Podcasts about Pinetop Perkins

Tomislav Goluban with Crooked Eye Tommy (Life Is Good); The Elgins (Anna Lee); Giles Robson and John Primer (Long Distance Call); Greg Nagy (Come To Poppa); Karen Lovely (Gin House Blues); Barbara Hendricks (You've Been A Good Old Wagon); Coco Robicheaux (Working Man); Lazy Lester (Lonesome Highway Blues); Timo Haikarainer (Blue And Lonesome); Erja Lyytinen (Baking Blues); Ollee Owens (Nowhere To Hide); Beth Hart (Suga N My Bowl); Kern Pratt (Nola); Fred James and Mary-Ann Brandon (No More One More Chance); Pinetop Perkins and Willie "Big Eyes" Smith (Cut That Out). 

Jimmy Vivino Live on Game Changers With Vicki Abelson It had been six long, 4 1/2 COVID years since last I sat down with my old friend, multi-instrumentalist, producer, composer, and long-time musical director for Conan O'Brien, Jimmy Vivino. It was like coming home. Almost the same age, we have many shared (unbeknownst to us at the time) memories of concerts at The Filmore East, Watkins Glen, the glory daze of the NY club scene, and a bounty of mutual friends. Talk about being in one's comfort zone. Jimmy talked growing up in New Jersey, his carpenter trumpet-playing father, his talented brothers, Jerry and Floyd, and how they began and evolved - he talked Conan, Laura Nyro, Phoebe Snow, Donald Fagen, John Sebastian, Al Kooper, Levon Helm, The Allman Brothers, Albert King, Tom Petty, Prince, Bruno Mars, Michael McDonald, Johnny Johnson, Hubert Sumlin, Stevie Wonder, Muddy Waters, Pinetop Perkins, John Sebastian, The Dead, The Band, Harry Shearer, Paul Shaffer, whom he credits as his mentor, Leader of the Pack, Broadway, Ronnie Spector, Felix Cavaliere, The Rascals, Frankie Valli, Slash, Sly Stone, The J. Geils Band, Elvis Costello, and the James Brown and Friends Set Fire To The Soul with Aretha, Robert Palmer, and Joe Cocker, that he orchestrated. Incredible stories all around, and this special is available on YouTube… wow - Snuff and I just watched it. Spectacular. We talked about COVID and Jimmy joining Canned Heat, currently touring with them, and Bill Murray, as well as still doing shows with Will Lee and The Fab Faux. His first all-original album, Gonna Be 2 of Those Days, is due to drop in February, signed copies are available for pre-sale at jimmyvmusic.com He treated us to a track to close the show. Life is busy, busy. busy… just the way Jimmy likes it. And so do we who follow and adore him. I so enjoyed every second of this. Jimmy needs to write a book and get all these stories down. He knows and has played with everyone. Such fun! Jimmy Vivino Live on Game Changers With Vicki Abelson Wednesday, 12/11/24, 5 PM PT, 8 PM ET Streamed Live on my Facebook Replay here: https://bit.ly/49vuRwT

Hadden Sayers performs live at the 2019 Blues Music Awards on Edition 664 of Blues Radio International, with Howlin' Wolf, Pinetop Perkins, Janiva Magness and Jovin Webb.Find more at BluesRadioInternational.net/

Hey musicians! It's Robonzo here, and I've got a fresh episode for you that's all about the juggling act we call being an independent musician. In this episode, I'm diving deep into the challenges we face as music artists, marketers, managers, and producers all at once. I'm sharing real talk about the constant chase for education and income in our ever-changing industry. We'll explore how to find balance in this crazy journey, tackling everything from time management to the art of focusing on one task at a time. And yes, we'll chat about how AI is shaking things up too! I've got some solid productivity tips that I think you'll find super helpful. Plus, we'll look at when it might be time to outsource some of those hats you wear. Trust me, it's a game-changer when done right! Whether you're just starting or you've been in the game for years, this episode is packed with strategies to help you navigate the solopreneur side of being a musician. So grab your headphones, and let's figure out how to keep all these plates spinning together! Support the Unstarving Musician The Unstarving Musician exists solely through the generosity of its listeners, readers, and viewers. Learn how you can offer your support. This episode was powered by Music Marketing Method, a program for independent musicians looking to grow their music career. Music Marketing Method was created by my good friend Lynz Crichton. I'm in the program and I'm learning tons! I'm growing my fan base and learning about many ways that I'll be earning money in the new year. It's also helping me grow this podcast. How cool is that? To lean more and find out if Music Marketing Method can help your music career, visit UnstarvingMusician.com/MusicMarketing. This episode of the was powered by Liner Notes. Learn from the hundreds of musicians and industry pros I've spoken with for the Unstarving Musician on topics such as marketing, songwriting, touring, sync licensing and much more. Sign up for Liner Notes. Liner Notes is an email newsletter from yours truly, in which I share some of the best knowledge gems garnered from the many conversations featured on the Unstarving Musician. You'll also be privy to the latest podcast episodes and Liner Notes subscriber exclusives. Sign up at UnstarvingMusician.com. It's free and you can unsubscribe at anytime. Links, Mentions, and Related Episodes Liner Notes, the email newsletter from Robonzo and The Unstarving Musician New Gods Part 2, by Robonzo & Peter Rand  Productivity tools, resources, and strategies from Anna B. Yang  ​How to Hire Fractional Help as a Solopreneur by Anna B. Yang  292 Terry Carleton – Remixing Vince Guaraldi Peanuts Cartoon Soundtracks, Bones & Knives Recording Studios, Meeting the Mendelson's, and the Arc Of Terry's Music Career  285 Johnny Burgin (Rewind) – Chicago Blues, Music Festivals, The Magic Of The Stage, Pinetop Perkins  279 Alyssa Trahan – Moving to Nashville, Sound Engineering, Endorsements, Sponsors, Crowdfunding, Marketing, Merch, and the Biggest Lesson She'd Learned in Nashville  251 Drew Ryder Smith – Website Platforms, Nashville, Texas Ties, Growing Up In Tennessee, Pneumonia, Songwriting Vocationally, Touring, Recording, The Origins Of Robonzo, And Legendary Drummers  Resources The Unstarving Musician's Guide to Getting Paid Gigs, by Robonzo Music Marketing Method – The program that helps musicians find fans, grow an audience and make consistent income Bandzoogle – The all-in-one platform that makes it easy to build a beautiful website for your music Dreamhost – See the latest deals from Dreamhost, save money and support the UM in the process. More Resources for musicians Pardon the Interruption (Disclosure)  Some of the links in this post are affiliate links. This means I make a small commission, at no extra charge to you, if you purchase using those links. Thanks for your support! Visit UnstarvingMusician.com to sign up for Liner Notes to learn what I'm learning from the best indie musicians and music industry professionals. Stay in touch! @RobonzoDrummer on Twitter  and  Instagram @UnstarvingMusician on Facebook  and  YouTube  

Website: https://thefuriousbongos.com/ US/CA/EU Booking, Music Director, general info Conrad St. Clair thefuriousbongos [at] gmail.com / +1 608-220-1963 EU/UK Booking Chris Huntington / Head On Entertainment headonent [at] gmail.com / +1 410-903-8634 Management Tommy Wilson tommyhawkwilson [at] gmail.com / +1 718-473-256 We're only in it for the money. HAHAHAHA OK, OK...we're just a bunch of professional musicians with pretty diverse backgrounds who decided to take on a pretty big challenge and have some fun in the process.  Now, you might ask, “Oh yeah? Professional musicians, eh? What makes you think you can play Frank's music as well as [insert Zappa family/band member here]?” Well, maybe you haven't heard of us individually, but  "we're pretty good musicians"  and you probably have heard of the folks on our resumes:  BB King, Mick Fleetwood, Vinnie Colaiuta, Googoosh, Dweezil Zappa, LA Philharmonic, Arthur Barrow, Munich Philharmonic, Bryan Beller, Popa Chubby, Yo Yo Ma, Limelight: A Tribute To Rush, Pinetop Perkins, Chicago Lyric Opera, Madison Opera, blah blah blah....you get the idea. As for Frank's music, he was constantly changing things, both for his own creative choices and to adapt to the different musicians he had over the years. He also understood that his live performances were entertainment: it's supposed to be a rock show, not a piano recital. With all that in mind, we don't think playing Song X from Album Y note-for-note while staring at our shoes is the proper way to go about this. The result of that approach (combined with a lot of homework) is a show that pays respect to Zappa's legacy, but is also new and different and dangerous and FUN, with lots of eyebrows. Kinda like Frank.  --- Send in a voice message: https://podcasters.spotify.com/pod/show/somethingcame-from-baltim/message Support this podcast: https://podcasters.spotify.com/pod/show/somethingcame-from-baltim/support

Welcome to the latest edition of "Blues is the Truth," the podcast where host Ian McHugh guides you through a dynamic and soulful journey into the world of blues. This episode is packed with exceptional music and engaging features that will keep you coming back for more. Join us as Paul Michael takes the reins for his renowned "Blues Driver" segment, showcasing a timeless track that perfectly captures the spirit of the blues. In addition to Paul's expert selection, we delve into the fan-favorite segments "The Song Remains the Same" and "Title Track Tango," ensuring a diverse and immersive blues experience. This week's lineup is a blues lover's dream, featuring legendary artists and contemporary stars alike. Tune in to hear the powerful sounds of Otis Rush, Trainman Blues, Parchman Prison Prayer, and Voices of East Harlem. Enjoy the soulful performances of Giles Robson, Willie Dixon, Omar Dykes, Trevor Sewell, and Stevie Ray Vaughan. The episode continues with the musical prowess of Jack De Keyzer, Buddy Guy, Joanne Shaw Taylor, and Joe Bonamassa. Experience the vibrant energy of Elles Bailey, Kat Pearson, Mike Goudreau Band, Nick Curran, and Emma Wilson. The rich blues heritage is further represented by Thomas Heppel, Rory Block, The Headhunters Blues Band, Adam Sweet Band, The Dirt Road Band, Smokin' Joe Kubec, Fleetwood Mac, and Pinetop Perkins. Don't miss out on this incredible musical journey. Subscribe to "Blues is the Truth" on your favorite podcast platform, leave a review, and share your thoughts to help us reach even more blues enthusiasts. Let the blues wash over you and feel the truth in every note!

In this episode of the LEGENDS: Podcast by All Day Vinyl, our host Scott Dudelson speaks with Sam Clayton and Scott Sharrard, two members of one of the greatest American bands of all time - Little Feat. Sam and Scott join the LEGENDS podcast to discuss the bands amazing legacy, their new blues album "Sam's Place" which features Sam Clayton singing lead vocals on every song, Little Feat history and a sneak peek of a new album, already completed, and featuring brand new Little Feat songs and eyed for a 2025 release.  Sam Clayton has been a member of Little Feat since 1972 and in this episode we not only discuss his time in Little Feat but his work with Delaney & Bonnie and his stint playing with Jimmy Buffett & The Coral Reefer Band during Feat's hiatus in the 1980's.  Little Feat newest member singer/guitarist Scott Sharrard also shares tales from his storied history which includes playing in blues clubs as a teenager with legends like Hubert Sumlin, Pinetop Perkins as well as his role as music director for Gregg Allman.  These two share many great stories and I hope you enjoy! Thank you for listening and if you enjoy this episode please like, rate and subscribe/follow.  We appreciate the support!       

Calling all blues enthusiasts! Ian McHugh is back with another electrifying episode of Blues is the Truth, and this time he's joined by the legendary Paul Michael. Together, they've curated a lineup of tracks that'll have you feeling the soul-stirring power of the blues. In the "Blues Driver" segment, Paul Michael handpicks a track that's guaranteed to set your soul on fire. Meanwhile, "The Song Remains the Same" and "Title Track Tango" segments serve up even more blues goodness, with timeless tunes and hidden gems waiting to be discovered. From the gritty authenticity of Colin James to the raw emotion of Catfish, and from the smooth vibes of JP Soars to the heartfelt tunes of Eric Bibb, this episode is a journey through the diverse landscape of blues music. With tracks from Blues is Truth, Otis Grand and the Dancekings, and Little Georgie and the Shuffling Hungarians, you'll be transported to a world where the blues reigns supreme. But wait, there's more! Jo Carley and the Old Dry Skulls, Connolly Hayes, and Clarence Gatemouth Brown are also in the mix, alongside Boz Scaggs, Krissy Matthews and Friends, and the incomparable John Lee Hooker. Plus, classics from Muddy Waters, Mike Zito, and Adrianna Marie and Her Groove Cutters will keep you grooving all night long. With tracks from Peter Veteska and Blues Train, The Mighty Howlers, The Cinelli Brothers, Bryan Lee, Pinetop Perkins, Willie Big Eyes Smith, Freddie King, and Buddy Guy, this episode is a blues lover's paradise. So, grab your headphones, hit play, and let the music take you on a journey through the heart and soul of the blues. Don't miss out on the magic of Blues is the Truth!

Dennis Gruenling feat. Doug Deming and The Jewel Tones (Actin' Crazy); Kirris Riviere and The Delta du Bruit (Have Mercy Baby); King Solomon Hicks (Have Mercy On Me); Zataban (Good Luck Goes Away); The Diego Mongue Band (While You Were Gone); Albert Cummings (Let It Burn); Johnny Shines (Too Wet To Plow); Bill Abel (Gospel Plow); Jimmy Dawkins (Down, Down Baby); Sonny Terry and Brownie McGhee with Lightnin' Hopkins and Big Joe Williams (Early Morning Blues); Honey Island Swamp Band (Till The Money's Gone); Johnny Young (All My Money Gone); Pinetop Perkins (4 O'Clock In The Morning); Bonnie Raitt (About To Make Me Leave Home); Vance Kelly and His Back Street Blues Band (How Can I Miss You, When You Won't Leave).

