Podcasts about Memphis Minnie

Blues rural, eléctrico y urbano en este especial dedicado a la Música del diablo... Con titanes y titanas como Elmore James, Memphis Minnie, Blind Willie Mctell, John Lee Hooker, Victoria Spivey y Kokomo Arnold... A partir de las ocho de la mañana del sábado en la sintonía de Radio 3.Escuchar audio

Dani Del Toro viene al programa con Candice Ivory es una cantante de Millington (Tennessee) afincada en San Luis (Misuri) y es considerada “Reina del Avant Soul”. “Amaba y respetaba a mi tío abuelo Will Roy Sanders, pero también buscaba mujeres modelos a seguir en un campo muy dominado por los hombres. Como músico en activo cuando aún estaba en la escuela secundaria, tuve una epifanía cuando visité la tumba de Memphis Minnie en Walls, MS, apenas unos años después de que Bonnie Raitt comprara una lápida para su tumba que llevaba mucho tiempo sin marcar. Me sorprendió descubrir que los visitantes de todo el mundo habían transformado la tumba de Minnie en un santuario. Eso me causó una impresión inolvidable, aunque ella es casi una desconocida”.DISCO 1 RHIANNON GIDDENS & JUSTIN ROBINSON Marchin Jaybird DISCO 2 EL ÚLTIMO DE LA FILA Aviones plateados DISCO 3 YOUNG GUN SILVER FOX Born To DreamDISCO 4 EDDY SMITH & THE 507 Love Sick DISCO 5 VALERIE JUNE & The Blind Boys of Alabama Changed DISCO 6 CANDICE IVORY Hard Down Lie DISCO 7 DANI DEL TORO ______________________ DISCO 8 CANDICE IVORY Hoodoo Lady DISCO 9 MARY CHAPIN CARPENTER Bitter Ender Escuchar audio

Hokum bands of the 1920s and '30s created a brand of urban folk tunes called “jug band music” that famously blended the sounds of the plantation and the church with those of the swing, swerve and sway of nascent jazz.And no one did it better than those Flood heroes The Memphis Jug Band, formed in 1927 by Beale Street guitar/harmonica player Will Shade. Shade was also known as Son Brimmer, a nickname given to him by his grandmother Annie Brimmer (“son” being short for grandson). The name stuck when other members of the band noticed how the sun bothered him and he used the brim of a hat to shade his eyes.The Ohio Valley InfluenceIncidentally, Will Shade first heard jug band music in our part of the country, on the 1925 recordings by Louisville's Dixieland Jug Blowers, and he wanted to take that sound south.“He was excited by what he heard,” Wikipedia notes, “and felt that bringing this style of music to his hometown of Memphis could be promising. He persuaded a few local musicians, though still reluctant, to join him in creating one of the first jug bands in Memphis.”While Shade was the constant, the rest of his band's personnel varied from day to day, as he booked gigs and arranging recording sessions.Some players remained a long time. For instance, Charlie Burse (nicknamed "Laughing Charlie," "Uke Kid Burse" and "The Ukulele Kid”) recorded some 60 sides with the MJB. Others — like Memphis Minnie and Hattie Hart — used the band as a training ground before going on to make careers of their own.Street MusicThe Memphis Jug Band's venues, as The Corner Jug Store web site noted, included “street corners, juke joints, city nightclubs, political rallies, private parties, hotel ballrooms, medicine shows and riverboats,” and it cut many styles and repertoires to suit its varied audiences.Most of all, the MJB's sound was the music of the street, as demonstrated in the open lines of their wonderful “4th Street Mess Around,” recorded in May 1930 for Victor by Ralph Peer: Go down Fourth until you get to Vance, Ask anybody about that brand new dance. The girls all say, “You're going my way, It's right here for you, here's your only chance.”And what was that “brand new dance?” Shoot, take your pick! The Eagle Rock, the turkey trot and fox trot, camel walk and Castle Walk, the Charleston and the Lindy Hop were all stirring the feet and wiggling the hips of listeners and players in the ‘20 and ‘30s.But Mess Around?But what's a “mess around?” Well, as we reported here earlier, New Orleans jazzman Wingy Manone in his wonderful autobiography called Trumpet on the Wing, talked about watching people dance the mess-around at the fish fries of his youth in the Crescent City at the beginning of the 20th century.“The mess-around,” said Wingy, “was a kind of dance where you just messed around with your feet in one place, letting your body do most of the work, while keeping time by snapping fingers with one hand and holding a slab of fish in the other!” Now, that's an image.Our Take on the TuneThe Flood first started messing around jug band tunes nearly 50 Springs ago, when the band was still a youngster. Before their juncture with juggery, the guys played mainly old folk songs and some Bob Dylan and John Prine and a smattering of radio tunes from folks like James Taylor and The Eagles. But then they discovered some fine old recordings by Tampa Red and Georgia Tom, by groups like The Mississippi Sheiks and Gus Cannon's Jug Stompers, and most especially the great Memphis Jug Band. Ever since then, The Flood's musical buffet table has been a lot bigger, with tunes like this one from the warmup at last week's rehearsal.More Jugginess?Of course, The Flood's jug band music mission has continued. If today's song and story have you ready to join the campaign, check out The Hokum channel on the free Radio Floodango music streaming service which has dozens of jug band tunes ready to rock you. Click here to tune it in and you'll be ready to sing along at the next Flood fest. 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

The Blackburn Brothers perform live at the 2024 Blues Music Awards in Memphis on Edition 685 of Blues Radio International, with James Cotton, Memphis Minnie, Don Bryant and Louisiana Red with Lefty Dizz.Find more at BluesRadioInternational.net

CEDRIC BURNSIDE is a hard core, genuine American blues master and grandson of the iconic RL Burnside. He carries the mantle, joy and the burdens and the history of the North Mississippi hill country blues He has won more than a dozen individual awards and has led or contributed to four Grammy-nominated projects.CANDICE IVORY is one of America's greatest soul and blues artists. WoodSongs is proud to introduce her celebration of on of the most revered blues artists of all time: MEMPHIS MINNIE, a guitar legend and blues artist whose work was covered even by the rock band LED ZEPPLIN. Ivory reintroduces the music of this legend, almost forgotten until Bonnie Raitt purchased the headstone for Memphis Minnie's grave site.

Today's show features music performed by Memphis Minnie and Cornell Dupree

Hear Michael Burks, the Ironman of the Blues, in his only performance at the Blues Music Awards, on Edition 672 of Blues Radio International, with Lucky Peterson, RL Burnside, Memphis Minnie, Moose Walker and Sonny Gullage.Find more at BluesRadioInternational.net

Pete Prown is the author of The Ultimate Book of Blues Guitar Legends: The Players and Guitars That Shaped the Music. It features over 150 of the genre's greatest players and performers from the prewar era to present. From blues pioneers like Robert Johnson, Son House, Blind Lemon Jefferson, and Memphis Minnie to today's hottest guitar slingers like Derek Trucks, Joe Bonamassa, Gary Clark Jr., and Samantha Fish, Prown presents his subjects by blues-defining eras and subgenres, including: early acoustic and country blues, Chicago blues, the British Invasion, blues rock, and more. Examine specific noteworthy guitars each player made famous, as well as effects pedals, amplifiers, and career overviews that include the players' first-person revelations and insights.Purchase a copy of The Ultimate Book of Blues Guitar Legends: The Players and Guitars That Shaped the MusicVisit PetPrown.com Episode Playlist ---------- BookedOnRock.com The Booked On Rock YouTube Channel Follow The Booked On Rock with Eric Senich:FACEBOOKINSTAGRAMTIKTOKX Find Your Nearest Independent Bookstore Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com The Booked On Rock Music: “Whoosh” by Crowander / “Last Train North” & “No Mercy” by TrackTribe

Memphis ist einer der wichtigsten Orte in der Musikgeschichte. In der Beale Street traten von den 1920er bis in die 1940er Jahre Blues- und Jazzgrößen wie Louis Armstrong, Muddy Waters, Memphis Minnie oder B. B. King auf. Jeden Abend gibt es bis heute live Musik in den Bars in Downtown. Die meisten Besucher zieht Graceland an, etwa 650.000 Menschen jährlich pilgern zum Anwesen im Stadtteil Whitehaven, das von 1957 bis zu seinem Tod im Jahr 1977 Elvis Presleys Lebensmittelpunkt war. 1982 machte die ehemalige Ehefrau von Elvis, Priscilla Presley, das Haus der Öffentlichkeit zugänglich. Wer die frühere Farm-Villa durch die Eingangstür neben zwei imposanten Säulen betritt, steht zuerst in den Wohnräumen. Im Keller befinden sich ein Fernseh- und ein Billardzimmer mit einer Bar sowie der sogenannte Jungle Room, in dem Elvis 1976 seine letzten beiden Alben aufgenommen hat. Die Sammlung von Oldtimern und Flugzeugen zeigt, wie glamourös das Leben des King of Rock ´n´ Roll war. Viele Sänger starteten ihre Karrieren mit Gospel-Musik in Kirchen. Al Green, den das Musikmagazin Rolling Stone zu den besten 100 Sängern aller Zeiten zählte, wurde nach Schicksalsschlägen Baptistenprediger. Als Bishop Green empfängt er Gläubige in einem eigenen Gotteshaus an der Hale Road. Auch wer Freiluftkonzerte mag, ist am Mississippi genau richtig: Seit Mai 2024 findet am Ufer jenes Flusses, auf dem Mark Twains Romanhelden Tom Sawyer und Huckleberry Finn mit einem Floß stromabwärts fuhren, das Riverbeat-Festival statt. Nashville, die Hauptstadt des Bundesstaates Tennessee, ist ein idealer Start- oder Endpunkt für eine Reise und das Zentrum der kommerziellen Country-Musikszene. Singer-Songwritern bieten Bühnen wie der „Listening Room“ gute Chancen, von Managern entdeckt zu werden. Die Country Music Association (CMA) hat in Nashville ihren Hauptsitz. Die jährliche Verleihung der CMA Awards zählt zu den bedeutendsten Veranstaltungen Tennessees. In der Country Music Hall of Fame oder im National Museum of African American Music können Fans stundenlang Filmszenen und persönliche Gegenstände ihrer Lieblingsstars ansehen. Die Gitarrenfirma Gibson Guitar Corporation ist ebenfalls aus Nashville und zeigt ihre besten Instrumente in einer Garage.

