Podcast appearances and mentions of mike vernon

 Hour 3 of the Big Show with George Rusic & Matty Rose is on demand! To kick off hour the guys are joined by Flames Legend Mike Vernon! Mike and the guys discuss the evolution of goaltending in the NHL. The guys discuss the actual goaltending style, equipment, pregame routines and more! Later, Vernon shares more stories from his time as a Flame and his long NHL Career.  (22:17) Later, Ryan Lomberg joins the show! Ryan gives his thoughts on the growth of some of the young members of the Flames, which member of the Flames is the best at talking trash, some of his scraps that he had during the season, his return to Calgary and why he loves playing for the Flames, and more!The views and opinions expressed in this podcast are those of the hosts and guests and do not necessarily reflect the position of Rogers Media Inc. or any affiliate.      

Mike Shirinian and Dave Fansler back in the booth recapping their amazing trip to Oakville along with Nick Marziliano from Sam’s Italian Deli & Market. On the plate: Chef Mike Vernon from Pismo’s Coastal Grill the guys dine on a succulent Angel hair pasta dish with chicken meat balls in a piccata sauce. The meal is paired with a nice Rosé and some Summer Dreams Chardonnay. Please Like, Comment and Follow 'The Restaurateurs' on all platforms: --- The Restaurateurs Podcast is available on the KMJNOW app, Apple Podcasts, Spotify, YouTube or wherever else you listen to podcasts. -- The Restaurateurs | Website | Email | - Everything KMJ KMJNOW App | Podcasts | Facebook | X | Instagram See omnystudio.com/listener for privacy information.

On the latest episode of the Flames Alumni Krahnicles, we're continuing our chat with Hockey Hall of Fame member and Calgary legend Lanny McDonald! Listen in as Lanny chats with fellow Flames Alumni members Brent Krahn, Colin Patterson, and Mike Vernon to look back at his time with the Toronto Maple Leafs and the November 1981 trade that sent him to Calgary! Hosted by Pat Steinberg, Lanny also talks about being on the Hockey Hall of Fame Selection Committee and a whole lot more!The views and opinions expressed in this podcast are those of the hosts and guests and do not necessarily reflect the position of Rogers Media Inc. or any affiliate.  https://www.sportsnet.ca/960/flames-talk/

On the latest episode of the Flames Alumni Krahnicles, we're continuing our chat with Hockey Hall of Famer and Stanley Cup winner Mike Vernon! Listen in as Mike chats with fellow Flames Alumni members Brent Krahn and Colin Patterson to discuss Calgary's run to the 1989 Stanley Cup! Hosted by Pat Steinberg, Mike also talks about being traded to Detroit and playing for Scotty Bowman, finishing his career with Darryl Sutter and the San Jose Sharks, and life after hockey!The views and opinions expressed in this podcast are those of the hosts and guests and do not necessarily reflect the position of Rogers Media Inc. or any affiliate.  https://www.sportsnet.ca/960/flames-talk/

On the first ever episode of the Flames Alumni Krahnicles, we're talking with Hockey Hall of Famer and Stanley Cup winner Mike Vernon! Listen in to this great chat with Mike as he sits down with fellow Flames Alumni members Brent Krahn and Colin Patterson for a chat that spans the start of his professional career, being a Calgary kid playing in his hometown, all the way to his 1989 Stanley Cup championship! Hosted by Pat Steinberg, Mike also talks about his friend Lanny McDonald, representing Canada, and a whole lot more!The views and opinions expressed in this podcast are those of the hosts and guests and do not necessarily reflect the position of Rogers Media Inc. or any affiliate.  https://www.sportsnet.ca/960/flames-talk/

Capítulo ecléctico. Comenzamos con una breve semblanza del mítico sello británico Blue Horizon, un proyecto que llevó a cabo el productor Mike Vernon y que en principio era tan solo un complemento de la modesta revista R&B Monthly. Su amor por el blues norteamericano y la efervescente escena del blues en las islas hicieron que las referencias publicadas por la discográfica se convirtieran en un evento extraordinario que remató el boom del british blues. Sonrán en este segmento: Hubert Sumlin - Across The Board JB Lenoir - Mojo Boogie Sonny Boy Williamson II & His House Rockers - From The Bottom Fleetwood Mac - Cold Black Night Chicken Shack - First Time I Met the Blues Elmore James - The Sun Is Shining Otis Spann & Fleetwood Mac - Temperature Is Rising (100.2°F) El segundo bloque del podcast atiende a las novedades y está marcado por distintos estilos y propuestas muy personales. Sonarán las nuevas canciones de: Michael Des Barres - Fox On The Run Marc Broussard - Time Is A Thief Soul Survivors - The Road Ahead Randall Bramlett - Come On Jasper Lindell - Bulbs Jesper Lindell - Never Gonna Last Lukas Nelson & The Travelin' McCourys - Someone Like You Regina Spektor - Samson My Morning Jacket - Aren't We One? Father John Misty - Screamland The Mystery Lights - Can't Sleep Throught The Silence Gracias por escuchar con cariño y dejar tu corazón en el audio, aunque no lo parezca, esta chorradita es importante. Apoya este proyecto desde 1,49€ al mes. Tan solo tienes que pulsar el botón azul que tienes en la cabecera de este canal Y gracias infinitas, ya que tu aportación nos permite mejorar cada programa. Este programa, como siempre, está dedicado especialmente a nuestros patrocinadores: Iñaki Del Olmo, Mechimariani, L Ibiricu Traba, Nachoigs, David, Alfonso Ladrón, Yago Llopis, Nacho Ruíz, Javier Carmona, Ana López, El Carabasser, Raúl Espinosa, La Última Frontera Radio, Gustavo, Ruth, Carmen Neke, Manuel García, Rebeca Tatiana, Michel y nuestros queridos anónimos.

