Podcasts about Mississippi Sheiks

Hokum bands of the 1920s and '30s created a brand of urban folk tunes called “jug band music” that famously blended the sounds of the plantation and the church with those of the swing, swerve and sway of nascent jazz.And no one did it better than those Flood heroes The Memphis Jug Band, formed in 1927 by Beale Street guitar/harmonica player Will Shade. Shade was also known as Son Brimmer, a nickname given to him by his grandmother Annie Brimmer (“son” being short for grandson). The name stuck when other members of the band noticed how the sun bothered him and he used the brim of a hat to shade his eyes.The Ohio Valley InfluenceIncidentally, Will Shade first heard jug band music in our part of the country, on the 1925 recordings by Louisville's Dixieland Jug Blowers, and he wanted to take that sound south.“He was excited by what he heard,” Wikipedia notes, “and felt that bringing this style of music to his hometown of Memphis could be promising. He persuaded a few local musicians, though still reluctant, to join him in creating one of the first jug bands in Memphis.”While Shade was the constant, the rest of his band's personnel varied from day to day, as he booked gigs and arranging recording sessions.Some players remained a long time. For instance, Charlie Burse (nicknamed "Laughing Charlie," "Uke Kid Burse" and "The Ukulele Kid”) recorded some 60 sides with the MJB. Others — like Memphis Minnie and Hattie Hart — used the band as a training ground before going on to make careers of their own.Street MusicThe Memphis Jug Band's venues, as The Corner Jug Store web site noted, included “street corners, juke joints, city nightclubs, political rallies, private parties, hotel ballrooms, medicine shows and riverboats,” and it cut many styles and repertoires to suit its varied audiences.Most of all, the MJB's sound was the music of the street, as demonstrated in the open lines of their wonderful “4th Street Mess Around,” recorded in May 1930 for Victor by Ralph Peer: Go down Fourth until you get to Vance, Ask anybody about that brand new dance. The girls all say, “You're going my way, It's right here for you, here's your only chance.”And what was that “brand new dance?” Shoot, take your pick! The Eagle Rock, the turkey trot and fox trot, camel walk and Castle Walk, the Charleston and the Lindy Hop were all stirring the feet and wiggling the hips of listeners and players in the ‘20 and ‘30s.But Mess Around?But what's a “mess around?” Well, as we reported here earlier, New Orleans jazzman Wingy Manone in his wonderful autobiography called Trumpet on the Wing, talked about watching people dance the mess-around at the fish fries of his youth in the Crescent City at the beginning of the 20th century.“The mess-around,” said Wingy, “was a kind of dance where you just messed around with your feet in one place, letting your body do most of the work, while keeping time by snapping fingers with one hand and holding a slab of fish in the other!” Now, that's an image.Our Take on the TuneThe Flood first started messing around jug band tunes nearly 50 Springs ago, when the band was still a youngster. Before their juncture with juggery, the guys played mainly old folk songs and some Bob Dylan and John Prine and a smattering of radio tunes from folks like James Taylor and The Eagles. But then they discovered some fine old recordings by Tampa Red and Georgia Tom, by groups like The Mississippi Sheiks and Gus Cannon's Jug Stompers, and most especially the great Memphis Jug Band. Ever since then, The Flood's musical buffet table has been a lot bigger, with tunes like this one from the warmup at last week's rehearsal.More Jugginess?Of course, The Flood's jug band music mission has continued. If today's song and story have you ready to join the campaign, check out The Hokum channel on the free Radio Floodango music streaming service which has dozens of jug band tunes ready to rock you. Click here to tune it in and you'll be ready to sing along at the next Flood fest. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Singer, guitarist, jug-band pioneer and songster Jim Kweskin joins me on the show today. I can't tell you how many times I heard Jim's name before I ever heard his music. To the generation before me, he was a total legend, and the Jim Kweskin Jug Band was very influential to many musicians who grew up in the 60's and 70's. Jim came up in the Boston/Cambridge area and The Jug Band was legendary around those parts and eventually across America. Old blues, jug and string band music was considered old fashioned at that point in time, and Jim spearheaded its return and kicked off a musical revolution that inspried bands like the Lovon' Spoonful and The Grateful Dead (don't forget they started off as a jug band too). With bandmates like Geoff and Maria Muldaur, Bill Keith, Mel Lyman and Fritz Richmond, the Jug Band was signed to a major label, sold thousands of records and toured across the country tirelessly between 1963-1970. They turned countless young musicians on to the music of artists like Mississippi John Hurt, Blind Boy Fuller and the Mississippi Sheiks.Jim has continued making records and performing under his own name and has just put out a rerally cool album called “Never Too Late”, which is mostly duets with some of his friends on vocals like Maria Muldaur, Meredith Axelrod and many more.I won't go too in depth on his bio here because in the interview, he actually had a bio preopared and read it to me, which you'll hear on the show. It's a first “written statement” for the podcast! I think you'll dig that part of the conversation. You can get all the latest info on Jim at jimkweskin.com - Enjoy my conversation with Jim Kweskin!This season is brought to you by our sponsors Larivée Guitars and Fishman AmplificationYou can join our Patreon here to get all episodes ad-free, as well as access to all early episodesThe show's website can be found at www.makersandshakerspodcast.com Get ad-free episodes and access to all early episodes by subscribing to Patreon. Hosted on Acast. See acast.com/privacy for more information.

We'll be listening to the blues on the next two episodes of the podcast. This week, classic tunes from Frank Stokes, Mose Allison and the Mississippi Sheiks. Add in some contemporary tunes from Coco Montoya, The Nighthawks, Tommy Castro and the Painkillers and a few more. Sing the blues with us … this week on The Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / SmithsonianFolkways Duke Robillard / “Zot” / Swing / RounderRonnie Earl & the Broadcasters / “Baby How Long” / Beyond the Blue Door / Stony PlainMose Allison / “Parchman Farm” / Local Color / Real GoneCoco Montoya / “Lights are On but Nobody's Home” / Coming in Hot / AlligatorFrank Stokes / “I Got Mine” / Protobilly / JSPJim Kweskin / “You're Gonna Quit Me Baby” / Unjugged / HornbeamMississippi Sheiks / “Things About Comin' My Way” / Best of the Mississippi Sheiks / Columbia LegacyDuke Robillard / “Stitt's Bit” / Swing / RounderThe Nighthawks / “When I Go Away” / All You Gotta Do / Eller SoulTracy Nelson / “Whatever I Am You Made Me” / Poor Man's Paradise / ColumbiaTommy Castro & the Painkillers / “All About the Cash” / Method to my Madness / AlligatorMaria Muldaur / “Sweet Lovin' Ol' Soul” / Maria Muldaur and her Garden of Joy / Stony PlainHot Tuna / “Vicksburg Stomp” / Steady as She Goes” Red HousePete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

