Podcasts about Mayall

Friday Juma KhutbaMarch 28th, 2025- Ramadhān is ending soon, bringing blessings, mercy, and forgiveness. May Allāh accept our deeds and help us maintain His consciousness. - Daily du‘ās of the Prophet and Imams guide us to help those in need. - Community efforts focus on poverty relief locally and overseas. - Must assist those in distress, displaced, or imprisoned unjustly. - Political engagement is crucial to uphold justice and international laws. - Federal election in April—Muslims must vote to make their voices heard. - "The Canadian-Muslim Vote" helps educate voters on candidates and issues. - NCCM has actively worked on key issues affecting Muslims. - Helped halt Canadian arms sales to Israel. - Warns that some politicians may try to reverse this ban. - Secured government recognition of Anti-Palestinian Racism (APR). - CJPME provides insight into candidates' stances on Palestine. - US trade wars divert attention from Israeli actions in Gaza. - Over 50,000 killed, many women and children. - Israel weaponizing food and medical aid. - Muslim vigilance is necessary to prevent future injustices. - Imām ‘Ali (a) warns against abandoning the duty of enjoining good and forbidding evil. - Islamophobia in Canada: - 2021 London, Ontario attack killed four members of the Afzaal family—ruled as terrorism in 2024. - Recent attack on a hijabi woman in Ajax—attempted arson. - Prime Minister condemned the attack and acknowledged Islamophobia as a real and dangerous issue. - Political awareness and activism are essential for the Muslim community. Donate towards our programs today: https://jaffari.org/donate/Jaffari Community Centre (JCC Live)

Episode 176: TVT Salutes Next Door Artists Mike Pinera And Garth Hudson February 3, 2025 Hey and Hello!  Welcome in for more of those Tales Vinyl Tells.  This is our weekly immersion into some great music that appeared on vinyls, especially during the 60s and 70s.  A lot of those albums are still playable today and are played and appreciated all over the world.  With a good cleaning of the disc surface and a whole bunch of shipping tape around the jacket and they're sounding just as good as the day the shrink wrap was removed.  You did remove the shrink wrap, didn't you?  Ok, today we're in our southern studio and we're saluting two pretty well-heard, maybe not so well known, guys who have joined Petty, Harrison, Lennon, Crosby, Mayall and others who have entered the room next door. We've got Mike Pinera and Garth Hudson and their fine tunes today and many others. Glad you're listening! I'm Brian Hallgren and these are the Tales Vinyl Tells. If you want to hear a Tales Vinyl Tells when it streams live on RadioFreeNashville.org, we do that at 5 PM central time Wednesdays. The program can also be played and downloaded anytime at podbean.com, Apple podcasts, iHeart podcasts, player FM podcasts and many other podcast places. And of course you can count on hearing the Tales on studiomillswellness.com/tales-vinyl-tells anytime.

Simon Mayall was commissioned into the British Army in 1979, having graduated from Balliol College, Oxford, where he read Modern History. Over the following decades, he served in Germany, Belgium, the UK, and Oman, and he was deployed on operations in Northern Ireland, Cyprus, the Balkans, and the Middle East. He commanded soldiers at all levels and held a series of increasingly senior staff appointments in the Ministry of Defence, including Assistant Chief of the General Staff, Deputy Chief of Defence Staff (Operations), and Defence Senior Adviser Middle East. Between Command and Staff training periods, he undertook a Defence Fellowship at St Antony's College, Oxford, and an MA in International Relations at King's College. He was knighted in 2014 and retired from the Army in 2015.Since retirement, Mayall has sought to combine his academic enthusiasm for history with his personal and professional experience in the Middle East to develop an experience in this complex and volatile region. As a result, he is regularly called upon for commentary or analysis, using his deep knowledge of history and religion to help listeners and readers better understand current events in the wider Middle East.In 2020, he published a book, ‘Soldier in the Sand, a Personal History of the Modern Middle East', which used a three-generational biography of his family to tell the story of the Middle East since the end of World War One. In 2024, he published ‘The House of War, the Struggle between Christendom and the Caliphate', which examined the 1,300-year confrontation between the Christian and Islamic world through ten great sieges and battles, stretching from the Crusades and earlier to the collapse of the OWoman Empire in 1918. This book is a prequel to Soldier in the Sand in many ways. Mayall hopes that as ‘Applied History', it will both interest and educate readers and, once again, give them valuable insights into contemporary events. The original proposal was written with a television series in mind, and Mayall still hopes this epic set of stories, set within a grand, sweeping historical narrative, will make it onto the small screen. He is planning to write a biography of Field Marshal Sir Nigel Bagnall, who he worked for as ADC and who is viewed as one of the most significant reformers of the British Army in modern times.Mayall has now contributed twice to the Inspiring Leadership podcast. In his first appearance, his ‘top tip' for leadership focused on purpose, professionalism in execution, and clarity of communication. For ‘respectable' historians, in this current era of ‘battling narratives,' he believes in the critical importance of facts, context, and ‘empathy'. Hosted on Acast. See acast.com/privacy for more information.

Rivka and Frank welcome back returning guest Joe Mayall to talk about the latest installment in the Alien franchise, Alien: Romulus. They appreciate how director Fede Álvarez doubles down on the anti-corporate themes of the original Alien, while finding new ways to freak the shit out of his audience. They also agree that android Andy stole the movie and unpack how his character arc is a sharp critique of AI.  JoeWrote.com We'll be taking off next week for Thanksgiving! We'll be back the following week with holiday movies :)

On the 11th September 1683, at the great city of Vienna, the armies of the Ottoman Empire were preparing to storm the city, but their scouts to the west noticed a vast cavalry force approaching. The next day Christian horsemen (Poles, Lithuanians, Germans of the Holy Roman Empire and Cossacks)  swept down upon the troops of the Caliph and swept them away in one of the most stunning military victories of all time. But what lay at the heart of this clash between Christendom and the Caliphate, West vs. East, Christianity vs. Islam? Joining to discuss is historian of the Middle East Simon Mayall. We talk about the past's influence on today's fanatics, the conquests of Spain and the Levant by the Moors and the Crusaders and much much more. Episode Links The House of War: The Struggle between Christendom and the Caliphate Aspects of History Links Latest Issue out - Annual Subscription to Aspects of History Magazine only $9.99/£9.99 Ollie on X Aspects of History on Instagram Check out Badlands Ranch: badlandsranch.com/AOH Get in touch: history@aspectsofhistory.com Learn more about your ad choices. Visit megaphone.fm/adchoices

M31 仙女座星系 是咱目睭會當直接看著 ê 天體內底 上遠--ê。伊離咱有 250 萬 光年 遠，是一个大細 超過 20 萬光年 ê 大捲螺仔星系。雖罔講這个 tī 仙女座 內底 ê 仙女座星雲 有淡薄仔暗，咱猶是看會著。這張媠甲擋袂牢 ê 望遠鏡影像 是 kā 踅地球行 ê 哈伯太空望遠鏡 kah 地面望遠鏡 Subaru kah Mayall ê 影像資料疊做一張--ê。影像 ê 對比足明顯 ê，有黃色 ê 核心、暗色彎曲 ê 塗粉帶、伸長 ê 捲螺仔手骨、手骨面頂 ê 藍色星團 kah 紅色星雲。閣 50 億年，仙女座星系可能 to̍h 會 看較清楚 矣。Tī 伊 kah 咱 銀河系 合併 抑是 ùi 咱銀河系邊仔 閃過 進前，咱規个天頂會攏是伊。 ——— 這是 NASA Astronomy Picture of the Day ê 台語文 podcast 原文版：https://apod.nasa.gov/ 台文版：https://apod.tw/ 今仔日 ê 文章： https://apod.tw/daily/20240908/ 影像：Subaru (NAOJ), Hubble (NASA/ESA), Mayall (NSF) 資料：R. Gendler & R. Croman 音樂：P!SCO - 鼎鼎 聲優：阿錕 翻譯：An-Li Tsai (NSYSU) 原文：https://apod.nasa.gov/apod/ap240908.html Powered by Firstory Hosting

durée : 00:54:19 - Very Good Trip - par : Michka Assayas - Une émission consacrée à un musicien sans lequel le blues britannique n'aurait, en grande partie, jamais existé. Sans lui, Eric Clapton, par exemple, ne se serait jamais révélé. Beaucoup l'ont oublié et, à l'heure de sa disparition, il est grand temps de le remettre en lumière. - réalisé par : Stéphane Ronxin

Intro Song –  Joey Gilmore, “Cheaper To Keep Her”, Brandon's Blues 
First Set - 
Joey Gilmore, “As The Years Go Passing By”, Brandon's Blues 
 The Joey Gilmore Band, “Room 244”, Respect The Blues
    
 Second Set –
 John Mayall & The Bluesbreakers with Eric Clapton, “All Your Love”, Blues Gold (Disc 2) John Mayall, “That's What Love Will Make You Do”, Nobody Told Me
 John Mayall, “Gimme Some Of That Gumbo”, Talk About That, 2016

The latest edition of the "Blues is the Truth" podcast is a heartfelt tribute to the legendary John Mayall, who recently passed away. Hosted by the ever-knowledgeable Ian McHugh, this episode is filled with the rich, soulful blues that Mayall championed throughout his life. As always, the show includes all the regular features that listeners have come to love, including the “Title Track Tango” and the "Blues Driver," where Paul Michael picks out some of the best blues tracks that drive the genre forward. In addition to celebrating Mayall's immense contributions to the blues, this episode features tracks from the charity album "Rivers of Blues," created in memory of the late Mike Rivers. This album showcases a range of incredible blues talent, with proceeds supporting charitable causes dear to Rivers' heart. Listeners are treated to a stellar lineup of artists that span the breadth and depth of the blues genre. The show kicks off with a nod to the Godfather of Soul, James Brown, before diving into multiple tracks by John Mayall and the Blues Breakers, offering a comprehensive look at Mayall's pioneering work. Albert Castiglia, The Blue Bishops, and Doug Duffey and BADD provide powerful performances, while classics from Ray Charles and The Fabulous Thunderbirds evoke the timeless spirit of the blues. The episode also highlights some lesser-known but equally talented artists, such as The Incredible Blues Puppies, Rob Millis, and Christopher Wyze and the Tellers, each bringing their unique flair to the show. Fans of British blues will enjoy contributions from Rob Heron and the Tea Pad Orchestra, and The Geoff Garbow Band. Meanwhile, Chris Daniels and the Kings with Freddie Gowdy, Dave Ferra, and Eddie Cotton add to the diverse mix. Listeners will also appreciate tracks from The Duchess Jureesa McBride, and the Brazilian duo Ari Borger and Igor Prado, who blend their native rhythms with traditional blues, offering a global perspective on the genre. The episode closes with a powerful rendition by Catfish, ensuring that the tribute to Mayall ends on a high note. "Blues is the Truth" continues to be a must-listen for blues enthusiasts, expertly curated by Ian McHugh, who not only honors the greats but also shines a light on the up-and-coming talents keeping the blues alive today.

