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Police Arrests Man With Fresh Human Head In Edohttps://osazuwaakonedo.news/police-arrests-man-with-fresh-human-head-in-edo/09/03/2025/#Nigeria Police Force #edo #Evbuotubu ©March 9th, 2025 ®March 9, 2025 12:54 am Men of the Nigeria Police Force have arrested a 27 years old man, Uwadiae Airebuwa for killing and cutting off the head of a 43 years old man, Edobor Lawrence who live in the same Evbuotubu  quarters with him when the victim was returning from burial Ceremony at One O'clock midnight according to the state owned Television Station, Edo Broadcasting Service, EBS for the purpose of money ritual, which, luck ran against him when police and vigilante members on patrol intercepted him, he ran, abandoning the polythene bag containing the fresh human head and he was subsequently arrested after the security operatives gave him a chase. #OsazuwaAkonedo

Sintonía: "Just In Time" - The Oscar Peterson Trio"Mean to Me" - "Pennies From Heaven" - "One O´ Clock Jump" - "She´s Funny That Way" - "I Found A New Baby". Músicas extraídas del álbum "Pres & Sweets" (Verve 1955), del saxofonista Lester Young y el trompetista Harry Edison "You Make Me Feel So Young" - "Come Dance With Me" - "The Tender Trap" - "It Happened In Monterey" - "I Get A Kick Out Of You" - "How About You". Músicas extraídas de "A Jazz Portrait Of Frank Sinatra" (Verve 1959), del pianista Oscar PetersonEscuchar audio

Send us a textWe're back and better than ever with this first full episode of 2025!Join us as we discuss the One Of Them Days starring (Lauren) Keke Palmer and Sza! Issa Rae has graced our screens once again with a buddy comedy we can't help but eat up!

"He´s A Real Gone Guy! - "Screamin´" - "One O´Clock Jump", extraídas del álbum "Screamin´" (Prestige, 1963)"Somethin´ Slick" - "Smut" - "How High The Moon" - "It´s a Wonderful World", extraídas de "Somethin´ Slick" (Prestige, 1963)"After Hours" extraída de "Screamin´"Todas las músicas interpretadas al órgano Hammond B-3 por Brother Jack McDuffEscuchar audio

We hope that you enjoy this reading of Alison Mitchell's *The One O'Clock Miracle: A True Story about Trusting the Words of Jesus* by Jeremy Chasteen.To purchase this book for yourself, check out www.thegoodbook.com.Also, free resources to go along with this book, such as coloring and activity pages, can be found at: https://www.thegoodbook.com/free-resources?qf=tales%20that%20tell%20the%20truth*Original music by Noah Squires

We talk to Minister Roderic O'Gorman as he announces his bid for leadership of the Green Party.

Today we are discussing chapters 37-39 of Any Way The Wind Blows by Rainbow Rowell! The Patreon version of this episode contains bonus content about going to IKEA (including some tips and tricks for a successful trip!); Happy Days, The Simpsons, and Animaniacs; and the power of placebo. Find all of our shows and information about everything we do on our website, hashtagruthless.com Help keep this show on the air by joining our Patreon today! Find all the ways you can support our work here!Check out our super cute merch Follow us on Instagram for memes and updatesIntro music: Professor and the Plant by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4244-professor-and-the-plant License: http://creativecommons.org/licenses/by/4.0/

celebrating the 102nd birthday of the lord kitchener with one or two double entendre kaiso, calypso and soca from the grand master

It's time for the One O'clock call of the day. Let's scratch that and have Mason share some of his stories from back in the day. The Dodgers are looking great and Teoscar is on fire along with Mookie! Mase needs some advice on how to handle a freeway situation. The Rams are contemplating getting this guy on the draft, but Mason isn't having it. Beto and Greg share their opinions on who the Rams need to get. Wassup Foo! Ireland joins the show live from Toronto! Morales tries to explain to Ireland why he's getting random tweets about the show. Morales loves to stir the pot, who should be the A? Game of Games!  Learn more about your ad choices. Visit megaphone.fm/adchoices

In today's Daily Mock at One O'clock move up from No. 22 in the first-round to take a cornerback. 