"Cannabis, COVID, and Concerts: A Grateful Dead Fan's Journey"Larry Mishkin is back from a break spent in South Carolina with his granddaughter he shares his experience of contracting a mild case of COVID, attributing his quick recovery to his cannabis use. He references studies suggesting that certain strains of sativa marijuana may mitigate COVID symptoms.The episode features a detailed discussion of a special Grateful Dead concert from July 15, 1989, at Deer Creek Music Theater in Noblesville, Indiana. Larry reminisces about the venue, the band's setlist, and the memorable experience shared with friends. He highlights key performances from the show, including "Bertha," "Greatest Story Ever Told," "Candyman," "Walkin' Blues," and others.Larry also covers recent music news, mentioning Melissa Etheridge's performance in Colorado and her upcoming summer tour. He shares updates on the String Cheese Incident's New Orleans-themed show at Red Rocks and Phish's recent appearance on The Tonight Show with Jimmy Fallon, where they performed "Evolve" from their new album. Grateful DeadDeer Creek Music Theater CenterNoblesville, INGrateful Dead Live at Deer Creek Music Center on 1989-07-15 : Free Borrow & Streaming : Internet Archive With:  Judy, Andy K., Lary V., AWell and others First Dead show ever at Deer Creek which had just opened that year.  Became a regular stop on the Dead's summer tour thereafter and one of the favorite places for the Deadheads given its relatively small size as compared to the stadium venues that soon became the norm for summer tours.  Ironically, two days after this one-off Dead played their final 3 shows at Alpine Valley, switched to Tinley Park in 1990 and then starting in 1991 Chicago summer  tour shows were confined to Soldier Field with 60,000 attendees. INTRO:                                 Bertha                                                Track #2                                                1:20 – 3:00 Garcia/Hunter – first appeared on Grateful Dead (live) aka Skull and Roses or Skullfuck (1971)Played: 401First:  February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:  June 27, 1995 at the Palace of Auburn Hills, Detroit, MI  SHOW No. 1:                    Walkin Blues                                                Track #5                                                1:38 – 3:20 "Walkin' Blues" or "Walking Blues" is a blues standard written and recorded by American Delta blues musician Son House in 1930. Although unissued at the time, it was part of House's repertoire and other musicians, including Robert Johnson and Muddy Waters, adapted the song and recorded their own versions. "Walkin' Blues" was not a commercial success when it was issued as a "race record" marketed to black listeners.  However, the song was received with great enthusiasm by a small group of white jazz record collectors and critics. Producer John Hammond chose "Walkin' Blues" and "Preachin' Blues" as the records to be played at his 1938 From Spirituals to Swing concert, when Johnson himself could not appear (Johnson had died a few months earlier).[15] The 1961 Johnson compilation album King of the Delta Blues Singers was marketed to white enthusiasts. According to most sources, John Hammond was involved in the production and the selection of tracks. The album included the two House-style songs and a song with House-style guitar figures ("Cross Road Blues" and excluded songs in the commercial style of the late 1930s. Notable exclusions were Johnson's one commercial hit, "Terraplane Blues", and two songs which he passed on to the mainstream of blues recording, "Sweet Home Chicago" and "Dust My Broom". Dead first played it in 1966, once in 1982 and 4 times in 1985.  Then, beginning in 1987 it became a standard part of Dead song lists, peaking in 1988 when it was played 23 times.  Became one of Bobby's early first set blues numbers with Minglewood Blues, CC Rider and Little Red Rooster. Played: 141First:  October 7, 1966 at Fillmore Auditorium, San Francisco, CA, USALast:  July 2, 1995 at Deer Creek Music Center, Noblesville, IN, USA   SHOW No. 2:                    Crazy Fingers                                                Track #12                                                4:30 – 6:12 Pretty standard second set song, usually pre-drums.  Fist played in 1975, a few times in 1976 and then dropped until 1982 at Ventura County Fairgrounds (day after my first show).  Played 7 times that year, dropped until 1985 (10 times), then dropped until 1987 and then played regularly until the end.  Great tune, Jerry often forgot the lyrics and this version is great because Bobby saves him on the lyrics when Jerry starts to go astray.  Good fun considering how many times Bobby would forget the words to his songs. But one of those things you remember if you see it happen Garcia/Hunter, released on Blues For Allah (Sept. 1, 1975)Played: 145 timesFirst:  June 17, 1975 at Winterland Arena, San Francisco, CA, USALast:  July 5, 1995 at Riverport Amphitheatre in Maryland Heights, MO (St. Louis)  SHOW No. 3:                    Truckin                                                Track #13                                                7:00 – end Hunter/Garcia/Weir/Lesh/Kreutzman (Pigpen went inside to take a nap) by the side of a pool.Released on American Beauty (November, 1970) final tune on the albumPlayed: 532 timesFirst:  August 17, 1970 at Fillmore West, San Francisco, CA, USALast:  July 6, 1995 at Riverport Amphitheatre in Maryland Heights, MO                                                  INTO                                                Smokestack Lightning                                                Track #14                                                0:00 – 0:36  "Smokestack Lightning" (also "Smoke Stack Lightning" or "Smokestack Lightnin'") is a blues song recorded by Howlin' Wolf (Chester Burnett) in 1956. It became one of his most popular and influential songs. It is based on earlier blues songs, and numerous artists later interpreted it.  Recorded at Chess Records in Chicago and released in March, 1956 with You Can't Be Beat on the B side. Wolf had performed "Smokestack Lightning" in one form or another at least by the early 1930s,[1] when he was performing with Charley Patton in small Delta communities.[1] The song, described as "a hypnotic one-chord drone piece",[2] draws on earlier blues, such as Tommy Johnson's "Big Road Blues",[3] the Mississippi Sheiks' "Stop and Listen Blues",[4] and Charley Patton's "Moon Going Down".[5][6] Wolf said the song was inspired by watching trains in the night: "We used to sit out in the country and see the trains go by, watch the sparks come out of the smokestack. That was smokestack lightning." In a song review for AllMusic, Bill Janovitz described "Smokestack Lightning" as "almost like a distillation of the essence of the blues... a pleasingly primitive and raw representation of the blues, pure and chant-like. Wolf truly sounds like a man in otherwise inexpressible agony, flailing for words."[8] In 1999, the song received a Grammy Hall of Fame Award, honoring its lasting historical significance.[13]Rolling Stone magazine ranked it at number 291 in its list of the "500 Greatest Songs of All Time"[7] and the Rock and Roll Hall of Fame included it in its list of the "500 Songs that Shaped Rock and Roll".[14] In 1985, the song was inducted into the Blues Foundation Hall of Fame in the "Classics of Blues Recordings" category[15] and, in 2009, it was selected for permanent preservation in the National Recording Registry of the U.S. Library of Congress. Janovitz also identifies "Smokestack Lightning" as a blues standard "open to varied interpretation, covered by artists ranging from the Yardbirds to Soundgarden, all stamping their personal imprint on the song".[8] Clapton identifies the Yardbirds' performances of the song as the group's most popular live number.[17] They played it almost every show, and sometimes it could last up to 30 minutes. Dead often played it out of Truckin, would also play the blues tune Spoonful out of Truckin. Played:  63 timesFirst:  November 19, 1966 at Fillmore Auditorium, San Francisco, CA, USALast:  October 18, 1994 at Madison Square Garden, New York, NY, USA   SHOW No. 4:                    Space                                                Track #17                                                7:45 – 9:20  On November 28, 1973, Grateful Dead guitarist Jerry Garcia and drummer Mickey Hart staged a performance at San Francisco's Palace Of Fine Arts. At the time, Hart – whose 80th birthday is today – was on a sabbatical from the Dead, having last performed in public with Garcia and the band in February 1971. Hart would rejoin the Dead for good in October 1974.A poster promoting the concert shows a clean-shaven Garcia dressed in black beside an equally freshly shaven Hart wearing all white. At the bottom of the advertisement was printed “An Experiment in Quadrophonic Sound.”Hart recalled his experience at the duo concert with Garcia in 1973 that was not only a Seastones precursor but also planted the seeds for the band's mind-bending “Space” jams.“There were so many exciting that we've done together. Adventurous musical things. He was also into adventure and creating new spaces, so we had that in common. We got together many times out of the ring – where he first discovered synthesizers, being able to synthesize his guitar, which led to MIDI.“The first concert we did was in 1973. It was just a duo. He got an Arp [Odyssey], an electric instrument, a keyboard, and he plugged his guitar into it and that was the first time I had heard his guitar I had heard his guitar running through sophisticated synthesizers.“I just thought of that concert, which kind of was the beginning of ‘Space' – ‘Drums' and ‘Space' actually – it might have been the very beginning of it. And I think of that on his birthday, the seminal things we did together.” After the November 28, 1973 concert, the Grateful Dead began to occasionally incorporate elements of a “Space” jam into their shows. In January 1978, Dead shows almost always included a nightly “Drums” jam paired with a freeform “Space” jam, consistently showing up mid-second set throughout the rest of their career. Played:  1086First:  March 19, 1966 at Carthay Studios, Los Angeles, CA, USALast:  July 9, 1995 at Soldier Field, Chicago, IL   OUTRO:                               Brokedown Palace                                                Track #22                                                5:04 – 6:43  The lyric to “Brokedown Palace” was written by Robert Hunter as part of a suite of songs that arrived via his pen during a stay in London in 1970. He entitled it “Broke-Down Palace,” and now that it exists as a piece of writing, it seems to have always existed. It was composed on the same afternoon as “Ripple” and “To Lay Me Down,” with the aid of a half bottle of retsina.Its first performance was on August 18, 1970, at the Fillmore West in San Francisco, and became a staple of the live repertoire. After the 1975 hiatus, “Brokedown Palace” appeared almost exclusively as the closing song of the show, as an encore. It had the effect of sending us out of the show on a gentle pillow of sound, the band bidding us “Fare you well, fare you well…”Garcia/HunterReleased on American Beauty (Nov. 1970) Played: 219 timesFirst:  August 18, 1970 at Fillmore West, San Francisco, CA, USALast:  June 25, 1995 at RFK Stadium in Washington, D.C. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