In this bonus episode, Greg pays tribute to John Mayall, one of the most influential British blues guitarists who never gets the accolades of many of his friends and collaborators. Mayall died in July at the age of 90. Become a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundopsJoin our Facebook Group: https://bit.ly/3sivr9TSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week's episode is a tribute to the Late Great guitar legend John Mayall, who passed away this last week. Joining Jay Jay to honor Mayall's legacy are two of the world's greatest living Blues guitarists, Joe Bonamassa & Rocky Athas. Tune in to hear these 3 discuss how John Mayall's groundbreaking guitar playing impacted both themselves & the music industry as a whole. Mayall is often referred to as the 'Godfather of the British Blues;' hear Jay Jay, Joe & Rocky discuss why - from his tone & songwriting, to the legacy he created with the Blues Breakers & taking Eric Clapton under his wing. Rocky shares favorite stories from their friendship & playing together over the years in the Blues Breakers. Put on a Blues Breakers record today to honor John - & don't miss this conversation, only on The Jay Jay French Connection: Beyond the Music. Produced & Edited by Matthew Mallinger

Número Especial de La Ruleta Rusa que dedicamos a celebrar la memoria musical del gran John Mayall, más de cuatro horas de maravilloso Blues, centradas principalmente en el periodo inicial de Mayall, desde mediados de los 60 con los primeros álbumes junto a los Bluesbreakers y también la parte inicial de la década de los 70, tiempo en el que escribió obras maestras como A Hard Road, Bare Wires, Blues For Laurel Canyon, Empty Rooms, The Turning Point, USA Union o Back To The Roots, por nombrar algunos de sus mejores trabajos. Leer Más La Ruleta Rusa. Entrega 31.2024. Especial John Mayall. at La Ruleta Rusa Radio Rock.

Another entertaining foray into the music world, with this edition diving into the Olympic opening ceremonies, concerts enjoyed and anticipated, anniversaries and passings. Among those featured Celine Dion, Jack White, Conan O'Brien, Jeff Lynne's ELO, John Mayall, 33 Special and many others. Come along for the fun!

 | Artist  | Title  | Album Name  | Album Copyright  | Eric Clapton & Chris Barber et al - John Mayall & The Blues Breakers  | Hideaway  | 70th Birthday Concert  | Eric Clapton & John Mayall & the Bluesbreakers  | Tribute to Elmore  | The Early Years  |   | John Mayall With Buddy Whittington  | Sen-Say-Shun  | Blues From The Lost Days  | Walter Trout  | Mayall's Piano Boogie (Instrumental)  | The Blues Came Callin'  | Blues Breakers  | All Your Love/ Hideaway  | Blues Breakers. John Mayall with Eric Clapton  | John Mayall's Bluesbreakers  | Bye Bye Bird  | Live In 1967 Vol. II  |   | John Mayall & The Blues Breakers And Friends, Mayall, Clapton & Barber  | Please Mr Lofton  | 70th Birthday Concert  | John Mayall & Duster Bennett  | My Babe [John Mayall & Friends, Live At The Palais Des Sport  | Live In France [Disc 1]  | Sonny Terry & Brownie McGhee  | God And Man  | Sonny & Brownie  |   | James Oliver  | Peter Gun  | Less Is More  |   | Stompin' Dave's Rockin' Outfit  | Great Balls Of Fire  | Stompin' Dave's Rockin' Outfit  | John Mayall's Bluesbreakers w Peter Green, John McVie, Mick Fleetwood | Stormy Monday  | Live In 1967 Vol. II  | 

We lost one of the important English Blues figures this past week. This is a tribute to the late John Mayall. He was influential in bringing three prominent guitarists in the public eye. At different points on his band The Bluesbreakers, he featured Eric Clapton, Peter Green and Mick Taylor. They supported Mayall's musical vision of bringing authentic Blues to England, and in doing so, influenced other bands like The Rolling Stones, Cream, Savoy Brown and others. This is a tribute to his legacy.Alvin Lee and Ten Years After are profiled on the second half of this episode. Please have a look at these special interest sites.If you would, please make a donation of love and hope to St. Jude Children's HospitalMake an impact on the lives of St. Jude kids - St. Jude Children's Research Hospital (stjude.org)Get your Vegan Collagen Gummies from Earth & Elle, available thru Amazon at this link.Amazon.com: Earth & Elle Vegan Collagen Gummies - Non-GMO Biotin Gummies, Vitamin A, E, C - Plant Based Collagen Supplements for Healthier Hair, Skin, Nails - 60 Chews of Orange Flavored Gummies, Made in USA : Health & HouseholdKathy Bushnell Website for Emily Muff bandHome | Kathy Bushnell | Em & MooListen to previous shows at the main webpage at:https://www.buzzsprout.com/1329053Pamela Des Barres Home page for books, autographs, clothing and online writing classes.Pamela Des Barres | The Official Website of the Legendary Groupie and Author (pameladesbarresofficial.com)Listen to more music by Laurie Larson at:Home | Shashké Music and Art (laurielarson.net)View the most amazing paintings by Marijke Koger-Dunham (Formally of the 1960's artists collective, "The Fool").Psychedelic, Visionary and Fantasy Art by Marijke Koger (marijkekogerart.com)For unique Candles have a look at Stardust Lady's Etsy shopWhere art and armor become one where gods are by TwistedByStardust (etsy.com)For your astrological chart reading, contact Astrologer Tisch Aitken at:https://www.facebook.com/AstrologerTisch/Tarot card readings by Kalinda available atThe Mythical Muse | FacebookFor booking Children's parties and character parties in the Los Angeles area contact Kalinda Gray at:https://www.facebook.com/wishingwellparties/I'm listed in Feedspot's "Top 10 Psychedelic Podcasts You Must Follow". https://blog.feedspot.com/psychedelic_podcasts/Please feel free to donate or Tip Jar the show at my Venmo account@jessie-DelgadoII

Un premier trailer officiel du biopic, réalisé par James Mangold, sur Bob Dylan, "A Complete Unknown", avec Timothée Chalamet, est sorti aujourd'hui et présente l'acteur chantant "A Hard Rain's Gonna Fall". Bob Dylan donnera un concert à Anvers le 29 octobre, marqué par une politique "sans téléphone", une décision controversée dans le monde artistique. Eric Clapton et Mick Fleetwood ont rendu hommage à John Mayall, pionnier du blues anglais, décédé hier à 90 ans, un hommage spécial à Mayall sera rendu par Walter De Paduwa dans l'émission Dr Boogie ce lundi 29 juillet à 21h. Les Pixies ont annoncé la sortie de leur 10e album produit par Tom Dalgety, "The Night The Zombies Came" , pour le 25 octobre, et ont partagé le nouveau single "Chicken". Mick Fleetwood, co-fondateur de Fleetwood Mac, et le joueur de ukulélé Jake Shimabukuro annoncent la sortie de leur album "Blues Experience" le 18 octobre dont une reprise du classique "Rollin' N Tumblin'" est déjà disponible. Metallica lance une nouvelle exposition en ligne dédiée à leur ancien bassiste Cliff Burton, intitulée "Orion : A Tribute To Cliff Burton", accessible via le musée en ligne de Metallica, "Black Box". Mots-Clés : film, arrivée, New York, 1961, célébrité, collaboré, scénario, Yo-Yo Ma, Bela Fleck, The Flecktones, Jimmy Buffett, Jack Johnson, Bette Midler, Ziggy Marley, Sonny Landreth, Billy Strings, Lukas and Willie Nelson, Warren Haynes, A Whiter Shade of Pale, Procol Harum, Rockin' in the Free World, Neil Young, version, classique, Songbird, Christine McVie, mentor, gratitude, soutien, enseignement musical, impact, formation, Fleetwood Mac, cinématique, carrière, bassiste, Emma Richardson, départ, Paz Lenchantin, tête d'affiche, Ronquières Festival, décontracté, revigorant, énergie, contagieux, photos, archives, interviews, vidéo, lettres personnel, décédé, 1986, accident, bus, remplacé, Jason Newsted, Robert Trujillo. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

In the second hour, Donald Trump claims to be surrounded by all of the best people and we feel that with The Heritage Foundation and their Project 2025 backing him up, he'll have a whole crop of new "the best" to fill those jobs in the next year. People like Laura Loomer, John McEntee and Wisconsin's very own Paul "Kevin" Kovacik. You know...nothing but the best. Then it's time for another edition of Public Cervix Announcement with Dr. Laura Hanks and today we're talking about "Cord Blood Banks" and the pros, as well as the cons of utilizing such a place. To wrap up the show, we remember John Mayall. You might not have heard of him, but you've heard of Clapton and Fleetwood Mac, which is in thanks to Mr. Mayall who died at 90. As always, thank you for listening, texting and calling, we couldn't do this without you! Don't forget to download the free Civic Media app and take us wherever you are in the world! Matenaer On Air is a part of the Civic Media radio network and airs Monday through Friday from 10 am - noon across the state. Subscribe to the podcast to be sure not to miss out on a single episode! You can also rate us on your podcast distribution center of choice, they go a long way! To learn more about the show and all of the programming across the Civic Media network, head over to https://civicmedia.us/shows to see the entire broadcast line up. Follow the show on Facebook, X and YouTube to keep up with Jane and the show!

July 24 2024  Hour 3: Influential musician, Jon Mayall, whose band the Bluesbreakers played leading role in 60s blues revival, died at home in California. Nearly half of all Californians blame the state's gas tax for why California's gasoline prices are so high, with only around a third saying that price gouging is to blame.  The Ray Appleton Show   Weekdays 11-2PM Pacific on News/Talk 580 & 105.9 KMJ  Follow on facebook/  Listen to past episodes at kmjnow.com See omnystudio.com/listener for privacy information.

In this episode I am joined by journalist and labor activist Joe Mayall to take a deep look at and discuss solutions for the current state of American domestic politics. We discuss relevant and important questions such as: Why do conservatives fetishize debate? What is the difference between people like Ben Shapiro that use debate for social media clicks and politicians that use the same strategy to change policy and laws? We also take a trip down history lane to explain how James Madison and the Federalist Papers laid the groundwork for dividing the working class to preserve wealth and power for the elite. Joe breaks down how dividing the working class has become a modern tactic, what can be done about this phenomenon, and why volunteering and human contact is one of the best strategies to stay positive in the midst of challenging times. 

In an astonishing rebirth, the Mayall 4-m telescope has jumped to the forefront of astronomy once again because it is sturdy and precise enough to carry the massive Dark Energy Spectroscopic Instrument which routinely obtains the spectra of 5,000 galaxies simultaneously.

