Podcast appearances and mentions of Ozzy Osbourne

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! La historia de Black Sabbath es una de las más influyentes en la música rock y metal, y se caracteriza por su sonido oscuro y pesado. Aquí tienes una descripción paso a paso de la historia de la banda: Formación (1968-1969): La banda se formó en Birmingham, Inglaterra, a finales de la década de 1960. Los miembros fundadores fueron Tony Iommi (guitarra), Geezer Butler (bajo), Bill Ward (batería) y Ozzy Osbourne (voz). Originalmente se llamaban "Earth" antes de cambiar su nombre a Black Sabbath, inspirados por una película de terror italiana del mismo nombre. Álbum debut (1970): En 1970, lanzaron su álbum debut homónimo, "Black Sabbath". El álbum fue un éxito sorprendente y es considerado uno de los primeros discos de heavy metal de la historia. Temas como "Black Sabbath" y "The Wizard" establecieron el sonido característico de la banda: riffs pesados y letras oscuras. Éxito comercial y álbumes icónicos (1970-1978): La banda siguió lanzando una serie de álbumes icónicos, incluyendo "Paranoid" (1970), "Master of Reality" (1971), "Sabbath Bloody Sabbath" (1973) y "Sabotage" (1975). Estos discos consolidaron su estatus como pioneros del heavy metal y les otorgaron éxito comercial. Cambios de alineación (1978-1980): A lo largo de los años 70, la banda enfrentó problemas de adicción y tensiones internas. Ozzy Osbourne fue despedido en 1979 debido a su comportamiento errático y reemplazado por Ronnie James Dio. Dio grabó dos álbumes con la banda, "Heaven and Hell" (1980) y "Mob Rules" (1981), antes de salir. Regreso de Ozzy (1980): Ozzy Osbourne regresó a la banda en 1980 para el álbum "Mob Rules" y una gira. Sin embargo, las tensiones continuaron, y Ozzy fue despedido nuevamente en 1982. Éxito en solitario de Ozzy y cambios de vocalista (1980s): Ozzy Osbourne lanzó una exitosa carrera en solitario, mientras que Black Sabbath continuó con varios cantantes a lo largo de la década de 1980, incluyendo a Ian Gillan y Glenn Hughes. Reuniones y cambios en la alineación (1990s-2000s): A lo largo de los años 90 y 2000, hubo varias reuniones de la alineación clásica de la banda, aunque con cambios intermitentes. Lançaron álbumes como "Dehumanizer" (1992) y "13" (2013). Gira de despedida (2016): Black Sabbath anunció su gira de despedida, titulada "The End", en 2016. Esta gira marcó el adiós final de la banda y concluyó en 2017. Legado: Black Sabbath es considerada una de las bandas más influyentes en la historia del rock y el metal. Su estilo oscuro y pesado allanó el camino para numerosas bandas de metal, y sus álbumes clásicos siguen siendo altamente venerados por los fanáticos de todo el mundo. ---------------------------------------------------------------------------------------------------------------- Antena Historia te regala 30 días PREMIUM, para que lo disfrutes https://www.ivoox.com/premium?affiliate-code=b4688a50868967db9ca413741a54cea5 ---------------------------------------------------------------------------------------- Produce Antonio Cruz Edita ANTENA HISTORIA Antena Historia (podcast) forma parte del sello iVoox Originals ---------------------------------------------------------------------------------------- web……….https://antenahistoria.com/ correo.....info@antenahistoria.com Facebook…..Antena Historia Podcast | Facebook Twitter…...https://twitter.com/AntenaHistoria Telegram…...https://t.me/foroantenahistoria DONACIONES PAYPAL...... https://paypal.me/ancrume ---------------------------------------------------------------------------------------- ¿QUIERES ANUNCIARTE en ANTENA HISTORIA?, menciones, cuñas publicitarias, programas personalizados, etc. Dirígete a Antena Historia - AdVoices Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Aye, welcome to Scotland! Alright, we'll stop with the Scottish accent, but we won't stop going to the lovely highlands, and more specifically, Loch Ness, which really just means a big old lake. But this lake has a secret, not only just a dinosaur of a cryptid, but the residence of the man from the Ozzy Osbourne song, Mr. Crowley.Jake hits us up with the Boleskine House and all of the portals that Aleister Crowley decided to just leave open, resulting in a few murders, possibly. Davis takes us on a cryptid adventure all around the world to deal with various different countries. And Lisa tells us all about just how this Loch became so popular, and how the house beside it has burnt down so many times.We're approaching spooky season, so you don't want to miss subscribing to The Possibly Paranormal Podcast. We've only just begun with episode 123. So come back soon and experience all the creepy joys that come around with Halloween. And listen to TPPP 123: Loch Ness!Support the show

Ian and Sven present the final episode of their conversation with Mike Moran. We discuss the diversity of Mike's brilliant career, his friendship with George Harrison (including singing backing vocals with three of The Beatles on a recording session), the day the Pythons asked for money, Ozzy Osbourne and so much more.  “George and I got on well and stayed friends until he died.” Mike on George Harrison “Here I am, in between George Harrison and Paul McCartney singing backing vocals with George Martin looking at us through the glass. If anybody had told me…….” Mike talking about how he did a lot of work with George Harrison