Mike Shirinian and Dave Fansler are back in the u-booth ready to feast!   On the plate: From Pismo's Coastal Grill, Chef Mike Vernon plates up a little pasta. Chicken and Orecchiette with peas, asparagus and shitakes in a delicious cream sauce.   The team talks renovations at Elbow room and fattening up for the cold weather.   Please Like, Comment and Follow 'The Restaurateurs' on all platforms:    ---  The Restaurateurs Podcast is available on the KMJNOW app, Apple Podcasts, Spotify, YouTube or wherever else you listen to podcasts.  --  The Restaurateurs  | Website |   -  Everything KMJ   KMJNOW App | Podcasts | Facebook | X | Instagram   See omnystudio.com/listener for privacy information.

Send us a Text Message.Once the coup collapsed, the Nazis outdid themselves in their fury. It remained to be seen who would be caught in their net.Some conspirators committed suicide. Some managed to escape.Thousands were rounded up. The Gestapo tortured their victims, placed them on show trials, and hanged them.At their trials before the Nazi ‘People's Court', with nothing left to lose, the July plotters proved remarkably difficult to cow.Relatives of conspirators were also arrested and imprisoned.Nina von Stauffenberg was held separately from her children who were placed in an orphanage. In January 1945, in solitary confinement, she gave birth to her fifth child.As Germany unravelled, the mechanism of revenge took over.Finally, his ambitions in ruins and having caused the deaths of millions, Hitler committed suicide, and the Reich surrendered.The war over, Nina was reunited with her children.The July plotters' attempts to replace Hitler and end the war failed, but their example of moral courage leaves a legacy for future generations. Written and narrated by Brian WaltersOriginal music, editing and sound design by the amazing Sam LoyArtwork by Mike Vernon.Episode TranscriptA full transcript of the episode is available here.Read the book TREASONYou can read more about Claus von Stauffenberg and the German resistance to Hitler, in the book Treason by Brian Walters.For those with iPads, Treason is available as an interactive Apple Book here.The hard copy can be bought here.If you live out of Australia, the hard copy is best purchased from Blurb.There is also a Kindle version.ResourcesFor a list of the creative commons music and sound effects used in this episode, head here.Finally …If you liked the episode, please share it: the episode link is here.And you can help us by writing a brief review and giving us a (five star!) rating.By all means contact me, Brian Walters, by email on walters@vicbar.com.au TREASON: Claus von Stauffenberg and the plot to kill Hitler

Send us a Text Message.Once the coup collapsed, Fromm hesitated, then returned to his office, where Stauffenberg, Beck, Olbricht, Mertz and Hoepner were held under guard.Beck tried to shoot himself. He only succeeded in badly wounding himself, and was later finished off.Hoepner asked to be sent for a trial, and Fromm agreed.By now the forces suppressing the coup were approaching. Knowing of the coup preparations, Fromm had done nothing to suppress it. These prisoners might implicate him in treason.He ordered them shot by firing squad. After midnight, a squad assembled. The officers were led out to the courtyard. Before he died, Claus von Stauffenberg called out ‘Long live sacred Germany!'. His aide, Werner von Haeften leaped in front of the volley intended for him, and Claus was shot on the second attempt.Several other conspirators were held in the Bendlerblock. The leaders of the SS and Gestapo arrived soon after the executions, outraged that key witnesses had been disposed of.In the small hours, they forced the remaining prisoners to listen to the broadcast Hitler now made.Across the German Reich, surviving conspirators knew that the Gestapo would come. Some fled, some went into hiding, some gave themselves up, some committed suicide.Nina von Stauffenberg broke the news to her children. Then the Nazis arrived and she and the children were separated and hustled away. Written and narrated by Brian WaltersOriginal music, editing and sound design by the amazing Sam LoyArtwork by Mike Vernon.Episode TranscriptA full transcript of the episode is available here.Read the book TREASONYou can read more about Claus von Stauffenberg and the German resistance to Hitler, in the book Treason by Brian Walters.For those with iPads, Treason is available as an interactive Apple Book here.The hard copy can be bought here.If you live out of Australia, the hard copy is best purchased from Blurb.There is also a Kindle version.ResourcesFor a list of the creative commons music and sound effects used in this episode, head here.Finally …If you liked the episode, please share it: the episode link is here.And you can help us by writing a brief review and giving us a (five star!) rating.By all means contact me, Brian Walters, by email on walters@vicbar.com.auTREASON: Claus von Stauffenberg and the plot to kill Hitler

In the latest episode of *Blues is the Truth,* Ian McHugh brings together a stellar lineup of artists that showcases the rich diversity of the blues genre. The episode opens with the soul-stirring guitar work of Otis Rush, known for his passionate and emotional style that helped shape the Chicago blues sound. The Rolling Stones make an appearance with their iconic blend of rock and blues, reminding us of how they brought blues to the mainstream. Rory Gallagher delivers his fiery guitar solos, capturing the raw energy that made him a legendary figure in the blues-rock scene. The distinctive rhythms of Bo Diddley are also featured, showcasing his unique style that influenced countless musicians. British blues veterans Paul Lamb and the Kingsnakes bring their tight, harmonica-driven sound, while David Sinclair 4 contributes a contemporary blues flavor with intricate guitar work and thoughtful lyrics. The episode doesn't stop there—it includes a track from Eric Clapton, the guitar god whose career has been deeply intertwined with the blues, offering listeners a chance to hear one of his masterful interpretations. Tangiers Blues Band delivers gritty, no-nonsense blues, while the Paul Garner Band adds a modern twist to traditional blues sounds. The legendary Howling Wolf makes an appearance, his deep, growling voice cutting through the mix with the power and authenticity that only he could provide. Taildragger, another Chicago blues veteran, channels the spirit of the city's rich blues history, while Ray Charles adds a touch of soul, reminding us of the close ties between blues and soul music. The Cadillac Kings bring a swinging, upbeat vibe, and John Primer continues the Chicago tradition with his electric blues style. Carl Wehtersby delivers not just one, but two powerful tracks, showing off his impeccable guitar skills and deep understanding of the blues. The show also features harmonica virtuoso Rod Piazza, who delivers an energetic and dynamic performance. Junior Wells, another harmonica legend, brings his raw and emotional sound, while Albert King, known for his influential string-bending technique, contributes a powerful track. Beaux Gris Gris and the Apocalypse bring a modern, eclectic mix to the blues, while Robert Cray adds his smooth and soulful touch. The episode rounds out with tracks from Mike Vernon and the Mighty Combo and The Mustangs, both bringing their unique perspectives to the genre, and finally, the electrifying Joe Louis Walker, whose passionate playing and powerful voice close the show on a high note. In addition to this incredible music lineup, the episode features the regular segments that fans love. "Blues Driver" sees Paul Michael picking out a timeless blues track to get your heart racing, "The Song Remains the Same" explores different versions of classic blues songs, and "Title Track Tango" highlights standout title tracks from various albums. Ian McHugh's insightful commentary ties it all together, making this episode of *Blues is the Truth* a must-listen for blues fans old and new.

