Podcast appearances and mentions of Memphis blues

George Siu is a pal and the co-founder of Memphis Blues BBQ House. They now have 6 locations.  3 in Vancouver and 3 in Alberta. They serve top-of-the-line BBQ...beautifully cooked.  George and Park Hefflefinger started the first location after heading to Memphis and spending much time studying the process and tricks of the trade.  The Memphis style is to slow cook in a pit. Either dry or wet ribs. Dry has a rub with salt, spices before cooking - no sauce.  Wet are brushed with sauce before during and after cooking.   I had a number of things I wanted to ask George...   Has any of the Buy Canada affected your business? - It is called Memphis Blues after all. You have a wall of American bourbon. What's happened to it? Have you made any moves to serve Canadian craft distilleries?  Beer, Cider? Are the tariffs having an effect? How different are the wine and drink choices between BC and Alberta? What pairs well with smoky BBQ?   It's not just a Q&A session. With George Siu it's always a trading of stories. Some are actually true.   www.memphisbluesbbq.com

4/4/25 Clipps & Drew react to the Grizzlies firing head coach Taylor Jenkins right before the playoffs and discuss Ja Morant's future with the team.  The boys analyze the Warriors win over the Lakers behind great games from Steph Curry and Brandin Podziemski & Clipps explains why Ivica Zubac deserves an award this season. Clipps & Drew give an update on the Eastern Conference as both  Damian Lillard and Jalen Bruson hope to return from injuries in time for the playoffs. Check out www.clippsndrew.com and join our mailing list!

Blues Disciples interviews Ms. Augusta Palmer on her film "The Blues Society," exploring the Memphis Blues Festivals' legacy and rare 1969 footage. Blues Disciples City: Maplewood Address: 1858 Springfield Ave Website: https://www.bluesdisciples.org Phone: +1 908 510 9539 Email: jamie@bluesdisciples.org

Elvis Presley, Johnny Cash, Jerry Lee Lewis und …? Wer war doch gleich der vierte Musiker im legendären Million Dollar Quartet, das 1956 eine Jam Session in den Sun Studios in Memphis veranstaltete? Carl Perkins! An dieser Frage scheiden sich die Geister im Podcast von Südstaaten-Kennerin Julia Ueding und Moderator Holger Jacobs. Ansonsten sind sich beide einig: Memphis ist ein Mekka für Musikfans mit der Blues-Meile Beale Street, dem Elvis-Domizil Graceland, den Sun- und Stax-Studios und vielem mehr. In der Metropole im Westen Tennessees lässt sich auch spannend die bewegende afroamerikanische Geschichte von der Sklaverei bis zur Bürgerrechtsbewegung erkunden. Und natürlich hat Ueding eine Menge Insider-Tipps auf Lager – zum Barbecue als kulinarisches Highlight, zum Edge Motor Museum, zum Stadtviertel Midtown mit dem angesagten Overton Square und wie man Memphis in eine Südstaaten-Reise einbaut. Neugierig geworden? Dann reinhören in den aktuellen Podcast von Meine Reise USA – alle zwei Wochen neu!

Two + hours of ComedyFirst a look at this day in History.Then The Bob Hope Show, originally broadcast April 6, 1948, 76 years ago with guest Dinah Shore. The program originates from Laguna Beach, on behalf of the Laguna Beach Youth Fund. Dinah Shore sings, "The Memphis Blues." Bob and guest Dinah do a skit about the song, "Two Sleepy People." Followed by The Magnificent Montague starring Monty Wooley, originally broadcast April 6, 1951, 73 years ago, Gambling. Montague takes on a local gambling ring. Then The Jack Benny Show, originally broadcast April 6, 1952, 72 years ago, Jack opens his Swimming Pool.  Jack opens his swimming pool, and then visits the dentist.  Followed by The CBS Radio Workshop, originally broadcast April 6, 1956, 68 years ago, Speaking of Cinderella starring Vincent Price and Lurene Tuttle.  A fun look at the old story told the conventional way, and then a modern "Madison Avenue" style version. Finally Claudia, originally broadcast April 6, 1948, 76 years ago, Opening the Safe.  Claudia straightens up the office. Thanks to Richard for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamIf you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old time radio shows 24 hours a day. 

    An unusual second set setlist and an unusual guest highlight this week's Deadpod from February 12, 1989 in Los Angeles.  Following an opening 'Iko, Iko', Bob breaks out 'Monkey and the Engineer' for the final time, although it sounds a bit different than in the past due to Bob's different timing of the verses. 'Alabama Getaway' follows, another unusual second set choice, then again, 'Dire Wolf', if with a bit of a ragged chorus.A nice version of 'Cassidy' follows, then 'Stuck Inside of Mobile With the Memphis Blues Again' - with Dylan adding some vocals when Bobby 'forgets' in the middle of the song..  An interesting 'Other One' follows post-drums, with a Kodo drummer adding some intensity, but it is a bit shorter than usual.. 'Stella Blue' follows and flows into a set closing 'Foolish Heart'. A nice double encore follows, with Dylan taking the vocals for 'Knockin' On Heaven's Door'..   Grateful Dead Great Western Forum Inglewood, CA 2/12/1989 - Sunday Two     Iko Iko** ; Monkey And The Engineer** ; Alabama Getaway** ; Dire Wolf** ; Cassidy** ; Stuck Inside Of Mobile With The Memphis Blues Again** ; Drums > Space > The Other One*** > Stella Blue > Foolish Heart Encore     Not Fade Away** ; Knockin' On Heaven's Door** * with Spencer Davis ** with Bob Dylan (guitar,vocals on Memphis Blues, Heaven's Door; guitar only on the others) *** with Kodo drummer   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod020924.mp3  Thank you for your kind support. 

The Queens of the Blues podcast celebrates the prolific female blues music from the early 1920's to present times. This show, entitled “North Memphis Blues” is entirely about city inspired songs.#memphisminnie #mistyblues #ettajames #shemekiacopeland #janisjoplin #bonnieraitt #tracychapman #bethhart

Jill and TJ joined Wake Up Memphis to talk about their new show coming this Saturday 10-11 Central Time!See omnystudio.com/listener for privacy information.

New year, new podcast episode? Matt and Austin break down Iowa State's disappointing loss in the Liberty Bowl, the defensive struggles, and the brilliant play of Rocco Becht. There's also some talk about how much bowl results matter of course. And finally, Big 12 basketball has finally arrived and we're all ready to feel something about the men's team.

Nous allons ouvrir un gros dossier :  "Crossroad blues ». Cet épisode va nous permettre de parler du morceau mythique et fondateur « Crossroad» ou crossroad blues et l'histoire des début discographique du blues, De Cream le premier supergroupe de l'histoire du rock, et pour finir  du mythe de Robert Johnson et du ramassis de conneries qui l'accompagnent. Cet épisode sera donc en 3 parties…. PLAYLIST The Bonzo Dog Band, "Can Blue Men Sing the Whites ?" "One O' Them Things" The Victor Military Band, "Memphis Blues" Ciro's Club Coon Orchestra, "St. Louis Blues" Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues", Mamie Smith, "Crazy Blues" Ma Rainey, "See See Rider Blues" Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer" Reese DuPree, "Norfolk Blues" Papa Charlie Jackson, "Airy Man Blues" Blind Blake, "Southern Rag" Blind Lemon Jefferson, "Got the Blues" Big Bill Broonzy, "The Glory of Love" Son House, Mississippi County Farm Blues" Skip James, "Twenty-Two Twenty Blues" Skip James, "Hard Time Killing Floor Blues" Charlie Patton, "Poor Me" The Mississippi Sheiks, "Sitting on Top of the World" Tommy Johnson, "Big Road Blues" The Staple Singers, "Will The Circle Be Unbroken" Robert Johnson, "Crossroads" Willie Brown, "M&O Blues" Howlin' Wolf, "Smokestack Lightnin' Charlie Patton, "34 Blues" John Mayall and the Bluesbreakers, "It Ain't Right" Alexis Korner et Davey Graham, "3/4 AD" John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)" Blues Incorporated, "Hoochie Coochie Man (BBC session)" " At the Jazz Band Ball" The Don Rendell Quintet, "Manumission" Duffy Power, "I Saw Her Standing There" The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)" The Graham Bond Organisation, "Long Tall Shorty" Duffy Power, "Parchman Farm" Bande Annonce : Gonks Go Beat !

In the single year of 1925, Tin Pan Alley composer Ray Henderson wrote three — count ‘em, THREE — classics in the great American songbook: “Bye Bye Blackbird,” “Has Anybody Seen My Girl?” (“…Five foot two, eyes of blues…”) and “I'm Sitting on Top of the World.” Then in the next year, maybe just to show that he hadn't shot his wad, Ray wrote one of his most memorable tunes — “Birth of the Blues” — with catchy lyrics by Buddy DeSylva and Lew Brown.First the Song, Then the MovieThe song made the rounds — recorded in its debut year by Paul Whiteman and his orchestra, used in Broadway revues — but its real claim to fame came 15 years later when it was used as the title song of one of America's beloved pre-World War II musicals.Released exactly one month before the bombing of Pearl Harbor, Birth of the Blues was a joyous tribute to the roots of jazz in turn-of-the-century New Orleans. Its story is loosely based on the adventures of The Original Dixieland Jass Band.A rollicking vehicle for Bing Crosby and Mary Martin, the film was nominated for an Oscar for Best Original Score, though most of the songs were not really new at all. Besides “Birth of the Blues,” the soundtrack included “St. Louis Blues,” “Georgia Camp Meeting,” “St. James Infirmary,” “Tiger Rag,” “Memphis Blues” and “Shine.”Genuine JazzAnd what a soundtrack it was! It featured many memorable minutes of music by trombonist Jack Teagarden and his orchestra, often with Bing at the mike, belting out the lyrics.The film was praised by the critics as a feel-good holiday treat in those first tremulous months of America's entry into the war. In The New York Times, Bosley Crowther didn't love the script, “but,” he added, “as a series of illustrated jam sessions and nifty presentations of songs and jokes, it is as pleasant an hour-and-a-half killer as the musically inclined could wish.”“Obviously,” he added, “this little picture is not the ultimate saga of early jazz. But it begins to perceive the possibilities. As the 'cats' say, it takes more than it leaves."A Schertzinger LegacyIncidentally, director Victor Schertzinger — who had been making movies since 1917 — also was a musician and a notable composer. He is hailed in jazz circles for his 1940s compositions of “Tangerine” and “I Remember You,” both of which were included in the final Schertzinger film, The Fleet's In.Schertzinger died at 53 from a heart attack in October 1941, less than two weeks before the release of his Birth of the Blues.Our Take on the Tune“Birth of the Blues” is one of a number of new tunes in our repertoire that we've got prepared for our latest gig at Sal's Speakeasy in Ashland, Ky., tomorrow night.Come out and party with us. We play from 6 to 9.Here's a take on the tune from a recent rehearsal in which you'll hear Jack and Charlie laying down the rhythm, leaving plenty of room for solos by Danny, Sam and Randy.Meanwhile….If you'd like more songs of this stripe, be sure to tune into the free Swing Channel on our music streaming service, Radio Floodango. Click here to give it a spin! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

 | Misty Blue  | Dink's Blues (feat. Gina Coleman)  | Tell Me Who You Are-A Live Tribute To Odetta | Jan James  | Love Is the Answer  | Time Bomb  |   |  | Tyzack & Tortora  | Easy Money  | The Burnham Session  |  | J.J. Cale  | River Runs Deep  | Naturally  |   |   |  | Kyla Brox  | When We're Alone  | Live at Konitz Castle  |   |  | Johnny Maddox  | Memphis Blues  |  Dixieland Blues  |   |  | David Egan  | Blues How They Linger  | David Egan  |   |  | Kenny Wayne Shepherd  | Saturday Night's Alright For Fighting  | Dirt On My Diamonds Vol 1  |  | Charles -Cow Cow- Davenport  | Hobson City Stomp  | Complete Recorded Works, Vol. 2  (1929-1945) | Mike Stevens  | Ida Red  | Breathe in the World Breathe Out Music | Two Gospel Keys  | I Want My Crown  | Country Gospel 1946-1953  | Document Records  |  | Jerry Lee Lewis  | Chantilly Lace  | A Whole Lotta... Jerry Lee Lewis (CD3) | Elias T Hoth  | Long Live Rock'N Roll  | O Rhesus Negative  |   |  | Johnny Winter  | Long Tall Sally (With Leslie West)  | Step Back  |   |   | 