In de vorige aflevering leerden we hoe aan het begin van de jaren dertig, na de beurscrash op Wall Street de economische crisis hard toesloeg, gevolgd door een aanhoudende droogte die de oogst vernielde. Vooral de lagere sociale klasse werd in de armoede gekatapulteerd, er heerste hongersnood en er kwam een nieuwe migratie op gang. Er was nu geen geld meer beschikbaar voor ontspanning en vertier, de kleinere platenlabels gericht op de Afro-Amerikaanse markt gingen ten onder en heel wat grote en bekende muzikanten gaven er de brui aan. En toch hielden enkele bluesartiesten stand. Denk maar aan Bukka White, Skip James, de Mississippi Sheiks, Leadbelly en Big Bill Broonzy. Vind je deze podcast inspirerend en leerrijk? Deel hem dan in jouw netwerk en volg de podcast zodat je geen enkele nieuwe aflevering mist. En een review is ook altijd fijn

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

“There's an old adage ‘He who forgets history is condemned to repeat it.' But what's missing in that phrase is that there are the people who are in charge of keeping your history. And they can make you forget it. They can keep it from you. And then you're doomed to repeat something that they want you to repeat.” — Samuel JamesSamuel James is a musician and storyteller from Portland, Maine, who specializes in blues and roots music. Samuel has a deep knowledge of American musical history and recently wrote a column in the Mainer magazine about the origins of the phrase “stay woke,” first heard on a Lead Belly record about the Scottsboro Boys. He shows that when we see attacks on “wokeness” like Ron DeSantis' “Stop WOKE Act,” we should remember that it's “an old, Black phrase being weaponized against the very people who created it.”Today, Samuel joins to explain how listening to the words of early 20th century Black songs provides critical context for understanding America today. From commentary on the prison system in the words of “Midnight Special” to Mississippi John Hurt's unique twist on the “John Henry” legend, Samuel James offers a course in how to listen closely to appreciate both the rich diversity of the music lumped together as folk blues, and how to hear the warnings that the early singers passed down to Black Americans today. It's a very special hour featuring some of the greatest music ever written, played live by one of its most talented contemporary interpreters.Nathan's article on Charles Murray is here, and one on Joe Rogan is here. A Current Affairs article about John Henry songs is here. Beyond Mississippi John Hurt and Lead Belly, artists mentioned by Samuel James include Gus Cannon, the Mississippi Sheiks, Charley Patton, Skip James, and Furry Lewis. More information about the St. Louis chemical spraying is here. Follow Samuel James on Twitter here. His 99 Years podcast is here. Nathan mentions the “Voyager Golden Record” that went into space, which did in fact include a classic blues song.“This is the hammer that killed John HenryBut it won't kill me, but it won't kill me, but it won't kill me”— Mississippi John HurtNOTE: The n-word is heard several times in this episode, spoken by Samuel James, and in recordings by Lead Belly and Ice Cube.Subscribe to Current Affairs on Patreon to unlock all of our bonus episodes and get early access to new releases.

Known to Bob Dylan's earliest fans as the B side of his first single, “Corrina, Corrina” appeared briefly in record stores in late 1962. However, versions of that wonderful 12-bar blues already had been rattling around America's musical consciousness for at least a half century before that.In 1918, Roger Graham published a song called “Has Anybody Seen My Corrine?” In the next decade, Corrina was being flirted with by Vernon Dalhart and Wilbur Sweatman, by Blind Lemon Jefferson and Bo Carter of the Mississippi Sheiks.Corrina's Mid-LifeIn the 1930s and ‘40s, novelty, blues and even Western swing versions of Corrina-centric tunes were being released; then in the 1950s and ‘60s, assorted rock renditions arose, like Joe Turner's in 1956 and Bill Haley's in 1959, and, of course, wild man Jerry Lee Lewis's in 1965. But if you listen to any — or, well, all — of those versions, you won't hear anything that sounds much like the soulful, thoughtful version that Bob Dylan recorded in October 1962 for his landmark Freewheelin' album, his second Columbia Records release.As Dylan told writer Nat Hentoff for the liner notes of that disc, “I'd never heard ‘Corrina, Corrina' exactly the way it first was, so that this version is the way it came out of me.”In a classic understatement, Phillippe Margotin and Jean-Michel Guesdon note in their authoritative Bob Dylan: All the Songs, “As always, his adaptation is very personal.”The Blues NotesMargotin and Guesdon point out that, while Dylan used most of the lyrics and structure from earlier versions of the song, he also borrowed a perfect line — “I got a bird that whistles, I got a bird that sings” — from the great blues innovator Robert Johnson's 1937 “Stones in My Pathway.” Dylan kept elements of Johnson's melody, but goes for a much bluesier, more soulful vibe.Meanwhile, “the shadow of another bluesman floats over this song” as well, the book continues, “another Johnson, named Lonnie.”The authors quote Dylan as saying, “I was lucky to meet Lonnie Johnson at the same club I was working, and I must say he greatly influenced me. I used to watch him every chance I got, and sometimes he let me play with him.”Early ElectricityBob's “Corrina, Corrina” is especially noteworthy to the Dylan community because it was his first recorded work with a band, though, of course, it was the barest bones of a band, just a bit of light drumming, bass and some tasteful solo electric guitar. And of course, that solo guitar was famously played by Bruce Langhorne, the same Bruce Langhorne who was to reappear in the Dylan orbit three years later on Bringing It All Back Home. Heeeey, Mister Tambourine Man….Folk ProcessUltimately, whether Dylan heard any of those earlier “Corrina” tunes is irrelevant, because what emerged from his work with the song is so different from its precursors that he could have copyrighted it for himself as it is more or less a new song and not a rearranged "traditional.” Interestingly, Dylan's version also added another chapter to the Corrina evolutionary story, because six years after that 1962 release, Taj Mahal used the Dylan formula to craft his own "Corrina" for his Natch'l Blues album: He built it around Robert Johnson lines and completely abandoned the context of all those Corrina originals.Our Take on the TuneBefore we played this one at a recent rehearsal, we had a bit of conversation about all those more raucous renditions of “Corrina, Corrina” of our youth (and mom and dad's youth…. of grandma's youth…)But then when we kicked off the song, we all just naturally dropped into the bluesy, moody groove that Dylan established. This is our first take on the tune, but it feels like it's campaigning to be a regular in the repertoire. Stay tuned.The Bob Dylan PlaylistBy the way, as we've said before in Flood Watch, the richest, deepest vein of music we have ever mined has been Dylan's extraordinary oeuvre. From The Flood's earliest days to just last week, we have faithfully tapped into tunes from darn-near every era in Bob's long career.Last spring, to celebrate Dylan's 81st birthday, we've put together a special hour of music in our free Radio Floodango music streaming feature that offers Flood performances from the past four decade. To check it out, click here. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Two Words. Bruce Cockburn. Having sold more than nine million albums worldwide, acclaimed songwriter, performer, author, and activist Bruce Cockburn is a member of both the Canadian Songwriter and Canadian Music Hall of Fame, a winner of Folk Alliance's People's Voice Award, as well 13 JUNO Awards. Bruce  Cockburn has written almost 400 songs. Released 34 albums over a 50 year span. Who better to gather up his rarities and present them as partners with his hits? The man has rarities. His new album RARITIES  contains music for a film (Going down the Road) Music honoring Mississippi John Hurt, Kenji Miyazawa, William Hawkins, Gordon Lightfoot, Pete Seeger, Mississippi Sheiks, etc. Unreleased demos and music for benefits. AND  many stories., It's basically a mini-history of Bruce Cockburn's place in Canadian music. We also talk about his next new album – O Sun O Moon ( May). His Tour dates through Canada in February And his connection to Joni Mitchell.   Bruce Tour Dates Feb 2 – Royal Victoria Feb 4 – Centre Theatre Vancouver Feb 5 – Community Theatre Kelowna Feb 6 – Singer Calgary Feb 8 – Winspear Edmonton   www.brucecockburn.com

