Podcasts about motherless child

In Episode 28, Kate and guest Jack Noutch embrace the feast of the epiphany through the Gospel and through the gradual revelations of cryptic poetry. Jack is a classicist, an original member of the Willibrord Fellowship (a weekly theology reading group once in London and now continued in Edinburgh); and currently involved in Morphe Arts (www.morphearts.org). Exploring the Indra's net of language through etymology, Greek translation, poetry and a discussion of naming plants, Jack and Kate turn over the linguistic artistry of Ed Mayhew's poem 'Siphon'.Music: Sometimes I Feel Like a Motherless Child by Odetta Florilegium is a programme on Radio Maria which seeks to weave together liturgy, literature and  gardening in rambling, hopefully fruitful ways. It is written and presented by Kate Banks and Antonia Shack. You can follow them on SubStack at substack.com/@florilegiumpodcast  About the Creators Antonia leads a patchwork life with jobs including but not limited to mother, book designer, editor, actor and teacher. She and Kate began discussing poetry, liturgy and gardening at the Willibrord Fellowship reading group in London and are delighted to be continuing these conversations on Radio Maria.  Kate is a teacher of Literature, Philosophy and Theology, with a particularly keen regard for the poet and artist David Jones around whom many of her studies and her teaching-subjects have been based. She also briefly worked as a gardener in London, though she now lives with her little boy on the river Exe in Devon. If you enjoyed this programme, please consider making a once off or monthly donation to Radio Maria England by visiting www.RadioMariaEngland.uk or calling 0300 302 1251 during office hours. It is only through the ongoing support of our listeners that we continue to be a Christian voice by your side.

VV-030 PROGRAM LIST M1 Squeeze Me (Fats Waller) Rec. 2/14/1926, FATS WALLER EARLY UNDISCOVERED SOLOS, Riverside Records RLP 12-103, 1955 (2:55) M2 Handful of Keys (Fats Waller) Rec. 3/1/1929, HANDFUL OF KEYS, FATS WALLER AND HIS RHYTHM, RCA Victor, LPM-1502, 1957 (2:45) M3 Ain't Misbehavin' (Fats Waller, Harry Brooks) Rec. 8/2/1929, AIN'T MISBEHAVIN', FATS WALLER AND HIS RHYTHM, RCA Victor LPM-1246, 1956 (3:00) M4 Tanglefoot  (Fats Waller) Rec. 8/24/1929, THE RAREST FATS WALLER, Volume 1,  RFW-1, 1955. (3:10) M5 Honeysuckle Rose (Fats Waller) Rec 5/13/1941, AIN'T MISBEHAVIN', FATS WALLER AND HIS RHYTHM, RCA Victor LPM-1246, 1956 (3:21) M6 Bouncin' on a V-Disc (Fats Waller) Rec. 9/23/1943, FATS WALLER PLAYS, SINGS AND TALKS, Jazz Treasury JT-1001, 1956 (4:46) Background songs for this episode: M7 Please Take Me Out of Jail (Fats Waller) Rec. 12/1/1927, THE RAREST FATS WALLER, Volume 1, RFW-1, 1955. M8 Sometimes I Feel Like a Motherless Child  (Fats Waller) Rec. 9/23/1943, FATS WALLER PLAYS, SINGS AND TALKS, Jazz Treasury JT-1001, 1956 ABOUT THE ARTIST Today's show features the LATE GREAT Thomas Wright Waller, a jazz pianist and organist, composer and singer, born in New York City in 1904  The 7th of 11 children, his mother was a musician, and his father was a trucker and pastor in NYC.  Fats started playing piano when he was 6. He played the organ at his father's church at age 10. PAUSE He was home-schooled early-on by his mother and worked in a grocery store. He quit high school after just one semester at age 15 to work as an organist at the Lincoln Theater in Harlem. PAUSE At the Lincoln Theater, he earned $32 a week.  That was 1929.  He became known as “Fats Waller” because he was big -- both in body and in mind.  PAUSE Fats Waller laid some of the building blocks for what is NOW ‘modern jazz piano'. He popularized the use of The stride piano style,  which is widely used by jazz pianists today. He toured internationally and two of his biggest hits were Ain't Misbehavin' and Honeysuckle Rose. PAUSE You are listening to Sometimes I Feel Like a Motherless Child by  Fats Waller) Recorded back in 1943.PAUSE Waller copyrighted over 400 songs. He probably composed many more, but, when he was in financial difficulty, he would sell songs to other writers and performers, who would not acknowledge the real composer, claiming the songs as their own.   Today's podcast features Fats Waller and a few of his SOLO piano and organ compositions that were recorded between the years 1926 and 1943, or from the age of 22 to 39.  Some of these songs are not available today, except where they are rediscovered - - - on my old and treasured Fats Waller record collection! SHOW PLUG - SHOW PLUG - DON'T TOUCH THAT DIAL ! ! BIT BUCKET Waller is also credited with his composition and performance work in Broadway Musicals. Waller is perhaps the FIRST BLACK composer to write the score and perform for a mostly all-white show on Broadway. That was the 1943 Broadway musical EARLY TO BED, produced by Richard Kollmar – the Broadway Flyer for EARLY TO BED reads “Music by Thomas (“Fats”) Waller”. . M1 M1 Squeeze Me  (Thomas Waller) Rec. 2/14/1926, FATS WALLER EARLY UNDISCOVERED SOLOS, Riverside Records RLP 12-103, 1955 (2:55) Our first recording is titled “SQUEEZE ME” It's a piano solo, and the composer and performer is Thomas Waller.He is not billed as “Fats” Waller yet, as he is not that unusually large at the young age of 22. This song SQUEEZE ME was recorded for production of piano rolls in 1926, making this among Waller's EARLIEST recordings. Waller recorded his piano solos for the production of Piano Rolls between 1926 and 1927.These rolls operate on player pianos. Insert the roll, and the piano plays the song. PAUSE The player piano is a specialty item, affordable by the wealthy, and not a great way to release new music to the masses. Decades later, in 1955,

Host Mary Swander takes a spin around Freemartin Town and reads the notes Paul, the Egg Man, has put into his cartons. Swander interviews Aidan Yoder, a Mennonite student and peace activist, home from his 11-day march for Gaza. Swander reads about sacrifice and service from Plain Interests, then concludes with her own monologue called Bring Back the Bluebirds. Music: Cluck Old Hen and Motherless Child.Connect with us on our new Substack pages where you will see photos and extras from the podcast:Mary Swander's Buggy LandAnd Mary Swander's Emerging Voices, showcasing young, diverse writers on current topics:maryswander.substack.comswander.substack.comBecome a premium member of our podcast Mary Swander's Buggy Land and gain access to bonus interviews, books, postcards, and poetry critiques. Have Mary join you and a small group for a reading. Visit: https://agarts.supercast.com/Your donation to Buggy Land helps make this podcast a sustainable business and allows us to do this work. We could not do it without you. Thank you for your support. Make your donation: https://www.agarts.org/donate/AgArts is a non-profit organization based in Kalona, Iowa, whose mission is to imagine and promote healthy food systems through the arts. The Executive Director and host of Buggy Land is award-winning author Mary Swander. https://maryswander.com/. Learn more about AgArts: https://www.agarts.org/Say hello on Facebook and Instagram

Archer: Season 7, Episode 4 "Motherless Child" Archer agrees to help a stranger with the search for his birth mother.     Feedback : blackgirlcouch@gmail.com  (audio/written) Twitter: BlackGirl_Couch   Tumblr: slowlandrogynousmiracle

Joshua Redman – Twilight…And Beyond – 11:00 Nate Smith – Skip Step – 3:04 Martin Fondse, Eric Vloeimans, Matangi Quartet – Lex – 4:28 Durand Jones & The Indications – Smile – 3:49 Avishai Cohen – Motherless Child – 2:58 Philip Catherine – Babel – 5:15 Ibrahim Maalouf – Doubts 2 – 4:54 Gregory Porter […]

Sintonía: "Cool It" - Guy Morris & Band"Backlash" - Fat Gaines Orchestra; "Angel Food" - The Port Angels; "Backslider" - Tiny Grimes; "Hello, Quincey" - Orchestra Luis Enriquez; "Grito pidiendo" - Ernesto Cardenal y "Song For My Father" (Horace Silver) de Joe Viera Sextett, extraídas de la recopilación (1xLP) "Movements, Vol.3" (Tramp Records, 2010)"Wahoo, Wahoo, Wahoo" - Wayne Carter; "Muy sabroso (Very Tasty)" - Lou Garno Trio; "No No No Momento" - Rick & The Entire World; "Soul Safari" - Lew Hanson & The Islanders; "The Hiccup" - Robert Parker y "Funky In The Hole" de The Blowflys, extraídas de la recopilación (1xCD) "Movements: 14 Deep Funk Pearls" (Perfect.Toy Records, 2004)"There´s A Wrinkle In Our Time" - 1984; "Now Is The Time" - Sisters Love; "Warm Daddy´s Choice" - River Front Band y "Motherless Child" de Harmonica Paul, extraídas de la recopilación (1xCD) "Movements 2: 15 Deep Funk Pearls" (Perfect.Toy Records, 2006) Todas las músicas seleccionadas por Tobias KirmayerEscuchar audio

Becca Burrington, soprano, Stephen Main, piano, Piedmont Community Church, Piedmont, California

Alan Menken and Stephen Schwartz monopolized the Original Song Oscar nominees for 2007, giving us three songs from their Disney musical Enchanted that paid homage to previous Disney classic songs and paid homage to them at the same time. Also nominated was a poignant song from a movie drawing from the Oliver Twist story, and a love song from a very low-budget Irish movie about two lost souls finding love through music. Learn more about these five songs and the people who created them on this episode!

I met Diana at a retreat for adult adoptees who never really worked on healing the inner wound created by losing your mother at birth. That was almost five years ago. WOW! Have we both come a long way. This is wisdom born of pain. Hint: No shame and no blame. See omnystudio.com/listener for privacy information.