The tour bus delivers our travelers for two days in historic Memphis, Tennessee. The National Civil Rights Museum rests on the site of the Lorraine Motel, where Dr. Martin Luther King lost his life to an assassin's bullet while standing on the balcony with his trusted friends, Jesse Jackson, Ralph Abernathy, and Andrew Young. The Museum is housed in a comprehensive series of buildings that outlines the history of Slavery from 1619 to the present day. Exhibits feature the story of resistance and the champions of the Civil Rights Movement. Our tour explores the I AM A MAN Memorial Park and the Sanitation Worker's Strike of 1968 that brought Dr. King to Memphis. Then, we move on to the Burkle House, commonly known as the Slave Haven, a stop on the Underground Railroad. STAX RECORDS in Memphis launched American soul music, celebrated in the STAX Museum where careers were launched including Otis Redding, Isaac Hayes, the Staple Singers, Booker T. & the M.G.'s, and many others. Spoken word artist Rev. Jesse Jackson and comedians Moms Mabley and Richard Pryor got their start in the STAX studios. We end this edition of TRUTH QUEST on Beale Street, the home of B.B. King, Ida B. Wells, and The Memphis Blues. The grand boulevard became the inspiration for James Baldwin's fifth novel If Beale Street Could Talk. SHOW NOTESIn this episode, we happily introduce Sasha Lunginbuhl.Meet our contributors.Listen to the entire series - TRUTH QUEST: Exploring the History of Race in America - in their own words.Support the show

It's Friday! Andy and Brendan close out the week with a meandering mess of an episode. There's anger, amusement, and multiple technical issues with one mic too loud and another's airpods malfunctioning. They start with a happy birthday for a special young listener but then get to less happy matters: a gray, gloomy, soggy, humid preferred lies start to the Playoffs in Memphis. This brings up another playoffs venue chat, and some unintended shots at a great American city, but not golf course. They discuss Jay Monahan's press session, the pressure to get a deal done by the end of the year, and the ongoing employee drama back at HQ. Then they get to the published excerpt of Billy Walters's book on Phil Mickelson and his extreme gambling habit, as well as the revelation that he wanted to bet on a Ryder Cup he was in. What are the next questions, if any, that should come from this apparent uncontrollable urge to wager that Phil once had? Lastly, they close with SGS Golf Advice on a horrible first date taking place on the course, and how that may be the best place to draw out the red flags in a potential mate.

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 --

KB rants about why so many NFL front offices are about to lose their jobs, checking in on the NBA playoffs and the loss of a friend 0:20 -Boze not heading Austin in June 2:00 - NFL Draft  3:30 - what dallas cowboys need  6:05 - Last time 4 qbs have been drafted and excelled 10:04 - Chicago Bears draft options and 100+ wins  11:00 - NBA Best Player Poll 12:25 - Bruised tailbone 13:58 - Bozeman Mutual warned you 15:15 - Draymond suspension 19:45 - NBA consipracy? 20:40 - Donald Sterling Curse 21:25 - Memphis Blues 25:05 - Box scores don't lie / Hawks looking rough 28:35 - We lost a great one, Rest easy Darryl Lenox

0:00 Intro 0:59 Bruce serves up his opening tip discussing Luka's recent injury & the opportunity for Kyrie 2:28 World B gives his thoughts on Steven Adams & how that absence has hurt the Grizzlies 4:15 Ross touches on KD's much anticipated Suns home debut or lack thereof 5:27 The crew dives deeper into Wednesday night's news of Kevin Durant's injury 15:37 The Memphis Blues: Grizzles continue to stumble 23:51 The crew discuss the latest conflicts between NBA players & NBA referees  34:01 We announce the 48 Minutes All-NBA Reserve Starting Lineup! 50:00 Best Bets! Ross shares his Top 5 players for First Basket Bets 52:10 Bruces shares his final thought on Jim Boeheim's retirement 54:15 World B gives his final thought on the recent news on Lonzo Ball 56:24 Ross uses his final thought to vent about his fantasy team this year 58:46 Bruces shares the exciting news about our next guest on the show

Discussing the recent issue with the Memphis police departmenrt. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/walter-rooks/message

John Yoo assumes the host chair for this week's episode, and despite declaring this week to be a Ukraine-Free Zone, Lucretia still manages to get in a sequel to some of last week's discussion threads. But the main event for the first third of this episode is reviewing the dreadful events in Memphis last week, though John has to go a stretch to reach the Dylanesque heights of “Memphis Blues Again”... Source

John Yoo assumes the host chair for this week’s episode, and despite declaring this week to be a Ukraine-Free Zone, Lucretia still manages to get in a sequel to some of last week’s discussion threads. But the main event for the first third of this episode is reviewing the dreadful events in Memphis last week, though John has to go a stretch to reach the Dylanesque heights of “Memphis Blues Again”... Source

Shane & Drew recap and break down the Spurs game, give their Top 2/Bottom 2, and cover This Day in Spurs History on this episode of Spur of the Moment. #gsg #sanantonio #spurs #nba #basketball #podcast #memphis #grizzlies

Two Harrys to start us off. Parry- Trust and Parry and James with Memphis Blues. Henry Allen and his Orchestra- Dinah Lou. Allen was one of the major trumpeters of the Swing era and played with King Oliver, Fletcher Henderson, Coleman Hawkins and Louis Armstrong. Count Basie and his Kansas City seven- Lester Leaps in. Lester Young being the Lester. The group released six versions of the song between 1939- 1948. Sidney Bechet and his New Orleans Feetwarmers- Stormy Jones, Mugsy Spanier and his Ragtime Band- That Da, Da Strain. Robert Earl- If you love me. A popular tenor in the 1950s. His son, also Robert Earl ,is the founder of Planet Holywood restaurants. Orcestration is by Wally Stott. Musical director of Philips Records at the time.  Stott was an arranger, composer and conductor. Worked with Shirley Bassey, Noel Coward, Dusty Springfield and Scott Walker, amongst others. As well as composing Film and T.V scores- from Watership Down to the music for the TV series Dallas. In 1970 Stott undertook gender reassignment surgery and lived the rest of her life as Angela Morely. She went on to have highly succesful career in the US. Amazing story and life. Perfect for Forgotten Songs. The luck of the Irish next, Jack Daly- When the poppies bloom again. He ran out of luck I'm afraid. Could only take about a minute of his warbling! Much beter is- Sydney MacEwan and She moved through the fair. MacEwan was an ordained priest born in Glasgow in 1908. He started his recording career in 1934 and work extensively on the BBC. He did many world tours. Very popular in his day.  A favourite from George Formby- In a little Wigan Garden. We finish with the very dark Miss Otis regrets from Jay Wilbur and Elizabethan Serenade, from the Ron Goodwin Orchestra. Goodwin was a profilific film composer- Where Eagles Dare, 633 Squadron and the theme to the Margaret Rutherford Miss Marple film. Later used in 'Kill Bill'.

The Oklahoman's Joe Mussatto and Michael Martin are back with some more Thunder coverage just in time for the weekend. Today the Thunder Buddies breakdown the Thunder's loss to the Memphis Grizzlies on Wednesday night, then talk about Joe's latest article for the Oklahoman on Shai Gilgeous-Alexander's rise to superstardom, a short preview of Saturday's game where OKC travels to Cleveland to face the Cavs and finally a discussion about the Thunder potentially following along in the Cavaliers rebuild blueprint.Host: Michael Martin Analyst: Joe Mussatto Producer: Michael Martin

A big thank you came our way from Jennifer with Easter Seals Drop zone. We helped raise $248,000 in BC. And over $64,000 in Kelowna alone. Taylor Swift is the first artist in the 64-year history of the Billboard Hot 100 songs chart to dominate the entire top 10. B Mack and Kelsey are discussing becoming potentially, a large chocolate bars Halloween house… or goodie bags! Lindsay Lohan is coming back to the Big Screen, on a Netflix holiday movie. We talked most popular tattoos and Karly ACTUALLY considering getting one! But her idea is pretty amazing… Pizza is the most ordered food on Halloween! We spoke with Zoe who is a mom of a student at Studio 9 School of the Arts, as B Mack is djying their 10 year anniversary Saturday at Vibrant Vines, with food from Memphis Blues. And we revisit the penis butter silliness…

The tour bus delivers our travelers for two days in historic Memphis, Tennessee. The National Civil Rights Museum rests on the site of the Lorraine Motel, where Dr. Martin Luther King lost his life to an assassin's bullet while standing on the balcony with his trusted friends, Jesse Jackson, Ralph Abernathy, and Andrew Young. The Museum is housed in a comprehensive series of buildings that outlines the history of Slavery from 1619 to the present day. Exhibits feature the story of resistance and the champions of the Civil Rights Movement. Our tour explores the I AM A MAN Memorial Park and the Sanitation Worker's Strike of 1968 that brought Dr. King to Memphis. Then, we move on to the Burkle House, commonly known as the Slave Haven, a stop on the Underground Railroad. STAX RECORDS in Memphis launched American soul music, celebrated in the STAX Museum where careers were launched including Otis Redding, Isaac Hayes, the Staple Singers, Booker T. & the M.G.'s, and many others. Spoken word artist Rev. Jesse Jackson and comedians Moms Mabley and Richard Pryor got their start in the STAX studios. We end this edition of TRUTH QUEST on Beale Street, the home of B.B. King, Ida B. Wells, and The Memphis Blues. The grand boulevard became the inspiration for James Baldwin's fifth novel If Beale Street Could Talk. SHOW NOTESIn this episode, we happily introduce Sasha Lunginbuhl.Support the show

