Podcast appearances and mentions of Michael Bloomfield

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Play Episode Listen Later Jul 29, 2024 140:08

"Because the world is round it turns me onBecause the world is round...Because the wind is high it blows my mindBecause the wind is high...Love is old, love is new Love is all, love is youBecause the sky is blue, it makes me cry Because the sky is blue...Because I love sharing music, please join me on today's musical journey on Planetary Jam at the Morning Breeze.org. Joining us are Albert King, Jesse Colin Young, Simon & Garfunkel, Crosby Stills & Nash, The Byrds, Hollies, Everly Brothers, Flo & Eddie, John Mayall, Al Kooper w Michael Bloomfield, Emerson, Lake & Palmer, BB King, ZZ Top, Fleetwood Mac, Mark-Almond Band, Loggins & Messina, Pat Metheny w Lyle Mays and The Beatles.

Al Kooper 'The Man,The Myth,The Legend' 'The Lost Interviews' Episode 6

Interviewing the Legends: Rock Stars & Celebs

Play Episode Listen Later May 9, 2024 37:25

AL KOOPER 'THE LOST INTERVIEWS' EPISODE 6 Singer, songwriter, producer, and multi-instrumentalist AL KOOPER continues to relish an incredible life of music. Although these days it's mostly through his weekly online column for The Morton Report entitled ‘New Music for Old People' Kooper reveals… “This column is like the title says - its intention is to fill the gap for those of us who were satiated musically in the '60s and then searched desperately as we aged for music we could relate to and get the same buzz from nowadays. iTunes was the answer for me in 2003 and I have been following the new releases every Tuesday ever since I realized there was an endless stream of music I could enjoy there. The reason I am writing this column is to make sure others don't miss this. These are not top ten items; but they SHOULD be!” Kooper is also excited about the re-release of the classic ‘Super Session' album featuring Al Kooper-Mike Bloomfield-Stephen Stills. The album is re-mastered with the latest (Hybrid Multichannel SACD) technology. The package includes new liner notes written by Al Kooper that tell the story of the Super Session album and the new 5.1 Multichannel mix. The 5.1 mix by Al Kooper with mastering by Bob Ludwig was never released and yet it has acquired some fame from industry insiders familiar with the Multichannel mix with comments like "excellent" and "it deserves to be heard. “The new mastering of the Stereo tracks for new SACD Stereo and CD Stereo audio are by mastering engineer Steve Hoffman. -The official release of ‘Super Session' on amazon.com is -September 9th. AL KOOPER: had a life changing undertaking technologically and musically after receiving a Webcor reel to reel tape recorder as a Bat Mitzvah gift in 1957.Born in Brooklyn and growing up in Queens, New York … Kooper began his incredible music career as a fourteen-year-old guitarist with The Royal Teens (“Short Shorts” #3 U.S. Hit in 1958). In 1960, Kooper joined the songwriting team of Bob Brass and Irwin Levine and wrote “This Diamond Ring” (#1 U.S. Hit in 1965) for Gary Lewis & the Playboys. At 21, Kooper moved to Greenwich Village and began a momentous relationship with Bob Dylan. He performed and recorded with Dylan including adding his classic Hammond organ riffs on “Like a Rolling Stone”(#2 U.S. Billboard Hot 100 Hit in 1965). During those recording sessions, Kooper met Michael Bloomfield. In 1967, Al Kooper joined The Blues Project as their keyboardist. He left the band before the group was to appear at the infamous Monterey Pop Festival, and instead, along with bandmate Steve Katz, formed the jazz/rock/psychedelic/ R&B/ group …Blood, Sweat & Tears. Kooper left Blood, Sweat & Tears after their critically acclaimed debut release … ‘Child Is Father to the Man' (1968). The album spawned the classic rock mainstays … “I Love You More Than You'll Ever Know” (Penned by Kooper) and “I Can't Quit Her” (Written by Kooper/Levine). Al Kooper recorded a jazz inspired jam entitled ‘Super Session' in 1968 with Michael Bloomfield and Stephen Stills. The album spawned an incredible cover of Donovan's “Season of the Witch” and my favorite track “His Holy Modal Majesty” (Written by Kooper and Bloomfield). The album peaked at #12 on the Billboard 200 and was certified gold. It was Al Kooper who called Judy Collins in the middle of the night and put Joni Mitchell on the phone to sing “Both Sides Now” which eventually became a huge hit for Collins in 1968. Throughout the years …Kooper became a mainstay in the recording studio performing with The Rolling Stones, The Who, B.B. King, The Jimi Hendrix Experience, Cream, Alice Cooper, Peter, Paul & Mary, Joe Cocker, Tom Petty, and Roger McGuinn to name just a few. Kooper discovered Lynyrd Skynyrd in 1972 after watching several of their appearances at a frequented club in Atlanta. Al moved to Atlanta and signed the band to his new record label ‘Sounds of the South.' (He would eventually sell the label to MCA Records). Al Kooper produced and performed on Lynyrd Skynyrd's first (3) albums… (‘Pronounced ‘Lĕh-‘nérd ‘Skin-‘nérd, Second Helping, and Nuthin'Fancy). Also, on the singles “Sweet Home Alabama,” “Free Bird,” and “Saturday Night Special.” Al Kooper produced The Tubes, David Essex, Nils Lofgren, Rick Nelson, Ray Charles, The Staple Singers, Bob Dylan, and Lynyrd Skynyrd … to name just a few. He also played and arranged three tracks on George Harrison's ‘Somewhere in England' album and performed with the remaining Beatles … George Harrison, Paul McCartney, and Ringo Starr, on Harrison's Hit single “All Those Years Ago” (U.S. #2 Billboard Hot 100 Hit in 1981). Kooper has also written and composed on countless albums and scores for television and motion pictures. And let's not forget an incredible SOLO CAREER … I Stand Alone (1969), You Never Know Who Your Friends Are (1969), Easy Does It (1970), New York City (You're A Women)(1971), Possible Projection of the Future/ Childhood's End (1972), Naked Songs (1973), Act Like Nothing's Wrong (1977), Championship Wrestling (1982), Rekooperation (1994), Soul of a Man (Live album 1995), Black Coffee (2005), and White Chocolate (2008). Al Kooper published his well- received memoir entitled … Backstage Passes and Backstabbing Bastards: Memoirs of a Rock ‘N' Roll Survivor. The first edition was released in 1977 with subsequent editions released in 1998 and 2008. (The 2008 edition being the best of the three). I had the rare opportunity of chatting with Al Kooper about the remastered classic ‘Super Session' album on 5.1 Multichannel mix … Al's column ‘New Music for Old People' … The Music industry today … Discovering Lynyrd Skynyrd … My infamous ‘Field of Dreams' question… And much-much more! Support us on PayPal!

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Episode 833: Whole 'Nuther Thing May 4, 2024

Interviewing the Legends: Rock Stars & Celebs

Play Episode Listen Later May 5, 2024 118:10

"I've looked at life from both sides nowFrom win and lose and still somehowIt's life's illusions I recallI really don't know life at all"Let's discover life together this afternoon on the Saturday Edition of Whole 'Nuther Thing on KXFM 104.7. Joining us are David Bowie, The Kinks, Counting Crows, Joe Jackson, Dawes, John Prine, Laurence Juber, Dada, Leonard Cohen, Ambrosia, The Who, Neil Young, REM, Radiohead, U2, David Crosby, Al Kooper w Michael Bloomfield, Phil Collins, Smashing Pumpkins, Pearl Jam and Joni Mitchell.

Michael Shrieve Legendary Drummer With Santana Talks New Album!

Play Episode Listen Later Apr 29, 2024 68:08

Hello everyone and welcome to another edition of Interviewing the Legends I'm your host Ray Shasho. Legendary drummer Michael Shrieve announces the much-anticipated release of his album, “Drums of Compassion,” set to drop on May 24, 2024 on Trey Gunn's innovative label, 7D Media. This album is a testament to Shrieve's artistic journey, encapsulating over fifty years of musical exploration and collaboration with some of the most revered names in the industry. “Drums of Compassion” is not merely an album; it's an odyssey that began two decades ago inspired by the Dalai Lama's call for a Time of Compassion. The album boasts an ensemble of musical virtuosos, and their collective genius creates a tapestry of rhythmic brilliance that transcends conventional music boundaries, offering listeners an immersive sonic experience. Shrieve's collaboration with Soundmaster Jeff Greinke lays the foundation of the album with ambient, space-evoking melodies that serve as a backdrop to the dynamic percussive elements. Officially released on May 24, 2024. An as a very wise man once said … "MUSIC PROMPTS US TO RESPOND WITH OPEN-HEARTEDNESS INSTEAD OF JUDGMENT. IT USHERS US TO A HIGHER PLACE FROM WHERE WE CAN SEE BEYOND DISTRACTIONS TO WHAT IS TRUE AND GOOD AND LASTING." PLEASE WELCOME LEGENDARY AMERICAN DRUMMER AND COMPOSER BEST KNOWN AS THE ORIGINAL DRUMMER FOR SANTANA/ROCK AND ROLL HALL OF FAMER/ MICHAEL SHRIEVE TO INTERVIEWING THE LEGENDS … PREORDER THE NEW RELEASE BY MICHAEL SHRIEVE Entitled ‘DRUMS OF PASSION' To pre-order: https://7dmedia.com/micheal-shrieve-drums-of-compassion FOR MORE INFORMATION ABOUT MICHAEL SHRIEVE VISIT https://www.michaelshrieve.com/ Official website https://twitter.com/michaelshrieve Twitter https://www.pinterest.com/michaelshrieve Pinterest https://www.instagram.com/michaelshrieve/ Instagram https://bandcamp.com/michaelshrieve Michael Shrieve Bandcamp https://7dmedia.com/ 7D Media DISCOGRAPHY SOLO PROJECTS Transfer Station Blue - Michael Shrieve (1984) Big Picture - Michael Shrieve, David Beal (1989) with Klaus Schulze and Kevin Shrieve Stiletto - Michael Shrieve (1989) with Mark Isham, David Torn, Andy Summers and Terje Gevelt The Leaving Time - Michael Shrieve (1989) with Steve Roach Two Doors - Michael Shrieve (1996) with Jonas Hellborg and Shawn Lane Fascination - Michael Shrieve (2001) with Bill Frisell and Wayne Horvitz Drums of Compassion – (2006) with Jeff Greinke, Jack DeJohnette, Zakir Hussain and Airto Moriera SANTANA Santana (1969) Abraxas (1970) Santana III (1971) Caravanserai (1972) Love Devotion and Surrender (1973) - John McLaughlin, Carlos Santana Welcome (1973) Lotus (1974) Borboletta (1974) Santana's Greatest Hits (1974) Viva Santana! [Columbia/Sony] (1988) Abraxas (Gold Remaster) (1991) Dance of the Rainbow Serpent (1995) Abraxas (1998) Santana [Japan Bonus Tracks] (1998) Santana III [Japan Bonus Tracks] (1998) Santana III (Remastered) (2000) Best of Santana, Vol. 2 (2000) Abraxas (Remastered) (2000) Divine Light - Love Devotion Surrender [Bill Laswell Remix] (2001) Essential Santana (2002) Shaman (2002) Caravanserai (Remastered) (2003) Love Devotion Surrender [Bonus Tracks] (2003) Santana: Legacy Edition [Bonus CD] (2004) COLLABORATIONS Automatic Man (1976) Go (1976) with Stomu Yamash'ta, Steve Winwood, Klaus Schulze Go Live From Paris - (1976) with Stomu Yamash'ta, Steve Winwood, Klaus Schulze, Al Dimeola Go Too - (1977) with Stomu Yamashta Novo Combo (1980) Animation Generation - Novo Combo (1982) Through the Fire - Hagar Schon Arronson Shrieve (1984) Abraxas Pool (1997) Oracle - [exclusive at iTunes] (2005) with Amon Tobin DRUMMER / PERCUSSIONIST David Crosby - If Only I Could Remember My Name (1971) with Neil Young, Joni Mitchell, Jerry Garcia Luis Gasca - For Those Who Chant (1972) Mill Valley - Bunch Casting Pearls(1972) with Michael Bloomfield and Nick Gravenites Wilding - Bonus: Pleasure Signals (1978) Mickie D's Unicorn (1979) Time Actor: Klaus Schultze and Richard Wahnfried (1979) The Rolling Stones - Emotional Rescue (1980) Pat Travers - Crash and Burn (1980) Rolling Stones - Tattoo You (1981) Pat Travers - Radio Active (1981) Klaus Schulze - Trancefer (1981) Jefferson Airplane Loves You (1982) Klaus Schulze - Audentity (1983) Mickie D's Unicorn - Turn on the Music Machine (1983) Klaus Schulze - Richard Wahnfried Plays Megatone (1984) Roger Hodgson - In the Eye of The Storm (1984) Rolling Stones - Rewind (1984) Mick Jagger - She's the Boss (1985) Porky's Revenge! - Original Soundtrack (1985) with Dave Edmunds and George Harrison Bob Moses - The Story of Moses (1987) Brian Slawson - Distant Drums (1988) Marty Fogel - Many Bobbing Heads, at Last... (1989) Freddie Hubbard - Times Are Changin' (1989) Jill Sobule - Things Here Are Different (1990) Klaus Schulze - Drive Inn, Vol. 2 Rainer Bloss (1990) Marley's Ghost How Can I Keep From Singing: Gospel (1991) Robert Gordon - All for the Love of Rock 'N' Roll (1994) Zucchero - Miserere (1994) Jim Carroll - World Without Gravity: The Best of the Jim Carroll Band (1994) Steve Winwood - The Finer Things (1995) McKinley - Big Top Shop Talk (1998) Octave of the Holy Innocents (1995) with Jonas Hellborg and Buckethead Robert Gordon - All for the Good of Rock and Roll (1994) David Torn - Collection (1998) Klaus Schulze - Trancefer/Dig It (1999) Alan Merrill - Merrilly Christmas (2001) Shawn Smith - Shield of Thorns 2003 Octave Of The Holy Innocents - Remix (2004) with Jonas Hellborg and Buckethead Pistol Star - Crawl (2004) PRODUCER Santana III (1971) Santana - Caravanserai (1972) Santana - Welcome (1973) Santana - Borboletta (1974) Michael Shrieve - Transfer Station Blue (1984) Michael Shrieve and David Beal - The Big Picture (1989) Michael Shrieve - Stiletto (1989) Michael Shrieve with Steve Roach The Leaving Time (1989) Rumors of the Big Wave - Burning Times (1991) Brothers of the Baladi - Eye of the World (1994) Michael Shrieve - Two Doors (1996) Abraxas Pool - Abraxas Pool (1997) F-5 - Dodging the Dream Killers (1998) Brothers Of The Baladi - Heart of the Beast (1998) Douglas September - Ten Bulls (1998) Bill Frisell - with Elvin Jones and Dave Holland (2001) Fascination - Michael Shrieve (2001) Santana - Aye Aye Aye (2003) New Monsoon - The Sound (2005) AriSawkaDoria (2006) Ruby Dee and The Snakehandlers (2006) COMPILATIONS Novus Sampler (1988) Big Bang: In the Beginning Was a Drum (1994) All Day Thumbsucker Revisited (1995) New Spirits in Jazz (1996) New Spirits in Jazz, Pt. 2 (1997) Guitar Zone (1998) World of Drums & Percussion (1998) Rock: Train Kept a Rollin' (1999) World of Drums And Percussion, Vol. 2 (2000) Miniatures, Vol. 2 (2000) Ritmo de la Noche / Rhythm of the Night: The Very Best of Latin Jazz (2002) Story of the Blues [Sony] (2003) Mojo Presents (Can) (2004) Soul to Soul, DVD & CD [Rhino] (2004) Blue Note Plays Sting / Various (2005) FILM & TELEVISION COMPOSITIONS Tempest (1982) Film, directed by Paul Mazursky Children of Time Square (1986) Television, directed by Curtis Hanson Return (1986) The Bedroom Window (1987) Film, directed by Curtis Hanson Blue Movies (1988) American Chronicles (1990) Television, directed by David Lynch The Take (1990) Crossing the Bridge (1992) FILM APPEARANCES Woodstock (1970) Gimme Shelter (1970) Stamping Ground (1970) Fillmore (1972) Soul to Soul (2004) Featuring the 1971 music celebration in Ghana, West Africa. Performers: Wilson Pickett, Ike and Tina Turner, Les McCann and Eddie Harris, The Staple Singers, Voices of East Harlem, Santana A Night at the Family Dog (2005) Featuring a 1970 concert Support us on PayPal!

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Episode 814: Whole 'Nuther Thing March 22, 2024

Play Episode Listen Later Mar 22, 2024 121:51

"Are you going to Scarborough Fair:Parsley, sage, rosemary and thyme.Remember me to one who lives there.She once was a true love of mine."Spring always reminds of the beauty of this song, please join me on our 1st Spring show of 2024 at Midnight on the Red Eye Edition of Whole 'Nuther Thing. Joining us this Morning are Bruce Cockburn, XTC, Dire Straits, Spirit, The Grass Roots, Yes, Tears For Fears, Beatles, Al Kooper w Michael Bloomfield, The Association, Van Morrison, William Ackerman, ELO, Steve Miller Band, Bee Gees, Tommy James & The Shondells, Love, Rolling Stones, The Guess Who, Paul Butterfield Blues Band, Ben Sidran, Colwell Winfield Blues Band, Steely Dan and Simon & Garfunkel.

Episode 812: Whole 'Nuther Thing March 16, 2024

Follow Your Dream - Music And Much More!

Play Episode Listen Later Mar 17, 2024 120:59

"Spent some time feelin' inferior, Standing in front of my mirrorCombed my hair in a thousand waysBut I came out looking just the sameDaddy said, "Son, you better see the worldI wouldn't blame you if you wanted to leaveBut remember one thing don't lose your headTo a woman that'll spend your bread"So I got out, wooEvery picture tells a story, don't itEvery picture tells a story, don't it"Yes it does, please join me as I paint from a palate spanning 7 decades. Joining us are Deep Purple, Yes,, The Wallflowers, Tom Petty, Steely Dan, Stanley Clarke, Red House Painters, [Vanilla Fudge](https://www.facebook.com/VanillaFudgeOfficialSite?__cft__[0]=AZV-LGd5dD5qHM0o4k2zucx1NNlKHYygjtKmBofblvXoaIIZeE4PHWO5EDSpF8nV4UMk5QYZ7B9wSpzlgBX9aoOVIQ0r6uOJtfwl93dFRnKcjw&__tn__=-]K-R), Billy Cobham, The Faces, Buddy Miles, Roxy Music, Rickie Lee Jones, Al Kooper w Michael Bloomfield, Stevie Wonder, Sly & The Family Stone, Rolling Stones, and Rod Stewart...

