American blues pianist, singer, and composer
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3 episodes with Memphis Slim
7 episodes with Memphis Slim
3 episodes with Memphis Slim
3 episodes with Memphis Slim
2 episodes with Memphis Slim
2 episodes with Memphis Slim
3 episodes with Memphis Slim
2 episodes with Memphis Slim
2 episodes with Memphis Slim
durée : 01:00:20 - Club Jazzafip - Quoi de plus beau que la ville lumière célébrée par Melody Gardot, Duke Ellington, Sathima Bea Benjamin, Eric Barret, Coleman Hawkins, Miles Davis, Etta James, Memphis Slim et d'autres.
Sintonía: "Mambo gitano" - Sylvain David"Mambo Sh-Mambo" - The Charms; "We Like Mambo" - Eddie Bo; "Don´t Play No Mambo" - The Charioteers; "Perdido Mambo" - Larry Ligett; "They Were Doing The Mambo" - Les Brown & His Band of Renown; "Merengue Tropical" - Pedro J. Belisario y su Orquesta; "Mambo Boogie" - Johnny Otis Orchestra; "Wild Weekend Cha Cha" - The Rockin´ Rebels; "Cha Cha Blues" - Johnny Pate Combo; "Rock´n Roll Cha-Cha" - The Eternals; "Karange" - Sir Lancelot; "Mississipi Mambo" - Noro Morales & His Orchestra; "Mambo Boogie" - The Harp-Tones; "Guitar Cha Cha Cha" - Memphis Slim; "We Wanna See Santa Do The Mambo! - John Greer; "Guitar Mambo" - Dave Barbour and his Orchestra. Todas las músicas extraídas de la recopilación (1xLP+ CD -incluído con el LP-, Jukebox Music Factory, 2020) "Mambo, Cha-Cha-Cha & Calypso Vol. 3: Blues Session!"Todas las músicas seleccionadas por El VidocqBonus tracks: "Bikini e tamure" - Michelino e Il Suo Complesso y "Cha Cha Twist" - Margarita "Cha-Cha" SierraEscuchar audio
Wrapping up February we bring you a Spike Lee joint. Starring Ray Allen, Rosaria Dawson, Denzel Washington, we were split on He Got Game (1998). Keith found it bogged down by overly long scenes and a tropey-ass B plot, while Z appreciated the time taken with dialog and the musical & visual choices made. Plus we talk the evolution of breast implants in media and give our rankings for the month. https://en.wikipedia.org/wiki/John_the_ConquerorRick Rubin interview with Brian Eno +++++Willie Dixon and Memphis Slim performing Rub My Root
Explore the life and music of saxophonist Eddie Chamblee, best known for his work in jazz and R&B music. Chamblee worked with many legendary performers, including Lionel Hampton, T-Bone Walker, Memphis Slim, and Dinah Washington. In fact, Chamblee was married to Dinah Washington in 1957. Eddie Chamblee was born, in Atlanta, Georgia in 1920. By 1928, he was living in Indianapolis. His father, Robert Chamblee, was president of the Citizens Life Insurance Company. Their offices were located at 229 Indiana Avenue. After spending several years in Indianapolis, Chamblee's family moved to Chicago. But Chamblee would eventually return to Indianapolis. From 1953, to 1955, Chamblee held down a series of steady gigs at the Indiana Avenue club George's Bar, where he became famous for playing his sax while swinging from the club's rafters. During the 1950s, Chamblee performed at many Indiana Avenue venues, including Sunset Terrace, the Walker Theatre, and Ferguson Hotel.
| Stefan Grossman | Hambone Rag | Yazoo Basin Boogie | | | Duke Robillard | Ukulele Swing | The Acoustic Blues & Roots Of Duke Robillard | Geiger von Muller (album) | Blue Moon Frequency #5 | Geiger Von Muller- Slide Sonatas II | Rev Gary Davis | Yes Sir, That's My Baby Now | See What The Lord Has Done For Me. The Ernie Hawkins Session CD | Memphis Slim | John Henry | American Folk Blues Festival 1962-1965 CD2 | Memphis Slim | Memphis Boogie | American Folk Blues Festival 1962-1965 CD2 | Memphis Slim | The Blues Is Everywhere | American Folk Blues Festival 1962-1965 CD2 | Memphis Slim | Wish Me Well | American Folk Blues Festival 1962-1965 CD2 | Muddy Waters | Blow Wind, Blow | American Folk Blues Festival 1962-1965 CD2 | Muddy Waters | Catfish Blues | American Folk Blues Festival 1962-1965 CD2 | Muddy Waters | Five Long Years | American Folk Blues Festival 1962-1965 CD2 | Muddy Waters | My Captain | American Folk Blues Festival 1962-1965 CD2 | Muddy Waters | My Home Is in the Delta | American Folk Blues Festival 1962-1965 CD2 | Otis Spann | Goin' Down Slow | American Folk Blues Festival 1962-1965 CD2| Sonny Boy Williamson | Don't Misuse Me | American Folk Blues Festival 1962-1965 CD2 | Sonny Boy Williamson | I Don't Know | American Folk Blues Festival 1962-1965 CD2 | Sonny Boy Williamson | Sonny Boy's Harmonica Blues | American Folk Blues Festival 1962-1965 CD2 | Sonny Boy Williamson | That's All I Want, Baby | American Folk Blues Festival 1962-1965 CD2
Blues Radio International With Jesse Finkelstein & Audrey Michelle
Duke Robillard performs his Blues Music Award winning acoustic blues on Edition 670 of Blues Radio International, with music from Otis Rush, Memphis Slim, Howlin' Wolf, and Benny Turner.Find more at BluesRadioInternational.net
Breaking News!FILM PREMIEREMaureen Gosling'sTHE 9 LIVES OF BARBARA DANE"The amazing story of Barbara Dane, a powerful radical citizen-artist whose magnificent voice and uncompromising dedication to freedom, social justice and global liberation, continues to ring." --Danny Glover, Executive ProducerWATCHTRAILERhttps://www.youtube.com/watch?v=bdkTz4Lihmwhttps://www.barbaradane.net/DOC 'N ROLL FESTIVALOctober 27th, 2024 @ 5:30pmLONDON - BARBICAN CINEMA 3Director, Maureen Gosling will lead Q&A after screeningBARAKAN MUSIC FILM FESTIVALSeptember 9th-19th, 2024TOKYODirector, Maureen Gosling at Sept 9th screeningNote from Bill:5 years ago, about this time of year, Rich approached me about celebrating the extraordinary life of one of his major influences - (he had brought her to our high school in the late 60s to participate in a benefit concert to raise money for Native American schools). I had a lot to learn because Barbara Dane's career spanned most of the 20th century and a good chunk of the present one. And, I was grateful for the study.Starting out as a teenager from Detroit, Barbara Jean Spillman began singing with Louis Armstrong, and went on to become a sensation in the world of jazz. But, she was too big for that container - she went on to become one of the most influential folk music activists and label owners in history. Upon learning of her passing last week at the age of 97, it seemed fitting that we revisit that special archival episode. Listen, and be amazed!"Bessie Smith in Stereo" said jazz critic Leonard Feather in Playboy magazine when Barbara Dane burst onto the scene in the late '50s. In 1958 Time magazine said of her: "The voice is pure, rich...rare as a 20 karat diamond." To Ebony magazine, she seemed "startlingly blonde, especially when that powerful dusky alto voice begins to moan of trouble, two-timing men and freedom... with stubborn determination, enthusiasm and a basic love for the underdog (she is) making a name for herself...aided and abetted by some of the oldest names in jazz who helped give birth to the blues..." The seven-page Ebony article--their first feature story about a white woman (Nov., l959)-- was filled with photos of Dane working with Memphis Slim, Willie Dixon, Muddy Waters, Clara Ward, Mama Yancey, Little Brother Montgomery and others...
Today's show features music performed by Muddy Waters and Memphis Slim
Telephon Tuesday. Entertainment from 1982. US revolution officially over, San Marino founded, Sweden driving laws. Todays birthdays - Alan Ladd, Memphis Slim, Mort Walker, Hank Thompson, Al Jardine, Don Brewer, Charlie Sheen, Jennifer Paige. Vince Lombardi died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/Hanging on the telephone - BlondieEye of the tiger - SurvivorLove will turn you around - Kenny RogersBirthdays - In da club - 50 Cent http://50cent.com/Born with the blues - Memphis SlimIt don't hurt anymore - Hank ThompsonI get around - The Beach BoysWe're an American Band - Grand Funk RailroadCrush - Jennifer PaigeExit - It's not love - Dokken http://dokken.net/Follow Jeff Stampka on facebook and cooolmedia.com
JB plays some great sounds from the likes piper Ross Miller, Duncan Chisholm, Memphis Slim and Joni Mitchell and has a chat with musician Katie Lawrence about her new tune collection book.
Air Week: June 10-16, 2024 Memphis Slim Memphis Slim dubbed himself the “Ambassador Of The Blues” and for good reason. He spread the gospel of America's music around the world during his almost 50 year career. This week, Matt The Cat and the “Juke In The Back” take a look at Slim's prodigious contribution to […]
Welcome to the latest episode of "Blues is the Truth" with your host, Ian McHugh! This week is nothing short of a blues extravaganza as Ian is joined by the incredible Paul Michael for a special edition of the Blues Driver segment. Get ready for an episode packed with fresh and soul-stirring blues tunes that will leave you wanting more. The spotlight shines on a stellar lineup of artists, showcasing the diverse and timeless nature of the blues genre. Brace yourself for the sonic journey featuring the musical prowess of Johnny Lang, Eles Bailey, GA 20, BB King, The Cinelli Brothers, Sonny Landreth, Tinsley Ellis, Doug MacLeod, Arthur Big Boy Crudup, Rick Vito, Chuck Berry, Roadhouse Blues Band, Steve Howell and the Mighty Men, Mike Zito, Alex Voysey, Joanne Shaw Taylor, Jimmy Forrest, Ma Polaines Great Decline, Chris Antonik, James Kinds, Charles Wilson, The Reverend Shawn Amos, Jan James, Jools Waldron, The True Strays, Memphis Slim, and Big D and Captain Keys. With an array of talent spanning generations and styles, this episode promises an immersive blues experience like never before. From electrifying guitar solos to soulful vocals, "Blues is the Truth" continues to be the go-to destination for blues enthusiasts and music lovers alike. Tune in, turn up the volume, and let the blues speak to your soul. Don't miss out on this extraordinary episode curated by Ian McHugh – where the blues isn't just a genre; it's a journey.
Le 7 janvier prochain, ils seront six au départ de l'Arkéa Ultim Challenge - Brest, la grande première d'une course autour du monde en solitaire à bord de maxi-trimarans, en passant par le Cap de Bonne-Espérance, le Cap Leeuwin et le Cap Horn. Dans ce dernier épisode, c'est Thomas Coville, qui face à Loïck Peyron, se raconte, à la fois auteur de multiples tours du monde, correspondant de l'acteur Jacques Gamblin et admirateur du jazzman Memphis Slim.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
Hello everyone! Billy Amendola here, and my show today is one of my “Billy's Bubble” segments, featuring Marshall Chess, the son of Chess Records founder Leonard Chess. Chess, a Polish/Jewish immigrant, and his brother Phil created what many describe as “America's Greatest Blues label.” You've heard of Willie Dixon, Howlin Wolf, Bo Diddley, Chuck Berry, Muddy Waters, and other legendary blues musicians from The Rolling Stones, Led Zeppelin, and The Beatles. They all were pioneers on the legendary label. My guest, Marshal Chess, now 81 years young, grew up in the studio and became vice-president in 1969 before going on to become president of GRT, and then creating Rolling Stones Records, and becoming executive producer of The Rolling Stones albums “Sticky Fingers” and “Exile on Main Street. Also featured on the show is Marshal's long-time collaborator, producer/drummer/engineer Keith Leblanc. The two met at SugarHill Records and have worked together since. They now have a new record, “The Chess Project,” featuring seasoned players and singers who reinterpret Chess gems from Howlin' Wolf, Muddy Waters, Memphis Slim, Little Walter, and Sonny Boy Williamson. The album is titled “New Moves.” Keith, both an acoustic drummer and a pioneer in programming and playing drum machines and electronic loops, became known with his band Tackhead, who were successful in Europe, where Keith lived for a few years. His solo record, “No Sell Out,” is one of the first sample-based releases. Keith kick-started his career at SugarHill Records and later Tommy Boy Records, two of the most successful labels in hip-hop and dance music. In the '90s, Keith worked in the studio with producer Trevor Horn in the UK, programming, and playing drums with Annie Lennox, Tina Turner, and Seal's first album, among others. Let's dive into this historical career with two pioneers in our industry and welcome Marshal & Keith to Drum Channel. Enjoy!
| Artist | Title | Album Name | Album Copyright | Bert Dievert | World is Gone Wrong | Pony Blues | | Half Deaf Clatch | Can't Do Right (For Doing Wrong) | A Road Less Travelled | Chris O | I Need Your Love so Bad (feat. Didi Van Fritz) | Wailin' & Raggin' the Blues | Pinetop Perkins and Willie 'Big Eyes' Smith | You'd Better Slow Down | Joined At The Hip [Grammy winner 2011] | Charles -Cow Cow- Davenport | Back in the Alley | Complete Recorded Works, Vol. 1 | Josh White | Live the Life | The Elektra Years | | Fiona Boyes | Mama's Sanctified Amp | Fiona Boyes Box & Dice promo | Memphis Slim | Two Of A Kind | All Kinds Of Blues 1961 | Jake Leg Jug Band | Mouthful o' Jam | Live At The Audley Theatre [with chatter] | Andres Roots And Raul Terep | Bullfrog Medley | Trad.Alt.Blues | | Lightnin' Hopkins | Easy On Your Heel | Los Angeles Blues (1969) | Robert Johnson | Ramblin' On My Mind | The Complete Recordings; The Centennial Collection | Mark Searcy | Grapetown Rail | Ground Zero | | Adam Franklin | Can't Be Satisfied | 112 Guildford Street | | Andy Cohen | Seldom Seen Slim | Road Be Kind | | Big Bill Broonzy | Hollerin' Blues | Four Classic Albums Plus - CD Two
National pet rock day. Entertainment from 1959. US revolution officially over, San Marino founded, Sweden driving laws. Todays birthdays - Alan Ladd, Memphis Slim, Mort Walker, Hank Thompson, Al Jardine, Don Brewer, Charlie Sheen, Jennifer Paige. Vince Lombardi died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/I'm in love with my pet rock - Al BoltThe three bells - The Three BellsBirthdays - In da club - 50 Cent http://50cent.com/Born with the blues - Memphis SlimIt don't hurt anymore - Hank ThompsonI get around - The Beach BoysWe're an American Band - Grand Funk RailroadCrush - Jennifer PaigeExit - It's not love - Dokken http://dokken.net/https://www.coolcasts.cooolmedia.com/show/history-factoids-about-today/
Tu garito subterráneo favorito abre puertas otro viernes de verano para ofrecerte una sesión quitapenas sin interrupciones. Cocinamos un menú de boppin’ rhythm and blues que te ayudará a desentumecer huesos y articulaciones. A disfrutar. (Foto del podcast; Slim Harpo) Playlist; (sintonía) IKE TURNER and THE KINGS OF RHYTHM “Potatoe mash” MEMPHIS SLIM “We’re gonna rock” FRANKIE LEE SIMS “Hey Little girl” COUSIN LEROY “I’m lonesome” HARMONICA FATS “Tore up” CHAMPION JACK DUPREE “Nasty boogie” JEANNIE BARNES “Can’t get you out of my mind” WILD JIMMY SPRUILL “Country boy” TOMMY LOUIS “I love you so” JAMES BROWN “Choonie-on-chon” EMMETT DAVIS “I’m talking about you baby” JOHN LEE HOOKER “No more doggin’” ETTA JAMES “Nobody loves you like me” LITTLE WALTER “Diggin’ my potatoes” JIMMY ANDERSON “I wanna boogie” WILLIE KING with IKE TURNER BAND “Peg leg woman” FRANKIE LEE SIMS “She likes to boogie real low” SLIM HARPO “Shake your hips” JAY SWAN “You don’t love me” ROSE MITCHELL “Baby please don’t go” BUNKER HILL “You can’t make me doubt my baby” LITTLE ESTHER “Hound dog” HAL PAGE and THE WHALERS “Thunderbird” SONNY BOY WILLIAMSON “Polly put your kettle” Escuchar audio
| Artist | Title | Album Name | Album Copyright | Kansas City Blues Strummers | String Band Blues | A Richer Tradition - Country Blues & String Band Music, 1923 | Mississippi Fred McDowell & Hunter's Chapel Singers | You Got To Move | Amazing Grace | | Jimmy Yancey | Jimmy's Stuff (Remastered) | Yancey's Getaway | | Mean Mary | Come Along | Alone [ | Dik Banovich | How Can A Poor Man | Run to You | | Mississippi Fred McDowell | 61 Highway | Blues: The Essential Album | Hans Theessink | Call Me | Jedermann Remixed | Blind Willie Johnson | Lord, I Just Can't Keep From Crying | The Complete Blind Willie Johnson (1 of 2) | Memphis Slim | Cow Cow Blues | | | Duke Robillard | Jimmie's Texas Blues | The Acoustic Blues & Roots Of Duke Robillard | Michael Messer | Sunflower River | Lucky Charms | | Duster Bennett | Take The Train Out In The Morning | Shady Little Baby | Big Bill Broonzy | See See Rider | Four Classic Albums Plus - CD One | Buddy Moss | My Baby Wont Pay Me No Mind | Joy Rag | |
| Artist | Title | Album Name | Album Copyright | Eric Demmer | I'm A Guitar Player | So Fine | | | Greg Brice | My Life | Greg Brice | | Charlie Christian | Down on Teddy's Hill, Pagin' Dr. Christian | Charlie Christian at Minton's | Sawmill Roots Orchestra | Wagon Swing | Sawmill Roots Orchestra | Tom Harpo Walker feat Dani Wild | Ride on | Bruised Heart Blues | | Mark Harrison | Panic Attack | On The Chicken Sandwich Train | King Biscuit Boys | In My Time Of Dying | Organic & Natural | | Memphis Slim | Blue And Lonesome | Deep South Piano Blues - Rockin The House | Jimmy Yancey | Yancey Stomp | Blues and Boogie | | Marie Knight | Beams Of Heaven | The Gospel Truth Live | Larkin Poe | Crocodile Rock | Kindred Spirits (2020) | Jerry Lee Lewis | I Can Still Hear The Music In The Restroom | A Whole Lotta... Jerry Lee Lewis (CD3) | Buddy Whittington and Jim Suhler | Ain't Got the Scratch | Texas Scratch | | Rebecca Downes | Terrorise | The Space Between Us | CHICK WILLIS | You Got The Devil In You | Things I Used To Do |
| Artist | Title | Album Name | Album Copyright | Tony Joe White | Cool Town Woman | Bad Mouthin' (2018) | Dylan Triplett | She Felt Too Good | Who Is He? | | KAZ HAWKINS | Shake | My Life and I | | Petri Matero Group | Good Life | Dead Weight | | Pete Rea | When My Sun Refuse To Shine | Zero Hour | | Lynsey Clayton |Take My Hand | Take My Hand | | Kirk Nelson and Jambalaya West | That Ship Has Sailed | Lagniappe | | Red Stick Ramblers | Laisse Les Cajuns Danser | Cajun | | | Henri Herbert | Guitar Boogie | Boogie Till I Die | | Memphis Slim | I Can Hear My Name A-Ringin | Boogie After Midnight (Disk 2) | Lamar Nelson | If I Couldn't Say A Word | Sacred Steel Instrumentals | Bo Diddley | Gunslinger (Avalon Ballroom, 1966) Remastered | Modal Blues '66 | | J. J. Cale | Rock And Roll Records | Anyway The Wind Blows - The Anthology | Anson Funderburgh & The Rockets | Hold That Train, Conductor | She Knocks Me Out! | | RL Burnside | Jumper Hanging Out On The Line | Rl Burnside | Victoria Spivey | Jet | Spivey's Blues Parade
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
Barbara Dane has led a groundbreaking life. In the 1950s she became a popular blues singer and performed with many leading musicians of the time including Louis Armstrong, Muddy Waters, Willie Dixon, Memphis Slim, Lightnin' Hopkins and many others. She eventually largely dropped out of the commercial music world to focus on activism becoming involved in the civil rights movement as well as the GI resistance movement during the Vietnam War. She and her husband Irwin Silber started the record label called Paredon to release music from freedom struggles across the globe. Dane also released her own recordings on Paredon–one was titled, “I Hate the Capitalist System.” In 2018 Barbara Dane stopped by the Democracy Now studio to talk about her remarkable life and play a few songs. Smithsonian Folkways has just released a new retrospective titled, “Barbara Dane: Hot Jazz, Cool Blues and Hard-Hitting Songs.”