www.iconsandoutlaws.com    Cynthia Ann Stephanie Lauper Thornton was born June 22, 1953, in Brooklyn, New York City, right here in the U.S., to Catholic parents, Fred and Catrine. Her mother was from Sicily. She has two siblings, a younger brother Fred (nicknamed Butch), and an older sister, Ellen. Her parents divorced when she was five.   Her earliest childhood days were spent in Brooklyn, but when she was about four years old, the family moved to Ozone Park, Queens, where she lived in a railroad-style apartment through her teenage years. Growing up, Lauper felt like an outcast. She grew up listening to such artists as The Beatles and Judy Garland. Then, at only 12 years old, she began writing songs and playing an acoustic guitar that she got from her sister.   Cyndi was primarily raised by her mother, who worked as a waitress to support the family. Mom loved the arts and frequently took Cyndi and her siblings to Manhattan to see Shakespeare plays or visit art museums. However, Cyndi did not do particularly well in school. She was reportedly kicked out of several parochial schools in her youth. Raised in the Roman Catholic faith, Cyndi Lauper recounted in Boze Hadleigh's "Inside the Hollywood Closet" the time a nun attacked her after catching a nine-year-old Lauper scratching a friend's back: "A nun ran in, ripped me off her back, threw me against the lockers, beat the s**t out of me, and called me a lesbian."   As many kids do, she expressed herself with various hair colors and eccentric clothing. She took a friend's advice to spell her name as "Cyndi" rather than "Cindy." Unfortunately, her" unusual" sense of style led to classmates bullying her and even throwing stones at her.   Lauper went to Richmond Hill High School, where she was expelled but later earned her GED. In her book, Cyndi revealed that after her stepfather threatened to sexually assault her and her sister and then secretly watched her take a bath, she left home for good. Cyndi left Home at 17 to escape her creepy ass stepfather, intending to study art. Her journey took her to Canada, where she spent two weeks in the woods with her dog Sparkle, trying to find herself. She eventually traveled to Vermont, taking art classes at Johnson State College and supporting herself by working odd jobs. Money was sparse, so she waitressed, served as an office assistant, and even sang in a Japanese restaurant for a time. At one point, her boyfriend at the time hunted and shot a squirrel, which she cooked up and ate. Lauper also faced an unplanned pregnancy, which she wanted, but her boyfriend did not. So, Lauper terminated the pregnancy.   "Nobody wants to run in and do that," She later told HuffPost. "It's just that I didn't want to have a kid that I love come into the world and not be able to share the kid with a dad." During this period, Cyndi got around by hitchhiking. Unfortunately, she put herself into close quarters with some potentially crappy individuals, such as the man who gave her a ride and forced her to perform a sexual act on him. "I just wanted to be able to live through it, get to the other side of it." On another occasion, she was assaulted by a bandmate and two accomplices.   Sometimes, it all understandably got too overwhelming for Lauper. "A lot of times I couldn't take it anymore, so I just lay in bed all the time," Lauper wrote. "When I really couldn't deal with anything, I used to get the shakes, just complete anxiety attacks." In 2019, Lauper gave the commencement address at Northern Vermont University-Johnson, the academic institution that now includes Johnson State. At this event, NVU awarded her the honorary degree of Doctor of Letters.   In the early 1970s, Cyndi performed as a vocalist with several different cover bands. One of those bands, Doc West, covered disco songs and Janis Joplin. A later band, Flyer, was active in the New York metropolitan area, singing songs by bands including Bad Company, Jefferson Airplane, and Logan's favorite, Led Zeppelin. Although She was performing on stage and loving that part, she was not happy singing covers. One night, while singing a cover of Kiki Dee's "I've Got the Music in Me" in 1974, her voice gave out. But it came back shortly after, and Lauper continued to sing in cover bands and a Janis Joplin tribute act. Then, in 1977, Cyndi's pipes said no more. Her voice disappeared again, and doctors discovered that she'd suffered a collapsed vocal cord.   Recommended by her temporary replacement in the Joplin cover band, Lauper sought the help of vocal coach Katie Agresta. She helped heal Cyndi and provided her with the tools and techniques to prevent it from happening again. Agresta also helped her realize that she was singing the wrong music entirely, discovering that she was more suited to pop, not hard rock. As Lauper wrote in her memoir, "[I realized] what I was aching for — to sing my own songs, in my own voice, in my own style, that I made up myself." In 1978, Lauper met saxophone player John Turi through her manager Ted Rosenblatt. Turi and Lauper formed a band named Blue Angel, Combining a New Wave look with a '60s throwback sound, and recorded a demo tape of original music. Steve Massarsky, manager of The Allman Brothers Band, heard the tape and liked Lauper's voice. He bought Blue Angel's contract for $5,000 and became their manager. "The playing was bad. There was something interesting about the singer's voice, but that was all," he later told Rolling Stone. Massarky set up a few major label showcases, but they all thought the same thing; the band wasn't great, but the singer was something special. Lauper received recording offers as a solo artist but held out, wanting the band to be included in any deal she made. She even turned down the chance to record a song by herself for the soundtrack to the MeatLoaf movie Roadie, produced by legendary disco song crafter Giorgio Moroder, the founder of the former Musicland Studios in Munich, Germany. Blue Angel was eventually signed by Polydor Records and released a self-titled album on the label in 1980. Lauper hated the artwork, saying it made her look like Big Bird. Still, Rolling Stone magazine later included it as one of the 100 best new wave album covers (2003). Despite critical acclaim, the album sold poorly ("It went lead," as Lauper later joked), and the band broke up. The members of Blue Angel had a falling-out with Massarsky and fired him as their manager. He later filed an $80,000 suit against them, which forced Cyndi into bankruptcy. She then temporarily lost her voice due to an inverted cyst in her vocal cord.   After Blue Angel broke up, Cyndi worked in retail stores, waitressing at IHOP (which she quit after being demoted to the hostess when the manager sexually harassed her), and singing in local clubs. Her most frequent gigs were at El Sombrero, which sounds like they have amazing chimichangas. Music critics who saw Her perform with Blue Angel believed she had star potential due to her four-octave singing range, which was not an easy feat. Then, in 1981, while singing in a local New York bar, Cyndi met David Wolff. He took over as her manager and had her sign a recording contract with Portrait Records, a subsidiary of Epic Records. On October 14, 1983, Cyndi released her first solo album,"  She's So Unusual." The album became a worldwide hit, peaking at No. 4 in the U.S. and reaching the top five in eight other countries. She became extremely popular with teenagers and critics, partly due to her hybrid punk image, which was crafted by stylist Patrick Lucas.   Lauper co-wrote four songs on She's So Unusual, including the hits "Time After Time" and "She Bop." On the songs she did not write, Lauper sometimes changed the lyrics. Such is the case with "Girls Just Want to Have Fun," originally written and recorded by Robert Hazard, which you can find on YouTube, and it's pretty awesome. She found the original lyrics misogynistic, so she rewrote the song as an anthem for young women.    The album includes five cover songs, including The Brains' new wave track "Money Changes Everything" (No. 27 on the Billboard Hot 100) and Prince's "When You Were Mine." The album made Cyndi Lauper the first female artist to have four consecutive Billboard Hot 100 top five hits from one album. The L.P. has stayed in the Top 200 charts for over 65 weeks and sold 16 million copies worldwide.   Cyndi won Best New Artist at the 1985 Grammy Awards. She's So Unusual also received nominations for Album of the Year, Record of the Year, Best Female Pop Vocal Performance (for "Girls Just Want to Have Fun"), and Song of the Year (for "Time After Time"). She wore almost a pound of necklaces at her award ceremony. It also won the Grammy for Best Album Package, which went to the art director, Janet Perr.   The video for "Girls Just Want to Have Fun" won the inaugural award for Best Female Video at the 1984 MTV Video Music Awards, making Cyndi an MTV staple. The video featured professional wrestling manager "Captain" Lou Albano as Lauper's father and her real-life mother, Catrine, as her mother, and also featured her attorney, her manager, her brother Butch, and her dog Sparkle. She was a huge wrestling fan. In 1984–85, Cyndi appeared on the covers of Rolling Stone magazine, Time, and Newsweek. In addition, she appeared twice on the cover of People and was named a Ms. magazine Woman of the Year in 1985.   In 1985, she participated in "USA for Africa's" famine-relief fund-raising single "We Are the World," which has sold more than 20 million copies since then.   At the Grammys in 1985, She appeared with another professional wrestler, a Mr. Terry" Hulk" Hogan, who played her "bodyguard." "'The Grammy means a lot to me,' said Cyndi (in the arms of Hulk Hogan) after winning Best New Artist, 'Because I never thought I would amount to anything. I always wanted to make art.'" She would later make many appearances as herself in a number of the World Wrestling Federation's "Rock 'n' Wrestling Connection" events and played Wendi Richter's manager in the very first WrestleMania event. Dave Wolff, Lauper's boyfriend and manager at the time, was a wrestling fan as a boy and helped set up the rock and wrestling connection.   In 1985, Cyndi released the single "The Goonies' R' Good Enough," from the soundtrack to the movie The Goonies and an accompanying video that featured several wrestling stars. The song reached number 10 on the Billboard Hot 100 chart.   She then received two nominations at the 1986 Grammy Awards: Best Female Rock Vocal Performance for "What a Thrill" and Best Long Form Music Video for Cyndi Lauper in Paris.   Cyndi released her second album, "True Colors," in 1986. It entered the Billboard 200 at No. 42 and has sold roughly 7 million copies.   In 1986, She appeared on the Billy Joel album The Bridge, with a song called "Code of Silence." She is credited with having written the lyrics with Joel, and she sings a duet with him. In the same year, Cyndi also sang the theme song for Pee-wee's Playhouse, credited as "Ellen Shaw." In 1987, David Wolff produced a concert film called Cyndi Lauper in Paris. The concert was broadcast on HBO.   Cyndi made her film debut in August 1988 in the comedy Vibes, alongside a nobody named Jeff Goldblum, Peter Falk, and Julian Sands. She played a psychic in search of a city of gold in South America. To prepare for the role, Cyndi took a few finger-waving and hair-setting classes at the Robert Fiancé School of Beauty in New York and studied with a few Manhattan psychics. The film flopped and was poorly received by critics but would later be considered a cult classic.   Cyndi then contributed a track called "Hole in My Heart (All the Way to China)" for the Vibes soundtrack, but the song was not included. Instead, a high-energy, comic action/adventure romp through a Chinese laundry video for the song was released. The song reached No. 54 on the U.S. charts, but did way better in Australia, reaching No. 8. Cyndi's third album, A Night to Remember, was released in 1989. The album had one hit, the No. 6 single "I Drove All Night," originally recorded by Roy Orbison, three years before his death on December 6, 1988. Cyndi received a Grammy nomination for Best Female Rock Vocal Performance at the 1990 Grammy Awards for That track. Still, overall, album sales for the album were down. A side note; The music video for the song "My First Night Without You" was one of the first to be closed-captioned for the hearing impaired. That record sold around 1.3 million copies.   Due to her friendship with a familiar name here at Icons and Outlaws, Yoko Ono, Cyndi was a part of the May 1990 John Lennon tribute concert in Liverpool. She performed the Beatles song "Hey Bulldog" and the John Lennon song "Working Class Hero." She was also involved in Sean Lennon's project, "The Peace Choir, "performing a new version of John Lennon's "Give Peace a Chance."   Shortly after, the album was met with a dismal response, and she split with her boyfriend and manager, David Wolff. Cyndi lived alone in a New York hotel, emotionally drained and considering suicide. "I had come so far but felt like I had failed," she wrote in Cyndi Lauper: A Memoir (via Bullyville). "I would go to the studio, and then sit in my dark room and drink vodka. I had to spend most of my time alone. I was grieving. I thought the sadness would never go away." Indirectly, it was Cyndi's best-known song that encouraged her to try to crawl out of her low place: "The only thing that always ­prevented me from suicide is that I never wanted a headline to read, 'Girl who wanted to have fun just didn't.'" On November 24, 1991, Cyndi married actor David Thornton, who's been in home alone 3, John Q with Denzel, and that god-awful tear-jerker, the Notebook.   Cyndi's fourth album, "Hat Full of Stars," was released in June 1993 and was met with critical acclaim but failed commercially, unsupported by her label. The album tackled topics like homophobia, spousal abuse, racism, and abortion, sold fewer than 120,000 copies in the United States and peaked at No. 112 on the Billboard charts. The album's song "Sally's Pigeons" video features the then-unknown Julia Stiles playing a young Cyndi. You may remember Julia from ten things I hate about you, alongside a young Heath Ledger.   In 1993, Cyndi returned to acting, playing Michael J. Fox's ditzy secretary in the movie Life with Mikey. She also won an Emmy Award for her role as Marianne Lugasso in the hugely popular sitcom Mad About You with Paul Reiser and Helen Hunt. On November 19, 1997, Cyndi gave birth to her son, Declyn Wallace Lauper Thornton, who is now a trap rapper. Her fifth album," Sisters of Avalon," was released in Japan in 1996 and worldwide in 1997. Just like "Hat Full of Stars," some songs on "Sisters of Avalon" addressed dark themes. The song "Ballad of Cleo and Joe" addressed the complications of a drag queen's double life. The song "Say a Prayer" was written for a friend who had died from AIDS. "Unhook the Stars" was used in the movie of the same name. Again without support from her label, the release failed in America, spending a week on the Billboard album chart at No. 188. This album also received much critical praise, including People magazine, which declared it "'90s nourishment for body and soul. Lauper sets a scene, makes us care, gives us hope." Let's just say it… her label sucks!   On January 17, 1999, Cyndi appeared as an animated version of herself in The Simpsons episode "Wild Barts Can't Be Broken." She sang the National Anthem to the "Girls Just Want to Have Fun" melody. That same year, she opened for Cher's Do You Believe? Tour alongside Wild Orchid. Yeah, that group with a young Fergie. Cyndi also appeared in the films "Mrs. Parker and the Vicious Circle" and The "Opportunists." In addition, she contributed to the soundtrack of the 2000 animated film, Rugrats in Paris: The Movie, performing the song "I Want a Mom That Will Last Forever." On October 12, 2000, Cyndi took part in the television show Women in Rock, Girls with Guitars performing with Ann Wilson of Heart and with the girl group Destiny's Child and the queen B herself!. A CD of the songs performed was released exclusively to Sears stores from September 30 to October 31, 2001, and was marketed as a fundraiser for breast cancer.   In 2002, Sony issued a best-of CD, The Essential Cyndi Lauper. Cyndi also released a cover album with Sony/Epic Records entitled At Last (formerly Naked City), which was released in 2003. At Last received one nomination at the 2005 Grammy Awards: Best Instrumental Arrangement Accompanying Vocalist(s) for "Unchained Melody." The effort was also a commercial hit, selling 4.5 million records.    In April 2004, Cyndi performed during the VH1's benefit concert, "Divas Live" 2004, alongside Ashanti, Gladys Knight, Jessica Simpson, Joss Stone, and Patti LaBelle. This event supported the Save the Music Foundation, a nonprofit organization dedicated to restoring instrumental music education in America's public schools and raising awareness about the importance of music as part of each child's complete education. She made appearances on Showtime's hit show "Queer as Folk" in 2005, directed a commercial for the Totally 80s edition of the board game Trivial Pursuit in 2006, served as a judge on the 6th Annual Independent Music Awards, and made her Broadway debut in the Tony-nominated "The Threepenny Opera" playing "Jenny." In addition, she performed with Shaggy, Scott Weiland of Velvet Revolver/Stone Temple Pilots, Pat Monahan of Train, Ani DiFranco, and The Hooters in the VH1 Classics special Decades Rock Live. In 2006, she sang "Message To Michael" with Dionne Warwick and "Beecharmer" with Nellie McKay on McKay's Pretty Little Head album.   On October 16, 2006, Cyndi was inducted into the Long Island Music Hall of Fame. In 2007, she served as a guest performer on the song "Lady in Pink" on an episode of the Nick Jr. show, The Backyardigans. Cyndi's sixth studio album, "Bring Ya to the Brink," was released in the United States on May 27, 2008. Regarded as one of her best works when it was released, the Songwriters Hall of Fame has regarded the album track 'High and Mighty' as one of her essential songs. The album would be Cyndi's last release to date of original material, in addition to being her last for Epic Records, her label since her 1983 debut solo album. The album debuted at #41 on the Billboard 200, with 12,000 copies sold. Other projects for 2008 included the True Colors Tour and a Christmas duet with Swedish band The Hives, entitled "A Christmas Duel." The song was released as a CD single and a 7" vinyl in Sweden. Lauper also performed on "Girls Night Out," headlining it with Rosie O'Donnell in the U.S.   On November 17, 2009, Cyndi performed with Wyclef Jean in a collaboration called "Slumdog Millionaire," on The Late Show with David Letterman. In January 2010, Mattel released a Cyndi Lauper Barbie doll as part of their "Ladies of the 80s" series.   In March 2010, Cyndi appeared on NBC's The Celebrity Apprentice with the then-future president, Donald Trump, coming in sixth place.   Cyndi's 7th studio album, Memphis Blues, was released on June 22, 2010, and debuted on the Billboard Blues Albums chart at No. 1 and at No. 26 on the Billboard Top 200. The album remained No. 1 on the Blues Albums chart for 14 consecutive weeks; Memphis Blues was nominated for Best Traditional Blues Album at the 2011 Grammy Awards. According to the Brazilian daily newspaper O Globo, the album had sold 600,000 copies worldwide by November 2010. In addition, Cyndi set out on her most extensive tour ever, the Memphis Blues Tour, which had more than 140 shows, to support the album.   Cyndi made international news in March 2011 for an impromptu performance of "Girls Just Want to Have Fun" while waiting for a delayed flight at Aeroparque Jorge Newbery in Buenos Aires. A video was later posted on YouTube.   In November 2011, she released two Christmas singles exclusive to iTunes. The first release was a Blues-inspired cover of Elvis Presley's classic "Blue Christmas," and the second was a new version of "Home for the holidays," a duet with Norah Jones. In June 2012, Lauper made her first appearance for WWE in 27 years to promote WWE Raw's 1000th episode to memorialize "Captain" Lou Albano.   In September 2012, Cyndi performed at fashion designer Betsey Johnson's 40-year Retrospective Fashion show. She also released a New York Times best-selling memoir, "Cyndi Lauper A Memoir," which detailed her struggle with child abuse and depression.   Cyndi then composed music and lyrics for the Broadway musical Kinky Boots, with Harvey Fierstein writing the book. The musical was based on the 2006 independent film Kinky Boots. The musical tells the story of Charlie Price. Having inherited a shoe factory from his father, Charlie forms an unlikely partnership with cabaret performer and drag queen Lola to produce a line of high-heeled boots and save the business. It opened in Chicago in October 2012 and on Broadway at the Al Hirschfeld Theatre on April 4, 2013. She won Best Score for Kinky Boots in May at the 63rd annual Outer Critics Circle Awards. The musical led the 2013 Tony Awards, with 13 nominations and six wins, including Best Musical and Best Actor. In addition, she won the award for Best Original Score. Cyndi was the first woman to win solo in this category. After a six-year run and 2,507 regular shows, Kinky Boots ended its Broadway run on April 7, 2019. It is the 25th-longest-running Broadway musical in history. It grossed $297 million on Broadway.    In the summer of 2013, celebrating the 30th anniversary of her debut album "She's So Unusual," Cyndi embarked on an international tour covering America and Australia. The show consisted of a mix of fan favorites and the entirety of the She's So Unusual record.  She stated:"  It's been such an amazing year for me. When I realized it's also the anniversary of the album that started my solo career, I knew it was the perfect time to thank my fans for sticking with me through it all. I'm so excited to perform She's So Unusual from beginning to end, song by song and I can't wait to see everyone!" The tourtour grossed over $1 million   She was a guest on 36 dates of Cher's Dressed to Kill tour, starting April 23, 2014. In addition, a new album was confirmed by her in a website interview.   Cyndi hosted the Grammy Pre-Telecast at the Nokia Theatre, L.A., on January 26,  later accepting a Grammy for Kinky Boots (for Best Musical Theater Album).   On April 1 (March 1 in Europe), Cyndi released the 30th Anniversary edition of She's So Unusual through Epic Records. It featured a remastered version of the original album plus three new remixes. The Deluxe Edition featured bonus tracks such as demos, a live recording, and a 3D cut-out of the bedroom featured in the 'Girls Just Want to Have Fun' music video with a reusable sticker set.   On September 17, 2014, Cyndi sang on the finale of America's Got Talent. Then, on September 25, as part of the Today Show's "Shine a Light" series, she re-recorded "True Colors" in a mashup with Sara Bareilles' "Brave" to raise awareness and money for children battling cancer. By October, the project had raised over $300,000.   The Songwriters Hall of Fame added Cyndi to its nomination list in October 2014. Also, her fourth consecutive 'Home for the Holidays' benefit concert for homeless gay youth was announced in October. Acts included 50 Cent and Laverne Cox, with 100% of the net proceeds going to True Colors United. In July 2015, She announced a project with producer Seymour Stein. She later told Rolling Stone it was a country album co-produced by Tony Brown.   On September 15, 2015, Kinky Boots opened at the Adelphi Theatre in London's West End.   In January 2016, Cyndi announced she would release a new album on May 6, 2016. This record was made up of her interpretations of early country classics entitled "Detour." The announcement was supported by a release of her version of Harlan Howard's "Heartaches by the Number" and a performance on Skyville Live with Kelsea Ballerini and Ingrid Michaelson. Then, on February 17, 2016, she released her version of Wanda Jackson's "Funnel of Love."   In February 2016, Cyndi was nominated for an Olivier Award for contributing to the U.K. production of the play "Kinky Boots" along with Stephen Oremus, the man in charge of the arrangements. In January 2017, this production's album was nominated for the Grammy Award for Best Musical Theater Album.   In May 2016, she was featured on "Swipe to the Right" from Electronica 2: The Heart of Noise by French producer Jean-Michel Jarre. This second album of the Electronica project is based on collaborations with artists like Tangerine Dream, Moby, Pet Shop Boys, and more.   In October 2016, her son Dex Lauper was the opening act for her in Scottsdale, Arizona, and Las Vegas, Nevada, for her dates on her Detour Tour.   In January 2017, Cyndi was featured on Austin City Limits' 42nd season, performing some classic bangers alongside some of her country tunes from the "Detour." album. The episode aired on PBS.   In March 2018, it was announced that Cyndi and co- "Time After Time" songwriter Rob Hyman would compose the score for the musical version of the 1988 film "Working Girl." Ya know the movie that starred Melanie Griffith and Sigourney Weaver. She teamed up with Hyman because she wanted "the music to sound like the 80s". The musical would be staged by Tony Award winner Christopher Ashley. A developmental production premiere of the musical is planned for the 2021/2022 season.   For Grandin Road, Cyndi exclusively designed her own Christmas collection, 'Cyndi Lauper Loves Christmas', available from September 2018. "I've always loved Christmas. It reminds me to find some happiness in the little things," she said.   Her annual Home For The Holidays concert at the Beacon Theatre in New York was held on December 8, 2018.   Cyndi guest starred, playing a lawyer in an episode of the reboot of the television series Magnum P.I.. The episode, titled "Sudden Death", aired on October 22, 2018.   On November 15, 2018, iBillboard announced that Cyndi would receive the Icon Award at the Billboard's 13th annual Women in Music Event on December 6 in New York City. According to Billboard's editorial director, Jason Lipshutz, "The entire world recognizes the power of Cyndi Lauper's pop music, and just as crucially, she has used her undeniable talent to soar beyond music, create positive change in modern society and become a true icon."    The song "Together" was featured in the Canadian computer-animated film Race time, released in January 2019. Originally written and performed in French by Dumas, Cyndi performed the English translation in the English version of the film initially titled La Course des tuques.   On June 26, 2019, she performed at the opening ceremony of Stonewall 50 – WorldPride NYC 2019. Backed by the Hollywood Bowl Orchestra, Cyndi played two concerts on July 12 and 13, 2019, at the iconic Hollywood Bowl.   In September 2019, it was announced that Cyndi would star alongside Jane Lynch in the new Netflix comedy series described as "kind of The Golden Girls for today." However, as of March 2021, there have been no updates on this project. On April 23, 2020, Cyndi participated in an online fundraising concert to raise money for LGBTQ nightlife workers who struggled financially because of the coronavirus pandemic. Her finale was her performing "True Colors." The show was initiated by the Stonewall Inn Gives Back nonprofit organization of the historic Greenwich Village gay bar.    In November 2020, She dueted with former top ten "American Idol" finalist Casey Abrams on a cover version of the song 'Eve of Destruction.   In November last year, Shea Diamond featured Cyndi as a guest vocalist on the track 'Blame it on Christmas.' An official video was released in December.   She then performed at this year's MusiCares Person of the Year Tribute Show, honoring folk icon Joni Mitchell on April 1.   It was announced in May this year that Alison Ellwood will direct a career retrospective documentary about Cyndi. The project is already in production but does not yet have a release date. "Let The Canary Sing" will be the title of this career-spanning documentary produced by Sony Music Entertainment.   Still killing it after all these years!   "Shes So Unusual" ranked No. 487 on Rolling Stone's list of 500 Greatest Albums of All Time in 2003. In addition, the album ranked No. 41 on Rolling Stone's Women Who Rock: The 50 Greatest Albums of All Time in 2012.   "Time After Time" has been covered by over a hundred artists and was ranked at No. 22 on Rolling Stone's 100 Best Songs of the Past 25 Years and at No. 19 on VH1's 100 Greatest Songs of the 80s.   "She Bop," the third single from She's So Unusual, is the first and only top ten song to directly mention a gay porn magazine. An ode to masturbation, it was included in the PMRC's "Filthy Fifteen" list, which led to the parental advisory sticker appearing on recordings thought to be unsuitable for young listeners. Rolling Stone ranked it the 36th best song of 1984, praising its unusual playfulness regarding sexuality.   "True Colors" is now considered a gay anthem, after which True Colors United, which advocates for runaway and homeless LGBT youth, is so “colorfully” named.   Info used from: Nickiswift.com Wikipedia.com

