Podcasts about Long Black Veil

Ten years ago, on a cold dark night, a podcast was started, 'neath the pale moonlight. There were few there to see (or listen), but they all agreed that the show that was started looked a lot like we. And here we are a decade later with a diverse group of backgrounds, perspectives, and musical tastes (see the lyrics for "Long Black Veil" if you missed the reference in the opening of this episode description) still nattering on about analytics topics of the day. It's our annual tradition of looking back on the year, albeit with a bit of a twist in the format for 2024: we took a few swings at identifying some of the best ideas, work, and content that we'd come across over the course of the year. Heated exchanges ensued, but so did some laughs! For complete show notes, including links to items mentioned in this episode and a transcript of the show, visit the show page.

This week, hosts Jim DeRogatis and Greg Kot celebrate the spooky season by revisiting their favorite songs about witches and ghosts.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:The Head and the Heart, "Ghosts," The Head and the Heart, Sub Pop, 2011The Beatles, "With a Little Help from My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967The Kinks, "Wicked Annabella ," The Kinks Are the Village Green Preservation Society, Pye, 1968Donovan, "Season of the Witch," Sunshine Superman, Epic, 1966Jethro Tull, "The Witch's Promise," The Witch's Promise (Single), Chrysalis, 1970Martha and the Vandellas, "Mobile Lil The Dancing Witch," Dance Party, Motown, 1965Monster Magnet, "19 Witches," Powertrip, A&M, 1998Radiohead, "Burn the Witch," A Moon Shaped Pool, XL, 2016Bettye LaVatte, "Witch Craft in the Air," Witch Craft in the Air (Single), LuPine, 1963Florence + the Machine, "Which Witch (Demo) [Bonus Track]," How Big, How Blue, How Beautiful, Island, 2015Roky Erickson and the Aliens, "If You Have Ghosts," The Evil One, 415, 1981Joy Division, "Dead Souls," Still, Factory, 1981Psychedelic Furs, "The Ghost in You," Mirror Moves, Columbia, 1984Suicide, "Ghost Rider," Suicide, Red Star, 1977Johnny Cash, "(Ghost) Riders in The Sky," Silver, Columbia, 1979Caroline Herring, "Long Black Veil," Golden Apples of the Sun, Signature Sounds, 2009Daniel Johnston, "Casper the Friendly Ghost," Yip/Jump Music, (Self-Released), 1983Robyn Hitchcock & The Egyptians, "My Wife and My Dead Wife," Gotta Let This Hen Out!, Midnight Music, 1985The Raveonettes, "Apparitions," Raven in the Grave, The Raveonettes, 2011Mekons, "Ghosts of American Astronauts," So Good It Hurts, Twin/Tone, 1988Ladytron, "Ghosts," Velocifero, Nettwerk Productions, 2008The Goldstars, "Stroll In Hell," Stroll In Hell (Single), The Goldstars, 2021Black Sabbath, "Black Sabbath," Black Sabbath, Vertigo, 1970Umphrey's McGee, "The Floor," Death By Stereo, ATO, 2011See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

classic country song recorded by Lefty Frizzell in 1959

classic country song recorded by Lefty Frizzell in 1959

It's a Valentines Day special y'all. Korby speaks with Nashville actor, producer, casting director and life partner Randa Newman. In addition to her appearances on TV shows like NBC's 'Young Rock' and The CW's 'Walker', Randa also produced our Morse Code TV pilot, for which this podcast is named. We talk about the weird joy it is to work and live together, as well as our evolving effort to be both challenging and supportive partners. We also work out in realtime what we think each of us brings to the table, and discuss the importance of doing stuff that isn't overtly productive. In the last third of the conversation we talk about our ongoing effort to build a family — and what that's been like emotionally. Somewhere in there we play a song together. Probably the most personal and (for me, Korby) occasionally uncomfortable conversation we'll ever have have on the podcast.

Reference recording for the tab posted--view my tabs here.

Reference recording for the tab posted--view my tabs here.

Listeners...we live in a world that has music podcasts, and those music podcasts have to be guarded by co-hosts with amazing jokes. Who's gonna do it? You, Bob Ross? You, John Popper? The Beck Did it Better podcast has a greater responsibility than you can possibly fathom. You weep for more music discussion, and you curse our Teenage Mutant Ninja Turtles talk. You have that luxury. You have the luxury of not knowing what we know....that this podcast, while tragic, is probably the best podcast about disco music; and that our existence, while grotesque and incomprehensible to you, is the best podcast about the Bee Gees and 163rd greatest album of all time, the Saturday Night Fever soundtrack.   You don't want that truth because deep down in places you don't talk about at parties, you WANT to hear song parodies about cow pee and you NEED to hear us talk about sex tourism in Ft. Pierre, South Dakota.   We have neither the time or the inclination to explain ourselves to the dumbshit single-finger shifters who skip ahead to (54:00) to listen to the amazing Saturday Night Fever analysis that we provide and then question the manner in which we provide it.    We would rather that you just said "thank you" and recommend Beck Did it Better to your friends. Otherwise, we suggest you join us next week for the best Johnny Cash podcast, when we pull back the Long Black Veil on At Folsom Prison. Either way, we don't give a DAMN what you think you're entitled to.   Did we talk about cock cages for a second week in a row on this podcast? We did the job!   Did we talk about the real big nasty ones on this podcast? YOU'RE GODDAMN RIGHT WE DID!!!

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

Willie Nelson "Uncloudy Day"John Hammond Jr. "Nadine"Bonnie Raitt "Everybody's Cryin' Mercy"Valerie June "Man Done Wrong"My Morning Jacket "Easy Morning Rebel"Funkadelic "Funky Dollar Bill"Fats Domino "What a Party"Raphael Saadiq "Keep Marchin'"M. Ward "Girl From Conejo Valley"R.E.M. "Gardening At Night"Varetta Dillard "Mercy Mister Percy"Miles Davis "Budo"Steve Earle "Transcendental Blues"Centro-Matic "Remind Us Alive"The Ronettes "Good Girls"Eilen Jewell "I'm a Little Mixed Up"fIREHOSE "Brave Captain"Shaver "Love Is so Sweet"Frankie Lee Sims "She Likes To Boogie Real Low"Lefty Frizell "The Long Black Veil"Sugarboy Crawford "Jockomo"Bonnie 'Prince' Billy "A Minor Place"Lucero "Wandering Star"Neil Morris "The Banks of the Arkansas/Wave the Ocean"Lucero "Here at the Starlite"The Clash "1-2 Crush On You"Ryo Fukui "Autumn Leaves"Sister Rosetta Tharpe "Strange Things Happening Every Day"Patterson Hood "Betty Ford"Vic Chesnutt "And How"Willie Nelson "Trouble in Mind"Faces "Stay With Me"Lucinda Williams "Crescent City"Kristin Hersh "Your Ghost"James Booker "On The Sunny Side Of The Street"Sam Doores "Other Side of Town (feat. Alynda Segarra)"Superchunk "City of the Dead"Helen Humes "Be-Baba-Leba"Jazz Artists Guild "Tain't Nobody's Business If I Do"Otis Redding "Nobody's Fault But Mine"Bo Diddley "Hong Kong, Mississippi"Old 97's "Crash on the Barrelhead"Ike Gordon "Don't Let The Devil Ride"The Hold Steady "Barfruit Blues"The Mountain Goats "Rat Queen"

Vera Hall "Death, Have Mercy"Fleetwood Mac "Green Manalishi (With the Two Pronged Crown)"Bessie Smith "Graveyard Dream Blues"Billy Joe Shaver "The Devil Made Me Do It the First Time"Ted Leo and the Pharmacists "I'm A Ghost"Sister Rosetta Tharpe "Strange Things Happening Every Day"Tampa Red "Witchin' Hour Blues"Neil Young "Vampire Blues"Lefty Frizzell "The Long Black Veil"Muddy Waters "Got My Mojo Working"Dr. John "Black John the Conqueror"Leon Redbone "Haunted House"Little Willie John "I'm Shakin'"Shotgun Jazz Band "Old Man Mose"Lil Green "Romance In the Dark"The Make-Up "They Live By Night"Uncle Tupelo "Graveyard Shift"Bessie Jones "Oh Death"Albert King "Born Under a Bad Sign"Nina Simone "I Want a Little Sugar In My Bowl"Oscar Celestin "Marie Laveau"Reverend Gary Davis "Death Don't Have No Mercy"Roy Newman & His Boys "Sadie Green (The Vamp of New Orleans)"Jessie Mae Hemphill "She-Wolf"Screamin' Jay Hawkins "I Put a Spell On You"Eilen Jewell "It's Your Voodoo Working"George Olsen and His Music "Tain't No Sin to Dance Around in Your Bones"Son House "Death Letter"Johnny Cash "The Man Comes Around"Fleetwood Mac "Black Magic Woman"Blind Lemon Jefferson "See That My Grave Is Kept Clean"Elvis Costello & the Roots "Wise Up Ghost"Hank Williams "Howlin' At the Moon"Bob Dylan "That Old Black Magic"The Halo Benders "Scarin'"Blind Willie Johnson "Dark Was The Night, Cold Was The Ground"Steve And Justin Townes Earle "Candy Man"Billie Holiday "Sugar"Jeff Beck "I Ain't Superstitious"Cab Calloway/Cab Calloway Orchestra "St. James Infirmary"Bonnie Raitt "Devil Got My Woman"Sebadoh "Vampire"Fred McDowell "Death Came In"Howlin' Wolf "Evil"Ella Fitzgerald "Chew-Chew-Chew (Your Bubble Gum)"Robert Johnson "Hellhound On My Trail"John Mayall & The Bluesbreakers "The Super-Natural"Tom Waits "Big Joe and Phantom 309"

In conversation with Jo Piazza A ''quite prescient and worthwhile'' writer who ''understands her characters inside and out'' (The New York Times Book Review), Jodi Picoult has authored many No. 1 bestsellers that are renowned for combining controversial topics with nuanced characters and precise descriptions of suburbia's fraught reality. Her 28 novels include House Rules, Handle with Care, Wish You Were Here, Nineteen Minutes, My Sister's Keeper, and Small Great Things, as well as the young adult novel Between the Lines, co-written with her daughter, Samantha van Leer. The author of more than a dozen books, Jennifer Finney Boylan achieved great literary success in 2003 with her critically acclaimed memoir She's Not There, the first bestselling book by a transgender American. Her other works include You Are You, Long Black Veil, and I'm Looking Through You, a memoir about her upbringing in a dilapidated mansion on Philadelphia's Main Line. Currently the inaugural Anna Quindlen Writer-in-Residence at Barnard College of Columbia University, a fellow at Harvard University's Radcliffe Institute for Advanced Study, and a trustee of PEN America, Boylan is a former longtime national co-chair of GLAAD. In their first collaborative novel, Picoult and Boylan tell the story of a woman who flees with her son to her sleepy New Hampshire hometown only to face the possibility that the teenager shares his father's explosive tendencies. (recorded 10/5/2022)

Jeff Tweedy nació hace 55 años en Belleville, Illinois, Estados Unidos. Es uno de los compositores más importantes en la Historia del Rock. En este homenaje por su cumpleaños repasamos canciones de su carrera con su banda Wilco - la banda actual por excelencia -, con Uncle Tupelo, la banda previa que formó junto a Jay Farrar (Son Volt), con Golden Smog, el supergrupo que le unió a miembros de The Jayhawks, Soul Asylum o The Replacements. También escuchamos a Mavis Staples producida por Tweedy o dúos junto a Billy Bragg o Rosanne Cash.. DISCO 1 UNCLE TUPELO Sandusky  DISCO 2 WILCO Jesus, etc. [/YANKEE HOTEL FOXTROT) DISCO 3 JEFF TWEEDY I Am Trying To Break your Heart DISCO 4 WILCO When You Wake Up Feeling Old (SUMMERTEETH) DISCO 5 WILCO The Lonely (BEING THERE) DISCO 6 GOLDEN SMOG Lost Love DISCO 7 WILCO Will You Love Me Tomorrow (BEING THERE) DISCO 8 MAVIS STAPLES & JEFF TWEEDY You Are Not Alone (RECORDED LIVE AT CHICAGO) DISCO 9 MAVIS STAPLES & JEFF TWEEDY Wrote A Song For Everyone DISCO 10 MAVIS STAPLES & JEFF TWEEDY Ain’t No Doubt About It DISCO 11 ROSANNE CASH & JEFF TWEEDY Long Black Veil DISCO 12 BILLY BRAGG & WILCO Hesitating Beauty DISCO 13 UNCLE TUPELO Sin City (NO DEPRESSION) DISCO 14 JEFF TWEEDY The Ballad Of The Opening Band (SONGS FOR SLIM Escuchar audio

Dominic is back with Sam and Martin, thinking about both the beauty and exploitation-of-beauty that this song contains, and considering how it compares with the traditions of murder ballads. website: songbysongpodcast.com twitter: @songbysongpod e-mail: songbysongpodcast@gmail.com Music extracts used for illustrative/review purposes include: Dead and Lovely, Real Gone (remastered), Tom Waits (2004/2017) Long Black Veil, single, Jenny Owen Youngs (2017) Dead and Lovely, Real Gone (original), Tom Waits (2004) We think your Song by Song experience will be enhanced by hearing, in full, the songs featured in the show, which you can get hold of from your favourite record shop or online platform. Please support artists by buying their music, or using services which guarantee artists a revenue - listen responsibly.

Sarah kicks off the episode with her thoughts on what sustainability means for her business & garden practices (2:30), and will be covering sustainability on the floristry side next week. Listen to the flower fact trivia question (23:00), with the answer after the interview. Today's guest is Dorsey Kilbourn from Blossom in Portland, Oregon, who stops by to talk about landscape design for homes (23:25). This episode will make you want to turn your unloved backyard into the outdoor space of your dreams! Think peaceful morning coffee space, outdoor dinners, swing 'portals', patio covers, children's play features, and creating different 'rooms'. She fills us in on some of her go-to design features, how to maximize space in urban landscapes, how she brainstorms and narrows down her designs, garden layers, what to expect if you work with a landscape design company, and how she got into this field. Dorsey walks us through some of her favorite plants, recommendations for how to create garden borders, and answers some rapid-fire listener questions such as: drought tolerant plants, plants that are good for shade, and irrigation tips for resilient plants.  For design inspiration, Dorsey uses Pinterest and loves following Piet Oudolf, Charlotte Rowe Gardens,  MCLD LLC, Sunset Magazine, Artisan Landscapes, and Lara Behr. For plant inspiration, Dorsey highly recommends looking through the Xera Plants website, especially if you're in the Pacific Northwest. At the end of the ep, Sarah answers the trivia question (1:19:02) & the song of the week is Long Black Veil by Johnny Cash (1:20:05). Subscribe to the Flower Friends pod wherever you get your podcasts, and follow along on Instagram at @flowerfriendspodcast, and with Sarah at @growgirlseattle.

Regresamos a uno de los discos más influyentes de la historia: Music From Big Pink de The Band, álbum publicado en 1968. Ricardo Portmán nos cuenta su historia. Escucharemos Tears Of Rage, To Kingdom Come, In a Station, Caledonia Mission, The Weight, We Can Talk, Long Black Veil, Chest Fever, Lonesome Suzie, This Wheel´s On Fire y I Shall Be Released + Bonus track. Recuerden que nuestros programas los pueden escuchar también en nuestra web https://ecosdelvinilo.com, en https://distanciaradio.com (Córdoba) los miércoles a las 18:00 y domingos a las 23:00, en https://radiofreerock.com (Cartagena) los viernes a las 18:00, en https://lageneracionraddio.com (Medellín, Colombia) los jueves y domingos a las 19:00 (hora Col.) y en http://www.radiom7.es (Córdoba) los lunes a las 18:00 y sábados a las 17:00.