Memphis ist einer der wichtigsten Orte in der Musikgeschichte. In der Beale Street traten von den 1920er bis in die 1940er Jahre Blues- und Jazzgrößen wie Louis Armstrong, Muddy Waters, Memphis Minnie oder B. B. King auf. Jeden Abend gibt es bis heute live Musik in den Bars in Downtown. Die meisten Besucher zieht Graceland an, etwa 650.000 Menschen jährlich pilgern zum Anwesen im Stadtteil Whitehaven, das von 1957 bis zu seinem Tod im Jahr 1977 Elvis Presleys Lebensmittelpunkt war. 1982 machte die ehemalige Ehefrau von Elvis, Priscilla Presley, das Haus der Öffentlichkeit zugänglich. Wer die frühere Farm-Villa durch die Eingangstür neben zwei imposanten Säulen betritt, steht zuerst in den Wohnräumen. Im Keller befinden sich ein Fernseh- und ein Billardzimmer mit einer Bar sowie der sogenannte Jungle Room, in dem Elvis 1976 seine letzten beiden Alben aufgenommen hat. Die Sammlung von Oldtimern und Flugzeugen zeigt, wie glamourös das Leben des King of Rock ´n´ Roll war. Viele Sänger starteten ihre Karrieren mit Gospel-Musik in Kirchen. Al Green, den das Musikmagazin Rolling Stone zu den besten 100 Sängern aller Zeiten zählte, wurde nach Schicksalsschlägen Baptistenprediger. Als Bishop Green empfängt er Gläubige in einem eigenen Gotteshaus an der Hale Road. Auch wer Freiluftkonzerte mag, ist am Mississippi genau richtig: Seit Mai 2024 findet am Ufer jenes Flusses, auf dem Mark Twains Romanhelden Tom Sawyer und Huckleberry Finn mit einem Floß stromabwärts fuhren, das Riverbeat-Festival statt. Nashville, die Hauptstadt des Bundesstaates Tennessee, ist ein idealer Start- oder Endpunkt für eine Reise und das Zentrum der kommerziellen Country-Musikszene. Singer-Songwritern bieten Bühnen wie der „Listening Room“ gute Chancen, von Managern entdeckt zu werden. Die Country Music Association (CMA) hat in Nashville ihren Hauptsitz. Die jährliche Verleihung der CMA Awards zählt zu den bedeutendsten Veranstaltungen Tennessees. In der Country Music Hall of Fame oder im National Museum of African American Music können Fans stundenlang Filmszenen und persönliche Gegenstände ihrer Lieblingsstars ansehen. Die Gitarrenfirma Gibson Guitar Corporation ist ebenfalls aus Nashville und zeigt ihre besten Instrumente in einer Garage.

Pacific Street Blues & AmericanaJuly 28, 2024Play, What's the Common ThreadContact Facebook1. Jimmie Vaughan / Power of Love 2. Amos Milburn / Chicken Shack (Fleetwood Mac) [Clapton, SRV, BB] 3. Amos Milburn / Tears, Tears, Tears (Gregg Allman) 4. Amos Milburn / One Scotch, One Bourbon, One Beer (John Lee Hooker) 5. The Fabulous Thunderbirds feat Billy Gibbons / Payback Time6. Earl Hooker / Wah Wah Blues7. Chris O'Leary / Things Ain't Always What They Seem 8. Johnny Burgin / Silenty Suffering 9.  Josh White / In My Time of Dying 10. Memphis Minnie & Kansas City Bob / When the Levee Breaks11. Leadbelly / Gallis Pole 12. John Raitt / Oh What a Beautiful Morning 13. Bonnie Raitt / Love so Strong 14. Dave Alvin & Jimmie Dale Gilmore / Southwest Chief 15. Margo Price with Mike Campbell / Ways to Be Wicked 16. Amanda Ann Platt & the Honeycutters / Forever 17. Gillian Welch & Dave Rawlings / Empty Traiload of Sky 18. Keb Mo / One of These Nights 19. Etta James / Take It to the Limit20. Jackson Browne / Take It Easy 21. Linda Ronstadt / Desperado 22. Tanya Tucker / Already Gone 

Storytelling in song is not new. It's mankind's way of conveying, in both accuracy and reflection, the narrative from one perspective. Embellishments and hooks have long been the best way to make the story easy to digest and, if need be, to get a point (likely sociopolitical) across. We'll be doing just that in this Friday's episode: stories based in war, natural disasters, national tragedies and personal conflict. We'll take a hundred year tour of storytelling from Bessie Smith to the Drive-by Truckers, from Memphis Minnie and The Tex-I-An Boys to Calexico, The Staple Singers and Marty Robbins. There are floods, murders, environmental catastrophes, bombings, and some wartime solemnity to be shared today. Tune into KOWS Community Radio every Friday morning for some fresh musical linens, curated by the outdoors and streaming to all of planet Earth on KOWSFM.COM/listen

Today's show features music performed by Memphis Minnie and Albert King

Send us a Text Message.Three time Blues Foundation Traditional Female Artist award winner, Sue Foley's new album 'One Guitar Woman' is a heartfelt tribute to the female pioneers of the guitar - including Memphis Minnie, Lydia Mendoza, Maybelle Carter, Ida Presti, and Sister Rosetta Tharpe. The album showcases the dexterity of Foley's acoustic nylon string guitar skills as she expands on her blues playing into other genres like Piedmont fingerpicking, traditional country, flamenco and classical.“These are the women who were expressing themselves through the instrument as far back as the 1920's, at the inception of radio and recorded music. They are the trailblazers and visionaries whose footsteps I walk in,” says Foley.In May 2023, Foley was awarded the Blues Music Award for Traditional Blues Female Artist (the Koko Taylor Award) in Memphis TN for the third time. She was also honored with Guitarist of the Year and Blues Act of the Year at the 2023 Austin Music Awards, and Guitarist of the Year at the 2023 Maple Blues Awards. Her last studio album, Pinky's Blues took home Best Traditional Blues Album at the 2022 Blues Music Awards, and her latest live album Sue Foley Live In Austin Vol. 1 has spent 12 weeks at number 1 on the Roots Music Chart and has been on a number of blues Best Of 2023 lists. Learn more about Sue Foley at https://suefoley.comHost Lee Zimmerman is a freelance music writer whose articles have appeared in several leading music industry publications. Lee is a former promotions representative for ABC and Capital Records and director of communications for various CBS affiliated television stations. Lee recently authored the book "Thirty Years Behind The Glass" about legendary producer and engineer Jim Gains.Podcast producer/cohost Billy Hubbard is an Americana Singer/Songwriter and former Regional Director of A&R for a Grammy winning company. Billy is a signed artist with Spectra Music Group  and co-founder of the iconic venue "The Station" in East TN. Billy's new album was released on Spectra Records 10/2023 on all major outlets! Learn more about Billy at http://www.BillyHubbard.comSupport the Show.If you'd like to support My Backstage Pass you can make a donation to Billy & Lee's coffee fund at this link https://www.buymeacoffee.com/MyBackstagePassMy Backstage Pass is sponsored by The Alternate Root Magazine! Please subscribe to their newsletter, read the latest music reviews and check out their weekly Top Ten songs at this link http://www.thealternateroot.com

Playlist: Pacific Street Blues & AmericanaJune 9, 2024 www.Facebook.com/PSBlueswww.podomatic.com/podcasts/KIWRBlues 1. Chris O'Leary / Ain't It a Crime2. Robert Finley / Lucky Day 3. Stefan Hillesheim / When I'm Gone 4. Dan Auerback / Every Chance I Get 5. Memphis Minnie (and Kansas City Bob) / When the Levee Breaks6. Lead Belly / Gallus Pole7. Sandy Denny / Who Knows Where the Time Goes 8. Rhiannon Giddens / Last Kind Words (Geeshine Wiley)9. Mike Morgan & the Crawl / Uh, Uh Baby10. Toronzo Cannon / Unlovable 11. Mike Zito / Life is Hard12. Indigenous / Let It Rain 13. Joss Stone & Buddy Guy / Baby, You Got What It Takes 14. Nina Story / Left 15. Tedeschi Trucks Band / Gravity 16. John Hiatt w/ Joe Bonamassa / Riding with the King 17. Robben Ford / Riley B King 18. Curtis Salgado / 20 Years of BB King 19. Peter Frampton / The Thrill is Gone

Here is my Bluesland radio show from June 6, 2024. Included is an interview with Carl Verheyen is support of his upcoming shows in Washington State soon. Buddy Guy, Joe Cocker, Memphis Minnie and Kansas City Joe, Led Zeppelin, T-Bone Walker and more. See you next Thursday 7-9 PM live on KMRE 88.3 FM. 

We know Ottawa-born Sue Foley from the blues albums she's created and released. Plus Multiple blues awards on both sides of the border. Her new album is One Guitar Woman. A tribute to the female pioneers of guitar. This was/is a very personal journey for Sue. She's studied the many women who played guitar before her and left their legacy to study and pass on. Female singers and players like Memphis Minnie, Elizabeth Cotten, Maybelle Carter, Sister Rosetta Tharp, Geeshe Wiley,  Lydia Mendoza etc. Many tales and tunes are connected to the album. Four-time Blues Foundation Traditional Female Artist award winner, Sue Foley's new album One Guitar Woman is a heartfelt tribute to the female pioneers of the guitar - including Memphis Minnie, Lydia Mendoza, Maybelle Carter, Ida Presti, and Sister Rosetta Tharpe. The album showcases the dexterity of Foley's acoustic nylon string guitar skills as she expands on her blues playing into other genres like Piedmont fingerpicking, traditional country, the Carter Scratch,  flamenco and classical. “From the time I decided to be a professional guitar player, I've always looked for female role models. These are the women who were expressing themselves through the instrument as far back as the 1920's, at the inception of radio and recorded music. They are the trailblazers and visionaries whose footsteps I walk in,”  Sue  Foley.

It's been a while since we went free form so today's show takes our regular breather from genre-focused explorations, theme, retrospectives and artist-inspired shows. There will be all of that found in the mix this morning. Interspersed between some fresh sounds from the likes of Dylan LeBlanc, Charley Crockett, and a newly revealed Johnny Cash nugget, we'll be sharing everything from Dave Brubeck to Los Indios Tabajaras, Marvin Rainwater, and Johnny Thunder in our show today. From a pair of Memphis Minnie covers, some country classics from Patsy Cline, swinging rhythm from Louis Jordan, and straight-ahead rock from The Doobie Brothers and The Georgia Satellites…it's a Friday morning full of Duane Eddy tributes and we've even got Slim Whitman…just for you on Sonoma County Community Radio, broadcasting on the FM airwaves out of Occidental, California, and streaming to the whole wide world on kowsfm.com/listen. KOWS-LP 92.5 FM is “Free Speech. No Bull” Community Radio.

In this episode, we learn about the women who are the monarchs/pioneers on Rock & Roll! We start with Bessie Coleman and Memphis Minnie who were born in the late 1800s, and then Sister Rosetta Tharpe. Tharpe is known as the "Godmother of Rock and Roll."

This month is all about Female Guitarists. Tim, Rick, and Amanda mention artists like Carolyn Wonderland, Shannon Turfman, Memphis Minnie, Laurel, Jennifer Batten, and a few others. These artists wish Amanda and Tim would’ve started playing at a much younger age.