Al Kooper - Music Superstar. Blood Sweat & Tears. The Blues Project. Super Session. Dylan's "Like A Rolling Stone". The Stones. George Harrison. Lynyrd Skynyrd. "This Diamond Ring"!

Play Episode Listen Later Jan 15, 2024 45:21

Al Kooper is a true Superstar of rock music. He was a member of The Blues Project. He founded Blood Sweat & Tears. He recorded Super Session with Michael Bloomfield and Stephen Stills. He played the iconic organ part on Bob Dylan's “Like A Rolling Stone”. He played the memorable french horn introduction and piano on the Rolling Stones' “You Can't Always Get What You Want”. He discovered and produced Lynyrd Skynrd. He co-wrote “This Diamond Ring”, the #1 hit for Gary Lewis and the Playboys. And he was just inducted into the Rock and Roll Hall of Fame. My featured song is “The Captain Of Her Heart”, the reimagined cover of the song by Double from the album Play by my band Project Grand Slam. Spotify link. ---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“MILES BEHIND”, Robert's first album, was recorded in 1994 but was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------‘THE SINGLES PROJECT” is Robert's new EP, featuring five of his new songs. The songs speak to the ups and downs of life. From the blissful, joyous “Saturday Morning” to the darker commentary of “Like Never Before” and “The Ship”. “This is Robert at his most vulnerable” (Pop Icon Magazine)Reviews: “Amazing!” (Top Buzz Magazine)“Magical…A Sonic Tour De Force!” (IndiePulse Music)“Fabulously Enticing!” (Pop Icon Magazine)“A Home Run!” (Hollywood Digest)Listener Reviews:Saturday Morning:”A neat and simply happy song!””It's so cute and fun. It's describing a world I wish I lived in every day!”Like Never Before:”Great message!””Great song, very perceptive lyrics!”Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with Al:www.alkooper.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comPGS Store - www.thePGSstore.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Leo Schumaker's "Bluesland" music podcast Dec. 28, 2023.

Leo's "Bluesland"

Play Episode Listen Later Dec 30, 2023 119:10

Here is some fine music for your listening pleasure. Music included- Al Kooper, Stephen Stills and Michael Bloomfield, Big Mama Thorton, Janis Joplin, Baby Cakes, Howlin' Wolf, Sister Rosetta Tharpe, Ruthie Foster and more. Thanks for listening. See you on the radio live next Thursday 7-9 PM on KMRE 88.3 FM.

Episode 775: Whole 'Nuther Thing December 16, 2023

rain animals nirvana elton john pearl jam umbrella jean luc jeff beck humble pie fleetwood eric burdon robin trower ten years after al kooper savoy brown paul butterfield blues band terry reid michael bloomfield kxfm

Play Episode Listen Later Dec 17, 2023 119:21

"Yesterday I was a young man searching for my wayNot knowing what I wanted living life from day to day, yeahTill she came along, there was nothing but an empty spaceNot a trace, feels like coloured rain, tastes like coloured rainBring down coloured rain. rain, oh yeah"There's no Rain in the forecast until Monday so no Umbrella's needed for the Saturday Edition of Whole 'Nuther Thing on KXFM 104.7. Joining us are Jean Luc ponty, Robin Trower, The Paul Butterfield Blues Band, Fleetwood mac, Savoy Brown, Elton John, Nirvana, Humble Pie, Jeff Beck, Pearl Jam, Ten Years After, Al Kooper w Michael Bloomfield, Free, Terry Reid and Eric Burdon & The Animals...

Episode 762: Whole 'Nuther Thing November 17, 2023

band weight covers aretha franklin staples joe cocker cover me michael bloomfield

Play Episode Listen Later Nov 17, 2023 121:49

"You know that old trees just grow stronger,And old rivers grow wilder every day.Old people just grow lonesomeWaiting for someone to say, "Hello in there, hello."Please say Hello and join me on this week's Red Eye Edition of Whole 'Nuther Thing". Joining us are Father John Misty, Laurence Juber, Nick Drake, Laura Nyro, Boz Scaggs, Dusty Springfield, Kenny Rankin, Dave Mason, Rickie Lee Jones, Bob Dylan, Glen Campbell, The Decemberists, Beatles, America, Johnny Rivers, Kenny Loggins, The Cars, Youngbloods, Grateful Dead, Al Kooper w Michael Bloomfield, Linda Ronstadt, Ten YearsAfter, Brian Auger & Julie Driscoll, Dion and John Prine...

The Weight - The Band

Cover Me

Play Episode Listen Later Sep 19, 2023 96:53

The Cover Me episode. Covers by: Aretha Franklin, Al Cooper and Michael Bloomfield, Velvet Night, The Band and The Staples, Joe Cocker, Solala Tidal playlist here