Jimmy West with Leonard T. Zinn and his Band - "No Strings Attached" - single [0:00:00] Johnny Williams - "Long Black Veil" - single [0:04:01] Haydon Thompson - "Girl From Arkansas" - single [0:06:55] Rod Willis - "Somebody's Been Rocking My Baby" - single [0:09:25] Smiley Wilson - "Long As Little Birds Fly" - single [0:11:17] Music behind DJ: Grady Martin & His Guitar - "The Fuzz" - single [0:13:57] Merle Travis - "That Tennessee Beat" - single [0:17:30] Kathy Taylor - "Once A Day" - single [0:19:43] The Echoettes - "Sears Roebuck Catalog" - single [0:22:00] Conway Twitty - "Up Comes The Bottle" - single [0:24:07] Bob York - "Chains Of Love" - single [0:26:53] Music behind DJ: Grady Martin & His Guitar - "The Fuzz" - single [0:28:43] Mickey Gilley - "(I'm Gonna Put My) Love In The Want Ads" - single [0:32:23] Christine Hall - "Bill Bailey" - single [0:35:00] Vern Stovall - "Funny Sense Of Humor" - single [0:36:41] The Country Belles - "He's Almost You" - single [0:39:21] Tommy Thompson - "Do The Bells Still Ring" - single [0:42:43] Music behind DJ: The Thunderbirds - "Thunderbird Romp" - single [0:43:54] Jerry Jeff Walker - "L.A. Freeway" - single [0:48:56] Chase Webster - "Where Are You" - single [0:52:21] Johnny White - "Whole Hog Or None" - single [0:54:20] Music behind DJ: The Thunderbirds - "Thunderbird Stomp" - single [0:58:20] https://www.wfmu.org/playlists/shows/115622

Jimmy West with Leonard T. Zinn and his Band - "No Strings Attached" - single [0:00:00] Johnny Williams - "Long Black Veil" - single [0:04:01] Haydon Thompson - "Girl From Arkansas" - single [0:06:55] Rod Willis - "Somebody's Been Rocking My Baby" - single [0:09:25] Smiley Wilson - "Long As Little Birds Fly" - single [0:11:17] Music behind DJ: Grady Martin & His Guitar - "The Fuzz" - single [0:13:57] Merle Travis - "That Tennessee Beat" - single [0:17:30] Kathy Taylor - "Once A Day" - single [0:19:43] The Echoettes - "Sears Roebuck Catalog" - single [0:22:00] Conway Twitty - "Up Comes The Bottle" - single [0:24:07] Bob York - "Chains Of Love" - single [0:26:53] Music behind DJ: Grady Martin & His Guitar - "The Fuzz" - single [0:28:43] Mickey Gilley - "(I'm Gonna Put My) Love In The Want Ads" - single [0:32:23] Christine Hall - "Bill Bailey" - single [0:35:00] Vern Stovall - "Funny Sense Of Humor" - single [0:36:41] The Country Belles - "He's Almost You" - single [0:39:21] Tommy Thompson - "Do The Bells Still Ring" - single [0:42:43] Music behind DJ: The Thunderbirds - "Thunderbird Romp" - single [0:43:54] Jerry Jeff Walker - "L.A. Freeway" - single [0:48:56] Chase Webster - "Where Are You" - single [0:52:21] Johnny White - "Whole Hog Or None" - single [0:54:20] Music behind DJ: The Thunderbirds - "Thunderbird Stomp" - single [0:58:20] https://www.wfmu.org/playlists/shows/115622

Hello, we're James and Connor. Take a look behind the walls At Folsom Prison this week with Johnny Cash as we talk about our first ever live album! Recorded in 1968, this iconic record puts The Man In Black's talent and sense of humor on full display. Follow his legendary career from humble beginnings to his final days, and learn about his numerous incidents with various birds that you may not have known about! We'll talk about the story and style of all 16 tracks, including Folsom Prison Blues, Greystone Chapel, Dirty Old Egg-Sucking Dog, and even country music staples Long Black Veil and The Green, Green Grass Of Home. Enjoy!Keep Spinning at www.SpinItPod.com!  Hosted on Acast. See acast.com/privacy for more information.

As a member of a musical family, Aleksi has been exposed to virtually all styles of music since birth,  from jazz to classical, folk to rock, and a half dozen other stops in between some of those genres. He's listened to everyone from Jimi Hendrix to John Scofield, Derek Trucks to Wes Montgomery. His guitar speaks an authoritative language and yet, there is a relaxed feeling and an inbred admiration of music's many faces. The sound is warm, round, and full, the phrasing is like a smooth-flowing brook, bubbling here, charging there, but always reflecting his basic understanding of what his instrument is about. As any good New York artist does, Aleksi plays with the best and brightest across the creative landscape. From films to radio, pop to jazz, on tape or video, he maintains an ideal balance of adaptability and uniqueness. He's played and/or recorded with Snack Cat (The Funk-Soul band he leads), Roberta Flack, Jersey Boys, J Hoard, Bailen, the Broadway cast of Aladdin, The Seth Weaver Big Band, Bailen, Peter Bernstein, Sam Dillon, Paul Bollenback, Augie Haas, Benny Benack, Vic Juris, Mike Glick (his pops) plus dozens of regional and nationally known bands and artists. He has also worked with major labels and publishing companies including Warner Chappel, Warner Music, Ropadope, APM, EMI, and Outside in Music. Guitar and Me is the debut solo release from New York-based guitarist Aleksi Glick. The album plays as a genealogy of the guitar, weaving through various musical styles that have been crucial to the guitar's evolution as well as influential to Glick's own journey with the instrument. While still rooted in jazz and blues, the album pushes the boundaries of the genre by seamlessly floating through an eclectic mix of other styles including R&B, folk, rock, and bossa nova. Guitar and Me feature thirteen original compositions and solo arrangements of guitar-based classics that Glick recorded while in isolation at the height of the Covid pandemic. The album starts off with a  burner, “With Ease,” an original bluesy hard bop tune that came to Glick after a memorable Mardi Gras in New Orleans. The bossa and R&B-infused title track “Guitar and Me” follow as Glick's own love letter to his guitar. A mix of originals, jazz standards, and classic songs follow. Other highlights include  an arrangement of the Grateful Dead fan-favorite “Casey Jones” and the timeless classic “Georgia on  My Mind.” “A Tune for Vic,” is a moving tribute to Glick's recently deceased mentor, the late great Vic  Juris. The album concludes with another original, “Rebirth” which is an homage to Glick's early love of classic rock, and finally “Long Black Veil” one of two tracks that Glick sings on. With each track, you can hear the different influences on Glick's playing from the classic tones of Wes Montgomery to the modern techniques of John McLaughlin, to the dynamic energy of Jimmy Hendrix.  In this episode, Aleksi shares his background, education, and musical journey. If you enjoyed this episode please make sure to subscribe, follow, rate, and/or review this podcast on Spotify, Apple Podcast, Google Podcast, ect. Connect with us on all social media platforms and at www.improvexchange.com

Billie Holiday "I Cover the Waterfront"James Booker "Classified"Ike Gordon "Don't Let The Devil Ride"Ray Wylie Hubbard "Freeway Church Of Christ"Howlin' Wolf "Drinkin' C.V. Wine"Cedric Burnside "I Be Trying"Bob Dylan "Romance In Durango"Superchunk "City of the Dead"Emmylou Harris "Sweet Old World"Merle Haggard "I Think I'll Just Stay Here and Drink"Memphis Minnie "Night Watchman Blues (Take 2)"Wanda Jackson "Rip It Up"Fats Waller "Functionizin'"Sonny Boy Williamson "T.B. Blues"Jimmie Rodgers "Dreaming with Tears in My Eyes (Alternate Take)"Lucero "Sometimes"Hayes Carll "Another Like You"Gillian Welch "Make Me a Pallet on Your Floor"Josh White "Strange Fruit"Jack Purvis and His Orchestra "Poor Richard"Slim Harpo "Rainin' in My Heart"Kathleen Edwards "Empty Threat"Valerie June "Colors"Hank Williams "Cold, Cold Heart"Billie Holiday and His Orchestra "Long Gone Blues"George Henry Bussey "When I'm Sober I'm Drunk Blues"Neil Young "No Wonder"Adia Victoria "Lonely Avenue"Adia Victoria "Dead Eyes"The Mountain Goats "New Monster Avenue"Arliss Nancy "Abacus"Lefty Frizzell "Long Black Veil"Blaze Foley "The Moonlight Song"Lucinda Williams "Drunken Angel"Buddy Guy "I Smell a Rat"Built to Spill "Conventional Wisdom"Guitar Junior "The Crawl"Dave Van Ronk "God Bless The Child"Big Joe Turner "Ice Man Blues"Willie Nelson "Railroad Lady"Robert Wilkins "Old Jim Canan's"Albert Ammons "Bass Goin' Crazy"Drag the River "Lucky's"Tom Waits "I Wish I Was In New Orleans [in The Ninth Ward]"Jimi Hendrix "Red house"Billie Holiday, Eddie Heywood's Orchestra "I'll Be Seeing You"

                 Copperplate Time 388               Presented by Alan O'Leary  http;//www.copperplatemailorder.com                         1. Bothy Band: Green Groves of Erin/Flowers of Red Hill.   After Hours 2. Gerry Diver:  The Bath Set    Diversions 3. Dezi Donnelly & Mike McGoldrick:     Wheels of  the World/Paddy Murphy's Wife.   Dog in the Fog 4. Deanta:  Ready for the Storm.   Joyful Noise 5. Dan Brouder:  Old Maids of Galway/A Letter From Home/Mickey Rattley's.  The Lark's Air 6. Ben & Brian Lennon:           Miss McGuinness/Lucky in Love.               Within A Mile of Kilty 2 7.  Caoimhin O'Fearghaill:             May McMahon/Reel of Mullinavat.                     Uilleann Piping from Co Waterford 8.  Pat  McMahon & Ned Coleman:          Pat McMahon's Jigs.   Music from Galway 9.  Kevin Conniff/The Chieftains:    Changing Your Demeanour.   Long Black Veil 10. Moving Cloud: Chinese Polka/William Durette's Clog/Boys of the Lough.           Moving Cloud 1   11. Seamus Creagh:    In Praise of Mullingar.          It's No Secret 12. Creagh/Daly/Coffey:   Quinn's Polka/The Church Polka.  Island to Island 13. Seamus Quinn & Gary Hastings:            Maids of Castlebar/The Morning Star.              Slan le Lough Eirne 14. Tommy Reck: The Kilfrush/Trip to Durrow.             Fire Draw Near 15. Aggie Whyte: The Rookery/Gallaghers Frolics/Maid at the Spinning Wheel.                       Valuable Treasure 16. Kev Boyle:  Bon Cabbage.   Palestine Grove 17. Ben Lennon & Friends:            Return of Spring/The Mountain Pathway.           The Natural Bridge 18.  Christy Moore:            Clock Winds Downn.  Flying Into Mystery 19. Tommy Guihen: Darby's Farewell/Father O'Grady's Trip to Bocca/ Baltimore Salute.           The Torn Jacket 20. Norma Waterson:         Joseph Locke.  The Very Thought of You 21. Martin Hayes & Dennis Cahill:               Bucks of Oranmore/Eileen Curran/Jimmy on the Moor.   Joyful Noise 22. Oysterband:   The Corner of the Room .             Read The Sky 23. Bothy Band:   Green Groves of Erin/Flowers of Red Hill.   After Hours

Cette murder ballad écrite par Marijohn Wilkin et chantée par Lefty Frizzel est un peu la chanson country par excellence : il y est question d'un meurtre, d'un adultère, d'une condamnation à mort, d'une femme éplorée et d'un fantôme. La série documentaire que je mentionne s'appelle "Country Music", de Ken Burns.

It's spooky season and hosts Jim DeRogatis and Greg Kot have a new batch of songs about ghosts to share. They're joined by Sam Weller, author of many books on Ray Bradbury and the gothic short story collection Dark Black, to discuss spooky music. Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lURecord a Voice Memo: https://bit.ly/2RyD5Ah Featured Songs:Nick Cave and the Bad Seeds, "Long Black Veil," Kicking Against The Pricks, Mute, 1986Roky Erickson and the Aliens, "If You Have Ghosts," The Evil One, 415, 1981Joy Division, "Dead Souls," Still, Factory, 1981Psychedelic Furs, "The Ghost In You," Mirror Moves, Columbia, 1984Suicide, "Ghost Rider," Suicide, Red Star, 1977Johnny Cash, "(Ghost) Riders In The Sky," Silver, Columbia, 1979Caroline Herring, "Long Black Veil," Golden Apples of the Sun, Signature Sounds, 2009Daniel Johnston, "Casper the Friendly Ghost," Yip/Jump Music, (Self-Released), 1983Pat Benetar, "Wuthering Heights," Crimes of Passion, Chrysalis, 1980Kate Bush, "Wuthering Heights," The Kick Inside, Harvest, 1978Scott Sorry, "Black Dog Dancers," (Single), Generation X-Ray, 2021Elton John, "Rocket Man (I Think It's Going to Be a Long Long Time)," Honky Château, Uni, 1972Robyn Hitchcock & The Egyptians, "My Wife and My Dead Wife," Gotta Let This Hen Out!, Midnight Music, 1985The Raveonettes, "Apparitions," Raven In the Grave, The Raveonettes, 2011Mekons, "Ghosts of American Astronauts," So Good It Hurts, Twin/Tone, 1988Ladytron, "Ghosts," Velocifero, Nettwerk Productions, 2008The Goldstars, "Stroll In Hell," Stroll In Hell (Single), The Goldstars, 2021Black Sabbath, "Black Sabbath," Black Sabbath, Vertigo, 1970The Velvet Underground and Nico, "Sunday Morning," The Velvet Underground and Nico, Verve, 1967

Spooky ghost-women crying over graves - Murder Most Foul - Hollywood Actors and their ghostly stalkers - Mistaken Identity - October Vibes!Since when is Mick Jagger a member of The Chieftains!?Come and join the lads this week as they discuss all the mad themes and topics surrounding 'The Long Black Veil', and we'll ring in Spooktober with style!Notable versions:Mick Jagger + The Chieftains - https://www.youtube.com/watch?v=4F-4rY4g4DoJohnny Cash - https://www.youtube.com/watch?v=5pYA46dyKh4The Band - https://www.youtube.com/watch?v=_KOEEQttjI8

Neil Strauss reflects on his friendship with the late Chuck Berry and his book, The Game, a chronicle of his journey and encounters in the seduction community. Neil also talks to Tom about his favourite songs: The Beach Boys - "God Only Knows", Harry Nilsson - "One", Leonard Cohen - "Famous Blue Raincoat", Louis Armstrong, - "St James Infirmary, Johnny Cash - "Father & Son”, Cesária Évora - “Petit Pays”, The Louvin Brothers - "Knoxville Girl", The Beatles - "The Long and Winding Road", The Kinks - "Waterloo Sunset", The Rolling Stones - "Wild Horses”, Crosby, Stills & Nash - “Our House", The Beatles - "While My Guitar Gently Weeps", Lefty Frizzell - "Long Black Veil", Chris Bell - "I Am the Cosmos", Sam Cooke - "Chain Gang", Lucinda Williams - "Drunken Angel", Vanilla Fudge - "Keep Me Hanging On", Soul Clan - "That's How It Feels", Marmalade - "Reflections of My Life", Gram Parsons/Emmylou Harris - “Love Hurts” and Bob Marley - “Redemption Song”. This episode is brought to you by Lumie, the original inventors of wake-up lights, whose Bodyclock Luxe 750DAB wake-up light mimics a natural sunrise and sunset. Shown to improve quality of sleep and to boost productivity in clinical trials, this remarkable device also features high quality audio with DAB+ radio, Bluetooth speakers, USB port and a selection of over 20 sleep/wake sounds. The Lumie Bodyclock Luxe 750DAB can transform the way you start and end your day, especially if you struggle to wake up in the morning and/or get to sleep at night - it certainly did for me. Go to lumie.com to find out more. This episode is brought to you by Modal Electronics, who make beautiful, innovative and powerful synthesisers. You can enjoy vibrant wavetable patches with their ARGON8 series. You can produce state-of-the-art analogue-style synth textures with their COBALT8 series. Go to modalelectronics.com to check out their incredible array of synthesisers.