Athxna is a Nashville-based, New Orleans-raised R&B pop singer who started her musical journey on piano at age five. She has a new release coming very soon, recording sessions in her home town of New Orleans, and plans to release more music this year. Athxna has a new sync contract, which she attributes to pursuing a music business education and career. She works for an all female PR firm based in Nashville and has a bachelor's degree in music industry. Athxna is methodically designing a life and career within the music business.  We talk about her upcoming recording projects, her new sync contract, working in the music business, why she moved to Nashville, blues music, fashion and style, social media and more.  You can find links to Athxna's work and social media at AthxnaOfficial.com. Please enjoy my conversation with Athxna. Support the Unstarving Musician The Unstarving Musician exists solely through the generosity of its listeners, readers, and viewers. Learn how you can offer your support. This episode was powered by Music Marketing Method, a program for independent musicians looking to grow their music career. Music Marketing Method was created by my good friend Lynz Crichton. I'm in the program and I'm learning tons! I'm growing my fan base and learning about many ways that I'll be earning money in the new year. It's also helping me grow this podcast. How cool is that? To lean more and find out if Music Marketing Method can help your music career, visit UnstarvingMusician.com/MusicMarketing. This episode of the was powered by Liner Notes. Learn from the hundreds of musicians and industry pros I've spoken with for the Unstarving Musician on topics such as marketing, songwriting, touring, sync licensing and much more. Sign up for Liner Notes. Liner Notes is an email newsletter from yours truly, in which I share some of the best knowledge gems garnered from the many conversations featured on the Unstarving Musician. You'll also be privy to the latest podcast episodes and Liner Notes subscriber exclusives. Sign up at UnstarvingMusician.com. It's free and you can unsubscribe at anytime. Mentions and Related Episodes AthxnaOfficial.com  Electric Wizard Fredo Bang  285 Johnny Burgin (Rewind) – Chicago Blues, Music Festivals, The Magic Of The Stage, Pinetop Perkins  Jessica Rabbit  Frann Fine (The Nanny)   285 Johnny Burgin (Rewind) – Chicago Blues, Music Festivals, The Magic Of The Stage, Pinetop Perkins 276 JJ Lovegrove – A New Album with Minus Cube, a Forthcoming Complimentary Film, Identifying as a Performer, Fighting the Spotify Algorithm, and Deep Connections on Twitter Secrets of Creativity–Chris Taylor (Ep97) Radio WigWam JJ Lovegrove on Bandcamp  Chris Taylor & Love Coma Live Resources The Unstarving Musician's Guide to Getting Paid Gigs, by Robonzo Music Marketing Method – The program that helps musicians find fans, grow an audience and make consistent income Bandzoogle – The all-in-one platform that makes it easy to build a beautiful website for your music Dreamhost – See the latest deals from Dreamhost, save money and support the UM in the process. More Resources for musicians Pardon the Interruption (Disclosure)  Some of the links in this post are affiliate links. This means I make a small commission, at no extra charge to you, if you purchase using those links. Thanks for your support! Visit UnstarvingMusician.com to sign up for Liner Notes to learn what I'm learning from the best indie musicians and music industry professionals. Stay in touch! @RobonzoDrummer on Twitter  and  Instagram @UnstarvingMusician on Facebook  and  YouTube  

Johnny Burgin has been making waves in the U.S. and abroad as a blues player entrenched in the Chicago blues style. He has performed and recorded with blues legends like Tail Dragger, Sam Lay, Billy Boy Arnold, and Pinetop Perkins. Johnny made a name for himself in the late 90s in Chicagoland blues clubs, a record deal with Delmark, and several European tours. He plays on average more than 200 shows a year, which is why he has such an appreciation for the stage, audiences, and other blues players.   I performed with Johnny in and around Queretaro last month, the pinnacle of which was a headlining performance at the Queretablues Festival. This week I received a message from Johnny to ask what I thought about doing some shows with him in Mexico City, so to be continued (possibly).   We recorded this conversation at the end of a busy ten days here in Queretaro while enjoying cervezas Bohemia, after which we went out for local cuisine. Johnny was feeling a little off and his last morning with us here in Queretaro, I think he was just experiencing a bit of exhaustion or perhaps still acclimating to our altitude. I've since gathered he made it home feeling great. Johnny is a lot of fun to perform and hang with. He's still showing me the ropes of Chicago blues, which is an exercise in restraint from my improvisational ways. But it's also an education in nuance.   We talk about Queretaro Mexico, The Queretablues Festival, his guitar masterclass (at the Queretablues Festival), his YouTube channel, moving to Memphis, leaving Chicago, and his forthcoming album. Please enjoy my tipsy conversation with Johnny Burgin. Support the Unstarving Musician The Unstarving Musician exists solely through the generosity of its listeners, readers, and viewers. Learn how you can offer your support. This episode was powered by Music Marketing Method, a program for independent musicians looking to grow their music career. Music Marketing Method was created by my good friend Lynz Crichton. I'm in the program and I'm learning tons! I'm growing my fan base and learning about many ways that I'll be earning money in the new year. It's also helping me grow this podcast. How cool is that? To lean more and find out if Music Marketing Method can help your music career, visit UnstarvingMusician.com/MusicMarketing. This episode of the was powered by Liner Notes. Learn from the hundreds of musicians and industry pros I've spoken with for the Unstarving Musician on topics such as marketing, songwriting, touring, sync licensing and much more. Sign up for Liner Notes. Liner Notes is an email newsletter from yours truly, in which I share some of the best knowledge gems garnered from the many conversations featured on the Unstarving Musician. You'll also be privy to the latest podcast episodes and Liner Notes subscriber exclusives. Sign up at UnstarvingMusician.com. It's free and you can unsubscribe at anytime. Mentions and Related Episodes 285 Johnny Burgin (Rewind) – Chicago Blues, Music Festivals, The Magic Of The Stage, Pinetop Perkins Johnny Burgin - Live from San Miguel de Allende, Mexico (Soundcloud) Sunset Theater Presents: Johnny Burgin Live and Remastered! (Video) Set Lusting Bruce: The Bruce Springsteen Fan Podcast (Feat. Robonzo) ConvertKit – Create a deeper connection w/fans by reaching them directly in their inbox Resources The Unstarving Musician's Guide to Getting Paid Gigs, by Robonzo Music Marketing Method – The program that helps musicians find fans, grow an audience and make consistent income Bandzoogle – The all-in-one platform that makes it easy to build a beautiful website for your music Dreamhost – See the latest deals from Dreamhost, save money and support the UM in the process. More Resources for musicians Pardon the Interruption (Disclosure)  Some of the links in this post are affiliate links. This means I make a small commission, at no extra charge to you, if you purchase using those links. Thanks for your support! Visit UnstarvingMusician.com to sign up for Liner Notes to learn what I'm learning from the best indie musicians and music industry professionals. Stay in touch! @RobonzoDrummer on Twitter  and  Instagram @UnstarvingMusician on Facebook  and  YouTube  

This is a rewind episode featuring blues guitarist Johnny Burgin. What is a rewind episode? It's a previously published episode, one of my favorites, and one that I think merits re-publishing. I give these episodes a fresh edit, which means you will find it even more enjoyable from a listening perspective. Johnny Burgin, the coast-to-coast (intercontinental) Chicago blues man, first appeared in episode 31 back in December of 2017. We performed a house concert on February 11 2020 at Tranquilo Retreat in Panama. He's coming to Querétaro to perform the 9th annual Querétablues Festival, which you can find on Facebook @BluesFestQro. I have the honor of being part of his band for the festival. We'll also do some private shows and one secret show while he's here.  My conversation with Johnny was truly great. I'm so happy I re-listened to it for this special rewind edition. Johnny is the real deal where blues guitar is concerned. We discuss his history as a musician, and his philosophy on blues, music, and the stage. We also talk about some of his international tour adventures, relationships with blues players in Chicago, Silicon Valley, and around the world, Pinetop Perkins, the Chicago Blues Festival, and more. Find Johnny's upcoming tour dates and music at JohnnyBurgin.com. Please enjoy this rewind conversation with Johnny Burgin. Support the Unstarving Musician The Unstarving Musician exists solely through the generosity of its listeners, readers, and viewers. Learn how you can offer your support. This episode was powered by Music Marketing Method, a program for independent musicians looking to grow their music career. Music Marketing Method was created by my good friend Lynz Crichton. I'm in the program and I'm learning tons! I'm growing my fan base and learning about many ways that I'll be earning money in the new year. It's also helping me grow this podcast. How cool is that? To lean more and find out if Music Marketing Method can help your music career, visit UnstarvingMusician.com/MusicMarketing. This episode of the was powered by Liner Notes. Learn from the hundreds of musicians and industry pros I've spoken with for the Unstarving Musician on topics such as marketing, songwriting, touring, sync licensing and much more. Sign up for Liner Notes. Liner Notes is an email newsletter from yours truly, in which I share some of the best knowledge gems garnered from the many conversations featured on the Unstarving Musician. You'll also be privy to the latest podcast episodes and Liner Notes subscriber exclusives. Sign up at UnstarvingMusician.com. It's free and you can unsubscribe at anytime. Mentions and Related Episodes JohnnyBurgin.com  Robonzo w/Johnny Burgin at the Quéretablues Festival  New Gods Part 2 (Unstarving Musician theme track) Johnny Burgin's first appearance on The Unstarving Musician (episode 31)  Listening for That Phrase—Johnny Burgin Part 2 (Ep 138)  Spooky Mugs  Resources The Unstarving Musician's Guide to Getting Paid Gigs, by Robonzo Music Marketing Method – The program that helps musicians find fans, grow an audience and make consistent income Bandzoogle – The all-in-one platform that makes it easy to build a beautiful website for your music Dreamhost – See the latest deals from Dreamhost, save money and support the UM in the process. More Resources for musicians Pardon the Interruption (Disclosure)  Some of the links in this post are affiliate links. This means I make a small commission, at no extra charge to you, if you purchase using those links. Thanks for your support! Visit UnstarvingMusician.com to sign up for Liner Notes to learn what I'm learning from the best indie musicians and music industry professionals. Stay in touch! @RobonzoDrummer on Twitter  and  Instagram @UnstarvingMusician on Facebook  and  YouTube  

Tomorrow's Hits Today! Introducing Chris "Bad News" Barnes, an astonishingly accomplished artist and resurrector of the long-lost and witty genre known as Hokum Blues*. American Blues Scene hails Barnes as “a former Seinfeld, Curb Your Enthusiasm, 30 Rock, & Carol Burnett Show performer that has made his mark in the blues community.” Dubbed the “King Of Hokum Blues” this dynamic, high-energy performer has spent the better part of his life marrying his love of blues and humor, developing a truly unique sound. So, BLUES FANS!!! This episode is for YOU!:) He's also a martial arts instructor! We talk to Chris about many of the incredible experiences and performances he has lived in comedy, acting, writing, strip clubs, and the BLUES!!! He has performed with Blues legends like Buddy Guy, Koko Taylor, Keb Mo, Beth Hart, Jimmy Hall, Blind John Davis, Pinetop Perkins, 'Big Eyes' Willy Smith, and many others. He's a board member of the MemphisBlues Foundation, and was the writer for Jim Belushi while he was on Saturday Night Live! Did he play "Tanner" in the cinematic classic The Bad News Bears??? Chris explains what 'Hokum Blues" is and details how he got his start in the Blues and the origins of his band! He LOVES Strip Clubs and tells us how they have inspired his writing! Lol Chris gives BIG LOVE, RESPECT, & APPRECIATION for all of the amazing Pole-Dancers!!! We also take a listen to his new single "Bad News Travels Fast"!He tells us about the passion and appreciation for Songwriters that is unique to Nashville Tennessee. And of course, Ilan, Danny, and Bob bring you 9 new tracks to keep your party bumpin'! Will Keanu Reeves or Saweetie be future guests??? Stay tuned... TRACK LIST Eliza Roze & The Martinez Brothers Pleasure Peak   Emily Wolfe Walk In My Shoes Daughtry  Artificial CHRIS BARNES INTERVIEW Chris “Bad News” Barnes  Bad News Travels Fast Saweetie Shot O'Clock  Dogstar Breach NLE Choppa It's Getting Hot SIDEPIECE What You Need Lyell and Baby Bugs Just My Type Usher, 21 Savage& Summer Walker Good Good Special love and prayers to the people of Maui. No Ka Oi! Learn more about your ad choices. Visit megaphone.fm/adchoices