Last year, Canadian folk artist Bruce Cockburn belated launched a tour celebrating 50 years in music. When we ran an excerpt from this interview last Christmas season, we started off talking about the tour. Since he's not on tour now, I cut some of that material but did start with a conversation on how someone with 50-plus years in the business relates to the music he wrote decades ago.  We focused our attention on Christmas, his 1993 album of Christmas music. We talk about its humble origins and the versions that inspired some of his takes. To let you in on the conversation, I also included Sam Phillips' version of "Hark the Herald Angels Sing" and Frankie "Half-Pint" Jaxon's "Christ was Born on Christmas Morn," which Cockburn recorded as "Early on One Christmas Morn."  He also talks about why he chose to sing the Huron Christmas carol "Jesus Ahtonnia" in its native language. It's a good conversation that fits the album into conversations about faith and life, and what can happen over the course of more than 50 years.  On November 25, he will have three new releases—the digital album Rarities, which features songs previously on the Rumors of Glory box set along with tracks recorded for tribute albums to Gordon Lightfoot, Pete Seeger, Mississippi Sheiks and Mississippi John Hurt. He will also release vinyl versions of 1997's The Charity of the Night and 1999's Breakfast in New Orleans, Dinner in Timbuktu. You pre-order all of them now from his label, True North Records.

THE JAZZ FIDDLER! - some of the hottest and earliest recordings of fiddle jazz. From Joe Venuti, Eddie South , Stuff Smith , Emilio Caseres to the Mississippi Sheiks! From 1926-38! --- Support this podcast: https://anchor.fm/american-grooves-hour/support

And so - as the sun pulls away from the shore and our ship sinks slowly below the horizon we say farewell to The Slightly Different Radio Show. It's had a good innings, but its race is run and its metaphors have entangled. Nevertheless, there's still time to listen to Melody Gardot, Bob Dylan, Anna Hester, Bob Wills & His Texas Playboys, Kate & Anna McGarrigle, The Mississippi Sheiks, Blast Furnace, Waterson-Carthy and quite a lot of other musicians worthy of note - some of them even well known! So, pull up a deck chair, pour yourself a long glass of liquid and settle down (with a large box of tissues; it is the final show. Sniff) for an hour or so of unparalleled entertainment... I'm not sure if that's the right adjective but, hey, it's only a radio show.

Con nuestros asombrosos podcasts eléctricos para llevar, hasta en las quimbambas podrán ustedes disfrutar de sus Melodías Pizarras a troche y noche. En la entrega de esta noche: Bob Skyles and His Skyrockers, Diosa Costello, Mississippi Sheiks, J. E. Mainer's Mountaineers, Hank Snow, Gene Kardos Orchestra, Fats Domino... A partir de las 23.00 horas en la sintonía de Radio 3. Escuchar audio

 Ask our bass player Randy Hamilton to name his best friends on the planet and somewhere near the very top of that list will be Danny Cox. Now, we've been hearing ABOUT this marvelous guitar player for years now. But last night we final got to actually hear him, and oh my! From his Ironton, Ohio, home on a cold winter's night, Danny tagged along with Randy to the weekly Flood gathering and immediately really warmed up the place. Just listen to him and Veezy Coffman share choruses on this great old Mississippi Sheiks standard, “Sittin' on Top of the World.”

In an encore episode first broadcast in 2017, we explore the bedrock sounds of tradition. While the lyrics and music of Robert Hunter took the Grateful Dead into remarkable directions, codifying their place among the bands of the latter half of the 20th century, by the time they reached their peak their roots were already firmly established. Their early music was clearly anchored in the sounds of tradition, reaching from the Appalachians to the Texas Gulf Coast. We'll hear early (and contemporary) performances that inspired the band with songs of Blind Willie Johnson, Red Allen, The Mississippi Sheiks, Henry Thomas and Obray Ramsey. The landscape we'll traverse includes blues, gospel, hillbilly, and folk…no Dead music, only music that served to inspire. This week on Sonoma County Community radio.

Para ir calentando con vistas a las extrañas fiestas que están a punto de caer... Desde el Torreón Pizarro les traemos en sus mejores momentos a Elmore James, Patsy Montana, Ray Kinney, Mississippi Sheiks, Jimmie Rodgers, Count Lasher, Felix Valvert, Blind Boy Fuller, Red Fox Chasers, The Esquire Boys, Rico's Creole Band, A partir de las 23 horas en la sintonía de Radio 3. Escuchar audio

Playlist: Snatch It Back and Hold It – Junior Wells; Things About Comin' My Way, Please Baby, Livin' In A Strain, Honey Babe Let The Deal Go Down – The Mississippi Sheiks; Please Baby – Madeleine Peyroux; Livin' In A Strain – Kelly Joe Phelps; Honey Babe Let The Deal Go Down – Bruce Cockburn; Unhappy Blues, Church Bell Blues – The Mississippi Sheiks; He Calls That Religion – The Sojourners; Somebody's Gotta Help You – Bob Brozman; Bootlegger's Blues – Oh Susanna; Jailbird Love Song – Jim Byrnes; Lonely One In This Town – Steve Dawson. Escuchar audio

In this episode, Rob has the honor of talking to Vince Herman of Leftover Salmon about his career, his love of the the Grateful Dead, and how the two have connected over the years.  Vince discusses the influence of Jerry and the role it played in the various stages of his creative life.    We honor The Mississippi Sheiks in the Black Music Moment,  continue our talk with Rick Turner in the Sarno Music Solutions Breakdown, and talk with Tom Ryan from the band Cubensis about playing Grateful Dead music in Los Angeles in the There is a Dead Cover Band in Every Town. Support the show (https://www.patreon.com/themusicplays)https://paypal.me/themusicplayshttp://www.themusicplaystheband.netSarno Music SolutionsProducing the finest musical instrument audio gear, designed and hand-built in St. Louis, MissouriBlue Jade Audio MasteringSt louis's primary audio mastering service since 1999The Authenticity AcademyGet in touch with your authentic self. Offering you online courses and private coaching.Grateful SweatsSubtle and Unique Dead Inspired GearCLEAN StoreSoftware driven solutions and concierge service for all of your branding and apparel needsSupport the show (https://www.themusicplaystheband.net)

Para celebrar el fin de las máscaras callejeras les ofrecemos un programa sin trampa ni cartón, con nuestra sencilla fórmula de temarracos inmortales de la antigüedad aderezados con comentarios inocentes... Donde sonarán, entre otras celebridades, Cliff Carlisle, Cuarteto Flores, Mississippi Sheiks, Hoosier Hot Shots, Jimmie Rodgers, Alabama Jug Band, Tito Puente... A partir de las 23.00 horas en la sintonía de Radio 3. Escuchar audio

Show 134 – Recorded 6-12-21 – This podcast features 13 outstanding blues artists and 13 great performances to enjoy. These songs were recorded between 1930 and 2021. Our featured artists are: Jontavious Willis, Blind Willie Johnson, Bobby Rush, James Son Thomas, Big Bill Broonzy, The Mississippi Sheiks, John Primer, Bessie Jones, Rosa Lee Hemphill, Bettye […]

Show 134 – Recorded 6-12-21 – This podcast features 13 outstanding blues artists and 13 great performances to enjoy. These songs were recorded between 1930 and 2021. Our featured artists are: Jontavious Willis, Blind Willie Johnson, Bobby Rush, James Son Thomas, Big Bill Broonzy, The Mississippi Sheiks, John Primer, Bessie Jones, Rosa Lee Hemphill, Bettye LaVette, Barbeque Bob, Christone Kingfish Ingram, The Staple Singers. Excellent artists and their music.