"Cowboy's Juke Joint Flagship Show" Harder Side of Blues & Edgy Southern Rock - Searching for Newer & Emerging Artists and Music around the world for you. If it's not Gritty, Raw & Pure; it ain't Cowboy's Juke Joint! Live Sunday's 8:00 PM EST on www.cowboysjukejoint.com1. The Cold Stares - (Heavy Shoes)2. The Cold Stares - (In The Night Time)3. Stoner Train - (Never Seen the South (But Still I Feel the Blues))4. The Bonnevilles - (C'mon)5. The Black Wizards - (56th Floor)6. 100 Watt Vipers - (AS THE WATERS RISE)7. Eagle Eye Williamson - (LIQUID COURAGE)8. Otis - (Shake You)9. Crow Black Chicken - (Electric Soup)10. Adult Cinema - (Flowers)11. 20 Watt Tombstone - (Just Got Paid)12. CHILD - (Free & Humble)13. Slow Season - (Endless Mountain)14. Slow Season - (Damo's Days)15. Black Rebel Motorcycle Club - (Berlin)16. King Mountain - (The End of the World)17. DE3RA - (People Under The Stairs)18. Lightnin Malcolm - (Hero)19. Honky - (Outta Season)20. The Maness Brothers - (End of Me)21. Winchester - (Play for you)22. Jackie Treehorn Ave. - (The Long Black Veil)23. SILTMAN - (She's Red Hot)24. Canyon - (Tent Preacher)25. Black Stone Cherry - (Bad Luck & Hard Love)26.Buffalo Fuzz - (Bad Circulation)27. Strange Majik - (Channel T)28. The Dust Coda - (Breakdown)29. Johnny Oskam - (Badlands)30. Professor Electric - (Coulda Been)31. Mission Brown - (Boring Life)32. Snakes in the Casket - (Shift Up a Gear)33. Porno Wolves - (Sierra Negra)34. Red Stone Souls - (Killing Fields)35 Ocean Towers - (On Rush)36. Ramblin' Roze - (Down by The River)37. Sea Mouse - (Numbers)38. The Heavy Eyes - (A Cat Named Haku)39. The Heavy Crawls - (Show Me The Way)

In our final Pride episode, I speak with my friend, poet and writer Anastasia Walker. As we discuss, Anastasia and I met five years ago at our college reunion, and have kept in touch since. We talk about her upcoming book of poetry, The Girl Who Wasn't And Is from bd-studios, and how the trans experience has changed and is changing across the generations that bridge the two of this. Also, a trans analysis of “Long Black Veil.” After our recording, Anastasia fleshed her thoughts out on her blog. Johnny Cash - The Long Black Veil (At Folsom Prison) (14:12) Tricia Black -- “Not 1 of the Boys” (YouTube) (18:02) Love -- “Alone Again Or” (Forever Changes) (34:37) Fancy Hagood -- “Forest” (Southern Curiosity) (37:50) Penelope Houston - Talking with You (Birdboys) (49:23) Gary Cawker - "I Want You (to be My Man)" (The Sleep of Reason) (52:59) Emily Davis and the Murder Police -- “Bloodlines” (Never a Moment Alone) (61:21) Next week's topic: June Music Roundup Podcast intro by Alma Contra, music from Two Cow Garage's “Stars & Gutters”   Send me music via SubmitHub!   Get A&T gear and Rainbow Rodeo at the merch page!   Send me money via Ko-fi or Patreon. Find Rachel and her comic via https://linktr.ee/rachel.cholst

B5 S1 E3 Born to the Purple (9 Feb 94) v DS9 S1 E8 Dax (13 Feb 93)-For more about metaphysical questions of identity, consult the Stanford Encyclopedia of Philosophy's entries on ‘identity', ‘personal identity', ‘identity over time', & ‘relative identity'-For a recent critique of meritocracy, see Daniel Markovits Meritocracy Trap: How America's Foundational Myth Feeds Inequality, Dismantles the Middle Class, & Devours the Elite (2019) & a critical interview with the author on The Genn [Loury] Show-Trills factor heavily into Star Trek: Discovery S3 (2020-1) & the new space opera novel that has shaped Bob's understanding of the Trill as an integrated consciousness is Arkady Martine Memory Called Empire (2019)“Long Black Veil” is a famous country ballad originally performed by Lefty Frizzell (1959) similar to the plot of “Dax”. The ballad has also been covered by Joan Baez (1963), Johnny Cash (1965), & al.-Italian actress Fabiana Udenio is best known for roles in Austin Powers (1997) & Jane the Virgin (2014-9)-The use of Quark's bar as a courtroom recalled similar scenarios in westerns like Man who Shot Liberty Valance (1962) & Deadwood (2004-6)-Other, better Star Trek episodes involving legal proceedings are Next Generation episodes “Measure of a Man” (1989) & “Drumhead” (1991) & the Voyager episode “Death Wish” (1996)-DS9 returns to questions of murder & the Dax symbiote in “Equillibrium” (1994)

Siobhán O'Brien is a singer-songwriter who performs with acoustic guitar and harmonica. O'Brien has performed with Bob Dylan, The San Diego Symphony, and The Chieftains and supported Christy Moore, Donovan, Damien Dempsey, Pete Cummings, Sharon Shannon, Henry McCullough, Maria McKee, Mick Flannery, Paul Brady, and The Cranberries.Her solo work incorporates traditions of American song, including folk, blues, country, rock and English, Scottish and Irish traditional music.O'Brien is the niece of Brendan Bowyer of The Royal Showband and the great-granddaughter of Albert Bowyer of the Bowyer/Westwood Opera Company of Blackpool, England. She made her first musical recording of a sea shanty at the age of six. In 2008, O'Brien toured the United States with performances in New York City, Boston, Nashville, and California. She performed as a guest vocalist on "Lakes of Ponchartrain" with The Chieftains at Boston Symphony Hall, Massachusetts.In 2008, she released her third album, I Grew Up To, which features Paddy Moloney (The Chieftains) on "Long Black Veil" and "Lakes of Ponchartrain. In 2010, she performed as a guest vocalist performing with The San Diego Symphony in California. Hosted on Acast. See acast.com/privacy for more information.

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Hoy debemos comenzar el programa con un recuerdo emocionado a Jota Mayúscula, nuestro querido compañero, que falleció el pasado jueves. Todo un pionero del rap y el hip hop en España con el que hemos compartido muchos ratos entrañables en los últimos 22 años de esta casa. Jota, amigo, sigue jugando con las agujas allá donde vayas y rimando mejor que nadie. El mismo día en que George Jones cumplía 72 años, moría Johnny Cash en el Hospital Baptista de Nashville por problemas respiratorios producidos a causa de su diabetes. Dos días antes había sido dado de alta en el mismo hospital, donde fue ingresado por problemas estomacales. Tenía 71 años y han pasado 17 desde entonces. Johnny Cash se marchaba poco menos de cuatro meses después de la desaparición de su mujer, June Carter. Su salud había empeorado desde el fallecimiento de su compañera durante tantos años y fue enterrado junto a ella en el cementerio de Hendersonville, muy cerca del hogar que habían compartido. Cuando regresó del servicio militar en Alemania en 1954, se estableció en Memphis, se casó con Vivian Liberto trabajó en casi todo lo que uno pueda imaginar. Pero la música era su objetivo vital, conoció a Luther Perkins y Marshall Grant tocando juntos en pequeños locales de la zona. Se presentaron a Sam Phillips como un grupo de góspel y salieron haciendo country. Su primer single fue “Hey Porter”, su primer single, cuya letra fue publicada en el periódico militar Stars And Stripes y la historia empezó a cambiar. Sus actuaciones en la radio como Johnny Cash & The Tennessee Two les hicieron ganar un buen número de seguidores. A partir de ahí todo es historia básica de la música popular. Tras la muerte de Johnny Cash se especuló sobre cuál fue la última canción que grabó. En un principio se hablaba de "Like the 309", uno de los dos únicos temas propios que El Hombre de Negro incluyó en su último álbum en vida, American V: A Hundred Highways, el quinto de la serie producida por Rick Rubin. Pero al año siguiente, en 2004 veía la luz un recopilatorio producido por John Carter Cash, The Unbroken Circle: The Musical Heritage of the Carter Family, donde aparecía "Engine One-Forty-Three", la última grabada por el mítico artista de cuya muerte se cumplen 17 años. De vez en cuando nos encontramos con artistas que poseen la habilidad de llamar la atención a la primera escucha. Ese es el caso de Jordan Suter, un nativo de Colorado que acaba que ha hecho su debut con el Ep Tumbleweed, convertido en el filtro de influencias de artistas de la Red Dirt Music como Randy Rogers o Wade Bowen unido a las maneras de Jason Isbell y Blackberry Smoke. Todo ello con una cierta sensación de paz y comodidad. La curiosidad del trabajo está en esta versión inesperada de “Long Black Veil”, que nos cita con la figura de Lefty Frizzell, el primero en cantar una balada compuesta hace más de medio siglo por Danny Dill y Marijohn Wilkin inspirándose en una grabación de Red Foley como "God Walks These Hills With Me", además de una información periodística sobre el asesinato no resuelto de un sacerdote, y una mujer que cubierta con un velo visitaba habitualmente la tumba de Rodolfo Valentino. El pasado jueves se cumplieron 55 años desde que los Byrds grabaron "Turn! Turn! Turn! (To Everything There Is a Season)", su segundo y último No.1 en las listas. Firmada por Pete Seeger, su letra está tomada del Eclesiastés, cuya autoría se atribuye al Rey Salomón. En aquella formación seminal encontramos a un joven músico californiano proveniente de bluegrass que tocaba la mandolina, pero que se encargaba del bajo. Era Chris Hillman, que vuelve a estar de actualidad ya que con prólogo de Dwight Yoakam, tapa dura y 315 páginas, el próximo 17 de noviembre se publican sus memorias, Time Between. My Life as a Byrd, Burrito Brother, and Beyond. Estamos, sin duda, ante uno de los actores fundamentales del country rock. Tras los Byrds, formó en los Flying Burrito Brothers junto a Gram Parsons, fue miembro de Manassas y socio fundador de la Souther-Hillman-Furay Band. En los 80 lideró la Desert Rose Band, un imponente grupo que dio paso a sus aventuras en solitario. La última de ellas, Bidin’ My Time, de hace tres años. A lo largo de los años, Chris Hillman nos ha aleccionado, posiblemente sin quererlo, sobre cómo se evoluciona desde las tradiciones sonoras del bluegrass al country-rock más brillantes en épocas menos amables que las actuales para fundir géneros musicales. El otoño de 2017 nos trajo la terrible noticia de la muerte de Tom Petty y, por el contrario, el primer álbum de Hillman en 10 años, producido precisamente por el artista de Florida. Con el nombre de Bidin' My Time (aguardando mi tiempo) el músico de Los Angeles, que a primeros de Diciembre cumplirá 76 años, puso al día un sonido del que fue pionero en la mitad de los 60, gracias a la producción de Petty, en cuyo estudio del sur de California se grabó aquel disco. El apoyo de algunos viejos amigos trajo recuerdos de los mejores años de la década de los 60, como fue el guiño a los Byrds en “Here She Comes Again”, una canción compuesta por Hillman y su antiguo compañero Roger McGuinn, que había sido grabada exclusivamente en un disco en vivo en Australia. Chris Hillman volvió a encargarse del bajo, algo que no había hecho en 30 años. Sid Griffin reunió a los miembros originales de los Long Ryders para lanzar un álbum tras tres décadas llamado Psychedelic Country Soul, con ese sonido atemporal que les ha acreditado como una banda familiar en el terreno del country rock. El año pasado vinieron de gira y nos quedó un regusto amargo sobre su puesta en escena. Ahora el veterano músico ha aprovechado el tiempo de pandemia para que los miembros del cuarteto pusieran en común “Down To Well”, un tema que resume la situación actual de Estados Unidos. El guitarrista Stephen McCarthy, que ha compuesto el tema junto a Greg Sowders, reunió en su estudió las partes grabadas por cada uno de sus compañeros desde sus casas y se ha convertido en el nuevo single de una banda que, en palabras de su líder, Sid Griffin, confía en estar sobre un escenario el próximo año. Pudimos haber tenido a Chuck Prophet actuando en distintos lugares de nuestro país poco antes de entrar el verano, pero la pandemia lo impidió. Hubiera sido el mejor momento para que nos presentara personalmente esa especie de exorcismo sonoro que bien podría describir The Land That Time Forgot, su último álbum. Este músico con sede en San Francisco no ha olvidado sus raíces en el rock desértico de los inolvidables Green On Red y ha realizado una road trip sonora que recorre desde el Sur profundo a los Everly Brothers, pasando por el rockabilly, alguna tonalidad espacial y todo ello sin olvidar las esencias de Dylan o Tom Petty. Para ello ha contado con su pareja, Stephanie Finch, su viejo amigo y colaborador klipschutz, el poeta californiano de Indio que lleva en San Francisco desde hace 30 años y todo tipo de escenarios posibles para que su sonido sea especialmente cambiante como si hubiéramos subido a un carrusel. “Best Shirt On” en un mensaje conmovedor a la constancia en tiempos tan duros como los del presente, cuando se pierde el empleo y se lucha entre la esperanza y la desesperanza. Está inspirado en la propia experiencia de su padre. La psicodelia de Grateful Dead, y las raíces sureñas de los Allman Brothers son el sustento sonoro vital de Cordovas, formados por Joe Firstman en Nashville hace nueve años. Nos visitaron en la primavera de 2019, esa que ahora nos parece tan lejana para hacer una gira inolvidable y ahora nos anticipan su tercer álbum de estudio que aparecerá a mediados de octubre con el título de Destiny Hotel. Tras ser producidos por Milk Carton Kids, esta vez el trabajo ha corrido a cargo de Rick Parker en Los Angeles con 10 canciones que dan continuidad a That Santa Fe Channel de hace dos temporadas y donde subyace un cierto tono de nostalgia, como en “Rain on the Rail”, que bien podría ser una autobiografía del propio Firstman, con una experiencia que le llevó a firmar con Atlantic, trabajar con Willie Nelson, liderar la banda del programa de Carson Daly y, por fin, dar origen a Cordovas. Aquí llega desde el corazón de Texas Shaker Hymns, una formación debutante a la que no vamos a perder de vista tras un álbum de debut autoeditado como The Ties That Bind en el que el Southern Rock se muestra poderoso, aunque no son tan afilados como Whiskey Myers y tienen, por el contrario, tonalidades más cercanas al soul. Las canciones tienen mucho de la personalidad de su líder y compositor, Nyles Robakiewicz, sabiendo enmarcar las emociones como en “Just Fine”, con sólidas dentelladas de country rock. Después de haber publicado en EP hace tres años, han asentado sus formas y han logrado un disco muy equilibrado en la producción, siendo una de las mejores noticias de este año complicado. El próximo 23 de octubre, Bruce Springsteen publicará Letter To You, su nuevo álbum junto a la E Street Band, a quien había dejado de lado en su último proyecto, Western Stars, uno de los más personales, y posiblemente controvertidos, de su larga carrera. De nuevo produciendo junto a Ron Aniello, el Boss ha elegido 12 canciones, de las que tres de ellas estaban guardadas desde los 70. El álbum fue grabado en tan solo cinco días en su estudio casero de Nueva Jersey y cuenta con la E Street Band al completo grabando en vivo, sin overdubs. Desde la gira de 2016 no había tenido a su lado a sus compañeros de siempre. Su tema central tiene mucho de confesión desde la experiencia. Sheryl Crow está especialmente activa en estos tiempos de pandemia y acaba de publicar un nuevo single en vinilo de 7 pulgadas y edición limitada a 500 copias. La artista de Missouri es bien conocida por su activismo y este sencillo habla bien a las claras de su posicionamiento ante la situación de su país. Para ello ha mirado ocho años atrás y ha realizado una versión actualizada de “Woman In The White House”, que publicó por entonces para descarga gratuita. El tema defiende la idea de la presencia de una mujer en la Casa Blanca precisamente ahora que Joe Biden ha contado con Kamala Harris para acompañarle en la vicepresidencia. Es la tercera mujer en aspirar a ese puesto como candidata de un partido con posibilidades de ganar. Susan Santos es un ejemplo de resistencia, y más aun en tiempos como los del presente. La artista extremeña estaba grabando en Sound of Pisces Music, en North Hollywood en diciembre del año pasado sin imaginar, como todos, la que se nos venía encima. Pero cuando llegó la pandemia y el aislamiento forzoso, su reacción ha sido la de seguir avanzando, aunque sea a pasos más cortos. En el mes de julio pudimos estrenar “Dirty Money”, uno de los cuatro cortes de The L.A. Sessions, un EP que aparecerá el próximo 6 de noviembre. Esta vez vamos a despedir el programa desde la barra de un bar de carretera donde se ahogan los corazones rotos y las malas experiencias. “Somebody To Love” tiene todas las hechuras para filmar una road movie. Escuchar audio

She is called the Long Black Veil. She preys on the lonely and despondent, feeds on guilt and fear, and has done so for all of recorded history.Until nowSome say she was murdered. But how do you murder a Ghastly One?Edited and produced by Jeff DavidsonMusic by:Narcotic SyntaxBureaucratiqueMessagesSeneca Indian funeral chantand Chelsea Oxendine with the theme musicPlease subscribe through Buzzsprout, Stitcher, Spotify, Podchaser, or iTunesFind me on social media on Instagram Facebook and Twitter, or email me direct at AScaryHomeCompanion@gmail.comA proud partner of the Imagnville Podcast Network Support the show (https://www.patreon.com/ascaryhomecompanion)

Hosted by Raymond McCullough, in Downpatrick, Co. Down, Northern Ireland  with music from:     Captain Tractor (Alberta, Canada) 'Johnny’s Ghost’ (Famous Last Words)   Searson (Ontario, Canada) 'Galician Night’ (Fade & Shine)   Donna Hughes (Florida, USA) 'Nothing Easy’ (Hellos, Goodbyes and Butterflies)     Stephanie Cadman (Ontario, Canada) 'Bogged Down' (Celtic Blaze)   Catherine O’Connell (Chicago, Illinois, USA) 'A Song for the Fox’ (Small Miracles)   Celtaire String Band (Texas, USA) 'Whiskey Before Breakfast' (Packaged in the Past)   Eden Burning (England, UK) ‘The Reel of Pickering Pick’ (Smilingly Home) A Different Thread (England,UK/North Carolina, USA) 'Long Black Veil’ (Some Distant Shore)     Produced by Precious Oil Productions Ltd for Celtic Roots Radio

Want to know what books we read, but didn't make the cut for March? We talk about our process for finding the books that we love and ultimately send out, and review the books that we read along the way. This month we read The Difference by Marina Endicott, Recipie for a Perfect Housewife by Karma Brown and Long Black Veil by Jennifer Finney Boylan. Support the show (http://www.paperandinkbox.com)

Our resident book lovers, Jacqui and Julia, discuss Long Black Veil by Jennifer Finney Boylan. Join our subscription to get in on the conversation! Support the show (http://www.paperandinkbox.com)