SEGUNDA-FEIRA, 18 DE SETEMBRO DE 2023. EU SOU LEO LOPES E ESTE É O CASTNEWS, O PODCAST SEMANAL DE NOTÍCIAS PARA PODCASTERS. AQUI VOCÊ OUVE, TODA SEGUNDA-FEIRA PELA MANHÃ, UM RESUMO DAS PRINCIPAIS NOTÍCIAS SOBRE O MERCADO DE PODCAST NO BRASIL E NO MUNDO. Escalada O aumento de 7% no número de downloads globais de podcast em agosto, os resultados de um estudo sobre a influência dos podcasts na vida de empresários e a adaptação de um podcast brasileiro de True Crime para o idioma alemão estão entre as principais notícias que você vai ouvir nesta 33ª edição do Castnews! NOTÍCIAS 1 – E a gente começa a edição de hoje com notícia boa: segundo o levantamento mensal da Podtrac, o número de downloads globais de podcasts aumentou 7% em agosto. Esse é um aumento estável, se a gente comparar com o mesmo período de 2022. Nos Estados Unidos, a empresa iHeartPodcasts lidera o ranking das maiores publicadoras de podcasts, seguida pela Wondery (da Amazon), a NPR, o New York Times e o NBC News. Outro dado levantado pela Podtrac foi qual o principal podcast dos Estados Unidos no mês de agosto, e que foi calculado através da audiência mensal dos programas. O The Daily, do New York Times, ficou em primeiro lugar – mantendo a posição que já tinha em julho. Todos os outros dados levantados pela Podtrac foram traduzidos e estão disponíveis na íntegra lá no portal do Castnews, em castnews.com.br . 2 – De acordo com uma pesquisa da Headliner, mais de 48% dos podcasters gastam menos de 1 hora promovendo os seus podcasts. A pesquisa conversou com 200 participantes, dos quais 65% têm podcasts com 1 a 6 anos de existência. O gasto médio de tempo de produção dos episódios desses criadores de conteúdo, é de 13 horas no total. As fases da produção de um episódio geram sentimentos diferentes nos produtores: a parte preferida dos podcasters tende a ser a criação de pauta. O segundo lugar ficou com a edição, e a promoção dos podcasts é a parte que menos recebe atenção no projeto. Você também faz parte do time que passa muito mais tempo criando o conteúdo do que promovendo seu podcast? Talvez seja uma boa ideia repensar essa estratégia… 3 – O Alitu, um aplicativo web desenvolvido pelo The Podcast Host, lançou o Alitu Showplanner, uma ferramenta de inteligência artificial feita para auxiliar podcasters com a criação de seus podcasts. O Showplanner gera um plano de ação completo, desde a ideia inicial até o lançamento do podcast, em questão de minutos. Os usuários respondem a perguntas sobre sua ideia de podcast e recebem feedback, juntamente com um plano detalhado que inclui proposta de podcast, ideias para os primeiros episódios, formato sugerido, perfil do público e sugestões para tornar o podcast único. Esse é um dos sistemas de inteligência artificial mais poderosos criados até agora com foco em podcasting. Será que vale a pena usar o Showplanner? Será que ele não “mata” um pouco a criatividade do processo? Comenta o que você acha sobre isso nas nossas redes sociais, que a gente quer saber. AINDA EM NOTÍCIAS DA SEMANA: 4 – Um estudo realizado pela Lower Street e a ContentFX descobriu que os podcasts têm um grande impacto entre os empresários e líderes de negócios nos Estados Unidos e no Reino Unido. Cerca de 43% dos empresários estadunidenses consideram os podcasts como sua principal fonte de informações, e 55% dos donos de negócios ouvem podcasts todos os dias. Esse público empresarial é atraído pelos podcasts porque eles entregam conteúdo consistente, além de ter mesas redondas e bate papos sobre temas que são interessantes para os ouvintes. E as marcas que são mencionadas em podcasts que apelam pro ouvinte executivo também são mais bem aceitas e mais lembradas – mas essa parte a gente já sabia. 5 – E a plataforma Riverside, de áudios e vídeos, agora permite aos usuários adicionar e personalizar legendas em seus vídeos pras redes sociais. A transcrição é feita em mais de 100 idiomas, são várias opções de fontes e cores para as legendas, assim os criadores podem manter a identidade visual do conteúdo. As legendas são cada vez mais essenciais, porque além de deixar o conteúdo mais acessível pra pessoas com deficiência auditiva, cerca de 75% das pessoas assistem a vídeos sem som, e as legendas aumentam a compreensão em mais de 50%. As legendas personalizáveis já estão disponíveis no site da Riverside. 6 – Uma pesquisa da Rephonic revelou que o gênero de podcasts que mais gera receita de publicidade é o true crime. Quanto à receita por ouvinte, os podcasts sobre esportes levaram o título. Os podcasts de true crime, apesar de serem menos de 1% dos podcasts ativos nos Estados Unidos, contribuem com 7% da receita total de publicidade. Um problema que a gente já falou aqui, é que 40% de todos os anúncios da podosfera são centralizados em só 23% dos podcasts, então a monetização ainda é desigual. Ainda tem bastante espaço pras marcas melhorarem essa avaliação e gerarem leads em podcasts menores, que podem ser tão bons quanto os que já são mais conhecidos. E MAIS: 7 – A empresa Magellan AI lançou uma nova ferramenta que ajuda anunciantes a expandirem suas campanhas de anúncio em podcasts. Essa ferramenta, que é acessada através do painel da plataforma, permite que as campanhas sejam estendidas para podcasts que têm audiências parecidas com os podcasts nos quais a campanha já está sendo trabalhada. A Magellan AI planeja continuar otimizando as campanhas de áudio, classificando parcerias publicitárias com base na taxa de resposta de um programa pro outro. 8 – E ainda falando sobre publicidade em áudio, o Spotify Advertising compartilhou 7 perguntas que as marcas devem responder pra criar uma boa estratégia de marketing digital em áudio. A equipe do Castnews, é claro, juntou tudo numa matéria cheia de insights legais e muito úteis lá no nosso portal. Então se você tem uma marca ou um produto que quer promover em podcasts (o que é uma decisão muito acertada, diga-se de passagem), a gente vai te ajudar a lapidar essa ideia. Tira uns minutinhos depois que o episódio acabar pra ler a matéria, e você vai ver o seu produto ou marca serem promovidos com um público fortemente engajado. Lembrando que quem quiser anunciar aqui no Castnews também pode entrar em contato com a gente e brifar a ideia, sem compromisso… HOJE NO GIRO SOBRE PESSOAS QUE FAZEM A MÍDIA:  9 – O pessoal do B9 anunciou na última semana uma nova temporada do podcast Guerras Comerciais, e os inimigos que protagonizam essa temporada são as empresas Apple e Microsoft. O Alê Garcia, que é a voz que apresenta o Guerras Comerciais, vai contar tudo sobre a história por trás da disputa tecnológica, desde o lançamento do Macintosh pela Apple e o desenvolvimento do software para Mac pela Microsoft. O podcast é um original da Wondery, que já faz sucesso no exterior desde 2018, e que fala sobre os embates e a rivalidade de grandes empresas, como Netflix x Blockbuster e Marvel x DC. Os novos episódios são lançados primeiro na Amazon Music, e depois em todas as principais plataformas de áudio. SOBRE LANÇAMENTOS: 10 – O Estadão lançou o videocast semanal “Dois Pontos”, apresentado por Roseann Kennedy, que sempre vai trazer dois convidados com opiniões contrárias, pra debater sobre temas da atualidade. No primeiro episódio, o debate foi sobre o libertarianismo e as eleições na Argentina, com a participação do ativista Raphaël Lima e do professor Arthur Barrionuevo. O projeto vai ser publicado toda semana em vídeo e áudio no Spotify e no canal do YouTube do Estadão. 11 – E a Podster, em parceria com a Acast, está lançando uma adaptação em alemão do podcast brasileiro “O Insólito.” A produção vai ser traduzida pela Podster, e distribuída e monetizada pela Acast. A primeira temporada d'O Insólito em alemão vai ter 12 episódios, com a possibilidade de mais episódios no futuro. Se você quiser saber mais sobre a adaptação, o Marcos Campos, criador dO Insólito, conversou um pouco com a equipe do Castnews na semana passada, sobre a empolgação pelo projeto e sobre como a produção evoluiu de conteúdo de vídeo para podcast. E que cada vez mais as produções brasileiras tenham a chance de serem ouvidas em vários idiomas, porque aqui no Brasil se faz podcasts muito bons e com muito capricho. 12 – E depois de cinco anos desde a primeira temporada, o podcast “The Osbournes” voltou na semana passada com uma segunda temporada de 20 episódios. O podcast apresenta vários temas que envolvem a família do músico Ozzy Osbourne, e também conta com a participação do músico Billy Morrison. O podcast aborda desde curiosidades do Black Sabbath, até supostas experiências da família Osbourne com alienígenas. O The Osbournes já tá disponível em todas as principais plataformas de áudio. RECOMENDAÇÃO NACIONAL:  13 – E a nossa recomendação nacional desta semana vai pra um podcast onde o medo encontra o riso no mundo do sobrenatural: é o Arrasta-me para o Podcast, apresentado pelo Guto e pelo Marcos. O podcast tem vários quadros, que falam desde teorias da conspiração e locais assombrados, até táticas de combate contra entidades – tudo isso desenvolvido com uma pitada de humor ácido, que é pro ouvinte ter medo, mas não tanto assim. O programa está disponível nas principais plataformas de podcast e é lançado toda quinta-feira à meia-noite. Então já assina o Arrasta-me para o Podcast no seu agregador preferido, e não deixa o sobrenatural te pegar desprevenido. E você sempre pode divulgar trabalhos e oportunidades dentro da indústria do podcast, aqui no Castnews. Sejam vagas remuneradas ou vagas de participação em projetos, manda pra gente no e-mail contato@castnews.com.br que elas vão ser publicadas na nossa newsletter, que é enviada duas vezes por semana: na quarta e na sexta-feira. Além disso, você também pode mandar uma pequena apresentação do seu podcast, e se ele for o escolhido, vai aparecer aqui na nossa recomendação nacional da semana. ENCERRAMENTO E CTA E ESSAS FORAM AS NOTÍCIAS DESTA TRIGÉSIMA TERCEIRA EDIÇÃO DO CASTNEWS! VOCÊ PODE LER A ÍNTEGRA DE TODAS AS NOTÍCIAS E ASSINAR A NEWSLETTER EM CASTNEWS.COM.BR. AJUDE O CASTNEWS A CRESCER ESPALHANDO O LINK DESTE EPISÓDIO EM SUAS REDES SOCIAIS E ASSINANDO O FEED DO PODCAST PARA RECEBER EM PRIMEIRA MÃO OS EPISÓDIOS ASSIM QUE FOREM PUBLICADOS. VOCÊ PODE COLABORAR COM O CASTNEWS MANDANDO SEU FEEDBACK E SUGESTÕES DE PAUTA NOS COMENTÁRIOS DO SITE OU PARA O EMAIL PODCAST@CASTNEWS.COM.BR. SIGA TAMBÉM O @CASTNEWSBR NO INSTAGRAM, NO TWITTER E NO THREADS E ENTRE NO CANAL PÚBLICO DO CASTNEWS NO TELEGRAM EM T.ME/CASTNEWS_BR PARA RECEBER NOTÍCIAS DIARIAMENTE. O CASTNEWS É UMA INICIATIVA CONJUNTA DO BICHO DE GOIABA PODCASTS E DA RÁDIOFOBIA PODCAST E MULTIMÍDIA.  PARTICIPARAM DA PRODUÇÃO DESTE EPISÓDIO ANDRESSA ISFER, BRUNA YAMASAKI, EDUARDO SIERRA, LANA TÁVORA, LEO LOPES, RENATO BONTEMPO E THIAGO MIRO. OBRIGADO PELO SEU DOWNLOAD E PELA SUA AUDIÊNCIA, E ATÉ A SEMANA QUE VEM!See omnystudio.com/listener for privacy information.