Dubbed the "first lady of radio," Mary Margaret McBride was a welcome voice in millions of homes in the 1930s, '40s, and '50s, pulling in 6 to 8 million listeners daily! Mary Margaret interviewed 30,000 guests, from Eleanor Roosevelt to the neighborhood plumber, and produced 15,000 shows –– no repeats! Oh, and she was a radio pioneer, broadcasting some of those shows from her converted Catskills barn. When I learned about Mary Margaret, I picked up a copy of Susan Ware's biography, "It's One O'Clock and Here Is Mary Margaret McBride," and reading about her life in journalism, her passion for audio storytelling, and the heartfelt connection she made with her audience, I was awestruck. Join Susan Ware and I for a fascinating conversation about this Catskills broadcast legend. --- Thanks to our sponsors: Ulster Savings Bank, Briars & Brambles Books, and the Mountain Eagle. Kaatscast is made possible through a grant from the Nicholas J. Juried Family Foundation, and the support of listeners like you! --- Thanks to Ray Faiola at Chelsea Rialto Studios for bringing McBride's TV pilot to light. See Mary Margaret in her West Shokan home, interviewing actor Eddie Dowling.

Nesse episódio o Henshin Rio retorna de seu hiato e nada mais justo do que celebrar e comentar sobre Godzilla Minus One, após ter vencido com o Oscar de Melhores Efeitos Especiais!

Rada ds. Klimatu zidentyfikowała pięć światowych firm samochodowych, których pojazdy emitują w Australii alarmującą ilość substancji zanieczyszczających powietrze. Od przyszłego roku rząd Australii zdecydował się na wdrożenie nowych norm emisji spalin przez pojazdy.

Noch nie war es so einfach, direkt mit den Bürgerinnen und Bürgern deines Wahlkreises sowie potenziellen Wählerinnen und Wählern in Kontakt zu treten. Insbesondere das Instagram-Tool "Stories" bietet zahlreiche Möglichkeiten, Fragen, Wünsche und Anmerkungen direkt abzufragen, anzusprechen und zu beantworten. Instagram Stories laden dazu ein, dich unverfälscht und authentisch als Person zu präsentieren. Gerade die jungen Generationen legen großen Wert auf diese Authentizität, daher sollten PolitikerInnen Instagram Stories unbedingt nutzen. In unserem Podcast zeigen wir dir konkret, wie du Stories am besten umsetzen kannst, mit einer Schritt-für-Schritt-Anleitung. Warum du mitmachen solltest: Community aufbauen und mit aktuellen Followern interagieren Einblicke hinter die Kulissen gewähren Persönlichkeit zeigen Links: Du möchtest dir einen erfolgreichen politischen Social Media Account aufbauen? Dann hol dir jetzt unsere kostenlose PDF-Checkliste: https://politik.mecoa.de/freebie/ Melde dich jetzt für unser kostenloses Social Media Intensiv-Training für die Politik an: https://politik.mecoa.de/politik-autowebinar-01/ Bewirb dich jetzt für unser kostenloses Strategiegespräche und gemeinsam schauen wir, welche Schritte deine nächsten zum Social Media Erfolg sein könnten. Bewirb dich einfach unter diesem Link: https://politik.mecoa.de/bewerbung-strategiegespr%C3%A4ch/  Folge uns auf Instagram für Einblicke hinter die Kulissen: https://www.instagram.com/mecoa_mediencoaching/

Este Godzilla es tal como Japón lo imagino, y vuelve para aterrorizar a Tokyo y a los traumas que sus habitantes guardan. ¿Podrán derrotarlo esta vez? También comentamos las nominaciones al Oscar de este año. Menú 00:22 – Toma Tres se presenta 01:34 – Toma Tres comenta 01:01:38 – Toma Tres informa Audios Toot Toot Tutsie, de The Jazz Singer (1927): https://www.youtube.com/watch?6v=nFcFXGyyCio ; Jingle 2, de Monplaisir: https://freemusicarchive.org/music/Monplaisir/Surtout_ne_pas_se_perdre_vol2_2011-2018/Monplaisir_-_Surtout_ne_pas_se_perdre_vol2_2011-2018_-_10_Jingle_2

#bitcoin #kryptowaluty #grayscale Zapraszam na Krypto-Newsy Live, czyli wydanie na żywo wiadomości ze świata Bitcoina, kryptowalut, DeFi, NFT, Metaverse i technologii blockchain. Najlepsza na polskim YouTube, codzienna dawka najświeższych wiadomości w lekkim wydaniu. Zapraszam na odcinek: Mike Satoshi.