Today, I speak with Candice Ivory about her new project, When The Levee Breaks. As said on her website After releasing three acclaimed albums of jazz-driven original songs, vocalist Candice Ivory reveals a whole new sound on When the Levee Breaks: The Music of Memphis Minnie. Raised in Memphis and based in St. Louis, Ivory hails from an illustrious musical family that shaped Memphis's secular and sacred sounds. Her great-uncle was the singer and guitarist Will Roy Sanders of the Fieldstones, one of the premier Memphis blues bands from the 1970s to the 1990s. Ivory grew up in the church, and by the age of eleven, she was singing in a choir that featured the soon-to-be-famous R&B artist D'Angelo. When the Levee Breaks brings together all of her formative musical experiences in a tribute to Memphis Minnie (1897-1973), whose powerhouse vocals and compositional creativity served as inspiration for Ivory's own innovations as the Queen of Avant Soul. Produced by singular guitarist-bassist Charlie Hunter, a onetime D'Angelo collaborator, Ivory's When the Levee Breaks is a midnight run to the crossroads, where jazz, blues, gospel, and R&B all converge. https://candiceivory.com/ paypal.me/LamontJack  Join Patreon⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/africanamericanfolklorist/message

Antes de la hipotética cancelación a perpetuidad del Killer les ofrecemos en Melodías Pizarras una de sus barbaridades a 78 revoluciones por minuto. También a esta velocidad absurda sonarán, entre otras figuras, un par de diosas del proto rocanrol como Memphis Minnie y Camille Howard, un calypsoniano de cine y un par de glorias del western swing primigenio. A partir de las ocho de la mañana del sábado en sintonía de Radio 3 Escuchar audio

 An eclectic free form blend of sounds featuring a variety highlighted by Memphis Minnie, T-Bone Burnett, The Rascals, The Miracles and Carole King...plus over a dozen others in our last show of summer 2023. As the walls of justice close in on traitors and seditionists, we lean on the hope that the constitutional provision  that prevents their ilk from ever holding office is the key to saving democracy. Politics aside, the music this week features songs about baking biscuits, diamonds, shopping around, head spinning and what it's like living here in the U.S.A. Friday morning's Deeper Roots is a blend of classic and deep tracks designed to set the table for the weekend, right here on Community Radio for West Sonoma County and the world. Tune in, turn on but don't, just don't, drop out. 

Join us in the fifth episode of 'The Blues Legacy: Foundations of Modern Music' as we turn the spotlight onto the influential women of the Blues. Explore the unique contributions and enduring legacies of trailblazers like Ma Rainey, Bessie Smith, and Memphis Minnie. Discover how these remarkable women shaped the genre with their powerful vocals, evocative lyrics, and undeniable presence. Uncover the often overlooked stories of their struggles, victories, and the indelible impact they had on the Blues and the music world at large. This episode is a tribute to their talent, resilience, and the crucial role they played in paving the way for future generations of female musicians. --- Send in a voice message: https://podcasters.spotify.com/pod/show/theblueslegacy/message

 | Artist  | Title  | Album Name  | Album Copyright  |  | Tony Joe White  | Baby Please Don't Go  | Tony Joe White  |   |  | Memphis Minnie  | Nothing In Ramblin'  | Blues: The Essential Album  |  | Bukka White  | Shake Em On Down  | The Complete Sessions 1930-1940 | Lettoman  | Dancing, Singing, and Hot Gazes  | Singles July 2023  |   |  | Lightnin' Hopkins  | Play With Your Poodle  | Morning Blues (1965)  |  | Jimmy Driftwood  | Battle of New Orleans  | The Collection  |   |  | Jaybird Coleman  | Man Trouble Blues  | Country Southern Blues  |  | Mary Flower  | Hard Day Blues  | Misery Loves Company  |  | Steve Howell & The Mighty Men  | Bad Boy  | Been Here And Gone  |  | Big Bill Broonzy  | Water Coast  | Four Classic Albums Plus - CD Two | Thom Bresh  | Mi Amigo - Instrumental  | @Home  |   |   |  | Duster Bennett  | Let Your Light Shine On Me  | Comin' Home- Unreleased & Rare Recordings, Vol. 2 1971-1975 | Andy Cohen  | Moppers Blues  | Built Right On The Ground  |  | Alison Solo  | Old English  | Plutonian  |   |   |  | Original Rabbit Foot Spasm Band  | Chapel In The Pines  | Party Seven  |   |  | Colin James  | See That My Grave is Kept Clean  | Miles to Go  | W.C. Handy Preservation Band- Dir. Carl Wolfe  | Harlem Blues  | W.C. Handy's Beale Street: Where The Blues Began

Lucero "Mom"Memphis Slim "Steady Rolling Blues"JD McPherson "You Must Have Met Little Caroline?"Gillian Welch "Down Along the Dixie Line"Eilen Jewell "Crooked River"Waylon Jennings "If You See Me Getting Smaller"Carla Thomas "I Take It To My Baby"boygenius "Not Strong Enough"Memphis Minnie "The Man I Love"Grateful Dead "Dark Hollow"Kitty Wells "Forever Young"Coleman Hawkins "At McKie's"Raphael Saadiq "Sure Hope You Mean It"Professor Longhair "Hey Little Girl"Jack Logan "All Grown Up"Jack Logan "I Brake For God"Steve Earle "Hometown Blues"Doc & Merle Watson "Worried Blues"Cat Power "Lived in Bars"R.E.M. "Belong"R.E.M. "Orange Crush"Marine Girls "A Place In The Sun"Tampa Red "I'm a Stranger Here"Lee Morgan "Most Like Lee"Glossary "Almsgiver"The Mountain Goats "Rat Queen"Shaver "The Earth Rolls On"Vic Chesnutt "And How"Jon Dee Graham & The Fighting Cocks "Beautifully Broken"Jason Isbell and the 400 Unit "White Man's World"Gillian Welch "Happy Mother's Day"Brown Bird "Fingers to the Bone"Bonnie Prince Billy "Easy Does It"Magnolia Electric Co. "Talk To Me Devil, Again"Magnolia Electric Co. "Memphis Moon"Art Blakey's Jazz Messengers "The Witch doctor"The Velvet Underground "I'm Waiting For The Man"Townes Van Zandt "Be Here to Love Me"Will Johnson "To the Shepard, to the Lion"Centro-Matic "If They Talk You Down"Willie Nelson "Loving Her Was Easier (Than Anything I'll Ever Do Again

 | Artist  | Title  | Album Name  | Album Copyright  |   |  | Jake Leg Jugband  | The Alcoholic Blues  | Prohibition Is A Failure  |   |  | Robert Nighthawk And The Blues Rhythm Boys  | Blues Before Midnight  | Mississippi Delta Blues: Blow My Blues Away Disc 1 | Big Joe Turner  | Blues On Central Avenue  | Rocks In My Bed  |   |   |  | Blind Willie McTell  | Mr. McTell Got the Blues  | Complete Recorded Works, Vol. 1 (1927-1931) | Homesick James  | No More Lovin'  | The Country Blues  |   |   |  | Alger ''Texas'' Alexander  | Gold Tooth Blues (1929)  | Complete Recorded Works, Vol. 2 (1928 - 1930) | Half Deaf Clatch  | A Parallel World  | Robot Johnson. Mechanical Bluesman  |  | Robert Johnson  | Me And The Devil Blues  | The Complete Recordings;  The Centennial Collection | Ry Cooder  | Brother Is Gone  | Election Special  |   |   |  | Raphael Callaghan's Blue Cee  | Long Tall Sally  | Long Tall Sally  |   |   |  | Lone Bear  | Bye Bye Baby  | Live In Mississippi  |   |   |  | Ry Cooder, Jim Dickenson (B) & Jim Keltner (D)  | Ax Sweet Mama  | Broadcast From the Plant | Reverend Gary Davis  | 'Tis So Sweet To Trust In Jesus  | See What The Lord Has Done For Me(Disc 1) | Seasick Steve  | Seasick Boogie  | Man From Another Time  |   |  | Sam Chatmon  | St Louis Blues  | Sam Chatmon's Advice  |   |  | Memphis Minnie  | Skeleton In The Closet  | Blues, Blues Hoodoo Halloween  | 

Gordon Lightfoot "Mother of a Miner's Child"Big Mama Thornton "Ball and Chain"Lucinda Williams "Malted Milk Blues"Sonic Youth "Shadow of a Doubt"Eilen Jewell "Outsiders"Sonny Boy Williamson I "Sloppy Drunk Blues"The Replacements "Unsatisfied"Lucero "Sixteen"Harry Belafonte "Midnight Special"Ray Price "Heartaches By the Number"Kid Sheik's Storyville Ramblers "Sheik Of Araby"Aretha Franklin "Good to Me As I Am to You"Langhorne Slim & The Law "The Way We Move"Sam Doores + Riley Downing & the Tumbleweeds "Reuben's Train"Memphis Minnie "New Dirty Dozen"Jimmie Lunceford "Blues In the Night"The Allen Brothers "Chattanooga Mama"Ted Taylor "(Love Is Like a) Ramblin' Rose"Clifton Chenier "Black Snake Blues"Lightnin' Hopkins "Wine Drinking Woman"Steve Earle "Meet Me In The Alleyway"Duke Ellington "East St. Louis Toodle-Oo"Mance Lipscomb "Going Down Slow"Kiki Cavazos "Cold Love"Jake Xerxes Fussell "Pork and Beans"Shannon Wright "St. Pete"Billie Holiday "Billie's Blues"Johnny Cash "If You Could Read My Mind"John Moreland "Nobody Gives a Damn About Songs Anymore"Mississippi Fred McDowell "You Got To Move"Last Wolf In The Woods "Stay Close"The White Stripes "Rag and Bone"Enon "Daughter in the House of Fools"Lula Reed "Watch Dog"Tom Waits "Barber Shop"Sonny Boy Williamson "Eyesight to the Blind"The Lonesome Doves "When We Were Wild"Drag the River "Fleeting Porch of Tide"Loretta Lynn "Van Lear Rose"Louis Jordan "That Chick's Too Young To Fry"Napoleon Strickland "Shimmy She Wobble"Songs: Ohia "Steve Albini's Blues"Minutemen "Corona"Hank Williams "Why Don't You Love Me"Amos Milburn "Just One More Drink"John Coltrane "Everytime We Say Goodbye"

A progenitor is a person without whom the path of the topic being discussed might be very different. That's the case with Memphis Minnie (not her real name), and Blind Lemon Jefferson (his real name) both of whom laid foundation stones for so much of what Rock & Roll drew upon when it came around. Starting in the 1890s, we follow both artists and their path of influence on future players! Both were superstars in their time, creating the pathways for those to come, some of which are part of our story this week. We love our sponsors!!! Please visit their web sites, and support them because they make this crazy show go: Boldfoot Socks  https://boldfoot.com Crooked Eye Brewery  https://crookedeyebrewery.com/ Don't forget that you can find all of our episodes, on-demand, for free right here on our web site: https://imbalancedhistory.com/   Learn more about your ad choices. Visit megaphone.fm/adchoices

A progenitor is a person without whom the path of the topic being discussed might be very different. That's the case with Memphis Minnie (not her real name), and Blind Lemon Jefferson (his real name) both of whom laid foundation stones for so much of what Rock & Roll drew upon when it came around. Starting in the 1890s, we follow both artists and their path of influence on future players! Both were superstars in their time, creating the pathways for those to come, some of which are part of our story this week. We love our sponsors!!! Please visit their web sites, and support them because they make this crazy show go: Boldfoot Socks  https://boldfoot.com Crooked Eye Brewery  https://crookedeyebrewery.com/ Don't forget that you can find all of our episodes, on-demand, for free right here on our web site: https://imbalancedhistory.com/   Learn more about your ad choices. Visit megaphone.fm/adchoices

¡Vivan las mujeres! Escuchamos a grandes blueswomen en el Día Internacional de la Mujer. Playlist: Snatch It Back and Hold It – Junior Wells; Bumble Bee – Jane Lee Hooker; Wang Dang Doodle – Koko Taylor; Hound Dog – Big Mama Thornton; Crazy Blues – Mamie Smith; Downhearted Blues – Bessie Smith; Blues Oh Blues – Ma Rainey; The Ball Game – Sister Wynona Carr; God's Mighty Hand – Sister Rosetta Tharpe; Good Daddy Blues – Dinah Washington; Me and My Chauffeur – Memphis Minnie; Knockin' Myself Out – Lil Green; Dream Lucky Blues – Julia Lee; Why Don't You Do Right – Carolina Chocolate Drops; Walking Blues – Bonnie Raitt; The Devil Is An Angel Too – Janiva Magness; Crow Jane – Samantha Fish; Eyes On the Prize – Mavis Staples. Escuchar audio

JazzX5 #564 en una entrega especial titulada Siniestro Total y el Blues. Suenan además de la música del grupo gallego, algunos clásicos del blues como Muddy Waters, Memphis Minnie, Robert Johnson o Elmore James. JazzX5 es un podcast de Pachi Tapiz.