Barbara Dane has led a groundbreaking life. In the 1950s she became a popular blues singer and performed with many leading musicians of the time including Louis Armstrong, Muddy Waters, Willie Dixon, Memphis Slim, Lightnin' Hopkins and many others. She eventually largely dropped out of the commercial music world to focus on activism becoming involved in the civil rights movement as well as the GI resistance movement during the Vietnam War. She and her husband Irwin Silber started the record label called Paredon to release music from freedom struggles across the globe. Dane also released her own recordings on Paredon–one was titled, “I Hate the Capitalist System.” In 2018 Barbara Dane stopped by the Democracy Now studio to talk about her remarkable life and play a few songs. Smithsonian Folkways has just released a new retrospective titled, “Barbara Dane: Hot Jazz, Cool Blues and Hard-Hitting Songs.”
Today's show features music performed by Muddy Waters and Memphis Slim
| Artist | Title | Album Name | Album Copyright | Lightnin' Hopkins | Baby Please Lend Me Your Love | In The Key Of Lightnin | John Hammond | Motherless Willie Johnson | Mirrors | Willie ''61'' Blackwell | Rampaw Street Blues | When The Levee Breaks, Mississippi Blues (Rare Cuts CD A) | 2007 JSP Records | Doc Watson & Rec Live Newport Folk Fest 1963/4 | Blue Ridge Mountain Blues | The Essential Doc Watson | Gary Fletcher | Fall From Grace Blues | In Solitary | | Andres Roots And Raul Terep | Greengrass Stomp | Trad.Alt.Blues | | Memphis Slim | Letter Home | 1961 - All Kinds Of Blues | Jo Ann Kelly | Boyfriend Blues | Black Rat Swing Disc 1 | Lonnie Johnson | Four Hands Are Better Than Two | Jazz Legends | | Jimmy 'Duck' Holmes | Cool Water | Get Old Someday | | Buddy Guy | First Time I Met The Blues Live | Acoustic Blues Kings and Queens, Vol. 1 | Pink Anderson | I'm Going To Walk Through The Streets Of The City | Blues Legend | | Seasick Steve | Started Out With Nothing | I Started Out With Nothing And I've Still Got Most Of It Left | Andres Roots & Aneeli Kadadkas | Buiild Me A Statue | FiESTa! | | | Bert Deivert & Copperhead Run | My Baby's Gone (Rachel) | Blood In My Eyes For You | Blind Willie McTell | Pal Of Mine (Remastered 2018) | Last Session - Remastered | Prestige/Bluesville Records
Two Cow Garage "The Heart and the Crown"Richard Swift "Broken Finger Blues"JD McPherson "Just Around The Corner"Kitty Wells "Guilty Street"Adia Victoria "Devil Is A Lie"Blue Mountain "Bloody 98"Fats Domino "When I Was Young"Memphis Slim "We're Gonna Rock"Wilco "Falling Apart (Right Now)"Elvis Costello & the Roots "Sugar Won't Work"Eilen Jewell "Back to Dallas"Rick Danko "What A Town"Eddie Hinton "Brand New Man"Hot Water Music "Trusty Chords"Joan Shelley "Over and Even"Superchunk "Endless Summer"Joseph "Come On Up To The House"LaVern Baker "Bumble Bee"Little Brother Montgomery "Michigan Water Blues"Bob Dylan "Precious Angel"Labi Siffre "I Got The..."Kendrick Lamar "Auntie Diaries"Hank Crawford "Sister Sadie"Arthur Gunter "Baby Let´s Play House"The 40 Acre Mule "16 Days"Old 97's "Rollerskate Skinny"Nina Simone "Do I Move You?"Koko Taylor "I'd Rather Go Blind"Jack White "If I Die Tomorrow"Drive-By Truckers "Forged In Hell And Heaven Sent"R.E.M. "Swan Swan H"Cory Branan "Imogene"Sister O.M. Terrell "Life Is a Problem"Jkutchma & the Five Fifths "Sundown, Usa"Carl Perkins "Poor Boy Blues"Blue Lu Barker "I'll Give You Some Tomorrow"John Prine "Sweet Revenge"Buddy Guy "Outskirst of Town"Junior Walker & The All Stars "Way Back Home"Wynonie Harris "Mr Blues Is Coming To Town"Billie Holiday Orchestra "Summertime"Lucero "That Much Further West"
Intro Song – Kenny “Beedy Eyes” Smith with Mississippi Heat, “What Cha Say?”, Warning Shot First Set - Dave Weld & The Imperial Flames, “Don't Ever Change Your Ways”, Nightwalk James Wheeler, “Ready!”, Ready! Big Joe Williams, “Jump, Baby - Jump!”, nine string guitar blues Second Set – Junior Wells, “Juke”, live at Theresa'a 1975 Memphis Slim and his House Rocker featuring Matt “Guitar” Murphy, “Cool Down Baby”, The Come Back Mike Wheeler, “Self Made Man”, Self Made Man Third Set – WIB Demetria Taylor, “Bad Girl”, Bad Girl Grana Louise, “Big Dick, M'isipi”, Gettin' Kinda Rough! Sharon Lewis and Texas Fire, “The Real Deal”, Grown Ass Woman Zora Young, “Livin' In The USA”, Learned My Lesson Fourth Set – Otis Rush, “It Takes Time”, All Your Love I Miss Loving-Live At The Wise Fools Pub, Chicago T-Bone Walker, “I Hate To See You Go”, I Want A Little Girl Jimmy Burns, “Shake Your Boogie”, Leaving Here Walking
“El blues no es simplemente una secuencia de acordes de doce compases, es un estado mental y todo cabe dentro de él”. Esto decía Graham Foster, el guitarrista británico afincado en España en una reciente entrevista. Y así es, el blues nos abre los ojos y nos hace ver la realidad de las cosas de la vida, es la queja interior que nos pone en movimiento, que nos hace ponernos en marcha. La temporada pasada habíamos iniciado una “mini” serie dedicada al blues y hoy vamos a continuar con ella. Desfilarán por nuestro programa los mejores clásicos del género y la esencia de una música inmortal. Vamos a empezar con Elmor James, un guitarrista de blues nacido en el condado de Holmes, Missisipi, el 27 de enero de 1918. Su estilo contundente y apasionado se distinguía por el sonido característico del slide blues, del que podríamos considerar inventor, y que podemos apreciar en canciones como este The sky is crying Vamos a seguir nuestra andadura con otro de los grandes, un tipo al que ya hemos escuchado en programas anteriores y que, precisamente, anduvo con Elmor James durante algunos años. Se trata de Sonny Boy Williamson, poeta, músico, cantante y compositor, nacido, como no, en el estado de Misisipi en 1897. Nuestro amigo conoció la fama en vida y se codeó con lo mejorcito del momento. Se traslado a Inglaterra a comienzo de los años sesenta y tocó con gente como The Animals y Jimmy Page. Esto es su Ninety nine. Nuestro siguiente invitado, viejo conocido de la casa, es Little Walter, el fabuloso interprete de armónica cuya revolucionaria manera de tocar influyó en generaciones de músicos y que, además, la valieron comparaciones con artistas tan importantes como Django Reinghardt, Charlie Parker o Jimi Hendrix. Tal fue su virtuosismo que fue incluido en el Salón de la Fama del Rock and Roll en 2008 siendo el primer artista incluido en la categoría de armonicista y, de momento, el último. Juzgarlo vosotros sino en este Juke. John Len Chatman, de nombre artístico Memphis Slim, vio la luz, que cosas, en Menphis, Tennessee en 1915 y es un reconocido pianista, cantante y compositor de blues que lideró un buen número de bandas que cultivaron el popular jump blues, un subgénero del blues que surgió a finales de la década de 1930 en los EEUU. En aquella época, el sonido del blues se fué “urbanizando” en una mezcla de blues clásico con letras humorísticas y ritmos heredados del boogie-woogie. Memphis Slim y su Forty foour blues Otis Rush nació en Filadelfia en abril de 1935 y fue un cantante y guitarrista de blues. Su sonido era lento, ardiente y con un característico glissando, ya sabéis, esa forma especial de arrastrar los dedos de la mano izquierda por el mástil de la guitarra. A Rush le encantaba tocar en directo, desde pequeños clubes en el West Side de Chicago (donde por cierto le conoció Eric Clapton y desde entonces lo consideró como su Dios particuar) hasta locales con entradas agotadas en Europa o Japón. Rush fue incluido en el salón de la fama de la Fundación Blues en 1984 y ganó un Grammy a la mejor grabación de blues tradicional en 1999. Este es su So many roads, so many trans. Nuestro siguiente invitado es Howlin Wolf, el lobo aullador, un gigantón de dos metros de altura y 140 kgs. de peso, hijo de unos cultivadores de algodón y granjero en su juventud que llegó a instalarse entre los principales artistas de blues eléctrico. De él se dijo que “nadie puede igualar a Howin Wolf en su singular capacidad para el blues”. Es curioso que, teniendo en cuenta sus orígenes clásicos, el rock psicodélico de los sesenta, tuviera en Wolf a uno de sus máximos inspiradores. De hecho, el mismísimo Jimi Hendrix comenzó su actuación en el mítico festival de Monterrey en 1967 con una frenética versión de un clásico de Howlin Wolf. Vamos a escuchar al Lobo en Smokestach lightnin. El cantante y pianista Ray Charles grabó entre 2003 y 2004 un disco de duetos, que resultó póstumo, ya que el artista falleció a los 73 años, unos meses antes de su edición. Geniu Loves compay se puso en marcha en junio de 2003 cuando Van Morrison le hizo subir a un escenario neoyorquino para interpretar juntos un tema de Morrison. El dúo le gustó tanto que al mes siguiente, se reunió en un estudio con B.B. King. El guitarrista recordaba a un Ray meditabundo que le dijo “Sabe B.B., si hubiéramos sabido que íbamos a vivir tanto, seguro que no habríamos hecho tantas barbaridades con nuestros cuerpos”. Al poco tiempo su salud empeoró y se dedicó en exclusiva al proyecto de duetos, abandonando todas las giras. Y lo cierto es que ninguno de los invitados quiso perderse la ocasión, sabían que era ahora o nunca. Este es el corte que grabó con B.B. King, Sinner’s prayer. William James “Willie” Dixon fue un bajista, cantante, compositor, productor discográfico y… boxeador. Como instrumentista destacó con el contrabajo y, como para corroborar la vieja discusión del origen de rock and roll en el blues, Willie colaboró en numerosas ocasiones en las grabaciones de Chuck Berry. No fue un tipo fácil, tuvo problemas con la justicia en su juventud por lo que tuvo que salir pitando para Chicago. Se negó a alistarse en el ejército durante la Segunda Guerra Mundial por lo que fue encarcelado durante diez meses. El mismo estaba orgullosísimo de conocerse. Dijo: “Yo soy el blues” viniéndose arriba. Bueno, lo cierto es que, a pesar de la fanfarronada, sí es cierto que Dixon fue una de las personas más influyentes en este género musical, principalmente debido a la gran cantidad de composiciones originales, actuaciones en directo, grabaciones y trabajos de producción que realizó. Trabajos como este Pain in my herart. Otro músico que protagonizó la transición del blues al rock and roll fue Bo Diddley. Su estilo personal ha influido y sigue influyendo de tal modo que según pasa el tiempo su figura se agranda en el panorama de la música rock. Por otro lado, su fama no fue premiada en el aspecto económico como cabría haber esperado. La crudeza de su estilo le cerró las puertas a ventas millonarias, puertas que, paradójicamente, sí se abrirían de par en par para muchos músicos y bandas en los que influyó. Hombre de profundas creencias religiosas, vivió siempre bajo la influencia de la Biblia y una filosofía en la que todos los seres humanos eran como hermanos y hermanas independientemente del color de su piel. Mona, uno de sus muchos éxitos. Todos hemos escuchado versiones de este blues: Eric Clapton, The Blues Brothers, Bonnie Raitt y un larguísimo etcétera. Hoy escucharemos el original, la versión mítica del no menos mítico Robert Johnson. Por supuesto, estamos hablando de Sweet home Chicago. Al parecer, Johnson pretendía que la canción fuera una descripción metafórica de un paraíso imaginario en el que se mezclaran lo mejor del norte y el sur de los EEUU, lejos del racismo y la pobreza característica del Delta del Mississippi en aquel lejano 1936. Por otro lado, la autoría de la canción siempre se le ha atribuido a Johnson pero, según otros historiadores, ésta podría ser el resultado de la mezcla de varios viejos blues de origen desconocido. Sea como fuese, esto es Sweet home Chicago. Buddy Guy, nacido el 30 de julio de 1936, es un guitarrista y cantante, exponente del blues de Chicago que ha influido en generaciones de guitarristas como Clapton, Hendrix, Page, Richards, Ray Vaughan y tantos otros. Como hemos dicho, la música de Guy se etiqueta como blues de Chicago, pero su estilo es único y personal. Su música puede variar desde el blues más tradicional y profundo hasta una mezcolanza creativa, impredecible y radical del blues, rock, soul y free jazz y que, además, puede cambiar en cada actuación. Y si no, oigamos este Goin’ down slow con un regusto innegable de soul. Y nada más por hoy. Le hemos dado un buen repaso al blues más clásico con grabaciones que nos pueden sonar un poco rancias que son la esencia de todo lo que vendría después. Cualquier género posterior al blues, le debe algo. Gracias por vuestra atención y, si os parece, nos seguimos escuchando aquí, en Sienteloconoido.caster.fm. Y como siempre, os deseo una muy ¡¡¡Buenas vibraciones!!!
The new mix under the name In A Quiet Place is music that brings calm and emotions to our ears and hearts. PLAYLIST 1- Viagem - MARCOS VALLE 2- Cycle - JOAN SHELLEY 3- I guess I'm a fool - MEMPHIS SLIM & THE HOUSE ROCKERS 4- 900 Miles - DION 5- Johnny be gay if you can be - TERRY CALLIER 6- Zamba corta - JUANA MOLINA 7- Buscandonos - ELIA Y ELIZABETH 8- Take or leave it - EVIE SANDS 8- Before we begin - BROADCAST 9- Lucid - KELLY LEE OWENS 10- Soqinomai bayot - SEVARA NAZARKHAN 11- Beyna L'Ejwan - NASS MARRAKECH, OMAR SOSA & JORGE PARDO 12- When the poets dreamed of Angels - DAVID SYLVIAN 13- Inevitable - LA NEGRA 14- Luna Rossa - PIETRA MONTECORVINO 15- We could be flying - JACKIE & ROY
Tonya Dyson joins Eric Barnes on The Sidebar.
| Artist | Title | Album Name | Album Copyright | Tinsley Ellis And The Heartfixers | Walkin' Thru The Park | Landslide Records 40th Anniversary CD 1 | Tommy Emanuel | The Christmas Song (Chestnuts Roa | Tommy Emmanuel | | Charlie Musselwhite | Silent Night | Alligator Christmas | Alligator Christmas | Little G Weevil | Going Back South | Live Acoustic Session | Tom Rodwell | Keep on Knockin' | Wood & Waste | | Erja Lyytinen | Silent Night | Additions December 2021 | Scott Joplin | Pine Apple Rag | Piano Rags | | Robert Hokum | For Absent Friends | Songs of Isolation | | Marvin Sease | Funky Christmas | Christmas Stuff | | Sterling Koch | Merry Christmas Baby | A Steel Guitar Christmas (2013) | Little Richard | Shake A Hand | Little Richard Goes Gospel | Mahalia Jackson | Mary's Little Boy Child | Complete Mahalia Jackson: Vol 7 1956 | Keb' Mo' | Santa Claus Blues | Moonlight Mistletoe and You | Charlie Musselwhite | Silent Night | Alligator Christmas | Alligator Christmas | SuBourbon Blues Project | When Was The Last Time | Where Concrete Meets The Grass | Billy Price | Christmas Comes But Once A Year | A Gulf Coast Christmas | Dion | If You Wanna Rock 'n' Roll feat. Eric Clapton | Stomping Ground | | Alan Freed | Easy Rock | The Great Pretender | Muddy Waters | The Blues Had a Baby | Hard Again (1977) | Sony (1977) | Art Gunn | Boogie Woogie Blues | Roots of Rock N' Roll Vol 4 1948 | Memphis Slim | Midnight Jump | Roots of Rock N' Roll Vol 4 1948 | Clifton Chenier | It's Christmas Time - | Arhoolie Records Christmas Time Blues | Kat Riggins | It Ain't Christmas | A Gulf Coast Christmas | Bad Bob Bates | Come Home For Christmas | Come Home For Christmas | Austin Blues Revue | Silent Night | An Austin Blue Christmas | Michele D'Amour & The Love Dealers & Christmas In Blue | Naughty List | 2020 Blind Raccoon Holiday Sampler MP3 | Robert Nighthawk | Merry Christmas | Blues Southside Chicago | Keb' Mo' | Santa Claus Blues | Moonlight Mistletoe and You | Lawrence Lebo | I'm Your Christmas Present Baby (Vol 2) [THE BEST OF DON'T CALL | The Best Of Don't Call Her Larry: Blues Mix
Je ne vous apprends rien en vous disant que la technologie évolue et que nos critères de consommation deviennent de plus en plus exigeants. Qui regarde encore des films en VHS quand il peut les visionner dans la haute définition la plus récente ? Concernant les catalogues musicaux, il y'a une opération qui s'appelle le remastering qui consiste à restaurer les anciens enregistrements avec des techniques elles même en évolution constante. Depuis l'invention du marteau, bien pratique pour enfoncer les clous, mais douloureux quand on se tape sur les doigts, on devrait savoir que toute innovation comporte en elle-même le meilleur comme le pire. Coton tige cette semaine dans Bon Temps Rouler… Playlist : But That's Alright - Remastered - King Curtis - Birth of the Blues (Remastered) God Don't Never Change - Remastered - Blind Willie Johnson - Over the Top Blues Masterpieces (Remastered) How Sweet It Is (To Be Loved By You) - 2019 Remaster - James Taylor - James Taylor's Greatest Hits (2019 Remaster) Rollin' & Tumblin' - Remastered - Bonnie Raitt - Rainbow Room Blues (Philly LIVE Broadcast '72 Remastered) Going to Copenhagen - Champion Jack Dupree - The Best Of The Blues (HD Remastered) Heart of Gold - (Single Version) [Remastered] - Bettye LaVette - Rhythm & Blues Classics Reconsider Baby - Remastered - Lowell Fulson - The King of Blues (Remastered) Act Naturally - Remastered - Loretta Lynn - Colour of the Blues (Remastered) Fattening Frogs for Snakes - Remastered - Sonny Boy Williamson II - The King of Blues (Remastered) Breaking Up Somebody's Home - Albert King - I'll Play The Blues For You [Stax Remasters] See You Later Alligator - Remastered - Bobby Charles - Anthology: His Early Hits (Remastered) Where You There - Remastered - The Soul Stirrers - Jesus Gave Me Water (Remastered) V-8 Ford Blues - Remastered - Mose Allison - V-8 Ford Blues (Remastered) Starting All Over Again - Clarence Carter - Greatest Hits (Digitally Remastered) Peter Gunn - Remastered - Henry Mancini - Remastered Hits Titres pour les abonnés Premium : Parchman Farm - Johnny Winter - About Blues (Digitally Remastered) Stop Breaking Down - Forest City Joe - Best of Blues Vol. 8: Forrest City Joe (Collection Gerard Herzhaft - Remastered) He'll Have to Go - Solomon Burke - Rock 'N' Soul (Hd Remastered) 44 Blues - Remastered - Willie Dixon & Memphis Slim - 44 Blues (Remastered) Key to the Highway - Memphis Slim - All That Jazz, Vol. 52: Memphis Slim ? "Bad Luck & Troubles" (An Album Dedicated to All Born with the Blues) [Remastered 2015] Folk Blues: Bill Bailey - Big Bill Broonzy - Four Classic Albums Plus (Big Bill?s Blues / Big Bill Broonzy Sings The Blues / Folk Blues / The Blues) (Digitally Remastered) Sweet Home Chicago - Roosevelt Sykes - Best of Blues Vol. 9: Sweet Home Chicago (Collection Gerard Herzhaft - Remastered) Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
Dilluns, tornem a la càrrega, tornem amb el Blues més visceral, carregat de sentiment, feeling, sang i fetge. Avui tenim una visita inesperada però, desitjada. Mr. John Chatman ens visitarà, més conegut com Memphis Slim. Everyday I have the Blues my friend but Every Monday night too!!!!! The post Blues Barrelhouse 29/11/2021 first appeared on Ripollet Ràdio.