On episode 188, we welcome Wendy Dio to discuss her marriage to and career managing Ronnie James Dio, Dio's relationship with Ritchie Blackmore and time in Rainbow, moving on to Black Sabbath and whether he was intimidated by replacing Ozzy Osbourne, his refusal to write commercially focused music and how that caused him to form his own band, the meaning of Dio's music and the themes of magic and good and evil, creating music for the underdogs of the world and his songs about mistreated children (including trans kids), why ‘Hungry for Heaven' is Leon's favorite song, Wendy's favorite songs of his, Dio inspiring Jorn and Johnny Gioeli, Sebastian Bach discovering Dio's version of Black Sabbath, working with Jack Black and Ronnie's voice overpowering Tenacious D's microphones, the contrasting parts of Ronnie's personality (including his perfectionism), and what Wendy wants Ronnie to be remembered for. Wendy Dio is the President and Owner of Niji Management. Over the past thirty years, she has been involved in many aspects of the music business, receiving awards from Performance and Pollstar for stage set design and concert video production, along with serving as executive producer on numerous gold and platinum albums. She was the wife and manager of the iconic Ronnie James Dio. In 2010, she co-founded the Ronnie James Dio Stand Up and Shout Cancer Fund, which has raised over $2 million for research, education, and early detection screenings. She helped contribute to the posthumous release of Ronnie James Dio's book, Rainbow in the Dark: The Autobiography. Wendy was also one of the producers of and prominently featured in the amazing documentary Dio: Dreamers Never Die. | Wendy Dio | ► Website | https://www.ronniejamesdio.com ► Website 2 | https://diocancerfund.org ► Twitter | https://twitter.com/officialrjdio ► Facebook | https://www.facebook.com/OfficialRonnieJamesDio Where you can find us: | Seize The Moment Podcast | ► Facebook | https://www.facebook.com/SeizeTheMoment ► Twitter | https://twitter.com/seize_podcast ► Instagram | https://www.instagram.com/seizethemoment ► TikTok | https://www.tiktok.com/@seizethemomentpodcast  

I wanted to showcase some great new rock music with a radio feel on this episode of Rock Phoenix Live. Along with classics and some favs. Lots of new music out there, bands are hard at work getting you that new music to keep you listening. Please be sure to check out Smash Into Pieces new music and Takida's new music. Both are really awesome and I wish Takida would come to town and play in the states.  But for now you can hear all the greatist swedish music right here on Rock Phoenix Live. Also please check out Divinity Destroyed, amazing music and wonderful vocals give this band the cutting edge. THey are separated right now but with much love and support we can bring them back.  Contact Mark Ward and tell him you want Divinity back. Tell him Rock Phoenix Live sent you. Rock On  Jason Aldean- She's CountryLakeview- LOSERRoyal Lynn- Redneck RockstarHardy- Truck BedTakida- The FearSmash Into Pieces- Six Feet UnderMetallica- InamorataDead By April- WastelandNickelback- Standing In The DarkStaind- Lowest In MeBad Omens- Like A VillainRed- Cold WorldThree Days Grace- Time Of DyingPat Benatar- Hit Me With Your Best ShotNo Doubt- Just A GirlLita Ford- Kiss Me DeadlyEvanescence- Taking Over MeRammstein- Du HastDivinity Destroyed- ThrenodyDivinity Destroyed- Forever And NeverOzzy Osbourne- No More Tears ( Live @ Budokan)Nirvana- Smells Like Teen SpiritBreaking Benjamin- Breath   

Detroit radio legend Jim ‘JJ' Johnson joins us, MTV VMA's recap, escaped prisoner caught in PA, Mazawey weasels in, Rocky 4 breakdown, and Trudi gets busted on camera. The manhunt of the PA fugitive comes to an end thanks to Officer Dog. A comedian infiltrated the press conference following the arrest. Brenda Tracy breaks her silence and wants to know who leaked her name. Harlon Barnett gets his shot as head coach of MSU. Darren Nichols makes it racial. An OB-GYN on the campus of Columbia assaulted women for 20+ years. Trudi declares Matthew McConaughey semi-hot. The MTV VMA's were a total dud. Emily Ratajkowski showed off her boobs. Fall Out Boy played their terrible Billy Joel cover. *NSYNC looked ridiculous. Jim ‘JJ' Johnson joins the show to discuss retiring after 52 years in Detroit radio. Drew was New Wave before it was cool. Late Night with Conan O'Brien kicked off 30 years ago today. Videos: Iowa QB Cade McNamara had a slip of the tongue. This woman-on-the-street ended with soiled pants. Check out this fight at the Washington Commanders game. Drew breaks down Rocky IV. CJ Gardner-Johnson declares the Detroit Lions “villains” and the blue ski mask is a thing now. Houston Rockets Kevin Porter Jr. has been released on $75K bail. Antonio Brown is performing in Detroit this weekend. There's a new documentary about Louis CK called ‘Sorry/Not Sorry'. Cancelled SNL comic Shane Gillis has a new Netflix special. Kanye West vs. his contractor. His “wife” Bianca Censori is walking around Italy in the nude. FTX is looking to scrape back money they tossed all those celebrities. Michigan pays a whole lot of money for water. A yoga class in the UK was mistaken for a ritualistic mass killing. DTE may be coming for your meter. Trudi is busted leaving the show to steal Drew's Reese's Peanut Butter Cups. Karl is in town and the live show is right around the corner. Podcast News: Kast Media failed to pay out their advertising fees and Theo Von blasts them. PodcastOne is off to a rocky start. Kailyn Lowry has a podcast for some reason. Ozzy Osbourne is still reeling from that ATV accident 20 years ago. Bradley Cooper is SO jealous of Tom Brady. Tom Mazawey weaseled his way into the Detroit Tigers Champion's Club alongside Karl. Visit Our Presenting Sponsor Hall Financial – Michigan's highest rated mortgage company If you'd like to help support the show… please consider subscribing to our YouTube Page, Facebook, Instagram and Twitter (Drew and Mike Show, Marc Fellhauer, Trudi Daniels, Jim Bentley and BranDon).

