus, a long-suppressed photo emerges of a smiling Barack Obama with Louis Farrakhan. Dershowitz is not impressed. With Great Listener Calls & Music via R.E.M., Echo & The Bunnymen, the Rolling Stones, Cat Stevens and Gillian Welch.  See omnystudio.com/listener for privacy information.

EPISODE 46 - DOODcast Live - Sunday 13 Nov 2016 Recorded live at Le Guess Who? Festival, Utrecht. A great honour to have played for their 10th Anniversary! Featuring DJ Fitz, Bucko, Mike Stoke and guests Elijah Wood and Zach Cowie (aka Wooden Wisdom. 1/ Vangelis Papthanassiou - “Sunny Earth” 2/ Dadawah - “Run Come Rally” 3/ Azymuth - “Morning” 4/ Orlandivo -“Ondo Anda A Meu Amor” 5/ Fugi - “I’d Rather B A Blind Man” DJs 6/ Fugi - “Can’t You Hear Me Call You, Woman?” 7/ Insanlar - “Ki Me Ne” 8/ Tim Maia - “Que Beleza” 9/ Tim Maia - “Let’s Have A Ball Tonight” 10/ Sani Danja - “Baban Rigga” DJs 11/ Ahmed Fakroun - “Njoom Al Leyel” 12/ Ahmed Fakroun - “La Ye Hob” 13/ The Congos - “Fisherman” 14/ Sohail Rana - “Saat Maatray” 15/ Sandra De Sá - “Olhos Coloridos” 16/ Antonio Carlos & Jocafi - “Conceiçao Da Praia” DJs 17/ Midnight Driver - “吉田美奈子” 18/ Cosmos - “Midnight Shuffle” 19/ 当山ひとみ (Penny) - “エキゾティック横顔” 20/ Milton - “Mizik Nou” DJs 21/ African Vibration - “Hinde” 22/ Gulden Karabocek - “ 23/ Black Milk Feat. Royce Da 5’9 & Ellzhi - “Deadly Meadly” 24/ Paul Nicholas - “Lamp Lighter” 25/ The Honey Drippers - “Impeach the President” 26/ Ofo The Black Company - “Allah Wakbarr” 27/ Barış Manço - “Lambaya Püf De” 28/ Tim Maia - “Do Leme Ao Pontal” 29/ Jorge Ben Jor - “Waimea 55.000” DJs 30/ Antonio Carlos e Jocafi - “Simbarere” 31/ De Palavra em Palavra - “Cravo E Canela” 32/ Amas - “Slow Down” 33/ Nsimba Foguis & Taxi Pata Pata - “Happy People” 34/ Juna Pablo Torres Y Algo Nuevo - “Son a Propulsion” 35/ Les Shleu Shleu - “Diable Le” 36/ Oz Mutantes - “A Minha Menina” 37/ Francis Bebey - “The Coffee Cola Song” 38/ Black Soul - “Magous Ye” 39/ Kaba Blon - “Fura DJougou” 40/ Boddhi Satva Feat. Oumou - “Ngnari Konon” 41/ Asha Bhosle - “Udi Baba” 42/ Gal Costa - “Relance” 43/ Wally Badarou - “One Day Won’t Give It Away” DJs 44/ Kongas - “Anikana-O” 45/ Antonio Carlos e Jocafi - “Kabaluere” 46/ Magic Source - “Lovestruck (Africaine 808 NYC No Wave Dub” 47/ Shocking Blue - “Long and Lonesome Road” 48/ Chaka Kahn - “I Feel For You” 49/ Brigitte Bardot - “Harley Davidson” 50/ Dit - “You Bring Out The Best In Me” 51/ Osamu Kitajima - “Tengu (A Long-Nosed Goblin)” 52/ Rail Band - “Mouodilo” 53/ Illés - “Nekem Oly Mindegy” 54/ ?? 55/ Babatunde Olatunji - “The Beat of My Drum” 56/ Sidiku Buari - “Anokwar (Truth-Hide & Smile Re-Edit” 57/ Holland-Dozier - “(Baby) Don’t Leave Me (Instrumental)” 58/ Thin Lizzy - “Killer on The Loose” Bucko Half Speed Edit 59/ Harry Nillson - “Jump Into The Fire” 60/ Paul McCartney - “Check My Machine” 61/ Supermax - “Fly With Me” 62/ Shadow - “Let’s Get It Together” 63/ Can - “Future Days” 64/ Manuel Göttsching - “Ruhige Nervosität”