Linda Murray Bullard, affectionately known as "The Business Plug," is a dynamic force in the entrepreneurial landscape. As the mastermind behind LSMB Business Solutions, LLC in Chattanooga, TN, Linda's expertise shines in her roles as an esteemed award-winning author, transformational speaker, and business strategist.Linda's insights have illuminated screens on ABC, NBC, Fox, and CBS, and her wisdom has been spotlighted in publications like the New York Post and Huffington Post. Winner of both the 2023 Chattanooga Business Elite award and the (Institute For Entrepreneurial Leadership) IFEL's 2023 "Small Businesses Need Us Volunteer of the Year award. Linda passionately advocates for women in business. Her TED Talk, derived from her autobiography "The Well Ran Dry: Memoirs of a Motherless Child," resonates with empowering narratives. Linda's literary prowess extends to guiding entrepreneurs through books like "Building Your Own Business (BYOB): Getting Started 101." As host of "The Business Plug's Mixer," she creates a dynamic forum for business owners, especially women, to shine.Connect with Linda: Website: https://GetTheBusiness.org Email: Info@LSMBBusinessSolutions.com LinkedIN: https://www.linkedin.com/in/lindamurraybullardspeaks/ "What an inspiring conversation. Linda is an extraordinary person. Her story of leaving this earth and coming back truly spoke to me. God gave her another opportunity to serve and she steps into those shoes happily and is committed to supporting others to step into their greatness." IdaRemember to SUBSCRIBE so you don't miss "information that you can use." Share Just Minding My Business with your family, friends, and colleagues. Engage with us by leaving a review or comment. https://g.page/r/CVKSq-IsFaY9EBM/review Your support keeps this podcast going and growing.Visit Just Minding My Business Media™ LLC at https://jmmbmediallc.com/ to learn how we can support you in getting more visibility on your products and services.

Sintonía: "The Git Back" - Joe Guitar Morris"Daniel Webster And The Devil" - Big Daddy; "Southern Love" - Ronnie Hawkins & The Hawks; "She´s Gone Too Long" - Roy Brown and His Mighty-Mighty Men; "I´d Think It Over" - Sam Fletcher; "I´m Cuttin Out" - Ivory Joe Hunter; "It´s A Sad Thing" - The Sims Twins; "Black Gal" - Roy Gaines; "Motherless Child" (feat. Lou Rawls) - The Pilgrim Travellers; "A Hard Row To Hoe" - Otis Lee; "Go Ahead On" - Jack Grayson And The So And So´s; "Move It (Move On)" - Landy McNeil; "Weep No More" - Maylon Humphries and The Tri-Seniors; "65 Bars" - Louis Jordan; "It Ain´t No Use" - Lou Johnson; Bonus track: "Washboard" - The Poor BoysTodas las músicas extraídas de la recopilación (1xLP) "A Hard Row To Hoe Volume 1: Dark & Moody Rhythm and Blues Popcorn-Style" (Stag-O-Lee Records, 2019)Escuchar audio

Born in Washington, D.C., and raised in Greenville, NC, contemporary jazz vocalist Christie N. Dashiell honed her skills at Howard University and later at the Manhattan School of Music. Ms. Dashiell's trajectory includes performances with Howard's premiere vocal jazz ensemble, Afro Blue. She has also performed at the Kennedy Center as a participant in the 2010 Betty Carter's Jazz Ahead program; at the Lincoln Theater in Washington, D.C.; and, as a part of Jazz at Lincoln Center's Jazz for Young People program. She is the recipient of DownBeat magazine's Best College Graduate Jazz Vocalist and Outstanding Soloist awards in the jazz vocal category. Most recently, Ms. Dashiell appeared on season three of NBC's The Sing-Off, as a member of Afro Blue. She can be heard on several nationally released recordings including John Blake's Motherless Child, The Jolley Brothers' memoirs Between Brothers, and as a Kennedy Center Discovery Artist on NPR's JazzSet hosted by Dee Dee Bridgewater. She has since performed in concert with Esperanza Spalding, Fred Hammond, Smokey Robinson, Geri Allen, and Allan Harris. If you enjoyed this episode please make sure to subscribe, follow, rate, and/or review this podcast on Spotify, Apple Podcast, Google Podcast, ect. Connect with us on all social media platforms and at www.improvexchange.com

The homily from Sunday, February 4th, 2024, and "Motherless Child," by Cameron Dezen Hammon and The Five O'Clock Band. Produced by St. Mark's Episcopal Church, Houston, TXMixed by Luke Brawner of Odd ParliamentAdditional music: Turning on the Lights by Blue Dot Sessions

Scott Weis Band “Raise Your Hands”:”Motherless Child with Cindy Mizelle””Shine Down with Cindy Mizelle””Judgement Day””Raise Your Hands”“With a Little Help from My Friends”“Mindless””Bitch Please””Lost Myself with Cindy Mizelle””Stay””Have You Ever Loved a Woman”“Bring Me Home”Hurricane Ruth “Live At 3rd and Lindsey”:“Dance Dance Norma Jean”Escuchar audio

Today's episode is about being a motherless child and grief. There is something about losing a mother that is permanent and inexpressible, a wound that will never quite heal. No child is prepared for losing their mother. The pain of these losses will always be a part of the child. Growing up without the presence of a loving mother is devastating.  Since the mother is the first, the basic caretaker, losing her in a physical or emotional way starts a nightmare of deprivation for a child. In a way, it never ends. Many negative conditions and feelings experienced later in life have their roots in this extremely traumatic experience. A mother's loss is a soul injury, that children carry with them. Yet with time, most children find a way forward and begin to experience happiness and meaning. They learn to live with the loss, making it a part of who they are. www.annaanka.com

The homily from Sunday, October 15th, 2023, and "Motherless Child," by Cameron Dezen Hammon and The Five O'Clock Band. Produced by St. Mark's Episcopal Church, Houston, TXMixed by Luke Brawner of Odd ParliamentAdditional music: Turning on the Lights by Blue Dot Sessions

Content warning: This episode discusses the healing journey of Moira Dadd after experiencing childhood abandonment, stays in multiple orphanages, and the death of her mother by suicide. While this podcast is intended to facilitate healing and hold space for all, some listeners may be troubled by the subject matter. Watch the video interview here! Transcripts available at https://tobydorr.com/podcast-schedule/ “I kept saying no to my inner critic. No, no. Thank you. Thank you so much for taking care of me. I don't need you anymore. I imagine tussling with them sometimes, but I'm a superhero now. No, no, no. Retire."  - Moira Dadd, international bestselling author of the memoir Cherishing Me: Letters to a Motherless Child and today's guest on Fierce Conversations with Toby In this episode, Moira and Toby embark on a profound conversation that touches on the delicate process of healing your inner child. Join us as we explore the power of forgiveness, both to others and to self, and how it has the potential to reshape your world and free you from the chains of the past. Moira's journey is an inspiring testament to the transformation that becomes possible when we confront our inner wounds and learn to forgive. Some of our fierce topics today: [00:05] Introduction and Guest Introduction  [01:06] Favorite Color and its Significance  [02:02] Crossroads and Seeking Help  [03:26] Early Life in Foster Homes and Orphanage  [06:26] Importance of the Grieving Process  [15:50] Moving from Doing to Being  [21:57] Reprogramming Negative Childhood Experiences and Embracing Ones Inner Child  [24:27] Fear of Failure and Fear of Success  [28:14] Embracing the Concept of "I Am Enough".  [31:53] Writing a Healing Memoir  [34:16] Gaining Gifts from Challenging Childhood Experiences  [35:56] Conclusion and Encouragement for Personal Growth About Moira Dadd Moira and her husband, Graham, a retired ordained Minister in the United Reformed Church, enjoy a busy and fulfilling life on the south coast of England. She has been blessed with three sons, two stepdaughters, their wonderful spouses and ten gorgeous grandchildren. Having suffered a profoundly painful and traumatic childhood through losing her mother to suicide in infancy, she spent several years in an orphanage followed by ten years with her sister in an abusive family before making her own way in the world, which she has indeed accomplished with aplomb! She is a trained Hypnotherapist and Master Practitioner of NLP and created a thriving private therapy practice which continues to this day. She gained her diploma in humanistic counselling in 2004, quickly followed by her certificate in education teaching diploma. She then embarked on her master's degree in transpersonal arts and practice where she graduated with distinction in 2007. Her training continued in Sensorimotor Trauma Psychotherapy and Lifespan Integration. She has also been a volunteer facilitator of bereavement support groups for Cruse Bereavement for over ten years. Her therapeutic practices are beautifully complemented by her work as a funeral and wedding celebrant. She continues her journey of growth, healing, and service to others. Links mentioned in this episode: Moira Dadd: Books and Audiobook Website Instagram Facebook ____________________________________ Toby Dorr: Books and Audiobook Website   Patreon YouTube Instagram Facebook Or head to https://linktr.ee/fierceconversations for all things Fierce Conversations with Toby. Credits: Created by Toby Dorr. Produced by Number Three Productions, a division of GracePoint Publishing. Theme song: Lisa Plasse: Composer, arranger, and flutist Caroline Parody: Piano Tony Ventura: Bass For more information on these fabulous musicians, please go to https://tobydorr.com/theme-song/  

Show #1008 Summer Short A summertime show with all new music, shorter than usual but still pretty damn good. 01. Ghost Hounds - Dirty Angel (5:27) (First Last Time, Gibson Records, 2023) 02. Rick & Jenda Derringer - Hot And Cool (3:28) (Rock The Yacht, self-release, 2023) 03. Chris Forrest & the Big Mercy - Bring It Home (5:29) (Single, self-release, 2023) 04. Ole Lonesome - Ain't No Good (6:07) (Tejas Motel, Gulf Coast Records, 2023) 05. GA-20 - Still As The Night (4:00) (Single, Colemine/Karma Chief Records, 2023) 06. Julie July Band - The Last Farewell (5:38) (Wonderland, Thoroughbred Music, 2023) 07. Mark Telesca  - Never Can Tell (4:08) (Brand New Day, Mosher Street Records, 2023) 08. Mitch Grainger - Mississippi (3:28) (Single, Gent Records, 2023) 09. Jimmy Regal & the Royals - The First And Last Stop (3:44) (First And Last Stop, Lunaria Records, 2023) 10. Misty Blues - Sometimes I Feel Like a Motherless Child (3:55) (Single, Guitar One Records, 2023) 11. Starlite Campbell - Saving Me (4:08) (Starlite.One, Supertone Records, 2023) 12. Voodoo Ramble - Home (4:16) (Home Again, Thoroughbred Music, 2023) 13. The Cold Stares - Cross The Line (3:07) (Single, Mascot Records, 2023) 14. Monster Mike Welch - Afraid Of My Own Tears (8:47) (Nothing But Time, Gulf Coast Records, 2023) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

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 --

Welkom terug bij een nieuwe aflevering van Kalm met Klassiek, dé podcastserie voor je dagelijkse momentje rust. Komende zaterdag is het 1 juli - de dag waarop in 1863 de slavernij in Suriname en de Caraïbische eilanden bij wet werd afgeschaft. De afschaffing van de slavernij wordt jaarlijks gevierd onder de naam “Keti Koti” - dat betekent letterlijk “ketenen gebroken”. Ook in Nederland wordt Keti Koti gevierd in verschillende steden. In aanloop naar deze feestdag laat Ab je deze week iedere dag een spiritual horen. Dat zijn traditionele liederen die tot slaafgemaakten zongen tijdens het zware werk dat zij moesten verrichten. Eigenlijk was het voor hen een vorm van overleving om de erbarmelijke omstandigheden te doorstaan.