„My anesteziologové s nadsázkou říkáme, že uspat pacienta umí cvičená opice, ale vzbudit ho, to už chce trochu fištrónu,“ říká anesteziolog Milan Hrobský. „Ale neberte to nějak vážně, obě tyto fáze jsou extrémně náročné, průběh anestezie a probuzení je malinko náročnější,“ zdůrazňuje v pořadu Hovory.

Jason Thomas Gordon spent nearly a decade interviewing some of the greatest vocalists in modern music to find out about their earliest experiences singing, the voices that influenced them growing up, and how they learned to find their own unique voice. In his new book, The Singers Talk: The Greatest Singers of Our Time Discuss the One Thing They're Never Asked About: Their Voices, Jason shares some of the insights from his conversations with more than seventy artists from diverse genres, including Emmylou Harris, Chuck D, Lionel Ritchie, and Ozzy Osbourne, and where they fit within their generation and in the greater history of music. Jason also shares with St. Jude Children's Research Hospital, which was founded by his grandfather, Danny Thomas. 100% of the royalties from The Singers Talk will go to Music Gives to St. Jude Kids, an organization that Jason created to support St. Jude. Click here to buy the book! This episode was edited by Gary Fletcher.

Staci's guest is Tony Simerman, the owner of KnuckleBonz, a successful company that creates officially licensed, high-end collectibles for rock music fans—this includes apparel and action figures but it goes way beyond that; there's also 3D vinyl, handcrafted beers, and more. KnuckleBonz creates licensed memorabilia for Pink Floyd, Alice Cooper, Metallica, Ozzy Osbourne, AC/DC, Iron Maiden, KISS, Scorpions, Black Sabbath, and Guns N' Roses to name a few. He also has stories about Randy Rhoads, Queen, and Mahogany Rush.****SPECIAL OFFER FOR OUR LISTENERS: use the code - rNrn10KBZ - for 10% off in the KnuckleBonz.com store from September 11, 2023–September 21, 2023****

This week we ride through the 1980's heavy metal explosion. We look at the bands, the history, and the motorcycles of this era. It was exploding with Brit metal as bands like Ozzy Osbourne, Black Sabbath, Def Leppard and so many more appeared blasting through our radios and giving us something very new to headbang to....all of this mixed up with Motorcycling in Tenerife and guided tours across the Canary islands, lets ride together and check out this weeks amazing heavy metal show...Ride Time Radio.... You can find our Radio Rock Station on 102 FM across the south coast of Tenerife or on ridetimeradio.com and hit the digital station. Easy Rider Tenerife is the very best place to rent classic and premium motorcycles to ride across the Canary Islands.  We rent adventure, with our amazing fleet of retro and classic motorcycles, all ready to ride in the Canary islands. Easy Rider Tenerife - Southcoast. Motorcycle Rental Tenerife Edf. Clara Toledo, Local 5/6, Calle Moraditas, Las Chafiras, Tenerife, 38639. We are above Banco Santander!   Easy Rider Tenerife - Westcoast Motorcycle Rental Tenerife Puerto De La Cruz Office, C/ Candias Bajas 29 C.P 38312, La Orotava, Tenerife.   CONTACT US Guides: +34 639 845 346 Office: +34 922 703 793 Emergency: +34 686 017 773 Breakdown Service: +34 900 101 369 Email - ride@easyridertenerife.com Web - easyridertenerife.com   RADIO SHOW: Ride Time Radio Live ! www.easyridertenerife.com/ridetimeradio   Atlantico Radio - Every Sunday at 8pm Santa Cruz • 88.3 FM La Laguna • 91.7 FM Zona sur • 94.7 FM Zona Norte • 88.1 FM Icod de los Vinos • 102.6 FM   Socials: Youtube - youtube.com/channel/UC6YnHt4X1b4cI4ChvvFw0ug Instagram - @easyridertenerifeclassicbikes Facebook - Easy Rider Tenerife Twitter - twitter.com/easytenerife Podcast - easyridertenerife.podbean.com Linktree - linktr.ee/Easyridertenerife   As seen on Freddie Dobbs…https://youtu.be/XITU0GMAnWc .   #easyridertenerife #ridetimeradio #motorbikehiretenerife #harleydavidsontenerife #motoguzzitenerife #dgrtenerife2022 #bikerstenerife #triumphtenerife  #tenerifeontriumph #motorbikerentaltenerife  #hdcanarias #grubamotos #triumphcanarias  #canaryislandrides   #ducatitenerife #freddie_dobbs #freddiedobbs  #motorbikes #motorcyclesforrenttenerife  #easyridervolcanhunt #cazavolcanestenerife  #motoguzzirentaltenerife   #volcanohunttenerife #rentamotorcycleintenerife  #royalenfieldtenerife  #masquemotos  #moto4funtenerife  #topaciotenerife     motorcycle rental companies motorcycle rental in america best playlists travel on a motorcycle motorcycling touring adventure bike riding adventure riding adventure island ride adventure motorcycle tours motorcycle rides mountain bike riding drive time radio playlist covers Easy Rider Tenerife Ride Time Radio tenerife best playlists motorbike rental tenerife things to do in tenerife motorbike hire tenerife rent a motorbike in tenerife bike rentals tenerife bike rental tenerife tenerife motorcycle rental playlisting playlist push playlist covers best metal bands of all time best resistance bands for men top 10 bands of all time most popular bands of all time vintage bikes bike on rent scooter rent in tenerife motorbike rental tenerife tenerife motorcycle rental vintage and classic bikes vintage and classic bikes for rent and rides motorcycle for hire motorcycle rides canary islands  

The Osbournes is an American reality television program featuring the domestic life of heavy metal singer Ozzy Osbourne and his family—his wife Sharon, their daughter Kelly, and their son Jack. The series premiered on MTV on March 5, 2002, and, in its first season, was cited as the most-viewed series ever on MTV. Slap City picks: "Fairies Wear Boots" by Black Sabbath, "Hold On Loosely" by 38 Special. Listen to our playlist here Join us in 2 weeks when we'll discuss our next pick, Charli XCX's How I'm Feeling Now!