Episode sixty-nine of A History of Rock Music in Five Hundred Songs looks at “Fujiyama Mama” by Wanda Jackson, and the first rock and roller to become “big in Japan” 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 “Purple People Eater” by Sheb Wooley.  —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.   I have two main sources for this eposode. One is Wanda Jackson’s autobiography, Every Night is Saturday Night. The other is this article on “Fujiyama Mama”, which I urge everyone to read, as it goes into far more detail about the reasons why the song had the reception it did in Japan.   And this compilation collects most of Jackson’s important early work.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin this episode, a minor content note. I am going to be looking at a song that is, unfortunately, unthinkingly offensive towards Japanese people and culture. If that – or flippant lyrics about the bombings of Hiroshima or Nagasaki – are likely to upset you, be warned. When we left Wanda Jackson six months ago, it looked very much like she might end up being a one-hit wonder. “I Gotta Know” had been a hit, but there hadn’t been a successful follow-up. In part this was because she was straddling two different genres — she was trying to find a way to be successful in both the rock and roll and country markets, and neither was taking to her especially well. In later years, it would be recognised that the music she was making combined some of the best of both worlds — she was working with a lot of the musicians on the West Coast who would later go on to become famous for creating the Bakersfield Sound, and changing the whole face of country music, and her records have a lot of that sound about them. And at the same time she was also making some extremely hot rockabilly music, but she was just a little bit too country for the rock market, and a little bit too rock for the country market. Possibly the place where she fit in best was among the Sun records acts, and so it’s not surprising that she ended up towards the bottom of the bill on the long tour that Jerry Lee Lewis, Carl Perkins and Johnny Cash did over much of North America in early 1957 — the tour on which Jerry Lee Lewis moved from third billed to top of the bill by sheer force of personality. But it says quite a bit about Jackson that while everyone else talking about that tour discusses the way that some of the men did things like throwing cherry bombs at each other’s cars, and living off nothing but whisky, Wanda’s principal recollection of the tour in her autobiography is of going to church and inviting all the men along, but Jerry Lee being the only one who would come with her. To a great extent she was shielded from the worst aspects of the men’s behaviour by her father, who was still looking after her on the road, and acted as a buffer between her and the worst excesses of her tourmates, but she seems to have been happy with that situation — she didn’t seem to have much desire to become one of the boys, the way many other female rock and roll stars have. She enjoyed making wild-sounding music, but she saw that mostly as a kind of acting — she didn’t think that her onstage persona had to match her offstage behaviour at all. And one of the wildest records she made was “Fujiyama Mama”: [Excerpt: Wanda Jackson, “Fujiyama Mama”] “Fujiyama Mama” was written by the rockabilly and R&B songwriter Jack Hammer (whose birth name was the more prosaic Earl Burroughs), who is best known as having been the credited co-writer of “Great Balls of Fire”. We didn’t talk about him in the episode on that song, because apparently Hammer’s only contribution to the song was the title — he wrote a totally different song with the same title, which Paul Case, who was the music consultant on the film “Jamboree”, liked enough to commission Otis Blackwell to write another song of the same name, giving Hammer half the credit. But Hammer did write some songs on his own that became at least moderate successes. For example, he wrote “Rock and Roll Call”, which was recorded by Louis Jordan: [Excerpt: Louis Jordan, “Rock and Roll Call”] And “Milkshake Mademoiselle” for Jerry Lee Lewis: [Excerpt, Jerry Lee Lewis, “Milkshake Mademoiselle”] And in 1954, when Hammer was only fourteen, he wrote “Fujiyama Mama”, which was originally recorded by Annisteen Allen: [Excerpt: Annisteen Allen, “Fujiyama Mama”] This was a song in a long line of songs about black women’s sexuality which lie at the base of rock and roll, though of course, as with several of those songs, it’s written by a man, and it’s mostly the woman boasting about how much pleasure she’s going to give the man — while it’s a sexually aggressive record, this is very much a male fantasy as performed by a woman. Allen was yet another singer in the early days of R&B and rock and roll to have come out of Lucky Millinder’s orchestra — she had been his female singer in the late forties, just after Rosetta Tharpe had left the group, and while Wynonie Harris was their male singer. She’d sung lead on what turned out to be Millinder’s last big hit, “I’m Waiting Just For You”: [Excerpt: Lucky Millinder and his orchestra, “I’m Waiting Just For You”] After she left Millinder’s band, Allen recorded for a variety of labels, with little success, and when she recorded “Fujiyama Mama” in 1954 she was on Capitol — this was almost unique at the time, as her kind of R&B would normally have come out on King or Apollo or Savoy or a similar small label. In its original version, “Fujiyama Mama” wasn’t a particularly successful record, but Wanda Jackson heard it on a jukebox and fell in love with the record. She quickly learned the song and added it to her own act. In 1957, Jackson was in the studio recording a country song called “No Wedding Bells for Joe”, written by a friend of hers called Marijohn Wilkin, who would later go on to write country classics like “Long Black Veil”: [Excerpt: Wanda Jackson, “No Wedding Bells For Joe”] For the B-side, Jackson wanted to record “Fujiyama Mama”, but Ken Nelson was very concerned — the lyrics about drinking, smoking, and shooting were bad enough for a girl who was not yet quite twenty, the blatant female sexuality was not something that would go down well at all in the country market, and lyrics like “I’ve been to Nagasaki, Hiroshima too/The things I did to them I can do to you” were horribly tasteless — and remember, this was little more than a decade after the bombs were dropped on those cities. Nelson really, really, disliked the song, and didn’t want Jackson to record it, and while I’ve been critical of Nelson for making poor repertoire choices for his artists — Nelson was someone with a great instinct for performers, but a terrible instinct for material — I can’t say I entirely blame him in this instance. But Wanda overruled him — and then, when he tried to tone down her performance in the studio, she rebelled against that, with the encouragement of her father, who told her “You’re the one who wanted to do it, so you need to do it your way”. In the last episode about Jackson, we talked about how she’d tried to do her normal growling roar on “Hot Dog! That Made Him Mad!” but was let down by having drunk milk before recording the song. This time, she had no problem, and for the first time in the studio she sang in the voice that she used for her rock and roll songs on stage: [Excerpt: Wanda Jackson, “Fujiyama Mama”] To my ears, Jackson’s version of the song is still notably inferior to Allen’s version, but it’s important to note that this isn’t a Georgia Gibbs style white person covering a black artist for commercial success at the instigation of her producer, and copying the arrangement precisely, this is a young woman covering a record she loved, and doing it as a B-side. There’s still the racial dynamic at play there, but this is closer to Elvis doing “That’s All Right” than to Georgia Gibbs ripping off LaVern Baker or Etta James. It’s also closer to Elvis than it is to Eileen Barton, who was the second person to have recorded the song. Barton was a novelty singer, whose biggest hit was “If I Knew You Were Coming I’d Have Baked a Cake” from 1950: [Excerpt: Eileen Barton, “If I Knew You Were Coming I’d Have Baked a Cake”] Barton’s version of “Fujiyama Mama” was the B-side to a 1955 remake of “If I Knew You Were Coming I’d Have Baked a Cake”, redone as a blues. I’ve not actually been able to track down a copy of that remake, so I can’t play an excerpt — I’m sure you’re all devastated by that. Barton’s version, far more than Jackson’s, was a straight copy of the original, though the arranger on her version gets rid of most of the Orientalisms in Allen’s original recording: [Excerpt: Eileen Barton, “Fujiyama Mama”] I think the difference between Barton’s and Jackson’s versions simply comes down to their sincerity. Barton hated the song, and thought of it as a terrible novelty tune she was being forced to sing. She did a competent professional job, because she was a professional vocalist, but she would talk later in interviews about how much she disliked the record. Jackson, on the other hand, pushed to do the song because she loved it so much, and she performed the song as she wanted it to be done, and against the wishes of her producer. For all the many, many problematic aspects of the song, which I won’t defend at all, that passion does show through in Jackson’s performance of it. Jackson’s single was released, and did absolutely nothing sales-wise, as was normal for her records at this point. Around this time, she also cut her first album, and included on it a cover version of a song Elvis had recently recorded, “Party”, which in her version was retitled “Let’s Have a Party”: [Excerpt: Wanda Jackson, “Let’s Have a Party”] That album also did essentially nothing, and while Jackson continued releasing singles throughout 1958, none of them charted. Ken Nelson didn’t even book her in for a single recording session in 1959 — by that point they’d got enough stuff already recorded that they could keep releasing records by her until her contract ran out, and they didn’t need to throw good money after bad by paying for more studio sessions to make records that nobody was going to buy. And then something really strange happened. “Fujiyama Mama” became hugely successful in Japan. Now, nobody seems to have adequately explained quite how this happened. After all, this record was… not exactly flattering about Japanese people, and its first couple of lines seem to celebrate the bombings of Hiroshima and Nagasaki. And it’s not as if they didn’t know what was being sung. While obviously Jackson was singing in English and most listeners in Japan couldn’t speak English, there was a Japanese translation of the lyrics printed on the back sleeve of the single, so most people would at least have had some idea what she was singing about. Yet somehow, the record made number one in Japan. In part, this may just have been simply because any recognition of Japanese culture from an American artist at all might have been seen as a novelty. But also, while in the USA pretty much all the rock and roll hits were sung by men, Japan was developing its own rock and roll culture, and in Japan, most of the big rock and roll stars were teenage girls, of around the same age as Wanda Jackson. Now, I am very far from being an expert on post-war Japanese culture, so please don’t take anything I say on the subject as being any kind of definitive statement, but from the stuff I’ve read (and in particular from a very good, long, article on this particular song that I’m going to link in the liner notes and which I urge you all to read, which goes into the cultural background a lot more than I can here) it seems as if these girls were, for the most part, groomed as manufactured pop stars, and that many of them were recording cover versions of songs in English, which they learned phonetically from the American recordings. For example, here’s Izumi Yukimura’s version of “Ko Ko Mo”: [Excerpt: Izumi Yukimura, “Ko Ko Mo”] In many of these versions, they would sing a verse in the original English, and then a verse in Japanese translation, as you can again hear in that recording: [Excerpt: Izumi Yukimura, “Ko Ko Mo”] Izumi Yuklmura also recorded a version of “Fujiyama Mama”, patterned after Jackson’s: [Excerpt: Izumi Yukimura, “Fujiyama Mama”] There are many, many things that can be said about these recordings, but the thing that strikes me about them, just as a music listener, and separate from everything else, is how comparatively convincing a rock and roll recording that version of “Fujiyama Mama” actually is. When you compare it to the music that was coming out of places like the UK or Australia or France, it’s far more energetic, and shows a far better understanding of the idiom. It’s important to note though that part of the reason for this is the peculiar circumstances in Japan at the time. Much of the Japanese entertainment industry in the late forties and fifties had grown up around the US occupying troops who were stationed there after the end of World War II, and those servicemen were more interested in seeing pretty young girls than in seeing male performers. But this meant two things — it firstly meant that young women were far more likely to be musical performers in Japan than in the US, and it also meant that the Japanese music industry was geared to performers who were performing in American styles — and so Japanese listeners were accustomed to hearing things like this: [Excerpt: Chiemi Eri, “Rock Around the Clock”] So when a recording by a young woman singing about Japan, however offensively, in a rock and roll style, was released in Japan, the market was ready for it. While in America rock and roll was largely viewed as a male music, in Japan, they were ready for Wanda Jackson. And Jackson, in turn, was ready for Japan. In her autobiography she makes clear that she was the kind of person who would nowadays be called a weeb — having a fascination with Japanese culture, albeit the stereotyped version she had learned from pop culture. She had always wanted to visit Japan growing up, and when she got there she was amazed to find that they were organising a press conference for her, and that wherever she went there were fans wanting her autograph. Jackson, of course, had no idea about the complex relationship that Japan was having at the time with American culture — though in her autobiography she talks about visiting a bar over there where Japanese singers were performing country songs — she just knew that they had latched on, for whatever reason, to an obscure B-side and given her a second chance at success. When Jackson got back from Japan, she put together her own band for the first time — and unusually for country music at the time, it was an integrated band, with a black pianist. She had to deal with some resistance from her mother, who was an older Southern white woman, but eventually managed to win her round. That pianist, Big Al Downing, later went on to have his own successful career, including a hit single duetting with Esther Phillips: [Excerpt Big Al Downing and Little Esther Phillips, “You’ll Never Miss Your Water Until The Well Runs Dry”] Downing also had disco hits in the early seventies, and later had a run of hits on the country charts. Jackson also took on a young guitarist named Roy Clark, who would go on to have a great deal of success himself, as one of the most important instrumentalists in country music, and Clark would later co-star in the hit TV show Hee-Haw, with Buck Owens (who had played on many of Jackson’s earlier records). In 1960, Jackson returned to the studio. While she’d not had much commercial success in the US yet, her records were now selling well enough to justify recording more songs with her. But Ken Nelson had a specific condition for any future recordings — he pointed out that while she’d been recording both rock and roll and country music in her previous sessions, she had only ever charted in the US as a country artist, and she’d been signed as a country artist to Capitol. All her future sessions were going to be purely country, to avoid diluting her brand. Jackson agreed, and so she went into the studio and recorded a country shuffle, “Please Call Today”: [Excerpt: Wanda Jackson, “Please Call Today”] But a few weeks later she got a call from Ken Nelson, telling her that she was in the charts — not with “Please Call Today”, but with “Party”, the album track she’d recorded three years earlier. She was obviously confused by this, but Nelson explained that a DJ in Iowa had taken up the song and used it as the theme song for his radio show. So many people had called the DJ asking about it that he in turn had called Ken Nelson at Capitol and convinced him to put the track out as a single, and it had made the pop top forty. As a result, Capitol rushed out an album of her previous rockabilly singles, and then got her back into the studio, with her touring band, to record her first proper rock and roll album — as opposed to her first album, which was a mixture of country and rock, and her second, which was a compilation of previously-released singles. This album was full of cover versions of rock and roll hits from the previous few years, like Elvis’ “Hard-Headed Woman”, LaVern Baker’s “Tweedle Dee”, and Buddy Holly’s “It Doesn’t Matter Any More”. And she also recorded a few rock and roll singles, like a cover version of the Robins’ “Riot in Cell Block #9”. Those sessions also produced what became Jackson’s biggest hit single to that point. At the time, Brenda Lee was a big star, and a friend of Jackson. The two had had parallel careers, and Lee was someone else who straddled the boundaries between rockabilly and country, but at the time she had just had a big hit with “I’m Sorry”: [Excerpt: Brenda Lee, “I’m Sorry”] That was one of the first recordings in what would become known as “the Nashville Sound”, a style of music that was somewhere between country music and middle-of-the-road pop. Wanda had written a song in that style, and since she was now once again being pushed in a rock and roll direction, she thought she would give it to Lee to record. However, she mentioned the song to Ken Nelson when she was in the studio, and he insisted that she let him hear it — and once he heard it, he insisted on recording it with her, saying that Brenda Lee had enough hits of her own, and she didn’t need Wanda Jackson giving her hers. The result was “Right or Wrong”, which became her first solo country top ten hit, and all of a sudden she had once again switched styles — she was now no longer Wanda Jackson the rock and roller, but she was Wanda Jackson the Nashville Sound pop-country singer: [Excerpt: Wanda Jackson, “Right or Wrong”] Unfortunately, Jackson ended up having to give up the songwriting royalties on that record, as she was sued by the company that owned “Wake the Town and Tell the People”, which had been a hit in 1955 and had an undeniably similar melody: [Excerpt: Mindy Carson, “Wake the Town and Tell the People”] Even so, her switch to pure country music ended up being good for Jackson. While she would have peaks and troughs in her career, she managed to score another fifteen country top forty hits over the next decade — although her biggest hit was as a writer rather than a performer, when she wrote “Kickin’ Our Hearts Around” for Buck Owens, who had played on many of her sessions early in his career before he went on to become the biggest star in country music: [Excerpt: Buck Owens, “Kickin’ Our Hearts Around”] Like almost everything Owens released in the sixties, that went top ten on the country charts. Jackson was a fairly major star in the country field through the sixties, even having her own TV show, but she was becoming increasingly unhappy, and suffering from alcoholism. In the early seventies she and her husband had a religious awakening, and became born-again Christians, and she once again switched her musical style, this time from country music to gospel — though she would still sing her old secular hits along with the gospel songs on stage. Unfortunately, Capitol weren’t interested in putting out gospel material by her, and she ended up moving to smaller and smaller labels, and by the end of the seventies she was reduced to rerecording her old hits for mail-order compilations put out by K-Tel records. But then her career got a second wind. In Europe in the early 1980s there was something of a rockabilly revival, and a Swedish label, Tab Records, got in touch with Jackson and asked her to record a new album of rockabilly music, which led to her touring all over Europe playing to crowds of rockabilly fans. By the nineties, American rockabilly revivalists were taking notice of her as well, and Rosie Flores, a rockabilly artist who would later produce Janis Martin’s last sessions, invited Jackson to duet with her on a few songs and tour North America with her: [Excerpt: Wanda Jackson and Rosie Flores, “His Rockin’ Little Angel”] In 2003, she recorded her first new album of secular music for the American market for several decades, featuring several of her younger admirers, like the Cramps and Lee Rocker of the Stray Cats. But the most prominent guest star was Elvis Costello, who duetted with her on a song by her old friend Buck Owens: [Excerpt: Elvis Costello and Wanda Jackson, “Crying Time”] After duetting with her, Costello discovered that she wasn’t yet in the rock and roll hall of fame, and started lobbying for her inclusion, writing an open letter that says in part: “For heaven’s sake, the whole thing risks ridicule and having the appearance of being a little boy’s club unless it acknowledges the contribution of one of the first women of rock and roll. “It might be hard to admit, but the musical influence of several male pioneers is somewhat obscure today. Even though their records will always be thrilling, their sound is not really heard in echo. Look around today and you can hear lots of rocking girl singers who owe an unconscious debt to the mere idea of a girl like Wanda. She was standing up on stage with a guitar in her hands and making a sound that was as wild as any rocker, man or woman, while other gals were still asking ‘How much is that doggy in the window'” Thanks in large part to Costello’s advocacy, Jackson finally made it into the hall of fame in 2009, and that seems to have spurred another minor boost to her career, as she released two albums in the early part of last decade, produced by young admirers — one produced by Justin Townes Earle, and the other by Jack White. Jackson has been having some health problems recently, and her husband and manager of fifty-six years died in 2017, so she finally retired from live performance in March last year, but she’s apparently still working on a new album, produced by Joan Jett, which should be out soon. With luck, she will have a long and happy retirement.  