Barefoot Days have arrived, a season so sweet and easy that it has its own anthem.“Summertime,” from George Gershwin's Porgy and Bess, is perhaps the perfect jazz standard. Unforgettable lyrics. A melody that seems to be from a dream. Like magic, the song sounds new every single time, no matter how many times you've heard it.And you've heard it many times. “Summertime” is one of the most recorded songs of all times; in fact, Guinness World Records is aware of more than 67,000 individual recordings of “Summertime” since its composition in 1934. Just two years later, Billie Holiday was the first to hit the U.S. pop charts with it, reaching No. 12 in September 1936.Gershwin or Not GershwinBut did you know that neither the tune to "Summertime" nor its lyrics might be original with Gershwin?First, about those words. Gershwin's opera was based on a 1925 novel called Porgy by DuBose Heyward, whose wife, Dorothy, turned into a stage play in 1927. Later, DuBose collaborated with Ira Gershwin to craft the libretto for the Gershwins' folk opera Porgy and Bess, and the lyrics to "Summertime" are assumed to be by the Heywards.And the melody? Well, that's a little more complicated. Gershwin copyrighted it, saying he used no previously composed spirituals in his opera. But really?Some critics contend “Summertime” is an adaptation of the African American spiritual "Sometimes I Feel Like a Motherless Child." Adding a bit of heft to this theory is the fact that the final scene of Dorothy Hetward's stage play — which predated the Gershwin work by eight years — ended with a performance of “Motherless Child.” So, it's debatable. If you want to do your own research, YouTube offers assorted performances of “Motherless Child.” Gershwin detractors often specifically cite Paul Robeson's 1930s recording as Exhibit A.Our Take on the TuneThe Flood started playing “Summertime” a quarter of a century ago with various arrangements. Sometimes, for instance, it has been an instrumental, featuring solos over the by years by Joe Dobbs and Doug Chaffin, by Jacob Scarr, Paul Martin and Vanessa Coffman.The first time the song came to a Flood album — the 2002 The 1937 Flood Plays Up a Storm — Charlie Bowen handled the vocals. Eleven years later, by the time the band released its fifth album, Cleanup & Recovery, the guys had turned over the singing to Michelle Hoge.Now in our latest take on the tune, Randy Hamilton does double duty. He takes over the vocals, and his soulful bass work creates a moody setting that inspires introspective solos by Sam St. Clair and Danny Cox. Take a listen; it's “Summertime,” 2023. 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

Audio Version of the video podcast that was created and recorded 5.10.2020, New to you, old to us. . Nikole, the host of the #podcast entitled "Argh U Mad!?!" discusses the onset of her anxiety condition and shares her best practices for coping using breathing techniques. Become a patron to get access to this years Mother's Day Guided Meditation. Available May 14th at noon. 

Season Six wraps with a high-energy conversation with Grammy Award-winning baritone Kenneth Overton. Known for his rich and booming voice, Overton is booked and busy across the U.S. and around the world, yet still finds time to intentionally dedicate part of his career to the mentorship of the next generation of young Black vocalists in classical music.Featured Music:"Sometimes I Feel Like a Motherless Child," arranged by George Crumb"There's A Man Goin' Round Taking Names""Look to the Rainbow," from the album A Bright TomorrowSupport the show

If anyone knows a thing about Reinvention it is Linda Murray Bullard. She has reinvented her career multiple times, she had to relearn how to walk, talk and move again and still managed to bounce back. That cannot be said about so many people who get stuck because something happened; orphaned, widowed, divorced, teenage mum. Challenges are inevitable. Everyone will experience them. BUT how you rise from the experience is key Today Ms. Linda gives a masterclass on how you can Reinvent yourself and essentially Set Yourself Free.    *********************************************** Linda Murray Bullard is the award-winning author of “The Well Ran Dry: Memoirs of a Motherless Child” (which was accepted by the United States Library of Congress in 2013) and the business series entitled “The Building Your Own Business (BYOB) Series,” specifically targeting startups. Clients call her “The Business Plug.” She owns LSMB Business Solutions. She has been interviewed by several leading radio and television shows on ABC, CBS, Fox, and NBC. Her company, LSMB Business Solutions aims to assist new and struggling businesses in confidently adding technology and best business practices to their business models. Her Building Your Own Business series teaches business owners how to fine tune their business ideas, how to get certified at the local, state, and federal levels, and how to acquire grant funding since 2013. Linda is the mother of three adult men, seven grandchildren and one great grandson.   Connect with Linda: Instagram: @LSMBBusinessSolutions Facebook: @LindaMurrayBullard   This season is dedicated to Jeannette Phumzile Shange-Kalala   Join the Africana Woman Visionaries: https://africanawoman.gumroad.com/l/AWVNetwork   Africana Woman Retreats 2023 Click here KNOW your Roots, Grow your Purpose LINKS: Message Africana Woman with Chulu on WhatsApp. https://wa.me/message/E3N7TH7RZSS4P1 +260978470395 Email: africanawoman@gmail.com  Website: https://www.africanawoman.com    Socials:  Instagram: https://www.instagram.com/chulu_bydesign/                     https://www.instagram.com/africanawoman/  Twitter: https://twitter.com/AfricanaWoman_    Africana Woman Blog: https://www.africanawoman.com/blog

If anyone knows a thing about Reinvention it is Linda Murray Bullard. She has reinvented her career multiple times, she had to relearn how to walk, talk and move again and still managed to bounce back. That cannot be said about so many people who get stuck because something happened; orphaned, widowed, divorced, teenage mum. Challenges are inevitable. Everyone will experience them. BUT how you rise from the experience is key Today Ms. Linda gives a masterclass on how you can Reinvent yourself and essentially Set Yourself Free.    *********************************************** Linda Murray Bullard is the award-winning author of "The Well Ran Dry: Memoirs of a Motherless Child" (which was accepted by the United States Library of Congress in 2013) and the business series entitled "The Building Your Own Business (BYOB) Series," specifically targeting startups. Clients call her "The Business Plug." She owns LSMB Business Solutions. She has been interviewed by several leading radio and television shows on ABC, CBS, Fox, and NBC. Her company, LSMB Business Solutions aims to assist new and struggling businesses in confidently adding technology and best business practices to their business models. Her Building Your Own Business series teaches business owners how to fine tune their business ideas, how to get certified at the local, state, and federal levels, and how to acquire grant funding since 2013. Linda is the mother of three adult men, seven grandchildren and one great grandson.   Connect with Linda: Instagram: @LSMBBusinessSolutions Facebook: @LindaMurrayBullard   This season is dedicated to Jeannette Phumzile Shange-Kalala   Join the Africana Woman Visionaries: https://africanawoman.gumroad.com/l/AWVNetwork   Africana Woman Retreats 2023 Click here KNOW your Roots, Grow your Purpose LINKS: Message Africana Woman with Chulu on WhatsApp. https://wa.me/message/E3N7TH7RZSS4P1 +260978470395 Email: africanawoman@gmail.com  Website: https://www.africanawoman.com    Socials:  Instagram: https://www.instagram.com/chulu_bydesign/  https://www.instagram.com/africanawoman/  Twitter: https://twitter.com/AfricanaWoman_    Africana Woman Blog: https://www.africanawoman.com/blog

OUTLINE of today's show with TIMECODES Nullification — the "rightful remedy" to both Gun Control AND Drug War. 2:13 "Eye-patch McCain" (Dan Crenshaw) and Lindsey Graham want a LITERAL war on drugs in Mexico after 4 Americans killed. They want drug cartels treated as ISIS. Does that mean we will now be arming the cartels? 20:09 How Credit Card Codes Will Be Weaponized. Bank of America voluntarily gave FBI all Jan6 credit card charges from their customers in the DC area (including VA & MD)says whistleblower George Hill. Credit card companies will do the same if not prohibited. The code alone could be used to charge gun stores higher fees and intimidate customers to drive the stores out of business 34:05 Silvergate Bank did NOT fail — its "Crime" was being involved with crypto. A look at Biden Warp Speed attack on crypto the last couple of months. Operation Chokepoint 2.0 54:42 Twenty states have bills to redefine "money" as CBDC (including a foreign, global digital cash) and to ban bitcoin and other private cryptos. Remember how they quietly changed definitions BEFORE the pandemic? 1:27:21 NC using crony capitalism subsidies to bring Vietnamese electric car company plant to the state while throwing out residents, small businesses and a church that's been there since 1888 using eminent domain to take from one private owner and give to another. 1:32:20 Unlike Obama (who bought an ocean front mansion that climate fear mongers say will be underwater) these people are moving to Duluth to escape the coming "global warming" 1:46:23 Selling fraudulent "carbon credits". Yes, it's redundant, but… 1:50:20 Pastuerization without Representation WATCH Thomas Massie's bill to block FDA from prohibiting Raw Milk 1:58:46 INTERVIEW Growing Food When Government Steals Your Farm A system born out of necessity when commercial techniques failed became the lifeline when Zimbabwe stole farms from white farmersgardening without plowing or tillingthermal compost & natural organic fertilizerseight simple questions to create an easy, but effective garden planand much more Your best prepping may be in training neighbors to grow food, thereby building community. Noah Sanders, RedeemingTheDirtAcademy.com 2:02:40 Motherless Child: A Satanic Use of Technology. An engineered mouse with 2 biological fathers and no mother. A marriage made in hell between bioengineering tech and LGBT desires. 2:50:01Find out more about the show and where you can watch it at TheDavidKnightShow.com If you would like to support the show and our family please consider subscribing monthly here:SubscribeStar https://www.subscribestar.com/the-david-knight-showOr you can send a donation through Mail: David Knight POB 994 Kodak, TN 37764Zelle: @DavidKnightShow@protonmail.comCash App at: $davidknightshowBTC to: bc1qkuec29hkuye4xse9unh7nptvu3y9qmv24vanh7Money is only what YOU hold: Go to DavidKnight.gold for great deals on physical gold/silver