TOMA UNO se abre hoy con Southerland, un dúo debutante formado por Matt Chase y Chris Rogers, con “Boot Up”, la canción que da título a su Ep de debut. Un formato que reduce el gasto y permite distintas pruebas para intentar recuperar la imagen de autenticidad perdida por parte de la industria de Nashville. American Aquarium se ha inclinado por mirar a esa década de los 90 en Nashville que nos dejó canciones inolvidables. Un buen puñado de ellas forman ahora parte de Slappers, Bangers & Certified Twangers, Vol. 1, como es el caso de “Wild One”, que resultó ser el primer single de Faith Hill, ahora prácticamente irreconocible. El sonido de Michigan Rattlers tiene muchos puntos de encuentro con American Aquarium, al igual que nos hace recordar a Lucero. Es un cuarteto que empezó como grupo de folk en su etapa de high school, pero cuyo horizonte sonoro se amplió con toques de country rock. Sus canciones son tan honestas como “That Kind of Life”, arropadas por sonidos de una naturalidad extrema. A pesar del tiempo pasado desde que Micky & The Motorcars publicaron su último disco, las emisoras tejanas persisten en radiar sus canciones y “Rodeo Girl”, que compusieron los hermanos Micky y Gary Braun, se ha convertido en una de las más pinchadas en las emisoras tejanas. Es un tema de amor de los que alivian por su naturalidad. Siguiendo en Texas, “tres caballeros” veteranos del Lone Star State como The Flatlanders han coleccionado hasta 15 canciones entre temas nuevas y clásicos del calibre de “Sittin’ On Top Of The World”, que los Mississippi Sheiks grabaron en 1930 y ha sido versionada cientos de veces. Queremos insistir en el nuevo Ep del irlandés Danny Burns, Hurricane, en el que ha incluido seis canciones grabadas con la ayuda de excelentes amigos invitados como Steve Earle, con el que ha resucitado "Mercenary Song", que escuchamos hace 40 años en un documental tan indispensable como Heartworn Highways. Uno de los momentos más intensos del nuevo trabajo de Blackberry Smoke es "Lonesome for a Livin’", donde se ha reunido con Jamey Johnson por primera vez desde que versionaron "Yesterday’s Wine" junto a George Jones como tema de bonificación de su segundo álbum, A Little Piece of Dixie de 2009. Para grabar The Waylon Sessions, Shannon McNally contó con la ayuda fundamental de músicos experimentados e invitados ilustres como Rodney Crowell, Buddy Miller y Lukas Nelson. Pero en un proyecto así era imprescindible la presencia de Jessi Colter, viuda de Waylon Jennings. Desde que Rounder firmó en 2019 a Sierra Ferrell hemos estado esperando el lanzamiento de su álbum, que definitivamente verá la luz a finales del mes de agosto con el título de Long Time Coming. Si hablamos de música de raíces, esta es una de las muestras más valiosas de lo que significa ese término. Su disco se abre con su carta de amor al mar en “The Sea”, una canción que infunde toques de vitalidad e intriga a partes iguales. No la perdáis de vista. También Molly Tuttle es una de esas mujeres que sabes que te siempre te va a sorprender. Su nuevo EP es una continuación de las 10 canciones que editó el pasado año. El álbum …but i’d rather be with you, too. Ha contado con invitados especiales como Nathaniel Rateliff para cantar juntos de forma inesperada un tema como “Stop Draggin ’My Heart Around”, un clásico que recordaremos siempre por Tom Petty y Stevie Nicks. Bob Dylan cumplió 80 años y a lo largo de todo el mundo ha habido las más diversas celebraciones. Una de las más entrañables fue Dylan is eighty de la revista Exile SH (Subterranean Homesick) Magazine, donde intervinieron nuestros buenos amigos de la Bantastic Fand con formación de cuarteto para rememorar “Every Grain of Sand”, una canción que en los últimos tiempos viene siendo especialmente recurrente. Y hoy para emplazarnos a nuestra cita de mañana queremos recordar el medio siglo que cumple la publicación del single "You've Got A Friend" por parte de James Taylor, lo que nos permite felicitar a nuestro gran amigo Álvaro, una de esas personas por las que siempre hay que dar gracias. Si no existieran, habría que inventarlas. Escuchar audio

The Jokermen discuss a wide variety of folk artists, from the Mississippi Sheiks to Blind Willie McTell to all the dudes who put together bootlegs of Bob concerts called like, "Shot of Tucson — Live in Tucson 1982." SUSCRIBE TO JOKERMEN ON PATREONFOLLOW JOKERMEN ON TWITTER AND INSTAGRAM See acast.com/privacy for privacy and opt-out information.

Playlist: Snatch It Back and Hold It – Junior Wells; Things About Comin' My Way, Please Baby, Livin' In A Strain, Honey Babe Let The Deal Go Down – The Mississippi Sheiks; Please Baby – Madeleine Peyroux; Livin' In A Strain – Kelly Joe Phelps; Honey Babe Let The Deal Go Down – Bruce Cockburn; Unhappy Blues, Church Bell Blues – The Mississippi Sheiks; He Calls That Religion – The Sojourners; Somebody's Gotta Help You – Bob Brozman; Bootlegger's Blues – Oh Susanna; Jailbird Love Song – Jim Byrnes; Lonely One In This Town – Steve Dawson. Escuchar audio

 Here’s a tune that we started doing back in the foggy ruins of time, inspired by the original that was recorded 90 years ago this year by some of our heroes, in this case, the great country blues band, The Mississippi Sheiks. Of course, we did have to fool with it to make it our own. We don’t know how Walter Vinson and Lonnie Chatmon would feel about that A-flat that we added to the fifth bar of their lovely E blues, but, hey, that’s just how songs get Floodified. Here from last night’s rehearsal is the latest rendition, with double servings of solos by Doug, Sam, Vanessa and the two Pauls.

Three L.A. comedians are quarantined in a podcast studio during a global pandemic. There is literally nothing to be done EXCEPT make content. These are "The Corona Diaries" and this is Episode #67.  Music at the end is "Yodeling Fiddling Blues" by The Mississippi Sheiks.

John Oates & The Good Road Band ‘Live In Nashville’ Set For September 18th Release Four new originals along with covers of Mississippi John Hurt, Jimmy Rogers, Don Gibson highlight second Thirty Tigers album LOS ANGELES, July 31, 2020—Rock & Roll Hall of Famer John Oates has had a home in Nashville for more than a decade, performing with some of the city’s most sought-after musicians. John’s Thirty Tigers debut, Arkansas, performed with The Good Road Band, was released in 2018, proving a critical and commercial success in the Americana and roots community, a combination of originals with classic songs popularized by Mississippi John Hurt, Jimmy Rodgers and Don Gibson. After two-plus solid years of honing their chops through touring, that group – mandolin stalwart Sam Bush, pedal steel maestro Russ Pahl (Dan Auerbach), electric guitar whiz Guthrie Trapp, expert bassist Steve Mackay, cello prodigy Nate Smith (Kacey Musgraves) and drummer/percussionist extraordinaire Josh “Daddy” Day – returns intact for Live In Nashville, set for release on September 18 on all major digital streaming platforms. The set was recorded last January 9 at Station Inn, the legendary intimate listening room in The Gulch section of Nashville where the band first took shape. “This album represents a full-circle moment for me,” said John, in quarantine with his family in his adopted Music City home. “It feels like the culmination of the Arkansas project, being able to bring these guys back, and to be able to make this record after touring and playing so many shows together.” Inspired by Mississippi John Hurt, Live in Nashville features songs like the gospel-blues opener, “Lord Send Me,” the Delta blues of the standard “Stack o Lee” and an electrified take on “Make Me a Pallet on Your Floor,” dubbed “Pallet Soft and Low,” where John manages to show off some of his well-honed rock guitar skills. In yet another “full circle moment,” John pays tribute to his own childhood with a cover of Don Gibson’s “Oh Lonesome Me,” the first song he learned to sing and play on guitar as a six-year-old after hearing it on the radio. Several of the songs come with Oates’ own stories about the songs, connecting the dots as to their connections, including popular hits of the era like the Mississippi Sheiks’ 1930 success, “Sittin’ on Top of the World,” Emmett Miller’s 1924 breakthrough, “Anytime” and Jimmy Rogers’ 1932 classic, “Miss the Mississippi and You.” Watch "Anytime" HERE “I was always fascin

The latest episode of the Roots Revival Podcast is all about the Blues. We talk about our trip to Clarksdale, Mississippi to visit the crossroads where Robert Johnson sold his soul to the devil. We also discuss some of my favorite blues musicians including Lead Belly, Howlin' Wolf, Blind Boy Fuller, Memphis Minnie, Mississippi Sheiks, Big Mama Thornton, Kansas Joe McCoy, and Sister Rosetta Tharpe. I hope you enjoy our Blues episode. As always email your show ideas or questions to jack@jackbarksdale.com.