Everybody knows Cyndi Lauper's big hit, “Girls Just want to have Fun”, but not so well-known is her career since then - a star-turn on “We are the World”, a string of great albums including Billboard's Blues Album of the Year, and writing “Kinky Boots”, a hit Broadway musical, all contribute to her story.   Our album "To Listen To Before You Die" this week – Leonard Cohen's “Songs of Love and Hate” - is chock-full of understated songs and amazing turns of phrase. Show regulars will know that Mick loves it, and Jeff not so much.  Tune in to find out why. Jeff takes a look at Extreme Ironing as an up-and-coming sport, and the boys look at how one of Elon Musk's batteries could boost tourism to Central Australia by allowing a pizza shop and ice-creamery to open in the country's most remote parts.    References:  “1001 Albums You Must Hear before You Die” Robert Dimery, Leonard Cohen, Songs of Love and Hate, Jennifer Warnes, Paul Buckmaster, Elton John, “Hallelujah”, ”Famous Blue Raincoat”, Lloyd Cole, “Avalanche”, Nick Cave, “From Her to Eternity”, “There's a crack in everything / That's how the light gets in”, “The Young Ones”, 70's British comedy, Rick Mayall, Adrian Edmondson, Nigel Planer, Polydor Records, Portrait Records, David Thornton, Patti Smith, Debbie Harry, Eurythmics, Annie Lennox, Rolling Stone's 500 Greatest Albums of All Time, Sinead O'Connor, Prince, Masturbation, Donny Sutherland's “Sounds”, “She's So Unusual”, The Hooters, Eric Bazilian, ”We are the World”, Quincy Jones, Memphis Blues, Yoko Ono, John Lennon, “Working Class Hero”, “Life with Mikey”, “Mad About You”, The Simpsons, "Wild Barts Can't Be Broken", “Cyndi Lauper: A Memoir” By Cyndi Lauper with Jancee Dunn, Richmond Hill High School in Queens, Broadway, “Kinky Boots”, 2013 Tony Awards, Best Musical, Best Actor, first woman to win solo Best Original Score Tony Award, Mattel, Cyndi Lauper Barbie Doll Extreme Ironing Around the World Extreme Ironing Skysurf Playlist