Sir John Tusa is a British arts administrator, author, journalist and former presenter of BBC's Newsnight. He is the co-chairman of the European Union Youth Orchestra and was formerly the managing director of the BBC World Service and the Barbican Arts Centre. Since 2014, he has been co-chairman of the European Union Youth Orchestra. Tusa received an honorary doctorate from Heriot-Watt University in 1993, and was awarded a knighthood in the Queen's birthday honours list in June 2003.Sir John Tusa biographyJohn Tusa was born in Zlín, Czechoslovakia, in March 1936. In 1939, when he was just a child, he relocated to England with his family. His father, John Tusa Sr., also known as Jan Tůša, held the position of managing director at British Bata Shoes. This company was an extension of the Czechoslovak shoe company, known for its innovative approach, which included the establishment of a pioneering work-living community around its factory located in East Tilbury, Essex.John received his early education at Gresham's School in Norfolk before furthering his studies at Trinity College, Cambridge, where he pursued a degree in history.Tusa commenced his career in broadcasting in 1960 when he joined the British Broadcasting Corporation (BBC) as a trainee.Most notably, John hosted "24 Hours," a current affairs television program that provided in-depth analysis and commentary on key events. Tusa's influential presence in media expanded even further when he became the inaugural presenter of "Newsnight" in 1979, a flagship BBC current affairs television program. John was also the newsreader on BBC's "One O'Clock News" for two years in the mid-1990s. His responsibilities as a newsreader reinforced his position as a trusted source of information for the public. His notable anchoring of the BBC's coverage of the D-Day 50th anniversary celebrations in June 1995 and the momentous Hong Kong handover on June 30, 1997, further underscored his role as a respected news presenter.Beyond his broadcast career, John ventured into arts and culture administration, further establishing his mark on the British cultural landscape. From 1995 to 2007, he served as the managing director of the Barbican Arts Centre in the City of London. John also served as the chair of the Clore Leadership Programme from January 2009 to 2014. This program played a pivotal role in nurturing future leaders in the arts and culture sector, providing training and support to individuals with the potential to shape the future of the industry.In February 2010, he took on the role of honorary chairman of theartsdesk.com, an influential online platform dedicated to arts and cultural criticism and analysis. In this capacity, Tusa continued to support and promote the arts in a digital landscape.Learn more about Sir John Tusa on https://www.openbusinesscouncil.org/wiki/john-tusaLinks & Resourceshttps://www.bloomsbury.com/uk/author/john-tusa/ https://www.stfaiths.co.uk/profile/sir-john-tusa/ https://www.npg.org.uk/collections/search/person/mp58526/sir-john-tusa https://www.amazon.com/Board-Insiders-Guide-Surviving-Boardroom/dp/1472975995https://www.advance-he.ac.uk/person/sir-john-tusahttps://www.theguardian.com/profile/johntusa https://www.imdb.com/name/nm0878204/ https://www.bbc.co.uk/programmes/p00nb1n3 About citiesabc.comhttps://www.citiesabc.com/​​​​​​​​​​​  About openbusinesscouncil.orghttps://www.openbusinesscouncil.org/  About fashionabc.orghttps://www.fashionabc.org/  About Dinis Guardahttps://www.dinisguarda.com/Support the show

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

Após um período somente com produções estadunidenses, Godzilla voltou às terras japonesas em uma produção que respeita o legado da franquia enquanto emociona e empolga os fãs. sendo muito mais que um filme de monstros gigantes, este filme consegue emocionar e trazer o legado do rei dos monstros de volta as telas do cinema Apoie o nosso Apoia-se https://apoia.se/nerdredpodcast me sigam nas outras redes sociais @nerdredpodcast e @montaldih Entre em nosso grupo do Facebook ! https://www.facebook.com/groups/865189318482113/ Roteiro, edição, produção e apresentação: Hugo Montaldi #cinema #televisão #filmes #nerd #geek #entretenimento #culturapop #monstrogigante #godzilla #japao #tokusatsu --- Send in a voice message: https://podcasters.spotify.com/pod/show/nerdred/message