Dave Bartholomew "That's How You Got Killed Before"Aimee Mann "Robert Lowell and Sylvia Plath"Slobberbone "Barrel Chested"Centro-Matic "Salty Disciple"Widespread Panic "Christmas Katie"R.E.M. "Losing My Religion"Betty Harris "There's A Break In The Road"Nicole Atkins "Brokedown Luck"Billy Joe Shaver "Georgia On a Fast Train"Professor Longhair "Mardi Gras In New Orleans"The Band "Rag Mama Rag"Gillian Welch "Hard Times"Hank Williams "Jambalaya (On The Bayou)"Tommy Ridgley "Looped"Chisel "Citizen Of Venus"Lightnin' Hopkins "Breakfast Time"The Dixie Cups "Iko Iko"The Deslondes "Muddy Water"Bonnie 'Prince' Billy "New Memory Box"Wilco "Falling Apart (Right Now)"Amanda Shires "Box Cutters"Willy Tea Taylor "Lost in a Song"Vic Chesnutt "Society Sue"Dolly Parton "Jolene"Iron &  Wine "Southern Anthem"Big Thief "Simulation Swarm"Drive-By Truckers "Mercy Buckets"Jelly Roll Morton "Mamie's Blues"Bob Dylan "Blind Willie McTell"MC5 "The American Ruse"Blind Willie McTell, Curley Weaver "Wee Midnight Hours"Cory Branan & Jon Snodgrass "The Corner"Memphis Minnie "Night Watchman Blues (Take 2)"Sugar Pie DeSanto "I Want To Know"Irvin Mayfield "New Second Line"Blue Lu Barker "Don't You Feel My Leg"Oscar "Papa" Celestin "Marie Laveau"Clifton Chenier "Black Snake Blues"Lucinda Williams "Crescent City"79rs Gang "Indian Red"Danny Barker & His Creole Cats "My Indian Red"Cousin Joe "A.B.C.'s Part 1"Cousin Joe "A.B.C.'s Part 2"James Booker "Junco Partner"Louis Armstrong "Back O' Town Blues"Dr. John "Big Chief"

The Queens of the Blues podcast celebrates the prolific female blues music from the early 1920's to present times. This show, entitled “Kissing In The Dark” is entirely about Lizzie Douglas/The Queen of Country Blues, better known as the guitarist, vocalist, and songwriter Memphis Minnie. #memphisminnie

On this episode of Rock is Lit . . .Michael Gaspeny and I talk about Our experiences launching debut novels and the advice we'd give new authors who are about to launch their first booksThe backstory that inspired Michael to write the novel ‘A Postcard From the Delta'Blues as the main character in the novel's religion and what the Blues means to Michael When the Blues first grabbed MichaelHow the British Blues Explosion of the 1960s helped white kids discover classic Blues musicians The appropriation issueMichael's experience visiting Clarksdale, Mississippi in the late 1990sWhy making pilgrimages to music-related sites is so important to music loversRacial issues present in the novelRay Koob and I talk about His podcast, Imbalanced History of Rock and Roll, and some of the episodes he's done on Delta Blues (see the Imbalanced History of Rock and Roll website for more on those episodes)Defining characteristics of Delta Blues and some of the most well-known playersWhy Robert Johnson had the most unique style amongst all the Delta Blues musicians of his era, the legend about him selling is soul to the devil at the crossroads, his mysterious deathThe earliest Delta Blues recordings—facilitated by John and Alan LomaxDelta Blues as inspiration for the Skiffle movement in England in the 1960sThe few recorded female Delta Blues musicians, like Memphis MinnieBessie Smith's tragic death/the effects of racism on the music and artists of the early to mid-20th centuryThe history, lore, and Blues-related sites in Clarksdale, MSContemporary artists playing and recording Delta Blues MUSIC AND MEDIA IN THE EPISODE IN ORDER OF APPEARANCE:(Copyright Free) Acoustic Delta Blues--Instrumental“Modern Love” by David Bowie“Smokestack Lightnin'” by Howlin' Wolf“You Can't Love What You Ain't Never Had” by Muddy Waters“Earth Angel” by The Penguins“Cross Road Blues” by Robert Johnson“I'm Ready” by Muddy Waters“Nothin' But The Devil” by Rory Gallagher“You Got to Move” by Mississippi Fred McDowell“Milk Cow Blues” by Freddie Spruell“Me and the Devil Blues” by Robert Johnson“When the Levee Breaks” by Memphis Minnie and Kansas JoeClip from the movie ‘Crossroads'“Serves Me Right to Suffer” by John Lee Hooker LINKS: Digital Dying Blog post on Michael Gaspeny, https://www.funeralwise.com/digital-dying/the-deathbed-poet-how-one-man-makes-poems-of-lifes-last-hours/North Carolina Writers' Network, articles on Michael Gaspeny, https://www.ncwriters.org/news/blog/tag/michael-gaspeny/ Imbalanced History of Rock and Roll Podcast's website, https://imbalancedhistory.com/Imbalanced History of Rock and Roll Twitter, @ImbalancedHisto Imbalanced History of Rock and Roll Facebook Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/Christy Alexander Hallberg Twitter, @ChristyHallbergChristy Alexander Hallberg Instagram, @christyhallbergChristy Alexander Hallberg YouTube, https://www.youtube.com/channel/UCfSnRmlL5moSQYi6EjSvqag

On this episode of Rock is Lit . . . Michael Gaspeny and I talk about  Our experiences launching debut novels and the advice we'd give new authors who are about to launch their first books The backstory that inspired Michael to write the novel ‘A Postcard From the Delta' Blues as the main character in the novel's religion and what the Blues means to Michael When the Blues first grabbed Michael How the British Blues Explosion of the 1960s helped white kids discover classic Blues musicians The appropriation issue Michael's experience visiting Clarksdale, Mississippi in the late 1990s Why making pilgrimages to music-related sites is so important to music lovers Racial issues present in the novel Ray Koob and I talk about  His podcast, Imbalanced History of Rock and Roll, and some of the episodes he's done on Delta Blues (see the Imbalanced History of Rock and Roll website for more on those episodes) Defining characteristics of Delta Blues and some of the most well-known players Why Robert Johnson had the most unique style amongst all the Delta Blues musicians of his era, the legend about him selling is soul to the devil at the crossroads, his mysterious death The earliest Delta Blues recordings—facilitated by John and Alan Lomax Delta Blues as inspiration for the Skiffle movement in England in the 1960s The few recorded female Delta Blues musicians, like Memphis Minnie Bessie Smith's tragic death/the effects of racism on the music and artists of the early to mid-20th century The history, lore, and Blues-related sites in Clarksdale, MS Contemporary artists playing and recording Delta Blues   MUSIC AND MEDIA IN THE EPISODE IN ORDER OF APPEARANCE: (Copyright Free) Acoustic Delta Blues--Instrumental “Modern Love” by David Bowie “Smokestack Lightnin'” by Howlin' Wolf “You Can't Love What You Ain't Never Had” by Muddy Waters “Earth Angel” by The Penguins “Cross Road Blues” by Robert Johnson “I'm Ready” by Muddy Waters “Nothin' But The Devil” by Rory Gallagher “You Got to Move” by Mississippi Fred McDowell “Milk Cow Blues” by Freddie Spruell “Me and the Devil Blues” by Robert Johnson “When the Levee Breaks” by Memphis Minnie and Kansas Joe Clip from the movie ‘Crossroads' “Serves Me Right to Suffer” by John Lee Hooker   LINKS:  Digital Dying Blog post on Michael Gaspeny, https://www.funeralwise.com/digital-dying/the-deathbed-poet-how-one-man-makes-poems-of-lifes-last-hours/ North Carolina Writers' Network, articles on Michael Gaspeny, https://www.ncwriters.org/news/blog/tag/michael-gaspeny/   Imbalanced History of Rock and Roll Podcast's website, https://imbalancedhistory.com/ Imbalanced History of Rock and Roll Twitter, @ImbalancedHisto  Imbalanced History of Rock and Roll Facebook   Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/ Christy Alexander Hallberg Twitter, @ChristyHallberg Christy Alexander Hallberg Instagram, @christyhallberg Christy Alexander Hallberg YouTube, https://www.youtube.com/channel/UCfSnRmlL5moSQYi6EjSvqag Learn more about your ad choices. Visit megaphone.fm/adchoices

"When the Levee Breaks" comes from a blues song recorded by Memphis Minnie and Kansas Joe McCoy in 1929. Kansas Joe McCoy & Memphis Minnie wrote this song for the 1927 Mississippi floods that destroyed about half of the Mississippi Basin- hundreds of thousands of people lost everything and regions farms suffered major damage. The song reached maximum success in the cover by rock band Led Zeppelin. Please listen to this episode in its entirety. It is very important to hear it through to the end for your maximum encouragement. This episode gives us 7 reasons to GO ON, and live robust lives with gusto, regardless of what comes our way.When the Levee Breaks OriginalLed Zeppelin versionhttps://americansongwriter.com/kansas-joe-mccoy-memphis-minnie-levee-breaks/Song LyricsInformation about Led Zeppelin version adaption of information about Led Zepplin's version is fair use per Wikipedia licensehttp://digitalpuritan.net/richard-baxter/A CHRISTIAN DIRECTORY. PART I by Richard Baxter starting at page 43https://www.gutenberg.org/cache/epub/41633/pg41633-images.htmlThis ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. (Ctrl+click to follow the link) DONATE You can help support this podcast by clicking our secure PayPal account. For donation by check, make payable to Transform This City, P.O. Box 1013, Spring Hill, Tennessee, 37174. “gwot.rocks” is a ministry of Transform This City. gwot.rocks home page Transform This City Transform This City Facebook gwot.rocks@transformthiscity.org Thank you for listening! Please tell your friends about us! Listen, share, rate, subscribe! Unless otherwise noted, all Scripture quotations are taken from the Christian StandardBible®, Copyright © 2016 by Holman Bible Publishers. Used by permission. ChristianStandard Bible® and CSB® is a federally registered trademark of Holman Bible Publishers. Hosted on Acast. See acast.com/privacy for more information.