Lost on the Lonesome Road. **** Character art by Caitlin Hoyt! **** T-Shirts! https://www.etsy.com/shop/ASAPodcasting **** Do us a solid and use our Amazon link. Amazon proceeds defray hosting costs, and excess proceeds benefit the Cystic Fibrosis Foundation, a cause near and dear to the hearts of all of us at ASAPodcasting. http://amzn.to/1cylrSK **** Contact the show: falloutroundtable@gmail.com or thefalloutfeed@gmail.com or asapodcasting.com **** Twitter: @thefalloutfeed **** FB: facebook.com/groups/askyrimaddictpodcast **** Forum: ASAPodcasting.Proboards.comSupport the show (http://patreon.com/asapodcasting)

Walking the Lonesome Road. **** Character art by Caitlin Hoyt! **** T-Shirts! https://www.etsy.com/shop/ASAPodcasting **** Do us a solid and use our Amazon link. Amazon proceeds defray hosting costs, and excess proceeds benefit the Cystic Fibrosis Foundation, a cause near and dear to the hearts of all of us at ASAPodcasting. http://amzn.to/1cylrSK **** Contact the show: falloutroundtable@gmail.com or thefalloutfeed@gmail.com or asapodcasting.com **** Twitter: @thefalloutfeed **** FB: facebook.com/groups/askyrimaddictpodcast **** Forum: ASAPodcasting.Proboards.comSupport the show (http://patreon.com/asapodcasting)

The Brooklyn Condo boom has produced a mountain range of tossed wood. Shaper TJ Schuler of Submarine Surfboards knew there was another life out on the water for all those aged floor joists. Through a mix of wizardry and alchemy he shapes elegant lines and unexpected detailed inlay on his floating works of art. Music credit: Lonesome Road by Black Twig Pickers

(Episode 160) This week’s Creepy Pasta: (On a Lonesome Road): http://creepypasta.wikia.com/wiki/On_a_Lonesome_Road Intro/Outro music: Ghost Story from Imcompetech.com http://incompetech.com/music/royalty-free/ Thumbs up to all our listeners, and the community of creepypasta.wiki, and the stories creator: mmpratt99. Without, we wouldn't have this discussion. So thank you all! (mmpratt99): http://creepypasta.wikia.com/wiki/User:Mmpratt99_deviantart (Creepypasta.wikia): http://creepypasta.wikia.com/wiki/Creepypasta_Wiki Comment below or send us an email at aldenterigamortis@gmail.com Also check out the title cards for each episode: http://crazonstudios.tumblr.com/ And if you want to show your support, consider becoming a Patron: https://www.patreon.com/aldenterigamortis

Rhiannon Giddens pours the emotional weight of American history into her music. Listen as she performs traditional folk ballads -- including "Waterboy," "Up Above My Head," and "Lonesome Road" by Sister Rosetta Tharp -- and one glorious original song, "Come Love Come," inspired by Civil War-era slave narratives. Hosted on Acast. See acast.com/privacy for more information.

Rhiannon Giddens pours the emotional weight of American history into her music. Listen as she performs traditional folk ballads -- including "Waterboy," "Up Above My Head," and "Lonesome Road" by Sister Rosetta Tharp -- and one glorious original song, "Come Love Come," inspired by Civil War-era slave narratives.

Rhiannon Giddens déverse le poids émotionnel de l'histoire américaine dans sa musique. Écoutez-la chanter des ballades folks traditionnelles -- y compris « Waterboy », « Up Above My Head » et « Lonesome Road » de Sœur Rosetta Tharp -- et une glorieuse chanson originale, « Come Love Come » inspirée par des récits d'esclaves durant la guerre de Sécession.