Complete setlist - 9/6/23Pat Benatar - I Want OutCommentaryJanet Lackson - IfLeo Sayer - You Make Me feel Like DancingU2 - FireOzzy Osbourne - Over The MountainLed Zeppelin - No QuarterCommentaryLyres Of Ur - Escape from Modern Man (Hitchcock Guillotine Mix)The Sisters Of Mercy - Dominion(Mother Russia)The Sisters Of Mercy - Flood 1CommentaryLaura Branigan - Self ControlCindy Wilson - MidnightPJ Harvey - The Nether-edgeMarianne Faithfull feat. PJ Harvey - My Friends HaveCommentaryQueen - Somebody To LoveThe Smith's - Girlfriend In A ComaThe Smith's - Stop Me If You Think You've Heard This One BeforeHerb Alpert - 1980/RiseCommentaryDavid Bowie-Telling Lies (Adam F Mix)David Bowie -The Last Thing You Should Do feat Robert Smith (Live 1997)Fields Of The Nephilim - Last Exit For The LostPrince & The Revolution - Beautiful OnesRecorded live at the "She Shack Studio" September 6th 2023.© Copyright Danny Diess

Eddie Carroll was on with Chaz and AJ to talk about his big catch during the Greatest Bluefish Tournament on Earth last weekend - a 6 foot shark! (0:00) Dom of the Year was just walking by a pizza shop in Massachusetts recently, when the Barstool crew showed up for their review. The whole thing turned into a nasty shouting match, with one clear winner - Dom of the Year. (6:46) Chaz and AJ were off all last week, which sadly turned out to be busy in the music world. Live Nation's Jimmy Koplik joined the guys to talk about Jimmy Buffett, Gary Wright, Jack Sonni and Steve Harwell, who all passed away last week. Plus, Daniel Bukszpan was on to talk a little about his book on Ozzy Osbourne. (17:17) Dumb Ass News - A bad case of diarrhea turned a plane around, after the passenger did not make it to the bathroom in time. (31:55) Image Credit: Steven Breese / iStock / Getty Images Plus

Ozzy Osbourne is turning 75 and what better way to celebrate than looking back at his fascinating career. Daniel Bukszpan's new book "Ozzy @ 75" is the perfect examination of Ozzy's career and how he's still alive.Plus, Heidi saw Barry Manilow and offers her full review. 

Things are busy in the lives of the Somewhere in Time Podcast crew, but to hold you over until their next episode in a couple of weeks, here is a Best of Episode. This Best of features some of the albums that ranked near the bottom of the list for albums released in the associated year. Discussed are the albums "No More Tears" by Ozzy Osbourne, "Thrash Zone" by D.R.I. and "Set the World on Fire" by Annihilator.  Visit Somewhere in Time's Website: https://somewhereintimepodcast.com Follow Somewhere in Time Podcast on Social Media: www.facebook.com/somewhereintimepodcast www.twitter.com/SITMusicPodcast www.instagram.com/somewhereintimepodcast  TikTok - Somewhere in Time Podcast

Go Inside the mind of Chris Dimino, if you dare, as we go Beyond The Goatee presented by Pella Windows & Doors Pink Floyd Ozzy Osbourne Russia and the Moon Ferrari Stephen A Smith has sources and much more See omnystudio.com/listener for privacy information.

Welcome back to your favorite podcast! This week's special guest is our returning number one fan, Sam (aka Samanarchy). Sam has a few personal questions to answer from the gang regarding belly buttons, Paris Hilton and Ozzy Osbourne. First, Sam has to let out a big fat fart to warm up her seat and Jenn decides to give her a 'pew pew pew' instead of a 'BUH BUH BUHHHH'. While most dentist will let you keep your teeth, Sam's surgeon wouldn't let her keep her most prized bodily possession and she instead opted to get a hole new one. Thankfully, Sam is not a poor person with no options and a shady doctor and was able to decide on her brand new part. Edward and Katie have been shaving each others beavers while watching some show about redneck hillrods and have some advice for Sam regarding her procedure. We finally get to interview Sam for her [People In the Neighborhood] segment and she tells us about how she uses her small girl brain to help morons fix their computers by driving around the country changing batteries on people's keyboards. Jenn admits to how she ended up finally killing Sinead O'Connor and Larry the Cable Guy, Sam ends up offending all of our "LISTENERS" with her nonsense and Katie has no idea how it's possible to work somewhere for 20 years. Katie just has no idea how that's possible. Our game this week is a trivia-esque contest hosted by Luke with a theme of old names for big companies. Have you ever shopped at Goodfellow's Dry Goods or surfed the web using David & Jerry's Guide to the WWW? We bet you have and probably don't even know it! Sam has bought all of her Air Jordans from Goodfellow's Dry Goods and loves Blimpie as a good option. Edward is disappointed in all of our viewers who have not kept up on all of our episodes, Jenn talks about being a sandwich artist much too late in life, Katie likes to make exceptions for our neurodivergent viewers and Henry Datsun makes another appearance as the owner of the Ford Motor Company. Email the show at bubbmush@gmail.com, follow us on Instagram @bubbmush, listen to our BigTok when it gets invented and smash the LIKE button on your computer. Thanks for listening and don't forget to tell all of your stupid friends about our dumdum podcast. You like it and they might too!

Help us with our Juno research: https://forms.gle/12mhRWTFMBQ1ygkC7 I remember some time back in 2015, clicking around the additional objects on astro.com and discovering asteroid Juno who happened to be sandwiched right between my tight Mercury–Venus conjunction. Of course I was intrigued, but I was deep in the throes of a Pluto transit, so I had limited focus for distractions at that time. Recently by chance, I got talking to today's guest: Lianne McCafferty, about her peacock-inspired workspace – relevant for me over recent months as my little boy and I have been obsessed with them! We regularly have to visit the local “beegogs” as he so adorably puts it.   Turns out peacocks are associated with Juno! Just magical. Leanne has been fascinated with Juno since 2019/20 and has done a great deal of research which she is kindly sharing with us today. Like Venus and Jupiter, Leanne believes Juno to have benefic qualities which is no surprise as Juno is the wife of Jupiter. She is also known as Hera in Greek Mythology: long-suffering and committed wife of nymph-chasing serial-adulterer Zeus.  But Juno is about so much more than relationships – she impacts not only on a personal level, but social and mundane levels too, due to the speed, location and elliptical orbit of this fascinating asteroid.   ➡️ Where is Juno in your chart and can you relate to any of the areas we've covered today?   BIO Lianne McCafferty D.M.S. Astrol, MAPAI holds the Mayo Diploma (Distinction) in Natal & Mundane. In addition to tutoring, consulting, lecturing and writing, with articles published in the likes of the AA and NCGR Journals, as a former professional sportsperson & coach and now Black Belt 1st Dan in Shotokan Karate, the use of astrology to help enhance sport performance is of particular interest. https://liannemccafferty.com/ TIMESTAMPS 00:00:03 Intro 00:02:14 Lianne's Discovery of Juno 00:03:59 Lianne's Juno return 00:04:38 Lockdown revelations 00:10:53 Juno's speed, orbit & retrograde motion 00:14:37 Juno Mythology 00:17:44 Political Optome-TORY/partygate 00:21:12 Recent Mundane Events/Air Age 00:25:59 Glyph & Discovery chart 00:28:38 Juno Curitis: Warrior 00:29:05 Juno Sospita: Protector 00:31:07 Greek Myth: Hera 00:33:37 Lilith & Juno 00:39:42 Juno Moneta: Psychic accountant 00:43:33 Juno's Pattern 00:44:17 Juno Regina: Queen Consort 00:49:04 Patron saint of anniversaries 00:50:51 Juno Lucina: Midwife 01:03:25 Juno Natally 01:11:44 Sacrificing Lilith 01:15:30 Republic of Afghanistan 01:18:53 Fall of Kabul 01:34:05 Taiwan 01:35:18 Communist China 01:43:22 Aung San Suu Kyi - Burmese political leader/activist 01:50:16 Wrap up 01:52:10 Prize Draw   CHARTS Juno Discovery chart 01/09/1804, 22.00 pm, Lilienthal, Germany. Republic of Afghanistan 17/07/1973, 00.00, Kabul, Afghanistan Fall of Kabul 15/08/2021, 20.55, Kabul, Afghanistan China Communist 01/10/1949, 15.15, Peking, China Taiwan 01/01/1912, 00.00, Nanjing (Nanking), China Aung San Suu Kyi (Burmese political leader/activist) 19/06/1945, 12.00, Yangon, Myanmar (Burma)   LINKS Watch this episode: https://youtu.be/SCnsXEbYAVs Help us with our Juno research: https://forms.gle/12mhRWTFMBQ1ygkC7 Juno discovery chart https://www.astro.com/astro-databank/Celestial:_Juno_Discovery Astrological asteroid Juno https://www.astro.com/astrowiki/en/Juno Juno mythology https://en.wikipedia.org/wiki/Juno_(mythology) Astronomical asteroid Juno https://en.wikipedia.org/wiki/3_Juno Wild Swans https://en.wikipedia.org/wiki/Wild_Swans Monks Astrology  https://www.monksastrology.com/ Lianne McCafferty https://liannemccafferty.com/ #juno #asteroidjuno #peacock #hera #zeus #jupiter  

Sabbath voru afgreiddir í þætti #33 á „öld Bibbans“, en nú er komið að framhaldssögunni: sólóferli Ozzy Osbourne.