The episode you're about to hear is a sample of the "Driven By Her" series from the Ongoing History of New Music presented by Porsche Canada. On this 5 episode series host Alan Cross explores the amazing contributions some of the most talented women on the planet have made to Modern Music. From Women who made the 90's rock to guitar heroes to the stories of some of the most talented songwriters and producers on the planet making the biggest hit we all know the words to...​ On the sample you're about to hear you'll learn about more than a dozen women that have changed music forever but have been given little to no credit, and Alan wants to fix that as he shines a spotlight on Trixie Smith, Ma Rainey, Memphis Minnie and more. You'll be surprised to find that behind the rock and roll... the Rolling Stones and Pink Floyd ALL have women to thank for their contributions to music history. Learn more about your ad choices. Visit megaphone.fm/adchoices

Talk Art special episode!!! We meet leading artist NIKITA GALE! It's Frieze London and we explore an incredible new art installation for BMW Open Work by Frieze. Artist Nikita Gale worked with BMW i7 designers to present the site-specific installation “63/22” in the BMW Lounge at the fair from October 12-16, 2022.Curated by Attilia Fattori Franchini, BMW Open Work by Frieze invites an artist to develop an ambitious project utilising BMW design and technology to pursue their practice in innovative new directions. BMW Open Work offers artists the possibility of engaging in a rich dialogue with BMW engineers, designers, and experts from different fields to create unique artistic projects.Investigating the politics of sound and its surrounding, Nikita Gale's practice enquires themes of invisibility and audibility, recasting the complicated dynamic between performer and spectator. Within the work, notions are subverted and destabilized. Nikita Gale's interest in the history of sound continues with “63/22”, in which the artist reflects on the relationship between automotive and sound technologies, already closely associated since the 1960s. In fact, the Gibson Firebird, one of the most popular electric guitars, was designed by a car designer in 1963. Emerging from an intense dialogue with BMW i7 designers and engineers whilst reinforcing BMW's commitment to art and music, Gale presents for Frieze London 2022 a sculptural installation comprising of five customised electric guitars. The guitars will be named historically significant and iconic Black women guitarists: Memphis Minnie, Sister Rosetta Tharpe, Barbara Lynn, Big Mama Thornton, and Joan Armatrading. Activated in the lounge through a series of live acts performed by musicians invited by Gale, the guitars will play through the BMW i7, transforming the car into a sound amp, amplifying the relationship between the car, sound technologies and creativity. The guitars have been created in collaboration with BMW i7 designers and realised by a UK-based luthier, Ian Malone. View more: https://frieze.com/bmw-open-workGale's work employs objects and materials like barricades, concrete, microphone stands, and spotlights to address the ways in which space and sound are politicized. Gale's broad-ranging installations blur formal and disciplinary boundaries, engaging with concerns of mediation and automation in contemporary performance. Follow: @NikitaGale on Instagram. Gale is represented by Commonwealth & Council (LA), Reyes | Finn (Detroit), and 56 Henry (NYC).Follow @BMWGroupCulture to learn more about BMW's commitment to art, more than 50 years supporting artists and culture. Hosted on Acast. See acast.com/privacy for more information.

In this episode, Alex visits Brooklyn Lutherie, the only woman-owned and operated guitar shop in New York City. While there to pick up his double SG, he chats with Mamie Minch, the shop's co-founder, about the repair on his guitar and learns something new about it in the process. Alex, Mamie, and co-founder Chloe Swantner discuss what it was like to start a guitar repair business in what has traditionally been a very male-dominated field, and how Brooklyn Lutherie is changing the ratio. Mamie and Alex also discuss her musical career and her influences, which include two relatively unknown but fascinating female musicians, Connie Converse and Judee Sill. You'll also hear a bit of Mamie's music.Mamie Minch is a longtime staple of New York City's blues scene. She began playing guitar as a teenager in her bedroom listening to reissues of class country blues on repeat. She would try her hand at picking out the songs of legends like Mississippi John Hurt, Lightnin' Hopkins, Memphis Minnie and Bessie Smith. She loved the steady thumb and percussive right hand of these blues players, but she also devoured lots of different styles of music, from soul to psychobilly and old time to punk rock.When she's not making music, Mamie spends her days as a guitar repair luthier at Brooklyn Lutherie, the shop she and her business partner, Chloe Swantner, opened in 2014. It remains one of the few women-owned and -operated shops around. She also teaches, writes articles about luthiery and guitar playing for She Shreds and Acoustic Guitar magazines, and runs the annual Ukulele Building Camp for Girls in Brooklyn, NY.Moods & Modes is presented by Osiris Media. Hosted and Produced by Alex Skolnick. Osiris Production by Kirsten Cluthe and Matt Dwyer. Editing and mixing by Matt Dwyer. Music by Alex Skolnick. Artwork by Mark Dowd. If you like what you hear, please subscribe, rate, and review! Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Today's show features music performed by Muddy Waters and Memphis Minnie

**This Playlist is Incomplete. The Computer was Playing Games During The Show**Mavis Staples "Action"boygenius "Souvenir"The Highwomen "Redesigning Women"Memphis Minnie "Me and My Chauffeur Blues"Soccer Mommy "Bones"Maggie Bell "Souvenirs"Valerie June "Use Me"Loretta Lynn "Hanky Panky Woman"Amanda Shires "Take It Like A Man"Gillian Welch "Revelator"Alberta Hunter "You Reap Just What You Sow"Sister Rosetta Tharpe "Strange Things Happening Every Day"Brenda Patterson "Dance With Me Henry"Nicole Atkins "Darkness Falls so Quiet"Yola "Stand For Myself"Connie Smith "You're Getting Heavy On My Mind"Margo Price "All American Made"Nikki Lane "Highway Queen"Jade Bird "Open up the Heavens"Lilly Hiatt "Trinity Lane"Bonnie Raitt "Bye Bye Baby (Remastered Version)"Lucy Dacus "I Don't Wanna Be Funny Anymore"Koko Taylor "Blow Top Blues"Sandy Kelly "Walking After Midnight"Georgia Sea Island Singers "Sheep, Sheep"Sugar Pie De Santo "Soulful Dress"The Marvelettes "Please Mr. Postman"PJ Harvey "You Said Something"Bobbie Gentry "Fancy"Aimee Mann "Freeway"Dolly Parton "Don't Let It Trouble Your Mind"Eilen Jewell "79 Cents (The Meow Song)"Nina Simone "Work Song"Fiona Apple "On The Bound"The Mynabirds "What We Gained In The Fire"Neko Case "Night Still Comes"Nancy Sinatra "These Boots Are Made for Walkin'"Lucinda Williams "Car Wheels On A Gravel Road"Tina Turner "Workin' Together"Wanda Jackson "Kansas City"The Detroit Cobras "Bye Bye Baby"

Merle Haggard "Swinging Doors (Medley)"Grateful Dead "High Time"The Replacements "Alex Chilton"Betty LaVette "Let Me down Easy"Al Green "Hot Wire"R.E.M. "Near Wild Heaven"Vic Chesnutt "Lucinda Williams"Dreams So Real "Golden"The Glands "Livin' Was Easy"Love Tractor "Cutting Corners (Instrumental Version)"Kevn Kinney "MacDougal Blues"Peter Buck "I Hate My Life And The Way I Live"Widespread Panic "Makes Sense To Me"Vic Chesnutt "Doris Days"Aretha Franklin "Spirit in the Dark"Eddie Floyd "Guess Who"Fiona Apple "Shameika"Alvin Youngblood hart "Fightin' Hard"Chuck Berry "Hello Little Girl, Goodbye"James Luther Dickinson "O How She Dances"Delbert McClinton "Take Me To The River"Built To Spill "Understood"Valerie June "Trials, Troubles, Tribulations"The Hold Steady "Navy Sheets"Loretta Lynn "Rated X"The Mountain Goats "Training Montage"Mavis Staples "I Ain't Particular"Lulu "Sweep Around Your Own Back Door"Spirit Family Reunion "Time to Go Back Home"The White Stripes "Ball And Biscuit"The Hold Steady "Your Little Hoodrat Friend"Chris Knight "I'm William Callahan"Drive-By Truckers "Billy Ringo in the Dark"Memphis Minnie "Kissing in the Dark"Sister Rosetta Tharpe "Strange Things Happening Every Day"Howlin' Wolf "I Asked for Water"Wilson Pickett "I Found the One"Billy Joe Shaver "Ride Me Down Easy"Steve Earle "Mercenary Song"Ted Taylor "Little Red Rooster"Ray Charles "Halleleujah I Love Her So"Ernest Tubbs & Conway Twitty "Jimmy Rogers' Last Blue Yodel (The Women Make A Fool Out Of Me)"Centro-matic "If They Talk You Down"Craig Finn "Birthdays"Waylon Jennings "It's Only Rock & Roll"

Episode 54 - Memphis Minnie   In this episode, we drop in on our New York-based sister spinoff show, DLS NYC, which returned to the KGB Bar's Red Room after a long hiatus. DLS co-founder Florian Duijsens happened to be visiting from Berlin, and took to the stage to introduce the fabulous Memphis Minnie.    Tobacco-chewing blues singer MEMPHIS MINNIE (1897–1973) ran away from home at the age of 13 and made a living off music from then on, from street performances to hundreds of now classic recordings. It was said she never put her guitar down until she could no longer hold it in her hands, and she was known to use it as a weapon when required. Her songs were about the joys and hardships of everyday Black life; according to the poet Langston Hughes, she played “music with so much in it folks remember, that sometimes it makes them holler out loud.” Largely forgotten for many years while white men covered her songs, she is now celebrated for her huge contribution to blues music and what came after.    DLS co-founder Katy Derbyshire joins producer/host Susan Stone for the introducing duties, and to flag up some of our upcoming shows, at Muenster's Center for Literature's Droste Festival on June 18: https://www.burg-huelshoff.de/en/programm/kalender/droste-festival-2022   And at Podfest Berlin July 16-17: https://www.podfestberlin.com   Listen along to all of Florian's favorites with our Memphis Minnie playlist: https://open.spotify.com/playlist/2WSTvaocIKcJCGNGKtVDrh?si=d356b954c66245fd    And see photos of the well-dressed Minnie and get more info on our episode notes page: https://deadladiesshow.com/2022/06/16/podcast-54-memphis-minnie/   DLS NYC is curated and hosted by Molly O'Laughlin Kemper, and was recorded by Jennifer Nulsen, all under the auspices of the KGB Bar's Lori Schwarz.    If you're in the NY area, why not sign up for their newsletter so you can find out when the next show will be? NYC newsletter   Our theme music is “Little Lily Swing” by Tri-Tachyon.   Thanks for listening! We'll be back with a new episode next month.   **** The Dead Ladies Show is a series of entertaining and inspiring talks about women who achieved amazing things against all odds, presented live in Berlin and beyond. This podcast is based on that series. Because women's history is everyone's history.   The Dead Ladies Show was founded by Florian Duijsens and Katy Derbyshire.   The podcast is created, produced, edited, and presented by Susan Stone.   Don't forget, we have a Patreon! Thanks to all of our current supporters! Please consider supporting our transcripts project and our ongoing work: www.patreon.com/deadladiesshowpodcast   If you prefer to make a one-time donation, here's the link: paypal.me/dlspodcast