In this episode, we discuss how to deal with losses and frustrating moments as a goaltender, and how not to. We mention how different athletes respond to frustration and anger, and why that makes them the best at what they do. Then, we get into why we disagree with three of hockey's goaltending legends on a recent trending topic.

Hour 3 of The Big Show is on demand! Flames legend Mike Vernon joins George and Brent for the entirety of the hour. The Guys dive into the Flames play down the home stretch of the season, Jacob Markstrom's current form, how goalies differ from today to when Mike played and much more!Later on in the hour Mike helps George and Brent give away free concert tickets to Luke Bryan! To close out the show, Sam McKee of the Golf Guys podcast and Real Kyper and Bourne joins the show to talk all things Masters!The views and opinions expressed in this podcast are those of the hosts and guests and do not necessarily reflect the position of Rogers Media Inc. or any affiliate.

Mike Vernon joined The Drive to discuss the decision made by Kansas Kevin McCullar to not play in the NCAA Tournament.

The show goes on, folks.

There is plenty of extraordinary to dive into. KU has not been, but they have a new start with March Madness upon us. We discuss it with Mike Vernon from KUHearings.com. The KC Current makes history, and wins, and is joined by Sporting KC in the W column. Scottie Scheffler cements his standing as top dog in golf, a bit of Chiefs, a touch of Royals, and more. Enjoy!

Our hero Miikka Kiprusoff was immortalized with number 34 going to the rafters of the Dome rightfully alongside Jarome Iginla, Mike Vernon, and Lanny McDonald. The Flames looked like they were going to lay an egg on Kipper's night but Nazem Kadri, Yegor Sharangovich, and Blake Coleman had other ideas as the Flames stormed back with an epic third-period comeback to beat the Penguins. Today we're reflecting on Kipper, 2004, and breaking down the five-game roll the Flames are currently on despite all the trade rumours. Go Flames Go. Kipper 4ever Learn more about your ad choices. Visit megaphone.fm/adchoices

Hosts Daniella Bruce and Art Regner sit down with former Red Wings goaltender and newly minted Hall of Famer, Mike Vernon. What was it like to get the call from the HOF this year? Vernon also expounds on the state of NHL goaltending, what makes a Stanley Cup championship team, and shares some insights into his relationship with Chris Osgood. Later in this week's 2 Minute Minor, Red Wings goaltender Ville Husso tells us the story behind the Mike Vernon tribute on his goalie mask.

George Rusic and Matt Rose were joined by Flames legend and Hockey Hall of Famer Mike Vernon. Mike gave us his experience getting inducted into the Hockey Hall of fame, what it was like getting that call from Lanny McDonald and he shared some of the best stories from his great career. Mike shared stories on winning the Stanley Cup with the Flames and Red Wings and Mike thinks he might have had a hand in getting Patrick Roy traded from Montreal. All those stories and more in this great interview with a legend!The views and opinions expressed in this podcast are those of the hosts and guests and do not necessarily reflect the position of Rogers Media Inc. or any affiliate.

On hour 3 of the Big Show, George and Matt kick off the hour with our Big Show Flames Analyst Brent Krahn. Brent gives his thoughts last night loss to the Colorado Avalanche. The guys discuss how Colorado's superstars were able to take over last night's game in the 3rd period. Krahn also gives his take on Dan Vladar's performance the hit that injured Chris Tanev and more from yesterday's game.(24:41) To wrap the hour, Flames legend and Hockey hall of Famer Mike Vernon joins the show! Mike tells us what it was like to get the call telling him that he would be joining the HHOF and other great stories from his career.  The views and opinions expressed in this podcast are those of the hosts and guests and do not necessarily reflect the position of Rogers Media Inc. or any affiliate.

The Doc invites Sari Schorr on the show! The two discuss currently touring in the UK, musical influences, playing in the clubs of New York, making music with Mike Vernon, making music with Robin Trower and so much more. Make sure to listen! Monologue (Hip slang): 0:00:24 Birthday Suit 1: 12:46 Ripped from the Headlines: 16:00 Sari Schorr - Ain't Got No Money: 29:48 Shoutouts: 36:11 Leftover Headlines: 38:45 Sari Schorr Interview: 48:03 Robin Trower and Sari Schorr - Burn: 1:30:25 Mike C Top 3: 1:38:00 Birthday Suit 2: 1:51:20 Birthday Suit 3: 1:54:04

The Detroit Red Wings are set and ready to play in the NHL Global Series in Sweden, and we're here to talk Hockeytown and the rest of the NHL! Tune in as we open discuss the importance of Detroit's upcoming games as Dylan Larkin, Alex DeBrincat, Mortiz Seider & Co. face off against the Ottawa Senators and Toronto Maple Leafs, the Atlantic Division standings, future playoff implications, & more (5:50). Also, Ville Husso being out and how that affects James Reimer and Alex Lyon (13:30), as well as a look at Lucas Raymond's strong start to the season (16:00). Next, we discuss the NHL GMs discussing changes to the 3 on 3 overtime format, our own stupid ideas, & other rules changes (20:05) before tackling the trade list central registry, Calgary and Buffalo's team troubles, Mike Vernon, Pavel Datsyuk, Henrik Zetterberg, & the Hall of Fame, Patrick Kane, NHL NFTs, & lots more (31:20) before we take your questions and comments during our Overtime segment (43:50) - enjoy! Head over to wingedwheelpodcast.com to find all the ways to listen, how to support the show, and so much more. Max's Article: https://theathletic.com/5063082/2023/11/15/red-wings-lucas-raymond-nhl-sweden/