Welcome to Roadcase!!  It's family affair for this episode with Ori Naftaly and Tierinii Jackson of Southern Avenue. This amazing grammy-nominated and Memphis-based band mixes soul, blues, R&B, rock and even some elements of jam-based music to their audiences in a joyous explosion of positivity.  Bringing their beautiful message of  empowerment, self-affirmation, unity and love, Ori and Tierinii blend their unique roots from opposite corners of the globe into a mix of musical influences that ultimately lands them squarely at the heart of the American Contemporary Blues experience. Ori, who grew up in Israel, came to Memphis where he met Tierinii and formed a professional and ultimately personal partnership that flourishes to this day.  Southern Avenue, as they like to say, is a true melting pot of different experiences, backgrounds, and cultures creating a unique musical experience for their multitude of fans worldwide. So climb aboard the Roadcase bus for this multicultural musical journey and learn more about this family affair with Ori Naftaly and Tierinii Jackson. It's gonna be a great ride!For more information: https://linktr.ee/roadcasepod and https://www.roadcasepod.comContact: info@roadcasepod.comTheme music:  "Eugene (Instrumental)" by Waltzer

Interviews with Ryan Jones, historian at the National Civil Rights Museum in Memphis, & Brian Dominski, court reporter for the '93 HBO trial and the '99 Civil Trial. See omnystudio.com/listener for privacy information.

Prayer of the day, introduction, pledge of allegiance, star spangled banner, who is the true conservative, no free lunch, shadowbosses - Memphis blues, who's the socialist, conclusion

This episode continues our monthly series featuring a single Dylan song and today's episode occurs on the 56th anniversary of the recording of "Stuck Inside of Mobile with the Memphis Blues Again" in Nashville: February 17, 1966. You'll hear how Dylan's performance of it changes over the decades and also how the song changes in the hands and voices of fellow travelers. "20 Pounds of Headlines" is on hiatus this week in order to make room for more performances of the song from which the segment derives its name. In "Who Did It Better?" we ask you to tell us who did "Stuck Inside of Mobile with the Memphis Blues Again" better: Joe Louis Walker or Cat Power? Go to our Twitter page @RainTrains to vote.

In this episode I have an Army songbook from WWI. I track down the great niece of the soldier who had it in battle over 100 years ago. Thank you to Jari Villanueva → tapsbugler.com and tapsforveterans.org, The National WWI Museum and Marleen Grass. Voice of John Pfuelb by Robert Anthony Peters Voice of Leo T. McCabe by Ben Hess Picture credits by Korina McNair Theme song for Object Obscura is ‘Behind the Walls' by Nathanie Thanks to Epidemic Sound and Anchor for most of the music, SFX and distribution. Music in order of appearance: How To Fall by Anthony Earls, Behind the Walls by Nathanie, Going Home by Jari Villanueva, Nobody Knows and Nobody Seems to Care by Irving Berlin, Where the Lights Is by Howard Harper-Barnes, American Waltz by the Columbia School Band, Goodbye Broadway, Hello France by Billy Baskette, Sudden Change of Pace by Trailer Worx, Conspiracy Inc. by Alec Slayne, Memphis Blues by James Reese Europe, Over There by George M. Cohan, Vindication by Charles Holme, Kiriume by Arden Forest, Dark Mind by Wendel Scherer, Enter the Night 3 by Fredrick Ekstrom, In this Haven by David Celeste, Light Through a Prism by Deep Inside, Battlefield Flashbacks by Jon Sumner, Climbing the Fence by Arthur Benson, Was It Worth It by Bonn Fields, Save Her by Jon Bjork, Angeli by Bonn Fields, Residuum by Silver Maple and Origo by Bonn Fields. Extra link: Listen to recorded music from WWI → https://www.youtube.com/watch?v=9YAFdFVeufg&t=1941s All pictures of this episode's object are on Facebook @objectobscurapodcast, Instagram @object.obscura and Twitter @objectobscura. Go to our website as well object-obscura.com --- Send in a voice message: https://anchor.fm/thatcher2/message

On this episode of Blues In The Basement, Cookie B and Malvin we take you on a journey through Memphis Blues as we highlight the best Blues artists from Memphis. Make sure to tune into this brand new episode on the Kudzukian app and kudzukian.com.

On this episode of Blues In The Basement, Cookie B and Malvin are joined by the amazing Chick Rodgers as we highlight the best Blues women artists from Memphis. Make sure to tune into this brand new episode on the Kudzukian app and kudzukian.com.  

Dontarion Wright has played overseas in the Philippines, El Savador, Antigua, and Barbuda. He was the leading scorer in the Caribbean League (ABBA) in 2019 averaging over 20 points per game.Here in the states, he has played in two semi-pro teams the Memphis Railrunners and the Memphis Blues along with any other ProAM game that his schedule allows him to play in. Aside from basketball, he has published his first book titled " The Push to Be Great :#BETTERDAYS" which is available now on Amazon, In tone with the book, he has the #BETTERDAYS athletic gear and urban wear available now for purchase upon request. Dontarion is an educator in the Shelby county school district, and is now the Assistant Basketball Coach for both High School Boys and Middle School Girls. He has his Bachelor of Science Degree with a major in Education and a Minor in Special Education Management. This Fall, he will be attending online classes to obtain his Master's Degree. Follow him on Instagram @wright_neverwon I talk about how the LA Chargers defeated the Chiefs and the Chiefs need to do to turn their season around. Make sure you remember God says you are powerful and act like it! Change your perspective and it will change your life! My name is Keisha Swafford and I am a sports freelancer in Louisiana who is on my own spiritual and mental health journey. I started this podcast to hone my skills as a sports journalist, share my love for God, and fall in love with myself. I love talking sports with people in the industry, and I love helping people with their mental, physical, and spiritual health through sports podcasting, connecting with others, and networking. Join me for sports talk and self-discovery! I drop episodes every Monday at 7 am! Stay brave, stay bold, and stay ballin! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ballinwithkeisha/support

Welcome back to the Passive Mobile Home Park Investing Podcast, hosted by Andrew Keel. On this episode of the Passive Mobile Home Park Investing Podcast, Andrew talks about the 20 items he learned after going to the Manufactured Housing Institute’s 2019 Land Lease Community of the Year; Memphis Blues which is located in Memphis, TN. UMH Properties is doing some wonderful things to help the mobile home park asset class shake free of the “trailer park” stigma. From what Andrew saw, UMH and everyone at Memphis Blues makes it apparent that the people are the most important part of their community. Today he shares twenty things he learned from Memphis Blues and UMH Properties. Memphis Blues, formerly called Memphis Mobile City, is a gorgeous all-rental manufactured home community located in Memphis, Tennessee. It is currently owned by UMH Properties, which is a mobile home park REIT. The community went through a complete overhaul, completely shutting down for six years after flooding in 2011. Andrew Keel is the owner of Keel Team, LLC, a Top 100 Owner of Manufactured Housing Communities with over 2,000 lots under management. His team currently manages over 30 manufactured housing communities across more than ten states. His expertise is in turning around under-managed manufactured housing communities by utilizing proven systems to maximize the occupancy while reducing operating costs. He specializes in bringing in homes to fill vacant lots, implementing utility bill back programs, and improving overall management and operating efficiencies, all of which significantly boost the asset value and net operating income of the communities. Andrew has been featured on some of the Top Podcasts in the manufactured housing space, click here to listen to his most recent interviews: https://www.keelteam.com/podcast-links. In order to successfully implement his management strategy Andrew's team usually moves on location during the first several months of ownership. Find out more about Andrew's story at AndrewKeel.com. Are you getting value out of this show? If so, please head over to iTunes and leave the show a quick five-star review. I have a goal of hitting over 100 total 5-star reviews by the end of 2021, and it would mean the absolute world to me if you could help contribute to that. Thanks ahead of time for making my day with your five-star review of the show. Would you like to see mobile home park projects in progress? If so, follow us on Instagram: @passivemhpinvesting for photos and awesome videos from our recent mobile home park acquisitions. Talking Points:

From upstairs at the historic Peabody Hotel, I talk with Shelby County Historian Jimmy Rout about the surprising history of Beale Street, W.C. Handy, "Boss" Crump's mafia like rule over the city, the Tennessee Ouster Law, and Juke Joints and hangouts like Pee Wee's Saloon. We'll also dive into the lore surrounding the city's founding in Belle's Tavern. From Handy to Elvis to today, we'll investigate the whiskey past of Memphis.