Lena Horne, Moms Mabley, Memphis Minnie and Yolande du Bois Williams were four accomplished Black women whose careers took off before World War II and each one made her mark. Tara Green recounts their path to self-actualization - pleasure - in their personal and public lives. --- Send in a voice message: https://anchor.fm/james-herlihy/message

I love a good cover song. But, I often love the original more. I ramble on a bit about cover songs that I really, really love and some of their lesser known originals. Here are some of the artists I cover; Metallica, The Beatles, Led Zeppelin, Tom Waits, The Meters, Ray Charles, Al Green, Blondie, […]

The iconic prison in Joliet, Illinois, opened in 1858 and has been highlighted in countless pieces of pop culture, from The Blues Brothers to Prison Break to songs by Bob Dylan and Memphis Minnie—and since 2011, the nickname of the Joliet Slammers baseball team, which plays in the independent Frontier League. In this episode of Baseball By Design, guests include Bill Waliewski, who was the Slammers' president when the team was founded; Dan Simon of Studio Simon, who created the identity; and Steven Wright, Curator of the Joliet Area Historical Museum and Old Joliet Prison Historic Site. Joliet Slammers Website | Twitter Bill Waliewski Twitter Dan Simon, Studio Simon website | Instagram Joliet Area Historical Museum Website Baseball By Design Twitter | Instagram | Website Curved Brim Media Network Website | Twitter  

Freddie King "Woman Across the River"Digable Planets "Jettin'"Jason Isbell and the 400 Unit "White Man's World"The Como Mamas "You've Got to Move"Jimi Hendrix "Power to Love"Two Cow Garage "Movies"North Mississippi Allstars "What You Gonna Do?"Run The Jewels "pulling the pin"Branford Marsalis "Waiting for Tain"Gladys Knight & The Pips "Midnight Train to Georgia"John Hammond, Jr. "It's Mighty Crazy"Joan Shelley "The Spur"Memphis Minnie "Moaning The Blues"John Lee Hooker "Shake It Baby"Bonnie Raitt "Love Me Like a Man"Jack White "What's the Trick?"Mary J. Blige "Don't Let Me Be Misunderstood"Don Nix "Feel a Whole Lot Better"The Vandellas "(Love Is Like A) Heat Wave"Lauryn Hill "Doo Wop (That Thing)"The Isley Brothers "This Old Heart of Mine (Is Weak for You)"Vic Chesnutt "Onion Soup"Kris Kristofferson "Blame It on the Stones"Big Mama Thornton "Cotton Picking Blues"Jean Knight "Mr. Big Stuff"JAY Z "Hard Knock Life"Buddy Guy "She Suits Me To A Tee"The Black Keys "Wild Child"R.E.M. "So. Central Rain"Laura Marling "Soothing"Johnnie Taylor "Who's Making Love"Lucero "Baby Don't You Want Me"Stevie Wonder "Signed Sealed Delivered I'm Yours"Erykah Badu "Didn't Cha Know"Cat Clyde "Sheets of Green"Sonny Rollins "Till There Was You"The Temptations "Ain't Too Proud To Beg"Drive-By Truckers "Sea Island Lonely"Little Richard "Kansas City"Tom T. Hall "Faster Horses (The Cowboy and The Poet)"Johnny Cash "Committed To Parkview"R.L. Burnside "Bad Luck and Trouble"The Del McCoury Band "Blackjack County Chains"the Fox Hunt "Sinners Like Me"Reverend Gary Davis "Let's Get Together"Drag the River "Embrace the Sound"Gillian Welch "If I Ain't Going To Heaven"

In this episode of Armchair Historians,  Anne Marie talks to Dr. Tara Green. Dr. Green has recently published not on but two books, See Me Naked and Love, Activism, and the Respectable Life of Alice Dunbar-Nelson. See Me Naked: takes a look at the lives of noted black women, including actress, singer, and activist Lena Horne, stand-up comedian Moms Mabley, teacher and Harlem Rennaisance influencer Yolande DuBois, and blues singer and performer Memphis Minnie, and how, despite their public profiles, discovered ways to enjoy pleasure.Love, Activism, and the Respectable Life of Alice Dunbar-Nelson: about the love one Black woman had for her race, of men and women, and, finally, of herself. Dr. Green writes that her Black Southern family immersed her in a culture of storytelling as a condition of her birth. She learned about their deliberate embrace of laughter and love as they navigated the everyday challenges of being Black in America. Their gift of cultural practices is her inspiration as a professor, writer, and mentor. Dr. Green also says, her family inspired her to study the lives of Black folks through literature. She began her formal studies at Dillard University.Today she is an African American Studies professor with over 20 years of teaching literature and culture. She is the author and editor of 6 books on the lives and experiences of African Americans in twentieth-century literature and film. Dr. Green is a recognized academic leader who is dedicated to building diverse, respectful, inclusive communities in higher education.Resources:Dr. Tara Green: website: http://www.drtaratgreen.comSee Me naked: https://bit.ly/3H1nldiLove, Activism, and the Respectable Life of Alice Dunbar-Nelson: https://bit.ly/3gWrVPtTwitter: @DrTTGreenInstagram: @tarat.greenLinkedin: Tara T. GreenWays to Support Armchair Historians:Leave a 5-star review: Apple Podcast: https://podcasts.apple.com/us/podcast/armchair-historians/id1510128761Podchaser: https://www.podchaser.com/podcasts/armchair-historians-1164491Listen, and Subscribe wherever you listen to your podcastsFollow us on Social MediaBecome a patron:Patreon: https://www.patreon.com/armchairhistoriansBuy us a cup of coffee:Ko-fi: https://ko-fi.com/belgiumrabbitproductionsSupport the show (https://www.patreon.com/armchairhistorians)