This week, Hockey Talk discusses a surprising turn of events in Edmonton as the Oilers decided to part ways with coach, Jay Woodcroft. In the midst of a very disappointing start to the season, will the coaching change be the spark the Oilers need to get things rolling? The guys also look at the 2023 inductees to the Hockey Hall of Fame. The goalie-heavy class included Tom Barasso, Mike Vernon, coach Ken Hitchcock, Pierre Turgeon, and The King himself, Henrik Lundqvist. Despite King Henry tormenting the Capitals for years, Dave acknowledges the greatness of The King and what he meant to hockey in NYC.Today's hosts: Dave Ungar (@AttitudeAgg) and Patrick O'Dowd (@WrestlngRealist)The Edmonton Oilers make a changeThe guys discuss the 2023 inductees to the Hockey Hall of FameAbout the Chairshot Radio NetworkCreated in 2017, the Chairshot Radio Network presents you with the best in wrestling and wrestling crossover podcasts, including POD is WAR, Women's Wrestling Talk, Chairshot Radio daily editions, The #Miranda Show, Badlands' Wrestling Mount Rushmores, The Outsider's Edge, DWI Podcast, Bandwagon Nerds, the Greg DeMarco Show, 3 Man Weave, Five Rounds, Turnbuckle Talk, The Reaction and more! You can find these great shows each week at theChairshot.com and through our distribution partners, including podcasting's most popular platforms.Support this podcast at — https://redcircle.com/chairshot-radio-network/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

On this episode of The Notebook, Mike Vernon and the Canadiens (00:00), Slafkovsky and Guhle are making strides (11:30), Montembeault's contract (38:20), and your questions in the Mailbag! (56:00). Follow the show on Twitter:@BasuAndGodin Email your mailbag questions: basuandgodin@gmail.com Recorded: November 13, 2023 Follow Arpon Basu on Twitter: @ArponBasu Follow Marc Antoine Godin on Twitter: @MAGodin For general inquiries email info@sdpn.ca Reach out to https://www.sdpn.ca/sales to connect with our sales team and discuss the opportunity to integrate your brand within our content! Learn more about your ad choices. Visit megaphone.fm/adchoices

Le passage à vide de Josh Anderson, la progression de Juraj Slafkovsky, le retour en force d'Alexis Lafrenière et... l'éventuelle intronisation de Carey Price au Temple de la renomée. Ce sont quelques-uns des sujets du plus récent épisode de Sortie de zone avec l'animateur Jérémie Rainville et Stéphane Waite, du 98,5 FM, ainsi que Richard Labbé et Simon-Olivier Lorange, de La Presse. Le sommaire Bloc 1 0:30 - Deux points sur une possibilté de quatre pour le Canadien: un bon week-end? 5:50 - Martin St-Louis aime la progression de Juraj Slafkowsy. Et vous? 13:00 - Aucun but en 15 matchs pour Josh Anderson. 22:40 - Variation sur un même thème: les gardiens... Bloc 2 30:40 - La semaine dernière, le Canadien a été plus compétitif face aux Red Wings, aux Bruins et aux Canucks. Comment voyez-vous la semaine à venir contre les Flames de Calgary et les Golden Knights de Las Vegas - au Centre Bell - et encore les Bruins, mais cette fois, à Boston? 38:25 - Pierre Turgeon sur l’anneau honneur du Canadien et au Temple de la renommée avec Caroline Ouellette, Henrik Lunqvist, Tom Barrasso, Mike Vernon, Pierre Lacroix et Ken Hitchcock? 45:58 - En raison de l'arrivée au panthéon de Lundqvist, de Barrasso et de Vernon, en ce lundi 13 nombre 2023, peut-on avancer que Carey Price sera intronisé dans quelques années? Bloc 3 49:50 - Les Oilers d'Edmonton congédient leur entraîneur. 57:00 - Alexis Lafrenière avec les Rangers: Comme un joueur professionnel invité au camp préparatoire à un joueur élite en saison régulière.Voir https://www.cogecomedia.com/vie-privee/fr/ pour notre politique de vie privée