| Jessie Lee & The Alchemists | Let It Shine | Let it Shine | | Cathy Ponton King | Tattoo On My Heart | The Crux | Codimac Music | Elias Bernet Band | Monkey Juice | Better Off With The Blues | Doyle Bramhall with Jimmie Vaughan | Take Your Time Son | The Jimmy Vaughan Story | Eric Gales | Put That Back | Crown | | | Micke Bjorklof | It's Been So Long | Whole Nutha Thang | | Memphis Slim | How Long Blues (Carr) [from Chicago Bluesmasters Vol 1] | Memphis Slim and the Honky-Tonk Sound | Lightnin' Hopkins | You Treat Po Lightnin' Wrong | Get Off My Toe | | Diane Durrett & Soul Suga | Put A Lid On It | Put A Lid On It | | Lady A | Miss Beula Mae | Satisfyin' | | The Pilgrim Harmonizers | Witness There Too | Bea & Baby Records Definitive Collection CD4 | Bessie Jones & with the Georgia Sea Island Singers | Take Me to the Water | Get In Union | Alan Lomax Archives/Association For Cultural Equity | Lowell Fulson with Jeff Dale | Do You Feel It (Instrumental) | Lowell Fulson Live | | ElectroBluesSociety feat Boo Boo Davis | Lowdown Dirty Blues | Low Down Dirty Blues | Tony Holiday | Recipe For Love Featuring Bobby Rush | Porch Sessions Vol2 | | Memphissippi Sounds | Saturday Morning | Memphissippi | | Jackie Brenston | Rocket 88 | Roots of Rock N' Roll Vol 7 1951 | Mike Zito & Friends | Reelin' And Rockin' | Rock 'N' Roll; A Tribute To Chuck Berry | Joe Nolan | Mountain | Joe Nolan - Scrapper | Zac Harmon | Ashes To The Wind | Long As I Got My Guitar | Catfood Records | Ilana Katz Katz | Woman, Play the Blues | In My Mind | | Wentus Blues Band | My Home | From The Barrell | | Samantha Fish | Imaginary War | Faster | | | Clare Free | I'll Never Love Again | Single | | | Dave Specter | Got to Find A Way | Six String Soul~30 Years on Delmark Disk2 | Memphissippi Sounds | Crossroads | Memphissippi |
La vedette de ce nouvel épisode est née au cours du XIX ème siècle dans le delta du Mississippi avant de subir un lifting électrique quelques décennies plus tard à Chicago où ses protagonistes fuyant la ségrégation du sud étaient venus chercher du boulot. La ville a vu naître des légendes lui donnant ses lettres de noblesse, vous l'aurez reconnu, le blues va être à l'honneur des ces deux heures de podcast et pour en parler je n'ai pas eu à aller digger très loin puisqu'il se trouve que l'un des plus importants promoteurs de cette musique en Europe habite à quelques centaines de mètres de chez moi à vol d'oiseau dans l'agglomération de Montpellier, son nom Didier Tricard. Cet originaire de Pau fut le road manager de John Lee Hooker, Luther Allison, Muddy Waters, B-B king, Chuck Berry, Buddy Guy, Junior Wells, Ike Turner et bien d'autres, et non content d'organiser des concerts partout dans le pays et sur le continent pour ces grands noms, il fit également enregistrer en studio certains d'entre eux pour des disques sortis sur son propre label Isabel Records. Son activisme passionné fut récompensé en 2011, année où il reçut des mains de Bruce Iglauer (Alligator Records) le Keeping The Blues Award dans la catégorie "Promoter". Aujourd'hui retraité, c'est son fils Guillaume qui a repris l'activité familiale de tourneur avec sa structure Boom Boom Productions. Tous les deux étaient présents lors de ma perquisition discale riche en anecdotes et en 33 tours mémorables.
Elijah Wald and Preston Lauterbach interview Jim O'Neal, founding editor of Living Blues magazine and the research director of the Mississippi Blues Trail. Jim tells of crossing paths with Robert Johnson's memory during his long career as a journalist in Chicago and Mississippi. He shares audio of a 1980 interview with a musician named James Banister who volunteered some fascinating information touching on the subject of Robert Johnson's unrecorded repertoire while offering the strangest rumor ever recorded about the cause of Johnson's death. Jim also shares audio of the great piano player Memphis Slim who weighs in on Johnson's taste in women in a 1975 interview, not long after Slim's return to the U.S. from Paris.
Today's show features music performed by Muddy Waters and Memphis Slim
Southern feel, soul, rhythm and blues, country, rock & roll, greasy honky tonks; these things come to mind when thinking about Grammy-award winning keyboardist, Billy Earheart. He grew up in Tullahoma, Tennessee (an hour south of Nashville), and from there went to Muscle Shoals, Knoxville, Memphis, Nashville and currently in North Mississippi, playing with an impressive list of artists along the way.Billy is also an original member with the Amazing Rhythm Aces, (46 years),and also has played with; Bocephus Hank Williams Jr(21 years), Al Green, B.B. King, Memphis Slim, Waylon Jennings, Eddie Hinton, Billy F.Gibbons, Reggie Young, Phineas Newborn, Earl Gaines, Roscoe Shelton, Little Larry LaDon, Jimmy Church, Fred Sanders, Kid Rock, Dickie Betts, Ace Cannon, Gatemouth Brown, Willie Cobbs, Kris Kristofferson, Sammy Hagar, Jimmy Buffet, Glen Frey, Rufus Thomas, Leslie West ,Otis Clay, Homesick James , Delbert McClinton, Bobby Rush, Eric Gales, Mark “Muleman” Massey, Kingfish(Christone Ingram), Sunnyland Slim, Watermelon Slim ,Johnny Woods, Tommy Talton, David Hood, Barry Beckett, Roger Hawkins, Jimmy Johnson (Muscle Shoals Swampers),Rev.John Wilkins, Big Jack Johnson , Rodney Crowell, Jamey Johnson, Warren Haynes, Robert Bilbo Walker, Vassar Clements, Teenie Hodges, James Burton, Alan Jackson, Fred Ford, Garry Burnside , DuWayne Burnside, Cedric Burnside, Dave and Robert Kimbrough, Johnny Jones, Charles Wigg Walker, The Decoys, Travis Wammack, Spooner Oldham, Roland Janes, Jimmy Hall & Wet Willie, Merle Kilgore, Jumpin Gene Simmons, Fingers Taylor, Ray Benson and more… Billy is plays a Roland 88 key digital PF-50 model piano and a; Hammond XK-3c organ Proud to be a Hammond endorsee.Billy started with a Farfisa Compact in 1966. He moved to a Hammond M-2 and the big Hammond C-3 (1959 model). When he played with the Amazing Rhythm Aces in the '70s he played the Hammond C-3 as well as a six-foot Yamaha grand piano, and Wurlitzer electric piano. Billy also has a 50's Wurlitzer electric piano 120, and 2 vintage accordions, and three Leslies, along with two old upright pianos and a pump organ.Musical Highpoints and AwardsBilly won several award with the Amazing Rhythm Aces. The group was nominated for a Grammy for "Best New Artist" in 1975. They won the Grammy for Country Group in 1976 for their recording of "The End Is Not In Sight." That same year, they won the Cash Box Award for "Best Progressive Group." Other honors with the Aces include several ASCAP awards, as well as receiving the "Key to the City of Memphis" in 1976. The Aces also won a gold record for "Goin South," a double CD compilation of Southern music.One of Billy's special honors was the proclamation by Shelby County Mayor William Morris of June 28, 1985 as "Billy Earheart Day" in Memphis, Tennessee!The awards continued with Billy's association with Bocephus. The CMA presented Hank Williams, Jr. and The Bama Band with two video awards: for "My Name is Bocephus" in 1986, and for "Young Country" in 1987. 1989 brought an Emmy for the Rowdy Friends Theme from "Monday Night Football." And in 1989, the documentary and live video featuring Hank Jr. and the band, "Full Access" was certified platinum. Billy also played on the gold records Hank Live, Wild Streak, Greatest hits 3,and America the way I see it.
#195-191Intro/Outro: Pour Some Sugar on Me by Def Leppard195. Stayin' Alive by Bee Gees194. Break on Through (To the Other Side) by The Doors (3)193. Welcome to New York by Taylor Swift (4)192. Mother Earth by Gov't Mule191. Tumbling Dice by The Rolling Stones (4)Balderdash alertBonus excerpt: Mother Earth by Memphis Slim
Show 133 – Recorded 6-5-21 – This podcast features 12 outstanding blues artists and 12 great performances to enjoy. These songs were recorded in 1963 and 1964. Our featured artists are: Memphis Slim, Sonny Boy Williamson 2, Lightnin Hopkins, Sleepy John Estes, John Henry Barbee, Howlin Wolf, Big Joe Williams, Victoria Spivey, Lonnie Johnson, Otis […]
Show 133 – Recorded 6-5-21 – This podcast features 12 outstanding blues artists and 12 great performances to enjoy. These songs were recorded in 1963 and 1964. Our featured artists are: Memphis Slim, Sonny Boy Williamson 2, Lightnin Hopkins, Sleepy John Estes, John Henry Barbee, Howlin Wolf, Big Joe Williams, Victoria Spivey, Lonnie Johnson, Otis Spann, Muddy Waters. Please enjoy.
El viernes oímos un disco producido por Paul Oliver en el sello Storyville de Copenhague con guitarristas de blues. Llegó a España en 1973 a través de Discophon. Oliver produjo un segundo elepé, el mismo año, con más variedad instrumental y con grabaciones realizadas desde 1960. También lo publicó Discophon en serie barata en 1973. V.A. – THE BEST OF THE BLUES Storyville, Dinamarca 1966. Discophon, España – 1973 Lista de Títulos A1 –Big Bill Broonzy - Diggin´ My Potatoes 3:15 A2 –Speckled Red - Uncle Sam´s Blues 3:10 A3 –Memphis Slim - Bertha May 5:25 A4 –Champion Jack Dupree - Christina Blues 3:17 A5 –Big Joe Williams - Vitamin A Blues 2:30 A6 –Lonnie Johnson - Don´t Cry Baby (nana infantil) 2:15 B1 –Roosevelt Sykes - The Way I Feel 3:35 B2 –Sleepy John Estes - City Hall Blues 4:50 B3 –John Henry Barbee - Early In The Morning 3:18 B4 –Sunnyland Slim - One Room Country Shack 3:07 B5 –Sonny Boy Williamson & Memphis Slim con Matt Murphy - Copenhagen Woman 3:40 B6 –Otis Spann - Boots And Shoes 3:10 Escuchar audio
El viernes oímos un disco producido por Paul Oliver en el sello Storyville de Copenhague con guitarristas de blues. Llegó a España en 1973 a través de Discophon. Oliver produjo un segundo elepé, el mismo año, con más variedad instrumental y con grabaciones realizadas desde 1960. También lo publicó Discophon en serie barata en 1973. V.A. – THE BEST OF THE BLUES Storyville, Dinamarca 1966. Discophon, España – 1973 Lista de Títulos A1 –Big Bill Broonzy - Diggin´ My Potatoes 3:15 A2 –Speckled Red - Uncle Sam´s Blues 3:10 A3 –Memphis Slim - Bertha May 5:25 A4 –Champion Jack Dupree - Christina Blues 3:17 A5 –Big Joe Williams - Vitamin A Blues 2:30 A6 –Lonnie Johnson - Don´t Cry Baby (nana infantil) 2:15 B1 –Roosevelt Sykes - The Way I Feel 3:35 B2 –Sleepy John Estes - City Hall Blues 4:50 B3 –John Henry Barbee - Early In The Morning 3:18 B4 –Sunnyland Slim - One Room Country Shack 3:07 B5 –Sonny Boy Williamson & Memphis Slim con Matt Murphy - Copenhagen Woman 3:40 B6 –Otis Spann - Boots And Shoes 3:10 Escuchar audio
Drive-By Truckers "Mercy Buckets"Eddie Hinton "Shoot the Moon"Gillian Welch "Look at Miss Ohio"Tracy Chapman "Talkin' Bout A Revolution"Memphis Slim "Memphis In London"Blossom Dearie "'Deed I Do"Big Mama Thornton "Sweet Little Angel / 3 O'Clock in the Mornin'"Big Joe Turner "Twenty Nine Ways"Eilen Jewell "Heartache Boulevard"Lucero "When You're Gone"Bobbie Gentry "Ode to Billie Joe"Etta James "Tell Mama"Valerie June "Call Me A Fool"Lucero "A Dangerous Thing"Bob Dylan "Dear Landlord"The Replacements "Bastards of Young"Dolly Parton "Why, Why, Why"The Hold Steady "Family Farm"Alvin Youngblood Hart "Big Mama's Door"Alvin Youngblood Hart "Treat Her Like A Lady"Grateful Dead "Candyman"Aimee Mann "Goose Snow Cone"Nina Simone "Sinnerman"Kid Thomas "In the Sweet Bye and Bye"Otis Gibbs "Joe Hill's Ashes"Slobberbone "Little Sister"American Aquarium "PBR Promenade"Son Volt "Tear Stained Eye"Waxahatchee "Can’t Do Much"Two Cow Garage "Jackson, Don't You Worry"Skip Drake "Wrapped Around Your Finger"Erykah Badu "...& On"Counting Crows "Mrs. Potters Lullaby"Wilco "Passenger Side"Solomon Burke "That’s How I Got To Memphis"Soul Revival "Do What You Gotta Do"Wanda Jackson "Thunder on the Mountain"Chris Knight "House and 90 Acres"Old 97's "Big Brown Eyes"Steve Earle "Another Town"
Salty Dog's LEVER Podcast, April 2021 Visit: www.salty.com.au We pull the lever tone hounds, and open the gate to twenty hot blues and roots cuts. Tracks from Vin Mott, Ron Thompson, Turnpike Troubadours / Delvon Lamarr Organ Trio, Gile Robson, Josh Smith, Backsliders, Peter Cullen and the Hurt, Endless Boogie, Gillian Welch and David Rowlings, John Hiatt and Jerry Douglas, Alvin Youngblood Hart, Buddy Guy, Chris Nordman Trio, Lisa Mills, Geoff Achison, Memphis Slim and Matt Guitar Murphy, Artur Menezes nd Joe Bonamassa, Frank Zappa, Louis King's Royal Blue Trio. ----------- ARTIST / TRACK / ALBUM ** Australia 1. Vin Mott / I'm Filthy Man / Quit The Women For The Blues 2. Ron Thompson / Doin' It / Resonator 3. Turnpike Troubadours / Every Girl / Diamonds N Gasoline 4. Delvon Lamarr Organ Trio / Little Booker T / Close But No Cigar 5. Giles Robson N Dirty Aces / Stick To The Promise / Crooked Heart Of Mine 6. Josh Smith / What We Need / Burn To Grow 7. ** Backsliders / Obake (The Ghost) / Bonecrunch 8. ** Peter Cullen N The Hurt / Easy Money / High Tide 9. Endless Boogie / Dirty Angel / Vol I, II 10. Gillian Welch N David Rawlings / Senor / All The Good Times Are Past Here and Gone 11. John Hiatt N Jerry Douglas / All The Lilacs In Ohio / Leftover Feelings 12. Alvin Youngblood Hart / Million Miles / All Blues'd Up - Songs of Bob Dylan 13. Buddy Guy / 7-11 / Slippin' In 14. Chris Nordman Trio / Cold Duck Time / High Wire 15. Lisa Mills / Greenwood Mississippi / The Triangle 16. ** Geoff Achison N UK Souldiggers / Feel Like A King / 20th Anniversary 17. Memphis Slim N Matt Guitar Murphy / Steppin' Out / Damn Straight We Got the Blues 18. Artur Menezes N Joe Bonamassa / Come On / Fading Away 19. Frank Zappa / Directly From The Heart To You / Weasels Ripped My Flesh 20. ** Louis King's Royal Blue Trio / Standing On The Corner / Royal Blue Trio
On this episode of Riffin on Jazz, Howard and Chuck give you some of the greatest Jazz piano players of all time, as we hear songs from greats like Memphis Slim and Phineas Newborn Jr, so make sure to tune into this amazing episode of Riffin on Jazz on the Kudzukian App, Kudzukian.com or your favorite podcast provider.
Intro Song – Zac Harmon, “Gypsy Road”, Mississippi BarBQ First Set – 11 Guys Quartet, “Road Trippin'”, Small Blues and Grooves Muddy Waters, “Lonesome Road Blues”, Best Blues EverTom Holland & The Shuffle Kings, “Long Road To Tomorrow”, No Fluff Just The Stuff Second Set –Trampled Under Foot, “Further On Up The Road”, Rough Cuts Mike Zito, “On The Road”, Make Blues Not WarMemphis Slim, “Down That Big Road”, Memphis Slim and the Real Boogie Woogie Third Set – WIB Samantha Fish, “Road Runner”, Wild HeartKaren Lovely, “Low Road”, Ten Miles Of Bad Road Erin Harpe And The Delta Swingers, “Big Road”, Big RoadRoxy Perry, “Roadmaster”, In My Sweet Time Fourth Set – Buddy Guy, “On The Road”, Living Proof Guitar Shorty, “Down That Road Again”, We The People Damon Fowler, “Wrong Side of the Road”, Sugar Shack
It's an interesting hour in The Roadhouse, with a set of Chicago blues, a set from Southern Asia, and a mix you won't find anywhere else. Willie Dixon & Memphis Slim, Harry Manx, Jackie Venson, Larkin Poe, and Mojo Morganfield take the bandstand in the hour. It's exactly what we do - grab a big pile of blues, stir it all together and serve it up as another hour of the finest blues you've never heard.