Tomorrow's Hits Today! Introducing Chris "Bad News" Barnes, an astonishingly accomplished artist and resurrector of the long-lost and witty genre known as Hokum Blues*. American Blues Scene hails Barnes as “a former Seinfeld, Curb Your Enthusiasm, 30 Rock, & Carol Burnett Show performer that has made his mark in the blues community.” Dubbed the “King Of Hokum Blues” this dynamic, high-energy performer has spent the better part of his life marrying his love of blues and humor, developing a truly unique sound. So, BLUES FANS!!! This episode is for YOU!:) He's also a martial arts instructor! We talk to Chris about many of the incredible experiences and performances he has lived in comedy, acting, writing, strip clubs, and the BLUES!!! He has performed with Blues legends like Buddy Guy, Koko Taylor, Keb Mo, Beth Hart, Jimmy Hall, Blind John Davis, Pinetop Perkins, 'Big Eyes' Willy Smith, and many others. He's a board member of the MemphisBlues Foundation, and was the writer for Jim Belushi while he was on Saturday Night Live! Did he play "Tanner" in the cinematic classic The Bad News Bears??? Chris explains what 'Hokum Blues" is and details how he got his start in the Blues and the origins of his band! He LOVES Strip Clubs and tells us how they have inspired his writing! Lol Chris gives BIG LOVE, RESPECT, & APPRECIATION for all of the amazing Pole-Dancers!!! We also take a listen to his new single "Bad News Travels Fast"!He tells us about the passion and appreciation for Songwriters that is unique to Nashville Tennessee. And of course, Ilan, Danny, and Bob bring you 9 new tracks to keep your party bumpin'! Will Keanu Reeves or Saweetie be future guests??? Stay tuned... TRACK LIST Eliza Roze & The Martinez Brothers Pleasure Peak   Emily Wolfe Walk In My Shoes Daughtry  Artificial CHRIS BARNES INTERVIEW Chris “Bad News” Barnes  Bad News Travels Fast Saweetie Shot O'Clock  Dogstar Breach NLE Choppa It's Getting Hot SIDEPIECE What You Need Lyell and Baby Bugs Just My Type Usher, 21 Savage& Summer Walker Good Good Special love and prayers to the people of Maui. No Ka Oi! Learn more about your ad choices. Visit megaphone.fm/adchoices

 | Artist  | Title  | Album Name  | Album Copyright | Ernie Hawkins  | Sweethearts On Parade (feat. Roger Day, Paul Consentino & Joe D  | Monongahela Rye  |  | Son House  | John The Revelator  | The Delta Blues Of Son House | Big Bill Broonzy  | It's A Low Down Dirty Shame  | Chicago 1937-1938 (CD8)  1937-1940 Part 2 | Tony Joe White  | You Got Me Running  | Baby Please Don't Go | The Georgia Browns  | Who Stole De Lock.  | Curley Weaver (1933-1935) | Pistol Pete Wearn  | Rosalynd  | Blues, Ballads & Barnstormers | Alger ''Texas'' Alexander  | Water Bound Blues (1929)  | Complete Recorded Works, Vol. 2 (1928 - 1930) | Lightnin' Hopkins  | Goin' Away  | Goin' Away (1963)  |  | Pinetop Perkins  | Willow Weep For Me  | Heaven  |   |  | W.C. Handy Preservation Band - Carl Wolfe  | Loveless Love  | W.C. Handy's Beale Street: Where The Blues Began | Guy Davis  | Did You See My Baby  | Juba Dance  |  | Jesse Fuller  | Morning Blues  | San Francisco Bay Blues | Jo Ann Kelly  | Boll Weevil  | Do It and More  |  | Mike Goudreau  | I'm So Glad I Have You  | Acoustic Sessions  |  | Auld Man's Baccie  | Whole Lotta Rosie  | 100% Homage  |  | Half Deaf Clatch  | Tumbledown Blues  | Eat Sleep Stomp Repeat

Kid Ramos is a legendary blues guitar player and producer from California. A former member of The Fabulous Thunderbirds, and the James Harman band, he has continually toured the world and backed up some of the greats of rhythm and blues and even pioneers of rock n roll, from Bo Diddley to Hank Ballard, Floyd Dixon, Pinetop Perkins, Big Joe Turner, and more recently Todd Rundgren. Not just a great blues guitarist, but a great musician. His latest work is an album with his late friend and bandmate Willie J. Campbell, featuring David Hidalgo of Los Lobos, Kim Wilson of the Fabulous Thunderbirds and songwriter Brian Templeton. It's tiled “Willie J. Campbell: Be Cool.” Find him @KidRamosMusicJohnny Ramos Johnny is a singer/songwriter and actor from southern California. He's been tearing up the rockabilly and blues scene, playing Viva Las Vegas, Gator By The Bay festival, the Doheny Blues Festival, and has opened for Americana giants such as James Intfveld, and Cesar Rosas of Los Lobos. He was invited by rockabilly star Big Sandy to play at Viva Las Vegas. He's also traveled to Europe to perform at the Summer Jamboree festival in Senigallia, Italy and the Flirting With The Blues Festival in the Netherlands. His upcoming album “Doowopdeathboy” will be released this summer as a fusion of modern and retro rock n roll, pop-punk and rhythm & bluesJohnny & Kid Ramos performed Johnny's newest hit single 'I Want a Girl' available everywhere including Iheart Find Johnny Ramos @NotJohnnyRamosTheir next show is July 27thFullerton Marketplace6:30-8:30

Intro Song –  D.K. Harrell, “Get These Blues Out Of Me”, The Right Man

 First Set -
 Junior Wells, “Snatch It Back And Hold It”, Delmark's 70th Anniversary Blues Album
 J.R. Clark, “Shaky Puddin'”, Shaky Puddin'
 Mitch Grainger, “Shake It Up”, Single

 Second Set – 
 Jimmy Johnson, “Ashes In My Ashtray”, Delmark's 70th Anniversary Blues Album 
 Mick Kolassa, “Educated By The Blues”, Wooden Music 
 Mario Rossi Band, “It Means Blues”, Smoke Burst

 Third Set – WIB
 Li'l Red & Big Bad, “5-10-15”, Live At The Boulder Outlook 
Lady J Huston, “I Want A And Like That”, Groove Me Baby
 Trudy Lynn, “Down In Memphis”, Royal Oaks Blues Cafe

 Fourth Set – 
Bob Corritore feat. Pinetop Perkins, “Grinder Man”, Bob Corritore & Friends: High Rise Blues
 Selwyn Birchwood, “Call Me What You Want To”, Exorcist
 The Nighthawks, “Don't Know Where She Went”, Slant Six
 D.K. Harrell, “Leave It At The Door”, The Right Man

One of the nation's foremost showcases of blues music — as it's referred to in its online overview — is ready to party.Like many other events, the festival shut down for two years due to covid."Helena-West Helena and surrounding Phillips County will be bustling for the King Biscuit Blues Festival 2023  - Munnie Jordan tells us all about it.The festival takes place for three full days — Thursday-Saturday in historic downtown Helena on the banks of the Mississippi River — but kicks off with a "Warm Up Wednesday," The King Biscuit Blues Festival, founded in 1986, is one of the nation's foremost showcases of blues music. Tens of thousands of blues enthusiasts converge on historic downtown Helena, Arkansas to hear stirring and uplifting performances of an American art form on the banks of the Mississippi River.As the home of “King Biscuit Time,” the longest running radio show ever, Helena became legendary in the Delta. First broadcast in 1941, Sonny Boy Williamson II and Robert Lockwood Jr. played live in the studio as the “King Biscuit Entertainers.” Pinetop Perkins and James Peck Curtis later joined the band. The musicians played on KFFA every weekday, pausing for King Biscuit Flour commercials and announcements of their next nighttime performances.New episodes each Wednesday 1 PM CSTWebsite www.luxelifediscovered.com Youtube Roku Amazon Fire TV

 | Artist  | Title  | Album Name  | Album Copyright | Mark Searcy  | Fixin' To Die Blues  | Ground Zero  |  | Duster Bennett  | Gotta Hold My Baby  | Shady Little Baby | W.C. Handy Preservation Band - Carl Wolfe  | Way Down South Where The Blues Began  | W.C. Handy's Beale Street: Where The Blues Began | John James  | I Used To Live By The Sea  | Cafe Vienna  |  | Mark Searcy  | Dead Boy's Rag  | Ground Zero  |  | Sam McGhee  | Knoxville Blues  | The Outstanding Sam McGee | Mose Andrews  | Ten Pound Hammer  | When The Levee Breaks, Mississippi Blues (Rare Cuts CD A)  | JSP Records | Andy Cohen  | Windy and Warm  | Road Be Kind  |  | Auld Mans Baccie  | Rollin n Tumblin  | Auld Mans Baccie Live at Reivers | Adam Franklin  | Jazz Hole Boogie  | Outside Man  |  | Andy Cohen & Moira Meltzer-Cohen  | West Coast Blues  | Andy Cohen Small But Mighty | Mark Searcy  | You Can't Get The Stuff No More  | Ground Zero  |  | Pinetop Perkins  | Pinetop's Blues  | Heaven  |   |  | Alger "Texas" Alexander  | Work Ox Blues (1928)  | Complete Recorded Works, Vol. 1 (1927 - 1928) | Big Bill Broonzy  | Worrying You Off My Mind Part 1  | Do That Guitar Rag  |  | Lightnin' Hopkins  | Lovin' Arms  | Morning Blues - Charley Blues Masterworks Vol. 8 | Merle Travis  | Darktown Strutters' Ball  | Boogie Woogie Cowboy | Jo Ann Kelly  | Black Rat Swing  | Do It and More  | 

Annie Raines joins me on episode 83.Annie is an early pioneer as a female blues harmonica player. Hailing from the Boston area of the US, she drew on the rich source of harmonica inspiration from nearby Cambridge, regularly attending a jam there in her youth, and meeting many great players and joining the Cambridge Harmonica Orchestra. Annie then teamed-up with her long time musical partner, Paul Rishell, after also meeting him around the Boston area. They have now been performing and recording together for over 30 years, releasing seven albums, and winning a WC Handy award for one of them. Annie has also guested on albums with several other artists, including Pinetop Perkins.Annie teaches harmonica and has released an instructional video, and gives workshops at various harmonica gatherings. Links:Annie and Paul's website:https://www.paulandannie.com/John Gindick's website:https://gindick.com/harmonica/Cambridge Harmonica Orchestra:https://www.youtube.com/watch?v=5ReDMrEdmbAGeorge Mayweather: What I'd Say:https://www.youtube.com/watch?v=8wp-pAk4epIBlues Harmonica Blueprint instruction:https://truefire.com/techniques-guitar-lessons/blues-harmonica-blueprint/blues-harmonica-blueprint-introduction/v5544Tomlin Harmonica School:https://www.tomlinharmonicaschool.com/Videos:Annie singing You've Been A Good Old Wagon:https://www.youtube.com/watch?v=uKgydSYSC7kCharles Leighton playing In A Sentimental Mood:https://www.youtube.com/watch?v=vsPhW6UXE00Canned Heat Blues: from Live In Woodstock DVD:https://www.youtube.com/watch?v=Ux-lQaoZewkHarmonica UK Virtual Festival 2020:https://www.youtube.com/watch?v=RD4PzISV2FQAugusta Blues / Swing week 2013:https://www.youtube.com/watch?v=oTXpwCMrs5cDuet with John Sebastien:https://www.youtube.com/watch?v=kmPOnRUDZAEPodcast website:https://www.harmonicahappyhour.comDonations:If you want to make a voluntary donation to help support the running costs of the podcast then please use this link (or visit the podcast website link above):https://paypal.me/harmonicahappyhour?locale.x=en_GBSpotify Playlist: Also check out the Spotify Playlist, which contains most of the songs discussed in the podcast:https://open.spotify.com/playlist/5QC6RF2VTfs4iPuasJBqwT?si=M-j3IkiISeefhR7ybm9qIQPodcast sponsors:This podcast is sponsored by SEYDEL harmonicas - visit the oldest harmonica factory in the world at www.seydel1847.com  or on Facebook or Instagram at SEYDEL HARMONICAS

Part II - Blues Music Performance - In this part 2 of 2 Luther treats us to some deep blues including his original tune, "Hard Times."Blues Music legend, Luther Guitar Junior Johnson (1939-2022) in a special in-home musical interview. You will hear some blues music, some jokes & lots of jovial laughter (which were always in abundance when Luther was in the house.) In January 2020, we were blessed to spend some time with Luther, who was always a gracious & honored guest at the home of BRI's Audrey Michelle & Michael Wolf.  Luther Johnson, who hails from Itta Bena Mississippi (also the birthplace of B.B. King.) A West Side Chicago guitarist,  had a storied career, including a stint with The Muddy Waters Band. He had 21 albums, appeared in countless music videos, made hundreds of recordings & appeared with John Lee Hooker, Big Walter Horton, Pinetop Perkins, Calvin Jones & Willie 'Big Eyes' Smith in the original 1980 Blues Brothers Movie.His passing on Christmas Day 2022 was a deep loss for us & the blues community. His life & legacy are treasures & his presence on this Earth was a gift to all. He leaves behind his memory & music which will be cherished forever. We give our love & sincere thanks to the late Michael Shivvers of The Blues Roots Digital Archive, our dear friend, & fellow blues music documentarian who passed suddenly in 2020. Mike & Luther traveled The United States together by car with their gear in tow from gig to gig promoting, 'Won't Be Back No More,' Luthers new acoustic album. Luther & Michael had recorded this final album together, at Luther's home in Wildwood, Florida.  They both stayed with Audrey & Michael on this trip & it was an honor to host these two incredible, talented humans.  @MichaelShivvers_BluesArchive You may notice that Luther is playing an electric custom guitar by Delaney Guitars.  This guitar was originally designed for & owned by, blues man, Mike Zito. It is an honor to have Luther play & to have signed this one of a kind instrument made by Mr. Michael Delaney in Texas, USA.  @ValDelaneyGuitars  @MikeZitoOfficial Your Host: Jesse FinkelsteinAudio mix-down & video production by Audrey Michelle for BRIVideography & audio recording by Audrey Michelle & Michael Wolf  @audreymichelle6436 &  @datflys  #LutherGuitarJuniorJohnson #LutherGuitarJrJohnson #bluesradiointernational  #datflysconcertvideos #datflys #GuitarJr #GuitarJunior #bluesradiointernational #bluesmusic #chicagoblues #blues #delaneyguitars #bluesbrothers #mikezito #audreymichelle #jessefinkelsteinFind more at BluesRadioInternational.net/radio-show