The Edmonton Oilers continue to struggle after losing to the San Jose Sharks. We discuss the struggles in Edmonton. Meanwhile, the Pittsburgh Penguins have climbed back into the thick of the Metropolitan Division race after their slow start.Connor Bedard had a two-goal, four-point night against Tampa Bay, we discuss his outstanding performance.This is also induction weekend at the Hockey Hall of Fame with three goalies highlighting the inductees. We discuss the legacies of Henrik Lundqvist, Tom Barrasso and Mike Vernon along with the rest of the Class of 2023.And we preview a busy weekend of NHL action ahead highlighting the key matchups and games.All this and more on today's Locked On NHL Podcast with Rachel Donner and Gil Martin.Support Us By Supporting Our Sponsors!eBay MotorsWith all the parts you need at the prices you want, it's easy to turn your car into the MVP and bring home that win. Keep your ride-or-die alive at EbayMotors.com. Eligible items only. Exclusions apply. eBay Guaranteed Fit only available to US customers.Parkview AdvanceFor more than 25 years, Parkview Advance has helped businesses secure working capital. We Invite the many entrepreneurs that are Locked On NHL to learn more by calling us at 203-675-0071 or go to parkviewadvance.com. If your business needs working capital, call Parkview Advance today!SleeperDownload the Sleeper App and use promo code LOCKEDONNHL to get up to a $100 match on your first deposit. Terms and conditions apply. See Sleeper's Terms of Use for details.GametimeToday's episode is brought to you by Gametime.Take the guesswork out of buying tickets with Gametime. Download the Gametime app, create an account, and use code LOCKEDONNHL for $20 off your first purchase.FanDuelScore early this NFL season with FanDuel, America's Number One Sportsbook! Right now, NEW customers get ONE HUNDRED AND FIFTY DOLLARS in BONUS BETS with any winning FIVE DOLLAR MONEYLINE BET! That's A HUNDRED AND FIFTY BUCKS – if your team wins! Visit FanDuel.com/LOCKEDON to get started.FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN) Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Edmonton Oilers continue to struggle after losing to the San Jose Sharks. We discuss the struggles in Edmonton. Meanwhile, the Pittsburgh Penguins have climbed back into the thick of the Metropolitan Division race after their slow start. Connor Bedard had a two-goal, four-point night against Tampa Bay, we discuss his outstanding performance. This is also induction weekend at the Hockey Hall of Fame with three goalies highlighting the inductees. We discuss the legacies of Henrik Lundqvist, Tom Barrasso and Mike Vernon along with the rest of the Class of 2023. And we preview a busy weekend of NHL action ahead highlighting the key matchups and games. All this and more on today's Locked On NHL Podcast with Rachel Donner and Gil Martin. Support Us By Supporting Our Sponsors! eBay Motors With all the parts you need at the prices you want, it's easy to turn your car into the MVP and bring home that win. Keep your ride-or-die alive at EbayMotors.com. Eligible items only. Exclusions apply. eBay Guaranteed Fit only available to US customers. Parkview Advance For more than 25 years, Parkview Advance has helped businesses secure working capital. We Invite the many entrepreneurs that are Locked On NHL to learn more by calling us at 203-675-0071 or go to parkviewadvance.com. If your business needs working capital, call Parkview Advance today! Sleeper Download the Sleeper App and use promo code LOCKEDONNHL to get up to a $100 match on your first deposit. Terms and conditions apply. See Sleeper's Terms of Use for details. Gametime Today's episode is brought to you by Gametime.Take the guesswork out of buying tickets with Gametime. Download the Gametime app, create an account, and use code LOCKEDONNHL for $20 off your first purchase. FanDuel Score early this NFL season with FanDuel, America's Number One Sportsbook! Right now, NEW customers get ONE HUNDRED AND FIFTY DOLLARS in BONUS BETS with any winning FIVE DOLLAR MONEYLINE BET! That's A HUNDRED AND FIFTY BUCKS – if your team wins! Visit FanDuel.com/LOCKEDON to get started. FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN) Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jeff kicks off the show with Hailey Salvian of the Athletic. They discuss the Carolina Hurricanes and whether or not Jaccob Slavin is still underrated around the NHL, the San Jose Sharks getting their first win of the year last night, and tee up tonight's Rivalry Series in Arizona. Then, Sportsnet's Mark Spector joins the show to break down the Oilers waiving goaltender Jack Campbell, how things were received in the locker room, what to expect from Calvin Pickard after being called up from the NHL, and what is going on with Connor McDavid (30:29). Hockey Hall of Fame Inductee Mike Vernon wraps up today's show to reflect upon his HHOF induction next week, his legendary NHL career, his hockey idols, and much more (50:05). The views and opinions expressed in this podcast are those of the hosts and guests and do not necessarily reflect the position of Rogers Sports & Media or any affiliates.

On this week's show, we are joined by Mike Vernon, who began, and ended, his career with his hometown Calgary Flames - with stints in Detroit, San Jose and Florida in between. During his 20 year career, he was a dominant presence in net earning two  Stanley Cup Championships, and was the named the Conn Smyth Trophy as the Most valuable player in the 1997 Stanley Cup Playoffs. He was a 5 time NHL All Star, with 385 career wins, and will be Inducted into the Hockey Hall of Fame next week!  Enjoy! See omnystudio.com/listener for privacy information.

After winning over 300 NHL games, two Stanley Cups, a Conn Smythe Award, and much more, Mike Vernon will finally be inducted into the Hockey Hall of Fame. He comes on the show today to talk about it with John and Daren. The three cover most of Mike's glory days from Junior to the pros as they reflect on the Hall of Famer's decades-long hockey career. Mike tells us about his unconventional first taste of NHL Hockey, looks back on his time spent in Calgary, and even gets Daren to look into the case of his missing Sharks helmet in a rare conversation with a hockey legend."