Episode sixty-nine of A History of Rock Music in Five Hundred Songs looks at “Fujiyama Mama” by Wanda Jackson, and the first rock and roller to become “big in Japan” 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 “Purple People Eater” by Sheb Wooley.  —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.   I have two main sources for this eposode. One is Wanda Jackson’s autobiography, Every Night is Saturday Night. The other is this article on “Fujiyama Mama”, which I urge everyone to read, as it goes into far more detail about the reasons why the song had the reception it did in Japan.   And this compilation collects most of Jackson’s important early work.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin this episode, a minor content note. I am going to be looking at a song that is, unfortunately, unthinkingly offensive towards Japanese people and culture. If that – or flippant lyrics about the bombings of Hiroshima or Nagasaki – are likely to upset you, be warned. When we left Wanda Jackson six months ago, it looked very much like she might end up being a one-hit wonder. “I Gotta Know” had been a hit, but there hadn’t been a successful follow-up. In part this was because she was straddling two different genres — she was trying to find a way to be successful in both the rock and roll and country markets, and neither was taking to her especially well. In later years, it would be recognised that the music she was making combined some of the best of both worlds — she was working with a lot of the musicians on the West Coast who would later go on to become famous for creating the Bakersfield Sound, and changing the whole face of country music, and her records have a lot of that sound about them. And at the same time she was also making some extremely hot rockabilly music, but she was just a little bit too country for the rock market, and a little bit too rock for the country market. Possibly the place where she fit in best was among the Sun records acts, and so it’s not surprising that she ended up towards the bottom of the bill on the long tour that Jerry Lee Lewis, Carl Perkins and Johnny Cash did over much of North America in early 1957 — the tour on which Jerry Lee Lewis moved from third billed to top of the bill by sheer force of personality. But it says quite a bit about Jackson that while everyone else talking about that tour discusses the way that some of the men did things like throwing cherry bombs at each other’s cars, and living off nothing but whisky, Wanda’s principal recollection of the tour in her autobiography is of going to church and inviting all the men along, but Jerry Lee being the only one who would come with her. To a great extent she was shielded from the worst aspects of the men’s behaviour by her father, who was still looking after her on the road, and acted as a buffer between her and the worst excesses of her tourmates, but she seems to have been happy with that situation — she didn’t seem to have much desire to become one of the boys, the way many other female rock and roll stars have. She enjoyed making wild-sounding music, but she saw that mostly as a kind of acting — she didn’t think that her onstage persona had to match her offstage behaviour at all. And one of the wildest records she made was “Fujiyama Mama”: [Excerpt: Wanda Jackson, “Fujiyama Mama”] “Fujiyama Mama” was written by the rockabilly and R&B songwriter Jack Hammer (whose birth name was the more prosaic Earl Burroughs), who is best known as having been the credited co-writer of “Great Balls of Fire”. We didn’t talk about him in the episode on that song, because apparently Hammer’s only contribution to the song was the title — he wrote a totally different song with the same title, which Paul Case, who was the music consultant on the film “Jamboree”, liked enough to commission Otis Blackwell to write another song of the same name, giving Hammer half the credit. But Hammer did write some songs on his own that became at least moderate successes. For example, he wrote “Rock and Roll Call”, which was recorded by Louis Jordan: [Excerpt: Louis Jordan, “Rock and Roll Call”] And “Milkshake Mademoiselle” for Jerry Lee Lewis: [Excerpt, Jerry Lee Lewis, “Milkshake Mademoiselle”] And in 1954, when Hammer was only fourteen, he wrote “Fujiyama Mama”, which was originally recorded by Annisteen Allen: [Excerpt: Annisteen Allen, “Fujiyama Mama”] This was a song in a long line of songs about black women’s sexuality which lie at the base of rock and roll, though of course, as with several of those songs, it’s written by a man, and it’s mostly the woman boasting about how much pleasure she’s going to give the man — while it’s a sexually aggressive record, this is very much a male fantasy as performed by a woman. Allen was yet another singer in the early days of R&B and rock and roll to have come out of Lucky Millinder’s orchestra — she had been his female singer in the late forties, just after Rosetta Tharpe had left the group, and while Wynonie Harris was their male singer. She’d sung lead on what turned out to be Millinder’s last big hit, “I’m Waiting Just For You”: [Excerpt: Lucky Millinder and his orchestra, “I’m Waiting Just For You”] After she left Millinder’s band, Allen recorded for a variety of labels, with little success, and when she recorded “Fujiyama Mama” in 1954 she was on Capitol — this was almost unique at the time, as her kind of R&B would normally have come out on King or Apollo or Savoy or a similar small label. In its original version, “Fujiyama Mama” wasn’t a particularly successful record, but Wanda Jackson heard it on a jukebox and fell in love with the record. She quickly learned the song and added it to her own act. In 1957, Jackson was in the studio recording a country song called “No Wedding Bells for Joe”, written by a friend of hers called Marijohn Wilkin, who would later go on to write country classics like “Long Black Veil”: [Excerpt: Wanda Jackson, “No Wedding Bells For Joe”] For the B-side, Jackson wanted to record “Fujiyama Mama”, but Ken Nelson was very concerned — the lyrics about drinking, smoking, and shooting were bad enough for a girl who was not yet quite twenty, the blatant female sexuality was not something that would go down well at all in the country market, and lyrics like “I’ve been to Nagasaki, Hiroshima too/The things I did to them I can do to you” were horribly tasteless — and remember, this was little more than a decade after the bombs were dropped on those cities. Nelson really, really, disliked the song, and didn’t want Jackson to record it, and while I’ve been critical of Nelson for making poor repertoire choices for his artists — Nelson was someone with a great instinct for performers, but a terrible instinct for material — I can’t say I entirely blame him in this instance. But Wanda overruled him — and then, when he tried to tone down her performance in the studio, she rebelled against that, with the encouragement of her father, who told her “You’re the one who wanted to do it, so you need to do it your way”. In the last episode about Jackson, we talked about how she’d tried to do her normal growling roar on “Hot Dog! That Made Him Mad!” but was let down by having drunk milk before recording the song. This time, she had no problem, and for the first time in the studio she sang in the voice that she used for her rock and roll songs on stage: [Excerpt: Wanda Jackson, “Fujiyama Mama”] To my ears, Jackson’s version of the song is still notably inferior to Allen’s version, but it’s important to note that this isn’t a Georgia Gibbs style white person covering a black artist for commercial success at the instigation of her producer, and copying the arrangement precisely, this is a young woman covering a record she loved, and doing it as a B-side. There’s still the racial dynamic at play there, but this is closer to Elvis doing “That’s All Right” than to Georgia Gibbs ripping off LaVern Baker or Etta James. It’s also closer to Elvis than it is to Eileen Barton, who was the second person to have recorded the song. Barton was a novelty singer, whose biggest hit was “If I Knew You Were Coming I’d Have Baked a Cake” from 1950: [Excerpt: Eileen Barton, “If I Knew You Were Coming I’d Have Baked a Cake”] Barton’s version of “Fujiyama Mama” was the B-side to a 1955 remake of “If I Knew You Were Coming I’d Have Baked a Cake”, redone as a blues. I’ve not actually been able to track down a copy of that remake, so I can’t play an excerpt — I’m sure you’re all devastated by that. Barton’s version, far more than Jackson’s, was a straight copy of the original, though the arranger on her version gets rid of most of the Orientalisms in Allen’s original recording: [Excerpt: Eileen Barton, “Fujiyama Mama”] I think the difference between Barton’s and Jackson’s versions simply comes down to their sincerity. Barton hated the song, and thought of it as a terrible novelty tune she was being forced to sing. She did a competent professional job, because she was a professional vocalist, but she would talk later in interviews about how much she disliked the record. Jackson, on the other hand, pushed to do the song because she loved it so much, and she performed the song as she wanted it to be done, and against the wishes of her producer. For all the many, many problematic aspects of the song, which I won’t defend at all, that passion does show through in Jackson’s performance of it. Jackson’s single was released, and did absolutely nothing sales-wise, as was normal for her records at this point. Around this time, she also cut her first album, and included on it a cover version of a song Elvis had recently recorded, “Party”, which in her version was retitled “Let’s Have a Party”: [Excerpt: Wanda Jackson, “Let’s Have a Party”] That album also did essentially nothing, and while Jackson continued releasing singles throughout 1958, none of them charted. Ken Nelson didn’t even book her in for a single recording session in 1959 — by that point they’d got enough stuff already recorded that they could keep releasing records by her until her contract ran out, and they didn’t need to throw good money after bad by paying for more studio sessions to make records that nobody was going to buy. And then something really strange happened. “Fujiyama Mama” became hugely successful in Japan. Now, nobody seems to have adequately explained quite how this happened. After all, this record was… not exactly flattering about Japanese people, and its first couple of lines seem to celebrate the bombings of Hiroshima and Nagasaki. And it’s not as if they didn’t know what was being sung. While obviously Jackson was singing in English and most listeners in Japan couldn’t speak English, there was a Japanese translation of the lyrics printed on the back sleeve of the single, so most people would at least have had some idea what she was singing about. Yet somehow, the record made number one in Japan. In part, this may just have been simply because any recognition of Japanese culture from an American artist at all might have been seen as a novelty. But also, while in the USA pretty much all the rock and roll hits were sung by men, Japan was developing its own rock and roll culture, and in Japan, most of the big rock and roll stars were teenage girls, of around the same age as Wanda Jackson. Now, I am very far from being an expert on post-war Japanese culture, so please don’t take anything I say on the subject as being any kind of definitive statement, but from the stuff I’ve read (and in particular from a very good, long, article on this particular song that I’m going to link in the liner notes and which I urge you all to read, which goes into the cultural background a lot more than I can here) it seems as if these girls were, for the most part, groomed as manufactured pop stars, and that many of them were recording cover versions of songs in English, which they learned phonetically from the American recordings. For example, here’s Izumi Yukimura’s version of “Ko Ko Mo”: [Excerpt: Izumi Yukimura, “Ko Ko Mo”] In many of these versions, they would sing a verse in the original English, and then a verse in Japanese translation, as you can again hear in that recording: [Excerpt: Izumi Yukimura, “Ko Ko Mo”] Izumi Yuklmura also recorded a version of “Fujiyama Mama”, patterned after Jackson’s: [Excerpt: Izumi Yukimura, “Fujiyama Mama”] There are many, many things that can be said about these recordings, but the thing that strikes me about them, just as a music listener, and separate from everything else, is how comparatively convincing a rock and roll recording that version of “Fujiyama Mama” actually is. When you compare it to the music that was coming out of places like the UK or Australia or France, it’s far more energetic, and shows a far better understanding of the idiom. It’s important to note though that part of the reason for this is the peculiar circumstances in Japan at the time. Much of the Japanese entertainment industry in the late forties and fifties had grown up around the US occupying troops who were stationed there after the end of World War II, and those servicemen were more interested in seeing pretty young girls than in seeing male performers. But this meant two things — it firstly meant that young women were far more likely to be musical performers in Japan than in the US, and it also meant that the Japanese music industry was geared to performers who were performing in American styles — and so Japanese listeners were accustomed to hearing things like this: [Excerpt: Chiemi Eri, “Rock Around the Clock”] So when a recording by a young woman singing about Japan, however offensively, in a rock and roll style, was released in Japan, the market was ready for it. While in America rock and roll was largely viewed as a male music, in Japan, they were ready for Wanda Jackson. And Jackson, in turn, was ready for Japan. In her autobiography she makes clear that she was the kind of person who would nowadays be called a weeb — having a fascination with Japanese culture, albeit the stereotyped version she had learned from pop culture. She had always wanted to visit Japan growing up, and when she got there she was amazed to find that they were organising a press conference for her, and that wherever she went there were fans wanting her autograph. Jackson, of course, had no idea about the complex relationship that Japan was having at the time with American culture — though in her autobiography she talks about visiting a bar over there where Japanese singers were performing country songs — she just knew that they had latched on, for whatever reason, to an obscure B-side and given her a second chance at success. When Jackson got back from Japan, she put together her own band for the first time — and unusually for country music at the time, it was an integrated band, with a black pianist. She had to deal with some resistance from her mother, who was an older Southern white woman, but eventually managed to win her round. That pianist, Big Al Downing, later went on to have his own successful career, including a hit single duetting with Esther Phillips: [Excerpt Big Al Downing and Little Esther Phillips, “You’ll Never Miss Your Water Until The Well Runs Dry”] Downing also had disco hits in the early seventies, and later had a run of hits on the country charts. Jackson also took on a young guitarist named Roy Clark, who would go on to have a great deal of success himself, as one of the most important instrumentalists in country music, and Clark would later co-star in the hit TV show Hee-Haw, with Buck Owens (who had played on many of Jackson’s earlier records). In 1960, Jackson returned to the studio. While she’d not had much commercial success in the US yet, her records were now selling well enough to justify recording more songs with her. But Ken Nelson had a specific condition for any future recordings — he pointed out that while she’d been recording both rock and roll and country music in her previous sessions, she had only ever charted in the US as a country artist, and she’d been signed as a country artist to Capitol. All her future sessions were going to be purely country, to avoid diluting her brand. Jackson agreed, and so she went into the studio and recorded a country shuffle, “Please Call Today”: [Excerpt: Wanda Jackson, “Please Call Today”] But a few weeks later she got a call from Ken Nelson, telling her that she was in the charts — not with “Please Call Today”, but with “Party”, the album track she’d recorded three years earlier. She was obviously confused by this, but Nelson explained that a DJ in Iowa had taken up the song and used it as the theme song for his radio show. So many people had called the DJ asking about it that he in turn had called Ken Nelson at Capitol and convinced him to put the track out as a single, and it had made the pop top forty. As a result, Capitol rushed out an album of her previous rockabilly singles, and then got her back into the studio, with her touring band, to record her first proper rock and roll album — as opposed to her first album, which was a mixture of country and rock, and her second, which was a compilation of previously-released singles. This album was full of cover versions of rock and roll hits from the previous few years, like Elvis’ “Hard-Headed Woman”, LaVern Baker’s “Tweedle Dee”, and Buddy Holly’s “It Doesn’t Matter Any More”. And she also recorded a few rock and roll singles, like a cover version of the Robins’ “Riot in Cell Block #9”. Those sessions also produced what became Jackson’s biggest hit single to that point. At the time, Brenda Lee was a big star, and a friend of Jackson. The two had had parallel careers, and Lee was someone else who straddled the boundaries between rockabilly and country, but at the time she had just had a big hit with “I’m Sorry”: [Excerpt: Brenda Lee, “I’m Sorry”] That was one of the first recordings in what would become known as “the Nashville Sound”, a style of music that was somewhere between country music and middle-of-the-road pop. Wanda had written a song in that style, and since she was now once again being pushed in a rock and roll direction, she thought she would give it to Lee to record. However, she mentioned the song to Ken Nelson when she was in the studio, and he insisted that she let him hear it — and once he heard it, he insisted on recording it with her, saying that Brenda Lee had enough hits of her own, and she didn’t need Wanda Jackson giving her hers. The result was “Right or Wrong”, which became her first solo country top ten hit, and all of a sudden she had once again switched styles — she was now no longer Wanda Jackson the rock and roller, but she was Wanda Jackson the Nashville Sound pop-country singer: [Excerpt: Wanda Jackson, “Right or Wrong”] Unfortunately, Jackson ended up having to give up the songwriting royalties on that record, as she was sued by the company that owned “Wake the Town and Tell the People”, which had been a hit in 1955 and had an undeniably similar melody: [Excerpt: Mindy Carson, “Wake the Town and Tell the People”] Even so, her switch to pure country music ended up being good for Jackson. While she would have peaks and troughs in her career, she managed to score another fifteen country top forty hits over the next decade — although her biggest hit was as a writer rather than a performer, when she wrote “Kickin’ Our Hearts Around” for Buck Owens, who had played on many of her sessions early in his career before he went on to become the biggest star in country music: [Excerpt: Buck Owens, “Kickin’ Our Hearts Around”] Like almost everything Owens released in the sixties, that went top ten on the country charts. Jackson was a fairly major star in the country field through the sixties, even having her own TV show, but she was becoming increasingly unhappy, and suffering from alcoholism. In the early seventies she and her husband had a religious awakening, and became born-again Christians, and she once again switched her musical style, this time from country music to gospel — though she would still sing her old secular hits along with the gospel songs on stage. Unfortunately, Capitol weren’t interested in putting out gospel material by her, and she ended up moving to smaller and smaller labels, and by the end of the seventies she was reduced to rerecording her old hits for mail-order compilations put out by K-Tel records. But then her career got a second wind. In Europe in the early 1980s there was something of a rockabilly revival, and a Swedish label, Tab Records, got in touch with Jackson and asked her to record a new album of rockabilly music, which led to her touring all over Europe playing to crowds of rockabilly fans. By the nineties, American rockabilly revivalists were taking notice of her as well, and Rosie Flores, a rockabilly artist who would later produce Janis Martin’s last sessions, invited Jackson to duet with her on a few songs and tour North America with her: [Excerpt: Wanda Jackson and Rosie Flores, “His Rockin’ Little Angel”] In 2003, she recorded her first new album of secular music for the American market for several decades, featuring several of her younger admirers, like the Cramps and Lee Rocker of the Stray Cats. But the most prominent guest star was Elvis Costello, who duetted with her on a song by her old friend Buck Owens: [Excerpt: Elvis Costello and Wanda Jackson, “Crying Time”] After duetting with her, Costello discovered that she wasn’t yet in the rock and roll hall of fame, and started lobbying for her inclusion, writing an open letter that says in part: “For heaven’s sake, the whole thing risks ridicule and having the appearance of being a little boy’s club unless it acknowledges the contribution of one of the first women of rock and roll. “It might be hard to admit, but the musical influence of several male pioneers is somewhat obscure today. Even though their records will always be thrilling, their sound is not really heard in echo. Look around today and you can hear lots of rocking girl singers who owe an unconscious debt to the mere idea of a girl like Wanda. She was standing up on stage with a guitar in her hands and making a sound that was as wild as any rocker, man or woman, while other gals were still asking ‘How much is that doggy in the window'” Thanks in large part to Costello’s advocacy, Jackson finally made it into the hall of fame in 2009, and that seems to have spurred another minor boost to her career, as she released two albums in the early part of last decade, produced by young admirers — one produced by Justin Townes Earle, and the other by Jack White. Jackson has been having some health problems recently, and her husband and manager of fifty-six years died in 2017, so she finally retired from live performance in March last year, but she’s apparently still working on a new album, produced by Joan Jett, which should be out soon. With luck, she will have a long and happy retirement.  