Episode 167: “The Weight” by The Band

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Aug 14, 2023

Episode one hundred and sixty-seven of A History of Rock Music in Five Hundred Songs looks at “The Weight" by the Band, the Basement Tapes, and the continuing controversy over Dylan going electric. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "S.F. Sorrow is Born" by the Pretty Things. 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/ Also, a one-time request here -- Shawn Taylor, who runs the Facebook group for the podcast and is an old and dear friend of mine, has stage-three lung cancer. I will be hugely grateful to anyone who donates to the GoFundMe for her treatment. Errata At one point I say "when Robertson and Helm travelled to the Brill Building". I meant "when Hawkins and Helm". This is fixed in the transcript but not the recording. Resources There are three Mixcloud mixes this time. As there are so many songs by Bob Dylan and the Band excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two, three. I've used these books for all the episodes involving Dylan: Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald, which is recommended, as all Wald's books are. Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. Information on Tiny Tim comes from Eternal Troubadour: The Improbable Life of Tiny Tim by Justin Martell. Information on John Cage comes from The Roaring Silence by David Revill Information on Woodstock comes from Small Town Talk by Barney Hoskyns. For material on the Basement Tapes, I've used Million Dollar Bash by Sid Griffin. And for the Band, I've used This Wheel's on Fire by Levon Helm with Stephen Davis, Testimony by Robbie Robertson, The Band by Craig Harris and Levon by Sandra B Tooze. I've also referred to the documentaries No Direction Home and Once Were Brothers. The complete Basement Tapes can be found on this multi-disc box set, while this double-CD version has the best material from the sessions. All the surviving live recordings by Dylan and the Hawks from 1966 are on this box set. There are various deluxe versions of Music From Big Pink, but still the best way to get the original album is in this twofer CD with the Band's second album. Transcript Just a brief note before I start – literally while I was in the middle of recording this episode, it was announced that Robbie Robertson had died today, aged eighty. Obviously I've not had time to alter the rest of the episode – half of which had already been edited – with that in mind, though I don't believe I say anything disrespectful to his memory. My condolences to those who loved him – he was a huge talent and will be missed. There are people in the world who question the function of criticism. Those people argue that criticism is in many ways parasitic. If critics knew what they were talking about, so the argument goes, they would create themselves, rather than talk about other people's creation. It's a variant of the "those who can't, teach" cliche. And to an extent it's true. Certainly in the world of rock music, which we're talking about in this podcast, most critics are quite staggeringly ignorant of the things they're talking about. Most criticism is ephemeral, published in newspapers, magazines, blogs and podcasts, and forgotten as soon as it has been consumed -- and consumed is the word . But sometimes, just sometimes, a critic will have an effect on the world that is at least as important as that of any of the artists they criticise. One such critic was John Ruskin. Ruskin was one of the preeminent critics of visual art in the Victorian era, particularly specialising in painting and architecture, and he passionately advocated for a form of art that would be truthful, plain, and honest. To Ruskin's mind, many artists of the past, and of his time, drew and painted, not what they saw with their own eyes, but what other people expected them to paint. They replaced true observation of nature with the regurgitation of ever-more-mannered and formalised cliches. His attacks on many great artists were, in essence, the same critiques that are currently brought against AI art apps -- they're just recycling and plagiarising what other people had already done, not seeing with their own eyes and creating from their own vision. Ruskin was an artist himself, but never received much acclaim for his own work. Rather, he advocated for the works of others, like Turner and the pre-Raphaelite school -- the latter of whom were influenced by Ruskin, even as he admired them for seeing with their own vision rather than just repeating influences from others. But those weren't the only people Ruskin influenced. Because any critical project, properly understood, becomes about more than just the art -- as if art is just anything. Ruskin, for example, studied geology, because if you're going to talk about how people should paint landscapes and what those landscapes look like, you need to understand what landscapes really do look like, which means understanding their formation. He understood that art of the kind he wanted could only be produced by certain types of people, and so society had to be organised in a way to produce such people. Some types of societal organisation lead to some kinds of thinking and creation, and to properly, honestly, understand one branch of human thought means at least to attempt to understand all of them. Opinions about art have moral consequences, and morality has political and economic consequences. The inevitable endpoint of any theory of art is, ultimately, a theory of society. And Ruskin had a theory of society, and social organisation. Ruskin's views are too complex to summarise here, but they were a kind of anarcho-primitivist collectivism. He believed that wealth was evil, and that the classical liberal economics of people like Mill was fundamentally anti-human, that the division of labour alienated people from their work. In Ruskin's ideal world, people would gather in communities no bigger than villages, and work as craftspeople, working with nature rather than trying to bend nature to their will. They would be collectives, with none richer or poorer than any other, and working the land without modern technology. in the first half of the twentieth century, in particular, Ruskin's influence was *everywhere*. His writings on art inspired the Impressionist movement, but his political and economic ideas were the most influential, right across the political spectrum. Ruskin's ideas were closest to Christian socialism, and he did indeed inspire many socialist parties -- most of the founders of Britain's Labour Party were admirers of Ruskin and influenced by his ideas, particularly his opposition to the free market. But he inspired many other people -- Gandhi talked about the profound influence that Ruskin had on him, saying in his autobiography that he got three lessons from Ruskin's Unto This Last: "That 1) the good of the individual is contained in the good of all. 2) a lawyer's work has the same value as the barber's in as much as all have the same right of earning their livelihood from their work. 3) a life of labour, i.e., the life of the tiller of the soil and the handicraftsman is the life worth living. The first of these I knew. The second I had dimly realized. The third had never occurred to me. Unto This Last made it clear as daylight for me that the second and third were contained in the first. I arose with the dawn, ready to reduce these principles to practice" Gandhi translated and paraphrased Unto this Last into Gujurati and called the resulting book Sarvodaya (meaning "uplifting all" or "the welfare of all") which he later took as the name of his own political philosophy. But Ruskin also had a more pernicious influence -- it was said in 1930s Germany that he and his friend Thomas Carlyle were "the first National Socialists" -- there's no evidence I know of that Hitler ever read Ruskin, but a *lot* of Nazi rhetoric is implicit in Ruskin's writing, particularly in his opposition to progress (he even opposed the bicycle as being too much inhuman interference with nature), just as much as more admirable philosophies, and he was so widely read in the late nineteenth and early twentieth centuries that there's barely a political movement anywhere that didn't bear his fingerprints. But of course, our focus here is on music. And Ruskin had an influence on that, too. We've talked in several episodes, most recently the one on the Velvet Underground, about John Cage's piece 4'33. What I didn't mention in any of the discussions of that piece -- because I was saving it for here -- is that that piece was premiered at a small concert hall in upstate New York. The hall, the Maverick Concert Hall, was owned and run by the Maverick arts and crafts collective -- a collective that were so called because they were the *second* Ruskinite arts colony in the area, having split off from the Byrdcliffe colony after a dispute between its three founders, all of whom were disciples of Ruskin, and all of whom disagreed violently about how to implement Ruskin's ideas of pacifist all-for-one and one-for-all community. These arts colonies, and others that grew up around them like the Arts Students League were the thriving centre of a Bohemian community -- close enough to New York that you could get there if you needed to, far enough away that you could live out your pastoral fantasies, and artists of all types flocked there -- Pete Seeger met his wife there, and his father-in-law had been one of the stonemasons who helped build the Maverick concert hall. Dozens of artists in all sorts of areas, from Aaron Copland to Edward G Robinson, spent time in these communities, as did Cage. Of course, while these arts and crafts communities had a reputation for Bohemianism and artistic extremism, even radical utopian artists have their limits, and legend has it that the premiere of 4'33 was met with horror and derision, and eventually led to one artist in the audience standing up and calling on the residents of the town around which these artistic colonies had agglomerated: “Good people of Woodstock, let's drive these people out of town.” [Excerpt: The Band, "The Weight"] Ronnie Hawkins was almost born to make music. We heard back in the episode on "Suzie Q" in 2019 about his family and their ties to music. Ronnie's uncle Del was, according to most of the sources on the family, a member of the Sons of the Pioneers -- though as I point out in that episode, his name isn't on any of the official lists of group members, but he might well have performed with them at some point in the early years of the group. And he was definitely a country music bass player, even if he *wasn't* in the most popular country and western group of the thirties and forties. And Del had had two sons, Jerry, who made some minor rockabilly records: [Excerpt: Jerry Hawkins, "Swing, Daddy, Swing"] And Del junior, who as we heard in the "Susie Q" episode became known as Dale Hawkins and made one of the most important rock records of the fifties: [Excerpt: Dale Hawkins, "Susie Q"] Ronnie Hawkins was around the same age as his cousins, and was in awe of his country-music star uncle. Hawkins later remembered that after his uncle moved to Califormia to become a star “He'd come home for a week or two, driving a brand new Cadillac and wearing brand new clothes and I knew that's what I wanted to be." Though he also remembered “He spent every penny he made on whiskey, and he was divorced because he was running around with all sorts of women. His wife left Arkansas and went to Louisiana.” Hawkins knew that he wanted to be a music star like his uncle, and he started performing at local fairs and other events from the age of eleven, including one performance where he substituted for Hank Williams -- Williams was so drunk that day he couldn't perform, and so his backing band asked volunteers from the audience to get up and sing with them, and Hawkins sang Burl Ives and minstrel-show songs with the band. He said later “Even back then I knew that every important white cat—Al Jolson, Stephen Foster—they all did it by copying blacks. Even Hank Williams learned all the stuff he had from those black cats in Alabama. Elvis Presley copied black music; that's all that Elvis did.” As well as being a performer from an early age, though, Hawkins was also an entrepreneur with an eye for how to make money. From the age of fourteen he started running liquor -- not moonshine, he would always point out, but something far safer. He lived only a few miles from the border between Missouri and Arkansas, and alcohol and tobacco were about half the price in Missouri that they were in Arkansas, so he'd drive across the border, load up on whisky and cigarettes, and drive back and sell them at a profit, which he then used to buy shares in several nightclubs, which he and his bands would perform in in later years. Like every man of his generation, Hawkins had to do six months in the Army, and it was there that he joined his first ever full-time band, the Blackhawks -- so called because his name was Hawkins, and the rest of the group were Black, though Hawkins was white. They got together when the other four members were performing at a club in the area where Hawkins was stationed, and he was so impressed with their music that he jumped on stage and started singing with them. He said later “It sounded like something between the blues and rockabilly. It sort of leaned in both directions at the same time, me being a hayseed and those guys playing a lot funkier." As he put it "I wanted to sound like Bobby ‘Blue' Bland but it came out sounding like Ernest Tubb.” Word got around about the Blackhawks, both that they were a great-sounding rock and roll band and that they were an integrated band at a time when that was extremely unpopular in the southern states, and when Hawkins was discharged from the Army he got a call from Sam Phillips at Sun Records. According to Hawkins a group of the regular Sun session musicians were planning on forming a band, and he was asked to front the band for a hundred dollars a week, but by the time he got there the band had fallen apart. This doesn't precisely line up with anything else I know about Sun, though it perhaps makes sense if Hawkins was being asked to front the band who had variously backed Billy Lee Riley and Jerry Lee Lewis after one of Riley's occasional threats to leave the label. More likely though, he told everyone he knew that he had a deal with Sun but Phillips was unimpressed with the demos he cut there, and Hawkins made up the story to stop himself losing face. One of the session players for Sun, though, Luke Paulman, who played in Conway Twitty's band among others, *was* impressed with Hawkins though, and suggested that they form a band together with Paulman's bass player brother George and piano-playing cousin Pop Jones. The Paulman brothers and Jones also came from Arkansas, but they specifically came from Helena, Arkansas, the town from which King Biscuit Time was broadcast. King Biscuit Time was the most important blues radio show in the US at that time -- a short lunchtime programme which featured live performances from a house band which varied over the years, but which in the 1940s had been led by Sonny Boy Williamson II, and featured Robert Jr. Lockwood, Robert Johnson's stepson, on guiitar: [Excerpt: Sonny Boy Williamson II "Eyesight to the Blind (King Biscuit Time)"] The band also included a drummer, "Peck" Curtis, and that drummer was the biggest inspiration for a young white man from the town named Levon Helm. Helm had first been inspired to make music after seeing Bill Monroe and his Blue Grass Boys play live when Helm was eight, and he had soon taken up first the harmonica, then the guitar, then the drums, becoming excellent at all of them. Even as a child he knew that he didn't want to be a farmer like his family, and that music was, as he put it, "the only way to get off that stinking tractor and out of that one hundred and five degree heat.” Sonny Boy Williamson and the King Biscuit Boys would perform in the open air in Marvell, Arkansas, where Helm was growing up, on Saturdays, and Helm watched them regularly as a small child, and became particularly interested in the drumming. “As good as the band sounded,” he said later “it seemed that [Peck] was definitely having the most fun. I locked into the drums at that point. Later, I heard Jack Nance, Conway Twitty's drummer, and all the great drummers in Memphis—Jimmy Van Eaton, Al Jackson, and Willie Hall—the Chicago boys (Fred Belew and Clifton James) and the people at Sun Records and Vee-Jay, but most of my style was based on Peck and Sonny Boy—the Delta blues style with the shuffle. Through the years, I've quickened the pace to a more rock-and-roll meter and time frame, but it still bases itself back to Peck, Sonny Boy Williamson, and the King Biscuit Boys.” Helm had played with another band that George Paulman had played in, and he was invited to join the fledgling band Hawkins was putting together, called for the moment the Sun Records Quartet. The group played some of the clubs Hawkins had business connections in, but they had other plans -- Conway Twitty had recently played Toronto, and had told Luke Paulman about how desperate the Canadians were for American rock and roll music. Twitty's agent Harold Kudlets booked the group in to a Toronto club, Le Coq D'Or, and soon the group were alternating between residencies in clubs in the Deep South, where they were just another rockabilly band, albeit one of the better ones, and in Canada, where they became the most popular band in Ontario, and became the nucleus of an entire musical scene -- the same scene from which, a few years later, people like Neil Young would emerge. George Paulman didn't remain long in the group -- he was apparently getting drunk, and also he was a double-bass player, at a time when the electric bass was becoming the in thing. And this is the best place to mention this, but there are several discrepancies in the various accounts of which band members were in Hawkins' band at which times, and who played on what session. They all *broadly* follow the same lines, but none of them are fully reconcilable with each other, and nobody was paying enough attention to lineup shifts in a bar band between 1957 and 1964 to be absolutely certain who was right. I've tried to reconcile the various accounts as far as possible and make a coherent narrative, but some of the details of what follows may be wrong, though the broad strokes are correct. For much of their first period in Ontario, the group had no bass player at all, relying on Jones' piano to fill in the bass parts, and on their first recording, a version of "Bo Diddley", they actually got the club's manager to play bass with them: [Excerpt: Ronnie Hawkins, "Hey Bo Diddley"] That is claimed to be the first rock and roll record made in Canada, though as everyone who has listened to this podcast knows, there's no first anything. It wasn't released as by the Sun Records Quartet though -- the band had presumably realised that that name would make them much less attractive to other labels, and so by this point the Sun Records Quartet had become Ronnie Hawkins and the Hawks. "Hey Bo Diddley" was released on a small Canadian label and didn't have any success, but the group carried on performing live, travelling back down to Arkansas for a while and getting a new bass player, Lefty Evans, who had been playing in the same pool of musicians as them, having been another Sun session player who had been in Conway Twitty's band, and had written Twitty's "Why Can't I Get Through to You": [Excerpt: Conway Twitty, "Why Can't I Get Through to You"] The band were now popular enough in Canada that they were starting to get heard of in America, and through Kudlets they got a contract with Joe Glaser, a Mafia-connected booking agent who booked them into gigs on the Jersey Shore. As Helm said “Ronnie Hawkins had molded us into the wildest, fiercest, speed-driven bar band in America," and the group were apparently getting larger audiences in New Jersey than Sammy Davis Jr was, even though they hadn't released any records in the US. Or at least, they hadn't released any records in their own name in the US. There's a record on End Records by Rockin' Ronald and the Rebels which is very strongly rumoured to have been the Hawks under another name, though Hawkins always denied that. Have a listen for yourself and see what you think: [Excerpt: Rockin' Ronald and the Rebels, "Kansas City"] End Records, the label that was on, was one of the many record labels set up by George Goldner and distributed by Morris Levy, and when the group did release a record in their home country under their own name, it was on Levy's Roulette Records. An audition for Levy had been set up by Glaser's booking company, and Levy decided that given that Elvis was in the Army, there was a vacancy to be filled and Ronnie Hawkins might just fit the bill. Hawkins signed a contract with Levy, and it doesn't sound like he had much choice in the matter. Helm asked him “How long did you have to sign for?” and Hawkins replied "Life with an option" That said, unlike almost every other artist who interacted with Levy, Hawkins never had a bad word to say about him, at least in public, saying later “I don't care what Morris was supposed to have done, he looked after me and he believed in me. I even lived with him in his million-dollar apartment on the Upper East Side." The first single the group recorded for Roulette, a remake of Chuck Berry's "Thirty Days" retitled "Forty Days", didn't chart, but the follow-up, a version of Young Jessie's "Mary Lou", made number twenty-six on the charts: [Excerpt: Ronnie Hawkins and the Hawks, "Mary Lou"] While that was a cover of a Young Jessie record, the songwriting credits read Hawkins and Magill -- Magill was a pseudonym used by Morris Levy. Levy hoped to make Ronnie Hawkins into a really big star, but hit a snag. This was just the point where the payola scandal had hit and record companies were under criminal investigation for bribing DJs to play their records. This was the main method of promotion that Levy used, and this was so well known that Levy was, for a time, under more scrutiny than anyone. He couldn't risk paying anyone off, and so Hawkins' records didn't get the expected airplay. The group went through some lineup changes, too, bringing in guitarist Fred Carter (with Luke Paulman moving to rhythm and soon leaving altogether) from Hawkins' cousin Dale's band, and bass player Jimmy Evans. Some sources say that Jones quit around this time, too, though others say he was in the band for a while longer, and they had two keyboards (the other keyboard being supplied by Stan Szelest. As well as recording Ronnie Hawkins singles, the new lineup of the group also recorded one single with Carter on lead vocals, "My Heart Cries": [Excerpt: Fred Carter, "My Heart Cries"] While the group were now playing more shows in the USA, they were still playing regularly in Canada, and they had developed a huge fanbase there. One of these was a teenage guitarist called Robbie Robertson, who had become fascinated with the band after playing a support slot for them, and had started hanging round, trying to ingratiate himself with the band in the hope of being allowed to join. As he was a teenager, Hawkins thought he might have his finger on the pulse of the youth market, and when Hawkins and Helm travelled to the Brill Building to hear new songs for consideration for their next album, they brought Robertson along to listen to them and give his opinion. Robertson himself ended up contributing two songs to the album, titled Mr. Dynamo. According to Hawkins "we had a little time after the session, so I thought, Well, I'm just gonna put 'em down and see what happens. And they were released. Robbie was the songwriter for words, and Levon was good for arranging, making things fit in and all that stuff. He knew what to do, but he didn't write anything." The two songs in question were "Someone Like You" and "Hey Boba Lou": [Excerpt: Ronnie Hawkins and the Hawks, "Hey Boba Lou"] While Robertson was the sole writer of the songs, they were credited to Robertson, Hawkins, and Magill -- Morris Levy. As Robertson told the story later, “It's funny, when those songs came out and I got a copy of the album, it had another name on there besides my name for some writer like Morris Levy. So, I said to Ronnie, “There was nobody there writing these songs when I wrote these songs. Who is Morris Levy?” Ronnie just kinda tapped me on the head and said, “There are certain things about this business that you just let go and you don't question.” That was one of my early music industry lessons right there" Robertson desperately wanted to join the Hawks, but initially it was Robertson's bandmate Scott Cushnie who became the first Canadian to join the Hawks. But then when they were in Arkansas, Jimmy Evans decided he wasn't going to go back to Canada. So Hawkins called Robbie Robertson up and made him an offer. Robertson had to come down to Arkansas and get a couple of quick bass lessons from Helm (who could play pretty much every instrument to an acceptable standard, and so was by this point acting as the group's musical director, working out arrangements and leading them in rehearsals). Then Hawkins and Helm had to be elsewhere for a few weeks. If, when they got back, Robertson was good enough on bass, he had the job. If not, he didn't. Robertson accepted, but he nearly didn't get the gig after all. The place Hawkins and Helm had to be was Britain, where they were going to be promoting their latest single on Boy Meets Girls, the Jack Good TV series with Marty Wilde, which featured guitarist Joe Brown in the backing band: [Excerpt: Joe Brown, “Savage”] This was the same series that Eddie Cochran and Gene Vincent were regularly appearing on, and while they didn't appear on the episodes that Hawkins and Helm appeared on, they did appear on the episodes immediately before Hawkins and Helm's two appearances, and again a couple of weeks after, and were friendly with the musicians who did play with Hawkins and Helm, and apparently they all jammed together a few times. Hawkins was impressed enough with Joe Brown -- who at the time was considered the best guitarist on the British scene -- that he invited Brown to become a Hawk. Presumably if Brown had taken him up on the offer, he would have taken the spot that ended up being Robertson's, but Brown turned him down -- a decision he apparently later regretted. Robbie Robertson was now a Hawk, and he and Helm formed an immediate bond. As Helm much later put it, "It was me and Robbie against the world. Our mission, as we saw it, was to put together the best band in history". As rockabilly was by this point passe, Levy tried converting Hawkins into a folk artist, to see if he could get some of the Kingston Trio's audience. He recorded a protest song, "The Ballad of Caryl Chessman", protesting the then-forthcoming execution of Chessman (one of only a handful of people to be executed in the US in recent decades for non-lethal offences), and he made an album of folk tunes, The Folk Ballads of Ronnie Hawkins, which largely consisted of solo acoustic recordings, plus a handful of left-over Hawks recordings from a year or so earlier. That wasn't a success, but they also tried a follow-up, having Hawkins go country and do an album of Hank Williams songs, recorded in Nashville at Owen Bradley's Quonset hut. While many of the musicians on the album were Nashville A-Team players, Hawkins also insisted on having his own band members perform, much to the disgust of the producer, and so it's likely (not certain, because there seem to be various disagreements about what was recorded when) that that album features the first studio recordings with Levon Helm and Robbie Robertson playing together: [Excerpt: Ronnie Hawkins and the Hawks, "Your Cheatin' Heart"] Other sources claim that the only Hawk allowed to play on the album sessions was Helm, and that the rest of the musicians on the album were Harold Bradley and Hank Garland on guitar, Owen Bradley and Floyd Cramer on piano, Bob Moore on bass, and the Anita Kerr singers. I tend to trust Helm's recollection that the Hawks played at least some of the instruments though, because the source claiming that also seems to confuse the Hank Williams and Folk Ballads albums, and because I don't hear two pianos on the album. On the other hand, that *does* sound like Floyd Cramer on piano, and the tik-tok bass sound you'd get from having Harold Bradley play a baritone guitar while Bob Moore played a bass. So my best guess is that these sessions were like the Elvis sessions around the same time and with several of the same musicians, where Elvis' own backing musicians played rhythm parts but left the prominent instruments to the A-team players. Helm was singularly unimpressed with the experience of recording in Nashville. His strongest memory of the sessions was of another session going on in the same studio complex at the time -- Bobby "Blue" Bland was recording his classic single "Turn On Your Love Light", with the great drummer Jabo Starks on drums, and Helm was more interested in listening to that than he was in the music they were playing: [Excerpt: Bobby "Blue" Bland, "Turn On Your Love Light"] Incidentally, Helm talks about that recording being made "downstairs" from where the Hawks were recording, but also says that they were recording in Bradley's Quonset hut. Now, my understanding here *could* be very wrong -- I've been unable to find a plan or schematic anywhere -- but my understanding is that the Quonset hut was a single-level structure, not a multi-level structure. BUT the original recording facilities run by the Bradley brothers were in Owen Bradley's basement, before they moved into the larger Quonset hut facility in the back, so it's possible that Bland was recording that in the old basement studio. If so, that won't be the last recording made in a basement we hear this episode... Fred Carter decided during the Nashville sessions that he was going to leave the Hawks. As his son told the story: "Dad had discovered the session musicians there. He had no idea that you could play and make a living playing in studios and sleep in your own bed every night. By that point in his life, he'd already been gone from home and constantly on the road and in the service playing music for ten years so that appealed to him greatly. And Levon asked him, he said, “If you're gonna leave, Fred, I'd like you to get young Robbie over here up to speed on guitar”…[Robbie] got kind of aggravated with him—and Dad didn't say this with any malice—but by the end of that week, or whatever it was, Robbie made some kind of comment about “One day I'm gonna cut you.” And Dad said, “Well, if that's how you think about it, the lessons are over.” " (For those who don't know, a musician "cutting" another one is playing better than them, so much better that the worse musician has to concede defeat. For the remainder of Carter's notice in the Hawks, he played with his back to Robertson, refusing to look at him. Carter leaving the group caused some more shuffling of roles. For a while, Levon Helm -- who Hawkins always said was the best lead guitar player he ever worked with as well as the best drummer -- tried playing lead guitar while Robertson played rhythm and another member, Rebel Payne, played bass, but they couldn't find a drummer to replace Helm, who moved back onto the drums. Then they brought in Roy Buchanan, another guitarist who had been playing with Dale Hawkins, having started out playing with Johnny Otis' band. But Buchanan didn't fit with Hawkins' personality, and he quit after a few months, going