Fæðingatíðni á Íslandi er í sögulegu lágmarki og fæðingum hefur fækkað eftir að kórónuveirufaraldurinn skall á. Ari Klængur Jónsson, doktor í félagsvísindum og mannfjöldatíðni, ræddi um þróun mála í þeim efnum hér og víða annars staðar í heiminum. Hann segir að svo fæðingum taki að fjölga á ný þurfi stjórnvöld að búa enn betur að ungu fólki en nú er gert. Kjör starfsfólks flugfélagsins Play og deilur forsvarsmanna félagsins og ASÍ voru til umfjöllunar í ferðaspjalli Kristjáns Sigurjónssonar, ritstjóra Túrista. Mörg dæmi eru um harkalegar kjaradeilur í flugheiminum og þau félög til sem meina starfsfólki sínu að vera í stéttarfélagi. Bob Dylan verður áttræður 24. maí. Af því tilefni kom Einar Már Guðmundsson rithöfundur í þáttinn og spjallaði vítt og breitt um Nóbelsskáldið. Tónlist: Lay, Lady, Lay - Bob Dylan, Stuck inside of Mobile with the Memphis Blues again - Bob Dylan.

Fæðingatíðni á Íslandi er í sögulegu lágmarki og fæðingum hefur fækkað eftir að kórónuveirufaraldurinn skall á. Ari Klængur Jónsson, doktor í félagsvísindum og mannfjöldatíðni, ræddi um þróun mála í þeim efnum hér og víða annars staðar í heiminum. Hann segir að svo fæðingum taki að fjölga á ný þurfi stjórnvöld að búa enn betur að ungu fólki en nú er gert. Kjör starfsfólks flugfélagsins Play og deilur forsvarsmanna félagsins og ASÍ voru til umfjöllunar í ferðaspjalli Kristjáns Sigurjónssonar, ritstjóra Túrista. Mörg dæmi eru um harkalegar kjaradeilur í flugheiminum og þau félög til sem meina starfsfólki sínu að vera í stéttarfélagi. Bob Dylan verður áttræður 24. maí. Af því tilefni kom Einar Már Guðmundsson rithöfundur í þáttinn og spjallaði vítt og breitt um Nóbelsskáldið. Tónlist: Lay, Lady, Lay - Bob Dylan, Stuck inside of Mobile with the Memphis Blues again - Bob Dylan.

 It’s not every song that has an historical marker devoted to it beside the highway. But then it’s not every song that has the privilege of being composed by the great W.C. Handy. It’s hard to imagine what the early days of jazz would have been like without the songs of William Christopher Handy. “Memphis Blues” and “Beale Street Blues,” “Careless Love” and, of course, the immortal “St. Louis Blues.” The Flood does a lot of those songs, and lately we’ve been drawn to one of Handy’s earliest compositions. In 1912 he wrote “Yellow Dog Blues,” which ends with the line “Your easy rider’s gone where the Southern cross the Yellow Dog.” Those are railroad references about the crossing of the Southern Railway and the local Yazoo and Mississippi Valley Railroad, known thereabouts as The Yellow Dog. And to this day, down in Sunflower County, Mississippi, in the town of Moorhead, a bronze plate stands at the very spot memorialized in that classic blues line. So, here’s our take on the tune from last night’s session, with Doug and Veezy burning it up on the solos atop Danny Gillum’s rocking bass line.

Episode 28 is a quick update on the podcast and an excuse to fill in two old episode numbers that needed to be replaced. There is a quick 7 Seconds story here as well as some cool news about the podcast. A regular conversation episode will be back next week. This episode includes the song "Skies Filled With Wizards" from my old band Presley. 

It's always great to chat with someone who love to share information about their town. Jimmy Rout (Shelby County Historian) had a chance to see the rebirth of Beale Street in Memphis and he is going to take us around the town that was and the town that now is. We'll hear about W.C. Handy, Boss Crump, and even Old Hickory makes an appearance in a tavern in Memphis...or did he? Enjoy these subjects: Working for Beale Street - the rebirth of the street The soul of black community was Beale Street WC Handy sees Beale Street for the first time  Pee Wee's Saloon at Cigar Counter - Mr Crump Ragtime from WC Handy Juke Joint and the origin of the term They are a sanctuary Belle Tavern - laying out the city of Memphis over drinks Rowdy River Town Prohibition and 600 saloons (+300 more) Mr Tate's shotgun shack - best Juke Joint in town Still around Hernando's Hideaway - Juke Joint and Dive Alex Tavern Earnestine and Hazels (near where MLK killed) What was Beale Street's feel in the 1920s? So busy Yellow Fever and Irish and Black Drinking in whiskey because it is safe EH Crump's ties to Whiskey Saloons as polling places Tennessee Ouster Law The King Maker A fifth of bourbon

Tocado por la dulce ironía del sur, Kiko Veneno es una anécdota sevillana forjada por canciones salerosas y fibras sensibles…así se le describe en la contraportada del libro Kiko Veneno, Flamenco Rock. Sin duda una definición que raya la perfección si queremos describir a este trashumante de estilos y lugares. LISTADO DE CANCIONES POR ORDEN DE APARICIÓN: 1. Memphis Blues. 2. San José de Arimatea. 3. Indiopole 4. No pido mucho 5. Volando voy 6. Un catalán fino 7. Seré mecánico por ti 8. Me siento tan feliz 9. Autolesionado 10. El pueblo guapeao 11. Lobo López 12. Echo de menos 13. Viento de poniente 14. Los managers 15. Calla 16. Dice la gente 17. América es más grande 18. La vida es dulce 19. La casa cuartel 20. La felicidad 21. Sombrero roto 22. Autorretrato 23. I can't help falling in love with you (UB40)

In this culinary journey of an episode, Eric conquers the mountain of meat known as the Elvis Platter at Memphis Blues and Ty reflects on the time he consumed fried catfish from a 7-11. They also critique the motivations of Subway Artists, the world's largest Subway Sandwich, getting duped by your sandwich, and why Chef's Table is for losers. instagram.com/thinkfreshpodcast onlyfans.com/thinkfresh --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Illini Inquirer's Jeremy Werner and Derek Piper react to top-100 Class of 2021 wing Jordan Nesbitt committing to Memphis over Illinois. Piper breaks down how it happened, how it impacts the Illini's wing pursuits and what's next in the Class of 2021. The guys wrap up by talking about the potential 2020-21 basketball schedule. Extra reading What it means: Illini miss out on 4-star wing Jordan Nesbitt Four-star big man Mac Etienne in 'no rush' for a decision Learn more about your ad choices. Visit megaphone.fm/adchoices

Rylan Stiles dives into the Thunder loss at the hands of the Grizzlies in this bonus edition of Locked on Thunder. The Oklahoma City Thunder played a dreadful game where nothing went right...besides LU DORT! What is wrong with Shai Gilgeous-Alexander? Was I too bold with me Nerlens Noel take? Did the OKC Thunder actually hurt themselves with their hot start? Time to panic?Support Us By Supporting Our Sponsors! Rad Power BikesRight now as a limited time offer, get a free accessory with the purchase of a bike. That's right. And FREE shipping to the lower 48 states. To get this special offer, text the word LOCKED to 64-000.FreshlyJoin almost ONE AND A HALF MILLION Satisfied Customers and skip the shopping, prepping, cooking, and clean up.  Freshly is offering our listeners FORTY DOLLARS OFF FOR THEIR FIRST TWO ORDERS at freshly.com/lockedonnbaManscapedGo to Manscaped.com and use code LOCKED to get 20% Off and Free Shipping. Manscaped is #1 in men's below the belt grooming and offers precision-engineered tools for your family jewels.HelixRIGHT NOW Helix is offering up to 200 dollars off ALL mattress orders and two free pillows. Get up to 200 dollars off at Helixsleep.com/lockedonnba TheragunTry Theragun RISK-FREE for THIRTY-DAYS. Go to Theragun.com/LOCKEDON right now and get your Gen 4 Theragun TODAY. MyBookieJoin today and MyBookie will match your deposit 100%, plus they'll toss you a Free $10 MLBFuture wager. All you gotta do is enter promo code LOCKEDONNBA when signing up.Rock AutoAmazing selection. Reliably low prices. All the parts your car will ever need. Visit RockAuto.com and tell them Locked On sent you. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Rylan Stiles dives into the Thunder loss at the hands of the Grizzlies in this bonus edition of Locked on Thunder. The Oklahoma City Thunder played a dreadful game where nothing went right...besides LU DORT! What is wrong with Shai Gilgeous-Alexander? Was I too bold with me Nerlens Noel take? Did the OKC Thunder actually hurt themselves with their hot start? Time to panic? Support Us By Supporting Our Sponsors!  Rad Power Bikes Right now as a limited time offer, get a free accessory with the purchase of a bike. That’s right. And FREE shipping to the lower 48 states. To get this special offer, text the word LOCKED to 64-000. Freshly Join almost ONE AND A HALF MILLION Satisfied Customers and skip the shopping, prepping, cooking, and clean up.  Freshly is offering our listeners FORTY DOLLARS OFF FOR THEIR FIRST TWO ORDERS at freshly.com/lockedonnba Manscaped Go to Manscaped.com and use code LOCKED to get 20% Off and Free Shipping. Manscaped is #1 in men’s below the belt grooming and offers precision-engineered tools for your family jewels. Helix RIGHT NOW Helix is offering up to 200 dollars off ALL mattress orders and two free pillows. Get up to 200 dollars off at Helixsleep.com/lockedonnba  Theragun Try Theragun RISK-FREE for THIRTY-DAYS. Go to Theragun.com/LOCKEDON right now and get your Gen 4 Theragun TODAY.  MyBookie Join today and MyBookie will match your deposit 100%, plus they’ll toss you a Free $10 MLB Future wager. All you gotta do is enter promo code LOCKEDONNBA when signing up. Rock Auto Amazing selection. Reliably low prices. All the parts your car will ever need. Visit RockAuto.com and tell them Locked On sent you. Learn more about your ad choices. Visit megaphone.fm/adchoices

Thank you to Annika in putting so much effort into today’s episodeWe’ll be posting the 1st and 15thAnd we’re creating mini episodes called WomxnWork. Go check that out and if you haven’t already please donate to the PieHole Protestors.And we have a newsletter with articles following up previous episodes! And updates! Contact us through instagram, email, twitter, and we’ll get you on the list. The song at the end is from MixKit for royalty-free stock musicCheck out  Hats for Birds on Bandcamp for some good loops.In the beginning, I used a tiny part of the song Memphis Soul Stew from King Curtis and the Kingpins.We made fun of the anglican-dubbed Venus of Willendorf: https://en.wikipedia.org/wiki/Venus_of_WillendorfIf you’re in Memphis, check out the Lorraine Motel Museum, and the Slave Haven Underground Railroad.