Welcome to Blasty's Corner, your new home for Calgary Flames hockey talk on the Hockey Podcast Network! Follow us on Twitter @BlastysCorner and @hockeypodnet. After another tough loss, this time to the Dallas Stars extending the losing streak to an ugly 6 game stretch, Grant and Chris come away from the game feeling impressed with the boys for showing some resiliency in the 3rd, making it a close game despite falling asleep at the wheel in the 2nd period. The boys also show some love to Connor Zary in his first NHL game and to MacKenzie Weegar for his 2 point night. They wrap up the episode with their thoughts on the SNAFU in Ottawa. Congrats to Mike Vernon for his induction into the hockey hall of fame! Don't forget to rate, share and subscribe to Blasty's Corner! You can find us on ALL the major podcast directories. Share with your friends, family, bring your mum! It would truly help us out and is greatly appreciated! For more hockey news, check out other shows on the Hockey Podcast Network where you will find a dedicated podcast for ALL 32 NHL teams. Blasty's Corner is presented by Draftkings, and RayCon! Go to buyraycon.com/thpn to get 20-50% off sitewide! Gambling problem? Call 1-800-Gambler or visit w w w dot 1800 gambler dot net. In New York, call 877-8-HOPE NY or text HOPE N Y (467369). In Connecticut, Help is available for problem gambling call 888-789-7777 or visit c c p g dot org. Please play responsibly. On behalf of Boot Hill Casino & Resort (KS). Licensee partner Golden Nugget Lake Charles (LA). 21 + age varies by jurisdiction. Void in ONT. Bonus bets expire one hundred sixty eight hours after issuance. See sportsbook.draftkings.com/footballterms for eligibility and deposit restrictions, terms, and responsible gaming resources. #Flames #CalgaryFlames #Calgary #Hockey #CofRed #Alberta #NHL #THPN #HockeyTwitter #DraftKings Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the first episode of The Hum: A KU Hoops Podcast. In this episode, your hosts Sam Lance and Jackson Bezdek chat with Mike Vernon about KU's NCAA Infractions case and get a behind the scenes look at the IARP process. We also preview the upcoming hoops season with a breakdown of each player on KU's roster. SUBSCRIBE to Field of 68 Daily: https://https://fieldof68.beehiiv.com/ Check out our merch store: http://fieldof68.shop FOLLOW US! The Hum Twitter: https://twitter.com/HumPod_KU Network Twitter: https://twitter.com/TheFieldOf68 Instagram: https://www.instagram.com/fieldof68/?hl=en TikTok: https://www.tiktok.com/@fieldof68?lang=en Rock Chalk! Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Kansas Jayhawks are just two seasons removed from a NCAA Tournament Championship, and Bill Self's squad is ranked #1 to start the year. Before the season kicks off on November 6th, Andy is joined by Mike Vernon, author of The KU Hearings and cohost of the Could Be Wrong Podcast to preview the team. What is this rotation going to look like? Is the starting lineup set? What were the biggest offseason stories? How will Kansas fare in the conference schedule this year? Plus, in a sign of just how much has changed, we couldn't avoid starting out a basketball preview with a quick football discussion. Follow Andy on Twitter: @AndyMitts12 Follow Mike on Twitter: @M_Vernon Follow Blue Wings Rising on Twitter: @bluewingsrise We want your input on the podcast. If you have something you would like to talk about on the podcast, or any suggestions for people that we should try to talk to, let us know by emailing us at rockchalkpodcast@gmail.com or on twitter @RockChalkPod. The Rock Chalk Podcast is brought to you by our friends at Charlie Hustle Clothing Co. Charlie Hustle is a vintage-inspired clothing company based out of Kansas City that specializes in Collegiate and Hometown apparel. Charlie Hustle wants you to be the best dressed fan this season, so be sure to check out their wide selection of officially licensed collegiate apparel today and show off your school spirit all season long. With over 30 schools to choose from, they've got you covered with all of your collegiate apparel needs. Use promo code 'TEN1215' to shop today at www.charliehustle.com and save 15% on all non-sale items. Charlie Hustle, Vintage Made Fresh. Join in the easiest legal way to play daily fantasy with PrizePicks. Through their award winning, easy to use mobile app, you can quickly pick on props for your favorite events across the sports world, including NFL, MLB, NBA, Soccer, College football and basketball and more! Use promo code Chalk12 at sign up and get an instant 100% match on your first deposit up to $100. Get more info at https://bit.ly/Chalk12. A proud part of the Ten12 Podcast Network on the Sport Social Podcast Network. Find links to all of our great shows on our Twitter account at @Ten12Network or at www.Ten12Network.com Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of Big Ten Country, James Neveau and Kenneth Davis preview the Week 9 of the college football season. Before they discuss the five Big Ten matches on the docket for the weekend, Mike Vernon from KUHearings.com joins James and Kenneth to preview and discuss Bill Self's return to Champaign for an exhibition between Kansas and Illinois (3:11). Mike also discusses whether Bill Self is the best coach in Jayhawks' history (6:21) and Kansas' incredible transfer portal haul that landed them All-American Hunter Dickinson (13:13). Later, Ken and James are back on football, where they preview the Ohio State-Wisconsin matchup (36:05). Will Wisconsin be able to hold their own with backup quarterback Braedyn Locke in for Tanner Mordecai? Finally, they run through the rest of the slate for the weekend (46:46).See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Welcome to Could Be Wrong - a podcast for humanity. Mike Vernon and Nick Schwerdt will take you on a weekly journey through life, love, and Kansas sports. Could this show change the world? Who's to say?Episode 1 coming August 28. 

Our Chris Gawlik has done it again! He has VGK up in arms at the thought of Jonathan Marchessault being traded if the team cannot come to contract terms with the Conn Smythe winner sometime this season. Marchessault's contract expires at the end of the season and so far there have not been any discussions between his agent and the Golden Knights. We figure he would want a contract of about $7-million and term. Gawlik's story about the possibility of Marchessault being traded has been appearing everywhere virally. The quickest a Conn Smythe Award Winner has been traded was when Mike Vernon was traded by the Red Wings 72 days after winning the award and the Stanley Cup. Wayne Gretzky was traded from Edmonton to L.A. 75 days after winning the Conn Smythe, so anything is possible. We also discuss where the VGK Cup has been and we have our WTF, What The Friday, feature.FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN) Learn more about your ad choices. Visit podcastchoices.com/adchoices

Our Chris Gawlik has done it again! He has VGK up in arms at the thought of Jonathan Marchessault being traded if the team cannot come to contract terms with the Conn Smythe winner sometime this season. Marchessault's contract expires at the end of the season and so far there have not been any discussions between his agent and the Golden Knights. We figure he would want a contract of about $7-million and term. Gawlik's story about the possibility of Marchessault being traded has been appearing everywhere virally. The quickest a Conn Smythe Award Winner has been traded was when Mike Vernon was traded by the Red Wings 72 days after winning the award and the Stanley Cup. Wayne Gretzky was traded from Edmonton to L.A. 75 days after winning the Conn Smythe, so anything is possible. We also discuss where the VGK Cup has been and we have our WTF, What The Friday, feature. FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN) Learn more about your ad choices. Visit podcastchoices.com/adchoices

Pinder & Rhett sit down with Calgary Flames Legend Mike Vernon!PART 2/2Shoutout to this episode's sponsors:The Hearing Loss Clinic: https://hearingloss.caMcleod Law: https://www.mcleod-law.comBK Bowfort LiquorOutdoor Dental: https://www.outdoor.dentalBon Ton Meat Market: https://bonton.caTower Chrysler: https://www.towerchrysler.comBetway: https://betway.com/en-ca/ Mad Rose Pub: https://www.madrose.pubVillage Honda: https://www.villagehonda.com/enVena Nova: https://venanova.com________________________________________________Visit www.nationgear.ca for merch and more.Follow us on Instagram @flamesnationdotca Follow us on Twitter @flamesnation @barnburnerfnFollow us on Facebook @FlamesNationReach out to sales@thenationnetwork.com to connect with our Sales Team and discuss opportunities to partner with us! Hosted on Acast. See acast.com/privacy for more information.