Louise is a journalist, broadcaster, podcaster and writer. She presented BBC Breakfast for 20 years and before that was a news anchor on the BBC News Channel and the BBC's One O'clock News. She has also presented The One Show, Five Live Drive, Real Rescues and Missing Live and has been a contestant on I'm a Celebrity Get Me Out Of Here, Time Crashers and Celebrity MasterChef. Her first book, Dare to Tri, charted her journey from the Breakfast sofa to representing the Great Britain Triathlon team in her age-group at World and European Championships. Her second book Fearless, Adventures with Extraordinary Women was published by Bloomsbury on 25th May 2023. It reflect her passion for celebrating women's success. In each chapter Louise takes on a different challenge with a courageous woman, to get to know them and tell their incredible stories. About the book: Fearless, Adventures with Extraordinary Women JOIN LOUISE MINCHIN ON 17 EXHILARATING ADVENTURES WITH TRAILBLAZING WOMEN WHO ARE BREAKING DOWN BARRIERS, SMASHING RECORDS AND CHALLENGING STEREOTYPES.  'To get to the heart of who these women are… I decided to do it the way that I know best, by taking part, spending time right beside them to experience the things they love.' Driven to bring more attention to female stories of courage and endeavour, Louise Minchin pushes herself to the extreme and embarks on thrilling endurance adventures with trailblazing women. She freedives under the ice in the dark in Finland with Cath, the first woman to swim a mile in the Antarctic Circle; she cycles across Argentina with Mimi, one of the world's most famous female endurance runners; and she swims from Alcatraz with Anaya and Mitali, two young sisters who have braved the shark-infested waters over 70 times. With her natural empathy and sense of humour, Louise forms close bonds with 18 incredible women. She explores what drives them and how they find the resilience and determination to go on despite life's setbacks. Lizzie overcame a life-threatening illness and now paddleboards whilst cleaning up the planet with her community; Rhian set up a charity in the face of grief and fundraises through hikes; and Zee took up rugby alongside her busy nursing career and motherhood. Louise reminds us of the bravery inside us all, and how essential it is to celebrate women's achievements. Prepare to be touched and inspired by these fearless women. *** Don't miss out on the latest episodes of the Tough Girl Podcast, released every Tuesday at 7am UK time! Be sure to hit the subscribe button to stay updated on the incredible journeys and stories of strong women.  By supporting the Tough Girl Podcast on Patreon, you can make a difference in increasing the representation of female role models in the media, particularly in the world of adventure and physical challenges. Your contribution helps empower and inspire others. Visit www.patreon.com/toughgirlpodcast to be a part of this important movement. Thank you for your invaluable support! *** Show notes Who is Louise? Why you might know who Louise is (if you live in the UK) Taking up sport at 45 Calling herself an endurance athlete Her early years and passion for sports Being a water baby and why swimming was her thing Stopping swimming at 15 Doing a Christmas Challenge in the velodrome for BBC Breakfast in 2012 Having 1 hour of training before race night Buying herself a road bike with drop handle bars  All the gear…. Making mistakes on the bike Being encouraged by a friend to try a triathlon Being a goal driven person and why having a goal helps with training  Advice for taking your first step  Telling other people and feeling a sense of accountability/responsibility to achieve goals Being willing to say yes to new challenges Being pushed out of her comfort zones at work  Fears and concerns before her first triathlon  Her attitude of - lets give it a go Not worrying about negative outcomes or failure Having a life changing moment when her daughter was born  Thinking she might die and how the experience changed her Having a more positive attitude to life  Feeling so lucky to do what she does Her love for cycling and spending time on the bike (both indoors and outdoors) Becoming a Team Great Britain (GB) Triathlete   Representing her country at triathlon at the World and European Championships at Olympic distance. Feeling extra pressure when competing in the UK Training for a triathlon and fitting it around her work and job Waking up at 3.40am every day to host the breakfast show Book: Dare to Tri: My Journey from the BBC Breakfast Sofa to GB Team Triathlete Chapter 14 - Kit list - What to take and why to take it. Book: Fearless: Adventures with Extraordinary Women Loving stories about adventure Why do we never hear about women doing these adventures and challenges? Making changes at the BBC around equal pay and being allowed to say hello first Wanting to drive change, by going and doing it  Doing 17 different adventures with fearless women  Needing to amplify women's voices  Needing different heroes  Trying to get Fearless on the TV Noticing change  Do you know who Mimi Anderson is? Do you know who Cath Pendleton is? Free diving under the ice in Finland with Cath  How hard could that be? Why being fearful and having fear is a good thing Deciding to cycle across Argentina with Mimi Anderson  Feeling the fear and wanting to stop Listening to her gut Doing running with Susie Chan Being part of a wonderful sisterhood of amazing women Running the London Marathon with her daughter Fitting in training while travelling for the book tour How menopause has impacted on exercise and taking HRT How to connect with Louise on the socials Final words of advice for women who want to be fearless and embrace new adventures  Words from Belinda Kirk      Social Media Instagram: @louiseminchin  Twitter: @louiseminchin  Books:  Dare to Tri: My Journey from the BBC Breakfast Sofa to GB Team Triathlete  Fearless: Adventures with Extraordinary Women   

Stugotz is at it again with another "overpromise and underdeliver" situation. The crew takes a look at last night's Heat Culture court, Greg Cote admits he was wrong about a Messi take, and we learn more about 'After The Game on Thursdays Depending on the Schedule featuring Roy.' Then, Mike Ryan believes the Canes are title contenders in Men's Basketball, Dan is against due process, and Chris Simms bullies Billy Gil. Plus, animal expert Ron Magill joins the show to chat about the red hot Cesta Cyclones, seat turtles, owls, and Dan's mucus-filled voice. Learn more about your ad choices. Visit megaphone.fm/adchoices