Looking to keep your sanity by doing some constructive things around the house during these trying times? Needing to embark on some sort of worthwhile endeavor but because of COVID, you're stuck inside all fours like the Memphis Blues? Look no further than the den you've been wanting to redo for quite some time. Or maybe that long-in-the-tooth bedroom needs some TLC. With some eggshell paint, a bucket and a scraper, have at it! Be careful on that ladder, though! Time-consuming, smallish activities as simple as doing those waiting dishes or simply viewing a good flick or Youtube video need your undivided attention. Go for it! Maybe try getting outside by gardening or cleaning out the garage! This program will hopefully inspire you and guide you along. Oh, and remember the drop cloth! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/guy-masse/support

297. Stuck Inside of Mobile With The Memphis Blues Again - Bob DylanRelated links for 297. Stuck Inside of Mobile With The Memphis Blues Again - Bob Dylan: Reply to this episode on ykyz: https://ykyz.com/p/2863e4c99aaeaaaa354fc21fc411623fe0e7c655 Music and Peace microcast: https://ykyz.com/c/microcast?&username=musicandpeace

Mika and Nick tackle a musical genre close to the heart of every true American: the blues. What were they? How did they get started? And how exactly did Leadbelly get his name? Learn all of that and more in this episode.    Here is how to help middle Tennessee recover from the devastating tornados: https://www.nashvillescene.com/news/pith-in-the-wind/blog/21119626/nashville-tornado-how-to-help-where-to-get-help  Follow us on Social media!  Facebook: https://www.facebook.com/SoundofHistory/ Twitter: https://twitter.com/soundofhistory_ Videos in This Episode:  "Memphis Blues" written by W.C. Handy, performed by the Victor Military Band: https://www.youtube.com/watch?v=3AxZ3P2NKgw  "St. Louis Blues" by W.C. Handy: https://www.youtube.com/watch?v=Gpp75gQ-T6Y  "Jellybean Blues" by Ma Rainey with Louis Armstrong: https://www.youtube.com/watch?v=cLkOJ3rhbg4   "Crazy Blues" by Mamie Smith: https://www.youtube.com/watch?v=qaz4Ziw_CfQ   "Black Snake Moan" by Blind Lemon Jefferson: https://www.youtube.com/watch?v=h3yd-c91ww8   "House of the Rising Son" by Leadbelly: https://www.youtube.com/watch?v=y5tOpyipNJs   Here is an interview with W.C. Handy: https://www.sacred-texts.com/ame/cig/cig12.htm   Check out this resource from Centuries of Sound - https://centuriesofsound.com/2017/02/15/1878-1885/

Scott Bomar is a Memphis based musician, Emmy Award-winning Film/TV composer and producer, songwriter and engineer of multiple Grammy winning and nominated recordings. Projects include the films Hustle & Flow, Black Snake Moan, Mississippi Grind and Soul Men. Bomar produced and engineered Cyndi Lauper's Grammy nominated album, Memphis Blues, at his Electraphonic Recording Studio and co-wrote the song, “The House Always Wins” on William Bell's 2016 Grammy winning album, This is Where I Live. His most recent film project is for the Netflix film MY NAME IS DOLEMITE.Based on the real-life story of Rudy Ray Moore, MY NAME IS DOLEMITE, stars Eddie Murphy and was premiered at the Toronoto Film Festival in September of 2019. The film centers on Filmmaker Rudy Ray Moore, best known for portraying the character of Dolemite in both his stand-up routine and a series of blaxploitation films, starting with the film "Dolemite" in 1975. The film was released on Netflix on October 25, 2019 and has received critical praise for Eddie Murphy's performance, including a Golden Globe nomination for Best Actor and Best Motion Picture - Comedy or Musical.In this episode, Scott Bomar discusses his research into and how he paid homage to the blaxsploitation genre of the 1970s. Bomar details his inspiration from composers such as Quincy Jones and Lalo Schifrin and the performances of many instrumentalists who played on such famous films such as Shaft, Chuck Turner and Superfly. While revealing some of the musical connection to previous work he did for HUSTLE & FLOW, Scott Bomar shares how an encounter at the recording studio with another huge, musical influence, Isaac Hayes played out.ANNOTATED TRACKS / SEGMENTS02:21 - Put Your Weight on It03:58 - I'm Gonna Kill Dolemite05:51 - Sell It07:46 - Scene 308:42 - Promote It10:47 - The Phone Call11:50 - New House Record13:42 - ArrivedSOUNDTRACKThe original score for My Name is Dolemite was released by Milan Records on October 4, 2019, on digital and can be purchased at Amazon.com, iTunes, or streaming on Spotify and Apple Music MORE ABOUT THE COMPOSERYou can hear more music by Scott Bomar at his official site: https://www.electraphonicrecording.com/ or you can follow him on Twitter @electraphonic. ABOUT THE ANNOTATORThis podcast is produced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.SUBSCRIBEiTunesSpotifyStitcher RadioRadioPublicGoogle PodcastsRSS Feed

Vancouver's South Granville neighbourhood is going through some changes. Last month, the Ouisi Bistro closed its doors after a quarter of a century in business, where owners blamed a rent increase. Across the street, the West Restaurant and Bar is preparing to shut up shop on New Year's Eve. And now, another local business is preparing to leave the neighbourhood: Memphis Blues.  George Siu is the co-owner. He joins me now in studio.   Guest: George Siu Co-owner of Memphis Blues

Chapter 1

On today's show, Pat is joined by the GOAT. 4x Super Bowl Champion, 3x Pro Bowler, 3x First Team All-Pro, and one of Pat's best friends, Adam Vinatieri joins the show. They discuss whether or not he ever actually considered retirement after hitting a rough patch earlier this year, why he was so excited to come back and play for this Colts team, what he thinks his problems were earlier this season and what he did to fix them, and Pat tries to figure out what luxury vehicle Vinny is calling from in an honest, open interview that you don't want to miss (1:55-20:46). Pat and the guys also record some quick hits about tonight's Packers/Eagles game and look ahead to this weekend in the NFL as they record the show into a cell phone inside Foxy's XL Suite, as the truck won't be operational until this morning before the radio show. Pat also dives into the fiasco of not having a hotel room when arriving in Memphis, and all the other hijinks that took place once he and the boys landed. Pat's running on very few hours of sleep and another late night recording results in he and the boys being a little slap happy. It's a fun one that you'll enjoy. Come and laugh with us. Cheers.

What does Memphis blues sound like? What is signifying? Explore these and other questions in Albert King's "Don't Throw Your Love on Me So Strong."

It's another long weekend, and for many of us that means we'll be firing up the barbecue, and unwinding with some hot food to celebrate Canada Day. Barbecues are easy to screw up though - you don't want to serve up food that's undercooked, or overcooked, or just plain bland. Let's get some advice from the people who know best.  Guest: George Siu Co-owner of Memphis Blues

Beale Street in downtown Memphis was officially declared the "Home of the Blues" by an act of Congress in 1977.

Kate Stedelbauer was born in Virginia, but a huge part of her hails from Beale Street in Memphis. That of course is her signature red guitar, bought used from someone who used to play on the street where the Memphis Blues gained fame. "She's been playin' down on Beale Street since I was just a kid, and my mind hadn't discovered where all her songs were hid," she sings in "Red Guitar." Kate loves a good story, and she says her main approach to songwriting is to pick a concept or theme and write a story around it. "I think that's where country music came in for me," she says. "Because country music is all about the story." And Kate tells many great stories in her songs. She expertly portrays small town life in "Small Town Ballad," with the "bar flies tapping stories into each of their ashtrays." And she writes about overcoming odds despite where you come from in the touching ode "Boy Named Sunday." She turns inward to her own story on "Leave Me Be," laying her emotions bare for the listener. Kate is a songwriter beyond her years, and maybe that's because she dwells so much in the past listening to songwriters like Joni Mitchell and John Prine. It is encouraging to see such a skilled songwriter deftly balancing the past and present in her songwriting and style.

Highlights from the Library of Congress' National Recording Registry. Artists include: Cab Calloway, Pablo Casals, Merle Travis, Hoagy Carmichael, Duke Ellington, Sonny Rollins and the Victor Military Band. Records include: Memphis Blues, Gunsmoke: The Cabin, You Don't Know What Love is, Stardust, Blue Serge and Brother, Can You Spare a Dime.

Black Manhattan: Scott Joplin and James Reese Europe 's 369th Infantry Regiment Band. 1. Alessandro Simonetto “Wall Street Rag” from Joplin: Ragtimes & Waltzes (2018) 2. James Reese Europe “That Moaning Trombone” from James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band (Remastered) (1996) on Inside Sounds 3. James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band “Memphis Blues” from James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band (Remastered) (1996) on Inside Sounds 4. James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band “On Patrol In No Man's Land” from James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band (Remastered) (1996) on Inside Sounds 5. James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band “How Ya Gonna Keep 'Em Down On the Farm?” from James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band (Remastered) (1996) on Inside Sounds 6. James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band “All of No Man's Land Is Ours” from James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band (Remastered) (1996) on Inside Sounds 7. James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band “My Choc'late Soldier Sammy Boy” from James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band (Remastered) (1996) on Inside Sounds 8. James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band “Plantation Echoes” from James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band (Remastered) (1996) on Inside Sounds 9. James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band “Dixie Is Dixie Once More” from James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band (Remastered) (1996) on Inside Sounds 10. James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band “St. Louis Blues” from James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band (Remastered) (1996) on Inside Sounds 11. James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band “Jazz Baby” from James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band (Remastered) (1996) on Inside Sounds 12. James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band “Russian Rag” from James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band (Remastered) (1996) on Inside Sounds 13. James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band “Arabian Nights” from James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band (Remastered) (1996) on Inside Sounds 14. James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band “Broadway Hit Medley” from James Reese Europe's 369th U.S. Infantry "Hell Fighters" Band (Remastered) (1996) on Inside Sounds

Feinschmeckeralarm: Der ultimative Talkin’ The Game Expansion Draft Podcast ist da!!! „Wer, wenn nicht wir?“, denken sich Mat, Dennis & Sammo, nehmen ambitioniert das Heft in die Hand und vergrößern die NBA eigenhändig um gleich 3 neue Franchises. Endlich kommen die Seattle Super Sonics zurück, die Vancouver Grizzlies (sorry Memphis, wie wäre es mit „Memphis Blues“?) feiern ein Comeback und die Las Vegas Gambles dürfen auch noch an die großen Wetttöpfe ran. Welche 5 Spieler wird jede der 30 NBA-Franchises schützen? Welche Spieler werden gepickt? Wie könnten die 3 neuen Teams aussehen und können die dann auch was reißen? Die Jungs orientieren sich mit kleineren Änderungen grob am Modus der letzten Expansion Draft von 2004 und versuchen 3 schlagkräftige Truppen zusammenzustellen, die alles rasieren (oder halt nicht). Natürlich wird heiß über den einen oder anderen Spieler diskutiert, wilde Vermutungen aufgestellt und nebenbei noch die Strategien fast aller 30 Teams durchgesprochen. Zwischenzeitlich haben sich natürlich schon wieder ein paar Änderungen ergeben (Minnie hat Thibs rausgeworfen, Pat McCaw spielt nun och nicht bei den Cavs und Justin Holiday schnürt seine Sneakers neuerdings in Memphis), die wir aber die Tage in der kommenden Episode „Whut Up NBA!?“ besprechen werden. Zu hören gibt es Talkin‘ The Game bei iTunes, Spotify, Soundcloud, Deezer oder überall, wo es Podcasts gibt. Für mehr Infos und Bonus-Content rund um den Pod und die NBA folgt uns auf Twitter, Facebook, Instagram und YouTube. Wir freuen uns riesig über eine Bewertung bei iTunes oder eine Empfehlung auf Facebook.

Danski saxófónleikarinn Steen Vig og Bluesicians flytja lögin Memphis Blues, Foo Foo Blues, Copenhagen hip hop, Tee, We Sure Do Need Him Now og Kansas City Man Blues. Kvintett saxófónleikarans Rocky Boyd flytur lögin Stella By Starlight, Why Not?, West 42nd Street, Avars og Ease It!. Kvintett píanóleikarans Horace Silver flytur lögin Song For My Father, Calcutta Cutie, The Natives Are Restless Tonight, Que Pasa, Lonely Woman og The Kicker.

Danski saxófónleikarinn Steen Vig og Bluesicians flytja lögin Memphis Blues, Foo Foo Blues, Copenhagen hip hop, Tee, We Sure Do Need Him Now og Kansas City Man Blues. Kvintett saxófónleikarans Rocky Boyd flytur lögin Stella By Starlight, Why Not?, West 42nd Street, Avars og Ease It!. Kvintett píanóleikarans Horace Silver flytur lögin Song For My Father, Calcutta Cutie, The Natives Are Restless Tonight, Que Pasa, Lonely Woman og The Kicker.

The triplets Jim Felder, Alex Dugan and Robert Trawick, talk about the Memphis Blues and hone in on understanding ISO on digital cameras. It ain't exactly easy as pie. Join our Facebook Group and continue the discussion with other listeners. The Foto Twins love using Røde Microphones for smooth, quality audio on our podcast episodes. Be sure to check out their entire line of audio capture devices.