OUTLINE of today's show with TIMECODES Nullification — the "rightful remedy" to both Gun Control AND Drug War. 2:13 "Eye-patch McCain" (Dan Crenshaw) and Lindsey Graham want a LITERAL war on drugs in Mexico after 4 Americans killed. They want drug cartels treated as ISIS. Does that mean we will now be arming the cartels? 20:09 How Credit Card Codes Will Be Weaponized. Bank of America voluntarily gave FBI all Jan6 credit card charges from their customers in the DC area (including VA & MD)says whistleblower George Hill. Credit card companies will do the same if not prohibited. The code alone could be used to charge gun stores higher fees and intimidate customers to drive the stores out of business 34:05 Silvergate Bank did NOT fail — its "Crime" was being involved with crypto. A look at Biden Warp Speed attack on crypto the last couple of months. Operation Chokepoint 2.0 54:42 Twenty states have bills to redefine "money" as CBDC (including a foreign, global digital cash) and to ban bitcoin and other private cryptos. Remember how they quietly changed definitions BEFORE the pandemic? 1:27:21 NC using crony capitalism subsidies to bring Vietnamese electric car company plant to the state while throwing out residents, small businesses and a church that's been there since 1888 using eminent domain to take from one private owner and give to another. 1:32:20 Unlike Obama (who bought an ocean front mansion that climate fear mongers say will be underwater) these people are moving to Duluth to escape the coming "global warming" 1:46:23 Selling fraudulent "carbon credits". Yes, it's redundant, but… 1:50:20 Pastuerization without Representation WATCH Thomas Massie's bill to block FDA from prohibiting Raw Milk 1:58:46 INTERVIEW Growing Food When Government Steals Your Farm A system born out of necessity when commercial techniques failed became the lifeline when Zimbabwe stole farms from white farmersgardening without plowing or tillingthermal compost & natural organic fertilizerseight simple questions to create an easy, but effective garden planand much more Your best prepping may be in training neighbors to grow food, thereby building community. Noah Sanders, RedeemingTheDirtAcademy.com 2:02:40 Motherless Child: A Satanic Use of Technology. An engineered mouse with 2 biological fathers and no mother. A marriage made in hell between bioengineering tech and LGBT desires. 2:50:01Find out more about the show and where you can watch it at TheDavidKnightShow.com If you would like to support the show and our family please consider subscribing monthly here:SubscribeStar https://www.subscribestar.com/the-david-knight-showOr you can send a donation through Mail: David Knight POB 994 Kodak, TN 37764Zelle: @DavidKnightShow@protonmail.comCash App at: $davidknightshowBTC to: bc1qkuec29hkuye4xse9unh7nptvu3y9qmv24vanh7Money is only what YOU hold: Go to DavidKnight.gold for great deals on physical gold/silver

Welcome to GLIDE Memorial Church's “Tiny Celebrations,” the mini-podcast highlighting the inspirational words and music from our Sunday Celebration.In this episode special Jazz and Justice guest soloist Clairdee sings the jazz classic "Motherless Child" and Kenny Washington returns with the Billie Holiday classic "God Bless The Child" accompanied by Janice Maxie Reed on piano and The Change Band.Please support the music, the art, and the message of GLIDE Memorial Church. Please donate today. https://www.glide.org/igive/ 

As the first band to play the infamous 1969 Woodstock Festival, you'd think you'd have heard more about Sweetwater. Let band expert Corbin Betleyoun help you understand why you probably haven't! Next week: The Private Press with Paul Major presents DENNIS THE FOX's 1972 masterpiece "Mother Trucker!" Official playlist curated by Dave on Spotify: https://open.spotify.com/playlist/7fo672DlgIw5FEpcCnbE4q?si=hZ-VLWTsTISb71oBIU2w7w 1968 “Why Oh Why” video: https://youtu.be/34PAx65iDTw Sweetwater's complete set at Woodstock, August 1969: https://youtu.be/i66HF-idtcg “Motherless Child” on “The Hollywood Palace,” October 1969: https://youtu.be/8P7fw9vGgv4 “What's Wrong” on Playboy After Dark, October 1969: https://youtu.be/LY7H9EhEJXE CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Link Tree: https://linktr.ee/discograffiti Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti YouTube: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Web site: http://discograffiti.com/ Patreon: www.Patreon.com/Discograffiti CONTACT DAVE Email: dave@discograffiti.com Twitter: https://twitter.com/DaveGebroe Instagram: https://www.instagram.com/davidgebroe/ CONTACT TODD ZIMMER: GRAPHIC DESIGN Facebook: https://www.facebook.com/ToddZimmer and https://www.facebook.com/punknjunkradio Instagram: https://www.instagram.com/the_real_todd_zimmer/ and https://www.instagram.com/punknjunkradioshow/ #patreon #musicpatreon #nowplaying #vinylcollection #music #vinylcommunity #vinylrecords #sweetwater #sweetwaterband #woodstock #music #rock #hippie #janisjoplin #woodstockfestival #bertsommer #quillband #keefhartley #keefhartleyband #richiehavens #nancynevins #alexdelzoppo #woodstockfest #podcast #musiccommentary #graceslick #vh1 #motherlesschild #dennisthefox #mothertrucker --- Send in a voice message: https://anchor.fm/discograffiti/message Support this podcast: https://anchor.fm/discograffiti/support

Hope deferred makes the heart sick,but a longing fulfilled is a tree of life (Proverbs 13:12).How to Cope in Crisis and Chronic sadness?A. My conviction: Christianity is true, rational, and pertinent to whole of life. See Douglas Groothuis, Christian Apologetics; see especially, “The Problem of Evil” chapterB. Yet there is evil, pain, suffering, and lamentC. But, we can smelt, squeeze, and sculpt meaning out of suffering through divine loveI. Lament: A Tonic for Suffering A. A tonic, not a cure (in this life)What is biblical lament?1. The anguished cry of sorrow, grief, and often anger made before God and with hope of resolution. Lament is caused the loss of a something good or by the fear of the loss of a good thing, such as justice, health, or a loving relationship. One may lament over oneself, others, or the creation itself.a. Negro spirituals, “Sometimes I Feel like a Motherless Child,” and the blues, “Motherless Children.”b. Sixty Psalms of lament (6, 13, 22, 39, 88, 90, 137, etc.)c. Book of Job: We are “born for trouble as the sparks fly upward” (5:7)d. Ecclesiastes 9:11 (KJV)I returned, and saw under the sun, that the race is not to the swift, nor the battle to the strong, neither yet bread to the wise, nor yet riches to men of understanding, nor yet favour to men of skill; but time and chance happeneth to them all.2. Christ's absolute suffering on the Cross for redemption: lament of all laments redeems the cosmosa. “My God my God, why have you forsaken me”? (Matthew 27:46; from Psalm 22)b. “Come lift up your sorrow and offer your pain. Come make a sacrifice of all your shame. There in your wilderness, he is waiting for you to worship with your wounds for he's wounded, too.” Michael Card, from “The Hidden Face of God” recording (2006)c. Jesus: “It is finished” Not finished for us, though—yetd. Participating in Christ's suffering through lament: Colossians 1:24Now I rejoice in what I am suffering for you, and I fill up in my flesh what is still lacking in regard to Christ's afflictions, for the sake of his body, which is the church.Lightening the Load of SufferingA. Let grief take its course: Said to a mother grieving the suicide of her 19-year-old son: “It's been six weeks”B. Let yourself and others weep; accept their tears; listen to their tearsYou have taken account of my wanderings; Put my tears in your bottle Are they not in your book? (Psalm 56:8; see Revelation 7:17).C. Don't give cheap answers; don't try to read God's mind in the whys of sufferingWhen I applied my mind to know wisdom and to observe the labor that is done on earth—people getting no sleep day or night—then I saw all that God has done. No one can comprehend what goes on under the sun. Despite all their efforts to search it out, no one can discover its meaning. Even if the wise claim they know, they cannot really comprehend it (Ecclesiastes 8:16-17; see also Deuteronomy 29:29, Romans 11:33-36).D. Don't try to cheer people up out of seasonLike one who takes away a garment on a cold day,or like vinegar poured on a wound,is one who sings songs to a heavy heart (Proverbs 25:20).E. Don't make promises you cannot fulfill; keep your wordIt is better not to make a vow than to make one and not fulfill it (Ecclesiastes 5:5).F. Prayer as a way of life (Ephesians 6:10-19).G. Remember that lament for the redeemed is not forever (Revelation 21-22)Then I saw “a new heaven and a new earth,” for the first heaven and the first earth had passed away, and there was no longer any sea. I saw the Holy City, the new Jerusalem, coming down out of heaven from God, prepared as a bride beautifully dressed for her husband. And I heard a loud voice from the throne saying, “Look! God's dwelling place is now among the... Discover more Christian podcasts at lifeaudio.com and inquire about advertising opportunities at lifeaudio.com/contact-us.