We’re pleased to say that all three volumes of Blues Unlimited: The Complete Radio Show Transcripts have now been published as eBooks! They’re available from Apple Books at https://tinyurl.com/y4rceu7b - Barnes & Noble at https://tinyurl.com/yxkvx6rl - and also available in the Kindle Store from Amazon at https://tinyurl.com/yyuwxbla (And please keep in mind that every dollar from every purchase will help keep an independent voice in blues radio alive and well! And we thank you!) In 1980, the good folks at Yazoo Records issued a box set of 36 trading cards called "The Heroes of the Blues," with drawings by legendary illustrator and cartoonist R. Crumb, and text by noted researcher and author Stephen Calt. They've long been favorites with Blues fans, and on this program (the first of three) we dive head first into "The Heroes of the Blues." Among the featured artists on this program are Peg Leg Howell, Blind Blake, Frank Stokes, Jaybird Coleman, Blind Willie Johnson, Leroy Carr & Scrapper Blackwell, Blind Lemon Jefferson, the Mississippi Sheiks, and more. Pictured: One of the "Heroes of the Blues" featured on this episode. Illustration by R. Crumb. Are you looking for ways to promote your band’s latest release, product, business, or service? Advertise on the podcast that’s been downloaded over one million times, and reach a global audience of blues lovers! Contact us at bluesunlimited at gmail dot com for more details! This episode is available commercial free and in its original full-fidelity high quality audio exclusively to our subscribers at Bandcamp. Your annual subscription of $27 a year will go directly to support this radio show, and you’ll gain INSTANT DOWNLOAD ACCESS to this and more than 170 other episodes from our extensive archive as well. More info is at http://bluesunlimited.bandcamp.com/subscribe

We’re pleased to say that all three volumes of Blues Unlimited: The Complete Radio Show Transcripts have now been published as eBooks! They’re available from Apple Books at https://tinyurl.com/y4rceu7b - Barnes & Noble at https://tinyurl.com/yxkvx6rl - and also available in the Kindle Store from Amazon at https://tinyurl.com/yyuwxbla (And please keep in mind that every dollar from every purchase will help keep an independent voice in blues radio alive and well! And we thank you!) In 1980, the good folks at Yazoo Records issued a box set of 36 trading cards called "The Heroes of the Blues," with drawings by legendary illustrator and cartoonist R. Crumb, and text by noted researcher and author Stephen Calt. They've long been favorites with Blues fans, and on this program (the first of three) we dive head first into "The Heroes of the Blues." Among the featured artists on this program are Peg Leg Howell, Blind Blake, Frank Stokes, Jaybird Coleman, Blind Willie Johnson, Leroy Carr & Scrapper Blackwell, Blind Lemon Jefferson, the Mississippi Sheiks, and more. Pictured: One of the "Heroes of the Blues" featured on this episode. Illustration by R. Crumb. Are you looking for ways to promote your band’s latest release, product, business, or service? Advertise on the podcast that’s been downloaded over one million times, and reach a global audience of blues lovers! Contact us at bluesunlimited at gmail dot com for more details! This episode is available commercial free and in its original full-fidelity high quality audio exclusively to our subscribers at Bandcamp. Your annual subscription of $27 a year will go directly to support this radio show, and you’ll gain INSTANT DOWNLOAD ACCESS to this and more than 170 other episodes from our extensive archive as well. More info is at http://bluesunlimited.bandcamp.com/subscribe

It’s the first Wednesday of the month, and as always we bring you a shiny new episode! This month’s guest is the phenomenal singer and guitar player, Alvin Youngblood Hart. I’ve known of Alvin since his debut record “Big Mama’s Door” came out in 1996, but got to know, play and tour with him a number of times since playing at a Mississippi Sheiks tribute show with him back in 2010. To me Alvin is totally unique as an interpreter of acoustic and country blues, but is also a killer rock guitarist, an amazing singer, and also gets into Merle Haggard songs like no one else. He has vast knowledge of rock, folk and blues music from the 20’s through the 70’s and plays it all. Alvin has an interesting history with making records, and while not overly interested in recording these days, has made a number of great records throughout his career, and is a Grammy Award winner. Alvin spent some time in the US Coast Guard, where he developed a love of electronics that continues to this day – working on amps, guitars, pickups and other components. He also has a knack for finding cheap guitars and turning them into screaming rock machines. We got to catch up a bit and discuss his history on stage and in the studio, his love of old gear, pawnshopping with Bo Diddley, and lots more. Enjoy my conversation with Alvin Youngblood Hart!

We get a chance to chat with Amythyst Kia before her set Globalfest in Times Square.   A professed Southern Gothic songster based in Johnson City, TN, Amythyst Kiah’s commanding stage presence is only matched by her raw and powerful vocals—a deeply moving, hypnotic sound that stirs echoes of a distant and restless past. A graduate of East Tennessee State University, she studied old time music and music performance, and it proved to be a pivotal moment in her life as she transformed from a long-time closet musician into a well-rounded, captivating performer. Accoutered interchangeably with banjo, acoustic guitar, or a full band (Her Chest of Glass), Amythyst’s toolbox is augmented by her scholarship of African-American roots music. Her eclectic influences span decades, drawing heavily on old time music (Mississippi Sheiks, Son House, Jimmie Rodgers, Olla Belle Reed, Carter Family), inspired by strong R&B and country music vocalists from the '50s-'70s (Big Mama Thornton, Sister Rosetta Tharpe, Mahalia Jackson, Dolly Parton, Patsy Cline, Loretta Lynn) and influenced by contemporary artists with powerful vocal integrity (Adele, Florence and the Machine, Megan Jean and the KFB, Janelle Monae).

More highlights from the National Recording Registry. Records by: Merle Travis, Clara Ward, Benny Goodman, The Mississippi Sheiks, Will Rogers, Victor Herbert,  The Ink Spots and the ivory-billed woodpecker. Records include: How I Got Over, Sitting On Top of the World, The Man I Love, If I Didn't Care, Luck Be A Lady, the Moonlight Sonata, Sixteen Tons and The Dream Medley.

My guest this week is songwriter and guitarist Dave Alvin. Dave, along with his brother Phil, is a founding member of the Rock n' Roll group The Blasters. The Blasters tore it up on the LA roots/punk scene from the late 70's through the 80's and toured endlessly around the world. Dave went on to join The Knitters and X, as well. He has great stories about growing up in the outskirts of LA, the great scene that evolved there, Songwriting, and his lengthy career making a string of excellent solo records. I love Dave's songs and delivery, but he's also a badass guitar player - a rare feature in singer-songwriters! In recent years, Dave has teamed back up with his brother Phil for some great duo recordings. I got to know Dave a few years back when we worked together on a tribute to the Mississippi Sheiks, and he's always been one of the artists that I hold in the highest regard, so he seemed like the perfect guest to kick off Season 2 of the show! Enjoy my conversation with Dave Alvin, and please subscribe to the podcast for free on iTunes!

Om 22:00 uur twee uur lang MusicTrails met Marc Stakenburg en Joost Verbunt op 40UP Radio. Muziek Ray Charles, Marlena Shaw, The Radiators, Margie Perez, Mississippi Sheiks en Laura Cantrell.

Om 22:00 uur twee uur lang MusicTrails met Marc Stakenburg en Joost Verbunt op 40UP Radio. Muziek Ray Charles, Marlena Shaw, The Radiators, Margie Perez, Mississippi Sheiks en Laura Cantrell.

