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3 episodes with Lonnie Mack
7 episodes with Lonnie Mack
3 episodes with Lonnie Mack
3 episodes with Lonnie Mack
4 episodes with Lonnie Mack
2 episodes with Lonnie Mack
3 episodes with Lonnie Mack
3 episodes with Lonnie Mack
2 episodes with Lonnie Mack
This week on RITY... The mini theme is The Weatherman... Plus, a song that Van Morrison was inspired to write after having a nightmare about an assassination attempt on Ray Charles... Music from a group named after the 400 Unit of the Eliza Coffee Memorial Hospital in Florence, Alabama... A brand new segment called "Out Of Left Field" where I play a random song that I normally wouldn't play... Plus deep cuts from Lonnie Mack, B. W. Stevenson, Pages, The Rockets, and the combo of Huey Lewis & Hank Williams Jr... For more info on the show, visit reelinwithryan.com
Today's show features music performed by Jelly Roll Morton and Lonnie Mack
"Did you hear the cops finally busted Madame MarieFor tellin' fortunes better than they doFor me this boardwalk life's through, babeYou ought to quit this scene, tooSandy, the aurora is rising behind usThis pier lights our carnival life foreverOh, love me tonight and I promise I'll love you foreverOh, I mean it, Sandy, girl"With Summer now in full swing, please join me and Sandy live from Laguna Beach on the Saturday Edition of Whole 'Nuther Thing. Joining us are Al Stewart, Pat Metheny, Robert Plant, Roxy Music, The Beatles, Doobie Brothers, Yes, Rod Stewart, Gerry Rafferty, Marc Cohn, Phil Collins, Lonnie Mack, Genesis, Meat Loaf, Mott The Hoople, Dire Straits, Tommy James & The Shondells, Elvis Presley and Bruce Springsteen. And don't forget your Sunscreen.
735. ¡Vamanos, gatos! Calling all Be-Bop kids n' adults -Tuesday nights are for DJ Del Villarreal's "Go Kat, GO!" radio program especial! Join the "Aztec Werewolf"™ as he broadcasts LIVE from the Motorbilly Studio from 8 til 11 pm EST (5-8 pm PCT). Freddy Fender turns 87 today, so we will honor the Texas Latino-billy legend by spinning plenty of his early Falcon & Duncan "rocanrol" 45s! Loads of the latest rockin' recordings from around the world: NEW vinyl to unleash from Sleazy Records including The Centuries, The Gold Diggers, The Kaisers, The Bank Robbers and The Hi-Flyin' Combo, too! Plenty of your favorite requests from the 50's; re-love classic rockers from Roy Orbison, Ricky Nelson, Janis Martin, Wanda Jackson, The Cochran Brothers, Bob Luman, Lonnie Mack, Dave Dudley and MORE! Always a fiesta when the Aztec Werewolf™ is at the controls! Tuesday nites are HOWLIN' on DJ Del's "Go Kat, GO!"Please follow on FaceBook, Instagram & Twitter!
As promised, Dave has Professor Emeritus of Music, G.K. Allen talk music with which most of the listeners will not be familiar. It was a nice escape for the guys from politics, of which they know will be waiting for them in the next episode. Please visit our website at www.miningthemedia.com and share with your friends, relatives, associates, and neighbors.
Maxwell Schauf is a top call drummer that has called Nashville home since 1989. He has performed with Lonnie Mack, Clay Walker, Shelby Lynn, Ezra Mohawk and many others. He can be seen playing regularly at The famed Robert's Western World with the band Brazilbilly and many others. Some Things That Came Up: -4:10 Brazilbilly and Robert's Western World -5:58 The “Roll” in “Rock N' Roll” -7:30 Playing Consistent low volume gigs -9:00 The Wisconsin Accent -12:20 Falling through the glass window at Robert's -14:20 ALEX VAN HALEN MODERN DRUMMER HALL OF FAME with Mike Portnoy, Ray Luzier and Jay Weinberg -15:30 Shuffle Variations -17:30 The University of North Texas journey -18:40 Alan Shinn, Ed Soph, Ron Fink, Henry Okstel and Robert Schietroma -19:40 Bach Figured Bass= Number Charts -22:45 Creating Opportunities with Lonnie Mack -23:25 Opening for Stevie Ray Vaughan -23:45 Opening for Huey Lewis -26:02 Roger Hawkins and The Swampers -29:25 Having a road gig BEFORE moving to Nashville -32:40 Motto: “Whatever it takes to stay in Nashville” -33:15 Creating Opportunities! -34:20 Jam Sessions -41:15 Lower Broadway School? -46:20 Play for free and create another opportunity -56:30 Keys to Success -62:00 Diet, Exercise and Grounding -72:00 “The Fave 5” -78:00 @vintage.drum.catalogs -84:26 Leland Sklar's book “Everybody Loves Me” Follow: IG: @maxwell_schauf IG: @vintage.drum.catalogs The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits! Rich can also be seen in several films and TV shows and has also written an Amazon Best-Selling book, "CRASH! Course for Success: 5 Ways to Supercharge Your Personal and Professional Life" currently available at: https://www.amazon.com/CRASH-Course-Success-Supercharge-Professional/dp/B07YTCG5DS/ref=sr_1_1?keywords=crash+redmond&qid=1576602865&sr=8-1 One Book: Three Ways to consume....Physical (delivered to your front door, Digital (download to your kindle, ipad or e-reader), or Audio (read to you by me on your device...on the go)! Buy Rich's exact gear at www.lessonsquad.com/rich-redmond Follow Rich: @richredmond www.richredmond.com Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur. Follow Jim: @jimmccarthy www.jimmccarthyvoiceovers.com
"A winter's day in a deep and dark December, I am aloneGazing from my window to the streets belowOn a freshly fallen, silent shroud of snowI am a rock, I am an islandAnd a rock feels no painAnd an island never cries"Here in SoCal it doesn't feel like Winter and I'm not an Island or a Rock so we can all enjoy the music together. Joining us are Graham Parker, Lonnie Mack, Linda Ronstadt, Sandy Denny, Dave Mason, Dire Straits, Seals & Crofts, Frank Sinatra, Booker T & The MG's, Steve Miller Band, Elvis Presley, John Coltrane, Jackson Browne w Bonnie Raitt, Stevie Ray Vaughn, Billy Stewart, Billie Holiday, George Benson, The Four Tops, Wayne Fontana & The Mindbenders, Chuck Berry, The McCoys, Joe Jackson, Herbie Mann, The Supremes, Everly Bothers and Simon & Garfunkel...
Arrancamos el mes recordando lo que triunfaba en EEUU sesenta años atrás, en octubre de 1963. El Billboard Hot 100 era la lista de éxitos más importante e influyente del planeta, con una gran variedad de estilos musicales que iban a apareciendo, mutando o desapareciendo.Playlist;(sintonía) THE BUSTERS “Bust out”BOBBY VINTON “Blue velvet”THE RONETTES “Be my baby”JIMMY GILMER and THE FIREBALLS “Sugar shack”ROY ORBISON “Mean woman blues”ROY ORBISON “Blue bayou”THE ESSEX “A walking miracle”THE SURFARIS “Point panic”JAN and DEAN “Honolulu Lulu”THE DOVELLS “Betty in Bermudas”THE ORLONS “Crossfire”THE TYMES “Wonderful! Wonderful!”STEVIE WONDER “Workout Stevie workout”JACKIE WILSON “Baby get it (and don’t quit it)”LITTLE JOHNNY TAYLOR “Part time love”LONNIE MACK “Wham!”THE IMPRESSIONS “It’a allright”THE DRIFTERS “I’ll take you home” Escuchar audio
Take your motorcycle tour in Tenerife with Easy Rider Tenerife and the latest Ride Time Radio Show - The Greatest Guitar Riffs Of My Time. This is the very best playlist this year, with some amazing hard rock and heavy metal to twist on your next motorcycle ride. This week I take a stroll down memory lane as I revisit the very best riff of all time that I have in my collection. ACDC, Lonnie Mack, Deep Purple and many more present themselves and their very best rock riffs on this week's Ride Time radio Show! We now go out live on 102 FM covering the south coast of Tenerife in the Canary Islands. You can also fo course hook up with the breakfast show everyday live at 8am and 11am ridetimeradio.com. Easy Rider Tenerife - Southcoast. Motorcycle Rental Tenerife Edf. Clara Toledo, Local 5/6, Calle Moraditas, Las Chafiras, Tenerife, 38639. We are above Banco Santander! Easy Rider Tenerife - Westcoast Motorcycle Rental Tenerife Puerto De La Cruz Office, C/ Candias Bajas 29 C.P 38312, La Orotava, Tenerife. CONTACT US Guides: +34 639 845 346 Office: +34 922 703 793 Emergency: +34 686 017 773 Breakdown Service: +34 900 101 369 Email - ride@easyridertenerife.com Web - easyridertenerife.com Guided Tour Packages https://tenerifemotorcycletours.com RADIO SHOW: 24/7 Rock non Stop! Ridetimeradio.com Also… Atlantico FM Santa Cruz • 88.3 FM La Laguna • 91.7 FM Zona sur • 94.7 FM Zona Norte • 88.1 FM Icod de los Vinos • 102.6 FM Every Sunday at 8pm Socials: Youtube - youtube.com/channel/UC6YnHt4X1b4cI4ChvvFw0ug Instagram - @easyridertenerifeclassicbikes Facebook - Easy Rider Tenerife Twitter - twitter.com/easytenerife Podcast - easyridertenerife.podbean.com Linktree - linktr.ee/Easyridertenerife Buy Me A Beer: https://www.buymeacoffee.com/EasyT As seen on Freddie Dobbs…https://youtu.be/XITU0GMAnWc You can now download our latest motorcycle tour app online….. Andriod https://play.google.com/store/search?q=Easy%20rider%20tenerife&c=apps Apple https://apps.apple.com/es/app/easy-rider-tenerife/id6446490120?l=en . . #ridetimeradio #motorbikehiretenerife #harleydavidsontenerife #bikerstenerife #triumphtenerife #motorbikerentaltenerife #freddie_dobbs #freddiedobbs #motorbikes #motorcyclesforrenttenerife #easyridervolcanhunt #cazavolcanestenerife #motoguzzirentaltenerife #volcanohunttenerife #rentamotorcycleintenerife #royalenfieldtenerife #masquemotos #moto4funtenerife #topaciotenerife
"I watch the ripples change their sizeBut never leave the stream of warm impermanence andSo the days float through my eyes, but still the days seem the sameAnd these children that you spit on, As they try to change their worlds, Are immune to your consultationsThey're quite aware of what they're going throughCh-ch-ch-ch-changes (Turn and face the strange).No changes here, just the great music curation on our journey you expect every week. Please make the journey along with Justin Hayward, Flo & Eddie, The Youngbloods, Beatles, Joni Mitchell, Traffic, Noel Paul Stookey, Chuck Berry, The Band, Lovin' Spoonful, Donovan, Van Morrison, Poco, Kenny Loggins, Gino Vanelli, Bo Diddley, Byrds, Lynyr Skynyrd, Supertramp, U2, Trevor Gordon Hall, Lonnie Mack, Tufano & Giamerese, Hall & Oates, John Sebastian & David Bowie.
https://www.rollingstone.com/music/music-news/lonnie-mack-blues-rock-guitar-great-dead-at-74-178000/LONNIE MACK, THE blues-rock pioneer who influenced an entire generation of guitarists like Stevie Ray Vaughan, Duane Allman, Eric Clapton and Keith Richards, died Thursday at a medical facility near his home in Smithville, Tennessee. Mack was 74. Alligator Records confirmed the guitar great's death, adding that Mack had died of natural causes.In Mack's bio, he claims he started learning guitar at the age of five and, after dropping out of school in the 7th grade, pursued a professional music career as a young teenager. He played bars around the Ohio, Indiana and Kentucky stateliness before signing with Cincinnati's Fraternity Records. Mack also served as a session guitarist for artists like James Brown, Hank Ballard and Freddie King.Mack's 1963 LP The Wham of That Memphis Man!, recorded for the Cincinnati-based Fraternity Records, boasted Mack's instrumental rendition of Chuck Berry's “Memphis,” which became a surprise Billboard Top Five hit. Mack soon became known for his “blue-eyed soul” style of singing and his virtuosic guitar abilities that straddled genres like country, blues and R&B and, as Rolling Stone noted in a 1968 review, “a pioneer in rock guitar soloing.”The Wham of That Memphis Man!‘s single “Wham!” also found the guitarist making groundbreaking use of a Bigsby tremolo bar that he appended to his trademark Flying V guitar; because of his work on the album, the Bigsby tremolo bar was unofficially dubbed the “Whammy bar” by a generation of guitarists. “Nobody can play with a whammy-bar like Lonnie. He holds it while he plays and the sound sends chills up your spine,” Stevie Ray Vaughan, an acolyte of Mack's, would later say.