2 years in and the 8:24 Podcast is still here! What better day to drop this episode than Kobe Day!? I got a lot to talk about! I Killed My Dad Netflix Doc and Raising Kanan! Rodman to Russia? Oh and Yeezy hoodies... tune in! Watch the FULL EPISODE ON YouTube Subscribe to the channel Now Streaming Everywhere 824 Podcast "Gone Hollywood" Champion T-Shirt in white (also available in black) Donate The 8:24 Theme Song Produced by Myles Gerring

This week's episode is a collaboration with my friend, Dru Jaeger, co-founder of Club Soda and author of How to Be a Mindful Drinker: Cut Down, Take a Break, or Quit.Dru woke up one morning a happy child with two parents and went to bed that night without a mother. She died suddenly and unexpectedly of a massive brain hemorrhage. Within six months, his father would relocate their family to another country. Like many of us, Dru learned that you suppress it, distract yourself, keep yourself busy, and pretend that the trauma did not happen to you when it comes to grief. Dru shares how his grief changed and manifested over the years. Also, how only in the last several years has he found peace within where he's learned to live with himself (and his grief) well.Enjoy this week's episode as we both share how parent loss in childhood shaped our adult lives, particularly our relationships with alcohol, and learn if alcohol has become a way for you to cope with your grief. And, to be clear, if you think this episode isn't for you, you don't have to be a daily drinker for alcohol to be a "problem-solving band-aid" in your life.  RESOURCES:Club Soda CommunityClub Soda Podcast Birmingham (U.K.) Untreated Heavy Drinkers ProjectGrieving Voices Podcast Episode | The Manifestation of GriefCONNECT:Club Soda InstagramClub Soda Facebook GroupClub Soda LinkedInNEED HELP?National Suicide Prevention Lifeline: 1-800-273-8255Crisis Text Line provides free, 24/7 support via text message. Text HOME to 741741 to connect with a trained Crisis CounselorIf you or anyone you know is struggling with grief, free resources are available HERE.Enjoying the podcast? You may also enjoy my bi-weekly newsletter, The Unleashed Letters.

Welcome to GLIDE Memorial Church's “Tiny Celebrations,” the mini-podcast highlighting the inspirational words and music from our Sunday Celebration.In this episode for Mother's Day, Musical Director Vernon Bush joins with The Glide Ensemble to bring a mashup of "Kyrie Eleison" and "Sometimes I Feel Like a Motherless Child."Please support the music, the art, and the message of GLIDE Memorial Church. Please donate today. https://www.glide.org/igive/

Greetings, this was a difficult podcast for me to produceAs I was finalizing my Journey to Healing program, once again, for six week I dealt with this nagging sense  that my mother, the woman who gave birth to me, was dying.   She died last week and I don't know how to grieve.I hadn't seen or spoken to her since 2007. I spent two long hurtful weeks in 2007 with her. She was in early stages of Alzheimer's yet she was still controlling, lethal,  and master of manipulation.I hadn't seen in at least 10 years prior to the  painful 2007 debacleI'm 73 years old and the most intimate one on one time I spent with her was the 10-11 hours she was in labor with me. If I combine  all the minutes, hours,  days, weeks, and months of my 73 years  together, the most we spent 3 years of pure hell, of constantly being reminded she abandoned, rejected, and bragging that she never changed my diapers or feed me.How do I grieve for a woman who  the one and only time time she had to sign a permission slip for me to go on a filed trip, ask me how did I spell Theresa with a H or EHow do I grieve for a woman who as a small child I craved for her to look at me, to comb my hair, to touch me, to kiss me to do the things I saw my friend's mothers do.  I wanted  her to know my favorite cookies were oatmeal raisin, my favorite color was blue, and praise me for being in a gifted program at  small.  For the first 14 years of my life we lived with 3 blocks of each other and  we ignored each other.  I stop calling her Mama by the age of 9, she was just Jeri, a woman I refused to speak to.How do I grieve for a woman who had no problem rejecting me, who would when speaking of her daughters she would tell me, not you, she only considered two younger sisters as her daughters.As I child I longed for her, to see, her, to have her touch, hold, kiss or even acknowledge me in some form of kindness. At best she grunted at meThere is no pain greater  than  living your entire life as a Motherless Child.It makes you doubt everything about yourself. What was so wrong with me that own mother didn't want me.This is a woman who handed me over to my father, a pedophile. This  man  screwed or attempted to screw   four Willard girls and women.  He  married the eldest, attempted to rape the middle sister, had transactional  sex with my 14 year old mother for a coat, and at 14 he began raping me.  She willingly handed me over to him to do with me as he pleased.The results, he raped me for 3.5 years and impregnated me with my eldest son.How am I grieving, I'm not, all I feel is numbness 

Jimmy Jones, the legendary bass singer for the Harmonizing Four, delivers a speakers-rattling vocal on the old spiritual, “Sometimes I Feel Like a Motherless Child.”

Richie Havens, Martin Luther King Jr., and good trouble ☮️

This content is for Members only. Come and join us by subscribing here In the meantime, here's some more details about the show: It's a warm welcome then to the man himself: Dr. Brad Stone - the JazzWeek Programmer of the Year 2017, who's here every Thursday to present The Creative Source - a two hour show, highlighting jazz-fusion and progressive jazz flavours from back then, the here and now, plus occasional forays into the future. Please feel free to get in touch with Brad with any comments or suggestions you might have; he'll be more than happy to hear from you: brad@soulandjazz.com or follow him via Facebook or Twitter. Enjoy! The Creative Source 17th March 2022 Artist - Track - Album - Year New Standard Quintet    Another Time, Another Place    Another Time, Another Place    2021 Gabor Bolla Quintet    Blue Tarif    On the Move    2021 Scott Burns, John Wojciecowski, Geof Bradfield    Corea    Tenor Time    2022 Melissa Aldana    Los Ojos de Chile    12 Stars    2022 Adonis Rose and the New Orleans Jazz Orchestra feat. Cyrille Aimée    Down    Petite Fleur    2021 Jami Templeton    Can't Help Lovin' That Man    The Shape of My Heart    2022 Irene Jalenti    Alma Desnuda    Dawn    2021 Mark Wade Trio    The Soldier and the Fiddle    True Stories    2021 Bill O'Connell    Chaos    A Change is Gonna come    2022 Quentin Angus    Enigma    The State of Things    2022 Cecile McLorin Salvant    Wuthering Heights    Ghost Song    2022 Javon Jackson    Sometimes I Feel Like a Motherless Child    The Gospel According to Nikki Giovanni    2021 Doug Scarborough    Tinder and Spark    The Color of Angels    2022 Roxy Coss    Disparate Parts    Disparate Parts    2022 Ethan Iverson    The Eternal Verities    Every Note is True    2022 Dan Carillo & Common Ground    Que Dios Bendiga a la Mariposas (God Bless the Butterflies)    Witness    2021 Danilo Pérez feat. The Global Messengers    Al-Musafir Blues    Crisálida    2022 The post The Creative Source (#CreativeSource) – 17th March 2022 appeared first on SoulandJazz.com | Stereo, not stereotypical ®.

On this Black Friday edition of Rise From The Shadows, we welcome Scott Mason back to the Shadows! During this episode, Scott tells the story of listening to Leroy Garvin playing the harp at his mother's church every fourth Sunday while singing "A Motherless Child." That song resonated with him as an adopted child. Scott discusses his journey from being born in England as Calvin Fronz Crowdey to being adopted by an African-American family and moving to Kansas. He struggled to come to terms with not being wanted by his family and was raised in an environment that opposed his destiny. He often wondered what his life would be like if he were still Calvin. When he was 12-years old and his family was on vacation in Denver, he walked into a bookstore, and a cover spoke to him. It was D'Aularies' Greek Myths. The theme of heroes rising from adoption wasn't uncommon in this book, and he could relate to Percious and Moses. This book gave him a sense of hope that allowed him to face the monsters that he would eventually have to slay in life and was able to overcome his shadows. Scott also encourages us to find our personal avatar through Greek Mythology. Check out this episode and all past episodes of the Shadows Podcast and Rise From the Shadows at https://linktr.ee/ShadowsPodcast or www.theshadowspodcast.com. You can listen to Scott Mason's Purpose Highway at www.purposehighway.com. Also, tune in every Thursday night at 7:15 EST on Facebook Live and LinkedIn for Just a Squirrel Looking For a Nut. If you're looking to become a certified Leadership Coach, make a lasting impact on people, and get paid to do it, you need to become a Certified Leadership Coach with GiANT. Go to giant.tv/shadows and attend their FREE training session! --- Support this podcast: https://anchor.fm/shadows-podcast/support

When your parent is a narcissist, your childhood is gone. Now as an adult, you have to learn how to parent yourself and develop your inner child.