This week, the continuation of when I regrettably brought back one of everyone's least favorite guests of all time to discuss the 1991 Ozzy Osbourne album, No More Tears. This time it's Side 2.Once again I HIGHLY STRESS, If you are a fan of Ozzy, I recommend a stiff drink or three for some of the opinions that Mark spits out there. Hopefully you've restocked since Side 1 came out.Join the FACEBOOK Group! https://www.facebook.com/groups/849540069613204Follow us on Twitter @UncleSteveRockEmail the show- IronMaidenPodcast@gmail.comSupport the show

After eight classic album with Ozzy Osbourne (ok, six plus “Technical Ecstasy” & “Never Say Die”) and two very strong releases with Ronnie James Dio, it was former Deep Purple singer Ian Gillian's turn to take the mic for Black Sabbath's eleventh studio album.  Apart from the bands name, that release has little in common with their previous efforts.  Mike and Dave discuss the good, bad and bizarre of those differences and why they should have probably named the band Black Purple for this release.      RIP Paul Ruebens  RIP Bob Nalbandian   Recommended Listening:    Depeche Mode “New Life” https://www.etsy.com/listing/1135017018/depeche-mode-new-life-shout-12-single   “Zero the Hero” covers: Cannibal Corpse  https://open.spotify.com/track/278ppsGkLLPCexii6E5JEE?si=180f50401368403a   Godflesh  https://open.spotify.com/track/6RshSckKoySYLbospztkiy?si=c43372a19a814447   Charles Bradley “Changes”  https://open.spotify.com/track/3HC6U39266ytr7fMW9M2Mz?si=a659c2a65456437f   Contact us at:  huntsmanhillpodcast@gmail.com Spotify Playlist:  https://open.spotify.com/user/1298220429/playlist/4gy1wWwypkoFS2lUztvZ44?si=waSq07DBQlq3x9G1_nK0pg   HHPP Amazon Affiliates Store https://huntsmanhill.com/2022/06/09/hhpp-store/   Our Music manhuntsman:  https://open.spotify.com/artist/7tFBWn0UFkdOEMf67TRD6W?si=vzllkbDwSEmfZFlj02GLRw Academy O.C:  https://academyoc.bandcamp.com/album/academy-o-c   Omertà 68:  https://open.spotify.com/artist/6dfiCa0qTlbPQUrqtIkStS?si=6SCjNtXbSO2xRBDuBKJelQ   huntsmanhill.com instagram.com/huntsmanhill https://twitter.com/HuntsmanHill

THAT METAL INTERVIEW presents Gus G. of FIREWIND formerly of OZZY OSBOURNE (recorded July 2023). The virtuoso guitarist Gus G returns to the show to promote FIREWIND's newest release, 'Still Raging: 20th Anniversary' and also gives an update on his solo career and future plans. Gus revels which Ozzy Osbourne guitarist was the most difficult to emulate.That Metal Interview Podcast is FREE and ON DEMAND, stream now on Apple Podcasts, iHeart Radio, Spotify, Anchor, Google Podcasts, Pandora, Amazon Music, TuneIn, Deezer, Bandcamp.Listen to #ThatMetalInterviewPodcast​​​​​: https://lnk.to/uj7sH3k4Follow us on Twitter: https://twitter.com/ThatMetalIntervFollow us on Instagram: https://www.instagram.com/thatmetalinterview/Like us on Facebook: https://www.facebook.com/ThatMetalInterviewSubscribe on YouTube: http://youtube.com/JrocksMetalZoneSupport the show

We're back to talk all the latest and weirdest in the rock world with Geekwire for the week of 08.02.23! Here's a look at the stories we're covering this week. Nuno Bettencourt apologizes to Richard Fortus: "I need to keep my f***ing mouth shut." Phil Lewis takes a swipe at Nikki Sixx. Nikki Sixx: There will be no setlist changes for Mötley Crüe's upcoming U.S. shows. Rock City Machine Company debut album is awesome. Dolly Parton's video for cover of Queen's "We Are The Champions/We Will Rock You" to promote 2024 Olympic Games. Ozzy Osbourne gives health update, says he just had a blood clot filter removed. Joe Rogan has chance encounter with Axl Rose at restaurant in Greece. W.A.S.P. cancels 2023 U.S. tour due to Blackie Lawless's "extensive back injuries." Paul McCartney announces new podcast "McCartney: A Life In Lyrics." Blink-182's Tom DeLonge credited with helping UFO disclosure. Nikki Sixx picks band Motley Crue would "destroy the world" with. Hair metal gets a documentary with ‘I Wanna RockDream' Paramount+ series. VV October event. All that and rock star birthdays, death days, and upcoming releases we're excited about. We hope you enjoy Geekwire and SHARE with a friend! Decibel Geek is a proud member of the Pantheon Podcasts family. Contact Us! Rate, Review, and Subscribe in iTunes Join the Facebook Fan Page Follow on Twitter Follow on Instagram E-mail Us Subscribe to our Youtube channel! Support Us! Buy a T-Shirt! Donate to the show! Stream Us! Stitcher Radio Spreaker TuneIn Become a VIP Subscriber! Click HERE for more info! Comment Below Direct Download    Learn more about your ad choices. Visit megaphone.fm/adchoices

Staci's guest is singer and guitarist Tim Polecat, who's best known to music fans for his British-born neo-rockabilly band, The Polecats, who had a hit in the U.S. in the ‘80s, “Make a Circuit with Me.” Tim is a fan of The Ventures and an incredibly knowledgeable music historian, so naturally, he is in the documentary “Stars on Guitars.” The pair also talk about David Bowie, how punk rock broke in the U.K., Tim's foray into production design for music videos by Ozzy Osbourne, Sir Mix-A-Lot, Alice Cooper, and much more.