No programa de hoje falámos e ouvimos Lonnie Mack natural de Indiana, estado de Kentucky.
RIP WWE legend Chyna, music icon Prince, and one of the greatest guitarists to ever play the instrument, Lonnie Mack. Steve shares some personal stories about Chyna, and then answers your wrestling questions. He's talking Roman Reigns, Bray Wyatt, Dusty Rhodes, and the great gift he got from Vince McMahon. Presented by Geico!
Memphis, "le berceau du blues", beaucoup de grands musiciens y ont grandi comme Muddy Waters, Robert Johnson, B. B. King et Howlin' Wolf. Memphis est également connu comme l'endroit où Martin Luther King fut assassiné. Memphis, le King et sa demeure somptueuse, Graceland. La région de Memphis était à l'origine habitée par les Amérindiens. Elle fut ensuite explorée par les Européens, d'abord conquis par l'Espagne puis une expédition française construisit le Fort Prud'homme, sur le site de l'actuelle Memphis. Le gouverneur de la Louisiane française y fit édifier le fort de l'Assomption et après le traité de Paris, les Britanniques s'y installèrent ! Finalement Memphis fut officiellement fondée en 1819. Notez que la cité fut ainsi nommée en l'honneur de l'ancienne capitale de l'Égypte sur le Nil. Voici quelques exemples avec Chuck Berry, Beatles, Lonnie Mack, Johnny Rivers, Status Quo, Ian Gillan and The Javelins. --- Du lundi au vendredi, Fanny Gillard et Laurent Rieppi vous dévoilent l'univers rock, au travers de thèmes comme ceux de l'éducation, des rockers en prison, les objets de la culture rock, les groupes familiaux et leurs déboires, et bien d'autres, chaque matin dans Coffe on the Rocks à 6h30 et rediffusion à 13h30 dans Lunch Around The Clock.
Pacific St Blues & AmericanaSeptember 11, 2022We have a really smokin' show this week including numerous homegrown specials and an in-depth exploration of the music of Chuck Berry. Over the past several months we have explored the roots of 'rock music' of the 60s and 70s. While there are the clear influences of Elvis Presley and Little Richard, less obvious, but arguably more profound, as the influences of three blues artists: Robert Johnson, Willie Dixon, and Chuck Berry. It has been suggested, and I agree, that the influence of an artist is determined, at least in part, by the frequency of others covering their music and recording their songs.Specifically, we've examined the musical influences of the King of the Delta Blues, Robert Johnson, Chess Records ' songwriter Willie Dixon, and this week we'll take an in-depth look at the music and influence of the legendary, St Louis born, Chuck Berry, the poet laureate of rock n' roll. Berry spent most of his career recording for the Chicago-based blues label, Chess Records. Along with stable mates Willie Dixon and Muddy Waters, one can make a pretty solid argument that the music we all knew and grew up with had its roots firmly planted at 2010 South Michigan Avenue and the home of Chess Records. Join me today for some great music and good stories. 1. BB King / Jack You're Dead2. Blue House & the Rent to own Horns / Hey Martha!3. Dana Fuchs / Hard Road 4. Tommy Castro / Ninety-Nine and One Half 5. Mike Farris / Monkey Man (The Rock House Nashville All Stars) 6. Josh Hoyer / Gimme7. Marcus King / Hard Working Man 8. Billy Gibbons w/ Larkin Poe / Shakin' Bones9. Lou Ann Barton / One Way Street10. Sass Jordan / Still Alive and Well 11. Lucinda Williams / Car Wheels on a Gravel Road 12. Rex Granite Band / Open Up Your Window21. George Benson / How You've Changed22. Joe Bonamassa w/ Mike Zito / Wee Wee Hours23. Louis Jordan / Ain't That Just Like a Woman24. Johnnie Johnson / Tanquery25. Rolling Stones / Little Queenie26. Chuck Berry / Little Queenie27. T Rex / Bang a Gong28. Linda Ronstadt / Back in the USA29. Aaron Neville / You Never Can Tell30. The Beatles / Roll Over Beethoven31. Ike & Tina Turner / Come Together32. Chuck Berry / You Can't Catch Me33. Ronnie Wood / Blue Feeling 34. Elvis Presley / Promised Land 35. George Thorogood / Let It Rock36. Lonnie Mack w/ Stevie Ray Vaughan / Memphis37. Johnny Winter / Johnnie B Goode
Canciones especiales de seres humanos muy especiales. ¿Quién es Valéria N. Sauri? ¿22 años? Ven’nus. Y ¿Lindsey Jordan? ¿23 años? Snail Mail Y ¿quién es Matt Hanna de Boston? Esos dúos en bellísima armonía de Nancy Sinatra y Lee Greenwood o de Jeremy Zucker y Chelsea Cutler…Descubrimos el segundo epé de otro dúo: Flossum. ¿Y quién era Roger Voudouris? Pink Martini están de gira por España. DISCO 1 THE CHAMPIONS OF WHAT IF … And Breathe (8) DISCO 2 EELS The Gentle Souls (7) DISCO 3 JEREMY ZUCKER & CHELSEA CUTLER You Were Good To Me (KACEY - 16) DISCO 4 NANCY & LEE Summer Wine (HOMES -1) DISCO 5 DISCOVER Summerstereo (1) DISCO 6 LONNIE MACK Rings (MAYER - 18) DISCO 7 SNAIL MAIL Heatwave (4) DISCO 8 COLORAMA Special Way (6) DISCO 9 FLOSSUM Soc Com Som (1) DISCO 10 KACEY MUSGRAVES Justified (KACEY - 6) DISCO 11 LEON BRIDGES Steam (CROZ - 14) DISCO 12 ROGER VOUDOURIS The Ladder (MAYER - 16) DISCO 13 VEN’NUS Hi Ha Rumors (4) DISCO 14 PINK MARTINI Je ne t’aime plus (4) Escuchar audio
RIP WWE legend Chyna, music icon Prince, and one of the greatest guitarists to ever play the instrument, Lonnie Mack. Steve shares some personal stories about Chyna, and then answers your wrestling questions. He's talking Roman Reigns, Bray Wyatt, Dusty Rhodes, and the great gift he got from Vince McMahon. Hey Weekend Warriors - head to GO-DR-POWER.COM to stock up for the outdoor season!
I sit down with my old pal Eric McLean (The Wee Man) about his time growing up and playing music in Scotland in the 60s. Robin Trower! Frankie Miller! Cheese! Lonnie Mack! Jeff Beck! The Kinks! If you are digging this podcast, please help us to keep going by donating at PayPal.me/gogoguitar. We love you. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/david-gogo-podcast/message
This week Colby sat down with his nephew. They discussed everything from College to NBA and AAU Hoops. Gerald is a Varsity Football/Basketball/Golf. Who is just as great off of the playing field as on it! Check out what he has to say about current events and learn a little more about him! Website: www.macksquaredbrand.com YouTube: https://www.youtube.com/channel/UCpfrKvcbgjLYZYw6VHv_4XQ Social Media: Facebook/Instagram: @Macksquared_brand Twitter: @Sqaredmack My Instagram/Twitter: @youngmac1986 Gerald Lil Lonnie Mack: @lil_1ionel --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Episode one hundred and forty-six of A History of Rock Music in Five Hundred Songs looks at “Good Vibrations” by the Beach Boys, and the history of the theremin. 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 "You're Gonna Miss Me" by the Thirteenth Floor Elevators. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher. His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. I have also referred to Brian Wilson's autobiography, I Am Brian Wilson, and to Mike Love's, Good Vibrations: My Life as a Beach Boy. As a good starting point for the Beach Boys' music in general, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it, including the single version of "Good Vibrations". Oddly, the single version of "Good Vibrations" is not on the The Smile Sessions box set. But an entire CD of outtakes of the track is, and that was the source for the session excerpts here. Information on Lev Termen comes from Theremin: Ether Music and Espionage by Albert Glinsky Transcript In ancient Greece, the god Hermes was a god of many things, as all the Greek gods were. Among those things, he was the god of diplomacy, he was a trickster god, a god of thieves, and he was a messenger god, who conveyed messages between realms. He was also a god of secret knowledge. In short, he was the kind of god who would have made a perfect spy. But he was also an inventor. In particular he was credited in Greek myth as having invented the lyre, an instrument somewhat similar to a guitar, harp, or zither, and as having used it to create beautiful sounds. But while Hermes the trickster god invented the lyre, in Greek myth it was a mortal man, Orpheus, who raised the instrument to perfection. Orpheus was a legendary figure, the greatest poet and musician of pre-Homeric Greece, and all sorts of things were attributed to him, some of which might even have been things that a real man of that name once did. He is credited with the "Orphic tripod" -- the classification of the elements into earth, water, and fire -- and with a collection of poems called the Rhapsodiae. The word Rhapsodiae comes from the Greek words rhaptein, meaning to stitch or sew, and ōidē, meaning song -- the word from which we get our word "ode", and originally a rhapsōdos was someone who "stitched songs together" -- a reciter of long epic poems composed of several shorter pieces that the rhapsōdos would weave into one continuous piece. It's from that that we get the English word "rhapsody", which in the sixteenth century, when it was introduced into the language, meant a literary work that was a disjointed collection of patchwork bits, stitched together without much thought as to structure, but which now means a piece of music in one movement, but which has several distinct sections. Those sections may seem unrelated, and the piece may have an improvisatory feel, but a closer look will usually reveal relationships between the sections, and the piece as a whole will have a sense of unity. When Orpheus' love, Eurydice, died, he went down into Hades, the underworld where the souls of the dead lived, and played music so beautiful, so profound and moving, that the gods agreed that Orpheus could bring the soul of his love back to the land of the living. But there was one condition -- all he had to do was keep looking forward until they were both back on Earth. If he turned around before both of them were back in the mortal realm, she would disappear forever, never to be recovered. But of course, as you all surely know, and would almost certainly have guessed even if you didn't know because you know how stories work, once Orpheus made it back to our world he turned around and looked, because he lost his nerve and didn't believe he had really achieved his goal. And Eurydice, just a few steps away from her freedom, vanished back into the underworld, this time forever. [Excerpt: Blake Jones and the Trike Shop: "Mr. Theremin's Miserlou"] Lev Sergeyevich Termen was born in St. Petersburg, in what was then the Russian Empire, on the fifteenth of August 1896, by the calendar in use in Russia at that time -- the Russian Empire was still using the Julian calendar, rather than the Gregorian calendar used in most of the rest of the world, and in the Western world the same day was the twenty-seventh of August. Young Lev was fascinated both by science and the arts. He was trained as a cellist from an early age, but while he loved music, he found the process of playing the music cumbersome -- or so he would say later. He was always irritated by the fact that the instrument is a barrier between the idea in the musician's head and the sound -- that it requires training to play. As he would say later "I realised there was a gap between music itself and its mechanical production, and I wanted to unite both of them." Music was one of his big loves, but he was also very interested in physics, and was inspired by a lecture he saw from the physicist Abram Ioffe, who for the first time showed him that physics was about real, practical, things, about the movements of atoms and fields that really existed, not just about abstractions and ideals. When Termen went to university, he studied physics -- but he specifically wanted to be an experimental physicist, not a theoretician. He wanted to do stuff involving the real world. Of course, as someone who had the misfortune to be born in the late 1890s, Termen was the right age to be drafted when World War I started, but luckily for him the Russian Army desperately needed people with experience in the new invention that was radio, which was vital for wartime communications, and he spent the war in the Army radio engineering department, erecting radio transmitters and teaching other people how to erect them, rather than on the front lines, and he managed not only to get his degree in physics but also a diploma in music. But he was also becoming more and more of a Marxist sympathiser, even though he came from a relatively affluent background, and after the Russian Revolution he stayed in what was now the Red Army, at least for a time. Once Termen's Army service was over, he started working under Ioffe, working with him on practical applications of the audion, the first amplifying vacuum tube. The first one he found was that the natural capacitance of a human body when standing near a circuit can change the capacity of the circuit. He used that to create an invisible burglar alarm -- there was an antenna sending out radio waves, and if someone came within the transmitting field of the antenna, that would cause a switch to flip and a noise to be sounded. He was then asked to create a device for measuring the density of gases, outputting a different frequency for different densities. Because gas density can have lots of minor fluctuations because of air currents and so forth, he built a circuit that would cut out all the many harmonics from the audions he was using and give just the main frequency as a single pure tone, which he could listen to with headphones. That way, slight changes in density would show up as a slight change in the tone he heard. But he noticed that again when he moved near the circuit, that changed the capacitance of the circuit and changed the tone he was hearing. He started moving his hand around near the circuit and getting different tones. The closer his hand got to the capacitor, the higher the note sounded. And if he shook his hand a little, he could get a vibrato, just like when he shook his hand while playing the cello. He got Ioffe to come and listen to him, and Ioffe said "That's an electronic Orpheus' lament!" [Excerpt: Blake Jones and the Trike Shop, "Mr. Theremin's Miserlou"] Termen figured out how to play Massenet's "Elegy" and Saint-Saens' "The Swan" using this system. Soon the students were all fascinated, telling each other "Termen plays Gluck on a voltmeter!" He soon figured out various refinements -- by combining two circuits, using the heterodyne principle, he could allow for far finer control. He added a second antenna, for volume control, to be used by the left hand -- the right hand would choose the notes, while