Detroit, motor town, music townEn l'absence d'Andy ce soir, George vous propose une deuxième carte blanche, Reprends moi. Le principe est simple : chaque chanson a son histoire mais elle a aussi plusieurs vies à travers les reprises qui sont faites d'elle. Une chanson ne meurt pas tant qu'on la chante. Un peu comme la ville de Detroit, que George a choisi en fil rouge de cette heure. La ville de Détroit fut longtemps la capitale de l'industrie automobile. Mais il n'y avait pas que le bruit des usines Ford, Chrysler ou Dodge qui rythmait la vie des habitants de la ville. La bien nommée Motown (Motor Town), maison de disque légendaire, a imposé la soul music sur la scène américaine et mondiale. Détroit, elle même, est devenue une capitale de la musique rock, rap, techno,... Ce que le fondateur de la ville, le français Antoine Laumet de la Mothe, Sieur de Cadillac n'avait sûrement pas imaginé.La ville de Détroit a souffert des crises du pétroles, des crises économiques,... mais elle n'oublie pas sa devise :Nous espérons des temps meilleurs, elle renaîtra de ses cendres.►►► [REPLAY] Reprends Moi / 1er épisodeLa playlistThe Originals - The exodus song (1972) - reprise de Ernest Gold (1961) Eminem - Wanksta (2003) - reprise de Fifty Cents (2002) Diana Ross et Marvin Gaye - Stop, look, listen (to your heart) (1973) -  reprise des The Stylistics (1971)The Detroit Esmerald - And I love her (1971) - reprise des Beatles (1964) Madonna - Santa baby (1987) - repris de Eartha Kitt (1953)Jack White - Sittin on the top of the world (2003) - reprise des The Mississippi Sheiks (1930) Iggy Pop - We have all the time in the world (1997) - reprise de Louis Amstrong (1969)Bob Seger - If i were a carpenter (1972) - reprise de Tim Hardin (1968) The Miracles - California soul (1969) - reprise des The Messengers (1968) The Capitols - Knock on wood (1966) - reprise d'Eddy Floyd (1966) Aretha Franklin - A change is gonna come (1967) - reprise de Sam Cooke (1964)Wilson Pickett - She is looking good (1968) - reprise de Rodger Collins (1967) Big Sean - Minds playing Tricks on me (2009) - reprise des Geto Boys (1991)Stevie Wonder - We can work it out (1970) - reprise des Beatles (1965)[caption id="attachment_44951" align="aligncenter" width="1024"] Flickr - Creative Commons © soupstance[/caption]

A Roadhouse Rewind fills the Thanksgiving weekend. I'll be back next week with a new edition of The Roadhouse. Week 285 in The Roadhouse brings a strong variety of blues to the hour. Rob Stone, Little Johnny Christian, Stevie Paige, Mississippi Sheiks, and Bob Corritore propel us through this edition. 285 hours of The Roadhouse make for eleven and a half days of non-stop shows, each comprised of the finest blues you've never heard.

And it's Tuesday again!!! Whether you are into #TacoTuesdays or #TransformationTuesdays, we like it because we get to share music with you! This week you will hear awesome songs by Neil Young, Bobby Sherman, Billy Bragg, Ornette Coleman, Monty Alexander, Brad Mehldau, Pete Rodriguez Sr, Johnny Pacheco, Mississippi Sheiks,Yes, and Toe!Hope you enjoy these songs as much as we do! SUBSCRIBE: iTunes TWITTER: @MusicFirstPcastFACEBOOK: Music First PodcastEMAIL: MusicFirstPodcast@gmail.com

This edition of The Roadhouse paints a broad swath of blues, including some very new artsts and some that came early in the last century. Nicole Hart & Anni Piper, Chris Antonik, Mississippi Sheiks, Shoshanna Bean, and JJ Grey & Mofro remind us how it's possible for everyone to love the blues. If you can't find a style you love in this edition of The Roadhouse, I just can't help you. And, you'll have a hard time finding another hour that's more clearly the finest blues you've never heard.

Week 285 in The Roadhouse brings a strong variety of blues to the hour. Rob Stone, Little Johnny Christian, Stevie Paige, Mississippi Sheiks, and Bob Corritore propel us through this edition. 285 hours of The Roadhouse make for eleven and a half days of non-stop shows, each comprised of the finest blues you've never heard.

Week 285 in The Roadhouse brings a strong variety of blues to the hour. Rob Stone, Little Johnny Christian, Stevie Paige, Mississippi Sheiks, and Bob Corritore propel us through this edition. 285 hours of The Roadhouse make for eleven and a half days of non-stop shows, each comprised of the finest blues you've never heard.