Part I - Talk Interview - The Life & Musical Career of Blues Music legend, Luther Guitar Junior Johnson (1939-2022)  In January 2020, we were blessed to spend some time with Luther, who was always a gracious & honored guest at the home of BRI's Audrey Michelle & Michael Wolf.In this part 1 of 2 Luther tells us about his life, starting from the beginning in Mississippi. At the age of 13 he received his first guitar from his parents who were fans of Muddy Waters, not knowing that later in his life he would go on to play guitar in the Muddy Waters Band. He learned how to play guitar from his uncle, who he paid 15 cents for lessons. Making his way to Chicago in the 1950's where he played in pop up basement juke joints with players like, Robert Nighthawk, Howlin' Wolf, Lil' Walter, Elmore James & many others. (You can only imagine what that scene was like!) The story goes on from there so, you will just have to listen to hear the rest of Luther's incredible life story. You will hear jokes & lots of playful laughter which was always in abundance when you were in Luther's company.Luther "Guitar Jr." Johnson, who hails from Itta Bena Mississippi (also the birthplace  of B.B. King)  A West Side Chicago guitarist,  had a storied career, including a stint with The Muddy Waters Band. He had 21 albums, was in countless music videos, made hundreds of recordings & appeared with John Lee Hooker, Big Walter Horton, Pinetop Perkins, Calvin Jones & Willie 'Big Eyes' Smith in the original 1980 Blues Brothers Movie.  @thebluesbrothers7474   In part 2 of this interview, the musical portion, you may notice that Luther is playing an electric custom guitar by Delaney Guitars.  This guitar was originally designed for & owned by, blues man, Mike Zito. It is an honor to have Luther play & to have signed this one of a kind instrument made by Mr. Michael Delaney in Texas, USA.   @ValDelaneyGuitars We give our love & sincere thanks to the late Michael Shivvers of The Blues Roots Digital Archive, our dear friend, & fellow blues music documentarian who passed suddenly in 2020. Mike & Luther traveled The United States together by car with their gear in tow from gig to gig promoting, 'Won't Be Back No More,' Luthers newest & final album. An acoustic recording with with a whopping 17 tracks & 8 new original tunes. Luther & Michael recorded the album, at Luther's home in Wildwood, Florida. They both stayed with Audrey & Michael on this trip, it was an honor to host these two incredible, talented humans.  @MichaelShivvers_BluesArchive Your Host: Jesse FinkelsteinAudio mix-down & video production by Audrey Michelle for BRIVideography & audio recording by Audrey Michelle & Michael Wolf   @datflys &  @audreymichelle6436  #LutherGuitarJuniorJohnson #LutherGuitarJrJohnson #GuitarJr #GuitarJunior #bluesradiointernational #bluesmusic #chicagoblues #blues #bluesandrootsdigitalarchive #muddywatersFind more at BluesRadioInternational.net/radio-show

כשהגיע פָּיינטוֹפּ פֶּרקינס לגיל 75 יצא סוף כל סוף תקליטו הראשון. עד אז התאמן ומי שרצה לחזות בנפלאות נגינת הפסנתר אשר לו, יכול היה לעשות זאת בהופעותיהם של אחרים, ובעיקר עם להקתו של מאדי ווטרז. פּיינטופּ פּרקינס נולד ב1913 בעיירה הקטנה אשר בדלתא, בֶּלְזוֹני מיסיסיפּי. כמעט מאה שנים חי ואת רובן ככולן העביר בניגנה על הפּסנתר. בהתקרבו לגבורות אזר עוז והחל גם לשיר. בנאמנותו ובדרכו הארוכה הפך פּרקינס לאחד מנגני הפסנתר הנודעים בבלוז ואף הונצח בתרבּות הפּופּולרית בסרטם של 'האחים בּלוז'. הוא נולד בשם ג'ו ווילי פּרקינס והכינוי "פּיינטופּ" דבק בו מכּיוון שבשנות ה50 הקליט קטע נודע ועתיק יומין שכתב "ממציא הבּוּגי ווּגי", מוזיקאי מיסתורי בשם פָּיינטוֹפּ סמית', ב1928. מרכּולתו של פּרקינס רבּה ונרחבת, הן כמוזיקאי מלווה והן כמשורר ומוביל. פּרקינס יצר והקליט כמעט עד יום אחרון ותרומתו לא תסולא בפּז. ביום זה, לפני 12 שנים, סגר את מעגל חייו בן 97 השנים וחצה הירדן. 1. Driving Wheel [John Brim & Pinetop Perkins]2. Pinetop's Boogie Woogie [Sun Records]3. So Many Days [Pinetop Is Just Top]4. Pinetop Is Just Top [Boogie Woogie King] 5. After Hours [After Hours] 6. Pinetop's Mambo [Live at Antone's Vol.1]7. Anna Lee [Back On Top] 8. Sunnyland Slim [Pinetop Perkins - Hubert Sumlin]

Davis has worked to improve race relations by seeking out, engaging in dialogue with, and befriending members of the Ku Klux Klan. In 1983, he was playing country western music in a "white" bar in Frederick, Maryland, when a patron came up to him and said it was the first time he had "heard a black man play as well as Jerry Lee Lewis". Davis explained to the man that "Jerry Lee learned to play from black blues and boogie-woogie piano players and he's a friend of mine". The white patron was skeptical and over a drink admitted he was a member of the KKK. The two became friends and eventually the man gave Davis contact information on KKK leaders.A few years later, Davis decided that he wanted to interview Klan members and write a book on the subject, to answer a "question in my head from the age of 10: 'Why do you hate me when you know nothing about me?' That question had never been answered from my youth".Davis eventually went on to befriend over twenty members of the KKK, and claims to have been directly responsible for between forty and sixty, and indirectly over two hundred people leaving the Klan.Over the course of his activities, Davis found that Klansmen have many misconceptions about black people, stemming mostly from intense brainwashing in their youth. When they got to know him, Davis claims, it was more difficult to maintain their prejudices. The artist has recounted his experiences in his 1998 book, Klan-destine Relationships: A Black Man's Odyssey in the Ku Klux Klan.Daryl Davis is not on a mission to "convert" bigots, white supremacists, Klansmen, or Nazis. Rather because of the earnest respect he offers all human beings and his core beliefs in the power of love, respect, fairness and his willingness to listen and find the heart of "the other"  that people are moved and transformed.  Over 200 Neo-Nazis, Klansmen and others who belong to organizations that preach hate have chosen to leave those organizations and give Daryl their robes, flags, insignia and other symbols of hate. As a musician, Davis absorbed the style of blues musicians from the Mississippi Delta who had migrated north. In 1980, he earned a bachelor of music degree from Howard University, where he was a member of the Howard University Choir and Jazz Vocal Ensemble. Davis "was mentored by legendary pianists Pinetop Perkins and Johnnie Johnson, who both claimed him as their godson and praised his ability to master a piano style that was popular long before he was born", according to his Kennedy Center profile.Davis has frequently played backup for Chuck Berry and Jerry Lee Lewis. He was a friend of Muddy Waters and played piano in The Legendary Blues Band.Davis has also performed with blues icon B. B. King, Elvis Presley's Jordanaires, The Platters, The Drifters, The Coasters, Bo Diddley] Percy Sledge, and Sam Moore (of Sam & Dave).In 2009 Davis was awarded "Best Traditional Blues/R&B Instrumentalist" at the Washington Area Music Awards. For several years, Davis served as artistic director of the Centrum Acoustic Blues Festival.

Mary Flower (Meet Me In The Bottom); Larkin Poe (Blood Harmony); Shakura S'Aida (Ain't Got Nothin'); Barry Levenson (This Time I'm Gone For Good); Pinetop Perkins and Willie "Big Eyes" Smith (Gambling Blues); Roosevelt Sykes (Drunken Gambler); Alabama Slim (All Night Long); Eddie 'Guitar Slim' Jones (Well I Done Got Over It); Savoy Brown (Train To Nowhere); Savoy Brown (Borrowed Time); Ann Peebles (I Needed Somebody); Bessie Smith (Easy Come, Easy Go Blues); LaVern Baker (I Ain't Gonna Play No Second Fiddle); Junior Kimbrough and The Soul Blues Boys (Done Got Old); Dave Arcari (Meet Me In The City); Charles Brown (Bringing In A Brand New Year).

This week's show features a gob'o new releases including Buddy Guy, Kingfish, Bonnie Raitt, Ruthie Foster, Kris Lager Band, Larkin Poe, Colin Linden, Rory Block, Eric Clapton and more...Catch the podcasts at www.podomatic.com/podcasts/KIWRblues1. SRV / Willie the Wimp2. Melvin Taylor / Kansas City 3. The Fabulous Thunderbirds / Hold On4. Albert Cumming / Sounds Like the Road 5. Tedeschi Trucks Band / Somehow 6. Sue Foley / Sugar in My Bowl 7. Blue House & the Rent to Own Horns / I Go Crazy8. Professor Louie and the Crowmatix / Work It Out 9. Joanne Shaw Taylor / Nobody's Fool 10. Ruthie Foster / Soul Searching11. Larkin Poe / Strike Gold12. Billy Gibbons w/ Larkin Poe / Stackin' Bones 13. A.J. Croce / So Much Fun 14. Dr. John (feat Aaron Neville) / End of the Line 15. Kenny Blues Boss Wayne / The Way She Loves a Man 16. Pinetop Perkins w/Rusty Zinn & Ronnie Baker Brooks / Walk This Way 17. Bonnie Raitt / Livin' for the Ones18. Colin Linden / Until the Heat Leaves Town 19. Crystal Shawanda / That's Just The Woman in Me 20. Dana Fuchs / Save Me 

Making a Scene Presents an Interview with Ben LevinAt only 22 years old, Ben Levin is already making his mark as a blues pianist, vocalist, and songwriter. Ben has been nominated for a Blues Music Award and two Blues Blast Magazine Awards. Based in Cincinnati, OH, Ben has been playing 100 shows a year since he was 15 years old, embracing the authentic sound of his heroes such as Professor Longhair, Pinetop Perkins, Otis Spann, and Ray Charles. According to Bill Wilson from Reflections in Blue, “Ben Levin is GOOD…Learning at the feet of established masters and from the greatest recordings of all time; he has a deep love for the instrument and for the music.”

It's time for another fabulous edition of blues is the Truth and once again we've let the gods of the shuffle button take over with another Random Play Special (TM)... those gods have been kind and gifted us some real gems so get ready to enjoy tracks from Corey Harris, JW Jones, Rick Estrin and the Nightcats, Luther Allison, Ramon Goose, Derek and the Dominos, Robert Cray, Richard Townend, Pinetop Perkins and Willie Big Eyes Dixon, Books Williams, Redd Foxx, Jake Leg Jug Band, Eric Clapton, Rita Engedalen, Stevie Ray Vaughan, John Lee Hooker, Buddy Guy, Hokie Joint, Roomful of Blues, Gary Moore, Tedeschi Trucks Band, Matt Lomeo, Patrick Sweaney, Big Joe Williams, Reverend Raven and the Chainsmokin' Altar Boys and Eddie Boyd. As always it's a packed show! Make sure to like share and review the podcast on your platform of choice and join us in the show's Facebook group at facebook.com/groups/bluesisthetruth

Together, Muddy Waters and Willie Dixon electrified and spread all over the world the music known as The Blues!In this episode, we return to the Profiles In The Blues series with the story of Muddy Waters and Willie Dixon, both key figures in the Chicago Blues scene, tracing back to their Mississippi roots. The Imbalanced Boys gauge their impact in their own time, as well as the future of Rock & Roll!Other characters come to play in this story: Leonard Chess, Howlin' Wolf, and Little Walter among them. Top up your drinks, and kick back for a fine ride!During this episode, the guys mention the following links/sources:-Willie Dixon on loudersound.com-I Am The Blues piece on Willie on PastePlease check out our sponsors:Boldfoot Socks   https://boldfoot.comCrooked Eye Brewery   https://crookedeyebrewery.com/Don't forget that you can find all of our episodes, on-demand, for free right here on our web site: https://imbalancedhistory.com/

Season 2, Episode 8, AJ talks to Bob Margolin. When you think of classic blues guitarists, Brookline, Massachusetts very rarely enters the conversation. But todays guest was born there and then made a name for himself in the world of the Blues, playing guitar for the legendary Muddy Waters from 1973 to 1980. “Steady Rollin” Bob Margolin is a walking blues historian so when you get him in a room with our host, it is essentially a blues lesson for all. You will hear the tales of the road from a true blue aficionado. Pinetop Perkins, Johnny Winter, Chuck Berry, Bob Corritore, Jimmy Vivino and even The Band's The Last Waltz are some of the topics. Sit back, pour a pint and listen to an amazing conversation of a true road warrior, who we are proud to claim as a Bostonian.