the left hand would change the volume, meaning the instrument could be played without touching it at all. He called the instrument the "etherphone", but other people started calling it the termenvox -- "Termen's voice". Termen's instrument was an immediate sensation, as was his automatic burglar alarm, and he was invited to demonstrate both of them to Lenin. Lenin was very impressed by Termen -- he wrote to Trotsky later talking about Termen's inventions, and how the automatic burglar alarm might reduce the number of guards needed to guard a perimeter. But he was also impressed by Termen's musical invention. Termen held his hands to play through the first half of a melody, before leaving the Russian leader to play the second half by himself -- apparently he made quite a good job of it. Because of Lenin's advocacy for his work, Termen was sent around the Soviet Union on a propaganda tour -- what was known as an "agitprop tour", in the familiar Soviet way of creating portmanteau words. In 1923 the first piece of music written specially for the instrument was performed by Termen himself with the Leningrad Philharmonic, Andrey Paschenko's Symphonic Mystery for Termenvox and Orchestra. The score for that was later lost, but has been reconstructed, and the piece was given a "second premiere" in 2020 [Excerpt: Andrey Paschenko, "Symphonic Mystery for Termenvox and Orchestra" ] But the musical instrument wasn't the only scientific innovation that Termen was working on. He thought he could reverse death itself, and bring the dead back to life. He was inspired in this by the way that dead organisms could be perfectly preserved in the Siberian permafrost. He thought that if he could only freeze a dead person in the permafrost, he could then revive them later -- basically the same idea as the later idea of cryogenics, although Termen seems to have thought from the accounts I've read that all it would take would be to freeze and then thaw them, and not to have considered the other things that would be necessary to bring them back to life. Termen made two attempts to actually do this, or at least made preliminary moves in that direction. The first came when his assistant, a twenty-year-old woman, died of pneumonia. Termen was heartbroken at the death of someone so young, who he'd liked a great deal, and was convinced that if he could just freeze her body for a while he could soon revive her. He talked with Ioffe about this -- Ioffe was friends with the girl's family -- and Ioffe told him that he thought that he was probably right and probably could revive her. But he also thought that it would be cruel to distress the girl's parents further by discussing it with them, and so Termen didn't get his chance to experiment. He was even keener on trying his technique shortly afterwards, when Lenin died. Termen was a fervent supporter of the Revolution, and thought Lenin was a great man whose leadership was still needed -- and he had contacts within the top echelons of the Kremlin. He got in touch with them as soon as he heard of Lenin's death, in an attempt to get the opportunity to cryopreserve his corpse and revive him. Sadly, by this time it was too late. Lenin's brain had been pickled, and so the opportunity to resurrect him as a zombie Lenin was denied forever. Termen was desperately interested in the idea of bringing people back from the dead, and he wanted to pursue it further with his lab, but he was also being pushed to give demonstrations of his music, as well as doing security work -- Ioffe, it turned out, was also working as a secret agent, making various research trips to Germany that were also intended to foment Communist revolution. For now, Termen was doing more normal security work -- his burglar alarms were being used to guard bank vaults and the like, but this was at the order of the security state. But while Termen was working on his burglar alarms and musical instruments and attempts to revive dead dictators, his main project was his doctoral work, which was on the TV. We've said before in this podcast that there's no first anything, and that goes just as much for inventions as it does for music. Most inventions build on work done by others, which builds on work done by others, and so there were a lot of people building prototype TVs at this point. In Britain we tend to say "the inventor of the TV" was John Logie Baird, but Baird was working at the same time as people like the American Charles Francis Jenkins and the Japanese inventor Kenjiro Takayanagi, all of them building on earlier work by people like Archibald Low. Termen's prototype TV, the first one in Russia, came slightly later than any of those people, but was created more or less independently, and was more advanced in several ways, with a bigger screen and better resolution. Shortly after Lenin's death, Termen was invited to demonstrate his invention to Stalin, who professed himself amazed at the "magic mirror". [Excerpt: Blake Jones and the Trike Shop, "Astronauts in Trouble"] Termen was sent off to tour Europe giving demonstrations of his inventions, particularly his musical instrument. It was on this trip that he started using the Romanisation "Leon Theremin", and this is how Western media invariably referred to him. Rather than transliterate the Cyrillic spelling of his birth name, he used the French spelling his Huguenot ancestors had used before they emigrated to Russia, and called himself Leo or Leon rather than Lev. He was known throughout his life by both names, but said to a journalist in 1928 "First of all, I am not Tair-uh-MEEN. I wrote my name with French letters for French pronunciation. I am Lev Sergeyevich Tair-MEN.". We will continue to call him Termen, partly because he expressed that mild preference (though again, he definitely went by both names through choice) but also to distinguish him from the instrument, because while his invention remained known in Russia as the termenvox, in the rest of the world it became known as the theremin. He performed at the Paris Opera, and the New York Times printed a review saying "Some musicians were extremely pessimistic about the possibilities of the device, because at times M. Theremin played lamentably out of tune. But the finest Stradivarius, in the hands of a tyro, can give forth frightful sounds. The fact that the inventor was able to perform certain pieces with absolute precision proves that there remains to be solved only questions of practice and technique." Termen also came to the UK, where he performed in front of an audience including George Bernard Shaw, Arnold Bennett, Henry Wood and others. Arnold Bennett was astonished, but Bernard Shaw, who had very strong opinions about music, as anyone who has read his criticism will be aware, compared the sound unfavourably to that of a comb and paper. After performing in Europe, Termen made his way to the US, to continue his work of performance, propagandising for the Soviet Revolution, and trying to license the patents for his inventions, to bring money both to him and to the Soviet state. He entered the US on a six-month visitor's visa, but stayed there for eleven years, renewing the visa every six months. His initial tour was a success, though at least one open-air concert had to be cancelled because, as the Communist newspaper the Daily Worker put it, "the weather on Saturday took such a counter-revolutionary turn". Nicolas Slonimsky, the musicologist we've encountered several times before, and who would become part of Termen's circle in the US, reviewed one of the performances, and described the peculiar audiences that Termen was getting -- "a considerable crop of ladies and gentlemen engaged in earnest exploration of the Great Beyond...the mental processes peculiar to believers in cosmic vibrations imparted a beatific look to some of the listeners. Boston is a seat of scientific religion; before he knows it Professor Theremin may be proclaimed Krishnamurti and sanctified as a new deity". Termen licensed his patents on the invention to RCA, who in 1929 started mass-producing the first ever theremins for general use. Termen also started working with the conductor Leopold Stokowski, including developing a new kind of theremin for Stokowski's orchestra to use, one with a fingerboard played like a cello. Stokowski said "I believe we shall have orchestras of these electric instruments. Thus will begin a new era in music history, just as modern materials and methods of construction have produced a new era of architecture." Possibly of more interest to the wider public, Lennington Sherwell, the son of an RCA salesman, took up the theremin professionally, and joined the band of Rudy Vallee, one of the most popular singers of the period. Vallee was someone who constantly experimented with new sounds, and has for example been named as the first band leader to use an electric banjo, and Vallee liked the sound of the theremin so much he ordered a custom-built left-handed one for himself. Sherwell stayed in Vallee's band for quite a while, and performed with him on the radio and in recording sessions, but it's very difficult to hear him in any of the recordings -- the recording equipment in use in 1930 was very primitive, and Vallee had a very big band with a lot of string and horn players, and his arrangements tended to have lots of instruments playing in unison rather than playing individual lines that are easy to differentiate. On top of that, the fashion at the time when playing the instrument was to try and have it sound as much like other instruments as possible -- to duplicate the sound of a cello or violin or clarinet, rather than to lean in to the instrument's own idiosyncracies. I *think* though that I can hear Sherwell's playing in the instrumental break of Vallee's big hit "You're Driving Me Crazy" -- certainly it was recorded at the time that Sherwell was in the band, and there's an instrument in there with a very pure tone, but quite a lot of vibrato, in the mid range, that seems only to be playing in the break and not the rest of the song. I'm not saying this is *definitely* a theremin solo on one of the biggest hits of 1930, but I'm not saying it's not, either: [Excerpt: Rudy Vallee, "You're Driving Me Crazy" ] Termen also invented a light show to go along with his instrument -- the illumovox, which had a light shining through a strip of gelatin of different colours, which would be rotated depending on the pitch of the theremin, so that lower notes would cause the light to shine a deep red, while the highest notes would make it shine a light blue, with different shades in between. By 1930, though, Termen's fortunes had started to turn slightly. Stokowski kept using theremins in the orchestra for a while, especially the fingerboard models to reinforce the bass, but they caused problems. As Slonimsky said "The infrasonic vibrations were so powerful...that they hit the stomach physically, causing near-nausea in the double-bass section of the orchestra". Fairly soon, the Theremin was overtaken by other instruments, like the ondes martenot, an instrument very similar to the theremin but with more precise control, and with a wider range of available timbres. And in 1931, RCA was sued by another company for patent infringement with regard to the Theremin -- the De Forest Radio Company had patents around the use of vacuum tubes in music, and they claimed damages of six thousand dollars, plus RCA had to stop making theremins. Since at the time, RCA had only made an initial batch of five hundred instruments total, and had sold 485 of them, many of them as promotional loss-leaders for future batches, they had actually made a loss of three hundred dollars even before the six thousand dollar damages, and decided not to renew their option on Termen's patents. But Termen was still working on his musical ideas. Slonimsky also introduced Termen to the avant-garde composer and theosophist Henry Cowell, who was interested in experimental sounds, and used to do things like play the strings inside the piano to get a different tone: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell was part of a circle of composers and musicologists that included Edgard Varese, Charles Ives, and Charles Seeger and Ruth Crawford, who Cowell would introduce to each other. Crawford would later marry Seeger, and they would have several children together, including the folk singer Peggy Seeger, and Crawford would also adopt Seeger's son Pete. Cowell and Termen would together invent the rhythmicon, the first ever drum machine, though the rhythmicon could play notes as well as rhythms. Only two rhythmicons were made while Termen was in the US. The first was owned by Cowell. The second, improved, model was bought by Charles Ives, but bought as a gift for Cowell and Slonimsky to use in their compositions. Sadly, both rhythmicons eventually broke down, and no recording of either is known to exist. Termen started to get further and further into debt, especially as the Great Depression started to hit, and he also had a personal loss -- he'd been training a student and had fallen in love with her, although he was married. But when she married herself, he cut off all ties with her, though Clara Rockmore would become one of the few people to use the instrument seriously and become a real virtuoso on it. He moved into other fields, all loosely based around the same basic ideas of detecting someone's distance from an object. He built electronic gun detectors for Alcatraz and Sing-Sing prisons, and he came up with an altimeter for aeroplanes. There was also a "magic mirror" -- glass that appeared like a mirror until it was backlit, at which point it became transparent. This was put into shop windows along with a proximity detector -- every time someone stepped close to look at their reflection, the reflection would disappear and be replaced with the objects behind the mirror. He was also by this point having to spy for the USSR on a more regular basis. Every week he would meet up in a cafe with two diplomats from the Russian embassy, who would order him to drink several shots of vodka -- the idea was that they would loosen his inhibitions enough that he would not be able to hide things from them -- before he related various bits of industrial espionage he'd done for them. Having inventions of his own meant he was able to talk with engineers in the aerospace industry and get all sorts of bits of information that would otherwise not have been available, and he fed this back to Moscow. He eventually