In episode 15, we'll sit down and talk with the two power houses that grind tirelessly behind the camera to pump out the incredible work that Apex Surface Protection is known world-wide for! Brian Spitler, Jr and Brian Mayall are going to hang out with us and discuss detailing and share some of the behind the scenes of working for a social media Dynamo and incredible detailer. Maybe someone gets all the glory, but these two guys are crushing details and have taken their game to the next level with PPF installs!!! Tune in as we dive into the two OTHER Brians' origin stories and well, anything else that comes up! Bring Your Apple Juice and remember there's always a chance to win free stuff! #phoenixeod #detailproducts #PhoenixEOD #ApexSurfaceProtection #ApexAutoDetail #ApexAutoDetailing #detaillife #supportsmallbusiness #smallbusiness #livestream #friendshelpingfreinds #livestreams #Youtube #livestreaming #InThisTogether #autodetailing #details #detailingcars #detailersunite #phoenix #detailingaddicts #detailaddicts #titan #detailsupplies #phoenixeodtitan #Detailingproducts #Curmudgeonscorner #curmudgeonscorner15

The current violence and turmoil in the Middle East is expressive of a conflict between rival ideas, between the modern nation state and an old, historical concept of an Islamic caliphate. Read by Leighton Pugh. Image: Abdel Nasser at a rally after the rupture of relations with Syria. Credit: colaimages / Alamy Stock Photo 

Grammy Nominee, Blues Award Winner, Author, Harp Man Mark Hummel had a banner year in 2014. Grammy Nominated for his Remembering Little Walter CD he produced and performed on, Mark also won Best Blues CD and Best Traditional Blues CD at the Blues Music Awards in Memphis, TN. Mark's The Hustle Is Really On climbed to #2 and stayed in the top five for four months on the Living Blues Radio Charts. Hummel's book "BIG ROAD BLUES:12 Bars on I-80" garnered rave reviews and was nominated for best Independent Book release. Mark Hummel started playing harmonica in 1970 and is considered one of the premier blues harmonica players of his generation. Thanks to over thirty recordings since 1985, including the Grammy nominated 2013 release Blind Pig recording Remembering Little Walter (part of the Blues Harmonica Blowout CD series). Mark Hummel's Blues Harmonica Blowout™ started in 1991 and have featured every major legend (Mayall, Musselwhite, Cotton, etc.) on blues harp as well as almost every player of note on the instrument - a who's who of players. Hummel is a road warrior - a true Blues Survivor. Along the way, he has crafted his own trademark harmonica sound - a subtle combination of tone, phrasing and attack combined with a strong sense of swing. Mark has been with Electro Fi Records since 2000, releasing five CDs. Thanks to Mark's earlier albums, constant touring and appearances at the major blues festivals, he's firmly established his solid reputation around the US and Europe. Born in New Haven, CT but raised in Los Angeles. Mark moved to Berkeley at age 18 to pursue a career in blues music, where he felt the music was taken more seriously. Mark started the Blues Survivors in 1977 with Mississippi Johnny Waters. By 1984 Hummel began a life of non- stop touring of the US, Canada and overseas, which he still continues at least 130-150 days out of each year. Hummel has toured or recorded with blues legends Charles Brown, Charlie Musselwhite, Lowell Fulson, Billy Boy Arnold, Carey Bell, Lazy Lester, Brownie McGhee, Eddie Taylor, Luther Tucker and Jimmy Rogers. www.markhummel.com

From legendary South Korean film director Bong Joon-Ho, Snowpiercer is one of the standouts for dystopian films of the last 20 years. Back on the show are Hugo and Joe Mayall who break down this film where Chris Evans is NOT Captain America. Joe Mayall:  ⁠Link Tree⁠   ⁠Twitter ⁠  ⁠Instagram ⁠ Left of the Projector  Patreon: ⁠⁠https://www.patreon.com/LeftoftheProjectorPod⁠⁠ Letterboxd: ⁠⁠https://boxd.it/5T9O1⁠⁠ Subscribe: ⁠⁠https://leftoftheprojector.com⁠⁠ Instagram: ⁠⁠https://instagram.com/leftoftheprojectorpod⁠⁠ TikTok: ⁠⁠http://tiktok.com/@leftoftheprojectorpod --- Support this podcast: https://podcasters.spotify.com/pod/show/leftoftheprojector/support

Host Junor Francis and producer Eric Kohler talk with veteran British singer, musician, producer, label operator, DJ, promoter, Gaz Mayall, of The Trojans and Gaz's Rockin' Blues Club.

A long lost Rik Mayall live gig audio recording surfaced in Western Australia in January 2024, taken from a Rik & Ben Elton gig on 17 May 1986 in Perth. Podcasto Catflappo got the scoop and is making Dingo Wucker proud by breaking the story and giving you exclusive access to this 45-minute audio treat before it gets released to the world at  RikMayallScrapbook.com You'll also be able to find it at their YouTube channel https://www.youtube.com/@rikmayallscrapbook  Presented with sincere thanks to our anonymous source, plus Lucy at Rik Mayall Scrapbook and the wonderful Mayall family. Enjoy.

Rivka and Frank are joined by author Joe Mayall for a deep (space) conversation about Ridley Scott's 1979 science fiction and horror classic Alien. They explore how the film served as a warning against the erosion of organized labor in the U.S. during the late '70s and early '80s, how the film's intentional choice to foreground the perspective of female and non-white characters, and how the android character of Ash represents the danger of artificial intelligence solely used to maximize profit.

Show #1026 Once More It May All Be Mayall Celebrating John Mayall's 90th birthday this week on November 29. 01. John Mayall - Got To Find A Better Way (5:00) (The Sun Is Shining Down, Forty Below Records, 2022) 02. John Mayall - Don't Hang Me Up (4:14) (Ten Years Are Gone, Polydor Records, 1973) 03. John Mayall - Groupie Girl (3:50) (Back To The Roots, Polydor Records, 1971) 04. John Mayall - Dream About The Blues (5:59) (Chicago Line, Island Records, 1988) 05. John Mayall - One Of The Few (2:42) (The Latest Edition, Polydor Records, 1974) 06. John Mayall - Double Crossing Time (3:03) (Blues Breakers With Eric Clapton, Decca Records, 1966) 07. Eric Clapton - When You Got A Good Friend (3:20) (Me And Mr. Johnson, Reprise Records, 2004) 08. John Mayall - It's Over (2:50) (A Hard Road, Decca Records, 1967) 09. John Mayall - Out Of Reach [1967] (4:40) (A Hard Road (reissue), Decca Records, 2006) 10. Fleetwood Mac - No Place To Go (3:24) (Fleetwood Mac, Blue Horizon Records, 1968) 11. Peter Green - A Fool No More (7:43) (In The Skies, PVK Records, 1979) 12. John Mayall - Long Gone Midnight (3:29) (Blues From Laurel Canyon, Decca Records, 1968) 13. Mick Taylor - Blind Willie McTell (8:33) (A Stone's Throw, Cannonball Records, 2000) 14. John Mayall - Taxman Blues (3:08) (New Year New Band New Company, ABC Records, 1975) 15. John Mayall - Loaded Dice (4:27) (Wake Up Call, Silvertone Records, 1993) 16. Coco Montoya - I Was Wrong (3:49) (Writing On The Wall, Alligator Records, 2023) 17. John Mayall - The Mists Of Time (7:56) (Stories, Eagle Records, 2002) 18. Buddy Whittington - Deadwood And Wire (4:17) (Six String Svengali, Manhaton Records, 2011) 19. John Mayall - So Many Roads (8:47) (Live At Montreux Jazz Festival 2008, YouTube) 20. John Mayall - War We Wage (4:14) (Find A Way To Care, Forty Below Records, 2015) 21. Rocky Athas' Lightning - I Will Love Again (3:35) (Lightning Strikes Twice, Armadillo Records, 2007) 22. John Mayall - That's What Love Will Make You Do (3:54) (Nobody Told Me, Forty Below Records, 2019) 23. John Mayall - Snowy Wood (3:32) (Crusade, Decca Records, 1967) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

British comedian, actor and writer Adrian Edmondson found fame in the 1980s, playing anarchic medical student Vyvyan alongside Rik Mayall in The Young Ones. They also starred together in Bottom and in The Comic Strip Presents, along with Dawn French and Edmondson's wife Jennifer Saunders. Edmondson went on to star in Filthy Rich & Catflap while taking roles in Blackadder, Absolutely Fabulous and even Star Wars: Episode VIII The Last Jedi. His new memoir Berserker! traces his journey through life and comedy, from a Methodist, boarding school upbringing to his loving but complicated relationship with Mayall, who died in 2014.

 | Artist  | Title  | Album Name  | Album Copyright | Elias Bernet Band  | Jumping Jiving Christmas  | Christmas Boogie Celebration | Alice Armstrong  | Speed Dial  | Love , Sex and Death | Howlin' Wolf  | Highway 49 (Alternate Take)  | The London Howlin' Wolf Sessions (Rarities Edition) | Christone Kingfish Ingram  | Been Here Before  | Live In London  |  | Mean Mary (Mary James)  | Cardboard Box  | I'd Rather Be Merry  |  | Sumter Bruton & Michael Price  | I've Got A Contract On You Baby  | Swingmasters Review | Bobby Parker  | South Shore Drive  | Bobby Parker  |  | Walter Trout  | Mayall's Piano Boogie (Instrumental)  | The Blues Came Callin' | Phantom Blues Band  | She's Into Something  | Blues For Breakfast  |  | Rev. Edward W. Clayborn  | I Heard The Angels Sing  | Rev. Edward W. Clayborn – Complete Recorded Works 1926-1928 | Chuck Berry  | Johnny B. Goode  | Chuck Berry  |  | James Oliver  | Peter Gun  | Less Is More  |  | Kenny Wayne Shepherd  | You Can't Love Me  | Dirt On My Diamonds Vol 1 | Lettoman (Finland)  | Ford Model T  | Ford Model T  |  | Emma Wilson  | I'll See You In The Morning  | MEMPHIS CALLING ALBUM

這張仙女座星系 ê 相片，毋若看會著恆星 tī 佗位，嘛看會著欲出世 ê 恆星會出現 tī 佗位。仙女座星系 M31 是一个 捲螺仔星系。伊遮爾大閣遮爾媠，離咱干焦 250 萬 光年 爾爾。這張足心適 ê 仙女座星系相片，是 kā 太空觀測 kah 地面觀測 tī 可見光波段以內 kah 以外 ê 影像，疊做這張--ê。可見光 看著--ê，是 M31 內底 ê 恆星。白色 kah 藍色是 Hubble 太空望遠鏡、Subaru 地面望遠鏡、kah Mayall 地面望遠鏡 ê 影像資料。紅外線 看著--ê，是 M31 內底，連鞭欲出世 ê 新恆星。In 是柑仔色--ê，是 NASA Spitzer 太空望遠鏡 ê 影像資料。紅外線會當追蹤大型 塗粉帶。塗粉帶會去予恆星加溫，伊綴 仙女座星系 ê 捲螺仔手骨咧行。這寡 塗粉 是星系內底 大量星際氣體 ê 追蹤劑。這寡星際氣體，就是未來欲 做新恆星 ê 原始材料。仙女座星系 會 tī 未來 50 億年 ê 時間內，kah 咱 銀河系 合併 做一个星系。Tī 彼進前，這寡新恆星應該會 先做出來，差不多 tī 紲落來幾若億年 ê 時間內。 ——— 這是 NASA Astronomy Picture of the Day ê 台語文 podcast 原文版：https://apod.nasa.gov/ 台文版：https://apod.tw/ 今仔日 ê 文章： https://apod.tw/daily/20231007/ 影像來源：NASA, NSF, NOAJ, Hubble, Subaru, Mayall, DSS, Spitzer 影像處理 kah 版權：Robert Gendler & Russell Croman 音樂：P!SCO - 鼎鼎 聲優：阿錕 翻譯：An-Li Tsai (NSYSU) 原文：https://apod.nasa.gov/apod/ap231007.html Powered by Firstory Hosting