Episode 129 of A History of Rock Music in Five Hundred Songs looks at “(I Can't Get No) Satisfaction” by the Rolling Stones, and how they went from being a moderately successful beat group to being the only serious rivals to the Beatles. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have an eleven-minute bonus episode available, on "I'll Never Find Another You" by the Seekers. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. i used a lot of resources for this episode. Two resources that I've used for this and all future Stones episodes — The Rolling Stones: All The Songs by Phillipe Margotin and Jean-Michel Guesden is an invaluable reference book, while Old Gods Almost Dead by Stephen Davis is the least inaccurate biography. When in doubt, the version of the narrative I've chosen to use is the one from Davis' book. I've also used Andrew Loog Oldham's autobiography Stoned, and Keith Richards' Life, though be warned that both casually use slurs. Sympathy for the Devil: The Birth of the Rolling Stones and the Death of Brian Jones by Paul Trynka is, as the title might suggest, essentially special pleading for Jones. It's as well-researched and well-written as a pro-Jones book can be, and is worth reading for balance, though I find it unconvincing. This web page seems to have the most accurate details of the precise dates of sessions and gigs. And this three-CD set contains the A and B sides of all the Stones' singles up to 1971, including every Stones track I excerpt in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to look at one of the most important riffs in rock and roll history -- the record that turned the distorted guitar riff into the defining feature of the genre, even though the man who played that riff never liked it. We're going to look at a record that took the social protest of the folk-rock movement, aligned it with the misogyny its singer had found in many blues songs, and turned it into the most powerful expression of male adolescent frustration ever recorded to that point. We're going to look at "Satisfaction" by the Rolling Stones: [Excerpt: The Rolling Stones, "Satisfaction"] A note before we start this -- this episode deals with violence against women, and with rape. If you're likely to be upset hearing about those things, you might want to either skip this episode, or read the transcript on the website first. The relevant section comes right at the end of the episode, so you can also listen through to the point where I give another warning, without missing any of the rest of the episode. Another point I should make here -- most of the great sixties groups have very accurate biographies written about them. The Stones, even more than the Beatles, have kept a surprising amount of control over their public image, with the result that the only sources about them are either rather sanitised things made with their co-operation, or rather tabloidy things whose information mostly comes from people who are holding a grudge or have a particular agenda. I believe that everything in this episode is the most likely of the various competing narratives, but if you check out the books I used, which are listed on the blog post associated with this episode, you'll see that there are several different tellings of almost every bit of this story. So bear that in mind as you're listening. I've done my best. Anyway, on with the episode.  When we left the Rolling Stones, they were at the very start of their recording career, having just released their first big hit single, a version of "I Wanna Be Your Man", which had been written for them by Lennon and McCartney.  The day after they first appeared on Top of the Pops, they were back in the recording studio, but not to record for themselves. The five Stones, plus Ian Stewart, were being paid two pounds a head by their manager/producer Andrew Oldham to be someone else's backing group. Oldham was producing a version of "To Know Him is to Love Him", the first hit by his idol Phil Spector, for a new singer he was managing named Cleo Sylvester: [Excerpt: Cleo, "To Know Him is to Love Him"] In a further emulation of Spector, the B-side was a throwaway instrumental. Credited to "the Andrew Oldham Orchestra", and with Mike Leander supervising, the song's title, "There Are But Five Rolling Stones", gave away who the performers actually were: [Excerpt: The Andrew Oldham Orchestra, "There Are But Five Rolling Stones"] At this point, the Stones were still not writing their own material, but Oldham had already seen the writing on the wall -- there was going to be no place in the new world opened up by the Beatles for bands that couldn't generate their own hits, and he had already decided who was going to be doing that for his group.  It would have been natural for him to turn to Brian Jones, still at this point the undisputed leader of the group, and someone who had a marvellous musical mind. But possibly in order to strengthen the group's identity as a group rather than a leader and his followers -- Oldham has made different statements about this at different points -- or possibly just because they were living in the same flat as him at the time, while Jones was living elsewhere, he decided that the Rolling Stones' equivalent of Lennon and McCartney was going to be Jagger and Richards. There are several inconsistencies in the stories of how Jagger and Richards started writing together -- and things like what the actual first song they wrote together was, or when they wrote it, will probably always be lost to the combination of self-aggrandisement and drug-fuelled memory loss that makes it difficult to say anything definitive about much of their career. But we do know that one of the earliest songs they wrote together was "As Tears Go By", a song that wasn't considered suitable for the group -- though they did later record a version of it -- and was given instead to Marianne Faithfull, a young singer with whom Jagger was about to enter into a relationship: [Excerpt: Marianne Faithfull, "As Tears Go By"] It's not entirely clear who wrote what on that song -- it's usually referred to as a Jagger/Richards collaboration, but it's credited to Jagger, Richards, and Oldham, and at least one source claims it was actually written by Jagger and the session guitarist Big Jim Sullivan -- and if so, this would be the first time of many that a song written by Jagger or Richards in collaboration with someone else would be credited to Jagger and Richards without any credit going to their co-writer. But the consensus story, as far as there is a consensus, seems to be that Oldham locked Jagger and Richards into a kitchen, and told them they weren't coming out until they had a song written. And it had to be a proper song, not a pastiche of something else, and it had to be the kind of song you could release as a single, not a blues song. After spending all night in the kitchen, Richards eventually got bored of being stuck in there, and started strumming his guitar and singing "it is the evening of the day", and the two of them quickly came up with the rest of the song. After "As Tears Go By", they wrote a lot of songs that they didn't feel were right for the group, but gave them away to other people, like Gene Pitney, who recorded "That Girl Belongs to Yesterday": [Excerpt: Gene Pitney, "That Girl Belongs to Yesterday"] Pitney, and his former record producer Phil Spector, had visited the Stones during the sessions for their first album, which started the day after that Cleo session, and had added a little piano and percussion to a blues jam called "Little by Little", which also featured Allan Clarke and Graham Nash of the Hollies on backing vocals. The songwriting on that track was credited to Spector and Nanker Phelge, a group pseudonym that was used for jam sessions and instrumentals. It was one of two Nanker Phelge songs on the album, and there was also an early Jagger and Richards song, "Tell Me", an unoriginal Merseybeat pastiche: [Excerpt: The Rolling Stones, "Tell Me"] But the bulk of the album was made up of cover versions of songs by Bo Diddley, Chuck Berry, Rufus Thomas, Marvin Gaye, and other Black American musicians. The album went to number one in the UK album charts, which is a much more impressive achievement than it might sound. At this point, albums sold primarily to adults with spending money, and the album charts changed very slowly. Between May 1963 and February 1968, the *only* artists to have number one albums in the UK were the Beatles, the Stones, Dylan, the Monkees, the cast of The Sound of Music, and Val Doonican. And between May 63 and April 65 it was *only* the Beatles and the Stones. But while they'd had a number one album, they'd still not had a number one single, or even a top ten one. "I Wanna Be Your Man" had been written for them and had hit number twelve, but they were still not writing songs that they thought were suited for release as singles, and they couldn't keep asking the Beatles to help them out, so while Jagger and Richards kept improving as songwriters, for their next single they chose a Buddy Holly B-side: [Excerpt: Buddy Holly, "Not Fade Away"] The group had latched on to the Bo Diddley rhythm in that song, along with its machismo -- many of the cover versions they chose in this period seem to have not just a sexual subtext but to be overtly bragging, and if Little Richard is to be believed on the subject, Holly's line "My love is bigger than a Cadillac" isn't that much of an exaggeration. It's often claimed that the Stones exaggerated and emphasised the Bo Diddley sound, and made their version more of an R&B number than Holly's, but if anything their version owes more to someone else.  The Stones' first real UK tour had been on a bill with Mickie Most, Bo Diddley, Little Richard, and the Everly Brothers, and Keith Richards in particular had been amazed by the Everlys. He said later "The best rhythm guitar playing I ever heard was from Don Everly. Nobody ever thinks about that, but their rhythm guitar playing is perfect". Don Everly, of course, was himself very influenced by Bo Diddley, and learned to play in open-G tuning from Diddley -- and several years later, Keith Richards would make that tuning his own, after being inspired by Everly and Ry Cooder.  The Stones' version of "Not Fade Away" owes at least as much to Don Everly's rhythm guitar style as to that of Holly or Diddley. Compare, say, the opening of "Wake Up Little Suzie": [Excerpt: The Everly Brothers, "Wake Up Little Suzie"] The rhythm guitar on the Stones version of "Not Fade Away" is definitely Keith Richards doing Don Everly doing Bo Diddley: [Excerpt: The Rolling Stones, "Not Fade Away"] That was recorded during the sessions for their first album, and was, depending on whose story you believe, another track that featured Phil Spector and Gene Pitney on percussion, recorded at the same session as "Little by Little", which became its B-side. Bill Wyman, who kept copious notes of the group's activities, has always said that the idea that it was recorded at that session was nonsense, and that it was recorded weeks later, and Oldham merely claimed Spector was on the record for publicity purposes. On the other hand, Gene Pitney had a very strong memory of being at that session. Spector had been in the country because the Ronettes had been touring the UK with the Stones as one of their support acts, along with the Swinging Blue Jeans and Marty Wilde, and Spector was worried that Ronnie might end up with one of the British musicians. He wasn't wrong to worry -- according to Ronnie's autobiography, there were several occasions when she came very close to sleeping with John Lennon, though they never ended up doing anything and remained just friends, while according to Keith Richards' autobiography he and Ronnie had a chaste affair on that tour which became less chaste when the Stones later hit America. But Spector had flown over to the UK to make sure that he remained in control of the young woman who he considered his property. Pitney, meanwhile, according to his recollection, turned up to the session at the request of Oldham, as the group were fighting in the studio and not getting the track recorded. Pitney arrived with cognac, telling the group that it was his birthday and that they all needed to get drunk with him. They did, they stopped fighting, and they recorded the track: [Excerpt: The Rolling Stones, "Not Fade Away"] "Not Fade Away" made number three on the UK charts, and also became the first Stones record to chart in the US at all, though it only scraped its way to number forty-eight, not any higher. But in itself that was a lot -- it meant that the Stones had a record doing well enough to justify them going to the US for their first American tour.  But before that, they had to go through yet another UK tour -- though this isn't counted as an official tour in the listings of their tours, it's just a bunch of shows, in different places, that happened to be almost every night for a couple of months. By this time, the audience response was getting overwhelming, and shows often had to be cut short to keep the group safe. At one show, in Birkenhead, the show had to be stopped after the band played *three bars*, with the group running off stage after that as the audience invaded the stage. And then it was off to the US, where they were nowhere near as big, though while they were over there, "Tell Me" was also released as a single to tie in with the tour, and that did surprisingly well, making number twenty-four. The group's first experience of the US wasn't an entirely positive one -- there was a disastrous appearance on the Dean Martin Show on TV, with Martin mocking the group both before and after their performance, to the extent that Bob Dylan felt moved to write in the liner notes to his next album “Dean Martin should apologise t'the Rolling Stones”. But on the other hand, there were some good experiences. They got to see James Brown at the Apollo, and Jagger started taking notes -- though Richards also noted *what* Jagger was noting, saying "James wanted to show off to these English folk. He's got the Famous Flames, and he's sending one out for a hamburger, he's ordering another to polish his shoes and he's humiliating his own band. To me, it was the Famous Flames, and James Brown happened to be the lead singer. But the way he lorded it over his minions, his minders and the actual band, to Mick was fascinating" They also met up with Murray the K, the DJ who had started the career of the Ronettes among others. Murray had unilaterally declared himself "the fifth Beatle", and was making much of his supposed connections with British pop stars, most of whom either had no idea who he was or actively disliked him (Richards, when talking about him, would often replace the K with a four-letter word usually spelled with a "c"). The Stones didn't like him any more than any of the other groups did, but Murray played them a record he thought they'd be interested in -- "It's All Over Now" by the Valentinos, the song that Bobby Womack had written and which was on Sam Cooke's record label: [Excerpt: The Valentinos, "It's All Over Now"] They decided that they were going to record that, and handily Oldham had already arranged some studio time for them. As Giorgio Gomelsky would soon find with the Yardbirds, Oldham was convinced that British studios were simply unsuitable for recording loud blues-based rock and roll music, and Phil Spector had suggested to him that if the Stones loved Chess records so much, they might as well record at Chess studios.  So while the group were in Chicago, they were booked in for a couple of days in the studio at Chess, where they were horrified to discover that their musical idol Muddy Waters was earning a little extra cash painting the studio ceiling and acting as a roadie, helping them in with their equipment.  (It should be noted here that Marshall Chess, Leonard Chess' son who worked with the Stones in the seventies, has denied this happened. Keith Richards insists it did.) But after that shock, they found working at Chess a great experience. Not only did various of their musical idols, like Willie Dixon and Chuck Berry, as well as Waters, pop in to encourage them, and not only were they working with the same engineer who had recorded many of those people's records, but they were working in a recording studio with an actual multi-track system rather than a shoddy two-track tape recorder. From this point on, while they would still record in the UK on occasion, they increasingly chose to use American studios.  