Rhiannon Giddens vierte el peso emocional de la historia estadounidense en su música. Escucha cómo interpreta baladas folclóricas tradicionales como "Waterboy", "Up Above My Head" y "Lonesome Road" de Hermana Rosetta Tharpe y una canción original y gloriosa, "Come Love Come", inspirada en las historias de los esclavos de la guerra civil estadounidense.

リアノン・ギデンズは、アメリカの歴史の感情的な重みを自らの音楽に注ぎ込んでいます。「Waterboy（水を配る少年）」、「Up Above My Head（空の方から）」、そしてシスター・ロゼッタ・サープの「Lonesome Road（寂しげな道）」などの伝統的なフォーク・バラード、そして南北戦争の時代の奴隷制にまつわる物語に想を得て作られた、素晴らしいオリジナル曲「Come Love Come（愛する人よ 来い）」の演奏をお聞きください。

Our 101st episode, which aired on June 26, 2015. We Banjo 3 - Sail Away Ladies/Because It's There, Live in Galway We Banjo 3 - Lonesome Road, Live in Galway Brenda Stubbert - Lester's Set, In Jig Time Michael McGoldrick/John McCusker/John Doyle - Long Black Hair, Live Arcady - Toss the Feathers/Fermoy Lasses/Man of the House, Many Happy Returns Eamonn Coyne & Kris Drever - Farewell to Stromness, Storymap Lunasa - Pontevedra to Carcarosa, La Nua Beoga - Our Captain Calls All Hands, How to Tune a Fish CLOSET CLASSIC: Adam & David Shapiro - Martin Rochford's/Roll Out the Barrel, Cape to Clare Éamon Doorley, Muireann Nic Amhlaoibh, Julie Fowlis & Ross Martin - A Riogain Uasail, Dual Barrule - Allen Barbara, Barrule The Barra McNeils - Neil Gow's Lament for the Death of His Second Wife, The Traditional Album

Gary Butterfield and Kole Ross expound upon the many expansions for Fallout: New Vegas. Here, in part three, we visit Dead Money, Honest Hearts, Old World Blues, and Lonesome Road, the four expansions released for Fallout: New Vegas in the year after the main game dropped. They're varied and diverse, but they contribute to a single overarching story in a way that most DLC packs just don't, really. LINKS OF NOTE: Pretending to Ride a Dog FB Group (www.facebook.com/pretendingtorideadog/) Now You See Me (www.youtube.com/watch?v=KzJNYYkkhzc) Giant McTeague Tooth (malvarez726.edublogs.org/2015/03/03/s…in-mcteague/) Dr Venture (www.youtube.com/watch?v=tMMwq2AMgoY) Fallout 2 EPA (fallout.wikia.com/wiki/Environment…rotection_Agency) We3 (en.wikipedia.org/wiki/We3) Stripe (www.youtube.com/watch?v=26rtbuybXss)

Jim Gifford joins us in the studio to talk about his music, his role as Jesse Lee Whitewolf on "Big Sky" and more!"ITNS Radio" In The Neon Spotlight, the show “By Musicians For Musicians”, bringing you the best Songwriters, Artists and Music Professionals from all over the world! This is the place for great music, interviews by professionals in the music field and a whole lot more!!! Come into the Neon Lights, ITNS Radio!!! DISCLAIMER: Receiving airplay on ITNS Radio is free. All the artist's that we feature or play their music have rights to the music submitted to us. We have various promotions that include our newsletter, website, and social media sites; check them out at www.samwatkinscountry.com.

This program is from 9/14/88 and features Jimmy Mazzy (banjo/vocals), Fred Lind (cornet), Paul Meymaris (clarinet), Don Frothingham (piano), John Kafalas (tuba), and Stu Grover (drums).  The selections are “Get Out and Get Under the Moon,” “Lonesome Road,” and “A Precious Little Thing Called Love.”  Send questions or comments to podcast@kafalas.com.