It's an interesting hour in The Roadhouse, with a set of Chicago blues, a set from Southern Asia, and a mix you won't find anywhere else. Willie Dixon & Memphis Slim, Harry Manx, Jackie Venson, Larkin Poe, and Mojo Morganfield take the bandstand in the hour. It's exactly what we do - grab a big pile of blues, stir it all together and serve it up as another hour of the finest blues you've never heard.
This week we welcome Bob Davidson and Jason D. Williams! Bob Davidson, After following in his father's footsteps and playing alongside him in a band, Bob worked in Kimberling City with Jim Weatherly's Ozark Jamboree at the age of 9. Bob never played many sports and instead chose to follow the musical path. After graduating high school, Bob went to work for Lee Mace at Lee Mace's Ozark Opry in Osage Beach, and then became part of the Ozark Country Jubilee, which came to Branson in 1979. Bob decided to head out and play the road venues after six years in Branson, eventually relocating to Nashville. He did solo gigs and some carpentry work to “pay the bills.” A few years back, Bob got that rambling fever and decided to give Branson one more shot in 2009. Bob returned to Branson in 2010 with a show titled Swingin’ Doors Country Music Show at the Clay Cooper Theatre. In 2011 he joined Down Home Country at Grand Country and performed there for five years. In June 2017, Bob rededicated his life to Christ. “God laid upon my heart to write songs of love, hope, and faith because the ‘Old was gone and the new had come’ (2 Corinthians 5:17),” Bob said. “It all began when I laid it all at the foot of the cross. You see, after many years of playing the honky-tonks and writing Country music, I had found that missing piece of the puzzle. Yes, my Lord and Savior said, ‘Pick up your cross and follow Me,’” Bob stated. Bob continued, “By God’s grace and 10 songs later, hours upon hours in the studio and many sleepless nights writing an entirely new project, God revealed to me His plan for my life: to share the Gospel through a brand new music ministry, which the guys in the studio refer to as ‘Bob Style Gospel’. There’s really no other way to describe it.” With a new album and renewed faith Bob has a new sound and music ministry. To book a performance or get his new album, visit: MusicByBobDavidson.com. You can also follow Bob Davidson Music Ministries on Facebook, Instagram, Twitter and SoundCloud. Jason D. Williams has spent a lifetime behind the piano connecting with country and rock 'n' roll greats while creating a persona that's 100 percent original. After decades of being celebrated for his take-no-prisoners approach to performing country and rock 'n' roll penned by others, Williams has added a new element to his artistry, songwriting. The rock 'n' roll history of Memphis looms large in Williams' world. He recorded for RCA and Sun Records in the 1980s and '90s, and returned to the recording fold in 2010 and has continued steady since. At the age of 16, Williams left his tiny hometown of El Dorado, Ark., to perform with LaBeef who had set up a base of operations in northeast Massachusetts. Williams, who continues to work with LaBeef on occasion, went solo in the late 1980s and found a steady home at Mallards in the Peabody Hotel in Memphis, TN when a snowstorm stranded him a few steps from the Peabody door, quickly he attracted a following and the rest, as they say, is history. After several years, he left after signing with RCA, which released his first album, "Tore Up," and he stayed on the road after Sun Records issued "Wild" in 1993. "Don’t Get None Onya’," released in 2004, captured the power of his blend of honky-tonk country and Memphis rock 'n' roll and was the birth of his own label. “Rockin”, “Killer Instincts” and “Recycled” soon followed and the latest album is in progress now. Williams is also no stranger to large motion pictures, movies as we call them. Williams performed all of the hand shots for the movie “Great Balls of Fire” starring a young Dennis Quaid and was also featured in “The War Room” documenting Bill Clinton’s race for the White House. He’s also had numerous television appearances and various shows on MTV, VH1 and CMT. A wild man onstage, Jason accredits influences like Jerry Lee Lewis, Moon Mullican, Memphis Slim and Al Jolson, for helping to develop his vast repertoire and seemingly endless energy. “I’ve always welcomed the comparisons; my influences were some of the greatest entertainers ever to be seen.” Jason continues to tour more than 160 shows a year. For more information on Jason visit his website: RockinJasonDWilliams.com; or find him on Facebook. His music can be found on YouTube Music, Spotify, Pandora, Deezer and iHeartRadio.
A l'approche des élections américaines, il est légitime de s'interroger sur les incompréhensions générées par nos subtiles différences culturelles, qu'on pouvait jusque là considérer comme mineures. Regardant une fonction qui influe indirectement mais considérablement sur notre quotidien, c'est fâcheux. « Sitting on Top of the World » cette semaine dans Bon Temps Rouler. Playlist : Sittin' On Top Of The World, Jerry Reed, Oh What A Woman! Sittin On Top Of The World, Doc Watson, Doc Watson Sitting On Top Of The World, Eddie Shaw, Four Decades Of Eddie Shaw Sittin' On Top Of The World, Van Morrison & Carl Perkins, The Healing Game Sittin' on Top of the World (Live), Reverend KM Williams, We All Sing the Blues: Live in Deep Ellum I'm Sittin' On Top Of The World, The Nitty Gritty Dirt Band, Will The Circle Be Unbroken Volume Two Sittin' On Top Of The World, Willie Nelson, Milk Cow Blues Come On In My Kitchen, Robert Johnson You Gotta Move, Sam Cooke, Night Beat Sitting On Top Of The World, Memphis Slim, The Blues Sittin' On Top Of The World, The Four Aces, Mood For Love Sittin' On Top Of The World, Jeff Healey, Mess Of Blues When Things Go Wrong (It Hurts Me Too), Big Bill Broonzy, Trouble In MindHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
Episode 6 Peter CasePart I Song Chronicles is proud to present the first of a two-part interview with Peter Case. For Peter, music is an economy of energy, a spiritual economy. His career stretches out over half a century and is still going strong. Through the experiences he's had, the different band line-ups, the travels, the epiphanies, the inspiring companions, he pours vibrancy into each new musical chapter. Case, a native of Buffalo, New York, dropped out of high school when he was fifteen and traveled before replanting himself in San Francisco in 1973. You can see a young Peter in action during this period, in the documentary Nightshift, directed by Bert Deivert, where the director and subject wandered the streets looking for places to play, cash to earn, and food to eat while meeting with people anywhere on street corners and filming. In 1976, he teamed up with two other bandmates, Jack Lee and Paul Collins, to form The Nerves in San Francisco. (Jack was the sole writer of The Nerves song "Hanging On The Telephone" which was later recorded by Blondie). The band moved to Los Angeles and performed in many of LA's punk-era venues, and soon they went on a national tour opening for The Ramones and Mink Deville. They broke up in 1978. photo by Greg Allen The Nerves One Way Ticket - 1977 In 1979, Peter formed The Plimsouls, which, after the release of their debut EP Zero Hour, started building a significant live following in California. They had record deals with two major record labels (Planet/Elektra in 1981 and Geffen Records in 1983). In 1982, "A Million Miles Away" was released as a 12" single and the song was a radio hit in California and in some other regions of the U.S. The Plimsouls Live! Beg, Borrow & Steal (1981) The Plimsouls - Beach Town Confidential - 1983 "The gimmick of the band was to have high standards", says Case. The Plimsouls lasted until January 1st, 1985 and, in this interview, Peter charts the course of the musical changes he made after the band broke up, how songs, stories and words made playing solo appealing to him, despite having to carve out a new audience after losing half of The Plimsouls fans. "I love The Plimsouls, but my life took off in another way. [Playing solo] enabled me to put together a lot of things that I loved...to get away from that strict environment of the four-piece rock and roll band". Throughout his life, he'd seen performers that made deep impressions on him, such as Lightnin' Hopkins, Simon and Garfunkel (with one guitar in 1967), Arlo Guthrie, James Taylor, John Hammond Jr., Dave Van Ronk, Pete Seeger, an under-the-radar folk singer and actor, Cedric Smith (Perth County Conspiracy), Fred Neil, Memphis Slim, Mississippi John Hurt, and more. Like musicians before him, Case would at times have a band ready in different towns but once he realized that what he could do solo was more unique, less turned into more: more range in the story-telling of the songs, more potency in the groove, and it worked. Traveling light is the way to go if you're an independent musician. Even traveling light, Peter grooves heavy. The Man With The Blue Post-Modern, Fragmented, Neo-Traditionalist Guitar 1989 He made a self-titled solo album, Peter Case, released in 1986, on Geffen Records, produced by both T-Bone Burnett and Mitchell Froom. One of the songs on it, "Old Blue Car," was nominated for a Grammy Award. Robert Palmer of The New York Times chose the album as the No. 1 release for 1986 in his year-in-review wrap-up. The album had contributions from Mike Campbell (of Tom Petty and The Heartbreakers), John Hiatt, Jim Kelter, Jerry Marotta, Roger McGuinn (of The Byrds), Richard Thompson, Van Dyke Parks and included songs co-written with Victoria Williams (Peter's first wife) and T-Bone Burnett. 1986 Peter describes having record deals: "When you're on those labels, you know, as you well know, you get that, you get that feeling of wind in your sails. That even on a failure, you're, you know, you're doing a lap. There's a certain amount of momentum that happens on those things that's not anywhere anymore". Torn Again 1995 In 2015, Peter released HWY 62 on Omnivore, an album filled with songs and stories, the blues, and heartfelt singing. That spiritual economy of heart and soul, with the wisdom of his years, makes Peter one of America's treasured songwriters and performers. In this interview, he tells us of the journey he took to get here. If you're a songwriter, when you listen, you'll want to take notes. Peter Case - Hwy 62 2015 Lost Songs & Outside Favorites 2016 The songs used in this episode were used by permission. They are found on the album titled, "Hwy 62". For more info go to Petercase.com
Продолжаем слушать сольные акустические альбомы блюзовых пианистов. И сегодня герой программы Memphis Slim и его пластинка 1963 года «All Kinds Of Blues». Слушаем музыку и в первой же композиции, так званом разговорном блюзе, присутствует красочное объяснение, что блюз не только жанр музыки, но и все те проблемы, которые присутствуют на протяжении всей жизни.
Продолжаем слушать сольные акустические альбомы блюзовых пианистов. И сегодня герой программы Memphis Slim и его пластинка 1963 года «All Kinds Of Blues». Слушаем музыку и в первой же композиции, так званом разговорном блюзе, присутствует красочное объяснение, что блюз не только жанр музыки, но и все те проблемы, которые присутствуют на протяжении всей жизни.
Sintonía: "Theme from Route 66" - Nelson Riddle Orchestra "The Jazz in You" - Gloria Lynne; "Bag´s Groove" - The Modern Jazz Quartet; "Image (Part 2)" - Hank Levine; "Young Man Blues" - Mose Allison; "My Babe" - Sonny Jackson; "The Work Song" - Nat Adderley; "(They Call It) Stormy Monday" - Lou Rawls & Les McCann; "Take The Last Train Home" - King Curtis & The Shirelles; "Little Liza Jane" - Ramsey Lewis Trio; "Let´s Have a Natural Ball" - Albert King; "The Peeper" - Hank Crawford; "Green Door" - Eskew Reeder; "Never Will I Marry" - Nancy Wilson with Cannonball Adderley; "Steppin´Out" - Memphis Slim; "Night and Day" - Frances Faye; "Space Flight" - Sam Lazar with Grant Green y "Jelly Bread" - Booker T & The MG´s Escuchar audio
While the Cheetoh-in-chief comes up with hateful and pitiful distraction after distraction in an attempt to have us take our eyes off of failure after profound failure of his…we celebrate the folks in gray and blue who not only bring us the bills but also the packages, ballots, and cheer from friends and relatives. That little white truck is more than an institution: it is part of our collective heritage and a constant that should be cherished. It’s been celebrated in music from every corner over the past century and we’re scouring those dusty digital bins for country, blues, rock, and rhythm that are burnished with the colors of the letter carrier in word and rhyme. Tune in for everyone from Roy Rogers to Memphis Slim, Smiley Lewis, and Tiny Bradshaw this week. Sonoma County Community Radio goes deep on another pandemic Friday morning.
Een Best Off Podcast met liedjesschrijver, zanger én fervent surfer Ruud Houweling! Zijn EP ‘The Wind Just Blew A Day Away’ werd in april uit duizenden inzendingen van over de hele wereld genomineerd voor de Independent Music Awards in de VS. Eerder, in 2014, won hij al de publieksprijs van deze Award samen met zijn band Cloudmachine. Een herhaling van het tijdloze gesprek dat Simone in 2017 met hem had én een update via een directe lijn naar zijn studio in Zandvoort! Hoe vergaat het Ruud momenteel? Met muziek van oa David Bowie, The Waterboys en Memphis Slim.
Een Best Off Podcast met liedjesschrijver, zanger én fervent surfer Ruud Houweling! Zijn EP ‘The Wind Just Blew A Day Away' werd in april uit duizenden inzendingen van over de hele wereld genomineerd voor de Independent Music Awards in de VS. Eerder, in 2014, won hij al de publieksprijs van deze Award samen met zijn band Cloudmachine. Een herhaling van het tijdloze gesprek dat Simone in 2017 met hem had én een update via een directe lijn naar zijn studio in Zandvoort! Hoe vergaat het Ruud momenteel? Met muziek van oa David Bowie, The Waterboys en Memphis Slim.
Playlist: Snatch It Back and Hold It – Junior Wells; Blues From High Point Mountain – Bruce Katz Band; Stack Lee's Blues – Steve James; Hard Time Killing Floor – Pura Fé; Lose, Lose – Tommy Castro; Shake (Yo Mama) – North Mississippi Allstars; Caldonia – Louis Jordan; Blue Light Boogie – Taj Mahal; Too Late – Little Walter; The Sky Is Crying – Albert King; Every Day I Have the Blues, Caledonia – Memphis Slim; All Your Love – Demetria Taylor; Paying the Cost To Be the Boss – B. B. King. Escuchar audio
Once again, we delve into the depraved underworld of pickles, wonder unto ourselves why college athletes are being exploited, and peer into the deep dark void of animal husbandry. Outro song is: Memphis Slim - "My Dog Is Mean"
As requested by my best friend Alex. I present to you Episode 4 - Memphis Slim, A man whom influenced generations of musicians and of which many genres of music wouldn't exist as we know it today if wasn't for his influence.