off to record his own first solo record: [Excerpt: Roy Buchanan, "Mule Train Stomp"] Eventually they solved the lineup problem by having Robertson -- by this point an accomplished lead player --- move to lead guitar and bringing in a new rhythm player, another Canadian teenager named Rick Danko, who had originally been a lead player (and who also played mandolin and fiddle). Danko wasn't expected to stay on rhythm long though -- Rebel Payne was drinking a lot and missing being at home when he was out on the road, so Danko was brought in on the understanding that he was to learn Payne's bass parts and switch to bass when Payne quit. Helm and Robertson were unsure about Danko, and Robertson expressed that doubt, saying "He only knows four chords," to which Hawkins replied, "That's all right son. You can teach him four more the way we had to teach you." He proved himself by sheer hard work. As Hawkins put it “He practiced so much that his arms swoll up. He was hurting.” By the time Danko switched to bass, the group also had a baritone sax player, Jerry Penfound, which allowed the group to play more of the soul and R&B material that Helm and Robertson favoured, though Hawkins wasn't keen. This new lineup of the group (which also had Stan Szelest on piano) recorded Hawkins' next album. This one was produced by Henry Glover, the great record producer, songwriter, and trumpet player who had played with Lucky Millinder, produced Wynonie Harris, Hank Ballard, and Moon Mullican, and wrote "Drowning in My Own Tears", "The Peppermint Twist", and "California Sun". Glover was massively impressed with the band, especially Helm (with whom he would remain friends for the rest of his life) and set aside some studio time for them to cut some tracks without Hawkins, to be used as album filler, including a version of the Bobby "Blue" Bland song "Farther On Up the Road" with Helm on lead vocals: [Excerpt: Levon Helm and the Hawks, "Farther On Up the Road"] There were more changes on the way though. Stan Szelest was about to leave the band, and Jones had already left, so the group had no keyboard player. Hawkins had just the replacement for Szelest -- yet another Canadian teenager. This one was Richard Manuel, who played piano and sang in a band called The Rockin' Revols. Manuel was not the greatest piano player around -- he was an adequate player for simple rockabilly and R&B stuff, but hardly a virtuoso -- but he was an incredible singer, able to do a version of "Georgia on My Mind" which rivalled Ray Charles, and Hawkins had booked the Revols into his own small circuit of clubs around Arkanasas after being impressed with them on the same bill as the Hawks a couple of times. Hawkins wanted someone with a good voice because he was increasingly taking a back seat in performances. Hawkins was the bandleader and frontman, but he'd often given Helm a song or two to sing in the show, and as they were often playing for several hours a night, the more singers the band had the better. Soon, with Helm, Danko, and Manuel all in the group and able to take lead vocals, Hawkins would start missing entire shows, though he still got more money than any of his backing group. Hawkins was also a hard taskmaster, and wanted to have the best band around. He already had great musicians, but he wanted them to be *the best*. And all the musicians in his band were now much younger than him, with tons of natural talent, but untrained. What he needed was someone with proper training, someone who knew theory and technique. He'd been trying for a long time to get someone like that, but Garth Hudson had kept turning him down. Hudson was older than any of the Hawks, though younger than Hawkins, and he was a multi-instrumentalist who was far better than any other musician on the circuit, having trained in a conservatory and learned how to play Bach and Chopin before switching to rock and roll. He thought the Hawks were too loud sounding and played too hard for him, but Helm kept on at Hawkins to meet any demands Hudson had, and Hawkins eventually agreed to give Hudson a higher wage than any of the other band members, buy him a new Lowry organ, and give him an extra ten dollars a week to give the rest of the band music lessons. Hudson agreed, and the Hawks now had a lineup of Helm on drums, Robertson on guitar, Manuel on piano, Danko on bass, Hudson on organ and alto sax, and Penfound on baritone sax. But these new young musicians were beginning to wonder why they actually needed a frontman who didn't turn up to many of the gigs, kept most of the money, and fined them whenever they broke one of his increasingly stringent set of rules. Indeed, they wondered why they needed a frontman at all. They already had three singers -- and sometimes a fourth, a singer called Bruce Bruno who would sometimes sit in with them when Penfound was unable to make a gig. They went to see Harold Kudlets, who Hawkins had recently sacked as his manager, and asked him if he could get them gigs for the same amount of money as they'd been getting with Hawkins. Kudlets was astonished to find how little Hawkins had been paying them, and told them that would be no problem at all. They had no frontman any more -- and made it a rule in all their contracts that the word "sideman" would never be used -- but Helm had been the leader for contractual purposes, as the musical director and longest-serving member (Hawkins, as a non-playing singer, had never joined the Musicians' Union so couldn't be the leader on contracts). So the band that had been Ronnie Hawkins and the Hawks became the Levon Helm Sextet briefly -- but Penfound soon quit, and they became Levon and the Hawks. The Hawks really started to find their identity as their own band in 1964. They were already far more interested in playing soul than Hawkins had been, but they were also starting to get into playing soul *jazz*, especially after seeing the Cannonball Adderley Sextet play live: [Excerpt: Cannonball Adderley, "This Here"] What the group admired about the Adderley group more than anything else was a sense of restraint. Helm was particularly impressed with their drummer, Louie Hayes, and said of him "I got to see some great musicians over the years, and you see somebody like that play and you can tell, y' know, that the thing not to do is to just get it down on the floor and stomp the hell out of it!" The other influence they had, and one which would shape their sound even more, was a negative one. The two biggest bands on the charts at the time were the Beatles and the Beach Boys, and as Helm described it in his autobiography, the Hawks thought both bands' harmonies were "a blend of pale, homogenised, voices". He said "We felt we were better than the Beatles and the Beach Boys. We considered them our rivals, even though they'd never heard of us", and they decided to make their own harmonies sound as different as possible as a result. Where those groups emphasised a vocal blend, the Hawks were going to emphasise the *difference* in their voices in their own harmonies. The group were playing prestigious venues like the Peppermint Lounge, and while playing there they met up with John Hammond Jr, who they'd met previously in Canada. As you might remember from the first episode on Bob Dylan, Hammond Jr was the son of the John Hammond who we've talked about in many episodes, and was a blues musician in his own right. He invited Helm, Robertson, and Hudson to join the musicians, including Michael Bloomfield, who were playing on his new album, So Many Roads: [Excerpt: John P. Hammond, "Who Do You Love?"] That album was one of the inspirations that led Bob Dylan to start making electric rock music and to hire Bloomfield as his guitarist, decisions that would have profound implications for the Hawks. The first single the Hawks recorded for themselves after leaving Hawkins was produced by Henry Glover, and both sides were written by Robbie Robertson. "uh Uh Uh" shows the influence of the R&B bands they were listening to. What it reminds me most of is the material Ike and Tina Turner were playing at the time, but at points I think I can also hear the influence of Curtis Mayfield and Steve Cropper, who were rapidly becoming Robertson's favourite songwriters: [Excerpt: The Canadian Squires, "Uh Uh Uh"] None of the band were happy with that record, though. They'd played in the studio the same way they played live, trying to get a strong bass presence, but it just sounded bottom-heavy to them when they heard the record on a jukebox. That record was released as by The Canadian Squires -- according to Robertson, that was a name that the label imposed on them for the record, while according to Helm it was an alternative name they used so they could get bookings in places they'd only recently played, which didn't want the same band to play too often. One wonders if there was any confusion with the band Neil Young played in a year or so before that single... Around this time, the group also met up with Helm's old musical inspiration Sonny Boy Williamson II, who was impressed enough with them that there was some talk of them being his backing band (and it was in this meeting that Williamson apparently told Robertson "those English boys want to play the blues so bad, and they play the blues *so bad*", speaking of the bands who'd backed him in the UK, like the Yardbirds and the Animals). But sadly, Williamson died in May 1965 before any of these plans had time to come to fruition. Every opportunity for the group seemed to be closing up, even as they knew they were as good as any band around them. They had an offer from Aaron Schroeder, who ran Musicor Records but was more importantly a songwriter and publisher who had written for Elvis Presley and published Gene Pitney. Schroeder wanted to sign the Hawks as a band and Robertson as a songwriter, but Henry Glover looked over the contracts for them, and told them "If you sign this you'd better be able to pay each other, because nobody else is going to be paying you". What happened next is the subject of some controversy, because as these things tend to go, several people became aware of the Hawks at the same time, but it's generally considered that nothing would have happened the same way were it not for Mary Martin. Martin is a pivotal figure in music business history -- among other things she discovered Leonard Cohen and Gordon Lightfoot, managed Van Morrison, and signed Emmylou Harris to Warner Brothers records -- but a somewhat unknown one who doesn't even have a Wikipedia page. Martin was from Toronto, but had moved to New York, where she was working in Albert Grossman's office, but she still had many connections to Canadian musicians and kept an eye out for them. The group had sent demo tapes to Grossman's offices, and Grossman had had no interest in them, but Martin was a fan and kept pushing the group on Grossman and his associates. One of those associates, of course, was Grossman's client Bob Dylan. As we heard in the episode on "Like a Rolling Stone", Dylan had started making records with electric backing, with musicians who included Mike Bloomfield, who had played with several of the Hawks on the Hammond album, and Al Kooper, who was a friend of the band. Martin gave Richard Manuel a copy of Dylan's new electric album Highway 61 Revisited, and he enjoyed it, though the rest of the group were less impressed: [Excerpt: Bob Dylan, "Highway 61 Revisited"] Dylan had played the Newport Folk Festival with some of the same musicians as played on his records, but Bloomfield in particular was more interested in continuing to play with the Paul Butterfield Blues Band than continuing with Dylan long-term. Mary Martin kept telling Dylan about this Canadian band she knew who would be perfect for him, and various people associated with the Grossman organisation, including Hammond, have claimed to have been sent down to New Jersey where the Hawks were playing to check them out in their live setting. The group have also mentioned that someone who looked a lot like Dylan was seen at some of their shows. Eventually, Dylan phoned Helm up and made an offer. He didn't need a full band at the moment -- he had Harvey Brooks on bass and Al Kooper on keyboards -- but he did need a lead guitar player and drummer for a couple of gigs he'd already booked, one in Forest Hills, New York, and a bigger gig at the Hollywood Bowl. Helm, unfamiliar with Dylan's work, actually asked Howard Kudlets if Dylan was capable of filling the Hollywood Bowl. The musicians rehearsed together and got a set together for the shows. Robertson and Helm thought the band sounded terrible, but Dylan liked the sound they were getting a lot. The audience in Forest Hills agreed with the Hawks, rather than Dylan, or so it would appear. As we heard in the "Like a Rolling Stone" episode, Dylan's turn towards rock music was *hated* by the folk purists who saw him as some sort of traitor to the movement, a movement whose figurehead he had become without wanting to. There were fifteen thousand people in the audience, and they listened politely enough to the first set, which Dylan played acoustically, But before the second set -- his first ever full electric set, rather than the very abridged one at Newport -- he told the musicians “I don't know what it will be like out there It's going to be some kind of carnival and I want you to all know that up front. So go out there and keep playing no matter how weird it gets!” There's a terrible-quality audience recording of that show in circulation, and you can hear the crowd's reaction to the band and to the new material: [Excerpt: Bob Dylan, "Ballad of a Thin Man" (live Forest Hills 1965, audience noise only)] The audience also threw things at the musicians, knocking Al Kooper off his organ stool at one point. While Robertson remembered the Hollywood Bowl show as being an equally bad reaction, Helm remembered the audience there as being much more friendly, and the better-quality recording of that show seems to side with Helm: [Excerpt: Bob Dylan, "Maggie's Farm (live at the Hollywood Bowl 1965)"] After those two shows, Helm and Robertson went back to their regular gig. and in September they made another record. This one, again produced by Glover, was for Atlantic's Atco subsidiary, and was released as by Levon and the Hawks. Manuel took lead, and again both songs were written by Robertson: [Excerpt: Levon and the Hawks, "He Don't Love You (And He'll Break Your Heart)"] But again that record did nothing. Dylan was about to start his first full electric tour, and while Helm and Robertson had not thought the shows they'd played sounded particularly good, Dylan had, and he wanted the two of them to continue with him. But Robertson and, especially, Helm, were not interested in being someone's sidemen. They explained to Dylan that they already had a band -- Levon and the Hawks -- and he would take all of them or he would take none of them. Helm in particular had not been impressed with Dylan's music -- Helm was fundamentally an R&B fan, while Dylan's music was rooted in genres he had little time for -- but he was OK with doing it, so long as the entire band got to. As Mary Martin put it “I think that the wonderful and the splendid heart of the band, if you will, was Levon, and I think he really sort of said, ‘If it's just myself as drummer and Robbie…we're out. We don't want that. It's either us, the band, or nothing.' And you know what? Good for him.” Rather amazingly, Dylan agreed. When the band's residency in New Jersey finished, they headed back to Toronto to play some shows there, and Dylan flew up and rehearsed with them after each show. When the tour started, the billing was "Bob Dylan with Levon and the Hawks". That billing wasn't to last long. Dylan had been booked in for nine months of touring, and was also starting work on what would become widely considered the first double album in rock music history, Blonde on Blonde, and the original plan was that Levon and the Hawks would play with him throughout that time. The initial recording sessions for the album produced nothing suitable for release -- the closest was "I Wanna Be Your Lover", a semi-parody of the Beatles' "I Want to be Your Man": [Excerpt: Bob Dylan with Levon and the Hawks, "I Wanna Be Your Lover"] But shortly into the tour, Helm quit. The booing had continued, and had even got worse, and Helm simply wasn't in the business to be booed at every night. Also, his whole conception of music was that you dance to it, and nobody was dancing to any of this. Helm quit the band, only telling Robertson of his plans, and first went off to LA, where he met up with some musicians from Oklahoma who had enjoyed seeing the Hawks when they'd played that state and had since moved out West -- people like Leon Russell, J.J. Cale (not John Cale of the Velvet Underground, but the one who wrote "Cocaine" which Eric Clapton later had a hit with), and John Ware (who would later go on to join the West Coast Pop Art Experimental Band). They started loosely jamming with each other, sometimes also involving a young singer named Linda Ronstadt, but Helm eventually decided to give up music and go and work on an oil rig in New Orleans. Levon and the Hawks were now just the Hawks. The rest of the group soldiered on, replacing Helm with session drummer Bobby Gregg (who had played on Dylan's previous couple of albums, and had previously played with Sun Ra), and played on the initial sessions for Blonde on Blonde. But of those sessions, Dylan said a few weeks later "Oh, I was really down. I mean, in ten recording sessions, man, we didn't get one song ... It was the band. But you see, I didn't know that. I didn't want to think that" One track from the sessions did get released -- the non-album single "Can You Please Crawl Out Your Window?" [Excerpt: Bob Dylan, "Can You Please Crawl Out Your Window?"] There's some debate as to exactly who's playing drums on that -- Helm says in his autobiography that it's him, while the credits in the official CD releases tend to say it's Gregg. Either way, the track was an unexpected flop, not making the top forty in the US, though it made the top twenty in the UK. But the rest of the recordings with the now Helmless Hawks were less successful. Dylan was trying to get his new songs across, but this was a band who were used to playing raucous music for dancing, and so the attempts at more subtle songs didn't come off the way he wanted: [Excerpt: Bob Dylan and the Hawks, "Visions of Johanna (take 5, 11-30-1965)"] Only one track from those initial New York sessions made the album -- "One Of Us Must Know (Sooner or Later)" -- but even that only featured Robertson and Danko of the Hawks, with the rest of the instruments being played by session players: [Excerpt: Bob Dylan (One of Us Must Know (Sooner or Later)"] The Hawks were a great live band, but great live bands are not necessarily the same thing as a great studio band. And that's especially the case with someone like Dylan. Dylan was someone who was used to recording entirely on his own, and to making records *quickly*. In total, for his fifteen studio albums up to 1974's Blood on the Tracks, Dylan spent a total of eighty-six days in the studio -- by comparison, the Beatles spent over a hundred days in the studio just on the Sgt Pepper album. It's not that the Hawks weren't a good band -- very far from it -- but that studio recording requires a different type of discipline, and that's doubly the case when you're playing with an idiosyncratic player like Dylan. The Hawks would remain Dylan's live backing band, but he wouldn't put out a studio recording with them backing him until 1974. Instead, Bob Johnston, the producer Dylan was working with, suggested a different plan. On his previous album, the Nashville session player Charlie McCoy had guested on "Desolation Row" and Dylan had found him easy to work with. Johnston lived in Nashville, and suggested that they could get the album completed more quickly and to Dylan's liking by using Nashville A-Team musicians. Dylan agreed to try it, and for the rest of the album he had Robertson on lead guitar and Al Kooper on keyboards, but every other musician was a Nashville session player, and they managed to get Dylan's songs recorded quickly and the way he heard them in his head: [Excerpt: Bob Dylan, "Most Likely You Go Your Way and I'll Go Mine"] Though Dylan being Dylan he did try to introduce an element of randomness to the recordings by having the Nashville musicians swap their instruments around and play each other's parts on "Rainy Day Women #12 & 35", though the Nashville players were still competent enough that they managed to get a usable, if shambolic, track recorded that way in a single take: [Excerpt: Bob Dylan, "Rainy Day Women #12 & 35"] Dylan said later of the album "The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up." The album was released in late June 1966, a week before Freak Out! by the Mothers of Invention, another double album, produced by Dylan's old producer Tom Wilson, and a few weeks after Pet Sounds by the Beach Boys. Dylan was at the forefront of a new progressive movement in rock music, a movement that was tying thoughtful, intelligent lyrics to studio experimentation and yet somehow managing to have commercial success. And a month after Blonde on Blonde came out, he stepped away from that position, and would never fully return to it. The first half of 1966 was taken up with near-constant touring, with Dylan backed by the Hawks and a succession of fill-in drummers -- first Bobby Gregg, then Sandy Konikoff, then Mickey Jones. This tour started in the US and Canada, with breaks for recording the album, and then moved on to Australia and Europe. The shows always followed the same pattern. First Dylan would perform an acoustic set, solo, with just an acoustic guitar and harmonica, which would generally go down well with the audience -- though sometimes they would get restless, prompting a certain amount of resistance from the performer: [Excerpt: Bob Dylan, "Just Like a Woman (live Paris 1966)"] But the second half of each show was electric, and that was where the problems would arise. The Hawks were playing at the top of their game -- some truly stunning performances: [Excerpt: Bob Dylan and the Hawks, "Just Like Tom Thumb's Blues (live in Liverpool 1966)"] But while the majority of the audience was happy to hear the music, there was a vocal portion that were utterly furious at the change in Dylan's musical style. Most notoriously, there was the performance at Manchester Free Trade Hall where this happened: [Excerpt: Bob Dylan, "Like a Rolling Stone (live Manchester 1966)"] That kind of aggression from the audience had the effect of pushing the band on to greater heights a lot of the time -- and a bootleg of that show, mislabelled as the Royal Albert Hall, became one of the most legendary bootlegs in rock music history. Jimmy Page would apparently buy a copy of the bootleg every time he saw one, thinking it was the best album ever made. But while Dylan and the Hawks played defiantly, that kind of audience reaction gets wearing. As Dylan later said, “Judas, the most hated name in human history, and for what—for playing an electric guitar. As if that is in some kind of way equitable to betraying our Lord, and delivering him up to be crucified; all those evil mothers can rot in hell.” And this wasn't the only stress Dylan, in particular, was under. D.A. Pennebaker was making a documentary of the tour -- a follow-up to his documentary of the 1965 tour, which had not yet come out. Dylan talked about the 1965 documentary, Don't Look Back, as being Pennebaker's film of Dylan, but this was going to be Dylan's film, with him directing the director. That footage shows Dylan as nervy and anxious, and covering for the anxiety with a veneer of flippancy. Some of Dylan's behaviour on both tours is unpleasant in ways that can't easily be justified (and which he has later publicly regretted), but there's also a seeming cruelty to some of his interactions with the press and public that actually reads more as frustration. Over and over again he's asked questions -- about being the voice of a generation or the leader of a protest movement -- which are simply based on incorrect premises. When someone asks you a question like this, there are only a few options you can take, none of them good. You can dissect the question, revealing the incorrect premises, and then answer a different question that isn't what they asked, which isn't really an option at all given the kind of rapid-fire situation Dylan was in. You can answer the question as asked, which ends up being dishonest. Or you can be flip and dismissive, which is the tactic Dylan chose. Dylan wasn't the only one -- this is basically what the Beatles did at press conferences. But where the Beatles were a gang and so came off as being fun, Dylan doing the same thing came off as arrogant and aggressive. One of the most famous artifacts of the whole tour is a long piece of footage recorded for the documentary, with Dylan and John Lennon riding in the back of a taxi, both clearly deeply uncomfortable, trying to be funny and impress the other, but neither actually wanting to be there: [Excerpt Dylan and Lennon conversation] 33) Part of the reason Dylan wanted to go home was that he had a whole new lifestyle. Up until 1964 he had been very much a city person, but as he had grown more famous, he'd found New York stifling. Peter Yarrow of Peter, Paul, and Mary had a cabin in Woodstock, where he'd grown up, and after Dylan had spent a month there in summer 1964, he'd fallen in love with the area. Albert Grossman had also bought a home there, on Yarrow's advice, and had given Dylan free run of the place, and Dylan had decided he wanted to move there permanently and bought his own home there. He had also married, to Sara Lowndes (whose name is, as far as I can tell, pronounced "Sarah" even though it's spelled "Sara"), and she had given birth to his first child (and he had adopted her child from her previous marriage). Very little is actually known about Sara, who unlike many other partners of rock stars at this point seemed positively to detest the limelight, and whose privacy Dylan has continued to respect even after the end of their marriage in the late seventies, but it's apparent that the two were very much in love, and that Dylan wanted to be back with his wife and kids, in the country, not going from one strange city to another being asked insipid questions and having abuse screamed at him. He was also tired of the pressure to produce work constantly. He'd signed a contract for a novel, called Tarantula, which he'd written a draft of but was unhappy with, and he'd put out two single albums and a double-album in a little over a year -- all of them considered among the greatest albums ever made. He could only keep up this rate of production and performance with a large intake of speed, and he was sometimes staying up for four days straight to do so. After the European leg of the tour, Dylan was meant to take some time to finish overdubs on Blonde on Blonde, edit the film of the tour for a TV special, with his friend Howard Alk, and proof the galleys for Tarantula, before going on a second world tour in the autumn. That world tour never happened. Dylan was in a motorcycle accident near his home, and had to take time out to recover. There has been a lot of discussion as to how serious the accident actually was, because Dylan's manager Albert Grossman was known to threaten to break contracts by claiming his performers were sick, and because Dylan essentially disappeared from public view for the next eighteen months. Every possible interpretation of the events has been put about by someone, from Dylan having been close to death, to the entire story being put up as a fake. As Dylan is someone who is far more protective of his privacy than most rock stars, it's doubtful we'll ever know the precise truth, but putting together the various accounts Dylan's injuries were bad but not life-threatening, but they acted as a wake-up call -- if he carried on living like he had been, how much longer could he continue? in his sort-of autobiography, Chronicles, Dylan described this period, saying "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race. Having children changed my life and segregated me from just about everybody and everything that was going on. Outside of my family, nothing held any real interest for me and I was seeing everything through different glasses." All his forthcoming studio and tour dates were cancelled, and Dylan took the time out to recover, and to work on his film, Eat the Document. But it's clear that nobody was sure at first exactly how long Dylan's hiatus from touring was going to last. As it turned out, he wouldn't do another tour until the mid-seventies, and would barely even play any one-off gigs in the intervening time. But nobody knew that at the time, and so to be on the safe side the Hawks were being kept on a retainer. They'd always intended to work on their own music anyway -- they didn't just want to be anyone's backing band -- so they took this time to kick a few ideas around, but they were hamstrung by the fact that it was difficult to find rehearsal space in New York City, and they didn't have any gigs. Their main musical work in the few months between summer 1966 and spring 1967 was some recordings for the soundtrack of a film Peter Yarrow was making. You Are What You Eat is a bizarre hippie collage of a film, documenting the counterculture between 1966 when Yarrow started making it and 1968 when it came out. Carl Franzoni, one of the leaders of the LA freak movement that we've talked about in episodes on the Byrds, Love, and the Mothers of Invention, said of the film “If you ever see this movie you'll understand what ‘freaks' are. It'll let you see the L.A. freaks, the San Francisco freaks, and the New York freaks. It was like a documentary and it was about the makings of what freaks were about. And it had a philosophy, a very definite philosophy: that you are free-spirited, artistic." It's now most known for introducing the song "My Name is Jack" by John Simon, the film's music supervisor: [Excerpt: John Simon, "My Name is Jack"] That song would go on to be a top ten hit in the UK for Manfred Mann: [Excerpt: Manfred Mann, "My Name is Jack"] The Hawks contributed backing music for several songs for the film, in which they acted as backing band for another old Greenwich Village folkie who had been friends with Yarrow and Dylan but who was not yet the star he would soon become, Tiny Tim: [Excerpt: Tiny Tim, "Sonny Boy"] This was their first time playing together properly since the end of the European tour, and Sid Griffin has noted that these Tiny Tim sessions are the first time you can really hear the sound that the group would develop over the next year, and which would characterise them for their whole career. Robertson, Danko, and Manuel also did a session, not for the film with another of Grossman's discoveries, Carly Simon, playing a version of "Baby Let Me Follow You Down", a song they'd played a lot with Dylan on the tour that spring. That recording has never been released, and I've only managed to track down a brief clip of it from a BBC documentary, with Simon and an interviewer talking over most of the clip (so this won't be in the Mixcloud I put together of songs): [Excerpt: Carly Simon, "Baby Let Me Follow You Down"] That recording is notable though because as well as Robertson, Danko, and Manuel, and Dylan's regular studio keyboard players Al Kooper and Paul Griffin, it also features Levon Helm on drums, even though Helm had still not rejoined the band and was at the time mostly working in New Orleans. But his name's on the session log, so he must have m