Brown dwarfs are small and dim stars that glow feebly in the infrared and are very difficult to detect. A recently launched citizen science project, Backyard Worlds Cool Neighbors, enlists the public to help identify brown dwarfs from data taken by the NASA Wide Field Infrared Explorer (WISE) satellite. In this podcast, Aaron Meisner talks about this new project and how the public can help find these elusive brown dwarfs.    Bios: Rob Sparks is in the Communications, Education and Engagement group at NSF's NOIRLab in Tucson, Arizona. Aaron Meisner is an astronomer at NSF's NOIRLab in Tucson affiliated with Kitt Peak National Observatory. Aaron works on Kitt Peak's Dark Energy Spectroscopic Instrument (DESI) project, a newly installed spectrograph at the Mayall 4-meter telescope. He specializes in building astronomical maps using large data sets at visible and infrared wavelengths.  These maps are used to search for moving celestial objects, like new neighbors to the Sun and hypothesized planets in the far reaches of our own solar system. To this end, Aaron co-founded the popular Backyard Worlds: Planet 9 citizen science project and the Backyard Worlds: Cool Neighbors project.    Austin Humphreys is a Banneker Key scholar and a rising senior at the University of Maryland, College Park working towards a dual degree in astronomy and physics. Working remotely from Maryland with the Backyard Worlds: Cool Neighbors team, he is an experienced coder having experience in both physics-based and astronomy-based research projects as a part of his undergraduate education, ranging from plasma physics simulations to photometric analysis of planetary nebulae. Prior to his college education, he had the opportunity to be an observational assistant at the Maryland Science Center's Crosby Ramsey Memorial Observatory for three years where he would operate and maintain an 8-inch refractor telescope for the public.   Links:  NOIRLab Stories:  https://noirlab.edu/public/blog/newly-launched-backyard-worlds/ Backyard Worlds: Cool Neighbors Launch Announcement:  https://noirlab.edu/public/announcements/ann23020/  Backyard Worlds: Cool Neighbors:  https://www.zooniverse.org/projects/coolneighbors/backyard-worlds-cool-neighbors Backyard Worlds: Planet 9:  https://www.zooniverse.org/projects/marckuchner/backyard-worlds-planet-9   NOIRLab social media channels can be found at: https://www.facebook.com/NOIRLabAstro https://twitter.com/NOIRLabAstro https://www.instagram.com/noirlabastro/ https://www.youtube.com/noirlabastro   We've added a new way to donate to 365 Days of Astronomy to support editing, hosting, and production costs.  Just visit: https://www.patreon.com/365DaysOfAstronomy and donate as much as you can! Share the podcast with your friends and send the Patreon link to them too!  Every bit helps! Thank you! ------------------------------------ Do go visit http://www.redbubble.com/people/CosmoQuestX/shop for cool Astronomy Cast and CosmoQuest t-shirts, coffee mugs and other awesomeness! http://cosmoquest.org/Donate This show is made possible through your donations.  Thank you! (Haven't donated? It's not too late! Just click!) ------------------------------------ The 365 Days of Astronomy Podcast is produced by the Planetary Science Institute. http://www.psi.edu Visit us on the web at 365DaysOfAstronomy.org or email us at info@365DaysOfAstronomy.org.

We're joined by freelance writer Joe Mayall as we attempt to solve all the problems with transportation in the US, which – big surprise – includes lots of nationalizing big corporations. Main topic at 31:52Email us with tips, stories, and unhinged rants: carsandcomrades@gmail.com //Our social media links etc: www.linktr.ee/CarsAndComrades //Music by King Gizzard & the Lizard Wizard: www.kinggizzardandthelizardwizard.com/polygondwanaland //Links/Sources:JoeWrote.com https://joewrote.substack.com/ //Joe's Twitter https://twitter.com/joemayall //Joe's Instagram https://www.instagram.com/joe_wrote/ //Joe's TikTok https://www.tiktok.com/@joewrote //Turn Leftist podcast with Joe: https://soundcloud.com/turnleftist/077-nationalize-the-airlines-with-joe-mayall //Pics from the car show: https://ibb.co/album/RTVmgj //Nationalize the Airlines https://joewrote.substack.com/p/the-case-for-the-united-states-airline //Nationalize the Railroads https://joewrote.substack.com/p/nationalize-the-railroads //The Intervention podcast on the railroad strike of 1877: https://theinterventionpod.buzzsprout.com/1907479/11905438-whisky-coke-and-steam-engine-smoke-pittsburgh-and-the-great-railroad-strike-of-1877We Need to Outlaw Private Jets: https://joewrote.substack.com/p/we-need-to-outlaw-private-jets //Are Teslas & Electric Cars Really Better for the Environment?https://joewrote.substack.com/p/are-teslas-and-electric-cars-really //Engineering Explained: Are Electric Cars Worse For The Environment? https://youtu.be/6RhtiPefVzM //

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

If you're unaware of what this is, chances are you're not from our fair shores, or you're a cheeky whippersnapper. Don't fret, settle in, and get ready for Gaz & Dange to wax lyrical about this BBC classic and its stars. Plus, all the other cracking stuff like Ask Dangerous, WHWBW and Quotely 90s. Get in touch via our socials or via email TIDRPINBOX@GMAIL.COM

In war, we are, like the Duke of Wellington, still trying to guess what is on the other side of the hill, we just have more tools to help us do so. Read by Leighton Pugh Image: The Left Wing of the British army in Action at the Battle of Waterloo, June 18th 1815. Credit: Historica Graphica Collection/Heritage Images/Getty Images

No hay tipos en la música británica que hayan tenido un peso tan grande como el que tuvo John Mayall en los años sesenta, por sus bluesbrakers pasaron, uno tras otro, guitarristas que acabaron teniendo un impacto enorme en el rock de los años sesenta y setenta.En apenas dos años, los que van desde 1966 a 1968, John Mayall publicó cinco discos enormes, álbumes de un blues poderoso y enérgico. En aquellos discos, Mayall dio la alternativa a una nueva hornada de clavales: un Eric Clapton de 21 años, los chicos de los primeros Fleetwood Mac, con 20 años, y el talentoso Mick Taylor, con 18. Todos brillaron con John y todos lo dejaron poco después por nuevos proyectos.Esta semana dedicamos el Sofá Sonoro a recorrer esta etapa de la carrera de Mayall junto a Ricardo de Querol y Lucía Taboada.Escucha el episodio dedicado a Cream | SPOTIFY | APPLE 

La carrera de John Mayall es increíble, sus primeros discos son parte de la historia del blues británico y por su banda desfilaron algunos de los mejores guitarristas de todos los tiempos a los que Mayall dio la alternativa, pero John tuvo sus propios primeros pasos. Lucía Taboada nos recuerda esos comienzos del bluesman. 

英语新闻｜暖心！小朋友音乐会现场点歌《孤勇者》，视频火了A video of a concertwent viral recently for its sweet and warm interaction between theorchestra and a little audience member.最近，一段音乐会视频在网上疯传，这是一个乐团和一名小观众之间甜蜜而温暖的互动。The orchestra played theme songs composed byJoe Hisaishi, a famous Japanese musician, for cartoons created by MiyazakiHayao, a well-known Japanese cartoonist, whose works constitute fond childhoodmemories for many people.乐团演奏了日本著名音乐家久石让为日本著名漫画家宫崎骏的漫画所创作的主题曲。宫崎骏的作品是许多人美好的童年回忆。For the encore, the clarinetist asked the audiencefor their desired song, and they would play it.在返场曲中，乐团单簧管乐手询问现场观众还想听什么曲目，他们随后会演奏。A child shouted, "Lonely Warrior",a song quite popular recently especially among students for its uplifting lyrics and dynamicmelody. The request elicited good-natured laughs from the audience.一个孩子喊道“孤勇者”，这是一首最近非常流行的歌曲。它振奋人心的歌词和动感的旋律在学生中尤其受到欢迎。小朋友的要求惹得观众纷纷大笑。The clarinetist then played the melodious prelude ofKikujiro's Summer,by Joe Hisaishi—notLonely Warriorlike the child requested. But, soon into the song and with a seamlesstransition, the orchestra bent the melody to Lonely Warrior smoothly. By then, the audience realized the tacticaldesign of the orchestra, and a round of applause was given to encourage thischeeky trick.当单簧管乐手随后吹奏起久石让的杰作之一《菊次郎的夏天》的悠扬序曲时，大家都以为小朋友点歌没有成功。然而过了一会，随着乐手们的默契配合，乐队演奏的旋律“丝滑”地过渡到了《孤勇者》。这时，观众们渐渐反应过来，台下掌声雷动。The clarinetist, Lee Zhenghan, who first played themelody to Lonely Warrior, said that because the concertis related to cartoons, there are often many young audience membersin attendance. To satisfy the tastes of both theadults and children, the orchestra specially prepared some popular songsas a "surprise" to their repertoire.作为最先奏响《孤勇者》旋律的人——单簧管演奏手李政翰介绍，因为这个音乐会和动画相关，现场常常有很多小听众。为了兼顾大小朋友们的心愿，乐团会特地准备一些流行曲目作为“惊喜”融入主题曲目中。He also said thatthey actually prepared many versions of Lonely Warrior, and thetransition from Kikujiro's Summer is only one of them. Although they have rehearsed inadvance, they didn't have the chance to play the song live until they met thischild in Hangzhou.他还表示，《孤勇者》其实准备了很多版本，从《菊次郎的夏天》过渡只是其中一个版本。虽然提前排练过，但直到在杭州偶遇这位小朋友才有机会现场演奏《孤勇者》。Many netizens admired the children's courage and praisedthe band's response. Theyleft comments like, "If you have a dream, say it out loud. Maybeit will come true", and, "Those who were children grew upto realize children's dream now".不少网友对小朋友的做法感到佩服，也为乐队的回应感到暖心。他们留言说:“如果你有梦想，就大声说出来，说不定就会实现”，“以前的小孩子长大了，变成了圆梦人”。What could be more heart-warming than thefulfillment of a child's wish at a concert that evokes childhood memories? Mayall your childhood wishes come true.还有什么比在能唤起童年回忆的音乐会上实现孩子的愿望更温暖人心的呢? 祝你的童年梦想都能成真。编辑：朱迪齐实习生：张婉诗uplifting英[ˌʌpˈlɪftɪŋ]；美[ʌpˈlɪftɪŋ]adj. 令人振奋的elicit英[iˈlɪsɪt]；美[iˈlɪsɪt]v. 引出repertoire英[ˈrepətwɑː(r)]；美[ˈrepərtwɑːr]n. 全部节目