Erstmal hallo und herzlich willkommen zu meinem Blog zum Thema Blues. Ich habe schon etwas länger vor, meine Gedanken zu dieser Musikrichtung und allem was dazu gehört herauszulassen. Hier nun mein erster Beitrag. Zunächst soll es um den Begriff "Blues" selber gehen, denn ich war schon sehr oft auf Konzerten, wo die Kategorisierung "Blues" in einschlägigen Stadtmagazinen benutzt wurde, aber, wie sich dann herausstellte, hatte das Gehörte für mein Empfinden nichts mit Blues zu tun, wenn man davon absieht, dass letztlich fast alle populäre Musik im Blues verwurzelt ist. Sogar Blackmetal, jaja, denn Black Sabbath (die Band gilt gemeinhin als Urband des Heavy Metal) hat auch als Bluesband angefangen. Offensichtlich kursieren sehr unterschiedliche Auffassungen darüber, was Blues ist und was nicht. Ein erstes Missverständnis könnte man bei Teenagerparties provozieren, indem man, wenn "Blues" gefordert wird, in der Hoffnung dem anderen Geschlecht körperlich näherzukommen, eine B.B. King-Platte auflegt. "Wieso, ist doch Blues, weiß gar nicht was ihr habt." Ist schon klar, dass mit "Blues" hier "Blues tanzen" gemeint ist, außerdem erntet man bei solcher vorsätzlichen Frohsinnminderung mit Sicherheit Unmut, ist mir schon passiert. War aber nur Spaß. Nun aber mal im Ernst: ursprünglich entstanden ist das Wort "Blues" aus der Attribuierung "blue" in Bezug auf die persönliche Gemütslage. "Feeling blue" beschreibt eine melancholische, schwermütige oder gar traurige Stimmung, die, um das gängigste Klischee zu bedienen, meist durch Liebeskummer hervorgerufen wird. Selbstverständlich sind auch andere Auslöser dieser Stimmung zu benennen, auch wenn Son House einst formulierte: "The Blues is always about male and female." Geldnot, Ernteausfall, Heimweh und ähnliches sind einige Beispiele dafür. Eine andere Theorie zur Entstehung des Begriffes ist die, dass "Blues" ein aus "blue devils" zusammengezogenes Wort sei. Demzufolge müsste die oft verwendete Phrase "I got the blues" soviel bedeuten wie "Ich habe die blauen Teufel (in mir)". Zunächst, dass heißt beginnend mit dem ersten belegten Stück, welches das Wort "Blues" im Titel enthält (Memphis Blues von W. C. Handy, 1912), bis mindestens in die 20er Jahre des 20. Jahrhunderts hinein, bezeichnet "Blues" noch keine eigene musikalische Stilrichtung, sondern bezieht sich auf den getexteten Inhalt des jeweiligen Musikstücks. Auch wenn es gängige Praxis ist, die Mitglieder der Mississippi Sheiks als Bluesmusiker zu bezeichnen, so wird jedoch dadurch die Stilvielfalt der eigentlichen Musik deutlich beschnitten. Gospel, Balladen, Ragtimes und Tanzmusik sind ebenso im Repertoire wie einige Blues. Dies gilt auch für viele andere Urväter und -mütter wie Papa Charlie Jackson, Charlie Patton, die Memphis Jug Band, Mance Lipscomb, Furry Lewis und vor allem Leadbelly. Daher ist es aus meiner Sicht zutreffender, das Genre als afroamerikanische Volksmusik zu bezeichnen. Betrachtet man die grandes dames des frühen 20. Jahrhunderts (Mamie Smith, Ma Rainey, Bessie Smith und Ida Cox) so kann dort eher von einer Vorform oder einer frühen Spielart des Jazz gesprochen werden, und das nicht nur weil ein gewisser Louis Armstrong auf einigen frühen "Blues" zu hören ist. Wenn also die genannten Sängerinnen Bluesmusik gemacht haben, muss das bedeuten, dass Blues auch der Ursprung vom Jazz ist, was, glaube ich, die Jazzenthusiasten unter Umständen stören könnte. Meine Meinung dazu ist ohnehin die, dass Jazz und Blues analog zu Affen und Menschen den gleichen Ursprung haben, und nicht dass das eine sich aus dem anderen entwickelt hat. Um die Jazzfreunde wieder etwas zu besänftigen, wird in dem Bild der Blues dem Affen zugeordnet, da die Musikform auch als die primitivere gilt, was den musikalischen Gehalt anbelangt. Vielleicht sind dann die Damen doch das evolutionäre Bindeglied? Blues als Stilbezeichnung ist erst eindeutig in dem Moment, wo die Interpreten nahezu ausschließlich "Blues" singen, denn in diesem Moment werden stilistische Gemeinsamkeiten offenbar. Songlisten von Blind Lemon Jefferson, Robert Johnson und Son House können so gelesen werden. Es ist weit verbreitet diese Musiker dem Deltablues zuzuordnen. Diese Präzisierung ist aber nur zulässig, wenn die Musiker tatsächlich aus dem Mississippi-Delta kommen, denn viele Musiker, die einen ähnlichen Stil spielen, kommen aus anderen Regionen der USA, womit sich die Differenzierung auf die regionale Ebene bezieht. Also: Lightnin' Hopkins - Texas Blues, Blind Boy Fuller - Piedmont Style und Buddy Moss - Atlanta Blues. Will man alle diese Künstler zusammenfassen macht eine andere Kategorie Sinn: Country-Blues. Das darf insofern nicht missverstanden werden, als dass der Begriff nicht eine Mischung aus Country- und Bluesmusik meint, sondern beschreibt, dass der Stil aus einer ländlichen Umgebung stammt. Zwar sind sich Country und Blues in den 20er und 30er Jahren musikalisch bisweilen nicht unähnlich, allerdings sind bis auf ganz wenige Ausnahmen die Interpreten der einen Gattung Euroamerikaner und die der anderen Afroamerikaner. Da das soziokulturelle Umfeld von Musik für mein Dafürhalten immer mit einbezogen werden sollte, muss also Countryblues von Countrymusik getrennt werden. Dem Countryblues gegenüber steht ab den späten 40er Jahren der urbane Blues, der weitestgehend synonym ist mit Chicagoblues. Auch hier muss aber regional differenziert werden, denn es gibt auch einen Detroit-Sound, einen Memphis-Sound und einen Westcoast-Sound. Der ohrenfälligste Unterschied zwischen urbanem und ländlichem Blues ist, dass der urbane mit elektrisch verstärkten Instrumenten gespielt wird, während der ländliche unplugged gespielt wird. Desweiteren verschwindet zunehmend das Anhängsel "Blues" in den Songtiteln. Der Blick auf die Rückseite eines Muddy Waters-Albums bestätigt das. Ab den 60er Jahren des 20. Jahrhunderts entsteht eine Stilrichtung, die als Bluesrock bezeichnet wird. Auch hier schadet eine Prüfung nicht, wenn die Frage gestellt wird, spielen Johnny Winter, Canned Heat und später Stevie Ray Vaughan Rock mit Bluesanleihen oder doch eher Blues mit Rockattitüde? Ich denke eindeutig letzteres, weshalb Rockblues zutreffender wäre, zumal damit auch ein Unterschied zu tatsächlichem Bluesrock von z.B. ZZ Top, Ten Years After, Fleetwood Mac und Humble Pie geschaffen wäre. Ich weiß, dass erscheint alles ein bisschen haarspalterisch, aber das ist eben die Sache mit dem Wollpullover und der Pulloverwolle. Ist es nun Wolle oder ein Pullover? Unverfänglich ist demzufolge die Schreibweise Blues/Rock, wenn deutlich gemacht werden will, dass die Musik eine Kombination aus beidem ist, oder aber weder dem einen noch dem anderen eindeutig zugeordnet werden kann. Um die eingangs erwähnte Kritik an den unpräzisen und zum Teil unpassenden Angaben in Konzertankündigungen aufzugreifen, erscheint mir der subjektive Eindruck, dass bei den meisten Blues/Rock-Sessions kaum Blues präsentiert wird, zutreffend. Ein Sweet Home Chicago steht oft ziemlich einsam den ganzen Sweet Home Alabamas, In A White Rooms und After Midnights gegenüber. Es wird klar, dass der Begriff "Blues" nicht leicht zu fassen ist, da er vielfach verwendet wird. Der Klammerblues in der Disco, der Blues des von einer Midlifecrisis gebeutelten Piloten und der Musikstil sind dabei nur die verbreitetsten, wobei ein ganz wichtiges aber irgendwie banales Muster bisher gänzlich vernachlässigt wurde, nämlich die Verwendung von "Blues" als "die Blauen", wie die Spieler des FC Chelsea auch genannt werden. Aber auch in Bezug auf die Musik selbst ist die Kategorisierung "Blues" nicht unproblematisch, da sich wie oben aufgezeigt eine Vielzahl an Substilen identifizieren lassen, die sich mitunter arg voneinander unterscheiden und sich mit anderen Stilen vermischen. Das Kollaborat von R. L. Burnside mit der Jon Spencer Blues Explosion hat klanglich sicherlich wenig gemein mit den Aufnahmen von Blind Boy Fuller mit Sonny Terry. Noch schwieriger wird es natürlich, wenn Puristen von "wahrem" Blues sprechen, da ist dann die Platte Still Got The Blues von Gary Moore mit Sicherheit ausgeschlossen (aus meiner Sicht zurecht, aber lassen wir meine persönliche Abneigung gegenüber Gary Moore besser außer acht). Kurzum ich denke, dass sich jeder Mensch ohnehin sein eigenes musikalisches Schubladensystem zurechtlegt, anhand dessen Musik geordnet wird. Für mich ist und bleibt Blues eine Volksmusik und eine Popularmusik afroamerikanischen Ursprungs. In diesem Sinn Gruß und Blues - Euer Gitarrenwalther

JIM BYRNES & STEVE DAWSON are Canadian Juno award winning musicians performing material from the Mississippi Sheiks tribute CD called “Things About Comin� My Way�. Jim is an American-born actor and musician based in Canada, playing blues since he was 13 and acting wise, is best known for his roles in “Wiseguy� and “Highlander.� Steve is an accomplished Canadian guitarist and multi-instrumentalist that has risen to prominence in the Canadian music scene. Between 1930 and 1935, brothers Sam, Lonnie and Armenter Chatmon, who along with Walter Vinson formed The Mississippi Sheiks, recorded nearly 100 singles that would define this band as one of the most popular string bands of all time. The project is nominated for a Blues Music Award. CAROLYN MARTIN is a Texas born, Nashville based swing and country singer and was a member of Nashville�s Time Jumpers, a western swing band comprised of Nashville�s finest session musicians. For 11 years the band garnered two Grammy nominations and two Emmy awards. Besides performing across the country with her own group, Carolyn is gearing up to perform in the new show, "Country Royalty: Jason Petty and Carolyn Martin pay tribute to Hank Williams and Patsy Cline" Carolyn was the 2008 recipient of the Academy of Western Artists� Will Rogers Cowboy Award for Western Swing Female Vocalist of the Year. Her latest CD is “Cookin� With Carolyn.�

THE SOUTH MEMPHIS STRING BAND is a trio composed of Luther Dickinson (North Mississippi Allstars), Alvin Youngblood Hart (Grammy-winning bluesman) and Jimbo Mathus (Squirrel Nut Zippers). Although they�d known each other for years, the South Memphis String Band was greatly influenced by the Mississippi Sheiks, Gus Cannon & the Memphis Jug Band and other string bands and jug bands of their ilk, as well as Mississippi Delta and Hill Country blues. They will arrive with a passel of guitars, mandolins, banjos, lap steel guitars and harmonicas. QUEBE SISTERS BAND is an American fiddle western swing group from Fort Worth, Texas. The band began their musical journey in 1998 when the three sisters started taking fiddle lessons. Shortly thereafter, the girls began entering fiddle contests and had success early on; winning several State, regional and National fiddle championships. Add the swinging rhythm guitar of World Champion fiddler Joey McKenzie and the upright bass of Drew Phelps, and the Quebe Sisters Band becomes a force of nature. Recently named Group of the Year by the Academy of Western Artists and recipient of the Crescendo Award by the Western Music Association, as well as nominations for Country group of the year by both the Dallas Observer and Ft. Worth Weekly, the QSB is performing coast to coast in support of their latest cd, “Timeless.�

This folk-blues song written by Walter Vinson and Lonnie Chatmon of the Mississippi Sheiks, a popular country blues band of the 1930s.

This folk-blues song written by Walter Vinson and Lonnie Chatmon of the Mississippi Sheiks, a popular country blues band of the 1930s.