divorced his first wife, and remarried -- a Black American dancer many years his junior named Lavinia Williams, who would be the great love of his life. This caused some scandal in his social circle, more because of her race than the age gap. But by 1938 he had to leave the US. He'd been there on a six-month visa, which had been renewed every six months for more than a decade, and he'd also not been paying income tax and was massively in debt. He smuggled himself back to the USSR, but his wife was, at the last minute, not allowed on to the ship with him. He'd had to make the arrangements in secret, and hadn't even told her of the plans, so the first she knew was when he disappeared. He would later claim that the Soviets had told him she would be sent for two weeks later, but she had no knowledge of any of this. For decades, Lavinia would not even know if her husband was dead or alive. [Excerpt: Blake Jones and the Trike Shop, "Astronauts in Trouble"] When Termen got back to the USSR, he found it had changed beyond recognition. Stalin's reign of terror was now well underway, and not only could he not find a job, most of the people who he'd been in contact with at the top of the Kremlin had been purged. Termen was himself arrested and tortured into signing a false confession to counter-revolutionary activities and membership of fascist organisations. He was sentenced to eight years in a forced labour camp, which in reality was a death sentence -- it was expected that workers there would work themselves to death on starvation rations long before their sentences were up -- but relatively quickly he was transferred to a special prison where people with experience of aeronautical design were working. He was still a prisoner, but in conditions not too far removed from normal civilian life, and allowed to do scientific and technical work with some of the greatest experts in the field -- almost all of whom had also been arrested in one purge or another. One of the pieces of work Termen did was at the direct order of Laventy Beria, Stalin's right-hand man and the architect of most of the terrors of the Stalinist regime. In Spring 1945, while the USA and USSR were still supposed to be allies in World War II, Beria wanted to bug the residence of the US ambassador, and got Termen to design a bug that would get past all the normal screenings. The bug that Termen designed was entirely passive and unpowered -- it did nothing unless a microwave beam of a precise frequency was beamed at it, and only then did it start transmitting. It was placed in a wooden replica of the Great Seal of the United States, presented to the ambassador by a troupe of scouts as a gesture of friendship between the two countries. The wood in the eagle's beak was thin enough to let the sound through. It remained there for seven years, through the tenures of four ambassadors, only being unmasked when a British radio operator accidentally tuned to the frequency it was transmitting on and was horrified to hear secret diplomatic conversations. Upon its discovery, the US couldn't figure out how it worked, and eventually shared the information with MI5, who took eighteen months to reverse-engineer Termen's bug and come up with their own, which remained the standard bug in use for about a decade. The CIA's own attempts to reverse-engineer it failed altogether. It was also Termen who came up with that well-known bit of spycraft -- focussing an infra-red beam on a window pane, to use it to pick up the sound of conversations happening in the room behind it. Beria was so pleased with Termen's inventions that he got Termen to start bugging Stalin himself, so Beria would be able to keep track of Stalin's whims. Termen performed such great services for Beria that Beria actually allowed him to go free not long after his sentence was served. Not only that, but Beria nominated Termen for the Stalin Award, Class II, for his espionage work -- and Stalin, not realising that Termen had been bugging *him* as well as foreign powers, actually upgraded that to a Class I, the highest honour the Soviet state gave. While Termen was free, he found himself at a loose end, and ended up volunteering to work for the organisation he had been working for -- which went by many names but became known as the KGB from the 1950s onwards. He tried to persuade the government to let Lavinia, who he hadn't seen in eight years, come over and join him, but they wouldn't even allow him to contact her, and he eventually remarried. Meanwhile, after Stalin's death, Beria was arrested for his crimes, and charged under the same law that he had had Termen convicted under. Beria wasn't as lucky as Termen, though, and was executed. By 1964, Termen had had enough of the KGB, because they wanted him to investigate obvious pseudoscience -- they wanted him to look into aliens, UFOs, ESP... and telepathy. [Excerpt, The Beach Boys, "Good Vibrations (early version)" "She's already working on my brain"] He quit and went back to civilian life. He started working in the acoustics lab in Moscow Conservatory, although he had to start at the bottom because everything he'd been doing for more than a quarter of a century was classified. He also wrote a short book on electronic music. In the late sixties an article on him was published in the US -- the first sign any of his old friends had that he'd not died nearly thirty years earlier. They started corresponding with him, and he became a minor celebrity again, but this was disapproved of by the Soviet government -- electronic music was still considered bourgeois decadence and not suitable for the Soviet Union, and all his instruments were smashed and he was sacked from the conservatory. He continued working in various technical jobs until the 1980s, and still continued inventing refinements of the theremin, although he never had any official support for his work. In the eighties, a writer tried to get him some sort of official recognition -- the Stalin Prize was secret -- and the university at which he was working sent a reply saying, in part, "L.S. Termen took part in research conducted by the department as an ordinary worker and he did not show enough creative activity, nor does he have any achievements on the basis of which he could be recommended for a Government decoration." By this time he was living in shared accommodation with a bunch of other people, one room to himself and using a shared bathroom, kitchen, and so on. After Glasnost he did some interviews and was asked about this, and said "I never wanted to make demands and don't want to now. I phoned the housing department about three months ago and inquired about my turn to have a new flat. The woman told me that my turn would come in five or six years. Not a very reassuring answer if one is ninety-two years old." In 1989 he was finally allowed out of the USSR again, for the first time in fifty-one years, to attend a UNESCO sponsored symposium on electronic music. Among other things, he was given, forty-eight years late, a letter that his old colleague Edgard Varese had sent about his composition Ecuatorial, which had originally been written for theremin. Varese had wanted to revise the work, and had wanted to get modified theremins that could do what he wanted, and had asked the inventor for help, but the letter had been suppressed by the Soviet government. When he got no reply, Varese had switched to using ondes martenot instead. [Excerpt: Edgard Varese, "Ecuatorial"] In the 1970s, after the death of his third wife, Termen had started an occasional correspondence with his second wife, Lavinia, the one who had not been able to come with him to the USSR and hadn't known if he was alive for so many decades. She was now a prominent activist in Haiti, having established dance schools in many Caribbean countries, and Termen still held out hope that they could be reunited, even writing her a letter in 1988 proposing remarriage. But sadly, less than a month after Termen's first trip outside the USSR, she died -- officially of a heart attack or food poisoning, but there's a strong suspicion that she was murdered by the military dictatorship for her closeness to Jean-Bertrand Aristide, the pro-democracy activist who later became President of Haiti. Termen was finally allowed to join the Communist Party in the spring of 1991, just before the USSR finally dissolved -- he'd been forbidden up to that point because of his conviction for counter-revolutionary crimes. He was asked by a Western friend why he'd done that when everyone else was trying to *leave* the Communist Party, and he explained that he'd made a promise to Lenin. In his final years he was researching immortality, going back to the work he had done in his youth, working with biologists, trying to find a way to restore elderly bodies to youthful vigour. But sadly he died in 1993, aged ninety-seven, before he achieved his goal. On one of his last trips outside the USSR, in 1991, he visited the US, and in California he finally got to hear the song that most people associate with his invention, even though it didn't actually feature a theremin: [Excerpt: The Beach Boys, "Good Vibrations"] Back in the 1930s, when he was working with Slonimsky and Varese and Ives and the rest, Termen had set up the Theremin Studio, a sort of experimental arts lab, and in 1931 he had invited the musicologist, composer, and theoretician Joseph Schillinger to become a lecturer there. Schillinger had been one of the first composers to be really interested in the theremin, and had composed a very early piece written specifically for the instrument, the First Airphonic Suite: [Excerpt: Joseph Schillinger, "First Airphonic Suite"] But he was most influential as a theoretician. Schillinger believed that all of the arts were susceptible to rigorous mathematical analysis, and that you could use that analysis to generate new art according to mathematical principles, art that would be perfect. Schillinger planned to work with Termen to try to invent a machine that could compose, perform, and transmit music. The idea was that someone would be able to tune in a radio and listen to a piece of music in real time as it was being algorithmically composed and transmitted. The two men never achieved this, but Schillinger became very, very, respected as someone with a rigorous theory of musical structure -- though reading his magnum opus, the Schillinger System of Musical Composition, is frankly like wading through treacle. I'll read a short excerpt just to give an idea of his thinking: "On the receiving end, phasic stimuli produced by instruments encounter a metamorphic auditory integrator. This integrator represents the auditory apparatus as a whole and is a complex interdependent system. It consists of two receivers (ears), transmitters, auditory nerves, and a transformer, the auditory braincenter. The response to a stimulus is integrated both quantitatively and selectively. The neuronic energy of response becomes the psychonic energy of auditory image. The response to stimuli and the process of integration are functional operations and, as such, can be described in mathematical terms , i.e., as synchronization, addition, subtraction, multiplication, etc. But these integrative processes alone do not constitute the material of orchestration either. The auditory image, whether resulting from phasic stimuli of an excitor or from selfstimulation of the auditory brain-center, can be described only in Psychological terms, of loudness, pitch, quality, etc. This leads us to the conclusion that the material of orchestration can be defined only as a group of conditions under which an integrated image results from a sonic stimulus subjected to an auditory response. This constitutes an interdependent tripartite system, in which the existence of one component necessitates the existence of two others. The composer can imagine an integrated sonic form, yet he cannot transmit it to the auditor (unless telepathicaliy) without sonic stimulus and hearing apparatus." That's Schillinger's way of saying that if a composer wants someone to hear the music they've written, the composer needs a musical instrument and the listener needs ears and a brain. This kind of revolutionary insight made Schillinger immensely sought after in the early 1930s, and among his pupils were the swing bandleaders Benny Goodman and Tommy Dorsey, and the songwriter George Gershwin, who turned to Schillinger for advice when he was writing his opera Porgy and Bess: [Excerpt: Ella Fitzgerald and Louis Armstrong, "Here Come De Honey Man"] Another of his pupils was the trombonist and arranger Glenn Miller, who at that time was a session player working in pickup studio bands for people like Red Nichols. Miller spent some time studying with him in the early thirties, and applied those lessons when given the job of putting together arrangements for Ray Noble, his first prominent job. In 1938 Glenn Miller walked into a strip joint to see a nineteen-year-old he'd been told to take a look at. This was another trombonist, Paul Tanner, who was at the time working as a backing musician for the strippers. Miller had recently broken up his first big band, after a complete lack of success, and was looking to put together a new big band, to play arrangements in the style he had worked out while working for Noble. As Tanner later put it "he said, `Well, how soon can you come with me?' I said, `I can come right now.' I told him I was all packed, I had my toothbrush in my pocket and everything. And so I went with him that night, and I stayed with him until he broke the band up in September 1942." The new band spent a few months playing the kind of gigs that an unknown band can get, but they soon had a massive success with a song Miller had originally written as an arranging exercise set for him by Schillinger, a song that started out under the title "Miller's Tune", but soon became known worldwide as "Moonlight Serenade": [Excerpt: Glenn Miller, "Moonlight Serenade"] The Miller band had a lot of lineup changes in the four and a bit years it was together, but other than Miller himself there were only four members who were with that group throughout its career, from the early dates opening for Freddie Fisher and His Schnickelfritzers right through to its end as the most popular band in America. They were piano player Chummy MacGregor, clarinet player Wilbur Schwartz, tenor sax player Tex Beneke, and Tanner. They played on all of Miller's big hits, like "In the Mood" and "Chattanooga