Episode 53 - Oteil Burbridge - Music, Mystics and Magic This all new episode of the MAPS Podcast features an all new wild, magical and deep interview with the great Oteil Burbridge. One of the great bass players of the modern era, Oteil shares lessons on life, the death of his father, finding magic in music and re-introducing psychedelics into his life upon taking initation into the Grateful Dead legacy. This was one of the most exciting interviews for me to do and I hope you get a taste of what makes Oteil such a special human. being.  Two-time Grammy winning bassist Oteil Burbridge has been in the music business touring and recording for over three decades. His first step into the national spotlight came in 1991 when he became a founding member of the Aquarium Rescue Unit featuring Col. Bruce Hampton, a cult classic that has stood the test of time. That led to his membership in the classic rock group The Allman Brothers Band. Since 1997, his work with the band has earned him two Grammy nominations for best rock instrumental, in 2003 and in 2004. Over the years, Oteil has shared the stage with rock and blues legends such as Eric Clapton, Carlos Santana, Levon Helm, Taj Mahal, Buddy Guy, Pinetop Perkins, Hubert Sumlin, Billy Gibbons, Chuck Leavell, Bob Weir, Phil Lesh, Johnny Winter, Bonnie Raitt, Sheryl Crow and Trey Anastasio. In 2012, Oteil received a Grammy Lifetime Achievement Award for his 15 year contribution to the Allman Brothers Band as the longest running bassist in the band's history.

Katie Henry (On My Way); Pinetop Perkins (Hey Mr. Pinetop Perkins); Angela Strehli (Bigtown Playboy); Ben Beckendorf (Leap Of Faith); Steve James (Way Out On The Desert); Jim Kahn (Better Days Are Comin'); Steve Shanholtzer (Blues That You Choose); Deitra Farr (You've Got To Choose): Elmore James (Cry For Me Baby) Ronnie Owens (We're Gonna Move To Kansas City); Richard Ray Farrell and The Leisure Men (Blues Come Creepin' In); Victoria Spivey (Steady Grind); John Lee Hooker (Grinder Man); Victor Wainwright and The WildRoots (Walk Away My Blues); Lynwood Slim (Nothin' But The Blues); The Juke Joints (Addicted To The Blues).