Ashton and BC chat with Big's long-time friend, Dave Mayall, who's the superintendent for Arbuckle Golf Club in Sacramento. Show some love to our partners at Envision Golf in Portland! Practice your golf game on over 200 courses with real-time stats or play a fun round with friends and enjoy drinks & food 365 days out of the year & always at an ideal temperature of 72 degrees. Book now at: https://envisiongolf.com/

Enjoy a haunting conversation with Faust, a haunted mask possessed by an imp of mischief, stories, and games that found time to do art and VTubing, as we discuss their difficult journey through different aspects of art, how a pink cape got them into video games, Chuck Tingle, and so much more! Faust's Link: Twitch: https://www.twitch.tv/FaustTTV Twitter: https://twitter.com/Faust_TTV Professional Twitter: https://twitter.com/ArbiterFabulous Buy Their Books: https://www.amazon.com/A.-J.-Mayall/e/B073YT7B8H?ref_=dbs_p_ebk_r00_abau_000000 Thumbnail done by: Faust This Week's Fanart done by: George Edwards - https://twitter.com/Edwar17art Messed Up At Midnight podcast: https://messedupatmidnight.podbean.com/ Join the new PostModArtPod Discord server: https://discord.com/invite/Uq5ABMGEW6 Join the PMAP Patreon: https://www.patreon.com/pmap Merch shop: https://pmap.creator-spring.com/ Outro Song - "Parts In Motion" - Vera Much Stream her newest EP "Thank U!": https://open.spotify.com/album/3AO61mm8a81osp9FsPpFgv?si=sZ2Pq_aSTbWLzHLwff2Rig Linktree (To find other platforms, socials, etc.): https://linktr.ee/PostModernArtPodcast For business inquiries, contact postmodernartpodcast@gmail.com Showrunners of the podcast are Nathan Ragland and Maria Moreno Maria's Links: Twitter: https://twitter.com/TipsyJHearts Instagram: https://www.instagram.com/tipsyjhearts/ Patreon: https://www.patreon.com/tipsyjhearts Ko-fi: https://ko-fi.com/tipsyjhearts Portfolio: https://tipsyjhearts.wixsite.com/portfolio Go out there and create something amazing!

Lieutenant General (Retired) Sir Simon Mayall KBE, CB Much of General Mayall's 40 year military career has been marked by a focus on the Middle East, and his experience and understanding of the region is long-standing and deep. In 1985, having learned colloquial Arabic, he was seconded to the Sultan's Armed Forces, commanding an Omani tank squadron. He was the Operations Officer for the 1st (UK) Armoured Division in Operation DESERT STORM, the liberation of Kuwait. Before commanding his Regiment, 1st The Queen's Dragoon Guards, he went to Balliol College, and then St Antony's College, Oxford, where he wrote a book on Turkish security policy. He subsequently completed an MA at King's College, where his thesis was on Jihad philosophy and the ‘Civil War' within Islam. He is also an avid student of Crusading history.As Commander of 1st Mechanised Brigade, he was deployed to Kosovo in 2002, and in 2006-2007 he was Deputy Commanding General of the Multi-National Corps (Iraq), based in Baghdad, during the period of the fight against AQ-I, the Sunni ‘Awakening' and the ‘Surge'. The following year he was appointed Assistant Chief of the General Staff and then, in 2009, Deputy Chief of the Defence Staff (Commitments) with policy responsibility for global operations, particularly in Afghanistan. With the election of the Coalition Government of 2010, he was appointed as the first Defence Senior Adviser Middle East (DSAME), responsible for re-energising the UK's security relationships with partners in the Gulf, the Near East and North Africa. This period coincided with the complexities of the ‘Arab Spring', the overthrow of Gaddafi in Libya, the Syrian ‘civil war' and the rise of ‘Islamic State'. In 2014, after the fall of Mosul to ISIS, he became the Prime Minister's Security Envoy to Iraq and the Kurdish Regional Government. He was instrumental in establishing the new Royal Navy base in Bahrain.General Mayall retired from the Army in July 2015, and was appointed Lieutenant of the Tower of London. He is a Senior Adviser with Greenhill, Coutts Bank, and Viaro Energy, and the Director of Sandcrest Consulting. He is a regular contributor on Middle East and Defence and Security issues on television, radio and in the press, and he lectures on related subjects to many academic and business fora. His book, ‘Soldier in the Sand – a Personal History of the Modern Middle East', was published in late 2020. He was knighted in 2014, and has also received the US Legion of Merit for services in Iraq. Hosted on Acast. See acast.com/privacy for more information.

Had some one informed our leaders that our current National Motto,Sayameva Jayate, Truth Alone Triumphs, is from Mundaka Upanishad, it might not have been chosen as our emblem! Such is the attitude to our Motherland, deeply immersed we are ,in western thoughts. What do our Scriptures say about Mother Land  and our duty? Many, on an overdrive to honour Hinduism, quote, ‘“Janani Janma-bhoomi-scha Swargadapi Gariyasi” Translated as “Mother and motherland are superior to Heaven.” It is also reported that this verse appears in the Ramayana in the form of a dialogue between Rama and Lakshmana, and the quote is attributed to Rama(Yudddha Kanda) This is incorrect. The verse's origin is unknown. It may be noted that this verse is the National Motto of Nepal. What do Vedas and the Ithihasas, Ramayana and Mahabharata say on Motherland and Patriotism! The attitude of Sanatana Dharma to world  is, Vasudeva Kudumbakam' The whole world is Vasudeva's(Krishna) Family. The whole world is Vasudeva's(Krishna) Family. Mata ca Parvati Devi Pita Devo Maheswaraha, Baandavaa Siva Bhaktaasca, Swadeso Bhuvana thrayam'(Shankaraccharya) Shiva is my Father, Parvati, my mother, Devotees of Shiva are my relatives, The whole world, the three worlds, is Mine' Tamil, another anient language of India says, Yaadum oore, Yaavarum Kelir' Every land is mine, Every one is my friend' Such being the approach, one does not find any direct reference to Motherland.For Hinduism, even thinking of anything less than the Universe is an aberration. Every thing in the Universe belongs to every one. Hence every one must be Happy. All Shanthi Mantras insist on this  point. ॐ सर्वे भवन्तु सुखिनः सर 81;वे सन्तु निरामयाः । सर्वे भद्राणि पश्यन्तु 50;ा कश्चिद्द 69;ःखभाग्भव& #2375;त् । ॐ शान्तिः शान्तिः शान्तिः ॥ Om Sarve Bhavantu Sukhinah Sarve Santu Nir-Aamayaah | Sarve Bhadraanni Pashyantu Maa Kashcid-Duhkha-Bhaag-Bhavet | Om Shaantih Shaantih Shaantih || Meaning: Om, May All become Happy, 2: May All be Free from Illness. 3: May All See what is Auspicious, 4: May no one Suffer. 5: Om Peace, Peace, Peace. ॐ सर्वेशां स्वस्तिर 81;भवतु । सर्वेशा 06; शान्तिर् 49;वतु । सर्वेशा 06; पुर्णंभव 40;ु । सर्वेशा 06; मङ्गलंभव 40;ु । ॐ शान्तिः शान्तिः शान्तिः ॥ Om Sarveshaam Svastir-Bhavatu | Sarveshaam Shaantir-Bhavatu | Sarveshaam Purnnam-Bhavatu | Sarveshaam Manggalam-Bhavatu | Om Shaantih Shaantih Shaantih || Meaning: 1: May there be Well-Being in All, 2: May there be Peace in All, 3: May there be Fulfilment in All, 4: May there be Auspiciousness in All, 5: Om Peace, Peace, Peace. ॐ शं नो मित्रः शं वरुणः । शं नो भवत्वर्य 50;ा । शं नो इन्द्रो बृहस्पति 07; । शं नो विष्णुरु 52;ुक्रमः । Om Sham No Mitrah Sham Varunnah | Sham No Bhavatv-Aryamaa | Sham No Indro Brhaspatih | Sham No Vissnnur-Urukramah | It is not just land, but state/society is also praised as mother-goddess by the Veda. The mother says “aham rastrii” in the thirdmantra of Vaagaambhrini sukta (mandala 10, sukta 25 of Rigveda). She further says she causes wellbeing and prosperity of the peoples, all actions of men and gods are inspired by her, and she is the purpose of those actions. Moreover, Bharatavarsha covered he entire world. Hindus have the concept of state and society right from remote past. The concept of nation was not prevalent in the world a few centuries ago, except in Bharat. But the sense was not political/ military in nature – it was cultural and spiritual. Actions of every individual affect the society and every change in the society affects individuals. The actions that are inspired by this awareness are beneficial to individuals as well as the society. If that awareness is lacking, then individual interests alone inspire people's actions and individuals' vision becomes narrow. Then, though their actions are apparently beneficial in the short run, in the long run and at a society level their more at https://ramanisblog.in/2015/07/22/hinduism-ved --- Send in a voice message: https://anchor.fm/ramanispodcast/message

Live recording from the mosque of the prophet Mohammed's resting place in the city of Madenah. الحرم النبوي May Allah bless every listener with a visit to this beautiful city and this amazing mosque. May All you Duaa , wishes hopes and goals come true ; to the best of your interests , may you be pleased in this world and the next. Ameen

這毋是風暴中心，毋閣是一个值得紀念 ê 暗暝。昨暝是 武仙座 τ 流星雨上濟彼工，這是一个毋是蓋濟、有當時仔才會出現 ê 流星雨，是 ùi 破去 ê 彗星 73P/Schwassmann-Wachmann 3 號 ê 彗星屑仔來--ê。今年 ê 計算 kā 咱講，地球會行過 彗星殘骸 特別厚 ê 所在，按呢就會 tī 武仙座 ê 方向產生 足光 ê 流星西北雨。毋閣實際上咱看著--ê，無算是流星西北雨，干焦是 一般 ê 流星雨。這張相片是 kā 5 月 30 半暝 tī 美國 Arizona 州 ê Kitt Peak 國家天文台 翕--ê 超過 2.5 點鐘久 ê 影像合做一張--ê。Tī 彼陣有翕著 19 粒武仙座 τ 流星，kah 4 粒其他 ê 流星。毋閣你敢有法度揣著 in？前景較倚頭前彼个是 直徑 2.3 公尺闊 ê Bok 望遠鏡，tī 伊後壁彼个 是 直徑 4 公尺闊 ê Mayall 望遠鏡。武仙座 τ 流星雨逐年攏有。毋閣明年，伊應該會閣變轉去原本 較低流星率 ê 時期。伊後一擺閣變轉來活跳期 ê 暗暝，應該愛等到 2049 年矣。 ——— 這是 NASA Astronomy Picture of the Day ê 台語文 podcast 原文版：https://apod.nasa.gov/ 台文版：https://apod.tw/ 今仔日 ê 文章： https://apod.tw/daily/20220601/ 影像：Jianwei Lyu (Steward Obs., U. Arizona) 音樂：P!SCO - 鼎鼎 聲優：阿錕 翻譯：An-Li Tsai (NCU) 原文：https://apod.nasa.gov/apod/ap220601.html Powered by Firstory Hosting