Pinder & Rhett sit down with Calgary Flames Legend Mike Vernon!PART 1/2 Shoutout to this episode's sponsors:The Hearing Loss Clinic: https://hearingloss.caMcleod Law: https://www.mcleod-law.comBK Bowfort LiquorOutdoor Dental: https://www.outdoor.dentalBon Ton Meat Market: https://bonton.caTower Chrysler: https://www.towerchrysler.comBetway: https://betway.com/en-ca/ Mad Rose Pub: https://www.madrose.pubVillage Honda: https://www.villagehonda.com/enVena Nova: https://venanova.com________________________________________________Visit www.nationgear.ca for merch and more.Follow us on Instagram @flamesnationdotca Follow us on Twitter @flamesnation @barnburnerfnFollow us on Facebook @FlamesNationReach out to sales@thenationnetwork.com to connect with our Sales Team and discuss opportunities to partner with us! Hosted on Acast. See acast.com/privacy for more information.

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

Closing out the month and first half of 2023 in the only way I know how, with nothing but passionate, unapologetic sports talk as I keep you apprised of all that's happening. On deck: (3:18) Baseball had a historic moment last night as Yankee starting pitcher, Domingo German, became the 24th pitcher in the sports history to throw a perfect game, as he did so against the Oakland A's. Could this be a springboard to what's been an up and down season to date? On the other side of town, you have Mets owner Steve Cohen, coming off of another state of the union regarding his underachieving ball club. Did he say all the right things? Am I a fan of what was said during his press conference yesterday? Then you have the exploits of Shohei Ohtani who hit two home runs, while striking out 10 in a win over the White Sox. Not only is he the frontrunner to winning another MVP, but is he also in the mix for the AL Cy Young Award as well? There's a surprisingly big series in the NL East this weekend as the second place Marlins visit the first place Braves. Can Miami thwart Atlanta's dominance over them throughout the past few years? (26:12) To no shock, the Chicago Blackhawks drafted the NHL's next great generational star with the first overall pick in a one Connor Bedard. With Edmonton Oilers back to back and three time MVP, Connor McDavid, head and shoulders the best player in the league, is there pressure for Bedard to deliver what his reputation and namesake has done to this point? I'll also discuss a couple of surprises at the top of the draft between Anaheim selecting Leo Karlsson instead of Adam Fantilli. And the Flyers taking a risk by drafting talented but mysterious, Matvei Michkov. I'll cover some of the big trades that have taken place so far and peek at some key dates on the upcoming NHL schedule as it was released yesterday. Lastly, I'll delve into the recent class that'll be inducted into the Hockey Hall of Fame as Henrik Lundqvist, Tom Barrasso, Mike Vernon and Pierre Turgeon to name a few will be enshrined later this year. (37:53) The NBA free agency period is looming! Where will the likes of James Harden, Kyrie Irving, Draymond Green, Russell Westbrook, D'Angelo Russell, etc. will end up? (43:05) More NFL players are facing suspension in the next day or so after violating the league's gambling policy. Who will that be? And is it hypocritical for a league to be in bed with some of these gambling houses/websites, while coming down on players for placing wagers? There's a new executive director leading the players association and sad news as former NFL quarterback, Ryan Mallett passed away a couple of days ago at the age of 35. Please subscribe, leave a rating and post a review on Apple Podcasts, Google Podcasts, Spreaker, Stitcher, Spotify, Luminary, Amazon Music and iHeartRadio or wherever you get your podcasts. If you'd like to contribute to the production of the podcast, please visit my Patreon page at: www.patreon.com/TheJAYREELZPodcast   Many thanks for all of your love and support.   Intro/outro music by Cyklonus. LINKS TO SUBSCRIBE, RATE & REVIEW: APPLE: https://podcasts.apple.com/us/podcast/the-jayreelz-podcast/id1354797894 SPOTIFY: https://open.spotify.com/show/1gkdtgroTFlaqPW1EBjVDr SPREAKER: https://www.spreaker.com/show/the-jayreelz-podcast_2 STITCHER: https://www.stitcher.com/podcast/jason-s-nazario/the-jayreelz-podcast iHEARTRADIO: https://www.iheart.com/podcast/256-the-jayreelz-podcast-43104270/ LUMINARY: https://luminarypodcasts.com/listen/jason-s-nazario/the-jayreelz-podcast/f9527dd9-47ea-4ed9-92cf-32af9bfa95ad?country=US SPOTIFY TRAILER: https://open.spotify.com/episode/7nZZlvPRAly5irLRSG2qxq?si=rTKCQKnZRNC_VK-_uIWNJA AMAZON MUSIC: https://www.amazon.com/The-JAYREELZ-Podcast/dp/B08K58SW24/ref=sr_1_1?dchild=1&keywords=the+jayreelz+podcast&qid=1606319520&sr=8-1 SPOTIFY PODCAST LINK: https://open.spotify.com/show/1gkdtgroTFlaqPW1EBjVD

Tonight the guys are joined by friend of the show, Dave Roberts, and long time friend and cousin of Fourteen Twenty Dave, Kent Hehr to talk about the NHL hall of fame, Mike Vernon, our thoughts on some other questionable hockey hall of famers, a long who is better of borderline great NHL goaltenders, part 2 of “I hope you're stupid” and a whole lot more. Sit back, grab a few beers and let's get into ‘er! Use promo code 1420POD at Seat Geek today to save $20 on your first purchase Get yourself some Fourteen Twenty Sports Merch here today! Fourteen Twenty Sports | Spreadshop (fourteen-twenty-sports.myspreadshop.com) Learn more about your ad choices. Visit megaphone.fm/adchoices