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BEANIE Blues N Roots - Salty Dog (August 2023)

Salty Dog Blues N Roots Podcast

Play Episode Listen Later Aug 13, 2023 120:23

Salty Dog's BEANIE Podcast, August 2023 Visit: www.salty.com.au Get out ya beanie tone hounds, there a fine mess-o-tunes coming your way. Cuts from The Band, Rod Paine, Rick Holstrom, Ray Beadle, Jess Parker, Jason Isbell, Phil Manning, 8 Ball Aitken, Rodney Crowell, Michael Bloomfield, Elmore James, GA-20, Lisa Miller, Sara Tindley, John Gorka, Chris Smither, Neil Young, Delvon Lamarr, Harpo Walker, Voodoo Preachers, Dom Turner, Perry Keyes, Towwnes Van Zandt, Hazel Foucault, Stevie Ray Vaughan. TRACK / ARTIST / ALBUM ** Australia 1. Up On Crippled Creek / The Band / The Band 2. ** Slide Into The Bend / Rod Paine N Full Time Lovers / Dirt On Velvet 3. Lone Wolf / Rick Holstrom, Duke Logan / Twist-O-Lettz 4. ** Years Since Yesterday / Ray Beadle / Bound To Get The Blues 5. ** Rabbit / Jess Parker / Death Songs N Kitchen Spirituals 6. When We Were Close / Jason Isbell N 400 Unit / Weathervanes 7. ** Burnin' Low / Phil Manning / Out Of My Shed 8. ** Wading Through Muddy Water / 8 Ball Aitken / Ice Cream Man 2 9. Everything At Once / Rodney Crowell, Jeff Tweedy / The Chicago Sessions 10. Linda Lou / Michael Bloomfield / Live Chicago Blues 11. Mean Mistreatin' Mama / Elmore James / Memorial Album 12. Gone For Good / GA-20 / Crackdown 13. ** Wipe The Floor / Lisa Miller / As Far As Life Goes 14. ** Heart It Was A Desert / Sara Tindley / Lucky The Sun 15. The Gypsy Life / John Gorka / Temporary Road 16. Outside Inside / Chris Smither / The Songs of Billy Conway 17. Love and Only Love / Neil Young N Crazy Horse / Ragged Glory 18. Concussion / Delvon Lamarr Organ Trio / Close But No Cigar 19. ** Start Again / Harpo Walker / Bruised Heart Blues 20. ** Roadhouse / Paul Buchanan's Voodoo Preachers / Down Sellings Lane 21. ** Bad Weather / Dom Turner N Rural Blues Project / Sit Tight 22. ** Sunnyholt / Perry Keyes / Sunnyholt 23. Sanitarium Blues / Townes Van Zandt / A Far Cry From Dead 24. Trouble In Heaven / Hazel Foucault / The Songs of Billy Conway 25. Cold Shot / Stevie Ray Vaughan / Couldn't Stand The Weather

Episode 104: Leo Schumaker's "Bluesland" podcast from November 3, 2022 with special on Mike Bloomfield.

Leo's "Bluesland"

Play Episode Listen Later Nov 4, 2022 118:40

Leo Schumaker's "Bluesland" podcast from November 3, 2022 with a special on Mike Bloomfield.A salute to Mike Bloomfield American Guitar Master is featured on this music show with stories about Mike, whom I saw several times live, was a blues artist that is a major part of the our history of music. I play several songs that he was on with other artists and some of his own best. Buddy Guy, Joe Bonammasa, Albert Castigla, Alastair Greene, Johnny Sansone and more are presented for you listening pleasure. It's free. Just click on the link/picture.

blues buddy guy mike bloomfield schumaker albert castiglia michael bloomfield alastair greene bluesland

(When She Wants Good Lovin') My Baby Comes to Me

The 1937 Flood Watch Podcast

Play Episode Listen Later Aug 19, 2022 4:19

Many of us grew up listening to The Coasters, the iconic 1950s band that bridged the gap between doo-wop and R&B, that brought humor and sass to the birth of rock 'n' roll. Remember “Yakety Yak” and “Charlie Brown,” “Along Came Jones” and “Poison Ivy,” “Wake Me, Shake Me” and “Little Egypt”? But before any of those tunes topped the charts, it was a lesser known Coasters cut that grabbed us. Picture it: Hot summer, 1957, and into our shiny new transistor radios The Coasters came sashaying into our ears with a sexy little song that said, yeah, she may go to the baker for cake and to the butcher for steak, but when she wants good lovin'? …well! It was a winking and nodding Jerry Leiber-Mike Stoller composition called “(When She Wants Good Lovin') My Baby Comes to Me.”The song, a minor hit for The Coasters, was resurrected nine years later when a little known group called The Chicago Loop took a rendition of it to No. 37 on the Billboard Hot 100 chart. Rock trivia-lovers like to point out this disc because it features a young Michael Bloomfield on the guitar and Barry Goldberg on keyboards.But in the Floodisphere, we were much more impressed with a different pressing of the song released one year earlier. Favorite folksinger Tom Rush's 1965 self-titled debut Elektra album included a version of the tune, accompanied by bassist Bill Lee along with John Sebastian (of The Lovin' Spoonful) and Fritz Richmond (of The Jim Kweskin Jug Band.) Choosing the song was a rather bold move for Rush at a time when some music purists were trying — in vain — to keep the gap between rock and folk as wide as possible. In his liner notes, Tom pointed out that the song was released on the flip side of “Great Big Idol with the Golden Head,” adding, “I am a great admirer of The Coasters.”It was back in the 1970s that Dave Peyton, Rog Samples and Charlie Bowen started playing around with the song because it definitely had jug band vibe going on. Want to hear a fast and furious take from an August night in 1979 (with our buddy Jack Nuckols just killing it on the spoons)? Click the button below:After that, the song went back to sleep in our consciousness for, oh, a half century or so.Then last winter, Randy Hamilton started singing harmony with Charlie on the chorus and suddenly the song was back, evolving into a fine vehicle for cool solos by Danny Cox, Veezy Coffman and Sam St. Clair. Click here to hear the 2022 version of this early rock classic. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

babies rock picture rush fast and furious charlie brown lovin elektra poison ivy billboard hot spoonful coasters bill lee john sebastian good lovin tom rush chicago loop little egypt wake me barry goldberg danny cox shake me michael bloomfield jim kweskin jug band

258: RFR Rewind: The Blues of Michael Bloomfield & Paul Butterfield | A Match and Gasoline

Play Episode Listen Later Mar 10, 2022 9:36

Born in Chicago: The Blues of Michael Bloomfield and Paul Butterfield, is book signing, film clip viewing and panel discussion on the lives and artistry of guitarist Michael Bloomfield and harmonica player Paul Butterfield. From the late 1950s when, as teenagers, Bloomfield and Butterfield ventured into the black blues clubs on the South Side of Chicago to play with masters like Muddy Waters and Howlin' Wolf, both men were dedicated to the blues. With the formation of the Paul Butterfield Blues Band featuring the leader's brilliant harp work and Bloomfield's searing guitar sorties in the mid-1960s, the sound of raw, muscular electric blues reached a vast new audience and created a blues-rock revolution in American popular music. The induction of the Paul Butterfield Blues Band into the Rock ‘n' Roll Hall of Fame in 2015 recognized the game-changing music of these two Chicago innovators and their bandmates, Sam Lay, Jerome Arnold and Mark Naftalin. full episode here: https://open.spotify.com/show/61e24ZD5A3oBTxO36WHQXq?si=f29ae4137af0485a

Whole 'Nuther Thing_022622

chicago rolling stones david bowie bob dylan coldplay eclectic freeform eurythmics jefferson airplane roxy music crowded house procol harum small faces al kooper gary brooker paul butterfield blues band quicksilver messenger service michael bloomfield

Play Episode Listen Later Feb 27, 2022 120:29

Today's program features tuneage from Coldplay, Chicago, David Bowie, Donovan, Crowded House, Gypsy, Quicksilver Messenger Service, Eurythmics, Rolling Stones, Roxy Music, Small Faces, Jefferson Airplane, Al Kooper w Michael Bloomfield, Bob Dylan, Paul Butterfield Blues Band. Plus we paid tribute to Gary Brooker of Procol Harum who passed away last weekend.

252: RFR Rewind: The Blues of Michael Bloomfield & Paul Butterfield|If You Just Hung On

Play Episode Listen Later Feb 17, 2022 8:40

Born in Chicago: The Blues of Michael Bloomfield and Paul Butterfield, is book signing, film clip viewing and panel discussion on the lives and artistry of guitarist Michael Bloomfield and harmonica player Paul Butterfield. From the late 1950s when, as teenagers, Bloomfield and Butterfield ventured into the black blues clubs on the South Side of Chicago to play with masters like Muddy Waters and Howlin' Wolf, both men were dedicated to the blues. With the formation of the Paul Butterfield Blues Band featuring the leader's brilliant harp work and Bloomfield's searing guitar sorties in the mid-1960s, the sound of raw, muscular electric blues reached a vast new audience and created a blues-rock revolution in American popular music. The induction of the Paul Butterfield Blues Band into the Rock ‘n' Roll Hall of Fame in 2015 recognized the game-changing music of these two Chicago innovators and their bandmates, Sam Lay, Jerome Arnold and Mark Naftalin. full episode here: https://open.spotify.com/show/61e24ZD5A3oBTxO36WHQXq?si=f29ae4137af0485a

Episode 668: Whole 'Nuther Thing February 13, 2022

Play Episode Listen Later Feb 14, 2022 115:01

"We were born before the wind, also younger than the sunEre the bonnie boat was won as we sailed into the mysticHark, now hear the sailors cry, smell the sea and feel the skyLet your soul and spirit fly into the mysticAnd I want to rock your gypsy soulJust like way back in the days of oldAnd magnificently we will flow into the mystic"Please let me Rock Your Gypsy Soul and and alow me to be your Soundtrack to Super Bowl LVI. I've got plenty of tasty morsels to snack on during the game and it doesn't matter who you're rooting for. On the menu are treats from Wishbone Ash, Procol Harum, The Doors, Black Keys, Peter Frampton, Led Zeppelin, Rolling Stones, Moody Blues, Tears For Fears, Ten Years After, Janis Joplin, Beatles, Al Kooper w Michael Bloomfield, Pacific Gas & Electric, Dire Straits, Bob Welch, Porcupine Tree, Jackson Browne and Foreigner. I have a sweet treat I'll be serving up before half time, a tune that will not be released until Tomorrow from local LA Favorites, The Blue Dolphins. It's a Whole 'Nuther Thing exclusive from Victoria Scott and Alf Rodenas paying tribute to Todd Rundgren.

The Noel Jewkes Interview

utah jack dejohnette jon hendricks jfs michael bloomfield

Play Episode Listen Later Jan 19, 2022 55:28

My guest is an example of industrious musician. He grew up in Utah will music all around him. His father was a prolific multiple-instrumentalist who would not let his son play his trumpet because he thought his son would blow "bad-air" into the horn. Well what did my guest do? He created a makeshift trumpet that he used to serenade girls and it worked. His first live musical exhibition was. In the traveling Jewkes family band playing in the mountain west in front of native americans and farmers. At a certain point he believed that in order to grow musically he had to move to the bay area and stretch out. What followed and continues today is a musician who has broaden people's beliefs in spontaneity, orchestration, amalgamations and smelling the roses. He has played with Jon Hendricks, Jerry Hahn, Ron Stallings, Michael Bloomfield, Ed Neumeister, Jack DeJohnette. He has been instrumental in creating jazz workshops and educating a younger cadre of musicians to swing. So much to talk about with bay area saxophonist Noel Jewkes welcome to the JFS

Episode 643: Whole 'Nuther Thing August 22, 2021

Play Episode Listen Later Aug 23, 2021 117:49

"On the corner is a banker with a motorcar, The little children laugh at him behind his back. And the banker never wears a macIn the pouring rain, very strange. Penny Lane is in my ears and in my eyesThere beneath the blue suburban skiesI sit, and meanwhile back"...Please accompany me as we take a musical tour to places real & imagined on the Sunday Edition of Whole 'Nuther Thing. I'll be serving up tasty morsels from NRBQ, Pat Metheny w Lyle Mays, 10 CC, Patti Smith, Albert King, The Left Banke, Jackson Browne, Love, Lonnie Mack, BB King, The Joe Farrell Quartet, Steve Miller Band, Bee Gees, Steely Dan, The Ventures, Ramones, Michael Bloomfield w Al Kooper, Blotto, Duane Eddy, Renaissance, Donovan, Rolling Stones and The Beatles...

Episode 627: Whole 'Nuther Thing April 25, 2021

Play Episode Listen Later Apr 26, 2021 115:07

“She heard about a place people were smilin' And you can see them there on Sunday morning They stand up and sing about what it's like up there They call it paradise I don't know why You call someplace paradise kiss it goodbye” Keep smiling, our weekly Musical Paradise, the Sunday Edition of Whole ‘Nuther Thing remains a Radio Oasis on the Independent 885 FM and 885fm.org. On tap is David Bowie, Stevie Wonder, Grand Funk Railroad, Ian Hunter, Humble Pie, Lou Reed, Procol Harum, Jethro Tull, Jeff Beck, King Crimson, Queen, Al Kooper w Michael Bloomfield, Rod Stewart, Savoy Brown, Joe Jackson, Mott The Hoople, Pink Floyd, Stanley Clarke, Humble Pie, T. Rex, Steppenwolf and The Eagles…

Is It Rolling, Bob? Talking Dylan: Michael Simmons

Play Episode Listen Later Mar 22, 2021 42:19

Musician and writer Michael Simmons has written dozens of Dylan cover pieces for MOJO magazine, as well as incisive liner notes for Another Self Portrait and Bob Dylan 1970. “I remember where I was when Kennedy was assassinated and I remember the exact moment I heard Like A Rolling Stone. It sounded like freedom.” He praises Bob as both “a revolutionary” and “an evolutionary” artist and reminds us that “the difference between a great talent and a hack is the willingness to fall on their face in the pursuit of something new.”From Michael's LA home he recounts his time playing guitar, singing backup and doing improvised comedy with the outrageous country jokesters Kinky Friedman and the Texas Jewboys (despite being born in New York City). Mr Simmons contains other multitudes: T-Bone Burnett, Greil Marcus, George Hamilton IV, Gordon Lightfoot, Jerry Garcia and Neil Young all receive considered mentions. He brings it all back home by confirming that “at all times, somebody, somewhere in the world, is talking about Bob Dylan”. Join our conversation with this most savvy of Dylan scribes.Michael Simmons is a musician, journalist, filmmaker and activist. He was dubbed "The Father Of Country Punk" by Creem magazine in the 1970s, edited the National Lampoon in the '80s, and won the LA Press Club Award in the '90s. He's written for the LA Weekly, LA Times, Rolling Stone, Penthouse and High Times. He is MOJO magazine's premiere writer on all things Dylan as well as profiling George Harrison, Leon Russell, Lowell George and The Fugs. He has written liner notes for albums by Dylan, Michael Bloomfield, Phil Ochs, Kris Kristofferson, Arthur Lee & Love and many others.TrailerSpotify playlistListeners: please subscribe and/or leave a review and a rating.Twitter @isitrollingpodRecorded 11th December 2020This show is part of Pantheon Podcasts

Is It Rolling, Bob? Talking Dylan: Michael Simmons

Is It Rolling, Bob? Talking Dylan

Play Episode Listen Later Mar 22, 2021 43:19

Musician and writer Michael Simmons has written dozens of Dylan cover pieces for MOJO magazine, as well as incisive liner notes for Another Self Portrait and Bob Dylan 1970. “I remember where I was when Kennedy was assassinated and I remember the exact moment I heard Like A Rolling Stone. It sounded like freedom.” He praises Bob as both “a revolutionary” and “an evolutionary” artist and reminds us that “the difference between a great talent and a hack is the willingness to fall on their face in the pursuit of something new.” From Michael’s LA home he recounts his time playing guitar, singing backup and doing improvised comedy with the outrageous country jokesters Kinky Friedman and the Texas Jewboys (despite being born in New York City). Mr Simmons contains other multitudes: T-Bone Burnett, Greil Marcus, George Hamilton IV, Gordon Lightfoot, Jerry Garcia and Neil Young all receive considered mentions. He brings it all back home by confirming that “at all times, somebody, somewhere in the world, is talking about Bob Dylan”. Join our conversation with this most savvy of Dylan scribes. Michael Simmons is a musician, journalist, filmmaker and activist. He was dubbed "The Father Of Country Punk" by Creem magazine in the 1970s, edited the National Lampoon in the '80s, and won the LA Press Club Award in the '90s. He's written for the LA Weekly, LA Times, Rolling Stone, Penthouse and High Times. He is MOJO magazine’s premiere writer on all things Dylan as well as profiling George Harrison, Leon Russell, Lowell George and The Fugs. He has written liner notes for albums by Dylan, Michael Bloomfield, Phil Ochs, Kris Kristofferson, Arthur Lee & Love and many others. Trailer Spotify playlist Listeners: please subscribe and/or leave a review and a rating. Twitter @isitrollingpod Recorded 11th December 2020 This show is part of Pantheon Podcasts