這張仙女座星系 ê 相片，毋若看會著恆星 tī 佗位，嘛看會著欲出世 ê 恆星會出現 tī 佗位。仙女座星系 M31 是一个 捲螺仔星系。伊遮爾大閣遮爾媠，離咱干焦 250 萬 光年 爾爾。這張足心適 ê 仙女座星系相片，是 kā 太空觀測 kah 地面觀測 tī 可見光波段以內 kah 以外 ê 影像，疊做這張--ê。可見光 看著--ê，是 M31 內底 ê 恆星。白色 kah 藍色是 Hubble 太空望遠鏡、Subaru 地面望遠鏡、kah Mayall 地面望遠鏡 ê 影像資料。紅外線 看著--ê，是 M31 內底，連鞭欲出世 ê 新恆星。In 是柑仔色--ê，是 NASA Spitzer 太空望遠鏡 ê 影像資料。紅外線會當追蹤大型 塗粉帶。塗粉帶會去予恆星加溫，伊綴 仙女座星系 ê 捲螺仔手骨咧行。這寡 塗粉 是星系內底 大量星際氣體 ê 追蹤劑。這寡星際氣體，就是未來欲 做新恆星 ê 原始材料。仙女座星系 會 tī 未來 50 億年 ê 時間內，kah 咱 銀河系 合併 做一个星系。Tī 彼進前，這寡新恆星應該會 先做出來，差不多 tī 紲落來幾若億年 ê 時間內。 ——— 這是 NASA Astronomy Picture of the Day ê 台語文 podcast 原文版：https://apod.nasa.gov/ 台文版：https://apod.tw/ 今仔日 ê 文章： https://apod.tw/daily/20220523/ 影像來源：NASA, NSF, NOAJ, Hubble, Subaru, Mayall, DSS, Spitzer 影像處理 kah 版權：Robert Gendler & Russell Croman 音樂：P!SCO - 鼎鼎 聲優：阿錕 翻譯：An-Li Tsai (NCU) 原文：https://apod.nasa.gov/apod/ap220523.html Powered by Firstory Hosting

This week we talked with Joe Mayall from joewrote.com about nationalizing the airline industry. https://joewrote.substack.com/p/the-case-for-the-united-states-airline Find this and Joe's other writing at joewrote.substack.com JUST RESTOCKED ALL SIZES of our "Reagan is Satan" official Turn Leftist Podcast shirts! Available at: https://www.turn-leftist-podcast.myshopify.com Become a Patreon! https://www.patreon.com/turnleftist Listen now and follow us on social media! Linktree (with links to shirts & Discord): https://www.linktr.ee/turnleftist For an extended version of this episode as well as extra episodes, become a patron of the Turn Leftist podcast at patreon.com/turnleftist for as little as $1/month patreon.com/turnleftist 100% of contributions are used to fund our producer: People's Commissar For Production instagram.com/pcfproduction pcfproduction1312@gmail.com Sterling: twitter.com/turnleftistpod Ward: instagram.com/millennialleftist and twitter.com/wardlawley Jaron: instagram.com/jarondagan Cosper: patreon.com/existence_is_innocent Mike: instagram.com/turnleftist.v5

Eclipse season is around the corner and about to rock the proverbial boat! As you may know already, eclipses are said to give us a nudge in the direction of our destiny, so that's why eclipse season is generally such a memorable time of the year. On 30 April there is a solar eclipse in Taurus in the sky conjunct Uranus, and on 15 - 16 May a lunar eclipse in Scorpio squaring Saturn. Timestamps for each sign: 00:00:00 Intro 00:27:37 Aries Solar Eclipse 30 April 00:29:55 Taurus Solar Eclipse 30 April 00:31:37 Gemini Solar Eclipse 30 April 00:33:50 Cancer Solar Eclipse 30 April 00:35:15 Leo Solar Eclipse 30 April 00:36:56 Virgo Solar Eclipse 30 April 00:38:28 Libra Solar Eclipse 30 April 00:39:59 Scorpio Solar Eclipse 30 April 00:41:19 Sagittarius Solar Eclipse 30 April 00:42:52 Capricorn Solar Eclipse 30 April 00:44:45 Aquarius Solar Eclipse 30 April 00:46:20 Pisces Solar Eclipse 30 April 00:48:24 15 - 16 May Lunar Eclipse in Scorpio intro 00:59:05 Aries Lunar Eclipse 15 - 16 May 01:01:01 Taurus Lunar Eclipse 15 - 16 May 01:03:38 Gemini Lunar Eclipse 15 - 16 May 01:05:59 Cancer Lunar Eclipse 15 - 16 May 01:08:33 Leo Lunar Eclipse 15 - 16 May 01:10:30 Virgo Lunar Eclipse 15 - 16 May 01:12:53 Libra Lunar Eclipse 15 - 16 May 01:14:17 Scorpio Lunar Eclipse 15 - 16 May 01:16:19 Sagittarius Lunar Eclipse 15 - 16 May 01:18:29 Capricorn Lunar Eclipse 15 - 16 May 01:20:05 Aquarius Lunar Eclipse 15 - 16 May 01:22:38 Pisces Lunar Eclipse 15 - 16 May All episodes on this podcast follow Western Tropical astrology. Interested in a personalised forecast for the year ahead or an in-depth natal chart reading to shed light on opportunities and challenging areas in your life? Contact me to book a reading: https://writteninthestars-astrology.com/ You can also follow me on Instagram @ruxunbelievable.

M31 仙女座星系 是咱用目睭 to̍h 看會著上遠 ê 天體。伊離咱有 2 百 50 萬 光年 遠，是一个大細 超過 20 萬光年闊 ê 大捲螺仔。雖罔講這个 tī 仙女座 內底 ê 仙女座星雲有淡薄仔暗，咱猶是會當直接用目睭 to̍h 看著。這張媠甲擋袂牢 ê 望遠鏡影像 是 kā 踅地球 leh 行 ê 哈伯太空望遠鏡 kah 地面望遠鏡 Subaru kah Mayall ê 影像資料疊做一張 ê。影像 ê 對比足明顯 ê，有黃色 ê 核心、暗色彎曲 ê 塗粉帶、伸長 ê 捲螺仔手骨、kah 手骨面頂 ê 藍色星團 kah 紅色星雲。閣 50 億年，仙女座星系可能 to̍h 會 看較清楚 矣。到時陣咱規个天頂會攏是伊，因為伊 to̍h 欲 kah 咱 銀河系 合 做一个矣。 ——— 這是 NASA Astronomy Picture of the Day ê 台語文 podcast 原文版：https://apod.nasa.gov/ 台文版：https://apod.tw/ 今仔日 ê 文章： https://apod.tw/daily/20220119/ 影像：影像提供：Subaru (NAOJ), Hubble (NASA/ESA), Mayall (NSF); 資料處理 kah 版權：R. Gendler & R. Croman 音樂：P!SCO - 鼎鼎 聲優：阿錕 翻譯：An-Li Tsai (NCU) 原文：https://apod.nasa.gov/apod/ap220119.html Powered by Firstory Hosting