The version of "It's All Over Now" they recorded there was released as their next single. It only made the top thirty in the US -- they had still not properly broken through there -- but it became their first British number one: [Excerpt: The Rolling Stones, "It's All Over Now"] Bobby Womack was furious that the Stones had recorded his song while his version was still new, but Sam Cooke talked him down, explaining that if Womack played his cards right he could have a lot of success through his connection with these British musicians. Once the first royalty cheques came in, Womack wasn't too upset any more. When they returned to the UK, they had another busy schedule of touring and recording -- and not all of it just for Rolling Stones work. There was, for example, an Andrew Oldham Orchestra session, featuring many people from the British session world who we've noted before -- Joe Moretti from Vince Taylor's band, John Paul Jones, Jimmy Page, Andy White, Mike Leander, and more. Mick Jagger added vocals to their version of "I Get Around": [Excerpt: The Andrew Oldham Orchestra, "I Get Around"] It's possible that Oldham had multiple motives for recording that -- Oldham was always a fan of Beach Boys style pop music more than he was of R&B, but he also was in the process of setting up his own publishing company, and knew that the Beach Boys' publishers didn't operate in the UK. In 1965, Oldham's company would become the Beach Boys' UK publishers, and he would get a chunk of every cover version of their songs, including his own. There were also a lot of demo sessions for Jagger/Richards songs intended for other artists, with Mick and Keith working with those same session musicians -- like this song that they wrote for the comedian Jimmy Tarbuck, demoed by Jagger and Richards with Moretti, Page, Jones, John McLaughlin, Big Jim Sullivan, and Andy White: [Excerpt: Mick Jagger and Keith Richards, "We're Wastin' Time"] But of course there were also sessions for Rolling Stones records, like their next UK number one single, "Little Red Rooster": [Excerpt: The Rolling Stones, "Little Red Rooster"] "Little Red Rooster" is a song that is credited to Willie Dixon, but which actually combines several elements from earlier blues songs, including a riff inspired by the one from Son House's "Death Letter Blues": [Excerpt: Son House, "Death Letter Blues"] A melody line and some lines of lyric from Memphis Minnie's "If You See My Rooster": [Excerpt: Memphis Minnie, "If You See My Rooster"] And some lines from Charley Patton's "Banty Rooster Blues": [Excerpt: Charley Patton, "Banty Rooster Blues"] Dixon's resulting song had been recorded by Howlin' Wolf in 1961: [Excerpt: Howlin' Wolf, "Little Red Rooster"] That hadn't been a hit, but Sam Cooke had recorded a cover version, in a very different style, that made the US top twenty and proved the song had chart potential: [Excerpt: Sam Cooke, "Little Red Rooster"] The Rolling Stones version followed Howlin' Wolf's version very closely, except that Jagger states that he *is* a cock -- I'm sorry, a rooster -- rather than that he merely has one. And this would normally be something that would please Brian Jones immensely -- that the group he had formed to promote Delta and Chicago blues had managed to get a song like that to number one in the UK charts, especially as it was dominated by his slide playing. But in fact the record just symbolised the growing estrangement between Jones and the rest of his band. When he turned up at the session to record "Little Red Rooster", he was dismayed to find out that the rest of the group had deliberately told him the wrong date. They'd recorded the track the day before, without him, and just left a note from Jagger to tell him where to put his slide fills. They spent the next few months ping-ponging between the UK and the US. In late 1964 they made another US tour, during which at one point Brian Jones collapsed with what has been variously reported as stress and alcohol poisoning, and had to miss several shows, leaving the group to carry on without him. There was much discussion at this point of just kicking him out of the band, but they decided against it -- he was still perceived as the group's leader and most popular member. They also appeared on the TAMI show, which we've mentioned before, and which we'll look at in more detail when we next look at James Brown, but which is notable here for two things. The first is that they once again saw how good James Brown was, and at this point Jagger decided that he was going to do his best to emulate Brown's performance -- to the extent that he asked a choreographer to figure out what Brown was doing and teach it to him, but the choreographer told Jagger that Brown moved too fast to figure out all his steps. The other is that the musical director for the TAMI Show was Jack Nitzsche, and this would be the start of a professional relationship that would last for many years. We've seen Nitzsche before in various roles -- he was the co-writer of "Needles and Pins", and he was also the arranger on almost all of Phil Spector's hits. He was so important to Spector's sound that Keith Richards has said “Jack was the Genius, not Phil. Rather, Phil took on Jack's eccentric persona and sucked his insides out.” Nitzsche guested on piano when the Stones went into the studio in LA to record a chunk of their next album, including the ballad "Heart of Stone", which would become a single in the US. From that point on, whenever the Stones recorded in LA, Nitzsche would be there, adding keyboards and percussion and acting as an uncredited co-producer and arranger. He was apparently unpaid for this work, which he did just because he enjoyed being around the band. Nitzsche would also play on the group's next UK single, recorded a couple of months later. This would be their third UK number one, and the first one credited to Jagger and Richards as songwriters, though the credit is a rather misleading one in this case, as the chorus is taken directly from a gospel song by Pops Staples, recorded by the Staple Singers: [Excerpt: The Staple Singers, "This May Be The Last Time"] Jagger and Richards took that chorus and reworked it into a snarling song whose lyrics were based around Jagger's then favourite theme -- how annoying it is when women want to do things other than whatever their man wants them to do: [Excerpt: The Rolling Stones, "The Last Time"] There is a deep, deep misogyny in the Stones' lyrics in the mid sixties, partly inspired by the personas taken on by some blues men (though there are very few blues singers who stuck so unrelentingly to a single theme), and partly inspired by Jagger's own relationship with Chrissie Shrimpton, who he regarded as his inferior, even though she was his superior in terms of the British class system. That's even more noticeable on "Play With Fire", the B-side to "The Last Time". "The Last Time" had been recorded in such a long session that Jones, Watts, and Wyman went off to bed, exhausted. But Jagger and Richards wanted to record a demo of another song, which definitely seems to have been inspired by Shrimpton, so they got Jack Nitzsche to play harpsichord and Phil Spector to play (depending on which source you believe) either a bass or a detuned electric guitar: [Excerpt: The Rolling Stones, "Play With Fire"] The demo was considered good enough to release, and put out as the B-side without any contribution from the other three Stones. Other songs Chrissie Shrimpton would inspire over the next couple of years would include "Under My Thumb", "19th Nervous Breakdown", and "Stupid Girl". It's safe to say that Mick Jagger wasn't going to win any boyfriend of the year awards. "The Last Time" was a big hit, but the follow-up was the song that turned the Stones from being one of several British bands who were very successful to being the only real challengers to the Beatles for commercial success. And it was a song whose main riff came to Keith Richards in a dream: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction)"] Richards apparently had a tape recorder by the side of his bed, and when the riff came to him he woke up enough to quickly record it before falling back to sleep with the tape running. When he woke up, he'd forgotten the riff, but found it at the beginning of a recording that was otherwise just snoring. For a while Richards was worried he'd ripped the riff off from something else, and he's later said that he thinks that it was inspired by "Dancing in the Street". In fact, it's much closer to the horn line from another Vandellas record, "Nowhere to Run", which also has a similar stomping rhythm: [Excerpt: Martha and the Vandellas, "Nowhere to Run"] You can see how similar the two songs are by overlaying the riff from “Satisfaction” on the chorus to “Nowhere to Run”: [Excerpt “Nowhere to Run”/”Satisfaction”] "Nowhere to Run" also has a similar breakdown. Compare the Vandellas: [Excerpt: Martha and the Vandellas, "Nowhere to Run"] to the Stones: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] So it's fairly clear where the song's inspiration came from, but it's also clear that unlike a song like "The Last Time" this *was* just inspiration, rather than plagiarism.  The recorded version of "Satisfaction" was never one that its main composer was happy with. The group, apart from Brian Jones, who may have added a harmonica part that was later wiped, depending on what sources you read, but is otherwise absent from the track, recorded the basic track at Chess studios, and at this point it was mostly acoustic. Richards thought it had come out sounding too folk-rock, and didn't work at all. At this point Richards was still thinking of the track as a demo -- though by this point he was already aware of Andrew Oldham's tendency to take things that Richards thought were demos and release them. When Richards had come up with the riff, he had imagined it as a horn line, something like the version that Otis Redding eventually recorded: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] So when they went into the studio in LA with Jack Nitzsche to work on some tracks there including some more work on the demo for “Satisfaction”, as well as Nitzsche adding some piano, Richards also wanted to do something to sketch out what the horn part would be. He tried playing it on his guitar, and it didn't sound right, and so Ian Stewart had an idea, went to a music shop, and got one of the first ever fuzz pedals, to see if Richards' guitar could sound like a horn. Now, people have, over the years, said that "Satisfaction" was the first record ever to use a fuzz tone. This is nonsense. We saw *way* back in the episode on “Rocket '88” a use of a damaged amp as an inspired accident, getting a fuzzy tone, though nobody picked up on that and it was just a one-off thing. Paul Burlison, the guitarist with the Rock 'n' Roll Trio, had a similar accident a few years later, as we also saw, and went with it, deliberately loosening tubes in his amp to get the sound audible on their version of "Train Kept A-Rollin'": [Excerpt: Johnny Burnette and the Rock 'n' Roll Trio, "Train Kept A-Rollin'"] A few years later, Grady Martin, the Nashville session player who was the other guitarist on that track, got a similar effect on his six-string bass solo on Marty Robbins' "Don't Worry", possibly partly inspired by Burlison's sound: [Excerpt: Marty Robbins, "Don't Worry"] That tends to be considered the real birth of fuzz, because that time it was picked up by the whole industry. Martin recorded an instrumental showing off the technique: [Excerpt: Grady Martin, "The Fuzz"] And more or less simultaneously, Wrecking Crew guitarist Al Casey used an early fuzz tone on a country record by Sanford Clark: [Excerpt: Sanford Clark, "Go On Home"] And the pedal steel player Red Rhodes had invented his own fuzz box, which he gave to another Wrecking Crew player, Billy Strange, who used it on records like Ann-Margret's "I Just Don't Understand": [Excerpt: Ann-Margret, "I Just Don't Understand"] All those last four tracks, and many more, were from 1960 or 1961. So far from being something unprecedented in recording history, as all too many rock histories will tell you, fuzz guitar was somewhat passe by 1965 -- it had been the big thing on records made by the Nashville A-Team and the Wrecking Crew four or five years earlier, and everyone had moved on to the next gimmick long ago. But it was good enough to use to impersonate a horn to sketch out a line for a demo. Except, of course, that while Jagger and Richards disliked the track as recorded, the other members of the band, and Ian Stewart (who still had a vote even though he was no longer a full member) and Andrew Oldham all thought it was a hit single as it was. They overruled Jagger and Richards and released it complete with fuzz guitar riff, which became one of the most well-known examples of the sound in rock history. To this day, though, when Richards plays the song live, he plays it without the fuzztone effect. Lyrically, the song sees Mick Jagger reaching for the influence of Bob Dylan and trying to write a piece of social commentary. The title line seems, appropriately for a song partly recorded at Chess studios, to have come from a line in a Chuck Berry record, "Thirty Days": [Excerpt: Chuck Berry, "Thirty Days"] But the sentiment also owes more than a little to another record by a Chess star, one recorded so early that it was originally released when Chess was still called Aristocrat Records -- Muddy Waters'  "I Can't Be Satisfied": [Excerpt: Muddy Waters, "I Can't Be Satisfied"] “Satisfaction” is the ultimate exercise in adolescent male frustration. I once read something, and I can't for the life of me remember where or who the author was, that struck me as the most insightful critique of the sixties British blues bands I've ever heard. That person said that by taking the blues out of the context in which the music had been created, they fundamentally changed the meaning of it -- that when Bo Diddley sang "I'm a Man", the subtext was "so don't call me 'boy', cracker". Meanwhile, when some British white teenagers from Essex sang the same words, in complete ignorance of the world in which Diddley lived, what they were singing was "I'm a man now, mummy, so you can't make me tidy my room if I don't want to". But the thing is, there are a lot of teenagers out there who don't want to tidy their rooms, and that kind of message does resonate. And here, Jagger is expressing the kind of aggressive sulk that pretty much every teenager, especially every frustrated male teenager will relate to. The protagonist is dissatisfied with everything in his life, so criticism of the vapidity of advertising is mixed in with sexual frustration because women won't sleep with the protagonist when they're menstruating: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] It is the most adolescent lyric imaginable, but pop music is an adolescent medium. The song went to number one in the UK, and also became the group's first American number one. But Brian Jones resented it, so much so that when they performed the song live, he'd often start playing “I'm Popeye the Sailor Man”. This was partly because it wasn't the blues he loved, but also because it was the first Stones single he wasn't on (again, at least according to most sources. Some say he played acoustic rhythm guitar, but most say he's not on it and that Richards plays all the guitar parts). And to explain why, I have to get into the unpleasant details I talked about at the start. If you're likely to be upset by discussion of rape or domestic violence, stop the episode now. Now, there are a number of different versions of this story. This is the one that seems most plausible to me, based on what else I know about the Stones, and the different accounts, but some of the details might be wrong, so I don't want anyone to think that I'm saying that this is absolutely exactly what happened. But if it isn't, it's the *kind* of thing that happened many times, and something very like it definitely happened. You see, Brian Jones was a sadist, and not in a good way. There are people who engage in consensual BDSM, in which everyone involved is having a good time, and those people include some of my closest friends. This will never be a podcast that engages in kink-shaming of consensual kinks, and I want to make clear that what I have to say about Jones has nothing to do with that. Because Jones was not into consent. He was into physically injuring non-consenting young women, and he got his sexual kicks from things like beating them with chains. Again, if everyone is involved is consenting, this is perfectly fine, but Jones didn't care about anyone other than himself. At a hotel in Clearwater, Florida, on the sixth of May 1965, the same day that Jagger and Richards finished writing "Satisfaction", a girl that Bill Wyman had slept with the night before came to him in tears. She'd been with a friend the day before, and the friend had gone off with Jones while she'd gone off with Wyman. Jones had raped her friend, and had beaten her up -- he'd blackened both her eyes and done other damage. Jones had hurt this girl so badly that even the other Stones, who as we have seen were very far from winning any awards for being feminists of the year, were horrified. There was some discussion of calling the police on him, but eventually they decided to take matters into their own hands, or at least into one of their employees' hands. They got their roadie Mike Dorsey to teach him a lesson, though Oldham was insistent that Dorsey not mess up Jones' face. Dorsey dangled Jones by his collar and belt out of an upstairs window and told Jones that if he ever did anything like that again, he'd drop him. He also beat him up, cracking two of Jones' ribs. And so Jones was not in any state to play on the group's first US number one, or to play much at all at the session, because of the painkillers he was on for the cracked ribs.  Jones would remain in the band for the next few years, but he had gone from being the group's leader to someone they disliked and were disgusted by. And as we'll see the next couple of times we look at the Stones, he would only get worse.