Choo-Choo": [Excerpt: Glenn Miller, "Chattanooga Choo-Choo"] But in September 1942, the band broke up as the members entered the armed forces, and Tanner found himself in the Army while Miller was in the Air Force, so while both played in military bands, they weren't playing together, and Miller disappeared over the Channel, presumed dead, in 1944. Tanner became a session trombonist, based in LA, and in 1958 he found himself on a session for a film soundtrack with Dr. Samuel Hoffman. I haven't been able to discover for sure which film this was for, but the only film on which Hoffman has an IMDB credit for that year is that American International Pictures classic, Earth Vs The Spider: [Excerpt: Earth Vs The Spider trailer] Hoffman was a chiropodist, and that was how he made most of his living, but as a teenager in the 1930s he had been a professional violin player under the name Hal Hope. One of the bands he played in was led by a man named Jolly Coburn, who had seen Rudy Vallee's band with their theremin and decided to take it up himself. Hoffman had then also got a theremin, and started his own all-electronic trio, with a Hammond organ player, and with a cello-style fingerboard theremin played by William Schuman, the future Pulitzer Prize winning composer. By the 1940s, Hoffman was a full-time doctor, but he'd retained his Musicians' Union card just in case the odd gig came along, and then in 1945 he received a call from Miklos Rozsa, who was working on the soundtrack for Alfred Hitchcock's new film, Spellbound. Rozsa had tried to get Clara Rockmore, the one true virtuoso on the theremin playing at the time, to play on the soundtrack, but she'd refused -- she didn't do film soundtrack work, because in her experience they only wanted her to play on films about ghosts or aliens, and she thought it damaged the dignity of the instrument. Rozsa turned to the American Federation of Musicians, who as it turned out had precisely one theremin player who could read music and wasn't called Clara Rockmore on their books. So Dr. Samuel Hoffman, chiropodist, suddenly found himself playing on one of the most highly regarded soundtracks of one of the most successful films of the forties: [Excerpt: Miklos Rozsa, "Spellbound"] Rozsa soon asked Hoffman to play on another soundtrack, for the Billy Wilder film The Lost Weekend, another of the great classics of late forties cinema. Both films' soundtracks were nominated for the Oscar, and Spellbound's won, and Hoffman soon found himself in demand as a session player. Hoffman didn't have any of Rockmore's qualms about playing on science fiction and horror films, and anyone with any love of the genre will have heard his playing on genre classics like The Five Thousand Fingers of Dr T, The Thing From Another World, It Came From Outer Space, and of course Bernard Hermann's score for The Day The Earth Stood Still: [Excerpt: The Day The Earth Stood Still score] As well as on such less-than-classics as The Devil's Weed, Voodoo Island, The Mad Magician, and of course Billy The Kid Vs Dracula. Hoffman became something of a celebrity, and also recorded several albums of lounge music with a band led by Les Baxter, like the massive hit Music Out Of The Moon, featuring tracks like “Lunar Rhapsody”: [Excerpt: Samuel Hoffman, "Lunar Rhapsody”] [Excerpt: Neil Armstrong] That voice you heard there was Neil Armstrong, on Apollo 11 on its way back from the moon. He took a tape of Hoffman's album with him. But while Hoffman was something of a celebrity in the fifties, the work dried up almost overnight in 1958 when he worked at that session with Paul Tanner. The theremin is a very difficult instrument to play, and while Hoffman was a good player, he wasn't a great one -- he was getting the work because he was the best in a very small pool of players, not because he was objectively the best there could be. Tanner noticed that Hoffman was having quite some difficulty getting the pitching right in the session, and realised that the theremin must be a very difficult instrument to play because it had no markings at all. So he decided to build an instrument that had the same sound, but that was more sensibly controlled than just waving your hands near it. He built his own invention, the electrotheremin, in less than a week, despite never before having had any experience in electrical engineering. He built it using an oscillator, a length of piano wire and a contact switch that could be slid up and down the wire, changing the pitch. Two days after he finished building it, he was in the studio, cutting his own equivalent of Hoffman's forties albums, Music For Heavenly Bodies, including a new exotica version of "Moonlight Serenade", the song that Glenn Miller had written decades earlier as an exercise for Schillinger: [Excerpt: Paul Tanner, "Moonlight Serenade"] Not only could the electrotheremin let the player control the pitch more accurately, but it could also do staccato notes easily -- something that's almost impossible with an actual theremin. And, on top of that, Tanner was cheaper than Hoffman. An instrumentalist hired to play two instruments is paid extra, but not as much extra as paying for another musician to come to the session, and since Tanner was a first-call trombone player who was likely to be at the session *anyway*, you might as well hire him if you want a theremin sound, rather than paying for Hoffman. Tanner was an excellent musician -- he was a professor of music at UCLA as well as being a session player, and he authored one of the standard textbooks on jazz -- and soon he had cornered the market, leaving Hoffman with only the occasional gig. We will actually be seeing Hoffman again, playing on a session for an artist we're going to look at in a couple of months, but in LA in the early sixties, if you wanted a theremin sound, you didn't hire a theremin player, you hired Paul Tanner to play his electrotheremin -- though the instrument was so obscure that many people didn't realise he wasn't actually playing a theremin. Certainly Brian Wilson seems to have thought he was when he hired him for "I Just Wasn't Made For These Times": [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] We talked briefly about that track back in the episode on "God Only Knows", but three days after recording that, Tanner was called back into the studio for another session on which Brian Wilson wanted a theremin sound. This was a song titled "Good, Good, Good Vibrations", and it was inspired by a conversation he'd had with his mother as a child. He'd asked her why dogs bark at some people and not at others, and she'd said that dogs could sense vibrations that people sent out, and some people had bad vibrations and some had good ones. It's possible that this came back to mind as he was planning the Pet Sounds album, which of course ends with the sound of his own dogs barking. It's also possible that he was thinking more generally about ideas like telepathy -- he had been starting to experiment with acid by this point, and was hanging around with a crowd of people who were proto-hippies, and reading up on a lot of the mystical ideas that were shared by those people. As we saw in the last episode, there was a huge crossover between people who were being influenced by drugs, people who were interested in Eastern religion, and people who were interested in what we now might think of as pseudo-science but at the time seemed to have a reasonable amount of validity, things like telepathy and remote viewing. Wilson had also had exposure from an early age to people claiming psychic powers. Jo Ann Marks, the Wilson family's neighbour and the mother of former Beach Boy David Marks, later had something of a minor career as a psychic to the stars (at least according to obituaries posted by her son) and she would often talk about being able to sense "vibrations". The record Wilson started out making in February 1966 with the Wrecking Crew was intended as an R&B single, and was also intended to sound *strange*: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] At this stage, the song he was working on was a very straightforward verse-chorus structure, and it was going to be an altogether conventional pop song. The verses -- which actually ended up used in the final single, are dominated by organ and Ray Pohlman's bass: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] These bear a strong resemblance to the verses of "Here Today", on the Pet Sounds album which the Beach Boys were still in the middle of making: [Excerpt: The Beach Boys, "Here Today (instrumental)"] But the chorus had far more of an R&B feel than anything the Beach Boys had done before: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] It did, though, have precedent. The origins of the chorus feel come from "Can I Get a Witness?", a Holland-Dozier-Holland song that had been a hit for Marvin Gaye in 1963: [Excerpt: Marvin Gaye, "Can I Get a Witness?"] The Beach Boys had picked up on that, and also on its similarity to the feel of Lonnie Mack's instrumental cover version of Chuck Berry's "Memphis, Tennessee", which, retitled "Memphis", had also been a hit in 1963, and in 1964 they recorded an instrumental which they called "Memphis Beach" while they were recording it but later retitled "Carl's Big Chance", which was credited to Brian and Carl Wilson, but was basically just playing the "Can I Get a Witness" riff over twelve-bar blues changes, with Carl doing some surf guitar over the top: [Excerpt: The Beach Boys, "Carl's Big Chance"] The "Can I Get a Witness" feel had quickly become a standard piece of the musical toolkit – you might notice the resemblance between that riff and the “talking 'bout my generation” backing vocals on “My Generation” by the Who, for example. It was also used on "The Boy From New York City", a hit on Red Bird Records by the Ad-Libs: [Excerpt: The Ad-Libs, "The Boy From New York City"] The Beach Boys had definitely been aware of that record -- on their 1965 album Summer Days... And Summer Nights! they recorded an answer song to it, "The Girl From New York City": [Excerpt: The Beach Boys, "The Girl From New York City"] And you can see how influenced Brian was by the Ad-Libs record by laying the early instrumental takes of the "Good Vibrations" chorus from this February session under the vocal intro of "The Boy From New York City". It's not a perfect match, but you can definitely hear that there's an influence there: [Excerpt: "The Boy From New York City"/"Good Vibrations"] A few days later, Brian had Carl Wilson overdub some extra bass, got a musician in to do a jaw harp overdub, and they also did a guide vocal, which I've sometimes seen credited to Brian and sometimes Carl, and can hear as both of them depending on what I'm listening for. This guide vocal used a set of placeholder lyrics written by Brian's collaborator Tony Asher, which weren't intended to be a final lyric: [Excerpt: The Beach Boys, "Good Vibrations (first version)"] Brian then put the track away for a month, while he continued work on the Pet Sounds album. At this point, as best we can gather, he was thinking of it as something of a failed experiment. In the first of the two autobiographies credited to Brian (one whose authenticity is dubious, as it was largely put together by a ghostwriter and Brian later said he'd never even read it) he talks about how he was actually planning to give the song to Wilson Pickett rather than keep it for the Beach Boys, and one can definitely imagine a Wilson Pickett version of the song as it was at this point. But Brian's friend Danny Hutton, at that time still a minor session singer who had not yet gone on to form the group that would become Three Dog Night, asked Brian if *he* could have the song if Brian wasn't going to use it. And this seems to have spurred Brian into rethinking the whole song. And in doing so he was inspired by his very first ever musical memory. Brian has talked a lot about how the first record he remembers hearing was when he was two years old, at his maternal grandmother's house, where he heard the Glenn Miller version of "Rhapsody in Blue", a three-minute cut-down version of Gershwin's masterpiece, on which Paul Tanner had of course coincidentally played: [Excerpt: The Glenn Miller Orchestra, "Rhapsody in Blue"] Hearing that music, which Brian's mother also played for him a lot as a child, was one of the most profoundly moving experiences of Brian's young life, and "Rhapsody in Blue" has become one of those touchstone pieces that he returns to again and again. He has recorded studio versions of it twice, in the mid-nineties with Van Dyke Parks: [Excerpt: Brian Wilson and Van Dyke Parks, "Rhapsody in Blue"] and in 2010 with his solo band, as the intro and outro of an album of Gershwin covers: [Excerpt: Brian Wilson, "Rhapsody in Blue"] You'll also often see clips of him playing "Rhapsody in Blue" when sat at the piano -- it's one of his go-to songs. So he decided he was going to come up with a song that was structured like "Rhapsody in Blue" -- what publicist Derek Taylor would later describe as a "pocket symphony", but "pocket rhapsody" would possibly be a better term for it. It was going to be one continuous song, but in different sections that would have different instrumentation and different feelings to them -- he'd even record them in different studios to get different sounds for them, though he would still often have the musicians run through the whole song in each studio. He would mix and match the sections in the edit. His second attempt to record the whole track, at the start of April, gave a sign of what he was attempting, though he would not end up using any of the material from this session: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-04-09" around 02:34] Nearly a month later, on the fourth of May, he was back in the studio -- this time in Western Studios rather than Gold Star where the previous sessions had been held, with yet another selection of musicians from the Wrecking Crew, plus Tanner, to record another version. This time, part of the session was used for the bridge for the eventual single: [Excerpt: The Beach Boys: "Good Vibrations: Western 1966-05-04 Second Chorus and Fade"] On the twenty-fourth of May the Wrecking Crew, with Carl Wilson on Fender bass (while Lyle Ritz continued to play string bass, and Carol Kaye, who didn't end up on the finished record at all, but who was on many of the unused sessions, played Danelectro), had another attempt at the track, this time in Sunset Studios: [Excerpt: The Beach Boys: "Good Vibrations: Sunset Sound 1966-05-24 (Parts 2&3)"] Three days later, another group of musicians, with Carl now switched to rhythm guitar, were back in Western Studios recording this: [Excerpt: The Beach Boys: "Good Vibrations: Western 1966-05-27 Part C" from 2:52] The fade from that session was used in the final track. A few days later they were in the studio again, a smaller group of people with Carl on guitar and Brian on piano, along with Don Randi on electric harpsichord, Bill Pitman on electric bass, Lyle Ritz on string bass and Hal Blaine on drums. This time there seems to have been another inspiration, though I've never heard it mentioned as an influence. In March, a band called The Association, who were friends with the Beach Boys, had released their single "Along Comes Mary", and by June it had become a big hit: [Excerpt: The Association, "Along Comes Mary"] Now the fuzz bass part they were using on the session on the second of June sounds to my ears very, very, like that intro: [Excerpt: The Beach Boys, "Good Vibrations (Inspiration) Western 1966-06-02" from 01:47] That session produced the basic track that was used for the choruses on the final single, onto which the electrotheremin was later overdubbed as Tanner wasn't at that session. Some time around this point, someone suggested to Brian that they should use a cello along with the electrotheremin in the choruses, playing triplets on the low notes. Brian has usually said that this was Carl's idea, while Brian's friend Van Dyke Parks has always said that he gave Brian the idea. Both seem quite certain of this, and neither has any reason to lie, so I suspect what might have happened is that Parks gave Brian the initial idea to have a cello on the track, while Carl in the studio suggested having it specifically play triplets. Either way, a cello part by Jesse Erlich was added to those choruses. There were more sessions in June, but everything from those sessions was scrapped. At some point around this time, Mike Love came up with a bass vocal lyric, which he sang along with the bass in the choruses in a group vocal session. On August the twenty-fourth, two months after what one would think at this point was the final instrumental session, a rough edit of the track was pulled together. By this point the chorus had altered quite a bit. It had originally just been eight bars of G-flat, four bars of B-flat, then four more bars of G-flat. But now Brian had decided to rework an idea he had used in "California Girls". In that song, each repetition of the line "I wish they all could be California" starts a tone lower than the one before. Here, after the bass hook line is repeated, everything moves up a step, repeats the line, and then moves up another step: [Excerpt: The Beach Boys, "Good Vibrations: [Alternate Edit] 1966-08-24"] But Brian was dissatisfied with this version of the track. The lyrics obviously still needed rewriting, but more than that, there was a section he thought needed totally rerecording -- this bit: [Excerpt: The Beach Boys, "Good Vibrations: [Alternate Edit] 1966-08-24"] So on the first of September, six and a half months after the first instrumental session for the song, the final one took place. This had Dennis Wilson on organ, Tommy Morgan on harmonicas, Lyle Ritz on string bass, and Hal Blaine and Carl Wilson on percussion, and replaced that with a new, gentler, version: [Excerpt: The Beach Boys: "Good Vibrations (Western 1966-09-01) [New Bridge]"] Well, that was almost the final instrumental session -- they called Paul Tanner in to a vocal overdub session to redo some of the electrotheremin parts, but that was basically it. Now all they had to do was do the final vocals. Oh, and they needed some proper lyrics. By this point Brian was no longer working with Tony Asher. He'd started working with Van Dyke Parks on some songs, but Parks wasn't interested in stepping into a track that had already been worked on so long, so Brian eventually turned to Mike Love, who'd already come up with the bass vocal hook, to write the lyrics. Love wrote them in the car, on the way to the studio, dictating them to his wife as he drove, and they're actually some of his best work. The first verse grounds everything in the sensory, in the earthy. He makes a song originally about *extra* -sensory perception into one about sensory perception -- the first verse covers sight, sound, and smell: [Excerpt: The Beach Boys, "Good Vibrations"] Carl Wilson was chosen to sing the lead vocal, but you'll notice a slight change in timbre on the line "I hear the sound of a" -- that's Brian stepping into double him on the high notes. Listen again: [Excerpt: The Beach Boys, "Good Vibrations"] For the second verse, Love's lyric moves from the sensory grounding of the first verse to the extrasensory perception that the song has always been about, with the protagonist knowing things about the woman who's the object of the song without directly perceiving them. The record is one of those where I wish I was able to play the whole thing for you, because it's a masterpiece of structure, and of editing, and of dynamics. It's also a record that even now is impossible to replicate properly on stage, though both its writers in their live performances come very close. But while someone in the audience for either the current touring Beach Boys led by Mike Love or for Brian Wilson's solo shows might come away thinking "that sounded just like the record", both have radically different interpretations of it even while sticking close to the original arrangement. The touring Beach Boys' version is all throbbing strangeness, almost garage-rock, emphasising the psychedelia of the track: [Excerpt: The Beach Boys, "Good Vibrations (live 2014)"] While Brian Wilson's live version is more meditative, emphasising the gentle aspects: [Excerpt Brian Wilson, "Good Vibrations (live at the Roxy)"] But back in 1966, there was definitely no way to reproduce it live with a five-person band. According to Tanner, they actually asked him if he would tour with them, but he refused -- his touring days were over, and also he felt he would look ridiculous, a middle-aged man on stage with a bunch of young rock and roll stars, though apparently they offered to buy him a wig so he wouldn't look so out of place. When he wouldn't tour with them, they asked him where they could get a theremin, and he pointed them in the direction of Robert Moog. Moog -- whose name is spelled M-o-o-g and often mispronounced "moog", had been a teenager in 1949, when he'd seen a schematic for a theremin in an electronic hobbyist magazine, after Samuel Hoffman had brought the instrument back into the limelight. He'd built his own, and started building others to sell to other hobbyists, and had also started branching out into other electronic instruments by the mid-sixties. His small company was the only one still manufacturing actual theremins, but when the Beach Boys came to him and asked him for one, they found it very difficult to control, and asked him if he could do anything simpler. He came up with a ribbon-controlled oscillator, on the same principle as Tanner's electro-theremin, but even simpler to operate, and the Beach Boys bought it and gave it to Mike Love to play on stage. All he had to do was run his finger up and down a metallic ribbon, with the positions of the notes marked on it, and it would come up with a good approximation of the electro-theremin sound. Love played this "woo-woo machine" as he referred to it, on stage for several years: [Excerpt: The Beach Boys, "Good Vibrations (live in Hawaii 8/26/67)"] Moog was at the time starting to build his first synthesisers, and having developed that ribbon-control mechanism he decided to include it in the early models as one of several different methods of controlling the Moog synthesiser, the instrument that became synonymous with the synthesiser in the late sixties and early seventies: [Excerpt: Gershon Kingsley and Leonid Hambro, "Rhapsody in Blue" from Switched-On Gershwin] "Good Vibrations" became the Beach Boys' biggest ever hit -- their third US number one, and their first to make number one in the UK. Brian Wilson had managed, with the help of his collaborators, to make something that combined avant-garde psychedelic music and catchy pop hooks, a truly experimental record that was also a genuine pop classic. To this day, it's often cited as the greatest single of all time. But Brian knew he could do better. He could be even more progressive. He could make an entire album using the same techniques as "Good Vibrations", one where themes could recur, where sections could be edited together and songs could be constructed in the edit. Instead of a pocket symphony, he could make a full-blown teenage symphony to God. All he had to do was to keep looking forward, believe he could achieve his goal, and whatever happened, not lose his nerve and turn back. [Excerpt: The Beach Boys, "Smile Promo" ]
01 Lonnie Mack - stop - strike like lightning 198502 Dave Meniketti - loan me a dime - On the blue site 199803 The Allman Brothers band - One way out - live at Fillmore east 197104 Goverment Mule - Rocking Horse - Hounted House 200905 Larry Carlton - Josie - Crossroads festival 200406 Clapton / Cray / Guy / Vaughan - six stings down - Crossroads festival 200407 Robbie Laws - Barroom Boogie - Deep elm blues 200408 BBM - High cost of living - Around next dream 199409 The Simpsons - Born under a bad sign - Simpson sings the blues10 The Simpsons - The mooning lisa blues - Simpson sings the blues
Bluesmoosenonstop 535-32-201001 Blue Jean blues – Jeff Healey Band – See The light 1988 02 Mercury Blues – David Lindley – Live3 1983 03 I hear you calling my name – Dan Granero – Can't stand to lose 2009 04 Red Poll House Blues – Jan Akkerman – Bleus Haerts 1994 05 Still A fool – Gail mojo Muldrow – peace of mind 2007 06 Wee Wee Hours – Chuck Berry – On the blues side 1993 07 I clould be mine – Hubert Sumlin – Blues guitar boss 1990 08 Heygana – Ali Farka Toure – African Blues 1998 09 Serves you right to suffer – J. Geils band – Full House Blues 1972 10 Dark side of the street – Vicki Taylor – Out of the blue 1996 11 Shoeshine boy – fried Bourbon – Boogie Blend Blues 2007 12 If you have to know – Lonnie Mack – strike like lightning 1985 13 Going away baby – Kurt Slevigen – west side from the east side – 2002
"DOWNBEAT MAGAZINE LONNIE MACK OBITUARY":https://downbeat.com/news/detail/blues-guitarist-lonnie-mack-dies-at-74
"On the corner is a banker with a motorcar, The little children laugh at him behind his back. And the banker never wears a macIn the pouring rain, very strange. Penny Lane is in my ears and in my eyesThere beneath the blue suburban skiesI sit, and meanwhile back"...Please accompany me as we take a musical tour to places real & imagined on the Sunday Edition of Whole 'Nuther Thing. I'll be serving up tasty morsels from NRBQ, Pat Metheny w Lyle Mays, 10 CC, Patti Smith, Albert King, The Left Banke, Jackson Browne, Love, Lonnie Mack, BB King, The Joe Farrell Quartet, Steve Miller Band, Bee Gees, Steely Dan, The Ventures, Ramones, Michael Bloomfield w Al Kooper, Blotto, Duane Eddy, Renaissance, Donovan, Rolling Stones and The Beatles...
Today's show features music performed by Jelly Roll Morton and Lonnie Mack
Kesätervehdys kantrin ja rockin vaarallisesta välimaastosta! Rock Around The Blogin uutiskatsauksessa ovat mukana tällä kertaa mm. Record Store Day, Rolling Stones, Doors, Bruce Springsteen, Mick Jagger, Robert Plant, Alison Krauss, Greg Leisz, Lucinda Williams, Aerosmith, Brad Whitford, Rival Sons, Van Halen, Mikkelin vahakabinetti, Dinosaurock, Eddie Van Halen, Uriah Heep, Uniklubi, Maija Vilkkumaa ja Kari Pyrhönen. Studiossa tuttuun tapaan Sami Ruokangas ja Juha Kakkuri. Kuunnelluissa levyissä Sheryl Crown kokoelma sekä Blackberry Smoken listakärkeen noussut uutuus, You Hear Georgia. Jakson soittolista: https://open.spotify.com/playlist/5j7ScvoVCb2M5tDXtOGMvM?si=69fcc0ffc3a84a75 Menossa ja meiningissä ovat mukana myös Cat Stevens, Rod Stewart, Prince, Sweden Rock, Lynyrd Skynyrd, Charlie Starr, Benji Shanks, The Black Crowes, Preston Holcomb, The Black Bettys, Jamey Johnson, Little Feat, Steve Earle, Johnny Cash, The Four Horsemen, Dave Lizmi, Pasi Rytkönen, Keith Nelson, Buckcherry, Warren Haynes, Gov´t Mule, Allman Brothers Band, Rickey Medlocke, Blackfoot, Lonnie Mack, Black Oak Arkatunsas ja Merle Haggard.
The boys discuss The Doors and their best 12 songs. In episode 47 - Rob, Jason and Alan Find Out: What really happened in New Haven - Who called the Police on Jim? Why is there a Lonnie Mack or Robbie Krieger controversy? How were the Doors fired at the Whisky— You probably haven’t heard the real story (It’s different than the Movie) Where did Mr. Mojo Risin’ Come From? What Song did Jim Morrison Record in the Bathroom? Some more theories of Morrison’s last hours.. This Episode: We tell some musicians jokes Rob goes through some SNL Flashbacks and reveals a narcotic alternative? Alan Doodle doodle doodles out some cool knowledge Jason gets upset about a harpsichord and talks some Carole King… Spotify - Current Playlist , The Doors Apple - Current Playlist, The Doors The Boys drink some Blackened, Bushmills 10 and WhistlePig Farmstock GET PODCAST HERE —> Podbean | Apple Podcasts | Stitcher | ListenNotes | XML Feed Facebook Page https://www.facebook.com/DirtyDozenPodcast
My guest today is one of the most highly decorated musicians in our countries history. To him music has no idiomatic label- it's just music. This is evidenced by the list of musicians he has collaborated with over the years. Greg Allman, Herbie Mann, The Staples Singers, LULU, Levon Helm, Bobby Womack, Lonnie Mack, Russell Smith, Willie Nelson and Millie Jackson. I have covered studio cats who played MoTown and The Wrecking Crew in Southern California. Today I have an opportunity to continue my regional exploration of music that existed in this country. That being Muscle Schoals. My guest was part of The Rhythm Section that Locked the groove for curious artists looking for a gulf coast feel. Along with Roger Hawkins and Barry Beckett my guest found his way in, out up and around the cosmic vortex of eccentric personalities, pentatonic scales and passion that makes music feel good. David Hood welcome to the JFS --- Support this podcast: https://anchor.fm/jake-feinberg/support
Um sabadão com o melhor do Blues aqui no #BluesBox. Hoje vamos de Lonnie Mack, Buddy Miles e Nick Moss no Blues Panorama.