Episode seventy-two of A History of Rock Music in Five Hundred Songs looks at "Trouble" by Elvis Presley, his induction into the army, and his mother's death. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "When" by the Kalin Twins. 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/----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz tells Leiber and Stoller's side of the story well. There are many, many books about Elvis Presley out there, but the one I'm using as my major resource for information on him, and which has guided my views as to the kind of person he was, is Last Train to Memphis by Peter Guralnick, generally considered the best biography of him. The Colonel by Alanna Nash is a little more tabloidy than those two, but is the only full-length biography I know of of Colonel Tom Parker. This box set contains all the recordings, including outtakes, for Elvis' 1950s films, while this one contains just the finished versions of every record he made in the fifties. And King Creole itself is well worth watching. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript As 1957 turned into 1958, Elvis' personal life was going badly wrong, even as he was still the biggest star in the world. In particular, his relationships with everyone involved in his career -- everyone except the Colonel, of course -- were getting weakened. In September, Scotty Moore and Bill Black had written to Elvis, resigning from his band -- they'd been put on a salary, rather than a split of the money, and then Elvis' concert schedule had been cut back so much that they'd only played fourteen shows so far all year. They were getting into debt while Elvis was earning millions, but worse than that, they felt that the Colonel was controlling access to Elvis so much that they couldn't even talk to him. DJ Fontana wouldn't sign the letter -- he'd joined the group later than the others, and so he'd not lost his position in the way that the others had. But the other two were gone. Elvis offered them a fifty dollar raise, but Scotty said that on top of that he would need a ten thousand dollar bonus just to clear his debts -- and while Elvis was considering that, a newspaper interview with Moore and Black appeared, in which they talked about Elvis having broken his promise to them that when he earned more, they would earn more. Elvis was incensed, and decided that he didn't need them anyway. He could replace them easily. And for one show, he did just that. He played the fair at his old home town of Tupelo, Mississippi, with DJ and the Jordanaires, and with two new musicians. On guitar was Hank Garland, a great country session musician who was best known for his hit "Sugarfoot Rag": [Excerpt: Hank Garland, "Sugarfoot Rag"] Garland would continue to play with Elvis on recordings and occasional stage performances until 1961, when he was injured in an accident and became unable to perform. On bass, meanwhile, was Chuck Wigington, a friend of DJ's who, like DJ, had been a regular performer in the Louisiana Hayride band, and who had also played for many years with Pee Wee King and his Golden West Cowboys: [Excerpt: Pee Wee King and his Golden West Cowboys, "Screwball"] Wigington actually didn't have a contract for the show, and he wasn't even a full-time musician at the time -- he had to take a leave of absence from his job working in a bank in order to play the gig. Meanwhile, Scotty and Bill were off on their own playing the Dallas State Fair. But Elvis found that performing live without Scotty and Bill was just not the same, even though Garland and Wigington were perfectly fine musicians, and he decided to offer Scotty and Bill their old jobs back -- sort of. They'd be getting paid a per diem whether or not they were performing, which was something, but after the next recording sessions Bill never again recorded with Elvis -- he was replaced in the studio by Bob Moore. Scotty remained a regular in Elvis' studio band too, but only on rhythm guitar -- Hank Garland was going to be the lead player on Elvis' records from now on. The new arrangement required a lot of compromise on both sides, but it meant that Moore and Black were on a better financial footing, and Elvis could remain comfortable on stage, but it was now very clear that the Colonel, at least, saw Black and Moore as replaceable, and neither of them were necessary for Elvis to continue making hit records. His relationship with the two men who had come up with him had now permanently changed -- and that was going to be the case with a lot of other relationships as well. In particular, the Colonel was starting to think that Leiber and Stoller should be got rid of. The two of them were dangerous as far as the Colonel was concerned. Elvis respected them, they weren't under the Colonel's control, they didn't even *like* the Colonel, and they had careers that didn't rely on their association with Elvis. But they were also people who were able to generate hits for Elvis, and they were currently working for RCA, so while that was the case he would put them to use. But they were loose cannons. Now, before we go further, I should point out that what I'm about to describe is *one* way that Leiber and Stoller have explained what happened. In various different tellings, they've told events in different orders, and described things slightly differently. This is, to the best of my understanding, the most likely series of events, but I could be wrong. Leiber and Stoller had a complex attitude towards their work with Elvis. They liked Elvis himself, a lot, and they admired and respected his work ethic in the studio, and shared his taste in blues music. But at the same time, they didn't consider the work they were doing with Elvis to be real art, in the way that they considered their R&B records to be. It was easy money -- anything Elvis recorded was guaranteed to sell in massive amounts, so they didn't have to try too hard to write anything particularly good for him, but they didn't like the Colonel, and they were already, after a couple of films, getting bored with the routine nature of writing for Elvis' films. I'm going to paraphrase a quote from Jerry Leiber here, because I don't want to get this podcast moved into the adults-only section on Apple Podcasts, and the Leiber quote is quite full of expletives, but the gist of it is that they believed that if they were given proper artistic freedom with Elvis they could have made history, but that the people in his management team only wanted money. Every film needed just a few songs to plug into gaps, and they were usually the same type of songs to go in the same type of gaps. They were bored. And they actually had a plan for a project that would stretch them all creatively. Leiber vaguely knew the film producer Charles Feldman, who had produced On The Waterfront and The Seven-Year Itch, and Feldman had come to Leiber with a proposition. He'd recently acquired the rights to the novel A Walk on the Wild Side, set in New Orleans, and he thought that it would be perfect for Elvis. He'd have the script written by Budd Schulberg, and have Elia Kazan direct -- the same team that had made On The Waterfront. Elvis would be working with people who had made Marlon Brando, one of his idols, a star. Leiber and Stoller would write the songs, and given that Kazan was known as an actors' director, the chances were that the film could take Elvis to the next level in film stardom -- he could become another Sinatra, someone who was equally respected as an actor and as a singer. Leiber took the proposal to Jean Aberbach, who was one of the heads of Hill and Range, the music publishing company that handled all the songs that Elvis performed. Aberbach listened to the proposal, called the Colonel to relay the idea, and then said "If you ever try to interfere with the business or artistic workings of the process known as Elvis Presley, if you ever start thinking in this direction again, you will never work for us again." So they resigned themselves to just churning out the same stuff for Elvis' films. Although, while they were soured on the process, the next film would be more interesting: [Excerpt: Elvis Presley, "King Creole"] "King Creole" was the first of Elvis' films to be based on a book -- though "Loving You" had been based on a short story that had appeared in a magazine. "A Stone For Danny Fisher" was one of Harold Robbins' early novels, and was about a boxer in New York who accepts a bribe from criminals to lose a fight, but then wins the fight anyway, goes on the run, but encounters the criminals who bribed him two years later. It's the kind of basic plot that has made perfectly good films in the past -- like the Bruce Willis sequence in Pulp Fiction, for example. But while it's a fairly decent plot, it is... not the plot of "King Creole". Hal Wallis had bought the rights to the book in the hope of making it a vehicle for James Dean, before Dean's death. When it was reworked as a Presley vehicle, obviously it was changed to be about a singer rather than a boxer, and so the whole main plotline about throwing a fight was dropped, and then the setting was changed to New Orleans... and truth be told, the resulting film seems to have more than a hint of "Walk on the Wild Side" about it, with both being set in New Orleans' underworld, and both having a strained relationship between a father and a son as a main theme. Oddly, Leiber and Stoller have never mentioned these similarities, even though it seems very likely to me that someone involved in the Elvis organisation took their idea and used it without credit. They've both, though, talked about how dull they found working on the film's soundtrack -- and even though they were currently Elvis' favourite writers, and producing his sessions, they ended up writing only three of the eleven songs for the film. "King Creole" is, in fact, a rather good film. It has a good cast, including Walter Matthau, and it was directed by Michael Curtiz, who was one of those directors of the time who could turn his hand to anything and make good films in a huge variety of genres. He'd directed, among many, many, many other films, "White Christmas", the Errol Flynn Robin Hood, and "Casablanca". However, Leiber and Stoller's writing for the film was more or less on autopilot, and they produced songs like "Steadfast, Loyal, and True", which is widely regarded as the very worst song they ever wrote: [Excerpt: Elvis Presley, "Steadfast, Loyal, and True"] That said, there is an important point that should be made about the songs Elvis recorded for his films generally, and which applies to that song specifically. Many of the songs Elvis would record for his films in later years are generally regarded as being terrible, terrible songs, and with good reason. Songs like "There's No Room to Rhumba in a Sports Car", "Yoga is as Yoga Does", "Queenie Wahini's Papaya", or "Ito Eats" have few if any merits. But in part that's because they are not intended to work as songs divorced from their context in the film. They're part of the storytelling, not songs that were ever intended to be listened to as songs on their own. But still, Leiber and Stoller could undoubtedly have come up with something better than "Steadfast, Loyal, and True", had they not been working with the attitude of "that'll do, it's good enough". Indeed, the most artistically interesting song on the soundtrack is one that was not written by Leiber and Stoller at all, a jazz song sung as a duet with Kitty White, "Crawfish": [Excerpt: Elvis Presley and Kitty White, "Crawfish"] While other songwriters were turning out things like that, Leiber and Stoller were putting in a minimal amount of effort, despite their previous wish to try to be more artistically adventurous with their work with Elvis. They still, however, managed to write one song that would become known as a classic, even if they mostly did it as a joke: [Excerpt: Elvis Presley, "Trouble"] That song combines two different elements of Leiber and Stoller's writing we've looked at previously. The first is their obsession with that stop-time blues riff, which had first turned up in Muddy Waters' "Hoochie Coochie Man" back in 1954: [Excerpt: Muddy Waters, "Hoochie Coochie Man"] Leiber and Stoller had latched on to that riff, as we saw when we talked about "Riot in Cell Block #9" back in the episode on "The Wallflower". They would consistently use it as a signifier of the blues -- they used the same riff not only in "Riot in Cell Block #9" and "Trouble", but also "I'm A Woman" for Peggy Lee and "Santa Claus is Back in Town" for Elvis, and slight variations of it in "Framed" by the Robins and "Alligator Wine" by Screamin' Jay Hawkins, among many others. It's clearly a riff that they loved -- so much so that they pretty much single-handedly made it into something people will now think of as a generic indicator of the blues rather than, as it was originally, a riff that was used on one specific song -- but it's also a riff they could fall back on when they were just phoning in a song. The other aspect of their songwriting that "Trouble" shows is their habit of writing songs as jokes and then giving them to singers as serious songs. They'd done this before with Elvis, when they'd written "Love Me" as a parody of a particular kind of ballad, and he'd then sung it entirely straight. Leiber compared “Trouble” to another song they'd written as a joke, "Black Denim Trousers and Motorcycle Boots": [Excerpt: The Cheers, "Black Denim Trousers and Motorcycle Boots"] Leiber later said of "Trouble", comparing it to that song, "the only people who are going to take them seriously are Hell's Angels and Elvis Presley. I suppose there was a bit of contempt on our part." He went on to say "There's something laughable there. I mean, if you get Memphis Slim or John Lee Hooker singing it, it sounds right, but Elvis did not sound right to us. " Either way, Elvis performs the song with enough ferocity that it sounded right to a lot of other people: [Excerpt: Elvis Presley, "Trouble" 2] He thought well enough of the song that when, a decade later, he recorded what became known as his comeback special, that was the first song in the show. And while Leiber clearly thought that Elvis didn't really sound like he was trouble in that song, you only have to compare, for example, the French cover version of it by Johnny Hallyday -- the man often referred to as the French Elvis -- to see how much less intense the vocal could have been: [Excerpt: Johnny Hallyday, "La Bagarre"] But some time after the King Creole sessions, the Colonel had the chance to separate Elvis from Leiber and Stoller for good. Elvis wanted them at all of his sessions, but Jerry Leiber got pneumonia and was unable to travel to a session. The Colonel kept insisting, and eventually Leiber asked Stoller what he should do, and Stoller said to tell him to do something to himself using words that you can't use without being bumped into the adult section of the podcast directories. I assume from looking at the dates that this was for a session in June 1958 which Chet Atkins produced. From this point on, Leiber and Stoller would never work in the studio with Elvis again, and nor would they ever again be commissioned to write a song for him. They soon lost their jobs at RCA, which left them to concentrate on their work with R&B artists like the Clovers, the Coasters, and the Drifters. Their active collaboration with Elvis -- a collaboration that would define all of them in the eyes of the public -- had lasted only ten months, from April 1957 through February 1958. But Elvis kept an eye on their careers. He took note of songs they wrote for LaVern Baker: [Excerpt: LaVern Baker, "Saved"] The Clovers: [Excerpt: The Clovers, "Bossa Nova Baby"] The Coasters: [Excerpt: The Coasters, "Little Egypt"] and more, and would record many more of their songs. He'd just never again have them write a song specifically for him. Not that this mattered in the short term for Leiber and Stoller, as that June 1958 session was Elvis' last one for a couple of years. Because Colonel Parker had forced Elvis into the Army. At the time, and for many years afterwards, the US military still drafted every man in his early twenties for two years, and so of course Elvis was going to be drafted, but both the Army and Elvis assumed he'd be able to join Special Services, which would mean he'd be able to continue his career, so long as he performed a few free concerts for the military. But Colonel Parker had other ideas. He didn't want his boy going around doing free shows all over the place and devaluing his product, and he also thought that Elvis was getting too big for his boots. Getting him sent away to Germany to spend two years scrubbing latrines and driving tanks, and away from all the industry people who might fill his head with ideas, sounded like an excellent plan. And not only that, but if he didn't give RCA much of a backlog to release while he was away, RCA would realise how much they needed the Colonel. So the Colonel leaked to the press that Elvis was going to get special treatment, and got a series of stories planted saying how awful it was that they were going to treat Elvis with kid gloves, so that he could then indignantly deny that Elvis would do anything other than his duty. For the next two years, the only recordings Elvis would make would be private ones, of himself and his army friends playing and singing during their down time: [Excerpt: Elvis Presley, "Earth Angel"] But there was still one final person in the Colonel's way, and fate took care of that: [Excerpt: Gladys Presley, "Home Sweet Home"] Elvis' mother had been unwell for some time -- and the descriptions of her illness sound an awful lot like the descriptions of Elvis' own final illness a couple of decades later. Recent reports have suggested that Elvis may have had hereditary autoimmune problems -- and that would seem to make a lot of sense given everything we know about him. Given that, it seems likely that his mother also had those problems. It also won't have helped that she was on a series of fad diets, and taking diet pills, in order to lose weight, as the Colonel kept pressuring her to look thinner in photos with Elvis. Whatever the cause, she ended up hospitalised with hepatitis, which seemed to come from nowhere. Elvis was given compassionate leave to visit her in hospital, where she had the pink Cadillac that Elvis had bought her parked outside the window, so she could see it. When she died on August 14, aged forty-six, Elvis was distraught. There are descriptions in biographies of him that go into detail about his reactions. I won't share those, because reading about them, even more than sixty years later, after everyone involved is dead, feels prurient to me, like an intrusion on something we're not meant to see or even really to comprehend. Suffice it to say that his mother's death was almost certainly the greatest trauma, by far, that Elvis ever experienced. At the funeral, Elvis got the Blackwood Brothers -- Gladys' favourite gospel quartet -- to sing "Precious Memories": [Excerpt: The Blackwood Brothers, "Precious Memories"] Gladys' death, even more than his induction into the army, was the real end of the first phase of Elvis' life and career. From that point on, while he always cared about his father, he had nobody in his life who he could trust utterly. And even more importantly, Colonel Parker now had nobody standing in his way. Gladys had never really liked or trusted Colonel Parker, but Vernon Presley saw him as somebody with whom he could do business, and as the only person around his son who really understood business. The Colonel had little but contempt for Vernon Presley, but knew how to keep him happy. While Elvis was in the Army, of course Scotty and Bill had to find other work. Scotty became a record producer, producing the record "Tragedy" for Thomas Wayne, whose full name was Thomas Wayne Perkins, and who was the brother of Johnny Cash's guitarist Luther Perkins: [Excerpt: Thomas Wayne, "Tragedy"] That went to number five on the pop charts, and after that Scotty took a job working for Sam Phillips, and when Elvis got out of the Army and Scotty rejoined him, he continued working for Phillips for a number of years. Bill Black, meanwhile, formed Bill Black's Combo, who had a number of instrumental hits over the next few years: [Excerpt: Bill Black's Combo, "Hearts of Stone"] Unlike Scotty, Bill never worked with Elvis again after Elvis joined the army, and he concentrated on his own career. Bill Black's Combo had eight top forty hits, and were popular enough that they became the opening act for the Beatles' first US tour. Unfortunately, by that point, Black himself was too ill to tour, and he had to send the group out without him. He died in 1965, aged thirty-nine, from a brain tumour. As Elvis entered the Army, a combination of deliberate effort on the Colonel's part and awful events had meant that every possible person who could give Elvis advice about his career, everyone who might tell him to trust his own artistic instincts, or who might push him in new directions, was either permanently removed from his life or distanced from him enough that they could have no further influence on him. From now on, the Colonel was in charge.
Episode seventy-two of A History of Rock Music in Five Hundred Songs looks at “Trouble” by Elvis Presley, his induction into the army, and his mother’s death. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “When” by the Kalin Twins. 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/—-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz tells Leiber and Stoller’s side of the story well. There are many, many books about Elvis Presley out there, but the one I’m using as my major resource for information on him, and which has guided my views as to the kind of person he was, is Last Train to Memphis by Peter Guralnick, generally considered the best biography of him. The Colonel by Alanna Nash is a little more tabloidy than those two, but is the only full-length biography I know of of Colonel Tom Parker. This box set contains all the recordings, including outtakes, for Elvis’ 1950s films, while this one contains just the finished versions of every record he made in the fifties. And King Creole itself is well worth watching. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript As 1957 turned into 1958, Elvis’ personal life was going badly wrong, even as he was still the biggest star in the world. In particular, his relationships with everyone involved in his career — everyone except the Colonel, of course — were getting weakened. In September, Scotty Moore and Bill Black had written to Elvis, resigning from his band — they’d been put on a salary, rather than a split of the money, and then Elvis’ concert schedule had been cut back so much that they’d only played fourteen shows so far all year. They were getting into debt while Elvis was earning millions, but worse than that, they felt that the Colonel was controlling access to Elvis so much that they couldn’t even talk to him. DJ Fontana wouldn’t sign the letter — he’d joined the group later than the others, and so he’d not lost his position in the way that the others had. But the other two were gone. Elvis offered them a fifty dollar raise, but Scotty said that on top of that he would need a ten thousand dollar bonus just to clear his debts — and while Elvis was considering that, a newspaper interview with Moore and Black appeared, in which they talked about Elvis having broken his promise to them that when he earned more, they would earn more. Elvis was incensed, and decided that he didn’t need them anyway. He could replace them easily. And for one show, he did just that. He played the fair at his old home town of Tupelo, Mississippi, with DJ and the Jordanaires, and with two new musicians. On guitar was Hank Garland, a great country session musician who was best known for his hit “Sugarfoot Rag”: [Excerpt: Hank Garland, “Sugarfoot Rag”] Garland would continue to play with Elvis on recordings and occasional stage performances until 1961, when he was injured in an accident and became unable to perform. On bass, meanwhile, was Chuck Wigington, a friend of DJ’s who, like DJ, had been a regular performer in the Louisiana Hayride band, and who had also played for many years with Pee Wee King and his Golden West Cowboys: [Excerpt: Pee Wee King and his Golden West Cowboys, “Screwball”] Wigington actually didn’t have a contract for the show, and he wasn’t even a full-time musician at the time — he had to take a leave of absence from his job working in a bank in order to play the gig. Meanwhile, Scotty and Bill were off on their own playing the Dallas State Fair. But Elvis found that performing live without Scotty and Bill was just not the same, even though Garland and Wigington were perfectly fine musicians, and he decided to offer Scotty and Bill their old jobs back — sort of. They’d be getting paid a per diem whether or not they were performing, which was something, but after the next recording sessions Bill never again recorded with Elvis — he was replaced in the studio by Bob Moore. Scotty remained a regular in Elvis’ studio band too, but only on rhythm guitar — Hank Garland was going to be the lead player on Elvis’ records from now on. The new arrangement required a lot of compromise on both sides, but it meant that Moore and Black were on a better financial footing, and Elvis could remain comfortable on stage, but it was now very clear that the Colonel, at least, saw Black and Moore as replaceable, and neither of them were necessary for Elvis to continue making hit records. His relationship with the two men who had come up with him had now permanently changed — and that was going to be the case with a lot of other relationships as well. In particular, the Colonel was starting to think that Leiber and Stoller should be got rid of. The two of them were dangerous as far as the Colonel was concerned. Elvis respected them, they weren’t under the Colonel’s control, they didn’t even *like* the Colonel, and they had careers that didn’t rely on their association with Elvis. But they were also people who were able to generate hits for Elvis, and they were currently working for RCA, so while that was the case he would put them to use. But they were loose cannons. Now, before we go further, I should point out that what I’m about to describe is *one* way that Leiber and Stoller have explained what happened. In various different tellings, they’ve told events in different orders, and described things slightly differently. This is, to the best of my understanding, the most likely series of events, but I could be wrong. Leiber and Stoller had a complex attitude towards their work with Elvis. They liked Elvis himself, a lot, and they admired and respected his work ethic in the studio, and shared his taste in blues music. But at the same time, they didn’t consider the work they were doing with Elvis to be real art, in the way that they considered their R&B records to be. It was easy money — anything Elvis recorded was guaranteed to sell in massive amounts, so they didn’t have to try too hard to write anything particularly good for him, but they didn’t like the Colonel, and they were already, after a couple of films, getting bored with the routine nature of writing for Elvis’ films. I’m going to paraphrase a quote from Jerry Leiber here, because I don’t want to get this podcast moved into the adults-only section on Apple Podcasts, and the Leiber quote is quite full of expletives, but the gist of it is that they believed that if they were given proper artistic freedom with Elvis they could have made history, but that the people in his management team only wanted money. Every film needed just a few songs to plug into gaps, and they were usually the same type of songs to go in the same type of gaps. They were bored. And they actually had a plan for a project that would stretch them all creatively. Leiber vaguely knew the film producer Charles Feldman, who had produced On The Waterfront and The Seven-Year Itch, and Feldman had come to Leiber with a proposition. He’d recently acquired the rights to the novel A Walk on the Wild Side, set in New Orleans, and he thought that it would be perfect for Elvis. He’d have the script written by Budd Schulberg, and have Elia Kazan direct — the same team that had made On The Waterfront. Elvis would be working with people who had made Marlon Brando, one of his idols, a star. Leiber and Stoller would write the songs, and given that Kazan was known as an actors’ director, the chances were that the film could take Elvis to the next level in film stardom — he could become another Sinatra, someone who was equally respected as an actor and as a singer. Leiber took the proposal to Jean Aberbach, who was one of the heads of Hill and Range, the music publishing company that handled all the songs that Elvis performed. Aberbach listened to the proposal, called the Colonel to relay the idea, and then said “If you ever try to interfere with the business or artistic workings of the process known as Elvis Presley, if you ever start thinking in this direction again, you will never work for us again.” So they resigned themselves to just churning out the same stuff for Elvis’ films. Although, while they were soured on the process, the next film would be more interesting: [Excerpt: Elvis Presley, “King Creole”] “King Creole” was the first of Elvis’ films to be based on a book — though “Loving You” had been based on a short story that had appeared in a magazine. “A Stone For Danny Fisher” was one of Harold Robbins’ early novels, and was about a boxer in New York who accepts a bribe from criminals to lose a fight, but then wins the fight anyway, goes on the run, but encounters the criminals who bribed him two years later. It’s the kind of basic plot that has made perfectly good films in the past — like the Bruce Willis sequence in Pulp Fiction, for example. But while it’s a fairly decent plot, it is… not the plot of “King Creole”. Hal Wallis had bought the rights to the book in the hope of making it a vehicle for James Dean, before Dean’s death. When it was reworked as a Presley vehicle, obviously it was changed to be about a singer rather than a boxer, and so the whole main plotline about throwing a fight was dropped, and then the setting was changed to New Orleans… and truth be told, the resulting film seems to have more than a hint of “Walk on the Wild Side” about it, with both being set in New Orleans’ underworld, and both having a strained relationship between a father and a son as a main theme. Oddly, Leiber and Stoller have never mentioned these similarities, even though it seems very likely to me that someone involved in the Elvis organisation took their idea and used it without credit. They’ve both, though, talked about how dull they found working on the film’s soundtrack — and even though they were currently Elvis’ favourite writers, and producing his sessions, they ended up writing only three of the eleven songs for the film. “King Creole” is, in fact, a rather good film. It has a good cast, including Walter Matthau, and it was directed by Michael Curtiz, who was one of those directors of the time who could turn his hand to anything and make good films in a huge variety of genres. He’d directed, among many, many, many other films, “White Christmas”, the Errol Flynn Robin Hood, and “Casablanca”. However, Leiber and Stoller’s writing for the film was more or less on autopilot, and they produced songs like “Steadfast, Loyal, and True”, which is widely regarded as the very worst song they ever wrote: [Excerpt: Elvis Presley, “Steadfast, Loyal, and True”] That said, there is an important point that should be made about the songs Elvis recorded for his films generally, and which applies to that song specifically. Many of the songs Elvis would record for his films in later years are generally regarded as being terrible, terrible songs, and with good reason. Songs like “There’s No Room to Rhumba in a Sports Car”, “Yoga is as Yoga Does”, “Queenie Wahini’s Papaya”, or “Ito Eats” have few if any merits. But in part that’s because they are not intended to work as songs divorced from their context in the film. They’re part of the storytelling, not songs that were ever intended to be listened to as songs on their own. But still, Leiber and Stoller could undoubtedly have come up with something better than “Steadfast, Loyal, and True”, had they not been working with the attitude of “that’ll do, it’s good enough”. Indeed, the most artistically interesting song on the soundtrack is one that was not written by Leiber and Stoller at all, a jazz song sung as a duet with Kitty White, “Crawfish”: [Excerpt: Elvis Presley and Kitty White, “Crawfish”] While other songwriters were turning out things like that, Leiber and Stoller were putting in a minimal amount of effort, despite their previous wish to try to be more artistically adventurous with their work with Elvis. They still, however, managed to write one song that would become known as a classic, even if they mostly did it as a joke: [Excerpt: Elvis Presley, “Trouble”] That song combines two different elements of Leiber and Stoller’s writing we’ve looked at previously. The first is their obsession with that stop-time blues riff, which had first turned up in Muddy Waters’ “Hoochie Coochie Man” back in 1954: [Excerpt: Muddy Waters, “Hoochie Coochie Man”] Leiber and Stoller had latched on to that riff, as we saw when we talked about “Riot in Cell Block #9” back in the episode on “The Wallflower”. They would consistently use it as a signifier of the blues — they used the same riff not only in “Riot in Cell Block #9” and “Trouble”, but also “I’m A Woman” for Peggy Lee and “Santa Claus is Back in Town” for Elvis, and slight variations of it in “Framed” by the Robins and “Alligator Wine” by Screamin’ Jay Hawkins, among many others. It’s clearly a riff that they loved — so much so that they pretty much single-handedly made it into something people will now think of as a generic indicator of the blues rather than, as it was originally, a riff that was used on one specific song — but it’s also a riff they could fall back on when they were just phoning in a song. The other aspect of their songwriting that “Trouble” shows is their habit of writing songs as jokes and then giving them to singers as serious songs. They’d done this before with Elvis, when they’d written “Love Me” as a parody of a particular kind of ballad, and he’d then sung it entirely straight. Leiber compared “Trouble” to another song they’d written as a joke, “Black Denim Trousers and Motorcycle Boots”: [Excerpt: The Cheers, “Black Denim Trousers and Motorcycle Boots”] Leiber later said of “Trouble”, comparing it to that song, “the only people who are going to take them seriously are Hell’s Angels and Elvis Presley. I suppose there was a bit of contempt on our part.” He went on to say “There’s something laughable there. I mean, if you get Memphis Slim or John Lee Hooker singing it, it sounds right, but Elvis did not sound right to us. “ Either way, Elvis performs the song with enough ferocity that it sounded right to a lot of other people: [Excerpt: Elvis Presley, “Trouble” 2] He thought well enough of the song that when, a decade later, he recorded what became known as his comeback special, that was the first song in the show. And while Leiber clearly thought that Elvis didn’t really sound like he was trouble in that song, you only have to compare, for example, the French cover version of it by Johnny Hallyday — the man often referred to as the French Elvis — to see how much less intense the vocal could have been: [Excerpt: Johnny Hallyday, “La Bagarre”] But some time after the King Creole sessions, the Colonel had the chance to separate Elvis from Leiber and Stoller for good. Elvis wanted them at all of his sessions, but Jerry Leiber got pneumonia and was unable to travel to a session. The Colonel kept insisting, and eventually Leiber asked Stoller what he should do, and Stoller said to tell him to do something to himself using words that you can’t use without being bumped into the adult section of the podcast directories. I assume from looking at the dates that this was for a session in June 1958 which Chet Atkins produced. From this point on, Leiber and Stoller would never work in the studio with Elvis again, and nor would they ever again be commissioned to write a song for him. They soon lost their jobs at RCA, which left them to concentrate on their work with R&B artists like the Clovers, the Coasters, and the Drifters. Their active collaboration with Elvis — a collaboration that would define all of them in the eyes of the public — had lasted only ten months, from April 1957 through February 1958. But Elvis kept an eye on their careers. He took note of songs they wrote for LaVern Baker: [Excerpt: LaVern Baker, “Saved”] The Clovers: [Excerpt: The Clovers, “Bossa Nova Baby”] The Coasters: [Excerpt: The Coasters, “Little Egypt”] and more, and would record many more of their songs. He’d just never again have them write a song specifically for him. Not that this mattered in the short term for Leiber and Stoller, as that June 1958 session was Elvis’ last one for a couple of years. Because Colonel Parker had forced Elvis into the Army. At the time, and for many years afterwards, the US military still drafted every man in his early twenties for two years, and so of course Elvis was going to be drafted, but both the Army and Elvis assumed he’d be able to join Special Services, which would mean he’d be able to continue his career, so long as he performed a few free concerts for the military. But Colonel Parker had other ideas. He didn’t want his boy going around doing free shows all over the place and devaluing his product, and he also thought that Elvis was getting too big for his boots. Getting him sent away to Germany to spend two years scrubbing latrines and driving tanks, and away from all the industry people who might fill his head with ideas, sounded like an excellent plan. And not only that, but if he didn’t give RCA much of a backlog to release while he was away, RCA would realise how much they needed the Colonel. So the Colonel leaked to the press that Elvis was going to get special treatment, and got a series of stories planted saying how awful it was that they were going to treat Elvis with kid gloves, so that he could then indignantly deny that Elvis would do anything other than his duty. For the next two years, the only recordings Elvis would make would be private ones, of himself and his army friends playing and singing during their down time: [Excerpt: Elvis Presley, “Earth Angel”] But there was still one final person in the Colonel’s way, and fate took care of that: [Excerpt: Gladys Presley, “Home Sweet Home”] Elvis’ mother had been unwell for some time — and the descriptions of her illness sound an awful lot like the descriptions of Elvis’ own final illness a couple of decades later. Recent reports have suggested that Elvis may have had hereditary autoimmune problems — and that would seem to make a lot of sense given everything we know about him. Given that, it seems likely that his mother also had those problems. It also won’t have helped that she was on a series of fad diets, and taking diet pills, in order to lose weight, as the Colonel kept pressuring her to look thinner in photos with Elvis. Whatever the cause, she ended up hospitalised with hepatitis, which seemed to come from nowhere. Elvis was given compassionate leave to visit her in hospital, where she had the pink Cadillac that Elvis had bought her parked outside the window, so she could see it. When she died on August 14, aged forty-six, Elvis was distraught. There are descriptions in biographies of him that go into detail about his reactions. I won’t share those, because reading about them, even more than sixty years later, after everyone involved is dead, feels prurient to me, like an intrusion on something we’re not meant to see or even really to comprehend. Suffice it to say that his mother’s death was almost certainly the greatest trauma, by far, that Elvis ever experienced. At the funeral, Elvis got the Blackwood Brothers — Gladys’ favourite gospel quartet — to sing “Precious Memories”: [Excerpt: The Blackwood Brothers, “Precious Memories”] Gladys’ death, even more than his induction into the army, was the real end of the first phase of Elvis’ life and career. From that point on, while he always cared about his father, he had nobody in his life who he could trust utterly. And even more importantly, Colonel Parker now had nobody standing in his way. Gladys had never really liked or trusted Colonel Parker, but Vernon Presley saw him as somebody with whom he could do business, and as the only person around his son who really understood business. The Colonel had little but contempt for Vernon Presley, but knew how to keep him happy. While Elvis was in the Army, of course Scotty and Bill had to find other work. Scotty became a record producer, producing the record “Tragedy” for Thomas Wayne, whose full name was Thomas Wayne Perkins, and who was the brother of Johnny Cash’s guitarist Luther Perkins: [Excerpt: Thomas Wayne, “Tragedy”] That went to number five on the pop charts, and after that Scotty took a job working for Sam Phillips, and when Elvis got out of the Army and Scotty rejoined him, he continued working for Phillips for a number of years. Bill Black, meanwhile, formed Bill Black’s Combo, who had a number of instrumental hits over the next few years: [Excerpt: Bill Black’s Combo, “Hearts of Stone”] Unlike Scotty, Bill never worked with Elvis again after Elvis joined the army, and he concentrated on his own career. Bill Black’s Combo had eight top forty hits, and were popular enough that they became the opening act for the Beatles’ first US tour. Unfortunately, by that point, Black himself was too ill to tour, and he had to send the group out without him. He died in 1965, aged thirty-nine, from a brain tumour. As Elvis entered the Army, a combination of deliberate effort on the Colonel’s part and awful events had meant that every possible person who could give Elvis advice about his career, everyone who might tell him to trust his own artistic instincts, or who might push him in new directions, was either permanently removed from his life or distanced from him enough that they could have no further influence on him. From now on, the Colonel was in charge.
Episode seventy-two of A History of Rock Music in Five Hundred Songs looks at “Trouble” by Elvis Presley, his induction into the army, and his mother’s death. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “When” by the Kalin Twins. 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/—-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz tells Leiber and Stoller’s side of the story well. There are many, many books about Elvis Presley out there, but the one I’m using as my major resource for information on him, and which has guided my views as to the kind of person he was, is Last Train to Memphis by Peter Guralnick, generally considered the best biography of him. The Colonel by Alanna Nash is a little more tabloidy than those two, but is the only full-length biography I know of of Colonel Tom Parker. This box set contains all the recordings, including outtakes, for Elvis’ 1950s films, while this one contains just the finished versions of every record he made in the fifties. And King Creole itself is well worth watching. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript As 1957 turned into 1958, Elvis’ personal life was going badly wrong, even as he was still the biggest star in the world. In particular, his relationships with everyone involved in his career — everyone except the Colonel, of course — were getting weakened. In September, Scotty Moore and Bill Black had written to Elvis, resigning from his band — they’d been put on a salary, rather than a split of the money, and then Elvis’ concert schedule had been cut back so much that they’d only played fourteen shows so far all year. They were getting into debt while Elvis was earning millions, but worse than that, they felt that the Colonel was controlling access to Elvis so much that they couldn’t even talk to him. DJ Fontana wouldn’t sign the letter — he’d joined the group later than the others, and so he’d not lost his position in the way that the others had. But the other two were gone. Elvis offered them a fifty dollar raise, but Scotty said that on top of that he would need a ten thousand dollar bonus just to clear his debts — and while Elvis was considering that, a newspaper interview with Moore and Black appeared, in which they talked about Elvis having broken his promise to them that when he earned more, they would earn more. Elvis was incensed, and decided that he didn’t need them anyway. He could replace them easily. And for one show, he did just that. He played the fair at his old home town of Tupelo, Mississippi, with DJ and the Jordanaires, and with two new musicians. On guitar was Hank Garland, a great country session musician who was best known for his hit “Sugarfoot Rag”: [Excerpt: Hank Garland, “Sugarfoot Rag”] Garland would continue to play with Elvis on recordings and occasional stage performances until 1961, when he was injured in an accident and became unable to perform. On bass, meanwhile, was Chuck Wigington, a friend of DJ’s who, like DJ, had been a regular performer in the Louisiana Hayride band, and who had also played for many years with Pee Wee King and his Golden West Cowboys: [Excerpt: Pee Wee King and his Golden West Cowboys, “Screwball”] Wigington actually didn’t have a contract for the show, and he wasn’t even a full-time musician at the time — he had to take a leave of absence from his job working in a bank in order to play the gig. Meanwhile, Scotty and Bill were off on their own playing the Dallas State Fair. But Elvis found that performing live without Scotty and Bill was just not the same, even though Garland and Wigington were perfectly fine musicians, and he decided to offer Scotty and Bill their old jobs back — sort of. They’d be getting paid a per diem whether or not they were performing, which was something, but after the next recording sessions Bill never again recorded with Elvis — he was replaced in the studio by Bob Moore. Scotty remained a regular in Elvis’ studio band too, but only on rhythm guitar — Hank Garland was going to be the lead player on Elvis’ records from now on. The new arrangement required a lot of compromise on both sides, but it meant that Moore and Black were on a better financial footing, and Elvis could remain comfortable on stage, but it was now very clear that the Colonel, at least, saw Black and Moore as replaceable, and neither of them were necessary for Elvis to continue making hit records. His relationship with the two men who had come up with him had now permanently changed — and that was going to be the case with a lot of other relationships as well. In particular, the Colonel was starting to think that Leiber and Stoller should be got rid of. The two of them were dangerous as far as the Colonel was concerned. Elvis respected them, they weren’t under the Colonel’s control, they didn’t even *like* the Colonel, and they had careers that didn’t rely on their association with Elvis. But they were also people who were able to generate hits for Elvis, and they were currently working for RCA, so while that was the case he would put them to use. But they were loose cannons. Now, before we go further, I should point out that what I’m about to describe is *one* way that Leiber and Stoller have explained what happened. In various different tellings, they’ve told events in different orders, and described things slightly differently. This is, to the best of my understanding, the most likely series of events, but I could be wrong. Leiber and Stoller had a complex attitude towards their work with Elvis. They liked Elvis himself, a lot, and they admired and respected his work ethic in the studio, and shared his taste in blues music. But at the same time, they didn’t consider the work they were doing with Elvis to be real art, in the way that they considered their R&B records to be. It was easy money — anything Elvis recorded was guaranteed to sell in massive amounts, so they didn’t have to try too hard to write anything particularly good for him, but they didn’t like the Colonel, and they were already, after a couple of films, getting bored with the routine nature of writing for Elvis’ films. I’m going to paraphrase a quote from Jerry Leiber here, because I don’t want to get this podcast moved into the adults-only section on Apple Podcasts, and the Leiber quote is quite full of expletives, but the gist of it is that they believed that if they were given proper artistic freedom with Elvis they could have made history, but that the people in his management team only wanted money. Every film needed just a few songs to plug into gaps, and they were usually the same type of songs to go in the same type of gaps. They were bored. And they actually had a plan for a project that would stretch them all creatively. Leiber vaguely knew the film producer Charles Feldman, who had produced On The Waterfront and The Seven-Year Itch, and Feldman had come to Leiber with a proposition. He’d recently acquired the rights to the novel A Walk on the Wild Side, set in New Orleans, and he thought that it would be perfect for Elvis. He’d have the script written by Budd Schulberg, and have Elia Kazan direct — the same team that had made On The Waterfront. Elvis would be working with people who had made Marlon Brando, one of his idols, a star. Leiber and Stoller would write the songs, and given that Kazan was known as an actors’ director, the chances were that the film could take Elvis to the next level in film stardom — he could become another Sinatra, someone who was equally respected as an actor and as a singer. Leiber took the proposal to Jean Aberbach, who was one of the heads of Hill and Range, the music publishing company that handled all the songs that Elvis performed. Aberbach listened to the proposal, called the Colonel to relay the idea, and then said “If you ever try to interfere with the business or artistic workings of the process known as Elvis Presley, if you ever start thinking in this direction again, you will never work for us again.” So they resigned themselves to just churning out the same stuff for Elvis’ films. Although, while they were soured on the process, the next film would be more interesting: [Excerpt: Elvis Presley, “King Creole”] “King Creole” was the first of Elvis’ films to be based on a book — though “Loving You” had been based on a short story that had appeared in a magazine. “A Stone For Danny Fisher” was one of Harold Robbins’ early novels, and was about a boxer in New York who accepts a bribe from criminals to lose a fight, but then wins the fight anyway, goes on the run, but encounters the criminals who