This episode of This Must Be The Place is part of the Digital Death Trip segment, where we investigate geographically themed ‘tragedies’ selected at random by the custom-coded ‘Digital Death Trip’ bot. The code uses the API to the National Library of Australia’s Trove archive to randomly select a Victorian town, then a random so-called Tragedy from it. It compiles a case file, then Liz follows up with some research about the incident, its place and time. Because Liz collected too much info, this digital death trip podcast is in 3 parts. This is the 3rd and final episode. Listen to 1 & 2 first! Digital Death Trip has picked two random and distant Victorian locations, and two random tragedies: The 1902 East Malvern Tragedy and 1906 Pyramid Hill Tragedy. Both are ‘triple tragedies’, so run in parallel. They also end up connected in ways that start to seem not quite random. On November 14th 1906, in a murder-suicide reported as The Pyramid Hill Tragedy, Constable Oliver John Lang killed himself and his two daughters (Olive and Doreen) at Pyramid Hill, an agricultural town in northern Victoria where Lang had been stationed for 5 years. Noting Constable Lang had repeatedly spoken about shooting himself and his family, an inquest found that “a heavy responsibility lies on those hear such words”, especially threats made by “anyone holding a public position such as that of a constable of police in whose hands are often the property liberty and perhaps the lives of others”. In 1902, in a murder-suicide reported as The East Malvern Tragedy, German merchant Arthur Mueller killed himself, his wife (Cecile) and one of his children (Willy) in a prestigious eastern suburb of Melbourne. Themes include police and law in settler-colonial contexts: the roles of police stationed in rural areas, and the fragile line of law. Also Land Law. Land Acts facilitated ‘closer settlement’ and ‘selections’, later ‘soldier settlement’, as tools of colonial expansion. Through land titles, Pyramid Hill was made into a late 19th century agricultural settlement, and police had a vital role in the system’s administration. Fathers and family law: fathers and grandfathers, and inheritances (good and bad) are key. We discuss custodial law in 19th and 20th century Australia, and the legal principal of “father’s right” through which fathers were always granted custody of their legitimate children. The stories share knowledge and lies: advanced lying skills central to traditional morality and legitimacy, unnoticed patterns, unknowing, and what you can or should do with knowledge. There are echoes through to a recent mystery in Pyramid Hill, the disappearance of heavily pregnant intellectually disabled woman Krystal Fraser in 2009. A final theme is cultural references to ‘ghost towns’ that seem isolated not only in space but in time. Wake in Fright, Twin Peaks, The Shining, 100 years of Solitude, Blazing Saddles. And country song Long Black Veil: “nobody knows, nobody sees, nobody knows but me”. Featuring a wintery visit to the Pyramid Hill op shop, cop shop, abattoir, and cemetery. This is the last instalment of 3. We return to hear a few updates Liz could not help researching further. It includes specially written Taylor Project song Ghost Upon the Hill: “on the hill there is a lookout, I can see that long dark train, even when you close your windows, it comes back again, there’s a ghost upon the hill”. Further post-script: Robert Mueller, youngest son, survived and moved to Germany. He married there in 1925. Also, re: the early ‘cinematograph’ the children went to at the Athenaeum. Most cinemas in early Australia were in inner city theatres. Each reel was about 3 minutes, usually a short documentary display: boxing, footy, horses. The show would have included magicians. Mueller's servants took the children to this new popular entertainment spectacle. And while they were out, Mueller made preparations to kill everyone.

This episode of This Must Be The Place is part of the Digital Death Trip segment, where we investigate geographically themed ‘tragedies’ selected at random by the custom-coded ‘Digital Death Trip’ bot. The code uses the API to the National Library of Australia’s Trove archive to randomly select a Victorian town, then a random so-called Tragedy from it. It compiles a case file, then Liz follows up with some research about the incident, its place and time. In this instalment, Digital Death Trip has picked two random and distant Victorian locations, and two random tragedies: The 1902 East Malvern Tragedy and 1906 Pyramid Hill Tragedy. Both are ‘triple tragedies’, so run in parallel. They also end up connected in ways that start to seem not quite random. On November 14th 1906, in a murder-suicide reported as The Pyramid Hill Tragedy, Constable Oliver John Lang killed himself and his two daughters (Olive and Doreen) at Pyramid Hill, an agricultural town in northern Victoria where Lang had been stationed for 5 years. Noting Constable Lang had repeatedly spoken about shooting himself and his family, an inquest found that “a heavy responsibility lies on those hear such words”, especially threats made by “anyone holding a public position such as that of a constable of police in whose hands are often the property liberty and perhaps the lives of others”. In 1902, in a murder-suicide reported as The East Malvern Tragedy, German merchant Arthur Mueller killed himself, his wife (Cecile) and one of his children (Willy) in a prestigious eastern suburb of Melbourne. Themes include police and law in settler-colonial contexts: the roles of police stationed in rural areas, and the fragile line of law. Also Land Law. Land Acts facilitated ‘closer settlement’ and ‘selections’, later ‘soldier settlement’, as tools of colonial expansion. Through land titles, Pyramid Hill was made into a late 19th century agricultural settlement, and police had a vital role in the system’s administration. Fathers and family law: fathers and grandfathers, and inheritances (good and bad) are key. We discuss custodial law in 19th and 20th century Australia, and the legal principal of “father’s right” through which fathers were always granted custody of their legitimate children. Pre: Family Law Act custodial grievances, we hear Lang killed his family partly from a vendetta against his former father in law, Sergeant Frank Jordon (of East Malvern!). The stories share knowledge and lies: advanced lying skills central to traditional morality and legitimacy, unnoticed patterns, unknowing, and what you can or should do with knowledge. Rumours of “certain allegations” were one reason given to explain Lang’s violence, otherwise attributed (as with Mueller) to a fit of mania. Jordon, meanwhile, seemed to know what was coming but be powerless to stop it. There are echoes through to a recent mystery in Pyramid Hill, the disappearance of heavily pregnant intellectually disabled woman Krystal Fraser in 2009. Police suspect Krystal was killed by the father of her unborn child, and that people in Pyramid Hill know what happened but are not coming forward. A final theme is cultural references to ‘ghost towns’ that seem isolated not only in space but in time. Wake in Fright, Twin Peaks, The Shining, 100 years of Solitude, Blazing Saddles. And country song Long Black Veil: “nobody knows, nobody sees, nobody knows but me”. Featuring a wintery visit to the Pyramid Hill op shop, cop shop, abattoir, and cemetery. Factoids of early railways, cinemas, mobility scooters, migrants, TB, police filing systems. And a specially written Taylor Project song, closing with: “on the hill there is a lookout, I can see that long dark train, even when you close your windows, it comes back again, there’s a ghost upon the hill”. Because Liz collected too much information, this digital death trip podcast – Pyramid Hill and East Malvern - is in 3 parts. This is the 1st episode of 3.

Because Liz collected too much info, this digital death trip podcast (episode of This Must Be The Place) is in 3 parts. This is the 2nd episode of 3. Listen to episode 1 first! This episode of This Must Be The Place is part of the Digital Death Trip segment, where we investigate geographically themed ‘tragedies’ selected at random by the custom-coded ‘Digital Death Trip’ bot. The code uses the API to the National Library of Australia’s Trove archive to randomly select a Victorian town, then a random so-called Tragedy from it. It compiles a case file, then Liz follows up with some research about the incident, its place and time. Digital Death Trip has picked two random and distant Victorian locations, and two random tragedies: The 1902 East Malvern Tragedy and 1906 Pyramid Hill Tragedy. Both are ‘triple tragedies’, so run in parallel. They also end up connected in ways that start to seem not quite random. On November 14th 1906, in a murder-suicide reported as The Pyramid Hill Tragedy, Constable Oliver John Lang killed himself and his two daughters (Olive and Doreen) at Pyramid Hill, an agricultural town in northern Victoria where Lang had been stationed for 5 years. Noting Constable Lang had repeatedly spoken about shooting himself and his family, an inquest found that “a heavy responsibility lies on those hear such words”, especially threats made by “anyone holding a public position such as that of a constable of police in whose hands are often the property liberty and perhaps the lives of others”. In 1902, in a murder-suicide reported as The East Malvern Tragedy, German merchant Arthur Mueller killed himself, his wife (Cecile) and one of his children (Willy) in a prestigious eastern suburb of Melbourne. Themes include police and law in settler-colonial contexts: the roles of police stationed in rural areas, and the fragile line of law. Also Land Law. Land Acts facilitated ‘closer settlement’ and ‘selections’, later ‘soldier settlement’, as tools of colonial expansion. Through land titles, Pyramid Hill was made into a late 19th century agricultural settlement, and police had a vital role in the system’s administration. Fathers and family law: fathers and grandfathers, and inheritances (good and bad) are key. We discuss custodial law in 19th and 20th century Australia, and the legal principal of “father’s right” through which fathers were always granted custody of their legitimate children. Pre: Family Law Act custodial grievances, we hear Lang killed his family partly from a vendetta against his former father in law, Sergeant Frank Jordon (of East Malvern!). The stories share knowledge and lies: advanced lying skills central to traditional morality and legitimacy, unnoticed patterns, unknowing, and what you can or should do with knowledge. Rumours of “certain allegations” were one reason given to explain Lang’s violence, otherwise attributed (as with Mueller) to a fit of mania. Jordon, meanwhile, seemed to know what was coming but be powerless to stop it. There are echoes through to a recent mystery in Pyramid Hill, the disappearance of heavily pregnant intellectually disabled woman Krystal Fraser in 2009. Police suspect Krystal was killed by the father of her unborn child, and that people in Pyramid Hill know what happened but are not coming forward. A final theme is cultural references to ‘ghost towns’ that seem isolated not only in space but in time. Wake in Fright, Twin Peaks, The Shining, 100 years of Solitude, Blazing Saddles. And country song Long Black Veil: “nobody knows, nobody sees, nobody knows but me”. Featuring a wintery visit to the Pyramid Hill op shop, cop shop, abattoir, and cemetery. Factoids of early railways, cinemas, mobility scooters, migrants, TB, police filing systems. And a specially written Taylor Project song, closing with: “on the hill there is a lookout, I can see that long dark train…” This is the 2nd episode of 3, where we return to the 1900s to hear more about Lang, Mueller, and their contexts.

This episode of This Must Be The Place is part of the Digital Death Trip segment, where we investigate geographically themed ‘tragedies' selected at random by the custom-coded ‘Digital Death Trip' bot. The code uses the API to the National Library of Australia's Trove archive to randomly select a Victorian town, then a random so-called Tragedy from it. It compiles a case file, then Liz follows up with some research about the incident, its place and time. Because Liz collected too much info, this digital death trip podcast is in 3 parts. This is the 3rd and final episode. Listen to 1 & 2 first! Digital Death Trip has picked two random and distant Victorian locations, and two random tragedies: The 1902 East Malvern Tragedy and 1906 Pyramid Hill Tragedy. Both are ‘triple tragedies', so run in parallel. They also end up connected in ways that start to seem not quite random. On November 14th 1906, in a murder-suicide reported as The Pyramid Hill Tragedy, Constable Oliver John Lang killed himself and his two daughters (Olive and Doreen) at Pyramid Hill, an agricultural town in northern Victoria where Lang had been stationed for 5 years. Noting Constable Lang had repeatedly spoken about shooting himself and his family, an inquest found that “a heavy responsibility lies on those hear such words”, especially threats made by “anyone holding a public position such as that of a constable of police in whose hands are often the property liberty and perhaps the lives of others”. In 1902, in a murder-suicide reported as The East Malvern Tragedy, German merchant Arthur Mueller killed himself, his wife (Cecile) and one of his children (Willy) in a prestigious eastern suburb of Melbourne. Themes include police and law in settler-colonial contexts: the roles of police stationed in rural areas, and the fragile line of law. Also Land Law. Land Acts facilitated ‘closer settlement' and ‘selections', later ‘soldier settlement', as tools of colonial expansion. Through land titles, Pyramid Hill was made into a late 19th century agricultural settlement, and police had a vital role in the system's administration. Fathers and family law: fathers and grandfathers, and inheritances (good and bad) are key. We discuss custodial law in 19th and 20th century Australia, and the legal principal of “father's right” through which fathers were always granted custody of their legitimate children. The stories share knowledge and lies: advanced lying skills central to traditional morality and legitimacy, unnoticed patterns, unknowing, and what you can or should do with knowledge. There are echoes through to a recent mystery in Pyramid Hill, the disappearance of heavily pregnant intellectually disabled woman Krystal Fraser in 2009. A final theme is cultural references to ‘ghost towns' that seem isolated not only in space but in time. Wake in Fright, Twin Peaks, The Shining, 100 years of Solitude, Blazing Saddles. And country song Long Black Veil: “nobody knows, nobody sees, nobody knows but me”. Featuring a wintery visit to the Pyramid Hill op shop, cop shop, abattoir, and cemetery. This is the last instalment of 3. We return to hear a few updates Liz could not help researching further. It includes specially written Taylor Project song Ghost Upon the Hill: “on the hill there is a lookout, I can see that long dark train, even when you close your windows, it comes back again, there's a ghost upon the hill”. Further post-script: Robert Mueller, youngest son, survived and moved to Germany. He married there in 1925. Also, re: the early ‘cinematograph' the children went to at the Athenaeum. Most cinemas in early Australia were in inner city theatres. Each reel was about 3 minutes, usually a short documentary display: boxing, footy, horses. The show would have included magicians. Mueller's servants took the children to this new popular entertainment spectacle. And while they were out, Mueller made preparations to kill everyone.