On this episode, Derek sits with Janet Gardner and Justin James.   Janet is the former lead singer of the legendary rock group "Vixen" and she is joined by her husband James as a rocking duo putting out albums including their latest, "No Strings".  We discuss the secret to keeping their musical partnership intact, recording during lockdown, Vixen rocking with Ozzy Osbourne, the new album and so much more.Website: https://www.janetgardnermusic.com/Instagram: https://www.instagram.com/janetplanetrocks/Twitter: https://twitter.com/janetgardnerof1YouTube: https://www.youtube.com/channel/UCeMGZdp2jDWX8iRJa9tsOOwSPONSOR - Go to https://betterhelp.com/derekduvallshow for 10% off your first month of therapy with @betterhelp and get matched with a therapist who will listen and help #sponsored

Getting Bent, one news story at time: -Happy 80th to Mick Jagger!!! -Paul Simon's hearing loss negatively effecting touring. -Slash announces that his next album will be a Blues all-stars affair! -Ozzy Osbourne gets his fans updated on his latest attempts to return to the stage. -Steve Miller set to uncork a Joker Suite box set! -All-Star tribute to John Wetton set for next week in London! -Jason Becker is set to auction off a guitar gifted to him by Eddie Van Halen, to help pay for his ALS care. Find all of our episodes on our web site: https://imbalancedhistory.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of the Banned Biographies podcast your host, Tom Austin-Morgan, thanks David Green from Moonraker for his time on last months' episode, and what you can expect from the next episode which will be out soon. The news this month concerns: L7, The Slackers, Paramore, Bob Vylan, Fall Out Boy, Bad Cop/Bad Cop, David Vanian and the Phantom Chords, Finch, MxPx, Ozzy Osbourne, Decsendents, Green Day, The Dollyrots, Alkaline Trio, and - of course - Anti-Flag. Tom reviews the singles Antichrist/Room Service by Holly Humberstone, The One by Taking Back Sunday, Taking Up Sports by Cherym, My Submission by Dexys, Subculture Rock n Roll/Pleaser split by The Drowns/The Last Gang, Foreign Land and Tired Of Being Alone by Teenage Fanclub, Rigor Mortis Radio by The Hives, Post Traumatic Blues by Corey Taylor, BLOODSTREAM by Hot Milk, Troubled Waters by The Streets, Pull Me Through by Royal Blood, Unstoppable by Skindred, Like A God by Ash, Shoebox Memories by Lucky Hit, Childhood Eyes EP by Yellowcard, Fuck Day Six (String Version) by Fat Mike, I'm Alice and White Line Frankenstein by Alice Cooper, Positive Charge and History Books by The Gaslight Anthem, and Get It by The Sewer Cats. The albums reviewed this month are Chaos For The Fly by Grian Chatten, Caesar Salad Days by Adolescents, and Dream Big, Live Large, Play Hard by RudeGRL + CC. Merch: https://my-store-cfdac5.creator-spring.com Contact Twitter: @BannedBiogs Facebook: @BannedBiographies Instagram: @bannedbiographies E-mail: bannedbiographies@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, I regrettably bring back one of everyone's least favorite guests of all time to discuss SIDE ONE of the 1991 Ozzy Osbourne album, No More Tears. If you are a fan of Ozzy, I recommend a stiff drink or three for some of the opinions that Mark spits out there this week, but don't waste all of your drink because you'll definitely need more when SIDE TWO comes out! Support the show

While KISSmas in July is still in effect, there's a lot of rock news still out there to cover with Geekwire! Here's a look at what we're covering this week. Creed is planning a 2024 tour to celebrate the 25th anniversary of their album Human Clay. Fear Factory guitarist Dino Cazares says that venues taking a cut of artists' merchandise sales is making it harder for bands to survive. Sammy Hagar says there will never be a Van Halen reunion. Over 30 artists have been announced for the 2024 Monsters of Rock Cruise. Mark Tornillo talks about how he ended up singing for Iron Maiden at a club show four decades ago. A documentary about late Snot singer Lynn Strait is in the works. Judas Priest will officially replace Ozzy Osbourne at the Power Trip Festival. Buckcherry's Josh Todd says rock is no longer dangerous. Richie Faulkner reveals the best piece of advice he ever got from Rob Halford. Eddie Van Halen nearly had a cameo in the third Bill & Ted movie. Jeff Young blasts Dave Mustaine for comments about ex-Megadeth members never "amounting to anything." Mick Mars doesn't want to talk to his Mötley Crüe bandmates ever again. Friend of the show and singer for Dawn of the Rising Ray Coon has a new gig with Angel Black. All that and rock star birthdays, death days, and releases we're excited for. We hope you enjoy Geekwire for the week of 07.19.23 and SHARE with a friend! Decibel Geek is a proud member of the Pantheon Podcasts family. Contact Us! Rate, Review, and Subscribe in iTunes Join the Facebook Fan Page Follow on Twitter Follow on Instagram E-mail Us Subscribe to our Youtube channel! Support Us! Buy a T-Shirt! Donate to the show! Stream Us! Stitcher Radio Spreaker TuneIn Become a VIP Subscriber! Click HERE for more info! Comment Below Direct Download    Learn more about your ad choices. Visit megaphone.fm/adchoices

Las más recientes noticias del mundo del Rock. Además reseña del Concierto de Culture Club/Howard Jones y Berlin.

This week on The MetalSucks Podcast, we've got none other than Austin Haines from Outer Heaven on the show this week! During our chat, we discuss his love for the Alien film franchise, how it may have the best sequel of any series, and how the world create on their new album Infinite Psychic Depths is a prequel to their previous one. We also chat about the album's artwork, how the band's two full lengths tie together, the guest vocalist he secretly hoped would commit, and how important it is to stay true to Outer Heaven's sound. Petar and Jozalyn discuss Ozzy Osbourne dropping off the Power Trip festival and the band announced as his replacement, our thoughts on the impact of a Creed reunion, and Puddle of Mudd releasing a new song that doesn't really live up to their past. Song: Outer Heaven “Pillars of Dust” Feat. J.R. Hayes of Pig Destroyer Song: Outer Heaven “Liquified Mind" Song: Evile “Reap What You Sow” Learn more about your ad choices. Visit podcastchoices.com/adchoices

When you need to know... -Elton John's final tour "Goodbye!" -Ozzy Osbourne bows out of Power Trip Fest, Judas Priest to step in! -Tony Iommi's fossil namesake! -Led Zeppelin heir to sell their stake in band. -Found note validated by court as Aretha Franklin's will! -Porno For Pyros to reunite for 30th anniversary! -The Doors announce new box set, Matrix 67 Masters! -Mo dates for '24 for Depeche Mode! The Eagles add to "Long Goodbye! We RE-DO The Wrecking Crew, Monday wherever you get your podcasts! Learn more about your ad choices. Visit megaphone.fm/adchoices

Grant delivers his Dirt Alert which includes Ozzy Osbourne cancelling his show and the SAG-AFTRA strike. Also, Grant Whittaker and Julia play Pop Culture Jeopardy with Rocco! Learn more about your ad choices. Visit megaphone.fm/adchoices