Michael Simmons

Play Episode Listen Later Mar 21, 2021 42:19

Musician and writer Michael Simmons has written dozens of Dylan cover pieces for MOJO magazine, as well as incisive liner notes for Another Self Portrait and Bob Dylan 1970. “I remember where I was when Kennedy was assassinated and I remember the exact moment I heard Like A Rolling Stone. It sounded like freedom.” He praises Bob as both “a revolutionary” and “an evolutionary” artist and reminds us that “the difference between a great talent and a hack is the willingness to fall on their face in the pursuit of something new.”From Michael's LA home he recounts his time playing guitar, singing backup and doing improvised comedy with the outrageous country jokesters Kinky Friedman and the Texas Jewboys (despite being born in New York City). Mr Simmons contains other multitudes: T-Bone Burnett, Greil Marcus, George Hamilton IV, Gordon Lightfoot, Jerry Garcia and Neil Young all receive considered mentions. He brings it all back home by confirming that “at all times, somebody, somewhere in the world, is talking about Bob Dylan”. Join our conversation with this most savvy of Dylan scribes.Michael Simmons is a musician, journalist, filmmaker and activist. He was dubbed "The Father Of Country Punk" by Creem magazine in the 1970s, edited the National Lampoon in the '80s, and won the LA Press Club Award in the '90s. He's written for the LA Weekly, LA Times, Rolling Stone, Penthouse and High Times. He is MOJO magazine's premiere writer on all things Dylan as well as profiling George Harrison, Leon Russell, Lowell George and The Fugs. He has written liner notes for albums by Dylan, Michael Bloomfield, Phil Ochs, Kris Kristofferson, Arthur Lee & Love and many others.TrailerEpisode playlist on AppleEpisode playlist on SpotifyListeners: please subscribe and/or leave a review and a rating.Twitter @isitrollingpodRecorded 11th December 2020This show is part of Pantheon Podcasts

MÚSICA DE CONTRABANDO T30C079 Cobarro, el proyecto en solitario de Jesús Cobarro, frontman de Noise Box (11/02/2021)

Música de Contrabando

Play Episode Listen Later Feb 11, 2021 90:51

En Música de Contrabando, revista diaria de música en Onda Regional de Murcia (orm.es, 00,00h). Elliot Mazer, productor de Neil Young, murió el 7 de febrero, a los 79 años, a causa de un ataque al corazón. Mazer le produjo a Young Journey through the past, Times fades away, Tonight’s the night, American stars & bars, Hawks & doves, Everybody’s rockin’, Old ways, Lucky 13 y el “álbum perdido” publicado recientemente Homegrown. A lo largo de su carrera, Mazer trabajó con Lightnin’ Hopkins, Chubby Checker, Big Brother and the Holding Company , Janis Joplin Linda Ronstadt, Michael Bloomfield, Gordon Lightfoot, Barclay James Harvest, Rory Gallagher, The Band (The last waltz), The Tubes, Dead Kennedys y Dream Syndicate, entre otros. Este domingo 14 se celebra un tributo virtual a Sylvain Sylvain, fallecido el pasado 13 de enero. Presentado por Rolling Live Studios y organizado en The Bowery Electric, será una mezcla de actuaciones, historias y vídeos que contará con la participación de David Johansen, Henry Rollins, Debbie Harry, Clem Burke, Thurston Moore, Glen Matlock, The Lemon Twigs y muchos más.Black Sabbath reedita su legendario “Vol. 4” en una nueva edición que incluye una nueva remasterización del álbum y grandes sorpresas, que llevará como nombre “Vol. 4: Super Deluxe Edition” y que estará disponible el próximo 12 de febrero. "Vol. 4”, su cuarto álbum como Black Sabbath, incluyó algunos de llos clásicos atemporales de la banda como “Supernaut”, “Changes” y “Snowblind”. Liz Phair lanza “Hey Lou”, su primer sencillo desde hace dos años. Un tema homenaje a Lou Reed y Laurie Anderson.The New Raemon, David Cordero y Marc Clos publican ‘Una Infancia’, cuarto single del disco ‘A los que nazcan más tarde’Estrenamos otra canción, "La Huida" , de "Epílogo", el Ep que marca el regreso de Octubre Banda Octubre. Tres semanas después del single de debut , "Flores y Aspersores", de Vosotras veréis, lanzan un nuevo single, "Pitis". Ángel Calvo Ángel Calvo y Ana Cerezuela, autora de tres antologías de poemas, estrenan EP conjunto: 'Pequeñas Circunstancias'. Después de aquella colaboración navideña en 2019, la combinación de la deliciosa voz de Lia Pamina y la elegancia e inspiración de Charlie Mysterio y Roger Arias (Os Peregrinos) vuelve a regalarnos una pequeña y exquisita joya. Un single de vinilo , edición limitada, inspirado en la obra de la poetisa y novelista gallega Rosalía de Castro, en el que una vez más se entrelazan el folk de raíces, la música brasileña, y unos arreglos de exquisitez inconmensurable. Los Summers vuelven con su mejor colección de canciones con Cometieron un error, un disco ruidoso y urgente, en el que tocan todos sus palos habituales, mostrándose esta vez todavía aún más inspirados. Eclypsse lanzan "Radio Revolución", donde el sonido se enriquece con los coros de Norma Hamilton y la guitarra del propio Pepe Moreno. El matrimonio Mint Julep funciona perfectamente en "A rising sun", cristalino y ensoñador nuevo adelanto de "In a deep & dreamless sleep", su nuevo disco. "Domingo" es el primer single de Cobarro, el proyecto en solitario de Jesus Cobarro, frontman de Noise Box, que se publica el próximo 12 de febrero , y del que nos habla hoy desvelando las claves del proyecto

Episode 13: NIT Tournament (Women's Bracket + Final Four + Final)

Music Nerds Unite

Play Episode Listen Later Jan 14, 2021 33:17

Episode 13 continues our NIT Tournament to determine the greatest rock music artist that didn't make our original 64 “team” NCAA Tournament (see episodes 1-8). Women rock match ups for this episode: (1) Joni Mitchell (gets bye for first 2 rounds) (2) Janis Joplin/Big Brother and the Holding Company (gets bye for first 2 rounds) (3) Jefferson Airplane/Jefferson Starship vs. (9) Patti Smith Group (4) Blondie vs. (9) Sleater-Kinney (5) Heart vs. (8) Kate Bush (6) Pretenders vs. (7) Lucinda Williams Final Four match ups for this episode: Grateful Dead vs. Judas Priest Joy Division/New Order vs. Women's Winner Notes for this episode: Actually #3 should've been matched up against #10, and #4 against #9. My bad. The "title track" to the album Horses was actually part of a larger overall song called "Land" (Part I: "Horses" / Part II: "Land of a Thousand Dances" / Part III: "La Mer(de)"). Lucinda Williams' poet father was named Miller Williams. Michael Bloomfield (not Bloomfeld) played on the first Janis solo album. Not sure how or why I pronounced his name so incorrectly as I am a big fan. James Honeyman-Scott and Pete Farndon from The Pretenders died due to drugs, I should've mentioned. Big Brother's guitarist was Sam Andrew (no "s" at the end).

women heart horses tournament final four big brother ncaa tournament bracket grateful dead joni mitchell pretenders kate bush lucinda williams sleater kinney holding company patti smith group michael bloomfield

Whole 'Nuther Thing_010921

love doors oxygen led zeppelin neil young beach boys fleetwood mac freeform supertramp creedence clearwater revival alan parsons project pharoah sanders ten years after al kooper larry coryell blues project pacific gas electric michael bloomfield

Play Episode Listen Later Jan 11, 2021 119:43

"Love is like oxygen, you get too much, you get too highNot enough and you're gonna die, love gets you high"We can all use more Oxygen these days, please join me for 2 hours of Musical Oxygen on the Saturday Edition of Whole 'Nuther Thing.On today's menu are tasty morsels from (not in order of appearance) Pharoah Sanders, Al Kooper w Michael Bloomfield, Neil Young, Larry Coryell, Pacific Gas & Electric, Santana, Alan Parsons Project, Creedence Clearwater Revival, Supertramp, Loggins & Messina, Fleetwood Mac, The Blues Project, The Doors, Charles Llyod, Led Zeppelin, Beach Boys, Ten Years After and Sweet.

Let It Roll: ICMYI - Michael Bloomfield, Monterey Pop, Electric Flag, Al Kooper's SuperSession and Tragedy

fall tragedy proud bloomfield al kooper buddy miles let it roll monterey pop ed ward pantheon podcast network electric flag michael bloomfield

Play Episode Listen Later Dec 27, 2020 44:24

Host Nate Wilcox and Ed Ward spoke in 2018 about Ed's book Michael Bloomfield: The Rise and Fall of an American Guitar Hero. Ed tells Nate about The Electric Flag, Bloomfield's attempt to build a "supergroup" incorporating horns and drummer Buddy Miles. The band's struggles with direction and drugs. Bloomfield's part in Al Kooper's successful "SuperSession" album and Bloomfield's withdrawal from the rock music rat race and tragic passing.Let It Roll is Proud to be a part of the Pantheon Podcast Network.

Let It Roll: ICMYI - Michael Bloomfield, Monterey Pop, Electric Flag, Al Kooper's SuperSession and Tragedy

fall tragedy proud bloomfield al kooper buddy miles let it roll monterey pop ed ward pantheon podcast network electric flag michael bloomfield

Play Episode Listen Later Dec 27, 2020 45:24

Host Nate Wilcox and Ed Ward spoke in 2018 about Ed's book Michael Bloomfield: The Rise and Fall of an American Guitar Hero. Ed tells Nate about The Electric Flag, Bloomfield's attempt to build a "supergroup" incorporating horns and drummer Buddy Miles. The band's struggles with direction and drugs. Bloomfield's part in Al Kooper's successful "SuperSession" album and Bloomfield's withdrawal from the rock music rat race and tragic passing. Let It Roll is Proud to be a part of the Pantheon Podcast Network.

ICMYI: Michael Bloomfield, Monterey Pop, Electric Flag, Al Kooper's SuperSession and Tragedy

fall tragedy proud bloomfield al kooper buddy miles let it roll monterey pop ed ward pantheon podcast network electric flag michael bloomfield

Play Episode Listen Later Dec 24, 2020 44:24

Host Nate Wilcox and Ed Ward spoke in 2018 about Ed's book Michael Bloomfield: The Rise and Fall of an American Guitar Hero. Ed tells Nate about The Electric Flag, Bloomfield's attempt to build a "supergroup" incorporating horns and drummer Buddy Miles. The band's struggles with direction and drugs. Bloomfield's part in Al Kooper's successful "SuperSession" album and Bloomfield's withdrawal from the rock music rat race and tragic passing.Let It Roll is Proud to be a part of the Pantheon Podcast Network.

ICMYI: Michael Bloomfield, Monterey Pop, Electric Flag, Al Kooper's SuperSession and Tragedy

fall tragedy proud bloomfield al kooper buddy miles let it roll monterey pop ed ward pantheon podcast network electric flag michael bloomfield

Play Episode Listen Later Dec 24, 2020 45:24

Host Nate Wilcox and Ed Ward spoke in 2018 about Ed's book Michael Bloomfield: The Rise and Fall of an American Guitar Hero. Ed tells Nate about The Electric Flag, Bloomfield's attempt to build a "supergroup" incorporating horns and drummer Buddy Miles. The band's struggles with direction and drugs. Bloomfield's part in Al Kooper's successful "SuperSession" album and Bloomfield's withdrawal from the rock music rat race and tragic passing. Let It Roll is Proud to be a part of the Pantheon Podcast Network.

Let It Roll: ICYMI - Michael Bloomfield, Bob Dylan and Paul Butterfield Helped Invent Rock

chicago rock fall jewish african americans proud helped bob dylan invent icymi muddy waters paul butterfield let it roll ed ward pantheon podcast network michael bloomfield

Play Episode Listen Later Dec 18, 2020 57:59

Host Nate Wilcox and Ed Ward spoke in 2018 about Ed' book Michael Bloomfield: The Rise and Fall of an American Guitar Hero. Ed tells Nate about the rise of Michael Bloomfield, his legend, his unique role as a Jewish bluesman who learned at the feet of Muddy Waters and other African-American players in Chicago, his role in helping Bob Dylan birth folk-rock and his pioneering innovations with the Paul Butterfield Blues band.Let It Roll is Proud to be a part of the Pantheon Podcast Network.

ICYMI: Michael Bloomfield, Bob Dylan and Paul Butterfield Helped Invent Rock

chicago rock fall jewish african americans proud helped bob dylan invent icymi muddy waters paul butterfield let it roll ed ward pantheon podcast network michael bloomfield

Play Episode Listen Later Dec 17, 2020 58:59

Host Nate Wilcox and Ed Ward spoke in 2018 about Ed' book Michael Bloomfield: The Rise and Fall of an American Guitar Hero. Ed tells Nate about the rise of Michael Bloomfield, his legend, his unique role as a Jewish bluesman who learned at the feet of Muddy Waters and other African-American players in Chicago, his role in helping Bob Dylan birth folk-rock and his pioneering innovations with the Paul Butterfield Blues band. Let It Roll is Proud to be a part of the Pantheon Podcast Network.

Billy Prine (Brother Of The Late Great John Prine) and Producer Michael Dinallo

My Backstage Pass

Play Episode Listen Later Nov 16, 2020 49:31

A conversation with Nashville Bluesman Billy Prine, the younger brother of the late great John Prine, and Billy's music producer Michael Dinallo! Billy Prine formed and led his first bar band in Chicago at the tender age of twelve. Chicago in the 1960’s and early 1970’s was wide open, just as FM radio was evolving, with all types of music, but especially the blues from the famed Chess Records and country music with the National Barn Dance, which was a precursor to the Grand Ole Opry. Growing up in such a rich musical city allowed Billy to develop his unique style of American roots music and absorb a myriad of influences firsthand by seeing Buck Owens and the Buckaroos, The Rolling Stones and Chicago’s innumerable blues legends such as Howlin’ Wolf, Paul Butterfield, Muddy Waters, Michael Bloomfield, and many more.As any true child of the late 60’s and early 70’s, Billy headed west ~ "go west young man" ~ to California. Playing in bands in California for several years before heading back east again with his thumb out in the wind catching rides back to Chicago. This unto itself is another education, which took him through the Heartland and even as far south as New Orleans. But the call of family is strong and Billy served as his brother John Prine’s tour manager in the late 70s, which included hanging at Sam Phillips recording studio in Memphis, Tennessee in 1979 while John was recording his Pink Cadillac album with Knox and Jerry Phillips producing. Jerry and Knox’s father – the iconic Sam Phillips – stepped in to produce two tracks for the first time in years at the recording console.Billy's new EP "A Place I Used To Know" produced by Michael Dinallois is available on Memphis International Records, Spotify, Apple Music and all other streaming platforms! The album includes two songs written by his late brother, the legendary John Prine.Michael Dinallois, Billy's producer, also has an array of other recent projects as well, most notably a tribute album to country music icon Charlie Rich called “Feel Like Going Home,” a set of songs that he produced and which finds both he and his wife Juliet performing on.“We both love to be busy,” Michael said, “It’s kind of turned into this thing where this is what the Dinallo family does. We go out and play shows, and it’s great to have our 8 year old daughter with us because she’s getting to see the world. That’s all part of the homeschooling thing. She’s kind of grown up in the business, because she’s never known it any other way.”Learn more about Billy Prine online at https://www.billyprine.comLearn more about Michael Dinallo online at http://www.michaeldinallo.com and at http://www.blackroserecords.net/michael-dinalloAlso check out Billy and Michael's podcast Prine Time which will feature various tracks from the EP and is sure to knock your socks off! Available at http://prinetimepodcast.com

10/15/2020: "All Those Who've Sailed With Me": Bob Dylan & His Bands pt 1

Hard Rain & Slow Trains: Bob Dylan & Fellow Travelers

Play Episode Listen Later Oct 16, 2020 59:11

This week we begin a multi-episode series featuring Dylan's bands over the decades. Tonight, it is the Paul Butterfield Blues Band – three members of which joined him on stage at the infamous Newport Folk Festival performance of July 25, 1965 – and The Band, who, truly, need no introduction...especially for you, right? Tonight on "Who Did It Better?" we ask you to go to our Twitter page @RainTrains and vote for who did "I Shall Be Released" better: Bob Dylan & The Band or...The Band?!?

music rock gospel band folk bob dylan bands 20th century nobel laureates sailed newport folk festival al kooper paul butterfield mike bloomfield paul butterfield blues band i shall be released michael bloomfield who did it better

The Steve Kimock Interview

Play Episode Listen Later Sep 27, 2020 58:19

One of the 4Ls of the JFS is Lineage. The idea of a family tree, where unique sounds originated from and where the sound spectrum lives in today's electronica world. The father of Bluegrass was Bill Monroe, John Lee Hooker Champion Jack Dupree, Howlin Wolf and Muddy Waters, Michael Bloomfield, Nick Gravenites were fathers and sons somewhere in that mix. Sam Cooke and Ray Charles slow cooked soul music was real rhythm and blues along with Chuck Berry who could play in 7/4 it didn't bother him. My guest today is someone who continues the legacy left by Jerry Garcia, Lowell George, Duane Allman and Jimi Hendrix. In unique sound yes, a sound he procured from hours of practice and understanding the rudiments. Once you do that you can play music where you can leave your physical body and feel that love. A love that Wayne Shorter describes as going to the store to get your grandma some milk. My guest came out of the deluge of psychedelia and improvisational live music. From the Both And to the Keystone Korner to modern day Terrapin Crossroads my guest marinates in a sea of live improvisation. It is all the more impressive that he is able to continue to tour in a climate such as this. There are no Bill Graham's or Ralph Gleasons today. How to keep a band together and hone your sound? How to trust and get that feeling that Wayne's talking about when your Grandma asks you to go to the store to get you some milk. My guest will be performing shows at Sweetwater Dec 5th-8th. Both electric and acoustic. --- Support this podcast: https://anchor.fm/jake-feinberg/support

grandma jimi hendrix lineage bluegrass ray charles chuck berry sam cooke muddy waters jerry garcia wayne shorter bill monroe bill graham howlin wolf duane allman lowell george jfs steve kimock michael bloomfield keystone korner terrapin crossroads