How does one transform a group of individuals into a tightly-knit, harmonious team with a shared vision of empowering those with visual impairments? In this inspiring episode. we sit down with an amazing O&M Specialist, Melina Murray, to uncover the secrets behind cultivating a truly collaborative team. Join us for an insightful discussion as we uncover the strategies, challenges, and triumphs that have defined Melina's path. Unlock new horizons in the field of Orientation and Mobility – secure your spot at the upcoming O&M Symposium by registering today and join us in a journey of learning and growth! https://www.orientationandmobilitysymposium.com/ Follow us on social: ⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠LinkedIn

Doug Stone talks to jazz musicians about life, music, recent and upcoming performances, equipment and current events on this Tenor Talk Podcast recording. A different jazz musician is featured in each episode.  This episode features Pat Malinger and was recorded February 26, 2020.Pat Mallinger was born and raised in St. Paul, Minnesota and began playing the saxophone at 11 years of age. He received his Jazz Studies degree from North Texas State University on a “One O'clock Lab Band” Scholarship.He lived and performed in Los Angeles, Dallas, Boston, and Japan, before establishing Chicago as his home in 1990. He is a co-leader of Sabertooth, which has been the mainstay band at the Green Mill Lounge each Saturday night from 1992 to 2018. Pat is often heard around Chicago performing with the Bobby Lewis Quintet, Model Citizens Big Band, and his own quartet to name a few. Pat performs concerts and festivals nationally and internationally both as a bandleader and sideman. Pat has performed with Nancy Wilson, Stevie Wonder, Herbie Hancock, Cab Calloway, Thad Jones/Mel Lewis Reunion Band, Cedar Walton, Marcus Roberts, Joey DeFrancesco, Joe Lovano, Frank Foster, Branford Marsalis, Joshua Redman, Billy Harper, Jimmy Heath, Johnny Griffin, James Moody, Lee Konitz, Phil Woods, Paquito D'Rivera, Donald Harrison, Alvin Batiste, Slide Hampton, Curtis Fuller, Steve Turre, Wycliffe Gordon, Bill Watrous, Clark Terry, Randy Brecker, Tom Harrell, Doc Severinsen, Roy Hargrove, and Nicholas Payton.Learn more about Pat here: https://patmallinger.com/ https://youtube.com/playlist?list=PL7kMuikSH6hb4DCdI4KDTasHJftaAPcrU Let's connect: Website: https://www.dougstonejazz.com/ Instagram: https://www.instagram.com/dougstonejazzsaxophone/ Facebook: https://www.facebook.com/profile.php?id=100089874145057 If you want to learn more about jazz improvisation and be part of the Doug Stone Jazz community get on our email list! https://www.dougstonejazz.com/about Head over to the Doug Stone Jazz Shop for some fun jazz merch: https://www.dougstonejazz.com/product-page/just-play-the-changes-long-sleeved-shirt #dougstonejazz #jazz #podcast #musicianlife #musicians #tenorsaxophone #jazzmusicians #jazzinterview #musicianlife

On Episode 163 of the Rami Lavi podcast; Rami opened by trying to understand how Sunday Night Football went so terribly wrong for the New York Giants in their 40-0 blowout loss to the Dallas Cowboys. Were we wrong about this Giants team, did they get more hype than they deserve? (2:10) Next, Rami overreacted to all the biggest storylines form the early games on Sunday. From Brock Purdy's statement win over the Steelers, to JK Dobbins unfortunate injury, Joe Burrow's disappearing act, "One O'Clock Kirk Cousins" not living up to his name and more. (17:55) Last, Rami shared his biggest take aways from the late games which included a Tom Brady celebration in Foxborough, an incredible shootout between daft class mate Justin Herbert and Tua Tagovailoa in LA, and Jordan Love proving that no matter the quarterback, the Green Bay Packers will always own the Chicago Bears. Is this the start of another 20 year dynasty? (39:00) Follow Rami online @rami.lavi on Instagram and @rami_lavi on Twitter (X) -- Go to http://betterhelp.com/rami for 10% off your first month of therapy with BetterHelp and get matched with a therapist who will listen and help #sponsored --- Send in a voice message: https://podcasters.spotify.com/pod/show/cheframi/message