bribed him two years later. It’s the kind of basic plot that has made perfectly good films in the past — like the Bruce Willis sequence in Pulp Fiction, for example. But while it’s a fairly decent plot, it is… not the plot of “King Creole”. Hal Wallis had bought the rights to the book in the hope of making it a vehicle for James Dean, before Dean’s death. When it was reworked as a Presley vehicle, obviously it was changed to be about a singer rather than a boxer, and so the whole main plotline about throwing a fight was dropped, and then the setting was changed to New Orleans… and truth be told, the resulting film seems to have more than a hint of “Walk on the Wild Side” about it, with both being set in New Orleans’ underworld, and both having a strained relationship between a father and a son as a main theme. Oddly, Leiber and Stoller have never mentioned these similarities, even though it seems very likely to me that someone involved in the Elvis organisation took their idea and used it without credit. They’ve both, though, talked about how dull they found working on the film’s soundtrack — and even though they were currently Elvis’ favourite writers, and producing his sessions, they ended up writing only three of the eleven songs for the film. “King Creole” is, in fact, a rather good film. It has a good cast, including Walter Matthau, and it was directed by Michael Curtiz, who was one of those directors of the time who could turn his hand to anything and make good films in a huge variety of genres. He’d directed, among many, many, many other films, “White Christmas”, the Errol Flynn Robin Hood, and “Casablanca”. However, Leiber and Stoller’s writing for the film was more or less on autopilot, and they produced songs like “Steadfast, Loyal, and True”, which is widely regarded as the very worst song they ever wrote: [Excerpt: Elvis Presley, “Steadfast, Loyal, and True”] That said, there is an important point that should be made about the songs Elvis recorded for his films generally, and which applies to that song specifically. Many of the songs Elvis would record for his films in later years are generally regarded as being terrible, terrible songs, and with good reason. Songs like “There’s No Room to Rhumba in a Sports Car”, “Yoga is as Yoga Does”, “Queenie Wahini’s Papaya”, or “Ito Eats” have few if any merits. But in part that’s because they are not intended to work as songs divorced from their context in the film. They’re part of the storytelling, not songs that were ever intended to be listened to as songs on their own. But still, Leiber and Stoller could undoubtedly have come up with something better than “Steadfast, Loyal, and True”, had they not been working with the attitude of “that’ll do, it’s good enough”. Indeed, the most artistically interesting song on the soundtrack is one that was not written by Leiber and Stoller at all, a jazz song sung as a duet with Kitty White, “Crawfish”: [Excerpt: Elvis Presley and Kitty White, “Crawfish”] While other songwriters were turning out things like that, Leiber and Stoller were putting in a minimal amount of effort, despite their previous wish to try to be more artistically adventurous with their work with Elvis. They still, however, managed to write one song that would become known as a classic, even if they mostly did it as a joke: [Excerpt: Elvis Presley, “Trouble”] That song combines two different elements of Leiber and Stoller’s writing we’ve looked at previously. The first is their obsession with that stop-time blues riff, which had first turned up in Muddy Waters’ “Hoochie Coochie Man” back in 1954: [Excerpt: Muddy Waters, “Hoochie Coochie Man”] Leiber and Stoller had latched on to that riff, as we saw when we talked about “Riot in Cell Block #9” back in the episode on “The Wallflower”. They would consistently use it as a signifier of the blues — they used the same riff not only in “Riot in Cell Block #9” and “Trouble”, but also “I’m A Woman” for Peggy Lee and “Santa Claus is Back in Town” for Elvis, and slight variations of it in “Framed” by the Robins and “Alligator Wine” by Screamin’ Jay Hawkins, among many others. It’s clearly a riff that they loved — so much so that they pretty much single-handedly made it into something people will now think of as a generic indicator of the blues rather than, as it was originally, a riff that was used on one specific song — but it’s also a riff they could fall back on when they were just phoning in a song. The other aspect of their songwriting that “Trouble” shows is their habit of writing songs as jokes and then giving them to singers as serious songs. They’d done this before with Elvis, when they’d written “Love Me” as a parody of a particular kind of ballad, and he’d then sung it entirely straight. Leiber compared “Trouble” to another song they’d written as a joke, “Black Denim Trousers and Motorcycle Boots”: [Excerpt: The Cheers, “Black Denim Trousers and Motorcycle Boots”] Leiber later said of “Trouble”, comparing it to that song, “the only people who are going to take them seriously are Hell’s Angels and Elvis Presley. I suppose there was a bit of contempt on our part.” He went on to say “There’s something laughable there. I mean, if you get Memphis Slim or John Lee Hooker singing it, it sounds right, but Elvis did not sound right to us. “ Either way, Elvis performs the song with enough ferocity that it sounded right to a lot of other people: [Excerpt: Elvis Presley, “Trouble” 2] He thought well enough of the song that when, a decade later, he recorded what became known as his comeback special, that was the first song in the show. And while Leiber clearly thought that Elvis didn’t really sound like he was trouble in that song, you only have to compare, for example, the French cover version of it by Johnny Hallyday — the man often referred to as the French Elvis — to see how much less intense the vocal could have been: [Excerpt: Johnny Hallyday, “La Bagarre”] But some time after the King Creole sessions, the Colonel had the chance to separate Elvis from Leiber and Stoller for good. Elvis wanted them at all of his sessions, but Jerry Leiber got pneumonia and was unable to travel to a session. The Colonel kept insisting, and eventually Leiber asked Stoller what he should do, and Stoller said to tell him to do something to himself using words that you can’t use without being bumped into the adult section of the podcast directories. I assume from looking at the dates that this was for a session in June 1958 which Chet Atkins produced. From this point on, Leiber and Stoller would never work in the studio with Elvis again, and nor would they ever again be commissioned to write a song for him. They soon lost their jobs at RCA, which left them to concentrate on their work with R&B artists like the Clovers, the Coasters, and the Drifters. Their active collaboration with Elvis — a collaboration that would define all of them in the eyes of the public — had lasted only ten months, from April 1957 through February 1958. But Elvis kept an eye on their careers. He took note of songs they wrote for LaVern Baker: [Excerpt: LaVern Baker, “Saved”] The Clovers: [Excerpt: The Clovers, “Bossa Nova Baby”] The Coasters: [Excerpt: The Coasters, “Little Egypt”] and more, and would record many more of their songs. He’d just never again have them write a song specifically for him. Not that this mattered in the short term for Leiber and Stoller, as that June 1958 session was Elvis’ last one for a couple of years. Because Colonel Parker had forced Elvis into the Army. At the time, and for many years afterwards, the US military still drafted every man in his early twenties for two years, and so of course Elvis was going to be drafted, but both the Army and Elvis assumed he’d be able to join Special Services, which would mean he’d be able to continue his career, so long as he performed a few free concerts for the military. But Colonel Parker had other ideas. He didn’t want his boy going around doing free shows all over the place and devaluing his product, and he also thought that Elvis was getting too big for his boots. Getting him sent away to Germany to spend two years scrubbing latrines and driving tanks, and away from all the industry people who might fill his head with ideas, sounded like an excellent plan. And not only that, but if he didn’t give RCA much of a backlog to release while he was away, RCA would realise how much they needed the Colonel. So the Colonel leaked to the press that Elvis was going to get special treatment, and got a series of stories planted saying how awful it was that they were going to treat Elvis with kid gloves, so that he could then indignantly deny that Elvis would do anything other than his duty. For the next two years, the only recordings Elvis would make would be private ones, of himself and his army friends playing and singing during their down time: [Excerpt: Elvis Presley, “Earth Angel”] But there was still one final person in the Colonel’s way, and fate took care of that: [Excerpt: Gladys Presley, “Home Sweet Home”] Elvis’ mother had been unwell for some time — and the descriptions of her illness sound an awful lot like the descriptions of Elvis’ own final illness a couple of decades later. Recent reports have suggested that Elvis may have had hereditary autoimmune problems — and that would seem to make a lot of sense given everything we know about him. Given that, it seems likely that his mother also had those problems. It also won’t have helped that she was on a series of fad diets, and taking diet pills, in order to lose weight, as the Colonel kept pressuring her to look thinner in photos with Elvis. Whatever the cause, she ended up hospitalised with hepatitis, which seemed to come from nowhere. Elvis was given compassionate leave to visit her in hospital, where she had the pink Cadillac that Elvis had bought her parked outside the window, so she could see it. When she died on August 14, aged forty-six, Elvis was distraught. There are descriptions in biographies of him that go into detail about his reactions. I won’t share those, because reading about them, even more than sixty years later, after everyone involved is dead, feels prurient to me, like an intrusion on something we’re not meant to see or even really to comprehend. Suffice it to say that his mother’s death was almost certainly the greatest trauma, by far, that Elvis ever experienced. At the funeral, Elvis got the Blackwood Brothers — Gladys’ favourite gospel quartet — to sing “Precious Memories”: [Excerpt: The Blackwood Brothers, “Precious Memories”] Gladys’ death, even more than his induction into the army, was the real end of the first phase of Elvis’ life and career. From that point on, while he always cared about his father, he had nobody in his life who he could trust utterly. And even more importantly, Colonel Parker now had nobody standing in his way. Gladys had never really liked or trusted Colonel Parker, but Vernon Presley saw him as somebody with whom he could do business, and as the only person around his son who really understood business. The Colonel had little but contempt for Vernon Presley, but knew how to keep him happy. While Elvis was in the Army, of course Scotty and Bill had to find other work. Scotty became a record producer, producing the record “Tragedy” for Thomas Wayne, whose full name was Thomas Wayne Perkins, and who was the brother of Johnny Cash’s guitarist Luther Perkins: [Excerpt: Thomas Wayne, “Tragedy”] That went to number five on the pop charts, and after that Scotty took a job working for Sam Phillips, and when Elvis got out of the Army and Scotty rejoined him, he continued working for Phillips for a number of years. Bill Black, meanwhile, formed Bill Black’s Combo, who had a number of instrumental hits over the next few years: [Excerpt: Bill Black’s Combo, “Hearts of Stone”] Unlike Scotty, Bill never worked with Elvis again after Elvis joined the army, and he concentrated on his own career. Bill Black’s Combo had eight top forty hits, and were popular enough that they became the opening act for the Beatles’ first US tour. Unfortunately, by that point, Black himself was too ill to tour, and he had to send the group out without him. He died in 1965, aged thirty-nine, from a brain tumour. As Elvis entered the Army, a combination of deliberate effort on the Colonel’s part and awful events had meant that every possible person who could give Elvis advice about his career, everyone who might tell him to trust his own artistic instincts, or who might push him in new directions, was either permanently removed from his life or distanced from him enough that they could have no further influence on him. From now on, the Colonel was in charge.
في الموسم الثاني من البودكاست نبتدي مشوار حلقاتنا عن "قصص من الواقع والناس" مع ضيفنا عدنان العبار، وحديثه عن #القراءة، كيف بدأت مسيرته معها، وهل بامكانها ان تغيّر نظرتك للعالم وتساعدك في تجاوز الكثير من العقبات؟Song: Freedom by Memphis Slim
La historia del blues y de sus exponentes principales contada por Mario Antuña. En el capítulo de hoy: Vida y obra de Memphis Slim
Chi sono i tre politici che questa settimana hanno preso un “Pinocchio andante” in pagella? Vi diamo qualche indizio: la prima è una italiana ed è una madre; il secondo è un senatore di Firenze; il terzo è stato ministro dell’Interno fino a poco tempo fa. Per scoprire che cosa hanno detto di sbagliato su attività dei parlamentari, soldi in fantomatici cassetti dello Stato, e tasse alle famiglie italiane, ascoltate questo episodio del podcast.Come se non bastasse, grazie alla rubrica dedicata alle bufale che circolano su Internet, scoprirete con sollievo che i koala australiani non stanno benissimo ma almeno non sono “funzionalmente” estinti.Seguiteci sul nostro sito https://pagellapolitica.it/ e sui nostri profili Facebook, Instagram e Twitter.Episodio scritto da Tommaso Canetta, Alessandro Ciapetti, Camilla VagnozziHost: Giovanni Zagni / Tommaso CanettaProducer: Jessica Mariana MasucciLINK UTILIhttps://pagellapolitica.it/dichiarazioni/8451/meloni-contro-di-maio-ma-il-confronto-e-scorrettohttps://pagellapolitica.it/blog/show/542/io-sono-giorgia-e-quanto-sono-assenteistahttps://pagellapolitica.it/dichiarazioni/8452/no-non-ci-sono-120-miliardi-nei-cassetti-come-dice-renzihttps://pagellapolitica.it/dichiarazioni/8453/no-per-la-corte-dei-conti-non-ci-saranno-17-miliardi-di-nuove-tassehttps://pagellapolitica.it/bufale/show/810/no-i-koala-non-sono-funzionalmente-estintiCREDIT BRANI“Arpent”, “Comic game loop - Mischief" di Kevin MacLeod e “I just landed in your town” di Memphis Slim hanno una licenza Public Domain https://freepd.com“Hustle” (https://freemusicarchive.org/music/Kevin_MacLeod/Blues_Sampler/Hustle) by Kevin MacLeod is licensed under a Creative Commons Attribution License.CREDIT FOTO: Pixabay
Chi sono i tre politici che questa settimana hanno preso un “Pinocchio andante” in pagella? Vi diamo qualche indizio: la prima è una italiana ed è una madre; il secondo è un senatore di Firenze; il terzo è stato ministro dell’Interno fino a poco tempo fa. Per scoprire che cosa hanno detto di sbagliato su attività dei parlamentari, soldi in fantomatici cassetti dello Stato, e tasse alle famiglie italiane, ascoltate questo episodio del podcast.Come se non bastasse, grazie alla rubrica dedicata alle bufale che circolano su Internet, scoprirete con sollievo che i koala australiani non stanno benissimo ma almeno non sono “funzionalmente” estinti.Seguiteci sul nostro sito https://pagellapolitica.it/ e sui nostri profili Facebook, Instagram e Twitter.Episodio scritto da Tommaso Canetta, Alessandro Ciapetti, Camilla VagnozziHost: Giovanni Zagni / Tommaso CanettaProducer: Jessica Mariana MasucciLINK UTILIhttps://pagellapolitica.it/dichiarazioni/8451/meloni-contro-di-maio-ma-il-confronto-e-scorrettohttps://pagellapolitica.it/blog/show/542/io-sono-giorgia-e-quanto-sono-assenteistahttps://pagellapolitica.it/dichiarazioni/8452/no-non-ci-sono-120-miliardi-nei-cassetti-come-dice-renzihttps://pagellapolitica.it/dichiarazioni/8453/no-per-la-corte-dei-conti-non-ci-saranno-17-miliardi-di-nuove-tassehttps://pagellapolitica.it/bufale/show/810/no-i-koala-non-sono-funzionalmente-estintiCREDIT BRANI“Arpent”, “Comic game loop - Mischief" di Kevin MacLeod e “I just landed in your town” di Memphis Slim hanno una licenza Public Domain https://freepd.com“Hustle” (https://freemusicarchive.org/music/Kevin_MacLeod/Blues_Sampler/Hustle) by Kevin MacLeod is licensed under a Creative Commons Attribution License.CREDIT FOTO: Pixabay
Radio Jazz studievært Kay Seitzmayer spiller musik med blues-folk, der alle er født i september måned. Det er musikere som Floyd Council, Pink Anderson, Memphis Slim, Freddie King, Meade »Lux« Lewis, Jimmy Reed, Ray Charles og B B King. Sendt i Radio Jazz i 2017 Der er mere jazz på www. radiojazz.dk
Radio Jazz studievært Kay Seitzmayer mindes den amerikanske bluesgitarist og singer-songwriter Otis Rush, f. 1934, og som døde i september 2018. Der kan høres musik med Otis Rush og Eric Clapton. Mixed Blues indeholder musik med bl.a. Mercy Dee Walton, Texas Alexander, Memphis Slim, Wynonie Harris og Brownie McGhee. Sendt i Radio Jazz i 2018 Der er mere jazz på www.radiojazz.dk
Carl Weathersby – Feels like rain - Live At Rosa's Lounge – 2019 Samantha Fish – Bullitproof - Kill Or Be Kind (2019) Achievers, The – Easy line - Lost Arc – 2019 Beth Hart – Bad woman Blues - War In My Mind - Deluxe Edition (2019) James Pitts Band – Come to play the blues - Come To Play The Blues - 2019 Steve Strongman – Highway man - Tired Of Talkin' - 2019 Mick Pini – Something on my mind - Into The Distance – 2019 Paulie Cerra – You got me thinking - Hell & High Water – 2019 Diana Braithwaite & Chris Whiteley – Toodle oodle loo - Gold Cadillac (2019) Loyd Spiegel – ratle your cage - Cut and Run - 2019 JC Gafford & Friends – I’m not the man you want me to be - Love Too Much (2019) Memphis Slim – The train is coming - The Real Honky Tonk + The Blues Every Which Way (Remastered) (2019)
Un véritable voyage dans le temps en compagnie de Philippe Serra, ancien beatnik et musicien. Ensemble nous partons à la redécouverte d’un lieu mythique du paysage musical de la ville : l’Alhambra. Philippe évoque ses souvenirs de ce lieu et les venues de Gene Vincent, Chuck Berry, Memphis Slim, Soft Machine, Pierre Henry, les Stranglers... mais parle aussi de la montée en puissance de la salle du Grand-Parc et du Jimmy, et explique pourquoi le live de Barbara enregistré à l'Alhambra est un disque à part. Ah, et un éléphant fait également une entrée aussi inattendue que fracassante dans l'histoire de la salle !
The eBook version of “The Amazing Secret History of Elmore James” is now on sale! Available from the Amazon Kindle Store at https://tinyurl.com/yy6vlsv3 and from Apple Books at https://tinyurl.com/y4ql53s2 NOTE: As a special service to our listeners, we are making some of the older episodes from our archive available for the first time in many years. Please note that — as time allows — we will be redoing almost all the episodes from our “first season” (this one included). In the meantime, we hope you enjoy this “blast from the past!” And, as always, thanks for listening! On this episode of Blues Unlimited — our fourth and last installment paying tribute to the Newport Jazz and Folk Festivals — we take a look at some of the fantastic Blues, R&B, and Gospel that was recorded live on stage at the iconic Newport, Rhode Island festival between the years of 1958 through 1960. We'll hear great, rare and classic performances from Ray Charles, Memphis Slim, Muddy Waters, John Lee Hooker, Chuck Berry, Sonny Terry & Brownie McGhee, Mahalia Jackson, Big Joe Turner, and more. Pictured: Program for the 1960 Newport Jazz Festival, which included performances by John Lee Hooker and Muddy Waters. Are you looking for ways to promote your band’s latest release, product, business, or service? Advertise on the podcast that’s been downloaded over one million times, and reach a global audience of blues lovers! Contact us at bluesunlimited at gmail dot com for more details! This episode is available commercial free and in its original full-fidelity high quality audio exclusively to our subscribers at Bandcamp. Your annual subscription of $27 a year will go directly to support this radio show, and you’ll gain INSTANT DOWNLOAD ACCESS to this and more than 170 other episodes from our extensive archive as well. More info is at http://bluesunlimited.bandcamp.com/subscribe
The eBook version of “The Amazing Secret History of Elmore James” is now on sale! Available from the Amazon Kindle Store at https://tinyurl.com/yy6vlsv3 and from Apple Books at https://tinyurl.com/y4ql53s2 NOTE: As a special service to our listeners, we are making some of the older episodes from our archive available for the first time in many years. Please note that — as time allows — we will be redoing almost all the episodes from our “first season” (this one included). In the meantime, we hope you enjoy this “blast from the past!” And, as always, thanks for listening! On this episode of Blues Unlimited — our fourth and last installment paying tribute to the Newport Jazz and Folk Festivals — we take a look at some of the fantastic Blues, R&B, and Gospel that was recorded live on stage at the iconic Newport, Rhode Island festival between the years of 1958 through 1960. We'll hear great, rare and classic performances from Ray Charles, Memphis Slim, Muddy Waters, John Lee Hooker, Chuck Berry, Sonny Terry & Brownie McGhee, Mahalia Jackson, Big Joe Turner, and more. Pictured: Program for the 1960 Newport Jazz Festival, which included performances by John Lee Hooker and Muddy Waters. This episode is available commercial free and in its original full-fidelity high quality audio exclusively to our subscribers at Bandcamp. Your annual subscription of $27 a year will go directly to support this radio show, and you’ll gain INSTANT DOWNLOAD ACCESS to this and more than 170 other episodes from our extensive archive as well. More info is at http://bluesunlimited.bandcamp.com/subscribe
Would you please help us improve the show by voting for your favourite track from this episode?All the Debts I OweGetting To MeYou Make Me FeelNobodySeqinitta QinngorpaatitNeed a Little TimeJumping At Shadows26Send the FishermanVote now! Firstly, Indigo Morgan is our surprise catch on the show today. She currently has 3 albums out, the latest released as recently as this month. You can check her out on Spotify. Secondly, we also have newish music from the likes of Caroline Rose, Mitski and Courtney Barnett. Welcome to the show, let's dive straight in. First up it's Caamp... Track Listing All the Debts I Owe CaampGetting To Me Caroline RoseYou Make Me Feel Indigo MorganNobody MitskiSeqinitta Qinngorpaatit NanookNeed A Little Time Courtney BarnettJumping At Shadows Duster Bennett (original 1969 vinyl play)26 CaampSend the Fisherman Caamp Indigo Morgan - the three LP wonder The intriguing and wonderfully mystic Indigo Morgan is our under-represented artist in this episode of the show. She has three LP's currently available. The first two are self-published, however, she appears to have a record deal for the third. The track we played on today's show - You Make Me Feel - comes from off of the A Song for Bowie album. Here's a catalogue of her work, we heartily recommend checking out her work. She's different, interesting and engaging. A Song For Bowie (2009)Left But Not Forgotten (2011)New Growth (2019) Indigo also has significant work published on YouTube. Here's a link to her channel. As a result of searching for Lou Reed's This Magic Moment, we found a new favourite. Therefore, Indigo has achieved a place in our From the Bottom of the Record Box catalogue. Nanook - Our Sun is Shining on You When Christian K. Elsner was small and living in Nanortalik in southern Greenland he once encountered a dog named Nanook because of his white coat. Nanook is a legendary polar bear. When the Elsner brothers started a band later in life, it got the name Nanook - the biggest bear. They also chose the name because they were inspired by the polar bear, which survives extreme conditions, but which is also endangered. By calling themselves Nanook, the band hoped to be able to educate the world about the polar bear's critical situation. When the band released their debut album Seqinitta Qinngorpaatit ("Our Sun is Shining on You") in 2009, they quickly became one of the most famous bands in Greenland. Despite the lyrics being in Greenlandic , which only just over 50,000 people speak, their album Ai Ai ("Lucky Song") from 2011, soon sold 10,000 albums. You can learn more about this fascinating band from their Facebook page. Duster Bennett - harp virtuoso The untimely death in 1976 of 29 year-old Duster Bennett was a sad loss to the music world. After playing a set with Memphis Slim on 26 March 1976 Duster was travelling home in a Ford Transit van and apparently fell asleep at the wheel. The van collided with a truck and consequently Duster was killed immediately. Duster emerged out of the late '60s art school music scene in Kingston-upon-Thames and Guildford. His virtuosic combination of drums, guitar (a 1952 Les Paul Goldtop gifted to him by Peter Green) and harmonica soon attracted wide recognition. He was often played on John Peel's Top Gear show between 1968 and 1970. He embarked on a US tour in 1970 with blues legend John Mayall both as a member of the Bluesbreakers and as a solo act. The track we play here, Jumping At Shadows was subsequently covered by Fleetwood Mac and Gary Moore.