Episode 126 of A History of Rock Music in Five Hundred Songs looks at “For Your Love", the Yardbirds, and the beginnings of heavy rock and the guitar hero.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "A Lover's Concerto" by the Toys. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've created a Mixcloud playlist, with full versions of all the songs excerpted in this episode. The Yardbirds have one of the most mishandled catalogues of all the sixties groups, possibly the most mishandled. Their recordings with Giorgio Gomelsky, Simon Napier-Bell and Mickie Most are all owned by different people, and all get compiled separately, usually with poor-quality live recordings, demos, and other odds and sods to fill up a CD's running time. The only actual authoritative compilation is the long out-of-print Ultimate! . Information came from a variety of sources. Most of the general Yardbirds information came from The Yardbirds by Alan Clayson and Heart Full of Soul: Keith Relf of the Yardbirds by David French. Simon Napier-Bell's You Don't Have to Say You Love Me is one of the most entertaining books about the sixties music scene, and contains several anecdotes about his time working with the Yardbirds, some of which may even be true. Some information about Immediate Records came from Immediate Records by Simon Spence, which I'll be using more in future episodes. Information about Clapton came from Motherless Child by Paul Scott, while information on Jeff Beck came from Hot Wired Guitar: The Life of Jeff Beck by Martin Power. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to take a look at the early career of the band that, more than any other band, was responsible for the position of lead guitarist becoming as prestigious as that of lead singer. We're going to look at how a blues band launched the careers of several of the most successful guitarists of all time, and also one of the most successful pop songwriters of the sixties and seventies. We're going to look at "For Your Love" by the Yardbirds: [Excerpt: The Yardbirds, "For Your Love"] The roots of the Yardbirds lie in a group of schoolfriends in Richmond, a leafy suburb of London. Keith Relf, Laurie Gane, Paul Samwell-Smith and Jim McCarty were art-school kids who were obsessed with Sonny Terry and Jimmy Reed, and who would hang around the burgeoning London R&B scene, going to see the Rolling Stones and Alexis Korner in Twickenham and at Eel Pie Island, and starting up their own blues band, the Metropolis Blues Quartet. However, Gane soon left the group to go off to university, and he was replaced by two younger guitarists, Top Topham and Chris Dreja, with Samwell-Smith moving from guitar to bass. As they were no longer a quartet, they renamed themselves the Yardbirds, after a term Relf had found on the back of an album cover, meaning a tramp or hobo. The newly-named Yardbirds quickly developed their own unique style -- their repertoire was the same mix of Howlin' Wolf, Bo Diddley, Jimmy Reed and Chuck Berry as every other band on the London scene, but they included long extended improvisatory  instrumental sequences with Relf's harmonica playing off Topham's lead guitar. The group developed a way of extending songs, which they described as a “rave-up” and would become the signature of their live act – in the middle of a song they would go into a long instrumental solo in double-time, taking the song twice as fast and improvising heavily, before dropping back to the original tempo to finish the song off. These “rave-up” sections would often be much longer than the main song, and were a chance for everyone to show off their instrumental skills, with Topham and Relf trading phrases on guitar and harmonica. They were mentored by Cyril Davies, who gave them the interval spots at some of his shows -- and then one day asked them to fill in for him in a gig he couldn't make -- a residency at a club in Harrow, where the Yardbirds went down so well that they were asked to permanently take over the residency from Davies, much to his disgust. But the group's big break came when the Rolling Stones signed with Andrew Oldham, leaving Giorgio Gomelsky with no band to play the Crawdaddy Club every Sunday. Gomelsky was out of the country at his father's funeral when the Stones quit on him, and so it was up to Gomelsky's assistant Hamish Grimes to find a replacement. Grimes looked at the R&B scene and the choice came down to two bands -- the Yardbirds and Them. Grimes said it was a toss-up, but he eventually went for the Yardbirds, who eagerly agreed. When Gomelsky got back, the group were packing audiences in at the Crawdaddy and doing even better than the Stones had been. Soon Gomelsky wanted to become the Yardbirds' manager and turn the group into full-time musicians, but there was a problem -- the new school term was starting, Top Topham was only fifteen, and his parents didn't want him to quit school. Topham had to leave the group. Luckily, there was someone waiting in the wings. Eric Clapton was well known on the local scene as someone who was quite good on guitar, and he and Topham had played together for a long time as an informal duo, so he knew the parts -- and he was also acquainted with Dreja. Everyone on the London blues scene knew everyone else, although the thing that stuck in most of the Yardbirds' minds about Clapton was the time he'd seen the Metropolis Blues Quartet play and gone up to Samwell-Smith and said "Could you do me a favour?" When Samwell-Smith had nodded his assent, Clapton had said "Don't play any more guitar solos". Clapton was someone who worshipped the romantic image of the Delta bluesman, solitary and rootless, without friends or companions, surviving only on his wits and weighed down by troubles, and he would imagine himself that way as he took guitar lessons from Dave Brock, later of Hawkwind, or as he hung out with Top Topham and Chris Dreja in Richmond on weekends, complaining about the burdens he had to bear, such as the expensive electric guitar his grandmother had bought him not being as good as he'd hoped. Clapton had hung around with Topham and Dreja, but they'd never been really close, and he hadn't been considered for a spot in the Yardbirds when the group had formed. Instead he had joined the Roosters with Tom McGuinness, who had introduced Clapton to the music of Freddie King, especially a B-side called "I Love the Woman", which showed Clapton for the first time how the guitar could be more than just an accompaniment to vocals, but a featured instrument in its own right: [Excerpt: Freddie King, "I Love the Woman"] The Roosters had been blues purists, dedicated to a scholarly attitude to American Black music and contemptuous of pop music -- when Clapton met the Beatles for the first time, when they came along to an early Rolling Stones gig Clapton was also at, he had thought of them as "a bunch of wankers" and despised them as sellouts. After the Roosters had broken up, Clapton and McGuinness had joined the gimmicky Merseybeat group Casey Jones and his Engineers, who had a band uniform of black suits and cardboard Confederate army caps, before leaving that as well. McGuinness had gone on to join Manfred Mann, and Clapton was left without a group, until the Yardbirds called on him. The new lineup quickly gelled as musicians -- though the band did become frustrated with one quirk of Clapton's. He liked to bend strings, and so he used very light gauge strings on his guitar, which often broke, meaning that a big chunk of time would be taken up each show with Clapton restringing his guitar, while the audience gave a slow hand clap -- leading to his nickname, "Slowhand" Clap-ton. Two months after Clapton joined the group, Gomelsky got them to back Sonny Boy Williamson II on a UK tour, recording a show at the Crawdaddy Club which was released as a live album three years later: [Excerpt: The Yardbirds and Sonny Boy Williamson II, "Twenty-three Hours Too Long"] Williamson and the Yardbirds didn't get along though, either as people or as musicians. Williamson's birth name was Rice Miller, and he'd originally taken the name "Sonny Boy Williamson" to cash in on the fame of another musician who used that name, though he'd gone on to much greater success than the original, who'd died not long after the former Miller started using the name. Clapton, wanting to show off, had gone up to Williamson when they were introduced and said "Isn't your real name Rice Miller?" Williamson had pulled a knife on Clapton, and his relationship with the group didn't get much better from that point on. The group were annoyed that Williamson was drunk on stage and would call out songs they hadn't rehearsed, while Williamson later summed up his view of the Yardbirds to Robbie Robertson, saying "Those English boys want to play the blues so bad -- and they play the blues *so bad*!" Shortly after this, the group cut some demos on their own, which were used to get them a deal with Columbia, a subsidiary of EMI. Their first single was a version of Billy Boy Arnold's "I Wish You Would": [Excerpt: The Yardbirds, "I Wish You Would"] This was as pure R&B as a British group would get at this point, but Clapton was unhappy with the record -- partly because hearing the group in the studio made him realise how comparatively thin they sounded as players, and partly just because he was worried that even going into a recording studio at all was selling out and not something that any of the Delta bluesmen whose records he loved would do. He was happier with the group's first album, a live recording called Five Live Yardbirds that captured the sound of the group at the Marquee Club. The repertoire on that album was precisely the same as any of the other British R&B bands of the time -- songs by Howlin' Wolf, Bo Diddley, Chuck Berry, John Lee Hooker, Slim Harpo, Sonny Boy Williamson and the Isley Brothers -- but they were often heavily extended versions, with a lot of interplay between Samwell-Smith's bass, Clapton's guitar, and Relf's harmonica, like their five-and-a-half-minute version of Howlin' Wolf's "Smokestack Lightning": [Excerpt: The Yardbirds, "Smokestack Lightning"] "I Wish You Would" made number twenty-six on the NME chart, but it didn't make the Record Retailer chart which is the basis of modern chart compilations. The group were just about to go into the studio to cut their second single, a version of "Good Morning Little Schoolgirl", when Keith Relf collapsed. Relf had severe asthma and was also a heavy smoker, and his lung collapsed and he had to be hospitalised for several weeks, and it looked for a while as if he might never be able to sing or play harmonica again. In his absence, various friends and hangers-on from the R&B scene deputised for him -- Ronnie Wood has recalled being at a gig and the audience being asked "Can anyone play harmonica?", leading to Wood getting on stage with them, and other people who played a gig or two, or sometimes just a song or two, with them include Mick Jagger, Brian Jones, and Rod Stewart. Stewart was apparently a big fan, and would keep trying to get on stage with them -- according to Keith Relf's wife, "Rod Stewart would be sitting in the backroom begging to go on—‘Oh give us a turn, give us a turn.'” Luckily, Relf's lung was successfully reinflated, and he returned to singing, harmonica playing... and smoking. In the early months back with the group, he would sometimes have to pull out his inhaler in the middle of a word to be able to continue singing, and he would start seeing stars on stage. Relf's health would never be good, but he was able to carry on performing, and the future of the group was secured. What wasn't secure was the group's relationship with their guitarist. While Relf and Dreja had for a time shared a flat with Eric Clapton, he was becoming increasingly distant from the other members. Partly this was because Relf felt somewhat jealous of the fact that the audiences seemed more impressed with the group's guitarist than with him, the lead singer; partly it was because Giorgio Gomelsky had made Paul Samwell-Smith the group's musical director, and Clapton had never got on with Samwell-Smith and distrusted his musical instincts; but mostly it was just that the rest of the group found Clapton rather petty, cold, and humourless, and never felt any real connection to him. Their records still weren't selling, but they were popular enough on the local scene that they were invited to be one of the support acts for the Beatles' run of Christmas shows at the end of 1964, and hung out with the group backstage. Paul McCartney played them a new song he was working on, which didn't have lyrics yet, but which would soon become "Yesterday", but it was another song they heard that would change the group's career. A music publisher named Ronnie Beck turned up backstage with a demo he wanted the Beatles to hear. Obviously, the Beatles weren't interested in hearing any demos -- they were writing so many hits they were giving half of them away to other artists, why would they need someone else's song? But the Yardbirds were looking for a hit, and after listening to the demo, Samwell-Smith was convinced that a hit was what this demo was. The demo was by a Manchester-based songwriter named Graham Gouldman. Gouldman had started his career in a group called the Whirlwinds, who had released one single -- a version of Buddy Holly's "Look at Me" backed with a song called "Baby Not Like You", written by Gouldman's friend Lol Creme: [Excerpt: The Whirlwinds, "Baby Not Like You"] The Whirlwinds had split up by this point, and Gouldman was in the process of forming a new band, the Mockingbirds, which included drummer Kevin Godley. The song on the demo had been intended as the Mockingbirds' first single, but their label had decided instead to go with "That's How (It's Gonna Stay)": [Excerpt: The Mockingbirds, "That's How (It's Gonna Stay)"] So the song, "For Your Love", was free, and Samwell-Smith was insistent -- this was going to be the group's first big hit. The record was a total departure from their blues sound. Gouldman's version had been backed by bongos and acoustic guitar, and Samwell-Smith decided that he would keep the bongo part, and add, not the normal rock band instruments, but harpsichord and bowed double bass: [Excerpt: The Yardbirds, "For Your Love"] The only part of the song where the group's normal electric instrumentation is used is the brief middle-eight, which feels nothing like the rest of the record: [Excerpt: The Yardbirds, "For Your Love"] But on the rest of the record, none of the Yardbirds other than Jim McCarty play -- the verses have Relf on vocals, McCarty on drums, Brian Auger on harpsichord, Ron Prentice on double bass and Denny Piercy on bongos, with Samwell-Smith in the control room producing. Clapton and Dreja only played on the middle eight. The record went to number three, and became the group's first real hit, and it led to an odd experience for Gouldman, as the Mockingbirds were by this time employed as the warm-up act on the BBC's Top of the Pops, which was recorded in Manchester, so Gouldman got to see mobs of excited fans applauding the Yardbirds for performing a song he'd written, while he was completely ignored. Most of the group were excited about their newfound success, but Clapton was not happy. He hadn't signed up to be a member of a pop group -- he wanted to be in a blues band. He made his displeasure about playing on material like "For Your Love"  very clear, and right after the recording session he resigned from the group. He was convinced that they would be nothing without him -- after all, wasn't he the undisputed star of the group? -- and he immediately found work with a group that was more suited to his talents, John Mayall's Bluesbreakers. The Bluesbreakers at this point consisted of Mayall on keyboards and vocals, Clapton on guitar, John McVie on bass, and Hughie Flint on drums. For their first single with this lineup, they signed a one-record deal with Immediate Records, a new independent label started by the Rolling Stones' manager Andrew Oldham. That single was produced by Immediate's young staff producer, the session guitarist Jimmy Page: [Excerpt: John Mayall and the Bluesbreakers, "I'm Your Witch Doctor"] The Bluesbreakers had something of a fluid lineup -- shortly after that recording, Clapton left the group to join another group, and was replaced by a guitarist named Peter Green. Then Clapton came back, for the recording of what became known as the "Beano album", because Clapton was in a mood when they took the cover photo, and so read the children's comic the Beano rather than looking at the camera: [Excerpt: John Mayall's Bluesbreakers, "Bernard Jenkins"] Shortly after that, Mayall fired John McVie, who was replaced by Jack Bruce, formerly of the Graham Bond Organisation, but then Bruce left to join Manfred Mann and McVie was rehired. While Clapton was in the Bluesbreakers, he gained a reputation for being the best guitarist in London -- a popular graffito at the time was "Clapton is God" -- and he was at first convinced that without him the Yardbirds would soon collapse. But Clapton had enough self-awareness to know that even though he was very good, there were a handful of guitarists in London who were better than him. One he always acknowledged was Albert Lee, who at the time was playing in Chris Farlowe's backing band but would later become known as arguably the greatest country guitarist of his generation. But another was the man that the Yardbirds got in to replace him. The Yardbirds had originally asked Jimmy Page if he wanted to join the group, and he'd briefly been tempted, but he'd decided that his talents were better used in the studio, especially since he'd just been given the staff job at Immediate. Instead he recommended his friend Jeff Beck. The two had known each other since their teens, and had grown up playing guitar together, and sharing influences as they delved deeper into music. While both men admired the same blues musicians that Clapton did, people like Hubert Sumlin and Buddy Guy, they both had much more eclectic tastes than Clapton -- both loved rockabilly, and admired Scotty Moore and James Burton, and Beck was a huge devotee of Cliff Gallup, the original guitarist from Gene Vincent's Blue Caps. Beck also loved Les Paul and the jazz guitarist Barney Kessel, while Page was trying to incorporate some of the musical ideas of the sitar player Ravi Shankar into his playing. While Page was primarily a session player, Beck was a gigging musician, playing with a group called the Tridents, but as Page rapidly became one of the two first-call session guitarists along with Big Jim Sullivan, he would often recommend his friend for sessions he couldn't make, leading to Beck playing on records like "Dracula's Daughter", which Joe Meek produced for Screaming Lord Sutch and the Savages: [Excerpt: Screaming Lord Sutch and the Savages, "Dracula's Daughter"] While Clapton had a very straightforward tone, Beck was already experimenting with the few effects that were available at the time, like echoes and fuzztone. While there would always be arguments about who was the first to use feedback as a controlled musical sound, Beck is one of those who often gets the credit, and Keith Relf would describe Beck's guitar playing as being almost musique concrete. You can hear the difference on the group's next single. "Heart Full of Soul" was again written by Gouldman, and was originally recorded with a sitar, which would have made it one of the first pop singles to use the instrument. However, they decided to replace the sitar part with Beck playing the same Indian-sounding riff on a heavily-distorted guitar: [Excerpt: The Yardbirds, "Heart Full of Soul"] That made number two in the UK and the top ten in the US, and suddenly the world had a new guitar god, one who was doing things on records that nobody else had been doing. The group's next single was a double A-side, a third song written by Gouldman, "Evil Hearted You", coupled with an original by the group, "Still I'm Sad". Neither track was quite up to the standard of their previous couple of singles, but it still went to number three on the charts. From this point on, the group stopped using Gouldman's songs as singles, preferring to write their own material, but Gouldman had already started providing hits for other groups like the Hollies, for whom he wrote songs like “Bus Stop”: [Excerpt: The Hollies, “Bus Stop”] His group The Mockingbirds had also signed to Immediate Records, who put out their classic pop-psych single “You Stole My Love”: [Excerpt: The Mockingbirds, “You Stole My Love”] We will hear more of Gouldman later. In the Yardbirds, meanwhile, the pressure was starting to tell on Keith. He was a deeply introverted person who didn't have the temperament for stardom, and he was uncomfortable with being recognised on the street. It also didn't help that his dad was also the band's driver and tour manager, which meant he always ended up feeling somewhat inhibited, and he started drinking heavily to try to lose some of those inhibitions. Shortly after the recording of "Evil Hearted You", the group went on their first American tour, though on some dates they were unable to play as Gomelsky had messed up their work permits -- one of several things about Gomelsky's management of the group that irritated them. But they were surprised to find that they were much bigger in the US than in the UK. While the group had only released singles, EPs, and the one live album in the UK, and would only ever put out one UK studio album, they'd recorded enough that they'd already had an album out in the US, a compilation of singles, B-sides, and even a couple of demos, and that had been picked up on by almost every garage band in the country. On one of the US gigs, their opening act, a teenage group called the Spiders, were in trouble. They'd learned every song on that Yardbirds album, and their entire set was made up of covers of that material. They'd gone down well supporting every other major band that came to town, but they had a problem when it came to the Yardbirds. Their singer described what happened next: "We thought about it and we said, 'Look, we're paying tribute to them—let's just do our set.' And so, we opened for the Yardbirds and did all of their songs. We could see them in the back and they were smiling and giving us the thumbs up. And then they got up and just blew us off the stage—because they were the Yardbirds! And we just stood there going, 'Oh…. That's how it's done.' The Yardbirds were one of the best live bands I ever heard and we learned a lot that night." That band, and later that lead singer, both later changed their name to Alice Cooper. The trip to the US also saw a couple of recording sessions. Gomelsky had been annoyed at the bad drum sound the group had got in UK studios, and had loved Sam Phillips' drum sound on the old Sun records, so had decided to get in touch with Phillips and ask him to produce the group. He hadn't had a reply, but the group turned up at Phillips' new studio anyway, knowing that he lived in a flat above the studio. Phillips wasn't in, but eventually turned up at midnight, after a fishing trip, drunk. He wasn't interested in producing some group of British kids, but Gomelsky waved six hundred dollars at him, and he agreed. He produced two tracks for the group. One of those, "Mr. You're a Better Man Than I", was written by Mike Hugg of Manfred Mann and his brother: [Excerpt: The Yardbirds, "Mister, You're a Better Man Than I"] The backing track there was produced by Phillips, but the lead vocal was redone in New York, as Relf was also drunk and wasn't singing well -- something Phillips pointed out, and which devastated Relf, who had grown up on records Phillips produced. Phillips' dismissal of Relf also grated on Beck -- even though Beck wasn't close to Relf, as the two competed for prominence on stage while the rest of the band kept to the backline, Beck had enormous respect for Relf's talents as a frontman, and thought Phillips horribly unprofessional for his dismissive attitude, though the other Yardbirds had happier memories of the session, not least because Phillips caught their live sound better than anyone had. You can hear Relf's drunken incompetence on the other track they recorded at the session, their version of "Train Kept A-Rollin'", the song we covered way back in episode forty-four. Rearranged by Samwell-Smith and Beck, the Yardbirds' version built on the Johnny Burnette recording and turned it into one of the hardest rock tracks ever recorded to that point -- but Relf's drunk, sloppy, vocal was caught on the backing track. He later recut the vocal more competently, with Roy Halee engineering in New York, but the combination of the two vocals gives the track an unusual feel which inspired many future garage bands: [Excerpt: The Yardbirds, "Train Kept A-Rollin'"] On that first US tour, they also recorded a version of Bo Diddley's "I'm a Man" at Chess Studios, where Diddley had recorded his original. Only a few weeks after the end of that tour they were back for a second tour, in support of their second US album, and they returned to Chess to record what many consider their finest original. "Shapes of Things" had been inspired by the bass part on Dave Brubeck's "Pick Up Sticks": [Excerpt: Dave Brubeck Quartet, "Pick Up Sticks"] Samwell-Smith and McCarty had written the music for the song, Relf and Samwell-Smith added lyrics, and Beck experimented with feedback, leading to one of the first psychedelic records to become a big hit, making number three in the UK and number eleven in the US: [Excerpt: The Yardbirds, "Shapes of Things"] That would be the group's last record with Giorgio Gomelsky as credited producer -- although Samwell-Smith had been doing all the actual production work -- as the group were becoming increasingly annoyed at Gomelsky's ideas for promoting them, which included things like making them record songs in Italian so they could take part in an Italian song contest. Gomelsky was also working them so hard that Beck ended up being hospitalised with what has been variously described as meningitis and exhaustion. By the time he was out of the hospital, Gomelsky was fired. His replacement as manager and co-producer was Simon Napier-Bell, a young dilettante and scenester who was best known for co-writing the English language lyrics for Dusty Springfield's "You Don't Have to Say You Love Me": [Excerpt: Dusty Springfield, "You Don't Have to Say You Love Me"] The way Napier-Bell tells the story -- and Napier-Bell is an amusing raconteur, and his volumes of autobiography are enjoyable reads, but one gets the feeling that he will not tell the truth if a lie seems more entertaining -- is that the group chose him because of his promotion of a record he'd produced for a duo called Diane Ferraz and Nicky Scott: [Excerpt: Diane Ferraz and Nicky Scott, "Me and You"] According to Napier-Bell, both Ferraz and Scott were lovers of his, who were causing him problems, and he decided to get rid of the problem by making them both pop stars. As Ferraz was Black and Scott white, Napier-Bell sent photos of them to every DJ and producer in the country, and then when they weren't booked on TV shows or playlisted on the radio, he would accuse the DJs and producers of racism and threaten to go to the newspapers about it. As a result, they ended up on almost every TV show and getting regular radio exposure, though it wasn't enough to make the record a hit. The Yardbirds had been impressed by how much publicity Ferraz and Scott had got, and asked Napier-Bell to manage them. He immediately set about renegotiating their record contract and getting them a twenty-thousand-pound advance -- a fortune in the sixties. He also moved forward with a plan Gomelsky had had of the group putting out solo records, though only Relf ended up doing so. Relf's first solo single was a baroque pop song, "Mr. Zero", written by Bob Lind, who had been a one-hit wonder with "Elusive Butterfly", and produced by Samwell-Smith: [Excerpt: Keith Relf, "Mr. Zero"] Beck, meanwhile, recorded a solo instrumental, intended for his first solo single but not released until nearly a year later.  "Beck's Bolero" has Jimmy Page as its credited writer, though Beck claims to be a co-writer, and features Beck and Page on guitars, session pianist Nicky Hopkins, and Keith Moon of the Who on drums. John Entwistle of the Who was meant to play bass, but when he didn't show to the session, Page's friend, session bass player John Paul Jones, was called up: [Excerpt: Jeff Beck, "Beck's Bolero"] The five players were so happy with that recording that they briefly discussed forming a group together, with Moon saying of the idea "That will go down like a lead zeppelin". They all agreed that it wouldn't work and carried on with their respective careers. The group's next single was their first to come from a studio album -- their only UK studio album, variously known as Yardbirds or Roger the Engineer. "Over Under Sideways Down" was largely written in the studio and is credited to all five group members, though Napier-Bell has suggested he came up with the chorus lyrics: [Excerpt: The Yardbirds, "Over Under Sideways Down"] That became the group's fifth top ten single in a row, but it would be their last, because they were about to lose the man who, more than anyone else, had been responsible for their musical direction. The group had been booked to play an upper-class black-tie event, and Relf had turned up drunk. They played three sets, and for the first, Relf started to get freaked out by the fact that the audience were just standing there, not dancing, and started blowing raspberries at them. He got more drunk in the interval, and in the second set he spent an entire song just screaming at the audience that they could copulate with themselves, using a word I'm not allowed to use without this podcast losing its clean rating. They got him offstage and played the rest of the set just doing instrumentals. For the third set, Relf was even more drunk. He came onstage and immediately fell backwards into the drum kit. Only one person in the audience was at all impressed -- Beck's friend Jimmy Page had come along to see the show, and had thought it great anarchic fun. He went backstage to tell them so, and found Samwell-Smith in the middle of quitting the group, having finally had enough. Page, who had turned down the offer to join the group two years earlier, was getting bored of just being a session player and decided that being a pop star seemed more fun. He immediately volunteered himself as the group's new bass player, and we'll see how that played out in a future episode...