The NHL Draft is nearly upon us, so of course the Detroit Red Wings & rest of the league start buzzing with trade rumors, Hall of Fame controversy, & more. Tune in as we open by discussing Steve Yzerman's press conference, in which he discussed the possibility of trading vs. keeping pick 9, 17, 41, 42, & 43, if he's worried about drafting Russians like Michkov, Simashev, or But, Walman, Evinsson, & Kasper being on track, building his core around Larkin, Seider, & Raymond, & more (3:35). Next, the 2023 Hockey Hall of Fame inductees: Mike Vernon, Pierre Turgeon, Caroline Ouelette, Henrik Lundqvist, Tom Barrasso, Pierre Lacroix, & Ken Hitchcock - no Henrik Zetterberg, Alex Mogilny, Rod Brind'Amour, Chris Osgood, or others. How does Vernon boost Osgood's case? Does Zetterberg go in with Datsyuk (16:35)? Next, NHL trade rumors involving Hockeytown: Alex DeBrincat - is a deal possible with Zadina and a pick? Also, Yzerman "kicking tires" on Kevin Hayes & Travis Konecny - what their acquisition costs would be and whether they'd be good fits in Detroit (26:28). After that, Danil But's NHL Draft Prospect Profile, as we evaluate whether the big Russian winger would be a more talented Soderblom-type coming out of the draft (and how he compares to Honzek, Danielson, etc.) (44:05). Finally, some NHL some, including Vancouver buying out Oliver Ekman-Larsson (50:50) & more before we take your questions for Overtime (56:00)! Head over to wingedwheelpodcast.com to find all the ways to listen, how to support the show, and so much more.

Despite being a workhorse for 15 seasons, 2008 conn smythe winner Henrik Zetterberg has yet again been left out of the Hall of Fame. Chris Osgood, despite similar resumes to goalies that got in, like his counter part Mike Vernon (who we ARE happy about), did not make it in either. #lgrwFollow & Subscribe on all Podcast platforms…

Despite being a workhorse for 15 seasons, 2008 conn smythe winner Henrik Zetterberg has yet again been left out of the Hall of Fame. Chris Osgood, despite similar resumes to goalies that got in, like his counter part Mike Vernon (who we ARE happy about), did not make it in either. #lgrw Follow & Subscribe on all Podcast platforms…

On today's show: NDP leader Rachel Notley joins us live; Calgary Flames legend Mike Vernon is heading to the Hockey Hall of Fame! He joins us to talk about the honour; Taylor Swift isn't coming to Canada. Local Swifties react.

Braiden Turner and Anthony Bax are joined by Mike Vernon of The KU Hearings to discuss the Jayhawks landing highly-touted transfer Hunter Dickinson to bolster the team's 2023 basketball roster.  — Download the KC Sports App. It's FREE. Stay connected to all your favorite teams in one simple app.  Just search “KC Sports Network” in the App Store or on Google Play and hit install. It's 100% free! Apple devices: https://apps.apple.com/us/app/kcsn/id6443568374 Android devices: https://play.google.com/store/apps/details?id=com.kcsn&hl=en — Subscribe to the KCSN Daily Substack for film reviews, exclusive podcasts, KC Draft guide, discounts and access, giveaways, merch drops and more at https://kcsn.substack.com/subscribe — FOLLOW US ON: Facebook - https://www.facebook.com/KCSportsNetwork Instagram - https://www.instagram.com/kcsports.ne... Twitter - https://twitter.com/KCSportsNetwork Substack - https://kcsn.substack.com Apple Podcasts - https://podcasts.apple.com/us/podcast... Learn more about your ad choices. Visit podcastchoices.com/adchoices

Mike Vernon and John Kurtz joined The Drive to give the KU and KSU reaction to the news that Bill Snyder son is now an assistant coach at Kansas. 

The brackets have been released, and there is plenty to be upset about if you are a fan of the Kansas Jayhawks. From the men losing out on Kansas City and the women being left out of the field entirely, it's hard to ignore the feeling that Kansas was penalized in this year's postseason. Andy is joined by Mike Vernon of The Hearings newsletter to break down the matchups for the men.Follow Andy on Twitter: @AndyMitts12Follow Ari on Twitter: @arisportsFollow Blue Wings Rising on Twitter: @bluewingsriseWe want your input on the podcast. If you have something you would like to talk about on the podcast, or any suggestions for people that we should try to talk to, let us know by emailing us at rockchalkpodcast@gmail.com or on twitter @RockChalkPod.Get the most comfortable vintage college sports t-shirts, sweaters, hoodies and more at Homefield Apparel! With more than 100 schools available (and new ones added all the time) you are sure to find something that you'll absolutely love. Promo code "CHALK12" gets you 15% off your first order at https://www.homefieldapparel.com/, and all orders $100 or more get free shipping.Join in the easiest legal way to play daily fantasy with PrizePicks. Through their award winning, easy to use mobile app, you can quickly pick on props for your favorite events across the sports world, including NFL, MLB, NBA, Soccer, College football and basketball and more! Use promo code Chalk12 at sign up and get an instant 100% match on your first deposit up to $100. Get more info at https://bit.ly/Chalk12.A proud part of the Ten12 Podcast Network on Sports Drink. Find links to all of our great shows on our Twitter account at @Ten12Network.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The 1997 Conn Smythe Trophy winner joins us to talk about last night's reunion of the Red Wings' Stanley Cup championship team that season

THE BOYS ARE BACK! On Episode 403 of Spittin' Chiclets, the guys are joined by Mike Vernon. The former NHL Goalie joined (01:40:47) to discuss his career, fighting Patrick Roy, winning the Cup and tons more. The boys open the show with a long over due summer catch up, including a Pink Whitney Tour recap with Pasha. There is also a major live show announcement. Between Kadri, the World Juniors, and all of the other NHL news, the boys were filled with topics to close out the show.