Lonnie Mack – Stop - Strike Like Lightning Albert King – I’ll play the blues for you - Albert Live - LP 2 - 1977 Albert Collins - I ain’t drunk - Deluxe Edition - 1997 Freddie King – Gambling woman Blues - Texas Flyer Julian Sas – Howlin’Wind - Stand Your Ground (2019) Wes Jeans – Boomerang - Live at Music City Texas (2020) B.B. King – Caldonia - The Very Best of B. B. King - 1994 Lucky Peterson - Money Changes Everything The J. Geils Band - Southside Shuffle Blackfoot - Highway Song The Boogie Kings – Sweet home Chicago
Urban blues started in Chicago and St. Louis, as music created by part-time musicians who played as street musicians, and other events in their neighborhood. For many blues musicians, the “day job” made their living, but the nighttime music gig was their life. An early setting for Chicago blues was the open-air market on Maxwell Street, one of the largest open-air markets in the nation. The first blues clubs in Chicago were mostly in predominantly black neighborhoods on the South Side, with a few in the smaller black neighborhoods on the West Side. Chicago blues was one of the most significant influences on early rock music. Chuck Berry originally recorded with Chess Records—one of the biggest Chicago blues record labels of that time. ***** Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 ****** or by email at dannymemorylane@gmail.com In this episode you’ll hear: 1) Playin' With My Friends by B.B. King & Robert Cray 2) Crossfire by Stevie Ray Vaughan & Double Trouble 3) Chicago Lakefront by Iceman Robinson 4) That's What The Blues Is All About by Albert King 5) Nobody Knows The Way I Feel This Morning by Aretha Franklin 6) Champagne & Reefer by The Rolling Stones with Buddy Guy 7) She's Puttin' Something In My Food by Bobby "Blue" Bland 8) If This Is Love by Duke Robillard 9) Evil (Is Going On) by Koko Taylor 10) U B U by Rick Estrin & The Nightcats 11) Love In Vain by Eric Clapton 12) Got Love If You Want It by The Fabulous Thunderbirds 13) We The People by Guitar Shorty 14) Your Lady, She's Shady by J J Grey & Mofro 15) Born Under A Bad Sign by Marva Wright 16) I'm A King Bee by Steven Tyler and Joe Perry 17) Key To The Highway by Little Walter 18) That Will Never Do by Roomful Of Blues 19) If The Blues Were Whiskey by Luther "Guitar Junior" Johnson 20) When Love Comes To Town by U2 with B.B. King 21) Strange Feeling by Michael Burks 22) Born In Chicago by Paul Butterfield Blues Band 23) Men Are Just Like Street Cars by Natalie Cole, Mavis Staples and Ruth Brown 24) Don't Pick Me For Your Fool by Son Seals 25) Hoochie Coochie Man by Willie Dixon 26) All Your Love by John Mayall's Bluesbreakers with Eric Clapton 27) I Sing The Blues by Etta James 28) If You Have To Know by Lonnie Mack & Stevie Ray Vaughan 29) Too Much Barbecue by Big Twist & The Mellow Fellows
Esta semana en Islas de Robinson aterrizamos en territorio "proscrito", con unos cuantos "jefazos" entre 1970 y 1973. Aprovechamos para dar un tirón de orejas -y de paso, dar cuenta de nuestro sincero aprecio por él- a otro auténtico jefazo: Don Piku, histórico de RNE y "Robinsón de Honor". Suenan: BOBBY CHARLES -"HE'S GOT ALL THE WHISKEY" ("BOBBY CHARLES", 1972) / LONNIE MACK - "ASPHALT OUTLAW HERO" ("THE HILLS OF INDIANA", 1971) / TONY JOE WHITE - "WIDOW WIMBERLY" ("TONY JOE", 1970) / KRIS KRISTOFFERSON - "BORDER LORD" ("BORDER LORD", 1972) / DENNIS LINDE - "I DON'T WANT NOBODY 'CEPTIN' YOU" ("LINDE MANOR", 1970) / DANNY O'KEEFE - "COME DANCE WITH ME" ("DANNY O'KEEFE, 1970) / PAUL SIEBEL - "JACK KNIFE GIPSY" ("JACK KNIFE GIPSY", 1970) / JOHN PRINE - "QUIET MAN" ("JOHN PRINE", 1971) / JIM FORD - "WONDER WHAT THEY'LL DO WITH TODAY" ("THE UNISSUED CAPITOL ALBUM", 1970/2009) / CHARLIE RICH - "BEHIND CLOSED DOORS" ("BEHIND CLOSED DOORS", 1973) / WAYLON JENNINGS - "FRISCO DEPOT" ("LADIES LOVE OUTLAWS", 1972) / WILLIS ALAN RAMSEY - "BALLAD OF SPIDER JOHN" ("WILLIS ALAN RAMSEY", 1972) / BONNIE RAITT - "THANK YOU" ("BONNIE RAITT", 1971) / Escuchar audio
Para pasar el último domingo de la fase 0... nos desfasamos. Clave de Rock, 10 de mayo de 2020Listado de artistas y canciones: 1. Santo & Johnny, Sleepwalk2. Raul Malo, Waiting for a train3. Booker T. & The M.G.'s, Time is Tight4. Booker T. & The M.G.'s, Green Onions5. Dave Brubeck, Take Five (Live)6. Herbie Hancock, Watermelon Man7. Fleetwood Mac, Albatross8. James Brown, Night Train9. Lonnie Mack, Memphis Instrumental10. Pérez Prado y Su Orquesta, Patricia11. Ramsey Lewis Trio, The 'In' Crowd12. Preston Epps, Bongo Rock13. Average White Band, Pick Up The Pieces14. The Markeys, Last Night15. Young-Holt Unlimited, Soulful Strut16. Irving Ashby, Big Guitar17. Los Secretos, Tan Fácil18. Danny Gatton, Fine
More great Blues from Lonnie Mack
It's Blues Mack attack on today'sshow wit Mr Lonnie Mack. Wait until you hear this pro go at it hard.
In the kitchen this week we're listening to Toronzo Cannon, Lonnie Mack, The Smokin' Joe Kubek Band & Bnois King, Busker Incognito, Ana Popovic, Bobby Rock, YES, Susan Tedeschi, Larkin Poe, and Sass Joran. Getcha' some.
We're back home!! Radio Wilder is back on the airwaves and thrilled about it! Thanks to everyone who made it happen in less than there weeks! Pete and Jen, Curtis, Amanda, Mike S.and of course, Grayson!! We are going to blow the lid off this joint on our first show back home.Muse, Black Keys, Ed.S, Charlie Puth, Lonnie Mack, Bobby Helms, Fuzztones, Jerry Lee and how about the man with three Lifetime Grammies,Johnny M? Come join us today at radiowilder.com and don't forget to check out Grayson's Gift Shop where the new Internet Radio Man collection is available in all styles and sizes; in both men's and women's.Of course, we are still on Spotify, Tunein, Stitcher, Google podcasts and all the rest.However,nothing beats being back home!! Yeah! Show cranks up after 'Baby Ruth' finishes plucking her chickens, cleaning out the bee hives and making her dog stop barking!! Thanks for your patience and your support! Harry and the Wilder Crew!
Boom Boom – Dave Lindholm – Just 1998 Little Red Rooster – Eelco Gelling and The Blues connection – The Blues 1990 Mellow Down Easy – Jason Ricci & New Blood – Blood on the Road 2005 Sexy ways -Lonnie Mack – Road House and dance halls 1989 Old enough To Know better – Heavy Blues Chevy – Blues n’ Jected 1999 Struttin’ - Timo Gross – Road Worm – 2010 Let Me Love you – Hollywood Blue flames – Road To Rio 2006 Live Together – Sue Foley – Without A Warning 1993 I Just want To Get you High Tonight – Vincent Hayes project – Reclamation 2010 Help Me – Indigo Duck - Double Duck 2004 Egyptian Priestess – Nuno Mindelis – Texas Bound 1996
Today's Radio Wilder show is found at https://studio.podcast.co/radio-wilder/radio-wilder/episodes which is our temporary home while we move our platforms, Today's show features a cool mixture of classics and the newbies!! Nathaniel, Cage, Nils, Don Covey, the mighty Lonnie Mack, the new Goo Goo Dolls and ton's more!! If you haven't seen it, catch our interview with Dr. Connie Mariano, The White House Doctor on Radio Wilder's Facebook page and our YouTube channel! She's very cool! First show hits the airwaves after 'Baby Ruth's lectures to the sales team and more clean up in Act. Thanks for your listening time and your patience!! Harry and the Wilder Crew!
Lonnie Mack's advice to Jimi D, why BB King developed such a wide vibrato, and other gems
I had so much fun putting together this week's Rockabilly N Blues Radio Hour! We've got the latest from Headcat 13, Johnny Falstaff, Kentucky Cow Hands, Jesse Dayton, Kokomo Kings, Lee Rocker, Daddy Long Legs, Love Tattoo, Jacob Tolliver and Mike Teardrop Trio. Our Hey Mr. DJ request segment has some good ones from Conway Twitty and Tracy Pendarvis. The Instru-Mental Breakdown has rockers from Black Flamingos and Lonnie Mack (with Stevie Ray Vaughan), we take a walk to the Doo-Wop Corner and our Five Year Flashback is with Chris Isaak!! Intro Voice Over- Rob "Cool Daddy" Dempsey Intro Music Bed: Brian Setzer- "Rockabilly Blues" Daddy Long Legs- "Winners Circle" Jacob Tolliver- "Restless" Headcat 13- "Rockin' Route 66" instru-Mental Breakdown: Lonnie Mack (with Stevie Ray Vaughan)- "Double Whammy" Black Flamingos- "Chicken Wire" Kentucky Cow Hands- "Old Cowhand" *snippet of Walter Hill, Bobby Woods & Les Deux Love Orchestra- "James Riley Takes A Hand" Johnny Falstaff- "Move A Mountain" Mike Teardrop Trio- "Good For Nothin'" Hey Mr. DJ request segment: Tracy Pendarvis- "A Thousand Guitars" Conway Twitty- "I Vibrate" Kokomo Kings- "Fighting Fire With Gasoline" Lee Rocker- "Honey Don't" (live) Love Tattoo- "When Life Comes Knockin'" Doo-Wop Corner: The Fleas- "Scratchin'" Lil Mo & The Dynaflos- "Why Don't You Answer" Five Year Flashback: Chris Isaak on Jerry Lee Lewis Chris Isaak- "Running Down The Road" Jesse Dayton- "State Trooper" Outro Music Bed: Eddie Angel- "Black Widow"
Giles Robson - Don't Give Up On The Blues - Don't Give Up On The Blues – 2019 Mick Clarke -good name hat - Cut Loose- Vol. 2 – 2019 Freddie King – reconsider baby - The Best Of - 1972 Lonnie Mack – Cincinattie Jail - Live & Acoustic - 1991 Royal Southern Brotherhood – Blood is thicker than water - The Royal Gospel – 2016 Rick Estrin & The Nightcats – Root of all evil - Contemporary – 2019 Jim Suhler & Alan Haynes – knocking at your door - Live At Blue Cat Blues – 2000 Jeff Strahan – Amen to the Blues - Double Live At Billy's Ice - DISC 1 – 2009 Bas Paardekooper & The Blew Crue – Broken heart for sale - Broken Heart For Sale – 2012 Matt Andersen - The Gift - live in De bluesmoose studio 18 oktober 2017 Dave Arcari - hangman's blues - live at bluesmoose radio 27 june 2018
Album van de Week is Son Volt - Union en je hoort muziek van Allen Toussaint, Tail Dragger, Marissa Nadler, Lonnie Mack en Betty Bibbs.
Album van de Week is Son Volt - Union en je hoort muziek van Allen Toussaint, Tail Dragger, Marissa Nadler, Lonnie Mack en Betty Bibbs.