C'est parti pour la saison 3! Petit retour en arrière, l'après doo wop va vers le rock'n'roll côté blanc et vers la soul côté noir. C'est côté soul que nous allons.Un début chronologique et nécessaire avec Jaaaaaaaaaames Brown!Comme pour Sam Cooke la deuxième partie sera dans 14 épisodes. va falloir être patient. The Charioteers, "So Long" Count Basie, "One O'Clock Jump" James Brown, "Caldonia" James Brown, "So Long" Little Richard, "Directly From My Heart to You" Faye Adams, "Shake a Hand" The Orioles, "Baby Please Don't Go" James Brown et les Famous Flames, "Please Please Please" James Brown, "Chonnie On Chon" Jerry Butler, "For Your Precious Love" James Brown et les Famous Flames, "Try Me"

A 51-year-old man from Queensland, Australia was pulled over at 1:00 a.m. while behind the wheel of a riding lawnmower. He told the officer, quote, "I just thought I'd drive this old girl over to mow my daughter's lawn." Again, it was one in the morning. He blew quite a bit over the legal limit.See omnystudio.com/listener for privacy information.

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

STANDARS SEMANAL.-One O'Clock Jump.-JAZZANIVERSARIO.-Lee Morgan.-Introducing Lee Morgan.-JAZZACTUALIDAD.-IOSU IZAGUIRRE SEXTET-MINGUS MOODS

Entrevista al economista español José Carlos Diez para dialogar sobre la situación en España, la Unión Europea y la posibilidad de avanzar en el acuerdo comercial con el Mercosur. Manuel Fraga analiza One O'clock Jump, el clásico de la orquesta de Count Basie. Rosario Fraga trae todo lo que dejó el 76º Festival de Cine de Cannes. Y Miguel Roig indaga, junto a Federico Poli, en los resultados de las elecciones legislativas de España.

Kaja Kraska może nie odnalazłaby się jako bohaterka programu “Życie na pustkowiu”, ale jako prowadzącą - jak najbardziej. I to właśnie dlatego o kultowej produkcji BBC Earth rozmawiamy z twórczynią podróżniczego kanału Globstory. Jeśli do tej pory nie mieliście okazji obejrzeć ani jednego odcinka programu, w którym podróżnik i odkrywca Ben Fogle przemierza najdalsze zakątki świata, aby odnaleźć, poznać i, co najważniejsze, zrozumieć ludzi, którzy zdecydowali się na drastyczną zmianę stylu życia, musicie koniecznie nadrobić zaległości. Obejrzyjcie naszą rozmowę i nie zapomnijcie włączyć BBC Earth 8 marca. Maraton "Życia na pustkowiu" startuje już o godzinie 17:50.

Inside MusiCast rings in the new year with our first guest for 2023, guitarist Dean Parks! Dean is no stranger to liner notes geeks around the world and was home grown in the state of Texas. In fact, he was a member of the “One O'clock Lab Band'' at North Texas State while in college. Whatever it is that's in the water at North Texas, he drank it – along with other top musicians who have come out of that amazing music program - like David Hungate, several Snarky Puppy band members, Norah Jones, Jeff Coffin, Don Henley, Lyle Mays, and others. Fast forward to today and we find Dean still engaged with contributing his talents to new projects from Lyle Lovett, LeAnn Rimes, Herbie Hancock, Diane Warren, and so many others. This only confirms that after decades of playing LA sessions, Parks still remains an A-list guitarist. His iconic work for Steely Dan, Al Jarreau, America, Streisand and so many other great projects speaks for itself. Today we'll help fill in some of the gaps of his amazing career. Inside MusiCast is glad to welcome Dean Parks.

I'd love to hear from you on this subject of wallowing. What's it means to you, and do you remember a time in your life where you were wallowing in your circumstances? Was it to the detriment of something you had in front of you or was it propelling you there? Shoot me an email at bee@embldnlabel.com Cheering for you!

Listen every Tuesday from 21 till 22 (Moscow time) Jazz FM (radiojazzfm.ru) Subscribe in iTunes: https://podcasts.apple.com/ru/podcast/beyond-funk-radio-shows/id1063844118 For more info please visit beyondfunk.ru Tracklist: 1. The One “O" Ones - Radio Cosmo 101 2. Johnson Jumping - Johnson Products 3. Solange - Quero Um Baby Seu 4. Cecil Lyde - Money's Funny 5. Intrigue - I Like It 6. Mcfadden and Whitehead - Ain't No Stoppin' Us Now 7. Garland Green - Always 8. Candi Staton - When You Wake Up Tomorrow 9. Norman Connors - Once I've Been There 10. Banzai - Runaway 11. Masahiko Sato, Jiro Inagaki & Big Soul Media - Sniper's Snooze 12. Ray White Revival - Superstition 13. Rare Moods - Closer To Your Love 14. Oliver Sain - Bus Stop 15. Sundance - Buster 16. Marcus Miller - Girls and Boys 17. Larry Willis - Out On The Coast