Episode 126 of A History of Rock Music in Five Hundred Songs looks at “For Your Love", the Yardbirds, and the beginnings of heavy rock and the guitar hero.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "A Lover's Concerto" by the Toys. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've created a Mixcloud playlist, with full versions of all the songs excerpted in this episode. The Yardbirds have one of the most mishandled catalogues of all the sixties groups, possibly the most mishandled. Their recordings with Giorgio Gomelsky, Simon Napier-Bell and Mickie Most are all owned by different people, and all get compiled separately, usually with poor-quality live recordings, demos, and other odds and sods to fill up a CD's running time. The only actual authoritative compilation is the long out-of-print Ultimate! . Information came from a variety of sources. Most of the general Yardbirds information came from The Yardbirds by Alan Clayson and Heart Full of Soul: Keith Relf of the Yardbirds by David French. Simon Napier-Bell's You Don't Have to Say You Love Me is one of the most entertaining books about the sixties music scene, and contains several anecdotes about his time working with the Yardbirds, some of which may even be true. Some information about Immediate Records came from Immediate Records by Simon Spence, which I'll be using more in future episodes. Information about Clapton came from Motherless Child by Paul Scott, while information on Jeff Beck came from Hot Wired Guitar: The Life of Jeff Beck by Martin Power. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to take a look at the early career of the band that, more than any other band, was responsible for the position of lead guitarist becoming as prestigious as that of lead singer. We're going to look at how a blues band launched the careers of several of the most successful guitarists of all time, and also one of the most successful pop songwriters of the sixties and seventies. We're going to look at "For Your Love" by the Yardbirds: [Excerpt: The Yardbirds, "For Your Love"] The roots of the Yardbirds lie in a group of schoolfriends in Richmond, a leafy suburb of London. Keith Relf, Laurie Gane, Paul Samwell-Smith and Jim McCarty were art-school kids who were obsessed with Sonny Terry and Jimmy Reed, and who would hang around the burgeoning London R&B scene, going to see the Rolling Stones and Alexis Korner in Twickenham and at Eel Pie Island, and starting up their own blues band, the Metropolis Blues Quartet. However, Gane soon left the group to go off to university, and he was replaced by two younger guitarists, Top Topham and Chris Dreja, with Samwell-Smith moving from guitar to bass. As they were no longer a quartet, they renamed themselves the Yardbirds, after a term Relf had found on the back of an album cover, meaning a tramp or hobo. The newly-named Yardbirds quickly developed their own unique style -- their repertoire was the same mix of Howlin' Wolf, Bo Diddley, Jimmy Reed and Chuck Berry as every other band on the London scene, but they included long extended improvisatory  instrumental sequences with Relf's harmonica playing off Topham's lead guitar. The group developed a way of extending songs, which they described as a “rave-up” and would become the signature of their live act – in the middle of a song they would go into a long instrumental solo in double-time, taking the song twice as fast and improvising heavily, before dropping back to the original tempo to finish the song off. These “rave-up” sections would often be much longer than the main song, and were a chance for everyone to show off their instrumental skills, with Topham and Relf trading phrases on guitar and harmonica. They were mentored by Cyril Davies, who gave them the interval spots at some of his shows -- and then one day asked them to fill in for him in a gig he couldn't make -- a residency at a club in Harrow, where the Yardbirds went down so well that they were asked to permanently take over the residency from Davies, much to his disgust. But the group's big break came when the Rolling Stones signed with Andrew Oldham, leaving Giorgio Gomelsky with no band to play the Crawdaddy Club every Sunday. Gomelsky was out of the country at his father's funeral when the Stones quit on him, and so it was up to Gomelsky's assistant Hamish Grimes to find a replacement. Grimes looked at the R&B scene and the choice came down to two bands -- the Yardbirds and Them. Grimes said it was a toss-up, but he eventually went for the Yardbirds, who eagerly agreed. When Gomelsky got back, the group were packing audiences in at the Crawdaddy and doing even better than the Stones had been. Soon Gomelsky wanted to become the Yardbirds' manager and turn the group into full-time musicians, but there was a problem -- the new school term was starting, Top Topham was only fifteen, and his parents didn't want him to quit school. Topham had to leave the group. Luckily, there was someone waiting in the wings. Eric Clapton was well known on the local scene as someone who was quite good on guitar, and he and Topham had played together for a long time as an informal duo, so he knew the parts -- and he was also acquainted with Dreja. Everyone on the London blues scene knew everyone else, although the thing that stuck in most of the Yardbirds' minds about Clapton was the time he'd seen the Metropolis Blues Quartet play and gone up to Samwell-Smith and said "Could you do me a favour?" When Samwell-Smith had nodded his assent, Clapton had said "Don't play any more guitar solos". Clapton was someone who worshipped the romantic image of the Delta bluesman, solitary and rootless, without friends or companions, surviving only on his wits and weighed down by troubles, and he would imagine himself that way as he took guitar lessons from Dave Brock, later of Hawkwind, or as he hung out with Top Topham and Chris Dreja in Richmond on weekends, complaining about the burdens he had to bear, such as the expensive electric guitar his grandmother had bought him not being as good as he'd hoped. Clapton had hung around with Topham and Dreja, but they'd never been really close, and he hadn't been considered for a spot in the Yardbirds when the group had formed. Instead he had joined the Roosters with Tom McGuinness, who had introduced Clapton to the music of Freddie King, especially a B-side called "I Love the Woman", which showed Clapton for the first time how the guitar could be more than just an accompaniment to vocals, but a featured instrument in its own right: [Excerpt: Freddie King, "I Love the Woman"] The Roosters had been blues purists, dedicated to a scholarly attitude to American Black music and contemptuous of pop music -- when Clapton met the Beatles for the first time, when they came along to an early Rolling Stones gig Clapton was also at, he had thought of them as "a bunch of wankers" and despised them as sellouts. After the Roosters had broken up, Clapton and McGuinness had joined the gimmicky Merseybeat group Casey Jones and his Engineers, who had a band uniform of black suits and cardboard Confederate army caps, before leaving that as well. McGuinness had gone on to join Manfred Mann, and Clapton was left without a group, until the Yardbirds called on him. The new lineup quickly gelled as musicians -- though the band did become frustrated with one quirk of Clapton's. He liked to bend strings, and so he used very light gauge strings on his guitar, which often broke, meaning that a big chunk of time would be taken up each show with Clapton restringing his guitar, while the audience gave a slow hand clap -- leading to his nickname, "Slowhand" Clap-ton. Two months after Clapton joined the group, Gomelsky got them to back Sonny Boy Williamson II on a UK tour, recording a show at the Crawdaddy Club which was released as a live album three years later: [Excerpt: The Yardbirds and Sonny Boy Williamson II, "Twenty-three Hours Too Long"] Williamson and the Yardbirds didn't get along though, either as people or as musicians. Williamson's birth name was Rice Miller, and he'd originally taken the name "Sonny Boy Williamson" to cash in on the fame of another musician who used that name, though he'd gone on to much greater success than the original, who'd died not long after the former Miller started using the name. Clapton, wanting to show off, had gone up to Williamson when they were introduced and said "Isn't your real name Rice Miller?" Williamson had pulled a knife on Clapton, and his relationship with the group didn't get much better from that point on. The group were annoyed that Williamson was drunk on stage and would call out songs they hadn't rehearsed, while Williamson later summed up his view of the Yardbirds to Robbie Robertson, saying "Those English boys want to play the blues so bad -- and they play the blues *so bad*!" Shortly after this, the group cut some demos on their own, which were used to get them a deal with Columbia, a subsidiary of EMI. Their first single was a version of Billy Boy Arnold's "I Wish You Would": [Excerpt: The Yardbirds, "I Wish You Would"] This was as pure R&B as a British group would get at this point, but Clapton was unhappy with the record -- partly because hearing the group in the studio made him realise how comparatively thin they sounded as players, and partly just because he was worried that even going into a recording studio at all was selling out and not something that any of the Delta bluesmen whose records he loved would do. He was happier with the group's first album, a live recording called Five Live Yardbirds that captured the sound of the group at the Marquee Club. The repertoire on that album was precisely the same as any of the other British R&B bands of the time -- songs by Howlin' Wolf, Bo Diddley, Chuck Berry, John Lee Hooker, Slim Harpo, Sonny Boy Williamson and the Isley Brothers -- but they were often heavily extended versions, with a lot of interplay between Samwell-Smith's bass, Clapton's guitar, and Relf's harmonica, like their five-and-a-half-minute version of Howlin' Wolf's "Smokestack Lightning": [Excerpt: The Yardbirds, "Smokestack Lightning"] "I Wish You Would" made number twenty-six on the NME chart, but it didn't make the Record Retailer chart which is the basis of modern chart compilations. The group were just about to go into the studio to cut their second single, a version of "Good Morning Little Schoolgirl", when Keith Relf collapsed. Relf had severe asthma and was also a heavy smoker, and his lung collapsed and he had to be hospitalised for several weeks, and it looked for a while as if he might never be able to sing or play harmonica again. In his absence, various friends and hangers-on from the R&B scene deputised for him -- Ronnie Wood has recalled being at a gig and the audience being asked "Can anyone play harmonica?", leading to Wood getting on stage with them, and other people who played a gig or two, or sometimes just a song or two, with them include Mick Jagger, Brian Jones, and Rod Stewart. Stewart was apparently a big fan, and would keep trying to get on stage with them -- according to Keith Relf's wife, "Rod Stewart would be sitting in the backroom begging to go on—‘Oh give us a turn, give us a turn.'” Luckily, Relf's lung was successfully reinflated, and he returned to singing, harmonica playing... and smoking. In the early months back with the group, he would sometimes have to pull out his inhaler in the middle of a word to be able to continue singing, and he would start seeing stars on stage. Relf's health would never be good, but he was able to carry on performing, and the future of the group was secured. What wasn't secure was the group's relationship with their guitarist. While Relf and Dreja had for a time shared a flat with Eric Clapton, he was becoming increasingly distant from the other members. Partly this was because Relf felt somewhat jealous of the fact that the audiences seemed more impressed with the group's guitarist than with him, the lead singer; partly it was because Giorgio Gomelsky had made Paul Samwell-Smith the group's musical director, and Clapton had never got on with Samwell-Smith and distrusted his musical instincts; but mostly it was just that the rest of the group found Clapton rather petty, cold, and humourless, and never felt any real connection to him. Their records still weren't selling, but they were popular enough on the local scene that they were invited to be one of the support acts for the Beatles' run of Christmas shows at the end of 1964, and hung out with the group backstage. Paul McCartney played them a new song he was working on, which didn't have lyrics yet, but which would soon become "Yesterday", but it was another song they heard that would change the group's career. A music publisher named Ronnie Beck turned up backstage with a demo he wanted the Beatles to hear. Obviously, the Beatles weren't interested in hearing any demos -- they were writing so many hits they were giving half of them away to other artists, why would they need someone else's song? But the Yardbirds were looking for a hit, and after listening to the demo, Samwell-Smith was convinced that a hit was what this demo was. The demo was by a Manchester-based songwriter named Graham Gouldman. Gouldman had started his career in a group called the Whirlwinds, who had released one single -- a version of Buddy Holly's "Look at Me" backed with a song called "Baby Not Like You", written by Gouldman's friend Lol Creme: [Excerpt: The Whirlwinds, "Baby Not Like You"] The Whirlwinds had split up by this point, and Gouldman was in the process of forming a new band, the Mockingbirds, which included drummer Kevin Godley. The song on the demo had been intended as the Mockingbirds' first single, but their label had decided instead to go with "That's How (It's Gonna Stay)": [Excerpt: The Mockingbirds, "That's How (It's Gonna Stay)"] So the song, "For Your Love", was free, and Samwell-Smith was insistent -- this was going to be the group's first big hit. The record was a total departure from their blues sound. Gouldman's version had been backed by bongos and acoustic guitar, and Samwell-Smith decided that he would keep the bongo part, and add, not the normal rock band instruments, but harpsichord and bowed double bass: [Excerpt: The Yardbirds, "For Your Love"] The only part of the song where the group's normal electric instrumentation is used is the brief middle-eight, which feels nothing like the rest of the record: [Excerpt: The Yardbirds, "For Your Love"] But on the rest of the record, none of the Yardbirds other than Jim McCarty play -- the verses have Relf on vocals, McCarty on drums, Brian Auger on harpsichord, Ron Prentice on double bass and Denny Piercy on bongos, with Samwell-Smith in the control room producing. Clapton and Dreja only played on the middle eight. The record went to number three, and became the group's first real hit, and it led to an odd experience for Gouldman, as the Mockingbirds were by this time employed as the warm-up act on the BBC's Top of the Pops, which was recorded in Manchester, so Gouldman got to see mobs of excited fans applauding the Yardbirds for performing a song he'd written, while he was completely ignored. Most of the group were excited about their newfound success, but Clapton was not happy. He hadn't signed up to be a member of a pop group -- he