传奇萨克斯手 Archie Shepp 和爵士钢琴家、历史研究者 Jason Moran, 最初相识于2015年比利时的一个爵士音乐节后台。带着对彼此的敬意，他们很快在音乐上也开始了合作。2021年他们联名发表的专辑 "Let My People Go" 里面的曲目，便来自二人在2017-18年联合演出中的实况录音；而这张专辑肃穆的主题，也反映了两位美国黑人艺术家共同的正义感与思考：关于新冠疫情，总统选举，BLM 与2020年所受到的所有的歧视与偏见。 本期节目的开篇曲 "Sometimes I Feel Like a Motherless Child", 正是美国奴隶制时期便开始流传的一首黑人灵歌。它的影响力甚至超越了时代和肤色，从 Depeche Mode 的 Martin Gore, 电子音乐人 Moby 到流行歌手 John Legend, 都曾做出过出色的演绎。 相比之下，以爆裂舞台表现著名的英国乐队 Wolf Alice, 复出单曲则一反常态地温柔；诗人 Simon Armitage 领衔的 LYR 请来 Prefab Sprout 的 Wendy Smith 助阵，这首 "Winter Solstice" 的歌词灵感，也和 Prefab Sprout 1986年的一首歌有关；台湾音乐制作人许志远化名 DJ Point Hsu, 以一张实验性的小专辑 remix 天南海北的各种音乐，从黄立行，萨顶顶到地方戏曲；而在本期节目的最后，还有一组清爽的作品：在中国人气颇高的 Men I Trust, 来自昆明的涂闻打印店，以及电子音乐人 Nicolas Jaar 很多年前的组合 Darkside 突然复活带来的作品。 曲目单： Archie Shepp & Jason Moran - Sometimes I Feel Like a Motherless Child (00:30) Wolf Alice - The Last Man on Earth (10:00) LYR - Winter Solstice (14:15) Pino Palladino & Blake Mills - Soundwalk (19:16) CARM feat. Mouse On Mars - Scarcely Out (22:52) Jacob Gurevitsch - Spanish Inquisition (29:48) DJ Point Hsu 许志远 - 万物生 Alive (Mashup Remix) (36:48) Men I Trust - Tides (43:11) 涂闻打印店 - A-OK (46:04) Darkside - The Limit (49:41) *选曲/录音/剪辑/包装：方舟 *题图版式：六花 *私信/合作联络： 微博/网易云/小宇宙/汽水儿 @线性方舟 *《周末变奏》WX听友群敲门群主：aharddaysnight