The Terry Haggerty Interview

Play Episode Listen Later Sep 25, 2020 56:22

The evolution of the blues written and performed by Jon Hendricks was a direct critique of where the blues emanated from. It was a reminder of the gospel tinged spirituals of the church and the preachers who slung a guitar over themselves to sing and pick and lament those lost days in the fields picking cotton in slavery. Cats like the Reverend Gary Davis, John Lee Hooker,Indianola's own BB King, Muddy Waters, Blind Willie Johnson, Mississippi Fred McDowell epitomized this pan African struggle for basic human rights. They did this through the medium of records which gave these performers identities for younger white cats in Chicago and New York and Marin County who heard these sounds and then plugged in. My guest today is part of this generation who not only got to hear their heroes on the radio, but saw them up close with no teeth and in some cases had to sight guide them to their various gigs. In some cases they got to perform with them because of the regionalized economic wizardry of Bill Graham and Chet Helms who catered to music events which spoke to music. Not stratified in some genre necessitated label making funny farm but rather saw to it that young white bands shared the stage with soul acts and gospel and blues heck even the preservation hall jazz band. Bob Weir told me you can listen to these players but you really learn by playing with them. Relishing in their stage presence and eccentricities and calmness. Less is more, look beyond the surface and tell a story. My guest has been weaving musical stories for the last 5 decades. He was one of the Sons of Bill Champlin who enjoyed going to the original Fillmore and catching Sam and Dave along with James Browm at the Cow Palace, tripping with Phil Lesh and playing hootenannies with Janice Joplin and Jorma Kaukonen. He grew up with the sounds of Barney Kessel, Tal Farlow and his pops. He is an original seeker of sound who was an inspiration to both Carlos Santana and Jerry Garcia. The Sons were a sophisticated Mix of Blue Eyed Soul. They came out if the same school as Canned Heat, Boz Scaggs and Michael Bloomfield. The music has an Oakland funk flavor because of KSAN, Voco and the general creativity of a group of cats who expanded consciousness through legal LSD to see and feel how life really could be. Odd meters, hyperactive vocal harmonies and a bouncing melodic structure helped them stand out gain an identity and provide that essential link in the chain for modern day and future sound seekers.... Loosen Up Naturally. Terry Haggerty welcome to the JFS --- Support this podcast: https://anchor.fm/jake-feinberg/support

The Barry Goldberg Interview

Play Episode Listen Later Sep 22, 2020 49:07

This week marked Holocaust Remembrance Day which was an historical event that saw the anguished cries of millions of Jewish people incinerated at the hands of the Nazi's. Jewish musicians have always had a soft spot in my heart especially if they can swing like my guest who developed and identified with his black brothers who lived under oppression and slavery for years similar to the gulags that were strewn across Eastern Europe. My guest played organ and piano and within the swirling confines of south side Chicago where the ChessBrothers owned a stationary spot which allowed them to promote Otis Rush and Muddy Waters, Ramsey Lewis. My guest also idolized Jack McDuff and Groove Holmes and Jimmy Smith. Cats who could lock the groove with their left hand and solo over the top with the right while Sam Lay or Harold Jones or Bernard Pretty Purdie held it down. My guest came from a contingent of white authentics like Elvin Bishop, Michael Bloomfield, Nick Gravenites Harvey Mandel who sat at the feet of the titans, learning how to improvise on the fly and developing their own individual sound. They also always kept the blues in their muse. Chicago was a bastion of blues and post bop when my guest headed west to Marin county with Michael Bloomfield wailing on Blues in Orbit while self medicating and surviving in a tough business that my guest found success in with the overlapping strands of Bob Dylan and Al Kooper, Harvey Brooks, Neal Merriweather and Charlie Musslewhite Marc Naftalin, Boz, Steve Miller and Boz Scaggs Unlike cats like Kweskin and Muldaur my guest adopted the plug in and the electric mud that was being slung across hippies shoulders even if Muddy Waters couldn't stand it. He continues his musical collaborations today with the same grey beards that looked up to and had opportunities to play with John Lee Hooker, The Reverend Gary Davis and Papa John Creach. All good things in all good time Barry Goldberg welcome to the JFS.... --- Support this podcast: https://anchor.fm/jake-feinberg/support

chicago jewish blues nazis cats bob dylan eastern europe orbits muddy waters steve miller jimmy smith john lee hooker boz holocaust remembrance day ramsey lewis al kooper elvin bishop otis rush jfs reverend gary davis barry goldberg harold jones michael bloomfield muldaur groove holmes papa john creach

Whole 'Nuther Thing September 12, 2020

Play Episode Listen Later Sep 13, 2020 121:30

"When the wagons leave the city, for the forest and further on. Painted wagons of the morning, Dusty roads where they have gone. Sometimes travelin' through the darkness, met the summer comin' home". Today's program features an "imaginary" journey via music. I'll be serving up tasty morsels from (not in order of appearance) Black Keys, Isaac Hayes, Glenn Frey, Creedence Clearwater Revival, Savoy Brown, Robin Trower, Doors, Gerry Rafferty, Canned Heat, Little River Band, Rolling Stones, Cream, Al Kooper w Michael Bloomfield, ZZ Top, Jack Bruce, Electric Flag, John Lee Hooker, Paul Butterfield Blues Band, Jefferson Airplane, Love and Colosseum.

Whole 'Nuther Thing August 22, 2020

Play Episode Listen Later Aug 23, 2020 121:02

If it feels like... "it's cloudy every morning, sun don't never shine...you've traveled such a long way, and still don't know where you're going" please allow me to be your Musical Compass. Today's program features tuneage from (not in order of appearance) Earth Opera, Zephyr, Al Kooper w Michael Bloomfield, Richie Havens, Simon & Garfunkel, James Gang, T Bone Burnett, Joni Mitchell, Spooky Tooth, Paul Butterfield Blues Band, Tim Rose, Steve Miller Band, Warren Zevon, Fred Neil, Dire Straits, Tim Hardin, Bob Dylan, Tim Buckley and Chicago Transit Authority...

The business of modern slavery: what connects SDG 8.7 with its overarching SDG8?

The Rights Track

Play Episode Listen Later Aug 11, 2020 40:15

In Episode 7 of Series 5, Todd is joined by John Gathergood, Professor of Economics at the University of Nottingham, and Genevieve LeBaron, Professor of Politics at the University of Sheffield. John's research focuses on understanding consumer behaviour in financial markets, and more recently the impact of the COVID19 pandemic on households. Genevieve's work is at the forefront of the emerging evidence base on forced labour, human trafficking, and slavery in the global economy. In this episode, the discussion focusses on the interaction between the broader goals of SDG 8 and target SDG 8.7, which focuses on ending modern slavery by 2030. 0.00– 05.06 Todd begins the discussion by asking John to give an overview on the drivers of economic growth and the benefits of trade. Growth is seen as the result of a combination of technological evolution and the development of skills leading to increasingly efficient production processes However, the benefits of growth are not evenly distributed This leads to the creation of winners (the owners of capital and the organisers of production) and losers (those not in control of production processes) In John's view the current COVID pandemic has brought this inequality more sharply into focus, along with the need to ensure that economic growth does not come at the expense of exploitation of certain labour groups. 05.00 – 07.33 Todd asks John about the role of trade and John say it is fundamental in generating growth. He points out that: One of the foundations of the capitalist system is trade and specialisation. Trade facilitates specialisation and growth There have been waves of globalisation throughout history (often associated with pandemics) The last 30 years have seen the largest international movement of capital affecting the location of production and the development of increasingly complex supply chains, which has been good for growth However, he adds that the fragmentation of production has exacerbated inequality, made complex supply chains very difficult to monitor, and susceptible to labour exploitation. 07.33 – 10.36 In Genevieve's view, discussions on growth often overlook the business models at the centre of the mass production, fast turnover retail sector producing cheap disposable goods. Her research suggests the business models are “hard wired” to produce inequality and labour exploitation. Problems in supply chains are longstanding. Throughout history, capitalism has relied heavily on the exploitation of vulnerable groups for forced labour and slavery. 10.36 – 16.33 Genevieve's research, covering retail supply chains in China, tea and cocoa supply chains in India and Ghana, and garment supply chains in Southern India, has yielded several insights. Labour exploitation is not unusual. Common patterns emerge Why certain businesses have an endemic demand for forced labour How and why supply chains are set up to facilitate labour exploitation, in terms of how businesses make money from forced labour, and the business models they use There are clear and discernable patterns regarding both the supply and demand drivers of forced labour in global supply chains. She argues that: Although the geography of exploitation and the people involved has changed over time, some form of forced labour is a constant factor in the capitalist model of production throughout history Solutions to issues of labour exploitation need to go beyond looking just at supply chains and confront the structures which have given rise to these problems John adds that a key factor in supply chains is lack of accountability (anonymity) in the upper levels of supply chains, which is useful for efficient production, but can lead to labour exploitation lower down the chain. 16.33 – 19.50 The discussion moves on to the persistence of unfree labour globally.The current organisation of production encourages companies in countries with strong institutions often source their production from countries with weak institutions where the exploitation of the work force is easier. The prevalence of unfree labour in those countries may be low but the effective prevalence of induced slavery is high. Lack of accountability within supply chains is a major problem. John argues that forced labour should be treated as an “externality” and the cost should be borne by both producers and consumers, or governments should intervene. However, given the scale and complexity of supply chains enforcing compliance would be very difficult. 19.50 – 25.25 Todd asks Genevieve to summarise the effectiveness of constraints and regulation in the operation of supply chains. Three main mechanisms are reviewed. Corporate Social Responsibility Initiatives Public Regulation, including labour laws, sub-contracting, and regulation of businesses International agreements and conventions She identifies an increasing reliance on voluntary industry initiatives due in part to the failure of governments to produce effective regulation of labour standards in global supply chains. Her new book, Combatting Modern Slavery, shows that corporate social responsibility initiatives have not been effective. She cites a number of factors: Wealth and economic power are concentrated at the top of the chain with increasingly tighter profit margins further down to allow suppliers to cover their costs Lack of regulation of supply chains by governments facilitates power imbalances in favour of the businesses at the top of the supply chain, and between owners and workers Governments have been “the architects' of globalisation and helped to set up supply chains in a way that has facilitated these imbalances and the conditions which lead to labour exploitation 25.25 – 30.50 The example of the fast fashion industry and the recent reports of exploitation of the local labour force in Leicester, United Kingdom, is discussed. The very low cost of garments for sale should be a warning to consumers that labour is being unfairly exploited Garments are being sourced at prices below the cost of production Labour exploitation is a sector wide problem and is the result of the business model. The situation in Leicester is well known and has been extensively reported by Sarah Connor of the Financial Times (see recent story) Although companies have made commitments to address the situation very little has happened to redress labour exploitation, and to alter the business model There is a need for new business models which don't rely on labour exploitation 30.50 – 36.46In the absence of effective measures to redress the situation Todd asks whether there are economic incentives which could be brought to bear. Raising consumer awareness is discussed. Genevieve highlights some issues. Finding products which do not have some connection to forced labour, given the limited effectiveness and credibility of ethical labelling systems. Evidence exists of labour exploitation in ethical and fair-trade products A crisis of credibility around ethical brands Instead, she argues for regulation which controls the activities of businesses at the head of the supply chain, a redistribution of profits down through the supply chain, businesses taking greater responsibility for what goes on in the supply chain and a greater role for the employed labour force in generating solutions. John argues for an increased criminal corporate liability placed upon people and businesses. 36.46 - end The discussion ends with John reflecting on the way forward. He believes consumer led approaches are unlikely to work and neither is it likely that companies reliant on manual labour can, or will, act to change the system. Regulation is, therefore, the main option available. Additional Links exploitation and sweatshops are at the core of fast fashion: it's time to dismantle the system Inside the sweatshops accused of modern slavery UK: Coronavirus exposes Leicester's sweatshops and government hypocrisy Genevieve LeBaron, Jessica Pliley & David W. Blight (eds)(2021) Fighting Modern Slavery and Human Trafficking: History and Contemporary Policy. Cambridge University Press [in press]. Genevieve LeBaron (2020) Combatting Modern Slavery: Why Labour Governance is Failing and What We Can Do About It. Polity. Robert Caruana, Andrew Crane, Stefan Gold & Genevieve LeBaron (2020) ‘Modern Slavery in Business: The Sad and Sorry State of a Non-Field.' Business & Society. Andrew Crane, Vivek Soundararajan, Michael Bloomfield, Laura Spence & Genevieve LeBaron (2019) Decent Work and Economic Growth in the South Indian Garment Industry. Genevieve LeBaron (2018) The Global Business of Forced Labour: Report of Findings. Nicola Phillips, Genevieve LeBaron & Sara Wallin (2018) Mapping and Measuring the Effectiveness of Labour-Related Disclosure Requirements for Global Supply Chains. International Labour Organization Working Paper No 32. Genevieve LeBaron, Neil Howard, Cameron Thibos & Penelope Kyritsis (2018) Confronting Root Causes: Forced Labour in Global Supply Chains.

Billy Prine is Making a Scene

Making a Scene Presents

Play Episode Listen Later Jul 31, 2020 47:25

Making A Scene presents an Interview with Billy Prinehe best education a musician can get is playing in bar bands, and the earlier the better.Billy Prine formed and led his first bar band in Chicago at the tender age of twelve. Chicago in the 1960’s and early 1970’s was wide open, just as FM radio was evolving, with all types of music, but especially the blues from the famed Chess Records and country music with the National Barn Dance, which was a precursor to the Grand Ole Opry. Growing up in such a rich musical city allowed Billy to develop his unique style of American roots music and absorb a myriad of influences firsthand by seeing Buck Owens and the Buckaroos, The Rolling Stones and Chicago’s innumerable blues legends such as Howlin’ Wolf, Paul Butterfield, Muddy Waters, Michael Bloomfield, and many more.

Podcast of my blues radio show "Bluesland" on KMRE 102.3 FM Thursday July 23, 2020.

Leo's "Bluesland"

Play Episode Listen Later Jul 24, 2020 119:51

Here are the blues of Michael Bloomfield, Al Kooper, Taj Mahal, Tommy Castro, Janis Joplin and more on this free podcast from my live show "Bluesland" on KMRE 102.3 FM recorded July 23, 2020. Just click on the link and turn it up!

radio show janis joplin taj mahal al kooper tommy castro blues radio michael bloomfield kmre bluesland

Whole 'Nuther Thing_June 13, 2020

Play Episode Listen Later Jun 14, 2020 120:26

Today's program features tuneage from (not in order of appearance) Procol Harum, Ry Cooder, Neil Young, Jimi Hendrix, The Black Crowes, Dire Straits, Crosby Stills & Nash, America, William DeVaughn, Robin Trower, 38 Special, Taj Mahal, Eric Burdon & War, Rod Stewart, Aerosmith, Al Kooper w Michael Bloomfield, Lynyrd Skynyrd, The Allman Brothers Band & Paul Butterfield Blues Band.

america neil young jimi hendrix aerosmith rod stewart eclectic freeform taj mahal lynyrd skynyrd dire straits black crowes ry cooder procol harum crosby stills nash robin trower al kooper william devaughn michael bloomfield

Let It Roll: Bob Dylan Rocks Folk - Ed Ward's History of Rock & Roll

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Play Episode Listen Later May 25, 2020 76:03

Ed Ward returns to talk with host Nate Wilcox about rock & roll's second miracle year when America responded to the Beatles by blending folk and blues with rock & roll. They discuss how Michael Bloomfield electrified Bob Dylan, the Beach Boys making Pet Sounds, Stax hitting its stride, James Brown getting funky, the Beatles dropping acid and the beginnings of the San Francisco scene.This show is part of Pantheon Podcasts.

Bob Dylan Rocks Folk: Ed Ward's History of Rock & Roll

america history san francisco beatles rocks folk bob dylan james brown beach boys stax pet sounds ed ward michael bloomfield

Play Episode Listen Later May 25, 2020 74:32

Ed Ward returns to talk with host Nate Wilcox about rock & roll's second miracle year when America responded to the Beatles by blending folk and blues with rock & roll. They discuss how Michael Bloomfield electrified Bob Dylan, the Beach Boys making Pet Sounds, Stax hitting its stride, James Brown getting funky, the Beatles dropping acid and the beginnings of the San Francisco scene.This show is part of Pantheon Podcasts.

Let It Roll: Bob Dylan Rocks Folk - Ed Ward's History of Rock & Roll

america history san francisco beatles rocks folk bob dylan james brown beach boys stax pet sounds let it roll ed ward michael bloomfield

Play Episode Listen Later May 25, 2020 76:48

Ed Ward returns to talk with host Nate Wilcox about rock & roll's second miracle year when America responded to the Beatles by blending folk and blues with rock & roll. They discuss how Michael Bloomfield electrified Bob Dylan, the Beach Boys making Pet Sounds, Stax hitting its stride, James Brown getting funky, the Beatles dropping acid and the beginnings of the San Francisco scene. This show is part of Pantheon Podcasts.

Bob Dylan Rocks Folk: Ed Ward's History of Rock & Roll

america history san francisco beatles rocks folk bob dylan james brown beach boys stax pet sounds ed ward michael bloomfield

Play Episode Listen Later May 25, 2020 74:47

Ed Ward returns to talk with host Nate Wilcox about rock & roll's second miracle year when America responded to the Beatles by blending folk and blues with rock & roll. They discuss how Michael Bloomfield electrified Bob Dylan, the Beach Boys making Pet Sounds, Stax hitting its stride, James Brown getting funky, the Beatles dropping acid and the beginnings of the San Francisco scene. This show is part of Pantheon Podcasts.