Episode 141 of A History of Rock Music in Five Hundred Songs looks at “River Deep Mountain High'”, and at the career of Ike and Tina Turner.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Also, this episode was recorded before the sad death of the great Ronnie Spector, whose records are featured a couple of times in this episode, which is partly about her abusive ex-husband. Her life paralleled Tina Turner's quite closely, and if you haven't heard the episode I did about her last year, you can find it at https://500songs.com/podcast/episode-110-be-my-baby-by-the-ronettes/. I wish I'd had the opportunity to fit a tribute into this episode too. Patreon backers also have a ten-minute bonus episode available, on "Wild Thing" by the Troggs. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the Brill Building scene, and I referred to it for the material about Jeff Barry and Ellie Greenwich. I've referred to two biographies of Phil Spector in this episode, Phil Spector: Out of His Head by Richard Williams and He's a Rebel by Mark Ribkowsky. Tina Turner has written two autobiographies. I Tina is now out of print but is slightly more interesting, as it contains interview material with other people in her life. My Love Story is the more recent one and covers her whole life up to 2019. Ike Turner's autobiography Takin' Back My Name is a despicable, self-serving, work of self-justification, and I do not recommend anyone buy or read it. But I did use it for quotes in the episode so it goes on the list. Ike Turner: King of Rhythm by John Collis is more even-handed, and contains a useful discography. That Kat Sure Could Play! is a four-CD compilation of Ike Turner's work up to 1957. The TAMI and Big TNT shows are available on a Blu-Ray containing both performances. There are many compilations available with some of the hits Spector produced, but I recommend getting Back to Mono, a four-CD overview of his career containing all the major singles put out by Philles. There are sadly no good compilations of Ike and Tina Turner's career, as they recorded for multiple labels, and would regularly rerecord the hits in new versions for each new label, so any compilation you find will have the actual hit version of one or two tracks, plus a bunch of shoddy remakes. However, the hit version of "River Deep, Mountain High" is on the album of the same name, which is a worthwhile album to get,. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today's episode is unfortunately another one of those which will require a content warning, because we're going to be talking about Ike and Tina Turner. For those of you who don't know, Ike Turner was possibly the most famously abusive spouse in the whole history of music, and it is literally impossible to talk about the duo's career without talking about that abuse. I am going to try not to go into too many of the details -- if nothing else, the details are very readily available for those who want to seek them out, not least in Tina's two autobiographies, so there's no sense in retraumatising people who've experienced domestic abuse by going over them needlessly -- but it would be dishonest to try to tell the story without talking about it at all. This is not going to be an episode *about* Ike Turner's brutal treatment of Tina Turner -- it's an episode about the record, and about music, and about their musical career -- but the environment in which "River Deep, Mountain High" was created was so full of toxic, abusive, destructive men that Ike Turner may only be the third-worst person credited on the record, and so that abuse will come up. If discussion of domestic abuse, gun violence, cocaine addiction, and suicide attempts are likely to cause you problems, you might want to read the transcript rather than listen to the podcast. That said, let's get on with the story. One of the problems I'm hitting at this point of the narrative is that starting with "I Fought the Law" we've hit a run of incredibly intertangled stories  The three most recent episodes, this one, and nine of the next twelve, all really make up one big narrative about what happened when folk-rock and psychedelia hit the Hollywood scene and the Sunset Strip nightclubs started providing the raw material for the entertainment industry to turn into pop culture. We're going to be focusing on a small number of individuals, and that causes problems when trying to tell a linear narrative, because people don't live their lives sequentially -- it's not the case that everything happened to Phil Spector, and *then* everything happened to Cass Elliot, and *then* everything happened to Brian Wilson. All these people were living their lives and interacting and influencing each other, and so sometimes we'll have to mention something that will be dealt with in a future episode. So I'll say here and now that we *will* be doing an episode on the Lovin' Spoonful in two weeks. So when I say now that in late 1965 the Lovin' Spoonful were one of the biggest bands around, and possibly the hottest band in the country, you'll have to take that on trust. But they were, and in late 1965 their hit "Do You Believe in Magic?" had made the top ten: [Excerpt: The Lovin' Spoonful, "Do You Believe in Magic?"] Phil Spector, as always, was trying to stay aware of the latest trends in music, and he was floundering somewhat. Since the Beatles had hit America in 1964, the hits had dried up -- he'd produced a few minor hit records in 1964, but the only hits he'd made in 1965 had been with the Righteous Brothers -- none of his other acts were charting. And then the Righteous Brothers left him, after only a year. In late 1965, he had no hit acts and no prospect of having any. There was only one thing to do -- he needed to start making his own folk-rock records. And the Lovin' Spoonful gave him an idea how to do that. Their records were identifiably coming from the same kind of place as people like the Byrds or the Mamas and the Papas, but they were pop songs, not protest songs -- the Lovin' Spoonful weren't doing Dylan covers or anything intellectual, but joyous pop confections of a kind that anyone could relate to. Spector knew how to make pop records like that. But to do that, he needed a band. Even though he had been annoyed at the way that people had paid more attention to the Righteous Brothers, as white men, than they had to the other vocalists he'd made hit records with (who, as Black women, had been regarded by a sexist and racist public as interchangeable puppets being controlled by a Svengali rather than as artists in their own right), he knew he was going to have to work with a group of white male vocalist-instrumentalists if he wanted to have his own Lovin' Spoonful. And the group he chose was a group from Greenwich Village called MFQ. MFQ had originally named themselves the Modern Folk Quartet, as a parallel to the much better-known Modern Jazz Quartet, and consisted of Cyrus Faryar, Henry Diltz, Jerry Yester, and Chip Douglas, all of whom were multi-instrumentalists who would switch between guitar, banjo, mandolin, and bass depending on the song. They had combined Kingston Trio style clean-cut folk with Four Freshmen style modern harmonies -- Yester, who was a veteran of the New Christy Minstrels, said of the group's vocals that "the only vocals that competed with us back then was Curt Boettcher's group", and  they had been taken under the wing of manager Herb Cohen, who had got them a record deal with Warner Brothers. They recorded two albums of folk songs, the first of which was produced by Jim Dickson, the Byrds' co-manager: [Excerpt: The Modern Folk Quartet, "Sassafras"] But after their second album, they had decided to go along with the trends and switch to folk-rock. They'd started playing with electric instruments, and after a few shows where John Sebastian, the lead singer of the Lovin' Spoonful, had sat in with them on drums, they'd got themselves a full-time drummer, "Fast" Eddie Hoh, and renamed themselves the Modern Folk Quintet, but they always shortened that to just MFQ. Spector was convinced that this group could be another Lovin' Spoonful if they had the right song, and MFQ in turn were eager to become something more than an unsuccessful folk group. Spector had the group rehearsing in his house for weeks at a stretch before taking them into the studio. The song that Spector chose to have the group record was written by a young songwriter he was working with named Harry Nilsson. Nilsson was as yet a complete unknown, who had not written a hit and was still working a day job, but he had a talent for melody, and he also had a unique songwriting sensibility combining humour and heartbreak. For example, he'd written a song that Spector had recorded with the Ronettes, "Here I Sit", which had been inspired by the famous graffito from public toilet walls -- "Here I sit, broken-hearted/Paid a dime and only farted": [Excerpt: The Ronettes, "Here I Sit"] That ability to take taboo bodily functions and turn them into innocent-sounding love lyrics is also at play in the song that Spector chose to have the MFQ record. "This Could be the Night" was written by Nilsson from the perspective of someone who is hoping to lose his virginity -- he feels like he's sitting on dynamite, and he's going to "give her some", but it still sounds innocent enough to get past the radio censors of the mid-sixties: [Excerpt: Harry Nilsson, "This Could Be the Night (demo)"] Spector took that song, and recorded a version of it which found the perfect balance between Spector's own wall of sound and the Lovin' Spoonful's "Good Time Music" sound: [Excerpt: MFQ, "This Could be the Night"] Brian Wilson was, according to many people, in the studio while that was being recorded, and for decades it would remain a favourite song of Wilson's -- he recorded a solo version of it in the 1990s, and when he started touring solo for the first time in 1998 he included the song in his earliest live performances. He also tried to record it with his wife's group, American Spring, in the early 1970s, but was unable to, because while he could remember almost all of the song, he couldn't get hold of the lyrics. And the reason he couldn't get hold of the lyrics is that the record itself went unreleased, because Phil Spector had found a new performer he was focusing on instead. It happened during the filming of the Big TNT Show, a sequel to the TAMI Show, released by American International Pictures, for which "This Could Be the Night" was eventually used as a theme song. The MFQ were actually performers at the Big TNT Show, which Spector was musical director and associate producer of, but their performances were cut out of the finished film, leaving just their record being played over the credits. The Big TNT Show generally gets less respect than the TAMI Show, but it's a rather remarkable document of the American music scene at the very end of 1965, and it's far more diverse than the TAMI show. It opens with, of all people, David McCallum -- the actor who played Ilya Kuryakin on The Man From UNCLE -- conducting a band of session musicians playing an instrumental version of "Satisfaction": [Excerpt: David McCallum, "Satisfaction"] And then, in front of an audience which included Ron and Russel Mael, later of Sparks, and Frank Zappa, who is very clearly visible in audience shots, came performances of every then-current form of popular music. Ray Charles, Petula Clark, Bo Diddley, the Byrds, the Lovin' Spoonful, Roger Miller, the Ronettes, and Donovan all did multiple songs, though the oddest contribution was from Joan Baez, who as well as doing some of her normal folk repertoire also performed "You've Lost That Lovin' Feelin'" with Spector on piano: [Excerpt: Joan Baez and Phil Spector, "You've Lost That Lovin' Feelin'"] But the headline act on the eventual finished film was the least-known act on the bill, a duo who had not had a top forty hit for four years at this point, and who were only on the bill as a last-minute fill-in for an act who dropped out, but who were a sensational live act. So sensational that when Phil Spector saw them, he knew he needed to sign them -- or at least he needed to sign one of them: [Excerpt: Ike and Tina Turner with the Ikettes, "Please, Please, Please"] Because Ike and Tina Turner's performance at the Big TNT Show was, if anything, even more impressive than James Brown's performance on the TAMI Show the previous year. The last we saw of Ike Turner was way back in episode eleven. If you don't remember that, from more than three years ago, at the time Turner was the leader of a small band called the Kings of Rhythm. They'd been told by their friend B.B. King that if you wanted to make a record, the person you go to was Sam Phillips at Memphis Recording Services, and they'd recorded "Rocket '88", often cited as the first ever rock and roll record, under the name of their sax player and vocalist Jackie Brenston: [Excerpt: Jackie Brenston and the Delta Cats, "Rocket '88"] We looked at some of the repercussions from that recording throughout the first year and a half or so of the podcast, but we didn't look any more at the career of Ike Turner himself. While "Rocket '88" was a minor hit, the group hadn't followed it up, and Brenston had left to go solo. For a while Ike wasn't really very successful at all -- though he was still performing around Memphis, and a young man named Elvis Presley was taking notes at some of the shows. But things started to change for Ike when he once again turned up at Sam Phillips' studio -- this time because B.B. King was recording there. At the time, Sun Records had still not started as its own label, and Phillips' studio was being used for records made by all sorts of independent blues labels, including Modern Records, and Joe Bihari was producing a session for B.B. King, who had signed to Modern. The piano player on the session also had a connection to "Rocket '88" -- when Jackie Brenston had quit Ike's band to go solo, he'd put together a new band to tour as the Delta Cats, and Phineas Newborn Jr had ended up playing Turner's piano part on stage, before Brenston's career collapsed and Newborn became King's pianist. But Phineas Newborn was a very technical, dry, jazz pianist -- a wonderful player, but someone who was best suited to playing more cerebral material, as his own recordings as a bandleader from a few years later show: [Excerpt: Phineas Newborn Jr, "Barbados"] Bihari wasn't happy with what Newborn was playing, and the group took a break from recording to get something to eat and try to figure out the problem. While they were busy, Turner went over to the piano and started playing. Bihari said that that was exactly what they wanted, and Turner took over playing the part. In his autobiography, Turner variously remembers the song King was recording there as "You Know I Love You" and "Three O'Clock Blues", neither of which, as far as I can tell, were actually recorded at Phillips' studio, and both of which seem to have been recorded later -- it's difficult to say for sure because there were very few decent records kept of these things at the time. But we do know that Turner played on a lot of King's records in the early fifties, including on "Three O'Clock Blues", King's first big hit: [Excerpt: B.B. King, "Three O'Clock Blues"] For the next while, Turner was on salary at Modern Records, playing piano on sessions, acting as a talent scout, and also apparently writing many of the songs that Modern's artists would record, though those songs were all copyrighted under the name "Taub", a pseudonym for the Bihari brothers, as well as being a de facto arranger and producer for the company. He worked on many records made in and around Memphis, both for Modern Records and for other labels who drew from the same pool of artists and musicians. Records he played on and produced or arranged include several of Bobby "Blue" Bland's early records -- though Turner's claim in his autobiography that he played on Bland's version of "Stormy Monday" appears to be incorrect, as that wasn't recorded until a decade later. He did, though, play on Bland's “Drifting from Town to Town”, a rewrite of Charles Brown's “Driftin' Blues”, on which, as on many sessions run by Turner, the guitarist was Matt “Guitar” Murphy, who later found fame with the Blues Brothers: [Excerpt: Bobby "Blue" Bland with Ike Turner and his Orchestra, "Driftin' Blues"] Though I've also seen the piano part on that credited as being by Johnny Ace – there's often some confusion as to whether Turner or Ace played on a session, as they played with many of the same artists, but that one was later rereleased as by Bobby “Blue” Bland with Ike Turner and his Orchestra, so it's safe to say that Ike's on that one. He also played on several records by Howlin' Wolf, including "How Many More Years", recorded at Sam Phillips' studio: [Excerpt: Howlin' Wolf, "How Many More Years?"] Over the next few years he played with many artists we've covered already in the podcast, like Richard Berry and the Flairs, on whose recordings he played guitar rather than piano: [Excerpt: The Flairs, "Baby Wants"] He also played guitar on records by Elmore James: [Excerpt: Elmore James, "Please Find My Baby"] and played with Little Junior Parker, Little Milton, Johnny Ace, Roscoe Gordon, and many, many more. As well as making blues records, he also made R&B records in the style of Gene and Eunice with his then-wife Bonnie: [Excerpt: Bonnie and Ike Turner, "My Heart Belongs to You"] Bonnie was his fourth wife, all of them bigamous -- or at least, I *think* she was his fourth. I have seen two different lists Turner gave of his wives, both of them made up of entirely different people, though it doesn't help that many of them also went by nicknames. But Turner started getting married when he was fourteen, and as he would often put it "you gave a preacher two dollars, the papers cost three dollars, that was it. In those days Blacks didn't bother with divorces." (One thing you will see a lot with Turner, unfortunately, is his habit of taking his own personal misbehaviours and claiming they were either universal, or at least that they were universal among Black people, or among men. It's certainly true that some people in the Southeastern US had a more lackadaisical attitude towards remarrying without divorce at the time than we might expect, but it was in no way a Black thing specifically -- it was a people-like-Ike-Turner thing -- see for example the very similar behaviour of Jerry Lee Lewis. I'm trying, when I quote him, not to include too many of these generalisations, but I thought it important to include that one early on to show the kind of self-justification to which he was prone throughout his entire life.) It's largely because Bonnie played piano and was singing with his band that Turner switched to playing guitar, but there was another reason – while he disliked the attention he got on stage, he also didn't want a repeat of what had happened with Jackie Brenston, where Brenston as lead vocalist and frontman had claimed credit for what Ike thought of as his own record. Anyone who saw Ike Turner and his Kings of Rhythm was going to know that Ike Turner was the man who was making it all happen, and so he was going to play guitar up front rather than be on the piano in the background. So Turner took guitar lessons from Earl Hooker, one of the great blues guitarists of the period, who had played with Turner's piano inspiration Pinetop Perkins before recording solo tracks like "Sweet Angel": [Excerpt: Earl Hooker, "Sweet Angel"] Turner was always happier in the studio than performing live -- despite his astonishing ego, he was also a rather shy person who didn't like attention -- and he'd been happy working on salary for Modern and freelancing on occasion for other labels like Chess and Duke. But then the Biharis had brought him out to LA, where Modern Records was based, and as Joel Bihari put it "Ike did a great job for us, but he was a country boy. We brought him to L.A., and he just couldn't take city life. He only stayed a month, then left for East St. Louis to form his own band. He told me he was going back there to become a star." For once, Turner's memory of events lined up with what other people said about him. In his autobiography, he described what happened -- "Down in Mississippi, life is slow. Tomorrow, you are going to plough this field. The next day, you going to cut down these trees. You stop and you go on about your business. Next day, you start back on sawing trees or whatever you doing. Here I am in California, and this chick, this receptionist, is saying "Hold on, Mr Bihari, line 2... hold line 3... Hey Joe, Mr Something or other on the phone for you." I thought "What goddamn time does this stop?"" So Turner did head to East St. Louis -- which is a suburb of St. Louis proper, across the Mississippi river from it, and in Illinois rather than Missouri, and at the time a thriving industrial town in its own right, with over eighty thousand people living there. Hardly the laid-back country atmosphere that Turner was talking about, but still also far from LA both geographically and culturally. He put together a new lineup of the Kings of Rhythm, with a returning Jackie Brenston, who were soon