Celebrity Link- The Unbridle Jamaican Reggae Icon Nicky Thomas.Nicky Thomas (born Cecil Nicholas Thomas, 30 May 1949 – 1990) was a reggae singer who enjoyed considerable chart success in Jamaica and in the United Kingdom at the start of the 1970s.Nicky Thomas was born Fruitful Vale, Portland, Jamaica. He began work as a labourer in Kingston where he worked alongside future members of the The Gladiators. His opportunity to cuts some records came when former Jiving Junior and producer Derrick Harriott wrote and produced Run Mr Nigel Run for Thomas. A huge Jamaican hit the song led to him being known as Mr Nigel for a time. He was also successful with Come Home a song from the same session.This was followed by a successful association with producer Joel Gibson better known as Joe Gibbs for whom Thomas recorded the plaintive Running Alone and Lonesome Road issued as by Cecil Thomas, as well as a version of Let It Be credited to Nicky Thomas.Thomas' collaboration with Gibbs resulted in a number of hits including Don't Touch Me, Mama's Song and God Bless The Children.Thomas and Gibbs also covered a number of well regarded R&B hits that included Tyrone Davis' Turn Back The Hands of Time and (Baby) Can I Change Your Mind and Tony Joe White's Rainy Night in Georgia. He topped the Jamaican charts in 1970 with Have A Little Faith, a record that reputedly sold 50,000 copies on its release in the UK. It failed to chart in the UK because the sales were largely through specialist music shops and not statistically counted by the official chart compilers.www.caribbeanradioshow.con www.crsradio.com 661-467-2407

Songs about the road. Tunes include: Crossroads Blues, Hit the Road, One For My Baby and One More For the Road, Stay On the Right Side of the Road, Waiting at the End of the Road and Lonesome Road.  Performers include: Robert Johnson, the Andrews Sisters, Thomas "Fats" Waller, Lena Horne, Cliff Bruner, Bing Crosby and Maxine Sullivan.

PODCAST: 26 Oct 2014 01 - Ghost Of Tom Joad - Solas - The Turning Tide 02 - Lovely Joan - Martin Carthy - The Essential Martin Carthy 03 - Whiskey Before Breakfast - John Bach With Jack Pearson - Hot Biscuit Jam 04 - The Sailor Cut Down - Si Barron - Sweet Billy Caution 05 - Fair And Tender Ladies - Tim O’Brien And Lunasa - Hands Across The Water 06 - The Blackbird Of Sweet Avondale - Elle Marie O’Dwyer - Where The Allow Waters Flow 07 - Sleepy John - Mandolin Jack - Lonesome Road 08 - False Lover John - Alasdair Roberts - Revenge Of The Folksingers 09 - All Night Drinking - Tony Trundle - Winter Swimming 10 - We Were Good People - Maria Dunn - We Were Good People 11 - Johnny I Hardly Knew Ye - Churchfitters - Get Wise 12  - The Pigs Foot Set - The Unwanted - Music From The Atlantic Fringe 13  - Sovay - Hannah Sanders And Liz Simmons - World Begun 14 - Awake Awake - The House Devils - Crossing The Ocean 15 - The Good Ship Kangaroo - Planxty - After The Break 

En nuestra vigésimo segunda edición volvemos a la televisión y repasamos la trayectoria del productor y director británico Gerry Anderson centrándonos en la serie Espacio 1999. Como banda sonora nos acompañan los temas "The Lonesome Road" de The Chantays y "Stingray" de The Hi-Fives. La sintonía, como es habitual, es el tema "Spectre Detector" de los Tiki Tones. Busca nuestra lista de reproducción en Spotify. Síguenos y contacta con nosotros a través de Facebook en http://www.facebook.com/retronautas o Twitter en @losretronautas. Saludos desde los días del futuro pasado.