The Harvey Brooks Interview

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Play Episode Listen Later May 2, 2020 59:48

There are and have been great musicians in every era of every century. They find a way to use the elements around them to be industrious. Maybe it's building your own instrument, have a shack or two to practice in and a drive and closure from spirituality. I do not know what the music scene is like in Jerusalem. But the real question is what it must have been like when my guest was coming into his own with industrious self assured cats who were increasing music sonically and not letting barriers get in the way. I don't think I've had a guest who best epitomizes the elasticity and camaraderie then the bassist I have today. Going from Coast to Coast finding production and studio time with Teo Macero and Miles Davis John Simon and Seals and Crofts. Then heading to west Marin connecting with Michael Bloomfield who brought the Chicago Blues to the Bay Area waving electric flags while dropping bombs in front of mushroom addled youth and more. My guest literally experienced the shift from acoustic to electric instrumentation. He was positively forthright paving the way for Bob Dylan to gain foothold in the new sonic world. Playing with Robbie Robertson and Levon Helm maybe the Hawk Ronnie Hawkins. Seeing and experiencing the consciousness shift in both society and a music industry that treated my guest to a Soft Parade of gigs from White Lightning' to Bitches Brew. Playing the electric bass over under and around Dave Hollands acoustic. I have met my guest several times at the 17th street market here in Tucson, AZ. He had a band here and lived here for nearly two decades. I have a feeling that the mountains have him peace of mind but he's always been relaxed on the bandstand. Today he has returned to the motherland to bring music to the Jewish People. Bedouin music I like to call it. Live from Jerusalem Harvey Brooks welcome to the JFS --- Support this podcast: https://anchor.fm/jake-feinberg/support

739: Book Nook - 'Guitar King' Michael Bloomfield

Rockin' the Suburbs

Play Episode Listen Later Nov 29, 2019 44:54

On a special edition of the Book Nook, Patrick interviews David Dann, author of "Guitar King: Michael Bloomfield's Life in the Blues." Become a Rockin' the Suburbs patron - support the show and get bonus content - at Patreon.com/suburbspod (http://patreon.com/suburbspod) Subscribe to Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Play, SoundCloud, Stitcher and TuneIn. Or listen at SuburbsPod.com (http://suburbspod.com/) . Please rate/review the show on Apple Podcasts/iTunes and share it with your friends. Visit our website at SuburbsPod.com (http://suburbspod.com/) Email Jim & Patrick at rock@suburbspod.com Follow us on the Twitter, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music by Quartjar. Visit quartjar42.com (http://quartjar42.com/) (c) 2019, Artie S. Industries LLC

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151: BORN IN CHICAGO: The Blues of Michael Bloomfield & Paul Butterfield

Play Episode Listen Later Nov 27, 2019 89:26

iTunes Spotify Youtube Patreon Born in Chicago: The Blues of Michael Bloomfield and Paul Butterfield, is book signing, film clip viewing and panel discussion on the lives and artistry of guitarist Michael Bloomfield and harmonica player Paul Butterfield. From the late 1950s when, as teenagers, Bloomfield and Butterfield ventured into the black blues clubs on the South Side of Chicago to play with masters like Muddy Waters and Howlin’ Wolf, both men were dedicated to the blues. With the formation of the Paul Butterfield Blues Band featuring the leader’s brilliant harp work and Bloomfield’s searing guitar sorties in the mid-1960s, the sound of raw, muscular electric blues reached a vast new audience and created a blues-rock revolution in American popular music. The induction of the Paul Butterfield Blues Band into the Rock ‘n’ Roll Hall of Fame in 2015 recognized the game-changing music of these two Chicago innovators and their bandmates, Sam Lay, Jerome Arnold and Mark Naftalin. In 2014, Ravin’ Films released an award-winning documentary about Mike Bloomfield called “Sweet Blues: A Film about Michael Bloomfield,” and three years later, Abramorama LLC and Gravitas Ventures released “Horn from the Heart: The Paul Butterfield Story,” a feature-film about Paul Butterfield and his life and music. In October of 2019, the University of Texas Press published “Guitar King: Michael Bloomfield’s Life in the Blues,” the definitive story of the legendary guitarist’s musical career. The event, “Born in Chicago: The Blues of Michael Bloomfield and Paul Butterfield,” will bring together these three productions in a panel discussion that will include clips from both films. Panelists Sandy Warren, co-writer and executive producer of “Horn from the Heart,” and David Dann, author of “Guitar King,” will discuss the impact of Bloomfield and Butterfield’s artistry on pop culture and will share stories of the musicians’ adventures in the heady counterculture music world of the late ‘60s and early ‘70s. Today’s episode is sponsored by boulevardcarroll.com. Special Mentions: Guitar King: Michael Bloomfield’s Life in the Blues (David Dann), Horn From the Heart: The Paul Butterfield Story (Sandra Warren), Sweet Blues: A Film About Michael Bloomfield (Bob Sarles), Super Session – Bloomfield, Kooper, Stills, The Paul Butterfield Blues Band, East-West, Highway 61 Revisited (Bob Dylan), A Michael Bloomfield Primer (Larry Milburn), The Hickory Stick Bookshop, The Judy Black Memorial Park & Gardens

139: New books from John Kane & David Dann!

rolling stones vandaag big star michael bloomfield

Play Episode Listen Later Jul 15, 2019 74:45

iTunes Spotify Youtube Patreon This week we’re touching base with two great author’s with upcoming books that I can’t wait to get a hold of. My first guest, John Kane, is no stranger to Roadie Free Radio, he joined us on episode 50 with Bill Hanley. John is the author of Pilgrims of Woodstock: Never-Before-Seen Photos (University Press of Indiana) and The Last Seat in the House: The Story of Hanley Sound (University Press of Mississippi). Dr. Kane grew up in Somerville, Massachusetts, and now resides on the seacoast of New Hampshire. He holds a DA in Leadership Studies and is faculty in the design and media department at the New Hampshire Institute of Art. David Dann is also a past guest on the show (Ep. 24). In October, his newest book, Guitar King: Michael Bloomfield’s Life in the Blues, hits the shelves. David is a commercial artist, music historian, writer, and amateur musician who worked for many years in the news industry, including serving as copublisher of an award-winning Catskills weekly. Most recently, he was editor of Artenol, a radical art journal described by the New York Times as “a cross between The New Republic and Mad Magazine.” He has produced radio and video documentaries of Michael Bloomfield and served as a consultant to Sony/Legacy on their recent Bloomfield boxed set. Special Mentions: Alan Rogan - Guitar Tech Tribute, John Kane: Pilgrims of Woodstock, The Last Seat in the House, David Dann: "Guitar King: Michael Bloomfield's Life in the Blues", John Joseph: The PMA EFFECT, Phish: The Biography – Parke Puterbaugh, www.theproductionacademy.com, Amps!: The Other Half of Rock 'N' Roll – Ritchie Fliegler, The Complete Guide to Guitar and Amp Maintenance: A Practical Manual for Every Guitar Player – Ritchie Fliegler, Thistourlife.com, The Girl in the Back: A Female Drummer's Life with Bowie Blondie and the '70s Rock Scene, Roadie Free Radio Merch, Samson Q2U Handheld Dynamic USB Microphone Recording and Podcasting Pack, ShowPro Beard Co., Napkin Sketch Stage, Event Runner Pro, Over the Bridge.org

OLM 284

OLM (40UP Radio)

Play Episode Listen Later Feb 26, 2019 57:56

Vandaag ruim aandacht voor prachtige verzamelalbums The Ike & Tina Story , Big Star, Michael Bloomfield en Some Girls Live van The Rolling Stones.

OLM 283

OLM (40UP Radio)

Play Episode Listen Later Feb 26, 2019 57:40

Vandaag ruim aandacht voor prachtige verzamelalbums The Ike & Tina Story , Big Star, Michael Bloomfield en Some Girls Live van The Rolling Stones.

rolling stones vandaag big star michael bloomfield

HGRNJ Show #19 Aversions, Secrets & Heartaches

Dangerous R&R Show Podcast

Play Episode Listen Later Nov 3, 2018 58:30

Hey hey Brothers & Sisters....This weeks episode starts off with:Gene Vincent & His Blue Caps - Who slapped John?....out of a band called The Virginians a new band was created for Gene Vincent in 1956 with "Galloping" Cliff Gallup on lead guitar....his echo laden 6 string is the bible for thousands of R&R guitarists ever since.Set 1:Traveling to Brisbane, Australia where The Saints hold the mantle of the 1st "punk" band. Formed in 1975 their 1st record pre-dates the Sex Pistols by about 6 months. We just heard "A minor aversion" off of their sophomore LP ETERNALLY YOURS from 1978.Tramline - Somewhere down the line / Island 1968 [A&M in the US]. Covering Little Johnny Taylor's killer 45 from 1963 on Galaxy Records.Paul Revere & the Raiders - Him or Me [What's it gonna be] / Columbia 1967. The Jim Valley / Keith Ellison era of the band. Mark Lindsey is hands down one of the best vocalists of all the 60's bands....based in Oregon.Traveling south from the pacific northwest to San Francisco where the rocks 1st psych bands, The Charlatans made history with their residency at the Red Dog Saloon in Las Vegas. Another reason that the Charlatans' stay at the Red Dog is regarded by critics and historians as significant is that, immediately before their first performance at the club, the band members took LSD. As a result, the Charlatans are sometimes called the first acid rock band, although their sound is not representative of the feedback-drenched, improvisational music that would later come to define the sub-genre. And hey.....Dan Hicks was their drummer.Bed Music: Link Wray - The FuzzSet 2Staying in San Fran where the Jefferson Airplane signed to RCA for $40,000. A bargain by today's standards where mediocrity is rewarded with multi-million dollar contracts. The Airplane on their 1st LP had Signe Anderson on vocals not Grace Slick and their drummer was mega loony Skip Spence who left to form Moby Grape.20 years before the JA were thinking of recording a cat who called himself Slim Gaillard made up his own language and with his trio recorded one of the hippest 78's - Yep Roc Heresy...his made up language was called "Vout"Marvin Gaye checks in with a radio ad for TeenbeatPaul Butterfield Blues Band up next covering Marvin Gaye w/ "One more heartache" a 45 rpm and also the lead track off of "The Resurrection of Pigboy Crabshaw" who everybody who follows the PBBBand knows is the pseudonym of Elvin Bishop who stepped into the "big boy" shoes of the late, great Michael Bloomfield...Moving up the coast to LA where Merrill Fankhauser formed MU with Jeff Cotton. Cotton was in Merrell & The Exiles, then in a band called Blues In A Bottle. He then replaced Ry Cooder in The Magic Band. He was credited as 'Steel appendage' guitarist on Trout Mask Replica. Left the Magic Band circa late 1970 and eventually teamed up again with Merrell (Fankhauser) on the album "Return To Mu". His pseudonym in the Magic Band was Antennae Jimmy Semens. We heard "Brother Lew" off their first offering....MU.Set 3:Dion and the Del Satins - Drip Drop / Columbia 1963. A cover of The Drifters tune done a few years earlier. Dion was the first artist this author took notice of when he was starting to notice the difference between boys and girls...Al Kooper - Something going on / Music Masters 1995. A live recording made at NYC's Bottom Line with some really great musicians including New York guitarist Jimmy Vivino who is the younger brother of local legend: Uncle Floyd.The Onion Radio News- An Applebee's managerThe Peanut Butter Conspiracy - Too Many do / Columbia 1967. A favorite of mine back in the day and still on my turntable these many years later. Guitarist Billy Wolfe kills it! The Pseudo-Realists - The Williams Effect / Oxymoron Records 1983. Used as "bed" music whilst

A Day in the Life of a Pollster - Strategy, Messaging, and Probability

The Political Life

Play Episode Listen Later Oct 8, 2018 42:30

Michael Bloomfield is the Executive Vice President and Managing Director of The Mellman Group, which has provided opinion research and strategic advice to political leaders, public interest groups, Fortune 500 companies, and government agencies for over twenty years. Michael Bloomfield grew up in Cleveland, Ohio before attending the University of Michigan He began his career in politics working as an unpaid Senate staffer, which he parlayed into a foreign policy position with Sen. Ted Kennedy After running a few local campaigns in college, he went back to Capitol Hill and worked as a staffer to Sen. Howard Metzenbaum and Sen. Don Riegle Following a brief stint with a family investment business, he joined AIPAC, and was with them for roughly 10 years, rising to the rank of Political Director At the time he was with AIPAC, the organization had about 100 staffers - it has since almost tripled in size He has been with his current firm, the Mellman Group, for almost 20 years The Mellman Group is a polling and market research firm, which does work for political campaigns, industry groups, companies, and non-profits The polling/surveying industry is rapidly changing, thanks in part to the advent of the internet and cell phones Despite the changes, however, live-call polling is still the most effective form of polling Michael is an avid marathon runner Help us grow! Leave us a rating and review - it's the best way to bring new listeners to the show. Have a suggestion, or want to chat with Jim? Email him at: Jim@theLobbyingShow.com Follow The Lobbying Show on Facebook, Instagram, and Twitter for weekly updates about the show, our guests, and more.

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The Fall of Michael Bloomfield

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Play Episode Listen Later Jun 18, 2018 44:39

It’s time to Let It Roll. Today features the conclusion of our discussion of Ed Ward’s book Michael Bloomfield: The Rise and Fall of an American Guitar Hero. Bob Dylan listed the book as one of his favorites in a recent web post. This week, Ed and I talk about the fall of Michael Bloomfield, his dream band Electric Flag and why it became a nightmare for him, the difficulties Al Kooper had in birthing their massively successful Super Session collaborations, Bloomfield’s drift away from the spotlight and his final years.

The Rise of Michael Bloomfield

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Play Episode Listen Later Jun 11, 2018 58:14

Today features the return of Ed Ward to discuss his book Michael Bloomfield: The Rise and Fall of an American Guitar Hero which is coming out in paperback this summer. This week, Ed and I talk about the rise of Michael Bloomfield, his legend, his unique role as a Jewish bluesman who learned at the feet of Muddy Waters and other African-American players in Chicago, his role in helping Bob Dylan birth folk-rock and his pioneering innovations with the Paul Butterfield Blues band.

Video Podcast 44 Michael Bloomfield Slow Blues Lesson lesson

Learning Guitar Now: Learn blues guitar and slide guitar with these easy to follow guitar lessons from John W. Tuggle.

Play Episode Listen Later Jun 8, 2018

In this lesson I want to show you how to play a Michael Bloomfield style solo.

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Video Podcast 44 Michael Bloomfield Slow Blues Lesson lesson

Learning Guitar Now: Learn blues guitar and slide guitar with these easy to follow guitar lessons from John W. Tuggle.

Play Episode Listen Later Jun 8, 2018

In this lesson I want to show you how to play a Michael Bloomfield style solo.

blues lesson video podcasts michael bloomfield

Whole 'Nuther Thing December 2, 2017

Play Episode Listen Later Dec 3, 2017 232:02

Today's program features a singer songwriter and composer known for his biting satire, Randy Newman. Additional tuneage from Tom Petty, Bruce Springsteen, John Mellencamp, Neil Young, Eagles, Buffalo Springfield, Spirit, Crosby Stills & Nash, Janis Joplin, Boz Scaggs, Blood Sweat & Tears, Howard Tate, Tower Of Power, Bob Dylan, BB King, Nick Gravenites & Michael Bloomfield, Michael Hedges, Seals & Crofts, Richie Havens, Rolling Stones, Lyle Mays, Counting Crows, Miles Davis, Frank Sinatra, Pink Floyd, Robert Plant, Phil Collins, Jimi Hendrix, Nick Drake and It's A Beautiful Day.

024: DAVID DANN/Author/Michael Bloomfield historian

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Play Episode Listen Later Oct 24, 2016 59:45

For this weeks episode I had the pleasure of sitting down via Skype with Mike Bloomfield historian, David Dann. We recently spent time together up in Portland, Maine for a screening of the film that I co-produced called Sweet Blues: A Film About Michael Bloomfield, where Dann served as a moderator for the panel discussion. His passion for Bloomfield’s playing and legacy has manifested into the creation of a website called MikeBloomfieldAmericanMusic.com which has given fans backstage level access into the life and career of the virtuoso. In this episode we touch on everything from the trials of sifting through fact and fiction when compiling first hand accounts, to how Dann became so interested in Mike in the first place. So strap in and enjoy our latest installment of Roadie Free Radio and be sure to keep an eye out for David’s book on Bloomfield that hopefully will be on shelves in a year’s time.

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Michael Bloomfield i Frankie Chavez

T'agrada el blues?

Play Episode Listen Later Jan 20, 2016 60:07

Quico Pi de la Serra presenta una selecci

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Blues America 21 - Joe Louis Walker

Blues America

Play Episode Listen Later Oct 9, 2015 54:17

Joe Louis Walker has been referred to as the greatest bluesmen of his generation and holds an international reputation as one of the blues’ most prolific and talented stars. He earned international fame for trailblazing the progressive contemporary blues movement. A former roommate of Michael Bloomfield; J.W.L. has released 24 albums, been inducted into the Blues Hall of Fame (2013), performed multiple engagements at the White House, appeared on Grammy-Winning records by B.B. King and James Cotton and won numerous prestigious awards. All third-party content is licensed and used by the artist and label by permission.

Mind You Episode 4: Brains, Bugs & Drugs

Mind You

Play Episode Listen Later Jul 5, 2015 34:23

Join Dr Farhana Mann and Dr Michael Bloomfield discussing a topical review of the news. This week's highlights include a film featuring art created by patients, debates around the "medical model" of mental illness, chem sex, and bridging the mind-brain gap.

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Mind You Episode 2

Mind You

Play Episode Listen Later Jun 19, 2015 21:17

Join Farhana Mann and Michael Bloomfield talking about the need for more money, parity of esteem, falling rates of dementia AND why chocolate might be good for your mental health.

michael bloomfield

Mind You Episode 1

Mind You

Play Episode Listen Later Jun 10, 2015 29:32

Psychiatrists Dr Farhana Mann and Dr Michael Bloomfield shrink the news. This week includes dreams, placentas and psychotic experiences.

michael bloomfield

Roadhouse 469

Play Episode Listen Later Feb 22, 2014 57:34

At the beginning of the 10th year of The Roadhouse, the blues is definitely alive and well. Todd Wolfe, The Mighty Blue Kings, Blue Lunch, Michael Bloomfield, and James Armstrong really prove that point with another hour of the finest blues you've never heard - the 469th Roadhouse.

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Roadhouse 216

Play Episode Listen Later Apr 4, 2009 58:34

Rising temperatures, longer days and the upcoming baseball season opener mean it's spring - and time for spring training. That little pile of songs that didn't get used in other shows perfectly fits the flow of the 216th Roadhouse. Junior Wells, Bobby Jones, Rod Price, Michael Bloomfield, Tad Robinson, and listener comments make for a great spring cleaning and another hour of the finest blues you've never heard.

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Roadhouse 216

Play Episode Listen Later Apr 4, 2009 58:34

Rising temperatures, longer days and the upcoming baseball season opener mean it's spring - and time for spring training. That little pile of songs that didn't get used in other shows perfectly fits the flow of the 216th Roadhouse. Junior Wells, Bobby Jones, Rod Price, Michael Bloomfield, Tad Robinson, and listener comments make for a great spring cleaning and another hour of the finest blues you've never heard.

rising road house bobby jones junior wells michael bloomfield tad robinson

Roadhouse 154

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Play Episode Listen Later Jan 27, 2008 58:00

The 154th Roadhouse investigates the mystery of a number pair: 6 and 3. It lies at the heart of the blues, but it's simplicity is deceptive. Son Seals, Johnny Winter, Robert Cray, Robert Johnson, Michael Bloomfield - all have mastered the essence of the blues that lies in these numbers: 6 strings and 3 chords. It's a mystical blues guitar edition of The Roadhouse, another hour of the finest blues you've never heard.

Roadhouse 154