recording for pretty much every label that was putting out blues and R&B tracks at that point, releasing records on RPM, Sue, Flair, Federal, and Modern as well as several smaller labels. usually with either Brenston or the group's drummer Billy Gayles singing lead: [Excerpt: Billy Gayles with Ike Turner's Kings of Rhythm, "Just One More Time"] None of these records was a success, but the Kings of Rhythm were becoming the most successful band in East St. Louis. In the mid-fifties the only group that was as popular in the greater St. Louis metro area was the Johnny Johnson trio -- which soon became the Chuck Berry trio, and went on to greater things, while the Kings of Rhythm remained on the club circuit. But Turner was also becoming notorious for his temper -- he got the nickname "Pistol-Whippin' Ike Turner" for the way he would attack people with his gun, He also though was successful enough that he built his own home studio, and that was where he recorded "Boxtop". a calypso song whose middle eight seems to have been nicked from "Why Do Fools Fall In Love?" and whose general feel owes more than a little to "Love is Strange": [Excerpt: Ike Turner, Carlson Oliver, and Little Ann, "Boxtop"] The female vocals on that track were by Turner's new backing vocalist, who at the time went by the stage name "Little Ann". Anna Mae Bullock had started going to see the Kings of Rhythm regularly when she was seventeen, because her sister was dating one of the members of the band, and she had become a fan almost immediately. She later described her first experience seeing the group: "The first time I saw Ike on stage he was at his very best, sharply dressed in a dark suit and tie. Ike wasn't conventionally handsome – actually, he wasn't handsome at all – and he certainly wasn't my type. Remember, I was a schoolgirl, all of seventeen, looking at a man. I was used to high school boys who were clean-cut, athletic, and dressed in denim, so Ike's processed hair, diamond ring, and skinny body – he was all edges and sharp cheekbones – looked old to me, even though he was only twenty-five. I'd never seen anyone that thin! I couldn't help thinking, God, he's ugly." Turner didn't find Bullock attractive either -- one of the few things both have always agreed on in all their public statements about their later relationship was that neither was ever particularly attracted to the other sexually -- and at first this had caused problems for Anna Mae. There was a spot in the show where Turner would invite a girl from the audience up on stage to sing, a different one every night, usually someone he'd decided he wanted to sleep with. Anna Mae desperately wanted to be one of the girls that would get up on stage, but Turner never picked her. But then one day she got her chance. Her sister's boyfriend was teasing her sister, trying to get her to sing in this spot, and passed her the microphone. Her sister didn't want to sing, so Anna Mae grabbed the mic instead, and started singing -- the song she sang was B.B. King's "You Know I Love You", the same song that Turner always remembered as being recorded at Sun studios, and on which Turner had played piano: [Excerpt: B.B. King, "You Know I Love You"] Turner suddenly took notice of Anna Mae. As he would later say, everyone *says* they can sing, but it turned out that Anna Mae could. He took her on as an occasional backing singer, not at first as a full member of the band, but as a sort of apprentice, who he would teach how to use her talents more commercially. Turner always said that during this period, he would get Little Richard to help teach Anna Mae how to sing in a more uncontrolled, exuberant, style like he did, and Richard has backed this up, though Anna Mae never said anything about this. We do know though that Richard was a huge fan of Turner's -- the intro to "Good Golly Miss Molly": [Excerpt: Little Richard, "Good Golly Miss Molly"] was taken almost exactly from the intro to "Rocket '88": [Excerpt: Jackie Brenston and the Delta Cats, "Rocket '88"] and Richard later wrote the introduction to Turner's autobiography. So it's possible -- but both men were inveterate exaggerators, and Anna Mae only joined Ike's band a few months before Richard's conversion and retirement from music, and during a point when he was a massive star, so it seems unlikely. Anna Mae started dating Raymond Hill, a saxophone player in the group, and became pregnant by him -- but then Hill broke his ankle, and used that as an excuse to move back to Clarksdale, Mississippi, to be with his family, abandoning his pregnant teenage girlfriend, and it seems to be around this point that Turner and Anna Mae became romantically and sexually involved. Certainly, one of Ike's girlfriends, Lorraine Taylor, seems to have believed they were involved while Anna Mae was pregnant, and indeed that Turner, rather than Hill, was the father. Taylor threatened Bullock with Turner's gun, before turning it on herself and attempting suicide, though luckily she survived. She gave birth to Turner's son, Ike Junior, a couple of months after Bullock gave birth to her own son, Craig. But even after they got involved, Anna Mae was still mostly just doing odd bits of backing vocals, like on "Boxtop", recorded in 1958, or on 1959's "That's All I Need", released on Sue Records: [Excerpt: Ike Turner's Kings of Rhythm, "That's All I Need"] And it seemed that would be all that Anna Mae Bullock would do, until Ike Turner lent Art Lassiter eighty dollars he didn't want to pay back. Lassiter was a singer who was often backed by his own vocal trio, the Artettes, patterned after Ray Charles' Raelettes. He had performed with Turner's band on a semi-regular basis, since 1955 when he had recorded "As Long as I Have You" with his vocal group the Trojans, backed by "Ike Turner and his Orchestra": [Excerpt: The Trojans, Ike Turner and His Orchestra, "As Long as I Have You"] He'd recorded a few more tracks with Turner since then, both solo and under group names like The Rockers: [Excerpt: The Rockers, "Why Don't You Believe?"] In 1960, Lassiter needed new tyres for his car, and borrowed eighty dollars from Turner in order to get them -- a relatively substantial amount of money for a working musician back then. He told Turner that he would pay him back at a recording session they had booked, where Lassiter was going to record a song Turner had written, "A Fool in Love", with Turner's band and the Artettes. But Lassiter never showed up -- he didn't have the eighty dollars, and Turner found himself sat in a recording studio with a bunch of musicians he was paying for, paying twenty-five dollars an hour for the studio time, and with no singer there to record. At the time, he was still under the impression that Lassiter might eventually show up, if not at that session, then at least at a future one, but until he did, there was nothing he could do and he was getting angry. Bullock suggested that they cut the track without Lassiter. They were using a studio with a multi-track machine -- only two tracks, but that would be enough. They could cut the backing track on one track, and she could record a guide vocal on the other track, since she'd been around when Turner was teaching Lassiter the song. At least that way they wouldn't have wasted all the money. Turner saw the wisdom of the idea -- he said in his autobiography "This was the first time I got hip to two-track stereo" -- and after consulting with the engineer on the session, he decided to go ahead with Bullock's plan. The plan still caused problems, because they were recording the song in a key written for a man, so Bullock had to yell more than sing, causing problems for the engineer, who according to Turner kept saying things like "Goddammit, don't holler in my microphone". But it was only a demo vocal, after all, and they got it cut -- and as Lassiter didn't show up, Turner took Lassiter's backing vocal group as his own new group, renaming the Artettes to the Ikettes, and they became the first of a whole series of lineups of Ikettes who would record with Turner for the rest of his life. The intention was still to get Lassiter to sing lead on the record, but then Turner played an acetate of it at a club night where he was DJing as well as performing, and the kids apparently went wild: [Excerpt: Ike and Tina Turner, "A Fool in Love"] Turner took the demo to Juggy Murray at Sue Records, still with the intention of replacing Anna Mae's vocal with Lassiter's, but Murray insisted that that was the best thing about the record, and that it should be released exactly as it was, that it was a guaranteed hit. Although -- while that's the story that's told all the time about that record by everyone involved in the recording and release, and seems uncontested, there does seem to be one minor problem with the story, which is that the Ikettes sing "you know you love him, you can't understand/Why he treats you like he do when he's such a good man". I'm willing to be proved wrong, of course, but my suspicion is that Ike Turner wasn't such a progressive thinker that he was writing songs about male-male relationships in 1960. It's possible that the Ikettes were recorded on the same track as Tina's guide vocals, but if the intention was to overdub a new lead from Lassiter on an otherwise finished track, it would have made more sense for them to sing their finished backing vocal part. It seems more likely to me that they decided in the studio that the record was going to go out with Anna Mae singing lead, and the idea of Murray insisting is a later exaggeration. One thing that doesn't seem to be an exaggeration, though, is that initially Murray wanted the record to go out as by Ike Turner's Kings of Rhythm featuring Little Ann, but Turner had other ideas. While Murray insisted "the girl is the star", Turner knew what happened when other people were the credited stars on his records. He didn't want another Jackie Brenston, having a hit and immediately leaving Turner right back where he started. If Little Ann was the credited singer, Little Ann would become a star and Ike Turner would have to find a new singer. So he came up with a pseudonym. Turner was a fan of jungle women in film serials and TV, and he thought a wild-woman persona would suit Anna Mae's yelled vocal, and so he named his new star after Sheena, Queen of the Jungle, a female Tarzan knock-off comic character created by Will Eisner and Jerry Iger in the thirties, but who Turner probably knew from a TV series that had been on in 1955 and 56. He gave her his surname, changed "Sheena" slightly to make the new name alliterative and always at least claimed to have registered a trademark on the name he came up with, so if Anna Mae ever left the band he could just get a new singer to use the name. Anna Mae Bullock was now Tina Turner, and the record went out as by "Ike and Tina Turner": [Excerpt: Ike and Tina Turner, "A Fool in Love"] That went to number two on the R&B charts, and hit the top thirty on the pop charts, too. But there were already problems. After Ike had had a second son with Lorraine, he then got Tina pregnant with another of his children, still seeing both women. He had already started behaving abusively towards Tina, and as well as being pregnant, she was suffering from jaundice -- she says in the first of her two autobiographies that she distinctly remembered lying in her hospital bed, hearing "A Fool in Love" on the radio, and thinking "What's love got to do with it?", though as with all such self-mythologising we should take this with a pinch of salt. Turner was in need of money to pay for lawyers -- he had been arrested for financial crimes involving forged cheques -- and Juggy Murray wouldn't give him an advance until he delivered a follow-up to "A Fool in Love", so he insisted that Tina sneak herself out of the hospital and go into the studio, jaundiced and pregnant, to record the follow-up. Then, as soon as the jaundice had cleared up, they went on a four-month tour, with Tina heavily pregnant, to make enough money to pay Ike's legal bills. Turner worked his band relentlessly -- he would accept literally any gig, even tiny clubs with only a hundred people in the audience, reasoning that it was better for the band's image to play  small venues that had to turn people away because they were packed to capacity, than to play large venues that were only half full. While "A Fool in Love" had a substantial white audience, the Ike and Tina Turner Revue was almost the epitome of the chitlin' circuit act, playing exciting, funky, tightly-choreographed shows for almost entirely Black audiences in much the same way as James Brown, and Ike Turner was in control of every aspect of the show. When Tina had to go into hospital to give birth, rather than give up the money from gigging, Ike hired a sex worker who bore a slight resemblance to Tina to be the new onstage "Tina Turner" until the real one was able to perform again. One of the Ikettes told the real Tina, who discharged herself from hospital, travelled to the venue, beat up the fake Tina, and took her place on stage two days after giving birth. The Ike and Tina Turner Revue, with the Kings of Rhythm backing Tina, the Ikettes, and male singer Jimmy Thomas, all of whom had solo spots, were an astonishing live act, but they were only intermittently successful on record. None of the three follow-ups to "A Fool in Love" did better than number eighty-two on the charts, and two of them didn't even make the R&B charts, though "I Idolize You" did make the R&B top five. Their next big hit came courtesy of Mickey and Sylvia. You may remember us talking about Mickey and Sylvia way back in episode forty-nine, from back in 2019, but if you don't, they were one of a series of R&B duet acts, like Gene and Eunice, who came up after the success of Shirley and Lee, and their big hit was "Love is Strange": [Excerpt: Mickey and Sylvia, "Love is Strange"] By 1961, their career had more or less ended, but they'd recorded a song co-written by the great R&B songwriter Rose Marie McCoy, which had gone unreleased: [Excerpt: Mickey and Sylvia, "It's Gonna Work Out Fine"] When that was shelved they remade it as an Ike and Tina Turner record, with Mickey and Sylvia being Ike -- Sylvia took on all the roles that Ike would normally do in the studio, arranging the track and playing lead guitar, as well as joining the Ikettes on backing vocals, while Mickey did the spoken answering vocals that most listeners assumed were Ike, and which Ike would replicate on stage. The result, unsurprisingly, sounded more like a Mickey and Sylvia record than anything Ike and Tina had ever released before, though it's very obviously Tina on lead vocals: [Excerpt: Ike and Tina Turner, "It's Gonna Work Out Fine"] That made the top twenty on the pop charts -- though it would be their last top forty hit for nearly a decade as Ike and Tina Turner. They did though have a couple of other hits as the Ikettes, with Ike Turner putting the girl group's name on the label so he could record for multiple labels. The first of these, "I'm Blue (The Gong Gong Song)" was a song Ike had written which would later go on to become something of an R&B standard. It featured Dolores Johnson on lead vocals, but Tina sang backing vocals and got a rare co-production credit: [Excerpt: The Ikettes, "I'm Blue (The Gong Gong Song)"] The other Ikettes top forty hit was in 1965, with a song written by Steve Venet and Tommy Boyce -- a songwriter we will be hearing more about in three weeks -- and produced by Venet: [Excerpt: The Ikettes, "Peaches 'n' Cream"] Ike wasn't keen on that record at first, but soon came round to it when it hit the charts. The success of that record caused that lineup of Ikettes to split from Ike and Tina -- the Ikettes had become a successful act in their own right, and Dick Clark's Caravan of Stars wanted to book them, but that would have meant they wouldn't be available for Ike and Tina shows. So Ike sent a different group of three girls out on the road with Clark's tour, keeping the original Ikettes back to record and tour with him, and didn't pay them any royalties on their records. They resented being unable to capitalise on their big hit, so they quit. At first they tried to keep the Ikettes name for themselves, and got Tina Turner's sister Alline to manage them, but eventually they changed their name to the Mirettes, and released a few semi-successful records. Ike got another trio of Ikettes to replace them, and carried on with Pat Arnold, Gloria Scott, and Maxine Smith as the new Ikettes,. One Ikette did remain pretty much throughout -- a woman called Ann Thomas, who Ike Turner was sleeping with, and who he would much later marry, but who he always claimed was never allowed to sing with the others, but was just there for her looks. By this point Ike and Tina had married, though Ike had not divorced any of his previous wives (though he paid some of them off when Ike and Tina became big). Ike and Tina's marriage in Tijuana was not remembered by either of them as a particularly happy experience -- Ike would always later insist that it wasn't a legal marriage at all, and in fact that it was the only one of his many, many, marriages that hadn't been, and was just a joke. He was regularly abusing her in the most horrific ways, but at this point the duo still seemed to the public to be perfectly matched. They actually only ended up on the Big TNT Show as a last-minute thing -- another act was sick, though none of my references mention who it was who got sick, just that someone was needed to fill in for them, and as Ike and Tina were now based in LA -- the country boy Ike had finally become a city boy after all -- and would take any job on no notice, they got the gig. Phil Spector was impressed, and he decided that he could revitalise his career by producing a hit for Tina Turner. There was only one thing wrong -- Tina Turner wasn't an act. *Ike* and Tina Turner was an act. And Ike Turner was a control freak, just like Spector was -- the two men had essentially the same personality, and Spector didn't want to work with someone else who would want to be in charge. After some negotiation, they came to an agreement -- Spector could produce a Tina Turner record, but it would be released as an Ike and Tina Turner record. Ike would be paid twenty thousand dollars for his services, and those services would consist of staying well away from the studio and not interfering. Spector was going to go back to the old formulas that had worked for him, and work with the people who had contributed to his past successes, rather than leaving anything to chance. Jack Nitzsche had had a bit of a falling out with him and not worked on some of the singles he'd produced recently, but he was back. And Spector was going to work with Jeff Barry and Ellie Greenwich again. He'd fallen out with Barry and Greenwich when "Chapel of Love" had been a hit for the Dixie Cups rather than for one of Spector's own artists, and he'd been working with Mann and Weill and Goffin and King instead. But he knew that it was Barry and Greenwich who were the ones who had worked best with him, and who understood his musical needs best, so he actually travelled to see them in New York instead of getting them to come to him in LA, as a peace offering and a sign of how much he valued their input. The only problem was that Spector hadn't realised that Barry and Greenwich had actually split up.  