En nuestra vigésimo segunda edición volvemos a la televisión y repasamos la trayectoria del productor y director británico Gerry Anderson centrándonos en la serie Espacio 1999. Como banda sonora nos acompañan los temas "The Lonesome Road" de The Chantays y "Stingray" de The Hi-Fives. La sintonía, como es habitual, es el tema "Spectre Detector" de los Tiki Tones. Busca nuestra lista de reproducción en Spotify. Síguenos y contacta con nosotros a través de Facebook en http://www.facebook.com/retronautas o Twitter en @losretronautas. Saludos desde los días del futuro pasado.

En nuestra sexta edición hablamos sobre aquellas obras que establecieron las raices del género de la Ciencia Ficción, lo que la crítica ha denominado como "Proto Ciencia Ficción". Viajaremos a través del tiempo analizando obras como la Historia Verdadera de Luciano de Samosata, Utopía de Tomás Moro, Somnium de J. Kepler, Los Viajes de Gulliver de J. Swift, Frankenstein de M. Shelley y muchas más. Todo un viaje a través de la historia. Por último nos despedimos con los comentarios de nuestros oyentes y el adelanto del próximo programa. Como banda sonora nos acompañan los siguientes temas: "Powehouse" de Bobby Hammack y el mismo tema por Spike Jones, "Saturday Night On Saturn" de Les Baxter & His Orchestra, "The Lonesome Road" de Dean Elliott & His Big Band y "Fly Me To The Moon" de Frank Sinatra. La sintonía, como es habitual, es el tema "Spectre Detector" de los Tiki Tones. Busca nuestra lista de reproducción en Spotify. Síguenos y contacta con nosotros a través de Facebook en http://www.facebook.com/retronautas . Saludos desde los días del futuro pasado.

En nuestra sexta edición hablamos sobre aquellas obras que establecieron las raices del género de la Ciencia Ficción, lo que la crítica ha denominado como "Proto Ciencia Ficción". Viajaremos a través del tiempo analizando obras como la Historia Verdadera de Luciano de Samosata, Utopía de Tomás Moro, Somnium de J. Kepler, Los Viajes de Gulliver de J. Swift, Frankenstein de M. Shelley y muchas más. Todo un viaje a través de la historia. Por último nos despedimos con los comentarios de nuestros oyentes y el adelanto del próximo programa. Como banda sonora nos acompañan los siguientes temas: "Powehouse" de Bobby Hammack y el mismo tema por Spike Jones, "Saturday Night On Saturn" de Les Baxter & His Orchestra, "The Lonesome Road" de Dean Elliott & His Big Band y "Fly Me To The Moon" de Frank Sinatra. La sintonía, como es habitual, es el tema "Spectre Detector" de los Tiki Tones. Busca nuestra lista de reproducción en Spotify. Síguenos y contacta con nosotros a través de Facebook en http://www.facebook.com/retronautas . Saludos desde los días del futuro pasado.

PODCAST: 17 Mar 2013 Sig - Doon Reel - Frankie Lane 01 - Ride The Peace Train - Jackie Macaulay02 - Between the Jigs and the Reels (poem) - Moya Cannon03 - Na Cannabháin Bhána / Hardiman the Fiddler - The McCarthy Sisters04 - My Heart's Tonight in Ireland - Andy Irvine05 - Every County on the Island - Tommy Sands06 - I Wish I Had Someone To Love Me - Cathie Ryan07 - The Lonesome Road to Dingle - Niamh Ní Charra08 - Down by the Liffeyside (poem) - Gerry Brady (The Beggermen)*09 - Sweet Thames, Flow Softly - Christy Moore10 - You Are My Sunshine (& more!) - We Banjo 311 - Nothing To Show (For It All) - Dolores Keane12 - The Fiddler of Dooney(W B Yeats) - Fergal Keane13 - The Spiral Set - Nollaig & Mairréad Casey and Máire Ní Chathasaigh14 - The Sky Road - Jimmy McCarthy15 - In Praise of John Magee - Boys of the Lough16 - Song for Ireland - Dick Gaughan17 - If I Was A Blackbird - Eleanor Shanley18 - Off To California / The Home Ruler - Tom Cussen and Tony Howley19 - The Homes of Donegal - Paul Brady20 - The Wild Rover - The Dubliners Sig - Doon Reel - Frankie Lane *=no website available

Today on the 5: I finally got around to finishing the last DLC release for Fallout: New Vegas. While Lonesome Road is a fairly standard journey for the most part, it's the way it finishes that really impressed me.