We recently sat down with one of Atlanta's most influential and under appreciated rappers, Key! for an exclusive “Off The Porch” interview! We talked about everything from the early days with Sonny Digital all the way up to J. Cole walking right past him during the "Revenge Of The Dreamers" sessions. During our sit down he spoke on the following topics: 0:16​ Talks about going on his first Asia tour 0:55​ Talks about his new EP “So Emotional” & the track “Motherless Child” 4:22​ Talks about his “777” EP w/ Kenny Beats 6:20​ Reveals his next project “Unemotionaly Available” 7:11​ Answers if he thinks he is underrated 8:36​ Talks about forming Two-9 & meeting Mike WiLL Made It 10:39​ Speaks on his friendship with Sonny Digital 12:18​ Talks about working w/ OG Maco on “You Guessed It” & “Give Em Hell” tape 13:55​ Talks about Manman Savage 14:40​ Talks about Atlanta 15:45​ Speaks on friendship with Playboy Carti before Carti was rapping 16:45​ Talks about relationship with 21 Savage 18:31​ Talks about meeting Post Malone & helping him release “White Iverson” 19:25​ Talks about working with Makonnen & Father on “Wrist” 21:37​ Talks wanting to produce an entire project for Lil Yachty 22:47​ Talks unreleased projects & “Before I Scream” 25:13​ Speaks on some rappers he think are next up 26:12​ Talks about A$AP Rocky 27:50​ Speaks on recording with Dreamville for the compilation & says J.Cole walked right past him 28:51​ Talks about what else he has coming up --- Support this podcast: https://anchor.fm/dirtyglovebastard/support

In this episode Barbara discusses her background and dives into 2 of the 3 most impactful moments surrounding the death of her Mother.

In this episode Barbara discusses her background and dives into 1 of the 3 most impactful moments surrounding the death of her Mother.

Happy New Year! Today on the show our host Tanisha Davis along with Carmen Roxanna had a deep discussion on how they both had been coping behind the loss of their mothers in 2020. Other women joined in on the discussion as well. Be sure to follow them both on Clubhouse and be sure to follow @Starrdom100Radio on all digital streaming platforms.

On This Session We Have Larry's Cousin Toni Whom He Grew Up With. Toni Lost Her Mom In 2011 And Larry Lost His In 2013. They Just Speak On How They Have Gotten Through Life Without Their Mothers, The Role They Played And Still Play. Amongst So Many Other Stories, Topics, Feelings And Questions They Even Speak On How Losing Their Mothers Affects There Relationships Today. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/larry-hilton/support

Younger generations are not afraid to speak on the mommy issues some of us have... a conversation older generations are hesitant to discuss. Imani and Kourtney discuss their relationships with their mothers which includes the good, the bad, and everything in between. Article Reference: The Strained Relationship Between Black Mothers and Their Daughters https://madamenoire.com/1026019/the-strained-relationship-between-black-mothers-and-their-daughters/

Today we're with award-winning journalist Bobbi Booker. She talks about having been raised as a motherless child.  Although her father taught her never to disrespect her mother, Bobbi struggled with learning how not to be angry with her.  Turns out, it was writing that helped her cope.  As an adult, Bobbi finally began to heal and shares what realizations helped her with it.  Bobbi now is sharing her story with the hope to help others who may have gone through similar circumstances. Mentioned in this episode: Bobbi's Instagram Bobbi's Facebook And if you'd like to hear more inspirational stories, feel share with your friends and subscribe wherever you find your podcasts.  We appreciate your support! Like us on Facebook here! Follow us on Instagram here! Thanks for listening!

Ethan plays an assortment of African-American spirituals and some songs inspired by them. Selections include: "Joshua Fit the Battle of Jericho," "Down by the Riverside," "Sometimes I Feel Like a Motherless Child," and "Go Down Moses" (which has a fascinating history behind it). Songs inspired by spirituals include Gershwin's "Summertime" and Creamer/Layton's "Dear Old Southland." Amen! 

Joi remembers her mom, Bev.