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Buenas tardes a todos. Aquí os dejo el programa número 12 de Canal Blues, dentro de La Gran Travesía. En el programa de hoy podréis escuchar a Rory Gallagher, Magic Sam, Stevie Ray Vaughan, The Magpie Salute, Lonnie Mack, Eric Clapton, Yardbirds, Howlin´ Wolf, John Lee Hooker, Johnny Winter, Bob Dylan y muchos más. Ayúdanos a compartir, si te gusta. Muchas gracias!! Aquí os dejo el enlace al grupo de Facebook https://www.facebook.com/groups/1507808032653448/Escucha este episodio completo y accede a todo el contenido exclusivo de La Gran Travesía. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/489260
Say what – Stevie Ray Vaughan and double trouble – Soul to Soul 1985 Hard drinkin’ Woman – Blue Room - Everything But The bLues 2005 Go Ahead – Alabama Mike – Tailor Made blues 2010 Blues For Dawn – Jimmy Thackery – Guitar 2003 Who Do You Love Various – Hey Bo Diddley 2002 Hipshake - Bluejeans – A Night at The Saloon 1991 Johnny B – Zora Young – Learned My lesson 2000 I Hang My Head and Cry – Jimmy Vaughan – Play More Blues 2011 Don’t Worry baby – Los lobos – How will The Wolfe Survive 1984 Sitify Suzie – Lonnie Mack – Strike Like Lightning 1985 I’ll Be Waiting – Blues Cousins – Hoochie Coochie Man 2001 Egyptian Priestress – Nuno Mindelis – Texas Bound 1996
We're exploring interpretations of a songwriting master this week. Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ All Along The Watchtower - Live by Jimi Hendrix on Atlanta Pop Festival (.) 0′27″ Goin' to Acapulco by Jim James & Calexico on I'm Not There (soundtrack) (Sony) 1′09″ Political World by Carolina Chocolate Drops on Chimes Of Freedom (Amnesty International) 4′29″ I'll Keep It With Mine by Nico on Chelsea Girl (Verve) 5′52″ If Not For You by George Harrison on All Things Must Pass (Apple Records) 9′22″ I'll Be Your Baby Tonight by The Hollies on Live in London (Immortal) 12′49″ Changing of the Guards by Frank Black and the Catholics on Complete Recordings (Cooking Vinyl) 23′55″ Man In The Long Black Coat by Joan Osborne on Relish (Mercury) 24′49″ The Man In Me by Lonnie Mack on The Hills Of Indiana (Elektra) 28′03″ Standing In The Doorway by Bonnie Raitt on Slipstream (Redwing) 33′36″ Leopard-Skin Pill-Box Hat by Beck on War Child - Heroes Vol 1 (Parlophone) 35′42″ Seven Days - Live by Ronnie Wood on Bob Dylan - 30th Anniversary (Columbia) 43′59″ Chimes of Freedom by Bruce Springsteen on Live at Stockholms (n/a) 53′51″ To Ramona by Lissie on Cryin' to You (n/a) 54′09″ The Ballad of Hollis Brown by Nina Simone on Little Girl Blue (U-5) 59′22″ Highway '61 Revisited by PJ Harvey on Rid Of Me (Island) 62′52″ Just Like a Woman - Live by Richie Havens on 30th Anniversary (Columbia) 68′39″ One More Cup Of Coffee by The White Stripes on The White Stripes (Third Man) 75′01″ Million Miles by Alvin Youngblood Hart on Tangled Up In Blues (Yell) 79′25″ When The Ship Comes In by The Cheiftains / The Decemberists on Voices of Ages (Blackrock Records) 88′52″ Tomorrow Is a Long Time by Elvis Presley on Spinout (RCA Victor) 97′29″ I Believe In You by Sinead O'Connor on 30th Anniversary (Columbia) 97′57″ Quinn The Eskimo by Kris Kristofferson on Chimes of Freedom (.) 98′47″ Long Ago, Far Away by Odetta on Odetta Sings Dylan (RCA Victor) 101′47″ This Wheel's On Fire by Siouxsie & The Banshees on Through The Looking Glass (1987) 101′59″ Dear Landlord by Janis Joplin on Box of Pearls (Sony) Check out the full archives on the website.
Je hoort muziek van Lonnie Mack, Paul Thorn, Errol Linton, Ragtime Rumours, Danny Vera en Imelda May.
We are pleased to present a musical and conversational retrospective of the creative comrades lost to us in 2016.
Het verzamelalbum Blues Christmas is deze week het Album van de Week. Verder muziek van The Association, Wilson Pickett en Lonnie Mack.
Het verzamelalbum Blues Christmas is deze week het Album van de Week. Verder muziek van The Association, Wilson Pickett en Lonnie Mack.
Het verzamelalbum Blues Christmas is deze week het Album van de Week. Verder muziek van The Association, Wilson Pickett en Lonnie Mack.
Des Engels staat vanavond on het teken van Lonnie Mack. Muziek van mensen die Lonnie Mack hebben beïnvloed en muziek van artiesten die beïnvloed zijn door Lonnie Mack zelf.
Des Engels staat vanavond on het teken van Lonnie Mack. Muziek van mensen die Lonnie Mack hebben beïnvloed en muziek van artiesten die beïnvloed zijn door Lonnie Mack zelf.
Russ Hewitt Pure Guitar Genius Joins us to discuss the past, present and future of his brilliant feel good guitar style. Plus a special report with the Amazing Rob Balducci from the Dallas Guitar Festival.
On this week's show, Al, Allan, Ken and Steve first discuss the news of the deaths of three famous musical talents, Prince, Lonnie Mack and Billy Paul, and their relationship to the Beatles. The guys also spar about whether their opinions have changed about Paul McCartney's "Kisses on the Bottom," released in 2012. As always, we we'd love to hear what you think. Send your comments and suggestions for future shows to thingswesaidtodayradioshow@gmail.com. We love hearing from you. And thanks for making us part of your week.
April 27, 2016 – Prince and Lonnie Mack Tribute Prince and Lonnie Mack. * Playlist: Track * Artist * Album Guitar Shop (opening theme) * Jeff Beck I’m Yours * Prince * For You Bambi * Prince * 1995 Batdance * Prince * Batman soundtrack Crazy * Cee Lo Green with Prince, guitar * Live When Doves … Continue reading April 27, 2016 – Prince and Lonnie Mack Tribute →
RIP WWE legend Chyna, music icon Prince, and one of the greatest guitarists to ever play the instrument, Lonnie Mack. Steve shares some personal stories about Chyna, and then answers your wrestling questions. He's talking Roman Reigns, Bray Wyatt, Dusty Rhodes, and the great gift he got from Vince McMahon.
Johnny Hiland Returns to Guitar Radio Show in Celebration of the Dallas Guitar Festival
Special guest and friend of the show, Richard Frank, is back on this week's episode of the Music First Podcast! Tune in to hear some of his original songs and to hear him perform live! DJ Dave also features music by The Cure, John Denver, Lonnie Mack, The Mighty Imperials, Pitbull with Enrique Iglesias, 311, and Boogaloo Joe Jones w/ Rudy Van Gelder! SUBSCRIBE: iTunes TWITTER: @MusicFirstPcast FACEBOOK: Music First Podcast *NEW* INSTAGRAM: MusicFirstPodcast EMAIL (Send us a note!): MusicFirstPodcast@gmail.com
Kasey and Tyler remember; Lonnie Mack, Prince, Chyna, and Tim Hedrick. Also, what is the secret of owning a Llama, and Wheeler Walker Jr. @kaseyplaysbass @whatupcuzshow whatupcuzshow.com
April In Paris. Mighty String Thing Guitar Extravaganza, Tributes to Prince, Lonnie Mack, Pete Zorn, and in memory of Sandy Denny
Lonnie Mack and Prince remembered- Blues great Keely Richey and Adam P Hunt Join us to discuss the passing of the passing of these great and similar talents.
01 Stop messin'around – Aearomth – Honkin'on Bobo 200402 You Shouldn't have been there - Shirley Johnson – Blues attack 200903 Short fuse blues – Dave Hole – Short fuse blues 199004 Red Pool House Blues – Jan Akkerman – Bleus Haerts 199405 That's The truth – J.B. Hutto – Slidin' The blues 200206 Love Tattoo – Imelda May – Love Tatto 200807 Blue Jean blues – Jeff Healey Band – See The light 198808 Heygana – Ali Farka Toure – African Blues 199809 If you have to know – Lonnie Mack – strike like lightning 198510 who Knows – Jimi Hendrikx – band of Gypsys 1970Websites: www.bluesmoose.nl en www.bluesmagazine.nlLive te beluisten op omroep Groesbeek, Nijmegen1, Extra FM and Unique.FMPodcasts: http://bluesmusic.podomatic.com/Youtube: www.youtube.com/bluesmooseradio over 350 clips!Twitter: http://twitter.com/bluesmooseHyves: http://bluesmoose.hyves.nl/Facebook: http://www.facebook.com/bluesmooseMyspace: http://www.myspace.com/bluesmoose
The 231st Roadhouse focuses on some classic blues artists, at the request of Roadhouse listeners on The Roadhouse Facebook group. There's a full set of classic artists, with others sprinkled in throughout the hour. Buddy Guy & Junior Wells, Eddie C. Campbell, Jenni Muldaur, Lonnie Mack, and Nucklebusters Blues Band will keep you moving while providing the foundation for another hour of the finest blues you've never heard.
The 231st Roadhouse focuses on some classic blues artists, at the request of Roadhouse listeners on The Roadhouse Facebook group. There's a full set of classic artists, with others sprinkled in throughout the hour. Buddy Guy & Junior Wells, Eddie C. Campbell, Jenni Muldaur, Lonnie Mack, and Nucklebusters Blues Band will keep you moving while providing the foundation for another hour of the finest blues you've never heard.
“Stevie Ray Vaughn trapped in a woman's body with Janis Joplin screaming to get out.” This is how one critic describes Kelly Richey, a blues-based rock virtuoso. Buoyed by critical praise and fiercely loyal fans, The Kelly Richey Band tours extensively bringing their electric live experience to venues throughout the US, Canada, and Europe. The attention centers around this Kentucky native’s guitar playing; Richey’s proficiency has earned her comparisons to Jimi Hendrix and Stevie Ray Vaughan while gaining her a place on stage with blues legends, Albert King and Lonnie Mack.Kelly will be joining us live on the air.Wednesday night indie music artist night. Every Wednesday night we will feature a new musician here on Blockhead Radio.
“Stevie Ray Vaughn trapped in a woman's body with Janis Joplin screaming to get out.” This is how one critic describes Kelly Richey, a blues-based rock virtuoso. Buoyed by critical praise and fiercely loyal fans, The Kelly Richey Band tours extensively bringing their electric live experience to venues throughout the US, Canada, and Europe. The attention centers around this Kentucky native’s guitar playing; Richey’s proficiency has earned her comparisons to Jimi Hendrix and Stevie Ray Vaughan while gaining her a place on stage with blues legends, Albert King and Lonnie Mack.Kelly will be joining us live on the air.Wednesday night indie music artist night. Every Wednesday night we will feature a new musician here on Blockhead Radio.
No theme shows, here, but this one could be. It's loose and light - built to roll and tumble right on through an hour of the finest blues you've never heard. Ronnie Baker Brooks, Rory Block, Steve Arvey, Mean Gene Kelton, and Lonnie Mack will keep you dancin' in your chair. It's the 85th Roadhouse Podcast - the 85th consecutive week of the finest blues you've never heard.
No theme shows, here, but this one could be. It's loose and light - built to roll and tumble right on through an hour of the finest blues you've never heard. Ronnie Baker Brooks, Rory Block, Steve Arvey, Mean Gene Kelton, and Lonnie Mack will keep you dancin' in your chair. It's the 85th Roadhouse Podcast - the 85th consecutive week of the finest blues you've never heard.
There's definitely a theme to this edition - let's just call it road music. It's the perfect blend of upbeat uptempo blues cuts to make your drive - wherever that may be - a little bit more sane and enjoyable. Percy Strother, Lonnie Mack, Johnny Nicholas, Candye Kane, and Holland K. Smith lead us down the road, with seven other great artists and another Roadhouse Rewound bringing up the rear. So, let's put the troubles in the rear-view mirror, even if only for an hour of the finest blues you've never heard.
There's definitely a theme to this edition - let's just call it road music. It's the perfect blend of upbeat uptempo blues cuts to make your drive - wherever that may be - a little bit more sane and enjoyable. Percy Strother, Lonnie Mack, Johnny Nicholas, Candye Kane, and Holland K. Smith lead us down the road, with seven other great artists and another Roadhouse Rewound bringing up the rear. So, let's put the troubles in the rear-view mirror, even if only for an hour of the finest blues you've never heard.
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