On this episode of Memphis Musicology, we take a look at some of the most important and influential bars, clubs, saloons, and speakeasies in Memphis music history, from the cigar counter on Beale St. where W.C. Handy composed “The Memphis Blues” to the brothel where the Rolling Stones were inspired to write “Brown Sugar.

It's real-deal Memphis Blues... the kind of sophisticated blues and jazz sounds you would have heard floating from the windows of The Palace on Beale Street in the 40's and 50's. Keeping the flame burning bright is Memphis’ own Love Light Orchestra. L​ove Light Orchestra features Blues Music Award-winner John Nemeth on vocals, Joe Restivo on guitar, Tim Goodwin on bass, Earl Lowe on drums, Gerald Stephens on keys, and a five piece horn section that includes Marc Franklin, Scott Thompson, Art Edmaiston, Jason Yasinksy, and Kirk Smothers. The band has recently signed to Blue Barrel Records and ​released a full-length record ​produced by Matt Ross-Spang.

Steen Vig og Bluesicians leika lögin We Sure Do Need Him Now, Memphis Blues, Blue Turning Grey Over You, Taps Miller, Kansas City Blues, Foo Foo Blues og Tee. Jimmy Knepper Gee Baby Ain't I Good To You, Close As Pages In A Book og Irresistible You. Tríó Bill Evans og Frank Minon flytja lögin So What, Flamenco Skethces og Round Midnight. Charles Mingus og hljómsveit flytja lögin Fifty Street Blues, Conversation, East Coasting, West Coast Ghost, Celia og Memories Of You.

Steen Vig og Bluesicians leika lögin We Sure Do Need Him Now, Memphis Blues, Blue Turning Grey Over You, Taps Miller, Kansas City Blues, Foo Foo Blues og Tee. Jimmy Knepper Gee Baby Ain't I Good To You, Close As Pages In A Book og Irresistible You. Tríó Bill Evans og Frank Minon flytja lögin So What, Flamenco Skethces og Round Midnight. Charles Mingus og hljómsveit flytja lögin Fifty Street Blues, Conversation, East Coasting, West Coast Ghost, Celia og Memories Of You.

Memphis, ville-frontière entre les états du Tennessee et de l'Arkansas. Ce comptoir culturel le long du Mississippi présente une scène musicale unique au monde où il est également question de franchir frontières entre les genres. Après un premier épisode entièrement consacré au Rockabilly (avec les tonitruants Jacky Banana), revue plus classique de la musique de Memphis qui a vu naitre les labels Stax Records (Soul) et Sun Records (Rock n Roll), le fameux Memphis Blues et la délicieuse scène horrorcore. En bonus, des extraits inédits d'une interview de Julien Baker, une jeune chanteuse originaire de la ville. Vous pouvez écouter une version longue et condensée de cette échange au milieu de ce podcast Carte Grise. La musique de Memphis, Tennessee Carla Thomas - B-A-B-Y Booker T. et the MG’s - Green Onions Jay Reatard - Death is Forming Joe Hill Louis - She May Be Yours (But She Comes To See Me Sometimes) Three 6 Mafia - Some Bodies Gonna Get It Julien Baker - Appointments Dusty Springfield - Son of a Preacher Man Justin Timberlake - What Goes Around... - ...Comes Around Big Star - The Ballad Of El Goodo Isaac Hayes - Wonderful Jerry Lee Lewis - Whole Lotta Shakin’ Goin’ On Jimmy et Walter - Easy David Porter - Can’t See You When I Want To Abonnez-vous dans nos réseaux Merci de vous abonner à la page Facebook de l’émission, le moyen idéal pour recevoir des news sur les prochains shows (Le retour du Nigeria ! Biarritz !). Et surtout parlez-en autour de vous. Notre extraordinaire compte Instagram est là pour un accès VIP aux coulisses de Mappemonde. Photo : Pyramid Arena © Thomas R Machnitzki

Memphis, ville-frontière entre les états du Tennessee et de l'Arkansas. Ce comptoir culturel le long du Mississippi présente une scène musicale unique au monde où il est également question de franchir frontières entre les genres. Après un premier épisode entièrement consacré au Rockabilly (avec les tonitruants Jacky Banana), revue plus classique de la musique de Memphis qui a vu naitre les labels Stax Records (Soul) et Sun Records (Rock n Roll), le fameux Memphis Blues et la délicieuse scène horrorcore. En bonus, des extraits inédits d'une interview de Julien Baker, une jeune chanteuse originaire de la ville. Vous pouvez écouter une version longue et condensée de cette échange au milieu de ce podcast Carte Grise. La musique de Memphis, Tennessee Carla Thomas - B-A-B-Y Booker T. & the MG's - Green Onions Jay Reatard - Death is Forming Joe Hill Louis - She May Be Yours (But She Comes To See Me Sometimes) Three 6 Mafia - Some Bodies Gonna Get It Julien Baker - Appointments Dusty Springfield - Son of a Preacher Man Justin Timberlake - What Goes Around... - ...Comes Around Big Star - The Ballad Of El Goodo Isaac Hayes - Wonderful Jerry Lee Lewis - Whole Lotta Shakin' Goin' On Jimmy & Walter - Easy David Porter - Can't See You When I Want To Abonnez-vous dans nos réseaux Merci de vous abonner à la page Facebook de l'émission, le moyen idéal pour recevoir des news sur les prochains shows (Le retour du Nigeria ! Biarritz !). Et surtout parlez-en autour de vous. Notre extraordinaire compte Instagram est là pour un accès VIP aux coulisses de Mappemonde. Photo : Pyramid Arena © Thomas R Machnitzki

Classic songs by Andy Razaf, James P. Johnson, Duke Ellington, Tony Jackson, Eubie Blake, W.C. Handy and Billy Strayhorn. Songs include: Memories of You, Memphis Blues, Pretty Baby, In My Solitude, Black and Blue and Lush Life. Performers include: Ethyl Waters, Nat King Cole, Billy Murray, Etta Jones, Billie Holiday and Kathrine Handy.

It might have seemed like a ho-hum couple of weeks in the NBA, but Adam Murray and Andrew Riche, Place To Be Nation's NBA-Team, are here to catch you up on all the goings on in the league. Was it necessary for the Memphis Grizzlies to fire their head coach in the midst of their losing streak, and is it possible that the tumultuous times have yet to end there? Could Doc Rivers of the L.A. Clippers be the next to go after Blake Griffin's months-long injury? Riche and Adam also talk about the streaking Cavaliers, why less teams are tanking early in the season, the league-wide injury bug, and much more. So suit up and take it out with the NBA-Team!

Neil, Kyle and Chris chat about David Fizdale's firing and discuss the potential impact of Blake Griffin's latest injury.

Neil, Kyle and Chris chat about David Fizdale's firing and discuss the potential impact of Blake Griffin's latest injury.

If anyone was meant to record an album celebrating the Memphis Blues songs from the legendary Stax Records catalog, it's Melissa Etheridge. On this episode, Melissa shares how crawling into these songs and recording this album was a beautiful and profound experience. She also shares what motivates her in her life, music, and activism. You'll love her honesty. And that voice. Straight up feel good pop is what singer/songwriter/producer Mark Bacino does best. You've heard This NY native's music on Vampire Diaries and maybe read his songwriting column in GuitarWorld & Songwriter's market. On this episode Mark chats his latest single "Not That Guy" and how he has crafted his career to fit his life. Plus, get some songwriting & producing advice that he shares from his columns. Then, catch up with Amber & Jim Marchese from Real House Wives of New Jersey who are one of the couples undergoing some extreme couples therapy on WE TV series "Marriage Boot Camp Reality Stars." Hear what to expect from the series this season and when they share what they learned about their marriage-you just might go "Awww."

NIECIE - COUCH KID NEWS Niecie comes by with some COUCH KID NEWS to start the show. She released a single on Friday entitled Two Can Play That Game and she and I talked about the amazing lineup behind her and her next moves. SCOTTIE MILLER – Segment Begins At The 12:50 Mark When Scottie Miller is not working on his own music, he is the touring keyboardist for Miss Ruthie Foster. A member of the Minnesota Blues Hall Of Fame, Miller has also toured with Bo Diddley. He and I talked about all that and more as we listened to tunes from his latest, Stay Above Water. DRY RIVER – Segment Begins At The 48:40 Mark The band has released their second album, Prayin’ For Rain, and I had the opportunity to speak with Oliver and Dave about the formation of the band and where they are headed. KIM SIMMONDS – COUCH KID NEW MUSIC - Segment Begins At The 1:25:00 Mark Kim returns for Couch Kid New Music with not one new album, but TWO new albums. First, Jazzin’ On The Blues, released on Kim’s own label, Panache Records. And there's a new Savoy Brown album, Witchy Feelin’ on Ruf Records. Kim and I talked about both the albums, why he began a record company and what plans are on the table moving forward. ERIC HUGHES – COUCH KID NEW MUSIC - Segment Begins At The 2:04:30 Mark Eric Hughes, returns with his latest release, Meet Me In Memphis. This is another fine piece of Memphis Blues, by one of the tightest bands in the region. Eric is on stage during the show, so we pre-recorded our interview, which touched on the music on the album, how they funded the album and more.

In addition to discovering Metallica, Michael Anthony Alago has accumulated a roster that includes such diverse artists as Michael Feinstein, Johnny Rotten, White Zombie and Nina Simone to name a few. A seminal producer and talent scout for nearly 20 years, Michael Alago has become a household name in the music industry for his expertise in a variety of musical genres. In 2010, Alago teamed up with Cyndi Lauper on her Grammy-nominated album “Memphis Blues,” for which he acted as A&R executive. Michael’s latest project is a feature documentary called “Who the F**k is that guy” which is “The Fabulous Journey of Michael Alago” Follow your dreams, be nice to others, and discover happy in today’s project my life podcast with Anthony Monetti.

Playlist: Baby Dynamite, Scream, Heather Gillis Band, When You Get Older, Felix Y Los Gatos,Bag Of Chile, New Orleans Suspects, Cocaine Jane, Steve Howell & Jason Weinheimer, Basin Street Blues, Joel DaSilva, Down In The Delta, Johnny Rawls, Rain Keep Fallin’(Til I’m Free), Trevor Sewell, You Ain’t What I’m Looking For, Jason Ricci, I Got Cleaned Up, Lew Jetton, Sold Us Out, Hamilton Loomis, Looking Into A Dream, Mindi Abair And The Boneshakers, Not That Kind Of Girl, Webster Ave, Never Tender Your Goodbyes, Johnny Oskam, Hold Your Tongue, Benny Turner, See See Baby, Savoy Brown, Memphis Blues, Rob Lutes, There’s No Way To Tell You That Tonight, Andrew B. Chapman AKA JoJo, Harley Hotstuff, Mambo Sons, Overend Watts, Scottie Miller, Rippin’ & Runnin’, Scott Ellison, Hope And Faith, Joshua Jacobson, Hide Me In Thy Bosom, Altered Five Blues Band, Three Forks, Lurrie Bell, Do You Hear, Rockin’ Johnny Burgin, Love Me Like I Want It, Scott Sharrard, Put Your Soul Records On, Chris Ruest, Get What You Want, Christine Ohlman & Rebel Montez, There Ain’t No Cure (feat Ian Hunter), Mojomatics, Soy Baby Many Thanks To: We here at the Black-Eyed & Blues Show would like to thank all the PR and radio people that get us music including Frank Roszak, Rick Lusher ,Doug Deutsch Publicity Services,American Showplace Music, Alive Natural Sounds, Ruf Records, Vizztone Records,Blind Pig Records,Delta Groove Records, Electro-Groove Records,Betsie Brown, Blind Raccoon Records, Miss Jill at Jill Kettles PR and all of the Blues Societies both in the U.S. and abroad. All of you help make this show as good as it is weekly. We are proud to play your artists.Thank you all very much!