wanted to be in a blues band. He made his displeasure about playing on material like "For Your Love"  very clear, and right after the recording session he resigned from the group. He was convinced that they would be nothing without him -- after all, wasn't he the undisputed star of the group? -- and he immediately found work with a group that was more suited to his talents, John Mayall's Bluesbreakers. The Bluesbreakers at this point consisted of Mayall on keyboards and vocals, Clapton on guitar, John McVie on bass, and Hughie Flint on drums. For their first single with this lineup, they signed a one-record deal with Immediate Records, a new independent label started by the Rolling Stones' manager Andrew Oldham. That single was produced by Immediate's young staff producer, the session guitarist Jimmy Page: [Excerpt: John Mayall and the Bluesbreakers, "I'm Your Witch Doctor"] The Bluesbreakers had something of a fluid lineup -- shortly after that recording, Clapton left the group to join another group, and was replaced by a guitarist named Peter Green. Then Clapton came back, for the recording of what became known as the "Beano album", because Clapton was in a mood when they took the cover photo, and so read the children's comic the Beano rather than looking at the camera: [Excerpt: John Mayall's Bluesbreakers, "Bernard Jenkins"] Shortly after that, Mayall fired John McVie, who was replaced by Jack Bruce, formerly of the Graham Bond Organisation, but then Bruce left to join Manfred Mann and McVie was rehired. While Clapton was in the Bluesbreakers, he gained a reputation for being the best guitarist in London -- a popular graffito at the time was "Clapton is God" -- and he was at first convinced that without him the Yardbirds would soon collapse. But Clapton had enough self-awareness to know that even though he was very good, there were a handful of guitarists in London who were better than him. One he always acknowledged was Albert Lee, who at the time was playing in Chris Farlowe's backing band but would later become known as arguably the greatest country guitarist of his generation. But another was the man that the Yardbirds got in to replace him. The Yardbirds had originally asked Jimmy Page if he wanted to join the group, and he'd briefly been tempted, but he'd decided that his talents were better used in the studio, especially since he'd just been given the staff job at Immediate. Instead he recommended his friend Jeff Beck. The two had known each other since their teens, and had grown up playing guitar together, and sharing influences as they delved deeper into music. While both men admired the same blues musicians that Clapton did, people like Hubert Sumlin and Buddy Guy, they both had much more eclectic tastes than Clapton -- both loved rockabilly, and admired Scotty Moore and James Burton, and Beck was a huge devotee of Cliff Gallup, the original guitarist from Gene Vincent's Blue Caps. Beck also loved Les Paul and the jazz guitarist Barney Kessel, while Page was trying to incorporate some of the musical ideas of the sitar player Ravi Shankar into his playing. While Page was primarily a session player, Beck was a gigging musician, playing with a group called the Tridents, but as Page rapidly became one of the two first-call session guitarists along with Big Jim Sullivan, he would often recommend his friend for sessions he couldn't make, leading to Beck playing on records like "Dracula's Daughter", which Joe Meek produced for Screaming Lord Sutch and the Savages: [Excerpt: Screaming Lord Sutch and the Savages, "Dracula's Daughter"] While Clapton had a very straightforward tone, Beck was already experimenting with the few effects that were available at the time, like echoes and fuzztone. While there would always be arguments about who was the first to use feedback as a controlled musical sound, Beck is one of those who often gets the credit, and Keith Relf would describe Beck's guitar playing as being almost musique concrete. You can hear the difference on the group's next single. "Heart Full of Soul" was again written by Gouldman, and was originally recorded with a sitar, which would have made it one of the first pop singles to use the instrument. However, they decided to replace the sitar part with Beck playing the same Indian-sounding riff on a heavily-distorted guitar: [Excerpt: The Yardbirds, "Heart Full of Soul"] That made number two in the UK and the top ten in the US, and suddenly the world had a new guitar god, one who was doing things on records that nobody else had been doing. The group's next single was a double A-side, a third song written by Gouldman, "Evil Hearted You", coupled with an original by the group, "Still I'm Sad". Neither track was quite up to the standard of their previous couple of singles, but it still went to number three on the charts. From this point on, the group stopped using Gouldman's songs as singles, preferring to write their own material, but Gouldman had already started providing hits for other groups like the Hollies, for whom he wrote songs like “Bus Stop”: [Excerpt: The Hollies, “Bus Stop”] His group The Mockingbirds had also signed to Immediate Records, who put out their classic pop-psych single “You Stole My Love”: [Excerpt: The Mockingbirds, “You Stole My Love”] We will hear more of Gouldman later. In the Yardbirds, meanwhile, the pressure was starting to tell on Keith. He was a deeply introverted person who didn't have the temperament for stardom, and he was uncomfortable with being recognised on the street. It also didn't help that his dad was also the band's driver and tour manager, which meant he always ended up feeling somewhat inhibited, and he started drinking heavily to try to lose some of those inhibitions. Shortly after the recording of "Evil Hearted You", the group went on their first American tour, though on some dates they were unable to play as Gomelsky had messed up their work permits -- one of several things about Gomelsky's management of the group that irritated them. But they were surprised to find that they were much bigger in the US than in the UK. While the group had only released singles, EPs, and the one live album in the UK, and would only ever put out one UK studio album, they'd recorded enough that they'd already had an album out in the US, a compilation of singles, B-sides, and even a couple of demos, and that had been picked up on by almost every garage band in the country. On one of the US gigs, their opening act, a teenage group called the Spiders, were in trouble. They'd learned every song on that Yardbirds album, and their entire set was made up of covers of that material. They'd gone down well supporting every other major band that came to town, but they had a problem when it came to the Yardbirds. Their singer described what happened next: "We thought about it and we said, 'Look, we're paying tribute to them—let's just do our set.' And so, we opened for the Yardbirds and did all of their songs. We could see them in the back and they were smiling and giving us the thumbs up. And then they got up and just blew us off the stage—because they were the Yardbirds! And we just stood there going, 'Oh…. That's how it's done.' The Yardbirds were one of the best live bands I ever heard and we learned a lot that night." That band, and later that lead singer, both later changed their name to Alice Cooper. The trip to the US also saw a couple of recording sessions. Gomelsky had been annoyed at the bad drum sound the group had got in UK studios, and had loved Sam Phillips' drum sound on the old Sun records, so had decided to get in touch with Phillips and ask him to produce the group. He hadn't had a reply, but the group turned up at Phillips' new studio anyway, knowing that he lived in a flat above the studio. Phillips wasn't in, but eventually turned up at midnight, after a fishing trip, drunk. He wasn't interested in producing some group of British kids, but Gomelsky waved six hundred dollars at him, and he agreed. He produced two tracks for the group. One of those, "Mr. You're a Better Man Than I", was written by Mike Hugg of Manfred Mann and his brother: [Excerpt: The Yardbirds, "Mister, You're a Better Man Than I"] The backing track there was produced by Phillips, but the lead vocal was redone in New York, as Relf was also drunk and wasn't singing well -- something Phillips pointed out, and which devastated Relf, who had grown up on records Phillips produced. Phillips' dismissal of Relf also grated on Beck -- even though Beck wasn't close to Relf, as the two competed for prominence on stage while the rest of the band kept to the backline, Beck had enormous respect for Relf's talents as a frontman, and thought Phillips horribly unprofessional for his dismissive attitude, though the other Yardbirds had happier memories of the session, not least because Phillips caught their live sound better than anyone had. You can hear Relf's drunken incompetence on the other track they recorded at the session, their version of "Train Kept A-Rollin'", the song we covered way back in episode forty-four. Rearranged by Samwell-Smith and Beck, the Yardbirds' version built on the Johnny Burnette recording and turned it into one of the hardest rock tracks ever recorded to that point -- but Relf's drunk, sloppy, vocal was caught on the backing track. He later recut the vocal more competently, with Roy Halee engineering in New York, but the combination of the two vocals gives the track an unusual feel which inspired many future garage bands: [Excerpt: The Yardbirds, "Train Kept A-Rollin'"] On that first US tour, they also recorded a version of Bo Diddley's "I'm a Man" at Chess Studios, where Diddley had recorded his original. Only a few weeks after the end of that tour they were back for a second tour, in support of their second US album, and they returned to Chess to record what many consider their finest original. "Shapes of Things" had been inspired by the bass part on Dave Brubeck's "Pick Up Sticks": [Excerpt: Dave Brubeck Quartet, "Pick Up Sticks"] Samwell-Smith and McCarty had written the music for the song, Relf and Samwell-Smith added lyrics, and Beck experimented with feedback, leading to one of the first psychedelic records to become a big hit, making number three in the UK and number eleven in the US: [Excerpt: The Yardbirds, "Shapes of Things"] That would be the group's last record with Giorgio Gomelsky as credited producer -- although Samwell-Smith had been doing all the actual production work -- as the group were becoming increasingly annoyed at Gomelsky's ideas for promoting them, which included things like making them record songs in Italian so they could take part in an Italian song contest. Gomelsky was also working them so hard that Beck ended up being hospitalised with what has been variously described as meningitis and exhaustion. By the time he was out of the hospital, Gomelsky was fired. His replacement as manager and co-producer was Simon Napier-Bell, a young dilettante and scenester who was best known for co-writing the English language lyrics for Dusty Springfield's "You Don't Have to Say You Love Me": [Excerpt: Dusty Springfield, "You Don't Have to Say You Love Me"] The way Napier-Bell tells the story -- and Napier-Bell is an amusing raconteur, and his volumes of autobiography are enjoyable reads, but one gets the feeling that he will not tell the truth if a lie seems more entertaining -- is that the group chose him because of his promotion of a record he'd produced for a duo called Diane Ferraz and Nicky Scott: [Excerpt: Diane Ferraz and Nicky Scott, "Me and You"] According to Napier-Bell, both Ferraz and Scott were lovers of his, who were causing him problems, and he decided to get rid of the problem by making them both pop stars. As Ferraz was Black and Scott white, Napier-Bell sent photos of them to every DJ and producer in the country, and then when they weren't booked on TV shows or playlisted on the radio, he would accuse the DJs and producers of racism and threaten to go to the newspapers about it. As a result, they ended up on almost every TV show and getting regular radio exposure, though it wasn't enough to make the record a hit. The Yardbirds had been impressed by how much publicity Ferraz and Scott had got, and asked Napier-Bell to manage them. He immediately set about renegotiating their record contract and getting them a twenty-thousand-pound advance -- a fortune in the sixties. He also moved forward with a plan Gomelsky had had of the group putting out solo records, though only Relf ended up doing so. Relf's first solo single was a baroque pop song, "Mr. Zero", written by Bob Lind, who had been a one-hit wonder with "Elusive Butterfly", and produced by Samwell-Smith: [Excerpt: Keith Relf, "Mr. Zero"] Beck, meanwhile, recorded a solo instrumental, intended for his first solo single but not released until nearly a year later.  "Beck's Bolero" has Jimmy Page as its credited writer, though Beck claims to be a co-writer, and features Beck and Page on guitars, session pianist Nicky Hopkins, and Keith Moon of the Who on drums. John Entwistle of the Who was meant to play bass, but when he didn't show to the session, Page's friend, session bass player John Paul Jones, was called up: [Excerpt: Jeff Beck, "Beck's Bolero"] The five players were so happy with that recording that they briefly discussed forming a group together, with Moon saying of the idea "That will go down like a lead zeppelin". They all agreed that it wouldn't work and carried on with their respective careers. The group's next single was their first to come from a studio album -- their only UK studio album, variously known as Yardbirds or Roger the Engineer. "Over Under Sideways Down" was largely written in the studio and is credited to all five group members, though Napier-Bell has suggested he came up with the chorus lyrics: [Excerpt: The Yardbirds, "Over Under Sideways Down"] That became the group's fifth top ten single in a row, but it would be their last, because they were about to lose the man who, more than anyone else, had been responsible for their musical direction. The group had been booked to play an upper-class black-tie event, and Relf had turned up drunk. They played three sets, and for the first, Relf started to get freaked out by the fact that the audience were just standing there, not dancing, and started blowing raspberries at them. He got more drunk in the interval, and in the second set he spent an entire song just screaming at the audience that they could copulate with themselves, using a word I'm not allowed to use without this podcast losing its clean rating. They got him offstage and played the rest of the set just doing instrumentals. For the third set, Relf was even more drunk. He came onstage and immediately fell backwards into the drum kit. Only one person in the audience was at all impressed -- Beck's friend Jimmy Page had come along to see the show, and had thought it great anarchic fun. He went backstage to tell them so, and found Samwell-Smith in the middle of quitting the group, having finally had enough. Page, who had turned down the offer to join the group two years earlier, was getting bored of just being a session player and decided that being a pop star seemed more fun. He immediately volunteered himself as the group's new bass player, and we'll see how that played out in a future episode...