You are cordially invited to the union of Galaxy News Radio and the newest Fallout New Vegas DLC: Lonesome Road! At the ceremony, good tidings will be had as the hosts reminisce about all the magical times the had with Lonesome Road. They'll also recollect on things such as Yu-Gi-Oh Abridged, how Sally wasn't here, and poor recording conditions. We hope you'll join us and please bring presents!Download the episode

Welcome to episode 24 of "That Podcast: An FNV Diary" - a podcast where Michael Lucas-Smith and I document our trials and tribulations in Fallout: New Vegas. Today is pretty much the end of the road for "That Podcast" - we wrap up the latest (and last) DLC, "Lonesome Road", and offer a few retrospective ideas on the game. Along the way we mused a bit about where the franchise might go from here. Thanks for listening! We'll likely have one more (very brief) audio update to announce the particulars for our planned Skyrim podcast. So keep the iTunes subscriptions live, at least for a little while longer. You can subscribe in iTunes (or any podcatcher) using this feed, or this one for the AAC edition. You can get to the podcast directly in iTunes via this link. You can also go to the iTunes store and leave a comment, or join the Facebook Group and discuss the podcast. If you want to download the podcast directly, I've provided it in three formats: MP3 Edition AAC Edition Ogg Vorbis Edition Got feedback? Send it to James. We'd really appreciate it if you head on over to iTunes and leave a comment - enjoy the podcast, and we'll see you in the wastelands! Technorati Tags: fallout, fallout new vegas, lonesome road

Welcome to episode 23 of "That Podcast: An FNV Diary" - a podcast where Michael Lucas-Smith and I document our trials and tribulations in Fallout: New Vegas. On today's podcast, Michael and James are joined by maki, and guest host Austin Healy, one of our regular listeners. The topic - what else: the last DLC, "Lonesome Road". We cover the entire DLC except for the ending, as - at record time - only Austin had finished the DLC. Next podcast we'll go over the possible outcomes, and likely wrap the entire podcast up. Thanks for listening! You can subscribe in iTunes (or any podcatcher) using this feed, or this one for the AAC edition. You can get to the podcast directly in iTunes via this link. You can also go to the iTunes store and leave a comment, or join the Facebook Group and discuss the podcast. If you want to download the podcast directly, I've provided it in three formats: MP3 Edition AAC Edition Ogg Vorbis Edition Got feedback? Send it to James. We'd really appreciate it if you head on over to iTunes and leave a comment - enjoy the podcast, and we'll see you in the wastelands! Technorati Tags: fallout, fallout new vegas, lonesome road

A mildly embarrassing problem when getting under way with tonight's story, confessed in full in these lines: when I first sat down to read it to you this evening, I got caught on a raft in a sea of lexical continental drift, and over and over I stammered out the title only to have it read "Roadsome Load." No kidding: again and again.

A mildly embarrassing problem when getting under way with tonight's story, confessed in full in these lines: when I first sat down to read it to you this evening, I got caught on a raft in a sea of lexical continental drift, and over and over I stammered out the title only to have it read "Roadsome Load." No kidding: again and again.

Big Band Serenade proudly presents Jimmie Lunceford will long be remembered as the leader of a swinging big band that rivaled on record, and exceeded in person, the orchestras of Duke Ellington, Benny Goodman and Count Basie. His band differed from many of the other big bands of the 1930s and 1940s in that Lunceford's group was noted less for its soloists than for its ensemble work. Selection today are Coquette, Annie Laurie, Margie, The Lonesome Road, Tain't What You Do, Le Jazz Hot, and The Honeydripper. Please Take our Listener SurveyPurchase Jimmie Lunceford's Music Here!!! All Donations given this month will be divid