This episode of This Must Be The Place is part of the Digital Death Trip segment, where we investigate geographically themed ‘tragedies' selected at random by the custom-coded ‘Digital Death Trip' bot. The code uses the API to the National Library of Australia's Trove archive to randomly select a Victorian town, then a random so-called Tragedy from it. It compiles a case file, then Liz follows up with some research about the incident, its place and time. In this instalment, Digital Death Trip has picked two random and distant Victorian locations, and two random tragedies: The 1902 East Malvern Tragedy and 1906 Pyramid Hill Tragedy. Both are ‘triple tragedies', so run in parallel. They also end up connected in ways that start to seem not quite random. On November 14th 1906, in a murder-suicide reported as The Pyramid Hill Tragedy, Constable Oliver John Lang killed himself and his two daughters (Olive and Doreen) at Pyramid Hill, an agricultural town in northern Victoria where Lang had been stationed for 5 years. Noting Constable Lang had repeatedly spoken about shooting himself and his family, an inquest found that “a heavy responsibility lies on those hear such words”, especially threats made by “anyone holding a public position such as that of a constable of police in whose hands are often the property liberty and perhaps the lives of others”. In 1902, in a murder-suicide reported as The East Malvern Tragedy, German merchant Arthur Mueller killed himself, his wife (Cecile) and one of his children (Willy) in a prestigious eastern suburb of Melbourne. Themes include police and law in settler-colonial contexts: the roles of police stationed in rural areas, and the fragile line of law. Also Land Law. Land Acts facilitated ‘closer settlement' and ‘selections', later ‘soldier settlement', as tools of colonial expansion. Through land titles, Pyramid Hill was made into a late 19th century agricultural settlement, and police had a vital role in the system's administration. Fathers and family law: fathers and grandfathers, and inheritances (good and bad) are key. We discuss custodial law in 19th and 20th century Australia, and the legal principal of “father's right” through which fathers were always granted custody of their legitimate children. Pre: Family Law Act custodial grievances, we hear Lang killed his family partly from a vendetta against his former father in law, Sergeant Frank Jordon (of East Malvern!). The stories share knowledge and lies: advanced lying skills central to traditional morality and legitimacy, unnoticed patterns, unknowing, and what you can or should do with knowledge. Rumours of “certain allegations” were one reason given to explain Lang's violence, otherwise attributed (as with Mueller) to a fit of mania. Jordon, meanwhile, seemed to know what was coming but be powerless to stop it. There are echoes through to a recent mystery in Pyramid Hill, the disappearance of heavily pregnant intellectually disabled woman Krystal Fraser in 2009. Police suspect Krystal was killed by the father of her unborn child, and that people in Pyramid Hill know what happened but are not coming forward. A final theme is cultural references to ‘ghost towns' that seem isolated not only in space but in time. Wake in Fright, Twin Peaks, The Shining, 100 years of Solitude, Blazing Saddles. And country song Long Black Veil: “nobody knows, nobody sees, nobody knows but me”. Featuring a wintery visit to the Pyramid Hill op shop, cop shop, abattoir, and cemetery. Factoids of early railways, cinemas, mobility scooters, migrants, TB, police filing systems. And a specially written Taylor Project song, closing with: “on the hill there is a lookout, I can see that long dark train, even when you close your windows, it comes back again, there's a ghost upon the hill”. Because Liz collected too much information, this digital death trip podcast – Pyramid Hill and East Malvern - is in 3 parts. This is the 1st episode of 3.

Because Liz collected too much info, this digital death trip podcast is in 3 parts. This is the 2nd episode of 3. Listen to episode 1 first! This episode of This Must Be The Place is part of the Digital Death Trip segment, where we investigate geographically themed ‘tragedies' selected at random by the custom-coded ‘Digital Death Trip' bot. The code uses the API to the National Library of Australia's Trove archive to randomly select a Victorian town, then a random so-called Tragedy from it. It compiles a case file, then Liz follows up with some research about the incident, its place and time. Digital Death Trip has picked two random and distant Victorian locations, and two random tragedies: The 1902 East Malvern Tragedy and 1906 Pyramid Hill Tragedy. Both are ‘triple tragedies', so run in parallel. They also end up connected in ways that start to seem not quite random. On November 14th 1906, in a murder-suicide reported as The Pyramid Hill Tragedy, Constable Oliver John Lang killed himself and his two daughters (Olive and Doreen) at Pyramid Hill, an agricultural town in northern Victoria where Lang had been stationed for 5 years. Noting Constable Lang had repeatedly spoken about shooting himself and his family, an inquest found that “a heavy responsibility lies on those hear such words”, especially threats made by “anyone holding a public position such as that of a constable of police in whose hands are often the property liberty and perhaps the lives of others”. In 1902, in a murder-suicide reported as The East Malvern Tragedy, German merchant Arthur Mueller killed himself, his wife (Cecile) and one of his children (Willy) in a prestigious eastern suburb of Melbourne. Themes include police and law in settler-colonial contexts: the roles of police stationed in rural areas, and the fragile line of law. Also Land Law. Land Acts facilitated ‘closer settlement' and ‘selections', later ‘soldier settlement', as tools of colonial expansion. Through land titles, Pyramid Hill was made into a late 19th century agricultural settlement, and police had a vital role in the system's administration. Fathers and family law: fathers and grandfathers, and inheritances (good and bad) are key. We discuss custodial law in 19th and 20th century Australia, and the legal principal of “father's right” through which fathers were always granted custody of their legitimate children. Pre: Family Law Act custodial grievances, we hear Lang killed his family partly from a vendetta against his former father in law, Sergeant Frank Jordon (of East Malvern!). The stories share knowledge and lies: advanced lying skills central to traditional morality and legitimacy, unnoticed patterns, unknowing, and what you can or should do with knowledge. Rumours of “certain allegations” were one reason given to explain Lang's violence, otherwise attributed (as with Mueller) to a fit of mania. Jordon, meanwhile, seemed to know what was coming but be powerless to stop it. There are echoes through to a recent mystery in Pyramid Hill, the disappearance of heavily pregnant intellectually disabled woman Krystal Fraser in 2009. Police suspect Krystal was killed by the father of her unborn child, and that people in Pyramid Hill know what happened but are not coming forward. A final theme is cultural references to ‘ghost towns' that seem isolated not only in space but in time. Wake in Fright, Twin Peaks, The Shining, 100 years of Solitude, Blazing Saddles. And country song Long Black Veil: “nobody knows, nobody sees, nobody knows but me”. Featuring a wintery visit to the Pyramid Hill op shop, cop shop, abattoir, and cemetery. Factoids of early railways, cinemas, mobility scooters, migrants, TB, police filing systems. And a specially written Taylor Project song, closing with: “on the hill there is a lookout, I can see that long dark train…” This is the 2nd episode of 3, where we return to the 1900s to hear more about Lang, Mueller, and their contexts.

This episode of This Must Be The Place is part of the Digital Death Trip segment, where we investigate geographically themed ‘tragedies’ selected at random by the custom-coded ‘Digital Death Trip’ bot. The code uses the API to the National Library of Australia’s Trove archive to randomly select a Victorian town, then a random so-called Tragedy from it. It compiles a case file, then Liz follows up with some research about the incident, its place and time. In this instalment, Digital Death Trip has picked two random and distant Victorian locations, and two random tragedies: The 1902 East Malvern Tragedy and 1906 Pyramid Hill Tragedy. Both are ‘triple tragedies’, so run in parallel. They also end up connected in ways that start to seem not quite random. On November 14th 1906, in a murder-suicide reported as The Pyramid Hill Tragedy, Constable Oliver John Lang killed himself and his two daughters (Olive and Doreen) at Pyramid Hill, an agricultural town in northern Victoria where Lang had been stationed for 5 years. Noting Constable Lang had repeatedly spoken about shooting himself and his family, an inquest found that “a heavy responsibility lies on those hear such words”, especially threats made by “anyone holding a public position such as that of a constable of police in whose hands are often the property liberty and perhaps the lives of others”. In 1902, in a murder-suicide reported as The East Malvern Tragedy, German merchant Arthur Mueller killed himself, his wife (Cecile) and one of his children (Willy) in a prestigious eastern suburb of Melbourne. Themes include police and law in settler-colonial contexts: the roles of police stationed in rural areas, and the fragile line of law. Also Land Law. Land Acts facilitated ‘closer settlement’ and ‘selections’, later ‘soldier settlement’, as tools of colonial expansion. Through land titles, Pyramid Hill was made into a late 19th century agricultural settlement, and police had a vital role in the system’s administration. Fathers and family law: fathers and grandfathers, and inheritances (good and bad) are key. We discuss custodial law in 19th and 20th century Australia, and the legal principal of “father’s right” through which fathers were always granted custody of their legitimate children. Pre: Family Law Act custodial grievances, we hear Lang killed his family partly from a vendetta against his former father in law, Sergeant Frank Jordon (of East Malvern!). The stories share knowledge and lies: advanced lying skills central to traditional morality and legitimacy, unnoticed patterns, unknowing, and what you can or should do with knowledge. Rumours of “certain allegations” were one reason given to explain Lang’s violence, otherwise attributed (as with Mueller) to a fit of mania. Jordon, meanwhile, seemed to know what was coming but be powerless to stop it. There are echoes through to a recent mystery in Pyramid Hill, the disappearance of heavily pregnant intellectually disabled woman Krystal Fraser in 2009. Police suspect Krystal was killed by the father of her unborn child, and that people in Pyramid Hill know what happened but are not coming forward. A final theme is cultural references to ‘ghost towns’ that seem isolated not only in space but in time. Wake in Fright, Twin Peaks, The Shining, 100 years of Solitude, Blazing Saddles. And country song Long Black Veil: “nobody knows, nobody sees, nobody knows but me”. Featuring a wintery visit to the Pyramid Hill op shop, cop shop, abattoir, and cemetery. Factoids of early railways, cinemas, mobility scooters, migrants, TB, police filing systems. And a specially written Taylor Project song, closing with: “on the hill there is a lookout, I can see that long dark train, even when you close your windows, it comes back again, there’s a ghost upon the hill”. Because Liz collected too much information, this digital death trip podcast – Pyramid Hill and East Malvern - is in 3 parts. This is the 1st episode of 3.

This episode of This Must Be The Place is part of the Digital Death Trip segment, where we investigate geographically themed ‘tragedies’ selected at random by the custom-coded ‘Digital Death Trip’ bot. The code uses the API to the National Library of Australia’s Trove archive to randomly select a Victorian town, then a random so-called Tragedy from it. It compiles a case file, then Liz follows up with some research about the incident, its place and time. Because Liz collected too much info, this digital death trip podcast is in 3 parts. This is the 3rd and final episode. Listen to 1 & 2 first! Digital Death Trip has picked two random and distant Victorian locations, and two random tragedies: The 1902 East Malvern Tragedy and 1906 Pyramid Hill Tragedy. Both are ‘triple tragedies’, so run in parallel. They also end up connected in ways that start to seem not quite random. On November 14th 1906, in a murder-suicide reported as The Pyramid Hill Tragedy, Constable Oliver John Lang killed himself and his two daughters (Olive and Doreen) at Pyramid Hill, an agricultural town in northern Victoria where Lang had been stationed for 5 years. Noting Constable Lang had repeatedly spoken about shooting himself and his family, an inquest found that “a heavy responsibility lies on those hear such words”, especially threats made by “anyone holding a public position such as that of a constable of police in whose hands are often the property liberty and perhaps the lives of others”. In 1902, in a murder-suicide reported as The East Malvern Tragedy, German merchant Arthur Mueller killed himself, his wife (Cecile) and one of his children (Willy) in a prestigious eastern suburb of Melbourne. Themes include police and law in settler-colonial contexts: the roles of police stationed in rural areas, and the fragile line of law. Also Land Law. Land Acts facilitated ‘closer settlement’ and ‘selections’, later ‘soldier settlement’, as tools of colonial expansion. Through land titles, Pyramid Hill was made into a late 19th century agricultural settlement, and police had a vital role in the system’s administration. Fathers and family law: fathers and grandfathers, and inheritances (good and bad) are key. We discuss custodial law in 19th and 20th century Australia, and the legal principal of “father’s right” through which fathers were always granted custody of their legitimate children. The stories share knowledge and lies: advanced lying skills central to traditional morality and legitimacy, unnoticed patterns, unknowing, and what you can or should do with knowledge. There are echoes through to a recent mystery in Pyramid Hill, the disappearance of heavily pregnant intellectually disabled woman Krystal Fraser in 2009. A final theme is cultural references to ‘ghost towns’ that seem isolated not only in space but in time. Wake in Fright, Twin Peaks, The Shining, 100 years of Solitude, Blazing Saddles. And country song Long Black Veil: “nobody knows, nobody sees, nobody knows but me”. Featuring a wintery visit to the Pyramid Hill op shop, cop shop, abattoir, and cemetery. This is the last instalment of 3. We return to hear a few updates Liz could not help researching further. It includes specially written Taylor Project song Ghost Upon the Hill: “on the hill there is a lookout, I can see that long dark train, even when you close your windows, it comes back again, there’s a ghost upon the hill”. Further post-script: Robert Mueller, youngest son, survived and moved to Germany. He married there in 1925. Also, re: the early ‘cinematograph’ the children went to at the Athenaeum. Most cinemas in early Australia were in inner city theatres. Each reel was about 3 minutes, usually a short documentary display: boxing, footy, horses. The show would have included magicians. Mueller's servants took the children to this new popular entertainment spectacle. And while they were out, Mueller made preparations to kill everyone.

Because Liz collected too much info, this digital death trip podcast is in 3 parts. This is the 2nd episode of 3. Listen to episode 1 first! This episode of This Must Be The Place is part of the Digital Death Trip segment, where we investigate geographically themed ‘tragedies’ selected at random by the custom-coded ‘Digital Death Trip’ bot. The code uses the API to the National Library of Australia’s Trove archive to randomly select a Victorian town, then a random so-called Tragedy from it. It compiles a case file, then Liz follows up with some research about the incident, its place and time. Digital Death Trip has picked two random and distant Victorian locations, and two random tragedies: The 1902 East Malvern Tragedy and 1906 Pyramid Hill Tragedy. Both are ‘triple tragedies’, so run in parallel. They also end up connected in ways that start to seem not quite random. On November 14th 1906, in a murder-suicide reported as The Pyramid Hill Tragedy, Constable Oliver John Lang killed himself and his two daughters (Olive and Doreen) at Pyramid Hill, an agricultural town in northern Victoria where Lang had been stationed for 5 years. Noting Constable Lang had repeatedly spoken about shooting himself and his family, an inquest found that “a heavy responsibility lies on those hear such words”, especially threats made by “anyone holding a public position such as that of a constable of police in whose hands are often the property liberty and perhaps the lives of others”. In 1902, in a murder-suicide reported as The East Malvern Tragedy, German merchant Arthur Mueller killed himself, his wife (Cecile) and one of his children (Willy) in a prestigious eastern suburb of Melbourne. Themes include police and law in settler-colonial contexts: the roles of police stationed in rural areas, and the fragile line of law. Also Land Law. Land Acts facilitated ‘closer settlement’ and ‘selections’, later ‘soldier settlement’, as tools of colonial expansion. Through land titles, Pyramid Hill was made into a late 19th century agricultural settlement, and police had a vital role in the system’s administration. Fathers and family law: fathers and grandfathers, and inheritances (good and bad) are key. We discuss custodial law in 19th and 20th century Australia, and the legal principal of “father’s right” through which fathers were always granted custody of their legitimate children. Pre: Family Law Act custodial grievances, we hear Lang killed his family partly from a vendetta against his former father in law, Sergeant Frank Jordon (of East Malvern!). The stories share knowledge and lies: advanced lying skills central to traditional morality and legitimacy, unnoticed patterns, unknowing, and what you can or should do with knowledge. Rumours of “certain allegations” were one reason given to explain Lang’s violence, otherwise attributed (as with Mueller) to a fit of mania. Jordon, meanwhile, seemed to know what was coming but be powerless to stop it. There are echoes through to a recent mystery in Pyramid Hill, the disappearance of heavily pregnant intellectually disabled woman Krystal Fraser in 2009. Police suspect Krystal was killed by the father of her unborn child, and that people in Pyramid Hill know what happened but are not coming forward. A final theme is cultural references to ‘ghost towns’ that seem isolated not only in space but in time. Wake in Fright, Twin Peaks, The Shining, 100 years of Solitude, Blazing Saddles. And country song Long Black Veil: “nobody knows, nobody sees, nobody knows but me”. Featuring a wintery visit to the Pyramid Hill op shop, cop shop, abattoir, and cemetery. Factoids of early railways, cinemas, mobility scooters, migrants, TB, police filing systems. And a specially written Taylor Project song, closing with: “on the hill there is a lookout, I can see that long dark train…” This is the 2nd episode of 3, where we return to the 1900s to hear more about Lang, Mueller, and their contexts.

En esta edición de La vida privada de El señor Darth, he querido hacer un monográfico en torno a una canción: The long black veil Este tema tan maravilloso y evocador, que bien podría ser una historia sacada de un western, lleva 60 años interpretándose por autores de la talla de Jhonny Cash, Nick Cave, Joan Baez o Mick Jagger entre otros cuantos. Una pieza universal y maravillosa que ha conectado con el público generación tras generación. En esta edición os doy a conocer sus versiones.