The guys discuss Mac's desire to mock a crying man from a second story window until his mom shows up, how a glass of tap water can give you the strength (amongst other things) of ten men, and what is the number one item Damon will never assemble without directions.thatchecksout.nettwitter.com/OutWdtinstagram.com/thatchecksoutwdtfacebook.com/thatchecksoutwithdamonandtedRecorded at Audiohive PodcastingHosted on Transistor.fm

Kim and Ken have been married for just over thirteen months, but they are not your typical newlyweds. Before meeting each other, they both suffered some pretty devastating losses which could have soured them to the idea of finding love again. But, with a lot of courage, faith and hope they let the Lord lead them into each other's lives. As you listen to their story you are going to hear the love they have for each other and the absolute joy they have found in being together. I promise that this episode will lift your heart and renew your faith in the fact that love, joy, and happiness can be found after heartache! Enjoy! --- Send in a voice message: https://anchor.fm/braden-kerr4/message

This week the girls return with a long list of celeb topics and stories, they are also counting down the days until Bravocon! Adam Levine Drama, Big Brother Finale, Kardashian premiere so many things to discuss. So grab a glass and enjoy!

October 2, 2022 Preparation for Worship Time for Gathering Opening Hymn “All Creatures of Our God and King” All creatures of our God and King Lift up your voice and with us sing O praise Him alleluia Thou burning sun with golden beam Thou silver moon with softer gleam O praise Him O praise Him Alleluia alleluia alleluia Thou rushing wind that art so strong Ye clouds that sail in Heav'n along O praise Him alleluia Thou rising moon in praise rejoice Ye lights of evening find a voice O praise Him O praise Him Alleluia alleluia alleluia Let all things their Creator bless And worship Him in humbleness O praise Him alleluia Praise praise the Father praise the Son And praise the Spirit three in One O praise Him O praise Him Alleluia alleluia alleluia Prayer of Praise Song of Worship Prayers of the Church and Prayer of our Lord Offering and Doxology Scripture Lesson Mark 4:35-41 Sermon Rushing Wind The Prayer of Thanksgiving and the Prayer of Our Lord Closing Hymn “Here I Am Lord” I, the Lord of sea and sky I have heard my people cry All who dwell in dark and sin My hand will save Here I am, Lord. Is it I, Lord? I have heard you calling in the night I will go, Lord, if you lead me I will hold your people in my heart I, who made the stars of night I will make their darkness bright Who will bear my light to them? Whom shall I send? Here I am, Lord. Is it I, Lord? I have heard you calling in the night I will go, Lord, if you lead me I will hold your people in my heart I, the Lord of snow and rain I have borne my people's pain I have wept for love of them They turn away Here I am, Lord. Is it I, Lord? I have heard you calling in the night I will go, Lord, if you lead me I will hold your people in my heart I will break their hearts of stone Give them hearts for love alone I will speak my words to them Whom shall I send? Here I am, Lord. Is it I, Lord? I have heard you calling in the night I will go, Lord, if you lead me I will hold your people in my heart Benediction: · Sunday Prayer: Sundays @ 9:30 AM in the Sunshine Room and via Zoom Mtg. ID: 937-7770-4424 Passcode: 962669 Bible Study: Mondays @ 12:00 & 6:00 PM in the Sunshine Room and via Zoom Issues Hour: Wednesday, September 28th @ 11:00 AM in the Sunshine Room and via Zoom Bible Study: Suspended until the fall Community Prayer: Fridays @ 12:00 PM in the Sanctuary Movie Night: Wednesday October 12th 7pm – Paragon Theater - “Thirteen Lives” $10 per person to Mary Rush Ladies F3 Luncheon: Tuesday, October 18th 12pm at Two Fillets --- Send in a voice message: https://anchor.fm/naplescommunitychurch/message

Today is day 264 of the year 2022. You've woken up to 264 days of this year of life so far. How fast has this gone by? How much living do you have to show for these days you have been given? Are you where you thought you would be? We're coming into a new […]

Today we talk about The Galaxy Railways and Otaku_Railfan's rendition of Big One. The main train from that show.