Larry Nassar stabbed in prison, Jamie Foxx is fine, Tom Brady's crypto oopsie, why RFK Jr looks different, The Ashley Madison Affair on Hulu, Drew Crime: Signs of a Psychopath, and we go in search of Tori Spelling at her 1* $100 a night motel. Jamie Foxx is completely fine and playing golf. Some people are saying there were prayers wasted and that he played us. Former US Gymnastics doctor Larry Nassar has been stabbed multiple times in prison. Not one single person has any sympathy. Drew Crime: Sign of a Psychopath covered the crimes of racist serial killer and Larry Flynt maimer Joseph Paul Franklin. Vanna White needs to be happy with what she's done and move on from The Wheel. We recall her great acting chops on Married with Children. Madonna has been sighted leaning on things following her medical emergency. Erin Andrews had a baby. Awwwww. Alec Baldwin's "little pig" daughter also had a child. Ireland Baldwin hates her father. The USMNT defeated those pesky "blessed" Canadians in soccer. Siegfried & Roy: The Original Tiger Kings aired on Reelz. Drew remains obsessed with 90 Day Fiancé and Gino & Jasmine's love story. Spoiler: A Bonerliner camped right next to them last week. Sports: Detroit Red Wings signed former 40 goal scorer Alex DeBrincat. He's 25 and from Farmington Hills. The Detroit Tigers drafted 18-year-old Max Clark. "Untold: Johnny Football" is coming out on Netflix. It's all about Johnny Manziel's failed career. Ozzy Osbourne pulls out of the big Power Trip festival. The trial over Aretha Franklin's wills begins today as all four sons battle over her money and control of future earnings. A Tennessee soccer coach was raping boys left and right. He was busted because he left his unlocked phone at a restaurant. Kevin Spacey is a sexual bully whose main moved was "violently grabbing crotches". Tori Spelling is poor & Dean McDermott remains a load. The celebrities are NOT flocking to Cameo like they used to. There is a fascinating documentary on Ashley Madison on Hulu. Sarah Brady is defending herself for the timing in dumping all of Jonah Hill's messages. She did it for his baby's health. Is Tom Brady nailing EmRata or Kim Kardashian? He's also really bad at cryptocurrency. TikTok's Boat Jumping Challenge is killing people. We try and check in with Tori Spelling at her cheap 1* hotel, but we run into a savvy phone operator. Theranos founder and fraudster Elizabeth Holmes has her sentenced reduced by two years. Poolside Karen is a pretty hot racist. Her "victim" is a pretty hot influencer. Joe Biden got a little distracted in England. The president is being accused of having 'outbursts' at aids. Elon Musk has challenged Mark Zuckerberg to a "literal dick measuring" contest. Tokyo Toni and a Kardashian brat vs Alexa. Kamala Harris tries to define "culture". RFK Jr. is ripped and people believe he's on steroids. WATP's Karl Hamburger will join us tomorrow. Get your tickets to the live show! Breaking Ending News: Northwestern football coach Pat Fitzgerald BLOWN OUT! Visit Our Presenting Sponsor Hall Financial – Michigan's highest rated mortgage company If you'd like to help support the show… please consider subscribing to our YouTube Page, Facebook, Instagram and Twitter (Drew and Mike Show, Marc Fellhauer, Trudi Daniels, Jim Bentley and BranDon

(00:00) Welcome to the dead zone of sports. (22:29) WHAT HAPPENED LAST NIGHT: Blue Jays' Vladimir Guerrero Jr wins this year's  Home Run Derby. Ozzy Osbourne pulls out of Power Trip festival citing health problems.   CONNECT WITH TOUCHER & RICH: Twitter: @Toucherandrich | @FredToucher | @KenGriffeyrules  Instagram: @toucherandrichofficial | @fredtoucher Facebook: Toucher & Rich Twitch: TheSportsHub Visit the Toucher & Rich page on 985thesportshub.com. Follow Boston's home for sports on Twitter, Facebook and Instagram!

On today's What to Watch: The two-episode season finale of How I Met Your Father, the new docuseries Myth of the Zodiac Killer, and the tournament debut of Chopped: All-American Showdown. Plus, Hollywood trivia, and entertainment headlines, including Renee Rapp leaving Sex Lives of College Girls as series regular, Ryan Gosling on making peace with his past as a Mouseketeer to play Ken in Barbie, Madonna reschedules canceled dates to to health scare, Ozzy Osbourne cancels October show because of health issues, and the death of soap star Andrea Evans. More at ew.com, ew.com/wtw, and @EW on Twitter and @EntertainmentWeekly everywhere else. Host/Writer/Producer: Gerrad Hall (@gerradhall); Producer/Writer: Ashley Boucher (@ashleybreports); Editor: Samee Junio (@it_your_sam); Writer: Calie Schepp; Executive Producer: Chanelle Johnson (@chanelleberlin). Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's Sponsor: Hostage Tapehttps://thisistheconversationproject.com/hostagetape Today's Rundown:France bans fireworks sales ahead of Bastille Day after violent riotshttps://news.sky.com/story/france-bans-fireworks-sales-ahead-of-bastille-day-after-violent-riots-12918195#:~:text=France%20has%20banned%20the%20sale,after%20the%2014%20July%20celebrations. Larry Nassar: Former USA Gymnastics doctor stabbed multiple times in federal prisonhttps://www.independent.co.uk/news/world/americas/crime/larry-nassar-prison-stabbed-usa-gymnastics-b2372508.html Marine taken into custody after missing teen girl found at Camp Pendletonhttps://nypost.com/2023/07/09/marine-taken-into-custody-after-missing-teen-girl-found-at-camp-pendleton/ Ozzy Osbourne Ozzy Osbourne Pulls Out of Power Trip Festivalhttps://variety.com/2023/music/news/ozzy-osbourne-pulls-out-power-trip-festival-1235665566/ Turkey Agrees to Back Sweden's NATO Bid in Boost to the Alliancehttps://www.bloomberg.com/news/articles/2023-07-10/turkey-agrees-to-advance-sweden-s-nato-bid-official-says Home Run Derby recap: Vladimir Guerrero Jr. wins titlehttps://www.usatoday.com/story/sports/mlb/allstar/2023/07/10/home-run-derby-2023-live-updates-results/70395742007/ King Charles III's Reaction to Joe Biden's Royal Protocol Breachhttps://www.sheknows.com/entertainment/articles/2805768/king-charles-reaction-joe-biden-royal-protocol/ Sarah Silverman is suing OpenAI and Meta for copyright infringementhttps://www.theverge.com/2023/7/9/23788741/sarah-silverman-openai-meta-chatgpt-llama-copyright-infringement-chatbots-artificial-intelligence-ai Website: http://thisistheconversationproject.com Facebook: http://facebook.com/thisistheconversationproject Twitter: http://twitter.com/th_conversation TikTok: http://tiktok.com/@theconversationproject YouTube: http://thisistheconversationproject.com/youtube Podcast: http://thisistheconversationproject.com/podcasts #yournewssidepiece #coffeechat #morningnews ONE DAY OLDER ON JULY 11Giorgio Armani (89)Lisa Rinna (60)Debbe Dunning (57) IT HAPPENED TODAY1914: Babe Ruth debuted in Major league baseball.1955: The phrase In God We Trust was added to all U.S. currency.2011: Neptune completed its first orbit since its discovery on September 23, 1846. PLUS, TODAY WE CELEBRATE: Mojito Dayhttps://www.google.com/search?q=mojito+day&oq=Mojito+Day&aqs=chrome.0.0i512j0i22i30j0i15i22i30l2j0i22i30l4j0i15i22i30j0i10i22i30.447j0j9&sourceid=chrome&ie=UTF-8

In this episode we speak to the members of the hard rock SIIN, who have been making high-power, high-energy rock for decades and have worked with and opened for many great hard rock bands, including Styx, Queensryche and Ozzy Osbourne.  

Host Nate Wilcox welcomes Mike Stark to discuss his oral history of Black Sabbath. Nate and Mike discuss the two classic iterations of the definitive heavy metal band. CHECK OUT THE NEW LET IT ROLL WEB SITE -- We've got all 350+ episodes listed, organized by mini-series, genre, era, co-host, guest and more. Please sign up for the email list on the site and get music essays from Nate as well as (eventually) transcriptions of every episode. Also if you can afford it please consider becoming a paid subscriber to support the show. Thanks! Buy the book and support the show. Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.com Follow us on Twitter. Follow us on Facebook. Let It Roll is proud to be part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ozzy Osbourne announced that he is retiring from touring due to ongoing health issues related to a spinal injury that he re-aggravated. After many operations, stem cell treatments, endless physical therapy sessions, and most recently exoskeleton treatment, his body is still too weak to deal with the travel required for touring. We spoke with Florian P. Thomas, M.D., to understand spinal injuries and how these new treatments work.  

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 --