Our guests are Sheila and Tony Davoren, organizers of the 5th annual Celtic Bayou Festival to be held on March 13 and 14, 2020 at Warehouse 535 in Lafayette. The festival is a family-friendly event celebrating the Celtic Culture. After listening to this episode of Discover Lafayette, you will not want to miss the Festival's activities which will immerse you in everything Celtic! Sheila and Tony love all aspects of their native Celtic traditions and delight in telling the story of their roots and why they are passionate about sharing it with Acadiana and beyond. The Celtic culture actually shares quite a bit in common with the Acadian/Creole culture we so easily take for granted. Tony explained that the Irish have a name for their own brand of joie de vivre: "craic" means enjoying good company, having a few drinks in a party atmosphere, singing and enjoying music, cutting up, dancing, and of course, eating. Who doesn't like that?? A little background: Sheila is first generation Irish-American and began Irish dancing at the age of four. She enjoyed a competitive career at the World Championship level and danced professionally with The Chieftains, a Grammy award-winning Irish group. (As an aside, the Chieftains will be playing in Lafayette on March 13, 2019, at the Heymann Performing Arts Center.) At the age of 25, Sheila was one of the first Americans to be invited to perform with Riverdance, a theatrical show consisting mainly of traditional Irish music and dance. She directed and produced “Dancing at the Crossroads”, an instructional video, starring fellow Riverdance performers. The video has since become a staple study guide for those dancers wishing to be certified in Irish dance. Currently, Sheila directs Camp Rince Ceol held each summer in California and New York and teaches Irish dance classes in Metairie and Lafayette. Visit https://irishdancecamp.com for more information. Tony Davoren, known as "The Irish Guy," is from Wicklow, Ireland. He began his singing career with the Celtic Irish choral group Anuna and also toured with Riverdance. He has appeared at the Radio City Music Hall and performed for the Prince of Wales at The Albert Hall in London. Tony has recorded with Sting, The Chieftains, and Sinead O’Connor. He is also featured on two Grammy Award-winning recordings: “The Long Black Veil” and “Riverdance the Show." He directed the music for “Dancing at the Crossroads” and has produced recordings for Irish soloists Katie McMahon and Dave Donohue. Tony and Sheila first met while performing in Riverdance the Lee Company. Their mutual love of music, dance and enjoying their Irish culture drew them together and they were married in 2002. After falling in love with Acadiana after visiting several times while on break from tours, they viewed South Louisiana as their cherished getaway. In 2003, tiring of the frigid temperatures they endured in New York, they purchased property in Sunset while on a visit to attend Festival International.  The Davorens still live in Sunset today with their three children. The 2020 Celtic Bayou Festival features musical performances by traditional Celtic bands, unique events such as the Lenten Crawfish Boil, Guinness Cook-Off Competition sponsored by Rader Solutions, Bailey’s Bake-Off Competition, Jameson Pub Crawl, a Genealogy tent for Acadiana people to trace their Celtic roots, and more. Visit http://www.celticbayoufest.com for a complete listing of events and attractions. Celtic Bayou Festival is a non-profit, 501 c3 organization and relies on community support in order to share their lovely Celtic traditions.  Please consider supporting CBF with a donation.  For more information, please visit http://www.celticbayoufest.com. This post was updated March 5, 2020 to reflect current event schedule.

With the Super Bowl behind us, football fans are already looking ahead to the 2020 season, and they’re not the only ones thinking about the future of the NFL. More specifically, speculation about where and how new stadiums will be built is in full swing, particularly in the Washington, DC area. Even back in December, the Washington Post reported that Washington Redskins owner Daniel Snyder was working with Congress to secure a deal for a new football stadium, and in response, local lawmakers have started signaling their reluctance to engage in a bidding war for the team. Virginia Delegate Michael Webert introduced legislation proposing an “interstate compact” between Virginia, Maryland, and DC, which would essentially bar all three localities from providing incentives to host a new Redskins stadium. Maryland Delegate David Moon and DC Councilmember David Grosso have both indicated support for something similar. So today, we’re talking about the Redskins stadium, how an interstate compact might affect it, and what all this means for other sports stadium deals. First, we're joined by the Washington Post’s Liz Clarke. Liz has two decades as a sportswriter for the Post under her belt, including eight seasons with the Redskins Next up, we welcome back Michael Farren. Michael’s been on the show before to talk stadium subsidies, and his research covers a range of issues at play here including government favoritism and economic development Finally, we have Matthew Mitchell on the phone. Matt is one of our research directors here at Mercatus, where he focuses on public choice economics and the economics of government favoritism   Follow Chad on Twitter @ChadMReese. Love the show? Give us a rating on Apple Podcasts! It allows others to find the show. Today's What's on Tap beverage is Long Black Veil brought to you by Port City Brewing in Alexandria, VA.

Jodi Hildebran Lee and Jordan Crosby Lee are the Couldn't Be Happiers. Check them out at www.couldbehappiers.com. On this episode, they play murder ballads The Long Black Veil and a feminist re-imagining of Pretty Polly, plus their original song Jackson Square (which may or may not be about reincarnation).

“She Remembers Everything” is the name of the latest Rosanne Cash album, the 14th of her amazing career. Rosanne and her husband and musical collaborator, John Leventhal, sit down with Broken Record’s Bruce Headlam to play songs from the album, talk about songwriting, her musical family and how “She Remembers Everything” grew out of today’s politics. They also perform cover versions of two American classics, “Long Black Veil” and “Farewell Angelina.” Learn more about your ad choices. Visit megaphone.fm/adchoices

An hour of Dark Moments, Good-Byes, Shadows, and an ill fated Flight 191. More information at dollarcountry.org

Mixed Up Confusion is our vehicle to discuss the culture that surrounds our weekly conversation about Bob Dylan. This is the first episode of November's Band Month! Tonight, Night 1, features post-1978 tracks and 1968's masterpiece, Music From Big Pink. Before we begin, one must understand the formula for these run of nights (2:00) as well as just who is The Band (5:45). Then, we open with the post-Last Waltz material (9:00): - Jericho songs (10:00) - High on the Hog songs (12:15) - Jubilation songs (14:00) Before the main event, Music From Big Pink (26:00): - "Tears of Rage" (33:00) - "To Kingdom Come" (37:40) - "In a Station" (38:30) - "Caledonia Mission" (40:45) - "The Weight" (42:30) - "We Can Talk" (50:00) - "Long Black Veil" (52:45) - "Chest Fever" (54:10) - "Lonesome Suzie" (59:00) - "This Wheel's on Fire" (1:01:05) - "I Shall Be Released" (1:05:15) Night Two will feature the Band's final official album, Islands from 1977, and the inimitable The Band from 1969. See you then. As always, full show notes at our website. You can also follow along with our weekly real-time Spotify playlist – See That My Playlist is Kept Clean – and join the conversation on Twitter, message us on Facebook, and like on Instagram. And if you're loving us, consider our Patreon. For as little as one dollar you get early access to every episode we do as soon as they're edited (and a dedicated feed just for you) and exclusive content that'll only ever be on Patreon. Thanks!

Yeah No Yeah is talking bloodsuckers and trying very hard not to faint. The girls review the European roots of vampire lore and talk blood baths and blood facials with Countess Elizabeth Báthory. This episode also covers the 2004 vampire outbreak in Romania. Katie fills us in on the Vampy club scene in New York City and the legendary Long Black Veil vampire ball.

Conceived of (successfully) as an "instant folk song" in the age of instant mashed potatoes and instant coffee, "Long Black Veil" is a tale of murder and infidelity, yes, but is it also a tale of (I hate to say it) "bros before hoes" taken to its senseless, meaningless extreme? The narrator of this song, singing from The Great Beyond, may have wanted to go down a hero by admitting to a crime he didn't commit (murder) so he wouldn't have to admit to a crime he did commit (sleeping with best friend's wife). But I can't help but see him as a selfish coward who's done nothing but add to the burden of those still living. Life goes on without him, and that means 1) there's still a murderer at large and the townsfolk have no idea 2) he died while his best friend was still in belief of his lies 3) neither his mistress' nor his best friend's life is going to get any easier now that he's gone. Not in the short term anyway. Great song though! I'm a bit rusty after some time off, so forgive me any production errors.

Author and transgender rights activist Jennifer Finney Boylan talks about her thrilling new Mystery Romance, Long Black Veil. This intimate conversation explores the secrets we hide in our relationships and the truths we discover within ourselves. Plus, photojournalist Glenna Gordon takes us to Kano, Nigeria where a vibrant community of Muslim women are writing littattafan soyayya, or "literature of love," for an eager, communal audience.

The author of 15 works of fiction and nonfiction, Jennifer Finney Boylan may be known to most readers via her bestselling memoir She's Not There.   As she told Miwa Messer in this episode of the podcast, her new book Long Black Veil also draws on events from her life, but here Boylan weaves them into a droll, offbeat thriller in which the unexpected consequences of one night kick off a tale about secrets and lies, silence and truth, and the triumph of love and friendship.

Renowned transgender writer Jennifer Finney Boylan discusses her debut mystery - Long Black Veil, an exploration of identity and whether friendships can survive a change of identity.

Abbe Wright interviews LGBTQ activist and author Jennifer Finney Boylan about her new novel, LONG BLACK VEIL, a thriller about the price of secrecy.

Jennifer Finney Boylan joins Lindsay to talk about her new book, LONG BLACK VEIL. They talk murder, historical figures, and intrigue. Read more about the book here: http://bit.ly/2oovVNU

Our 171st episode, which aired on October 28, 2016, and featured the Chieftains in collaboration with guest artists. The Chieftains with Bela Fleck – The Ladies’ Pantalettes/The Belles of Blackville/First House in Connacht, Down the Old Plank Road The Chieftains with Bela Fleck, Jeff White, Tim O’Brien & John Hiatt – Down the Old Plank Road, Down the Old Plank Road The Chieftains with Leahy – Madam Bonaparte/The Devil’s Dream/The Mason’s Apron, Fire In The Kitchen The Chieftains with the Ennis Sisters – Red is the Rose, Fire In the Kitchen The Chieftains with Van Morrison – Raglan Road, Irish Heartbeat The Chieftains with Van Morrison – Marie’s Wedding, Irish Heartbeat The Chieftains with the Punch Brothers – The Lark in the Clear Air/Olam Punch, Voice of Ages The Chieftains with the Secret Sisters – Peggy Gordon, Voice of Ages The Chieftains with Chet Atkins – Chief O’Neill’s Hornpipe, Further Down the Old Plank Road The Chieftains with the Rolling Stones – The Rocky Road to Dublin, The Long Back Veil The Chieftains with Doc Watson – Fisherman’s Hornpipe/The Devil’s Dream, Further Down the Old Plank Road The Chieftains with Ry Cooder – Dunmore Lassies, The Long Black Veil The Chieftains with Mark Knopfler – The Lily of the West, The Long Black Veil

Our 117th episode, which aired on October 16, 2015. Troy MacGillivray and Shane Cook - A Winston Jig in A/Boston Life/Traditional Jig/Mary’s Return Home/Ottawa Valley Fiddle Camp 2007, When Here Meets There Adrianne and Mike - The Storm, Where the Heart Lies Paddy Keenan - Dinny O'Brien's/Garden of Daisies, Na Keen Affair Sharon Shannon, Frankie Gavin, Michael McGoldrick and Jim Murray - Summer's Coming, Tunes Ricky Skaggs & Kentucky Thunder - Goin' to the Ceili, Instrumentals We Banjo 3 - Long Black Veil, Live in Galway Dwayne Cote & Roger Stone - Hector The Hero/Cameron Highlanders March/The Sword Dance, Unama' Ki Wkwisk: Cape Breton Sons Helene Blum - Storken, But With My Eyes Open Glenn Graham - Howie and Kinnon's Winter Apples, Drive Makem & Spain - Pat and Bridget, Up the Stairs Paul Cranford - The Lady's Exposulation With Rob Roy, Music from the Simon Fraser Collection

Our 104th episode, which aired on July 17, 2015, and was recorded LIVE in the studio to celebrate our second anniversary. The Dardanelles – McCarthy’s, The Eastern Light Touchstone – Jack Haggerty, The New Land Nuala Kennedy – The Wee Whistle Set, recorded live in-studio Cathie Ryan – Johnny Be Fair, recorded live in-studio J.P. Cormier & Tim Edey – G Jigs, Once J.P. Cormier – Ireland, Somewhere in the Back of My Heart Live Performance: Donald Jones – Frank’s Reel/The Turnpike Reel/The Road to Errogie The Teetotalers – Live at the Burren, unreleased Breabach – The Rolling Hills, The Big Spree Live Performance: Donald Jones – Angus Allan & Dan J’s/Miss Watts/Homeward Bound Poor Angus – The Giant Set, Gathering Hounds of Finn – The Fairview Gypsy Set, Gravity Pulls Jerry Holland – Mrs. MacDouwal Grant/Dr. Keith Aberdeen/Highlands of Banffshire/Mrs. Gordon of Knockspoch/Reel du Vétérinaire/Dan Galbey's, Parlor Music Jimmy Keane & Pat Broaders – January Man/Down the Doon, Bohola Live Performance: Dave Bagdade – The Chorus Jig/Q Jig The Elders – Gonna Take A Miracle, Live on KFAT We Banjo 3 – Long Black Veil, Live in Galway Duncan Chisholm – The Rose of St. Magnus, Redpoint

Our forty-ninth episode, which aired on June 27, 2014. Dessie Kelliher - Polkas, Banjoed Brenda Stubbert - The Mortgage Burn Set, Some Tasty Tunes James Keane - The Chorus Jig/The Mooncoin Jig/The Swedish Jig, That's the Spirit Bohola - The Young Ploughboy/March Bohola/Blas Na Treada, Bits of Bohola We Banjo 3 - Rocky Road to Dublin/American Polka, Gather the Good Interview with David Howley Freewheel - Corner House/Eilish Brogan/Eanach Mhic Coilin, Freewheel We Banjo 3 - Long Black Veil, Gather the Good LOCAL FOCUS: New Augusta Acoustic Duo - Hargalaten, Songs We Love Breabach - Hector the Hero, The Big Spree

For more than 50 years, this ballad's haunting charms have proved irresistible to many of the world's leading musicians. Credits: Firefly Entertainment, Black Sheep Music, X5 Music Group, Manhattan Records, UMC, Mute/BMG, Sony Music Classical, RCA Records Label See acast.com/privacy for privacy and opt-out information.

This is a BIG DEAL episode! We have our FIRST celebrity guest: CJ Ramone from the most iconic Punk band EVER, THE RAMONES!!! I had the honor and privilege of interviewing one of the last living Ramones members and the last member to join the band before their retirement in 1996. I can't say thank you enough to him for letting me interview him! I feature his song: "Last Chance to Dance" off his 2014 album of the same title. It's a great album. My personal favorite off of it is "Till the End" Check it and everything else he's up to out at: http://www.cjramone.com I cover: "You're the Only One" - CJ Ramone "Pet Sematary" - The Ramones My grandmother, Bessie covers: "Long Black Veil" - in the style of Johnny Cash And since this is a Ramones themed episode I hung out with my amazing life-size doll of Joey Ramone just for the occasion! As always download all our covers from the show on our Soundclouds!: http://soundcloud.com/erica-case1 http://soundcloud.com/bessielanningofficial Check out the radio interview I did! https://www.sparemin.com/myrecording/4002?_branch_match_id=317889032294976829 And check us all out and keep up with us at: http://www.ericacase.com 

PODCAST: 05 Jun 2016  01 Raggle Taggle Gypsies – Christy Moore – Prosperous 02 Fare Thee Well Eniskillen – The Clancy Brothers and Tommy Makem – Greatest Hits 03 The Zoologicl Gardens – The Dubliners – The Complete Dubliners 04 Pipe On The Hob – The Bothy Band – After Hours 05 Arthur McBride – Paul Brady – Andy Irvine and Paul Brady 06 Black Is The Colour – Christy Moore - Masters Of Their Craft 07 Thousands Are Sailing – The Pogues - Remix 08 Hard Times – De Danann – Song For Ireland 09 Barley and Grape Rag – Rory Gallagher and The Dubliners 10 The Foggy Dew – The Chieftains (with Sinead O’Connor) – The Long Black Veil 11 Watermans – Mike McGoldrick – Fused  12 The Island – Dolores Keane – The Best Of Dolores Keane 13 Hiroshima Nagasaki – Moving Hearts – Donal Lunny’s Definitive Moving Hearts 14 The Sky Road - Frances Black - Warmer For The Spark 15 Song For Ireland – Mary Black – Collected

Despite having an extraordinary set list for you on this episode the mood is somber. Like I'm sure many of you, I was shocked and deeply saddened by the sudden passing of Dave Matthews Band sax player Leroi Moore. Speaking as a huge fan his loss is already sinking in but a deepest sympathy goes out to Leroi's close friends and family. In addition to being a very gifted musician, every story that I have heard about his life off stage portrayed him as an all around great person. The music for this show is a compilation of some of my favorite Leroi moments from past DMB concerts. These songs together celebrate a life that was cut too short but sweet for certain. 1) Bartender (07/31/05) 2) Best of What's Around (09/04/04) 3) #34 (10/02/07) 4) What Would You Say (12/10/05) 5) Seek Up (10/05/04) 6) #41 (12/10/05) 7) Grey Street (08/08/03) 8) Proudest Monkey (07/17/99) 9) Say Goodbye (03/23/07) 10) Don't Drink the Water (10/02/07) 11) Crush (06/07/08) 12) Typical Situation (09/04/04) 13) Pay For What You Get (06/07/08) 14) Spoon (09/14/03) 15) All Along the Watchtower (08/26/07) 16) Kit Kat Jam (06/29/03) 17) So Much To Say (06/21/08) 18) Anyone Seen the Bridge (06/21/08) 19) Too Much (06/21/08) 20) Long Black Veil (09/08/02) 21) Stay (10/05/04) 22) Leroi Intro (07/11/00) 23) Pantala Naga Pampa (07/11/00) 24) Rapunzel (07/11/00) 25) Ants Marching (04/21/01) If you enjoyed this podcast consider making a donation to the LeRoi Moore Charity Fund, thank you.

Long Black Veil, by many artists. My version is sortof a mix between Johnny Cash's version, and The Chieftains' version (with Mick Jagger on lead vocal). Requested by "ab ab." Send in your Christmas music requests!

Yoni (and his band, The Goods) is/are playing twice this week – Friday at the Cambridge Elks, and Sunday at The Abbey. He’s got a voice and style that’s a little tough to capture with the measley microphones that are currently known to man, so go see him live. Song list: Long Black Veil (by […]