# count basie and orchestra one o clock jump # one of the greatest Jazz artists ever# composer and bandleader # one of the most swinging bands ever# respect and Rip --- Support this podcast: https://anchor.fm/mr-maxxx/support

The Greek- Australian actor Chris Asimos participates from today, May 19 to Saturday, May 21 at 8 pm, in the play with the tittle  "Become the one" at the Riverside Theater in Paramatta. It is an award-winning romantic comedy. - Ο ομογενής ηθοποιός, Chris Asimos συμμετέχει από σήμερα 19 Μαΐου έως το Σάββατο 21 Μαΐου στις  8 το βράδυ, στην θεατρική παράσταση με τίτλο “Become the one”. Ανεβαίνει στο θέατρο Riverside Theater στην Paramatta και πρόκειται για μία βραβευμένη ρομαντική κωμωδία. 

More great books at LoyalBooks.com

DJ Hustle Interviews With Riko of Three One O Productions

Get yourself an analogue watch or draw a similar display on a piece of paper a get ready for a pretty awesome experience. Special thanks to Jim Steinmeyer for his generosity and endorsement. Credits: STEINMEYER, Jim, “The One O'clock Mystery”, IMPUZZIBILITIES - Strangely Self-Working Conjuring, Hahne, 2002, pp. 12-13.

Standing out in the crowded L. A graffiti scene is no easy feat, but it is something today's guest, Vyal One, has managed to do. He is a muralist from East L.A with over 25 years of experience creating aerosol murals and is one of the graffiti movement's most skilled aerosol painters. His work has taken him across the globe, and his portfolio includes a range of corporate commissions. In this episode, we hear about Vyal's creative journey and how he became a muralist. He pays respect to his early influences and shares when he was introduced to graffiti as an art form. Not interested in mainstream art, he finally saw a place for himself, where he could be who he wanted creatively. We also hear about some of his favorite memories from being abroad, including his time in Barcelona and Berlin. Our conversation also touches on where Vyal gets his inspiration from, the importance of staying connected to the youth as an experienced muralist, and the many unspoken rules and conventions in the world of graffiti. Tune in to hear it all from one of L.A's finest.   Key Points From This Episode:c Hear about Vyal's earliest art-making memories and the influence his brother had on him.  How Vyal made the decision to pursue art as a career and become a muralist.  What Vyal means when he says that graffiti saved his life.  The story of how Vyal and Man One first met and the subsequent friendship that followed.  What Vyal learned from Man One about the business of being an artist.  How Erin and Vyal became friends, despite him thinking people in the Bay Area didn't like him.  Some of Vyal's favorite memories from getting to travel all around the world.  Reflecting on the incredible Sunday gatherings in Barcelona.  Where Vyal draws inspiration for his different characters from.  Vyal's approach to teaching and the freedom he believes in giving his students to explore.  The story behind the eyes that Vyal has always had in his work.  Why it is so important for Vyal to stay connected to young people and teach them about graffiti.  There are so many incidents of artist's murals getting hit in L.A.  Graffiti has so many unspoken rules that have to be passed on by more experienced artists.  Where Vyal sees his practice going as time goes on. For more information and photos, visit here: https://notrealart.com/vyal-one

aka the biggest cringe-fest or whatever out there

Just because you are only one person, doesn't mean you don't have what it takes to make a HUGE impact. Ever wondered how Kassy Maloney came to running the International O&M Online Symposium when she was just an O&M Specialist? Then this episode is for you! In Episode 2, we are going to take you on the journey of: How Allied Independence came to came to be. Answer your burning questions like “Who IS this girl?”, how can an O&M Specialist create an entire purpose-driven company? How we are working to get more people with visual impairments in the workforce and improve the lives of O&M Specialists- at the same time y'all! Links discussed in this episode: International O&M Online Symposium Come hang out with me on Instagram. And be sure to leave a review on your podcast platform so others can find us!

Aaron and Drew sit down with legendary arranger Alan Baylock, who served for 25 years as the staff arranger for the Airmen of Note, collaborating with countless guest artists on arrangements and writing a vast library of scores for various types of ensembles and styles. Alan has also recorded multiple CDs with his own jazz ensemble, the Alan Baylock Jazz Orchestra, and now directs the prestigious One O'Clock Lab Band at the University of North Texas. http://jazz.unt.edu/baylock

Aaron and Drew sit down with legendary arranger Alan Baylock, who served for 25 years as the staff arranger for the Airmen of Note, collaborating with countless guest artists on arrangements and writing a vast library of scores for various types of ensembles and styles. Alan has also recorded multiple CDs with his own jazz ensemble, the Alan Baylock Jazz Orchestra, and now directs the prestigious One O'Clock Lab Band at the University of North Texas. http://jazz.unt.edu/baylock