Chicago based. Major acts on the label in the 1950s included blues singers Jimmy Reed, Memphis Slim, and John Lee Hooker, and rhythm and blues vocal groups the Spaniels, the Dells, and the El Dorados. The 1960s saw the label become a major soul label with Jerry Butler, Gene Chandler, Dee Clark, and Betty Everett having hit singles on both the pop and R&B charts. Vee-Jay was also the first label to nationally issue a record by the Pips (through a master purchase from the tiny Huntom label of Atlanta), who became Gladys Knight and the Pips in 1962 when they moved to Fury Records. I play the original Vee-Jay Gladys Knight Every Beat of My Heart.
Richie Rich And The Chi-Town Blues Band (Frisky Whiskey); George Thorogood (One Bourbon, One Scotch, One Beer); Eight O'Five Jive (A Little Bit Of Bourbon); Eddie Cotton (Race To The Dollar); Sugaray Rayford (Stuck For A Buck); Buddy Guy (The Blues Is Alive And Well); Martin McNeill (You Gotta Move); Slide Tracked (Ain't Going Down); Matt "Guitar" Murphy (Way Down South); Memphis Slim and Matt "Guitar" Murphy (Lonesome); Memphis Minnie (My Butcher Man); Fiona Boyes (She Could Play That Thing (Blues For Memphis Minnie)); Tom Hambridge (This End Of The Road); Fiddy Blues (Just 12 Hours); Tab Benoit (Mellow Down Easy).
En este programa tenemos los estrenos de Johnny Fink (JFI), Mick Kolassa (Double Standards) y The BluesBones (Chasing Shadows). Además homenaje a Little Sammy Davis, Memphis Slim y Rockin’ Sidney.
Songs about alcoholic drinks, including: Beer Barrel Polka, Cocktails For Two, Rye Whiskey, One Mint Julip Abercombie Had a Zombie, Candlelight and Wine and Bubbles in the Wine. Performers include: Bessie Smith, Thomas "Fats" Waller, Memphis Slim, Lawrence Welk, Jimmy Dorsey, Tex Ritter and the Andrews Sisters.
Few performers in American music have toiled for so many years before earning widespread acclaim and respect as Bobby Rush. Rolling Stone dubbed Rush King of the Chitlin' Circuit. Martin Scorsese featured him in his 2003 documentary The Blues. In 2006 he was named to the Blues Hall of Fame, and in 2015, he was named BB King Entertainer of the Year, one week before King himself, a close friend of Rush, passed away. But Bobby Rush is not coasting. He's plays between 100 and 200 dates a year with a big band, and he's recently signed the most significant record deal of his life. Rounder Records, a label with a long history of backing authentic folk and blues artists, has released Porcupine Meat. As the title implies, it's as rural and down-home and true to himself as anything he's ever done. In this hour, Bobby Rush speaks about his passion for performing, his farewell to BB King and about the long, arduous journey from his youth in Pine Bluff AR to Chicago and to his years touring the Deep South as a regional favorite. Then toward the end of the show, our time machine audio segment steps back another generation in the blues, with tape of Big Bill Broonzy, Memphis Slim and Sonny Boy Williamson telling Alan Lomax what it was REALLY like to launch a music career in the 1920s and 30s in the segregated south.
For Jazz Beat 30, Tom Reney pays tribute to Nat Hentoff, who died on January 7 at 91. The Boston-born journalist wrote primarily on First Amendment issues for the Village Voice for 50 years, but was also a renowned jazz critic and historian. In the early 1960s, Hentoff produced an outstanding series of albums for Candid Records by Charles Mingus, Clark Terry, Abbey Lincoln, and blues greats Otis Spann, Memphis Slim, and Lightnin’ Hopkins. Tom’s memorial includes excerpts from some of these, and an overview of Hentoff’s devotion to jazz and principles of free speech.
This week on StoryWeb: Jean Ritchie’s book Singing Family of the Cumberlands. If you’re looking for bona fide old-time mountain music – the real deal, before bluegrass, before the Carter Family even – then look no further than Jean Ritchie. Perhaps more than any other performer of her generation, Jean Ritchie gives us the traditional old-time stories and songs and the story of the lived experience of growing up in a family in the Cumberland Mountains of Eastern Kentucky. Many Americans know Jean Ritchie from her singing and songwriting career. In addition to songs she wrote (such as “The L & N Don’t Stop Here Anymore”), Ritchie took special delight in preserving, performing, and passing down traditional ballads and other old-time songs. She sings “play party” game songs, she sings murder ballads, and of course, like any mountain balladeer worth her salt, she has her own version of “Barbary Allen.” In her performances, she both told stories and sang songs, accompanying herself on lap dulcimer. I had the great fortune of hosting Jean Ritchie at Shepherd University’s Appalachian Heritage Festival in 1997. That October I got to not only see and hear her perform (complete with “Skin and Bones,” a spooky game song), but I also had the privilege of spending time with her backstage. I found her to be shy, quiet, soft-spoken, completely unassuming. She seemed to know she was “the” Jean Ritchie, but she was remarkably humble about that – both proud of her heritage and her ability to share it and receptive to meeting new folks who appreciated that heritage. If you want to experience Jean Ritchie as a performer, I highly recommend the following CDs: Jean Ritchie: Ballads from Her Appalachian Family Tradition; Jean Ritchie: The Most Dulcimer; Mountain Hearth & Home; Jean Ritchie: Singing the Traditional Songs of Her Kentucky Mountain Family; British Traditional Ballads in the Southern Mountains, Volumes 1 and 2 (both recorded for Smithsonian Folkways); and her fiftieth anniversary album, Mountain Born, which she recorded with her sons. Collaborations include Jean Ritchie and Doc Watson at Folk City; A Folk Concert in Town Hall, New York, featuring Ritchie along with Oscar Brand and David Sear; and American Folk Tales and Songs, recorded with Paul Clayton. Recordings of carols and children’s songs are also available. If you want to try your hand at singing mountain ballads and playing dulcimer, check out Ritchie’s instructional album, The Appalachian Dulcimer, as well as The Dulcimer Book. A book/CD combo, Traditional Mountain Dulcimer, also provides instruction. Once you’ve gotten the hang of the dulcimer, you’ll want to buy the collection by famed folklorist Alan Lomax: Folk Songs of the Southern Appalachians as Sung by Jean Ritchie. The second edition of this volume features eighty-one songs, including “the Child ballads, lyric folksongs, play party or frolic songs, Old Regular Baptist lined hymns, Native American ballads, ‘hant’ songs, and carols” as passed down through the famous American ballad-singing family, the Ritchie family of Perry County, Kentucky. To go deeper in your exploration of Jean Ritchie, consider reading her 1955 book, Singing Family of the Cumberlands, part autobiography, part family songbook. Born in 1922 as the youngest of fourteen children in the Singing Ritchie Family, Jean Ritchie tells the stories behind the songs, the rich family context that gave life and meaning to these songs. Be forewarned: once you pick up Singing Family of the Cumberlands, you won’t be able to put it down. Ritchie’s writing voice is engaging, sweet, light-hearted, even light-spirited in a way. She invites you in to share her world in the Cumberland Mountains. Though she hailed from Kentucky, Jean Ritchie spent most of her adult life living in New York, both in New York City and in Port Washington. She was married to photographer and filmmaker George Pickow, who hailed from Brooklyn. Together, they raised two sons. George, too, was warm and unassuming – and completely devoted to Jean. In the 1950s, she began to record albums and became friends with Pete Seeger, Woody Guthrie, and Alan Lomax, each of whom had an immense impact on American folk music. By the early 1960s, Greenwich Village was the site of a lively folk music revival. Alan Lomax gathered many of the leading musicians in 1961 and invited them to his apartment on West 3rd Avenue to swap songs. Ritchie’s husband, George Pickow, filmed the impromptu jam session. Of course, you’ll find Jean Ritchie in this rare film, but you’ll also see Roscoe Holcomb, Clarence Ashley, Doc Watson, Memphis Slim, Willie Dixon, Ramblin Jack Elliott, Guy Carawan, and the New Lost City Ramblers. And if you look closely in the film’s opening moments, you’ll spy Bob Dylan clogging in the audience. In the 1960s, Jean Ritchie won a Fulbright scholarship to collect traditional songs in the United Kingdom and Ireland and to trace their links to American ballads. In preparation, Ritchie wrote down 300 songs she had learned from her mother. During her Fulbright travels, she spent eighteen months recording and interviewing British and Irish singers. Some of these recordings are collected on Field Trip. In 2015, Jean Ritchie died at age 92 in Berea, Kentucky – and by that time, she had accumulated numerous awards and accolades, including a National Endowment for the Arts National Heritage Fellowship, the United States’ highest honor for folk and traditional artists. A wonderful tribute to Jean Ritchie – including many outstanding recordings as well as photographs by George Pickow – is featured on the Library of Congress’s American Folklife Center website. Also notable are the New York Times and NPR obituaries. Widely known as “The Mother of Folk,” Ritchie had an immeasurable impact on other musicians who came after her, as evidenced by the 2014 two-CD set titled Dear Jean: Artists Celebrate Jean Ritchie, which features Pete Seeger, Judy Collins, Janis Ian, Kathy Mattea, Tim O’Brien, John McCutcheon, Suzy Bogguss, and others. Her songs have also been recorded by the likes of Linda Ronstadt, Emmylou Harris, and Johnny Cash. Awards, honors, and tributes aside, in the end it all comes back to Jean Ritchie singing a spare, simple ballad like “Barbary Allen.” Take my advice, and check out Jean Ritchie’s recordings and writing. You won’t be disappointed. Visit thestoryweb.com/Ritchie for links to all these resources, to listen to recordings of Jean Ritchie singing “Barbry Allen,” “Shady Grove,” and “Skin and Bones,” and to listen to her talk about writing Singing Family of the Cumberlands. Listen now as Jean Ritchie talks about and sings the song “Nottamun Town.”
Sammy Hagar – going down - Sammy Hagar & Friends (2013)Seasick Steve – Don't take that thing away - Keepin' The Horse CD1Imperial Crowns – The Calling - The Calling – 2016Sean Webster & the Dead Lines – Stay with me - seet it through – 2015Michael Burks – Since I've been loving you - Show of Strength – 2012Beth Hart – Love is a lie - Fire on the Floor (2016)Memphis Slim & Willie Dixon – John henry - The Blues Every Which Way - 1964 Alabama Mike – Think - Upset The Status Quo – 2016Barrelhouse – Almost There - Almost There – 2016Booker T and The MGs – Mo'onions - Definitive Soul Collection (2CD)CD 1Honey Island Swamp Band – Head High Water - Demolition Day - 2016 44's The – fade to Black - On The 13th – 2014Sugar Ray And The Bluetones – keep on sailing - Seeing Is Believing – 2016Ad Vanderveen – passing'by - The Stellar Cellar Band 2016
Royal Southern Brotherhood (Everybody Pays Some Dues); Harmonica Shah (Honey, I Ran Out Of Lies); Johnny Sansone (Happiness, Love And Lies); Stolen Hearts (Blues Had An Angel); Michael Jerome Browne (Bull Doze Blues); Henry Thomas (Old Country Stomp); Dylan Wickens and The Grand Naturals (In My Time Of Dying); Sinead O'Connor (Trouble Will Soon Be Over); Memphis Slim and Willie Dixon (Cold Blooded); Roosevelt Sykes (Pistol Shootin' Blues); David Vest (Staring Down The Barrel Of The Blues); John Primer (Chicago Bound); Danny Marks (Blues Came To Chicago); Chris Cotton (Blues For Big Bill); Big Bill Broonzy (Big Bill Blues); The Nighthawks (Rooster Blues).
We're back with another selection of awesome songs and artists! This week, we are featuring Aloe Blacc, Weezer, Syd Kitchen, U2, Mayer Hawthorne, Soundgarden, Memphis Slim, John Legend, Alive 'N Kickin', African Drums, and Adam Faith! Hope you guys enjoy! And don't forget to:SUBSCRIBE: iTunes TWITTER: @MusicFirstPcastFACEBOOK: Music First PodcastEMAIL: MusicFirstPodcast@gmail.com
On this week's podcast: Paul McCartney, Al Green, The Avett Brothers, Weezer, Art Blakey and the Jazz Messengers with Thelonius Monk, Memphis Slim, Johnny Lytle, Don Omar, Bat For Lashes, and Bob Dylan.iTunes: http://bit.ly/Hg2RdK Facebook: http://on.fb.me/IzhiJV Email us at MusicFirstPodcast@gmail.com
This week's hour is full of both surprising and traditional blues. You get John Primer & Bob Corritore, Rory Block, Sonny Terry & Brownie McGhee, Scarlett Rae & The Cherry Reds, and Memphis Slim - any one of whom is fully capable of headlining the hour all on their own. What do you think of that hour? I think it's another hour of the finest blues you've never heard, the 432nd Roadhouse.
show#44507.08.12'Mosely a Texas ShowFred Chapellier & Tom Principato - Call The Law (Guitars On Fire (Live At Chez Paulette) 2012)Nine Below Zero with Hubert Sumlin - Troubled Life (Give Me No Lip Child 2000)Ray Wylie Hubbard - Screw You, We're From Texas (Growl 2010)Gurf Morlix - Killin' Time in Texas (Diamonds to Dust 2007)Big Guitars From Texas - Chainsaw (Big Guitars From Texas 1985)Larry Davis - Texas Flood (The Best Of Duke-Peacock Blues 1958)Nat Dove and the Neo-Classic Blues Ensemble - Don't Mess with Texas (Real Texas Piano Blues 2006)Home Cookin' - T For Texas (Home Cookin' 1997)Memphis Slim - Ain't nothing but a Texas boogie on a harpsichord (Parisian Blues 1988)Alexis Korner - Wasp (Texas Radio) (Get Off My Cloud 1975)Anni Piper - Texas Hold Em (Two's Company 2009)Bugs Henderson & The Shuffle Kings - Tom's Trip to Texas (Stormy Love 2004)Albert Ammons & His Rhythm Kings - Deep In The Heart Of Texas Boogie (The 1940s Mercury Sessions)Blues Berries - Texas Cannonball (Blues Berries 2002 with Buddy Miles, Rocky Athas and Double Trouble)Sam Price & His Texas Bluesicians - Rib Joint (Blues Masters, Vol. 14: More Jump Blues 1956)Dave Specter - Texas Top (Live in Chicago 2008)David Lindley & El Rayo-X - Texas Tango (Very Greasy 1988)Sir Douglas Quintet - Texas Me (The Collection 1986)Electric Flag - Texas (A Long Time Comin' 1968)Big Maceo - Texas Blues (Worried Life Blues 1941)Gary Moore - Texas Strut (Still Got the Blues 1990)Whispering Smith - Texas Flood (A History Of Blues Harmonica 1926-2002)Gary Primich - Texas Love Kit (Dog House Music 2002)Hadden Sayers - Take Me Back To Texas (Hard Dollar 2011)Ian Moore - Paris, Texas (Ian Moore's Got The Green Grass)R.C. Banks - Lonesome Texas (Conway's Corner 2001)Tino Gonzales - Texas (Babes, Bikes "N" Blues)Last Real Texas Blues Band Featuring Doug Sahm - T-Bone Shuffle [Live] (Last Real Texas Blues Band Featuring Doug Sahm 1994)Pee Wee Crayton - Texas Hop (Essential Texas Blues [Disc 2])Dave Alvin - Black Rose Of Texas (Eleven Eleven 2011)Terry Evans - Nothing Wrong with Texas (That Leaving Won't Fix) (Fire in the Feeling 2005)
Blues piano from Memphis Slim, marimba music from Guatemala, labor union songs, World War II anthems, Tuvan throat singing, and classic old-time tunes from Dock Boggs and Roscoe Holcomb. Real music, real people, and the stories behind the sounds.
In this musical pub-crawl, we explore the joys and perils of the drinking life; songs about beer, wine, whiskey and moonshine; sad drunks, mad drunks, mean drunks, and just plain stupid drunks; booze-soaked classics from Memphis Slim, Roscoe Holcomb, Lead Belly, Dock Boggs and more.
On this show I feature piano recordings on Folkways Records. Piano is my favourite instrument, and there is no doubt that my father’s three record companies, Asch, Disc and then Folkways, recorded some of the very best jazz and blues pianists of the 30’s 40’s and 1950’s. Smithsonian Folkways: Sounds to Grow On is a 26-part series hosted by Michael Asch that features the original recordings of Folkways Records.
Insomniacs (Lonesome); Memphis Slim and Matt 'Guitar' Murphy (Black Cat Blues); Tarheel Slim (Too Much Competition); Aynsley Lister, Erja Lyytinen and Ian Parker (Mississippi Lawnmower Blues); Sue Foley, Deborah Coleman and Roxanne Potvin (Don't Start The Car); Ramblin' Thomas (New Way Of Living Blues); Henry Thomas (Fishing Blues); Roy Buchanan (Drowning On Dry Land); Blind Blake (Fightin' The Jug); Mississippi Fred McDowell (Germany Blues); Jimmy Reed (I'm Going Upside Your Head); Omar Kent Dykes and Jimmie Vaughan (Baby What You Want Me To Do / Bright Lights Big City); Norton Buffalo (Is It Love); Sean Costello (Going Home); Ian Siegal (Kingdom Come).
This show is called “talking about and singing the blues.” The idea comes from the Folkways album “This is the Blues.” It features Big Bill Broonzy, Sonny Terry, and Brownie McGhee. The album was built around a radio show produced by the great Studs Turkel of Chicago’s WFMT and was recorded on May 7th, 1957. Smithsonian Folkways: Sounds to Grow On is a 26-part series hosted by Michael Asch that features the original recordings of Folkways Records.
Records left off of previous podcasts. Music includes: God's Got a Crown, Grinder Man Blues, Eine Kleine Nachtmusik, Horses and Tea For Two. Performers include: Memphis Slim, Arizona Dranes, Red Norvo, the Berlin Philharmonic and Blanche Calloway.
From left to right: Roman Rojas (producer/artist), Juan Carlos Barguil (CFO Arc Music) On this episode I went to the offices of Arc Music Group in NYC, there I talked to Arc's CFO Juan Carlos Barguil. The Arc Music Group administers and represents the Jewel Music Conrad, Sunflower, Regent catalogues worldwide. Some of the greatest classic rock and roll, R & B, gospel, big band, jazz and surf music, including much of the timeless material from the Chess and Vee Jay records labels. Some of the writers represented in these catalogues are Chuck Berry, Bo Diddley, Howlin' Wolf, Little Walter, Sonny Boy Williamson, John Lee Hooker, Memphis Slim and Benny Goodman, Lionel Hampton, etc.
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