They were still working together in the studio, and indeed had just produced a minor hit single for a new act on Bert Berns' label BANG, for which Greenwich had written the horn arrangement: [Excerpt: Neil Diamond, "Solitary Man"] We'll hear more about Neil Diamond, and about Jeff Barry's work with him, in three weeks. But Barry and Greenwich were going through a divorce and weren't writing together any more, and came back together for one last writing session with Spector, at which, apparently, Ellie Greenwich would cry every time they wrote a line about love. The session produced four songs, of which two became singles. Barry produced a version of "I Can Hear Music", written at these sessions, for the Ronettes, who Spector was no longer interested in producing himself: [Excerpt: The Ronettes, "I Can Hear Music"] That only made number ninety-nine on the charts, but the song was later a hit for the Beach Boys and has become recognised as a classic. The other song they wrote in those sessions, though, was the one that Spector wanted to give to Tina Turner. "River Deep, Mountain High" was a true three-way collaboration -- Greenwich came up with the music for the verses, Spector for the choruses, and Barry wrote the lyrics and tweaked the melody slightly. Spector, Barry, and Greenwich spent two weeks in their writing session, mostly spent on "River Deep, Mountain High". Spector later said of the writing "Every time we'd write a love line, Ellie would start to cry. I couldn't figure out what was happening, and then I realised… it was a very uncomfortable situation. We wrote that, and we wrote ‘I Can Hear Music'…. We wrote three or four hit songs on that one writing session. “The whole thing about ‘River Deep' was the way I could feel that strong bass line. That's how it started. And then Jeff came up with the opening line. I wanted a tender song about a chick who loved somebody very much, but a different way of expressing it. So we came up with the rag doll and ‘I'm going to cuddle you like a little puppy'. And the idea was really built for Tina, just like ‘Lovin' Feelin” was built for the Righteous Brothers.” Spector spent weeks recording, remixing, rerecording, and reremixing the backing track, arranged by Nitzsche, creating the most thunderous, overblown, example of the Wall of Sound he had ever created, before getting Tina into the studio. He also spent weeks rehearsing Tina on the song, and according to her most of what he did was "carefully stripping away all traces of Ike from my performance" -- she was belting the song and adding embellishments, the way Ike Turner had always taught her to, and Spector kept insisting that she just sing the melody -- something that she had never had the opportunity to do before, and which she thought was wonderful. It was so different from anything else that she'd recorded that after each session, when Ike would ask her about the song, she would go completely blank -- she couldn't hold this pop song in her head except when she was running through it with Spector. Eventually she did remember it, and when she did Ike was not impressed, though the record became one of the definitive pop records of all time: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] Spector was putting everything on the line for this record, which was intended to be his great comeback and masterpiece. That one track cost more than twenty thousand dollars to record -- an absolute fortune at a time when a single would normally be recorded in one or two sessions at most. It also required a lot of work on Tina's part. She later estimated that she had sung the opening line of the song a thousand times before Spector allowed her to move on to the second line, and talked about how she got so hot and sweaty singing the song over and over that she had to take her blouse off in the studio and sing the song in her bra. She later said "I still don't know what he wanted. I still don't know if I pleased him. But I never stopped trying." Spector produced a total of six tracks with Tina, including the other two songs written at those Barry and Greenwich sessions, "I'll Never Need More Than This", which became the second single released off the "River Deep, Mountain High" album, and "Hold On Baby", plus cover versions of Arthur Alexander's "Every Day I Have to Cry Some", Pomus and Shuman's "Save the Last Dance", and "A Love Like Yours (Don't Come Knocking Everyday)" a Holland-Dozier-Holland song which had originally been released as a Martha and the Vandellas B-side. The planned album was to be padded out with six tracks produced by Ike Turner, mostly remakes of the duo's earlier hits, and was planned for release after the single became the hit everyone knew it would. The single hit the Hot One Hundred soon after it was released: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] ...and got no higher up the charts than number eighty-eight. The failure of the record basically destroyed Spector, and while he had been an abusive husband before this, now he became much worse, as he essentially retired from music for four years, and became increasingly paranoid and aggressive towards the industry that he thought was not respectful enough of his genius. There have been several different hypotheses as to why "River Deep Mountain High" was not a success. Some have said that it was simply because DJs were fed up of Spector refusing to pay payola, and had been looking for a reason to take him down a peg. Ike Turner thought it was due to racism, saying later “See, what's wrong with America, I think, is that rather than accept something for its value… what it's doing, America mixes race in it. You can't call that record R&B. But because it's Tina… if you had not put Tina's name on there and put ‘Joe Blow', then the Top 40 stations would have accepted it for being a pop record. But Tina Turner… they want to brand her as being an R&B artist. I think the main reason that ‘River Deep' didn't make it here in America was that the R&B stations wouldn't play it because they thought it was pop, and the pop stations wouldn't play it because they thought it was R&B. And it didn't get played at all. The only record I've heard that could come close to that record is a record by the Beach Boys called ‘Good Vibrations'. I think these are the two records that I've heard in my life that I really like, you know?” Meanwhile, Jeff Barry thought it was partly the DJs but also faults in the record caused by Phil Spector's egomania, saying "he has a self-destructive thing going for him, which is part of the reason that the mix on ‘River Deep' is terrible, he buried the lead and he knows he buried the lead and he cannot stop himself from doing that… if you listen to his records in sequence, the lead goes further and further in and to me what he is saying is, ‘It is not the song I wrote with Jeff and Ellie, it is not the song – just listen to those strings. I want more musicians, it's me, listen to that bass sound. …' That, to me, is what hurts in the long run... Also, I do think that the song is not as clear on the record as it should be, mix-wise. I don't want to use the word overproduced, because it isn't, it's just undermixed." There's possibly an element of all three of these factors in play. As we've discussed, 1965 seems to have been the year that the resegregation of American radio began, and the start of the long slow process of redefining genres so that rock and roll, still considered a predominantly Black music at the beginning of the sixties, was by the end of the decade considered an almost entirely white music. And it's also the case that "River Deep, Mountain High" was the most extreme production Spector ever committed to vinyl, and that Spector had made a lot of enemies in the music business. It's also, though, the case  that it was a genuinely great record: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] However, in the UK, it was promoted by Decca executive Tony Hall, who was a figure who straddled both sides of the entertainment world -- as part of his work as a music publicist he had been a presenter on Oh Boy!, written a column in Record Mirror, and presented a Radio Luxembourg show. Hall put his not-inconsiderable weight behind promoting the record, and it ended up reaching number two in the UK -- being successful enough that the album was also released over here, though it wouldn't come out in the US for several years. The record also attracted the attention of the Rolling Stones, who invited Ike and Tina to be their support act on a UK tour, which also featured the Yardbirds, and this would be a major change for the duo in all sorts of ways. Firstly, it got them properly in contact with British musicians -- and the Stones would get Ike and Tina as support artists several times over the next few years -- and also made the UK and Europe part of their regular tour itinerary. It also gave the duo their first big white rock audience, and over the next several years they would pivot more and more to performing music aimed at that audience, rather than the chitlin' circuit they'd been playing for previously. Ike was very conscious of wanting to move away from the blues and R&B -- while that was where he'd made his living as a musician, it wasn't music he actually liked, and he would often talk later about how much he respected Keith Richards and Eric Clapton, and how his favourite music was country music. Tina had also never been a fan of blues or R&B, and wanted to perform songs by the white British performers they were meeting. The tour also, though, gave Tina her first real thoughts of escape. She loved the UK and Europe, and started thinking about what life could be like for her not just being Ike Turner's wife and working fifty-one weeks a year at whatever gigs came along. But it also made that escape a little more difficult, because on the tour Tina lost one of her few confidantes in the organisation. Tina had helped Pat Arnold get away from her own abusive partner, and the two had become very close, but Arnold was increasingly uncomfortable being around Ike's abuse of Tina, and couldn't help her friend the way she'd been helped. She decided she needed to get out of a toxic situation, and decided to stay in England, where she'd struck up an affair with Mick Jagger, and where she found that there were many opportunities for her as a Black woman that simply hadn't been there in the US. (This is not to say that Britain doesn't have problems with racism -- it very much does, but those problems are *different* problems than the ones that the US had at that point, and Arnold found Britain's attitude more congenial to her personally). There was also another aspect, which a lot of Black female singers of her generation have mentioned and which probably applies here. Many Black women have said that they were astonished on visiting Britain to be hailed as great singers, when they thought of themselves as merely average. Britain does not have the kind of Black churches which had taught generations of Black American women to sing gospel, and so singers who in the US thought of themselves as merely OK would be far, far, better than any singers in the UK -- the technical standards were just so much lower here. (This is something that was still true at least as late as the mid-eighties. Bob Geldof talks in his autobiography about attending the recording session for "We Are the World" after having previously recorded "Do They Know It's Christmas?" and being astonished at how much more technically skilled the American stars were and how much more seriously they took their craft.) And Arnold wasn't just an adequate singer -- she was and is a genuinely great talent -- and so she quickly found herself in demand in the UK. Jagger got her signed to Immediate Records, a new label that had been started up by the Stones manager Andrew Oldham, and where Jimmy Page was the staff producer. She was given a new name, P.P. Arnold, which was meant to remind people of another American import, P.J. Proby, but which she disliked because the initials spelled "peepee". Her first single on the label, produced by Jagger, did nothing, but her second single, written by a then-unknown songwriter named Cat Stevens, became a big hit: [Excerpt: P.P. Arnold, "The First Cut is the Deepest"] She toured with a backing band, The Nice, and made records as a backing singer with artists like the Small Faces. She also recorded a duet with the unknown singer Rod Stewart, though that wasn't a success: [Excerpt: Rod Stewart and P.P. Arnold, "Come Home Baby"] We'll be hearing more about P.P. Arnold in future episodes, but the upshot of her success was that Tina had even fewer people to support her. The next few years were increasingly difficult for Tina, as Ike turned to cocaine use in a big way, became increasingly violent, and his abuse of her became much more violent. The descriptions of his behaviour in Tina's two volumes of autobiography are utterly harrowing, and I won't go into them in detail, except to say that nobody should have to suffer what she did. Ike's autobiography, on the other hand, has him attempting to defend himself, even while admitting to several of the most heinous allegations, by saying he didn't beat his wife any more than most men did. Now the sad thing is that this may well be true, at least among his peer group. Turner's behaviour was no worse than behaviour from, say, James Brown or Brian Jones or Phil Spector or Jerry Lee Lewis, and it may well be that behaviour like this was common enough among people he knew that Turner's behaviour didn't stand out at all. His abuse has become much better-known, because the person he was attacking happened to become one of the biggest stars in the world, while the women they attacked didn't. But that of course doesn't make what Ike did to Tina any better -- it just makes it infinitely sadder that so many more people suffered that way. In 1968, Tina actually tried to take her own life -- and she was so fearful of Ike that when she overdosed, she timed it so that she thought she would be able to at least get on stage and start the first song before collapsing, knowing that their contract required her to do that for Ike to get paid. As it was, one of the Ikettes noticed the tablets she had taken had made her so out of it she'd drawn a line across her face with her eyebrow pencil. She was hospitalised, and according to both Ike and Tina's reports, she was comatose and her heart actually stopped beating, but then Ike started yelling at her, saying if she wanted to die why didn't she do it by jumping in front of a truck, rather than leaving him with hospital bills, and telling her to go ahead and die if this was how she was going to treat him -- and she was so scared of Ike her heart started up again. (This does not seem medically likely to me, but I wasn't there, and they both were). Of course, Ike frames this as compassion and tough love. I would have different words for it myself. Tina would make several more suicide attempts over the years, but even as Tina's life was falling apart, the duo's professional career was on the up. They started playing more shows in the UK, and they toured the US as support for the Rolling Stones. They also started having hits again, after switching to performing funked-up cover versions of contemporary hits. They had a minor hit with a double-sided single of the Beatles' "Come Together" and the Stones' "Honky-Tonk Women", then a bigger one with a version of Sly and the Family Stone's "I Want to Take You Higher", then had their biggest hit ever with "Proud Mary". It's likely we'll be looking at Creedence Clearwater Revival's original version of that song at some point, but while Ike Turner disliked the original, Tina liked it, and Ike also became convinced of the song's merits by hearing a version by The Checkmates Ltd: [Excerpt: The Checkmates Ltd, "Proud Mary"] That was produced by Phil Spector, who came briefly out of his self-imposed exile from the music business in 1969 to produce a couple of singles for the Checkmates and Ronnie Spector. That version inspired Ike and Tina's recording of the song, which went to number four on the charts and won them a Grammy award in 1971: [Excerpt: Ike and Tina Turner, "Proud Mary"] Ike was also investing the money they were making into their music. He built his own state-of-the-art studio, Bolic Sound, which Tina always claimed was a nod to her maiden name, Bullock, but which he later always said was a coincidence. Several other acts hired the studio, especially people in Frank Zappa's orbit -- Flo and Eddie recorded their first album as a duo there, and Zappa recorded big chunks of Over-Nite Sensation and Apostrophe('), two of his most successful albums, at the studio. Acts hiring Bolic Sound also got Tina and the Ikettes on backing vocals if they wanted them, and so for example Tina is one of the backing vocalists on Zappa's "Cosmik Debris": [Excerpt: Frank Zappa, "Cosmik Debris"] One of the most difficult things she ever had to sing in her life was this passage in Zappa's song "Montana", which took the Ikettes several days' rehearsal to get right. [Excerpt: Frank Zappa and the Mothers of Invention, "Montana"] She was apparently so excited at having got that passage right that she called Ike out of his own session to come in and listen, but Ike was very much unimpressed, and insisted that Tina and the Ikettes not get credit on the records they made with Zappa. Zappa later said “I don't know how she managed to stick with that guy for so long. He treated her terribly and she's a really nice lady. We were recording down there on a Sunday. She wasn't involved with the session, but she came in on Sunday with a whole pot of stew that she brought for everyone working in the studio. Like out of nowhere, here's Tina Turner coming in with a rag on her head bringing a pot of stew. It was really nice.” By this point, Ike was unimpressed by anything other than cocaine and women, who he mostly got to sleep with him by having truly gargantuan amounts of cocaine around. As Ike was descending further into paranoia and abuse, though, Tina was coming into her own. She wrote "Nutbush City Limits" about the town where she grew up, and it reached number 22 on the charts -- higher than any song Ike ever wrote: [Excerpt: Ike and Tina Turner, "Nutbush City Limits"] Of course, Ike would later claim that he wrote the music and let Tina keep all the credit. Tina was also asked by the Who to appear in the film version of their rock opera Tommy, where her performance of "Acid Queen" was one of the highlights: [Excerpt: Tina Turner, "Acid Queen"] And while she was filming that in London, she was invited to guest on a TV show with Ann-Margret, who was a huge fan of Ike and Tina, and duetted with Tina -- but not Ike -- on a medley of her hits: [Excerpt: Tina Turner and Ann-Margret, "Nutbush City Limits/Honky Tonk Woman"] Just as with "River Deep, Mountain High", Tina was wanted for her own talents, independent of Ike. She was starting to see that as well as being an abusive husband, he was also not necessary for her to have a career. She was also starting to find parts of her life that she could have for herself, independent of her husband. She'd been introduced to Buddhist meditation by a friend, and took it up in a big way, much to Ike's disapproval. Things finally came to a head in July 1976, in Dallas, when Ike started beating her up and for the first time she fought back. She pretended to reconcile with him, waited for him to fall asleep, and ran across a busy interstate, almost getting hit by a ten-wheel truck, to get to another hotel she could see in the distance. Luckily, even though she had no money, and she was a Black woman in Dallas, not a city known for its enlightened attitudes in the 1970s, the manager of the Ramada Inn took pity on her and let her stay there for a while until she could get in touch with Buddhist friends. She spent the next few months living off the kindness of strangers, before making arrangements with Rhonda Graam, who had started working for Ike and Tina in 1964 as a fan, but had soon become indispensable to the organisation. Graam sided with Tina, and while still supposedly working for Ike she started putting together appearances for Tina on TV shows like Cher's. Cher was a fan of Tina's work, and was another woman trying to build a career after leaving an abusive husband who had been her musical partner: [Excerpt: Cher and Tina Turner, "Makin' Music is My Business"] Graam became Tina's full-time assistant, as well as her best friend, and remained part of her life until Graam's death a year ago. She also got Tina booked in to club gigs, but for a long time they found it hard to get bookings -- promoters would say she was "only half the act". Ike still wanted the duo to work together professionally, if not be a couple, but Tina absolutely refused, and Ike had gangster friends of his shoot up Graam's car, and Tina heard rumours that he was planning to hire a hit man to come after her. Tina filed for divorce, and gave Ike everything -- all the money the couple had earned together in sixteen years of work, all the property, all the intellectual property -- except for two cars, one of which Ike had given her and one which Sammy Davis Jr. had given her, and the one truly important thing -- the right to use the name "Tina Turner", which Ike had the trademark on. Ike had apparently been planning to hire someone else to perform as "Tina Turner" and carry on as if nothing had changed. Slowly, Tina built her career back up, though it was not without its missteps. She got a new manager, who also managed Olivia Newton-John, and the manager brought in a song he thought was perfect for Tina. She turned it down, and Newton-John recorded it instead: [Excerpt: Olivia Newton-John, "Physical"] But even while she was still playing small clubs, her old fans from the British rock scene were boosting her career. In 1981, after Rod Stewart saw her playing a club gig and singing his song "Hot Legs", he invited her to guest with him and perform the song on Saturday Night Live: [Excerpt: Rod Stewart and Tina Turner, "Hot Legs"] The Rolling Stones invited Tina to be their support act on a US tour, and to sing "Honky Tonk Women" on stage with them, and eventually when David Bowie, who was at the height of his fame at that point, told his record label he was going to see her on a night that EMI wanted to do an event for him, half the record industry showed up to the gig. She had already recorded a remake of the Temptations' "Ball of Confusion" with the British Electric Foundation -- a side project for two of the members of Heaven 17 -- in 1982, for one of their albums: [Excerpt: British Electric Foundation, "Ball of Confusion"] Now they were brought in to produce a new single for her, a remake of Al Green's "Let's Stay Together": [Excerpt: Tina Turner, "Let's Stay Together"] That made the top thirty in the US, and was a moderate hit in many places, making the top ten in the UK. She followed it up with another BEF production, a remake of "Help!" by the Beatles, which appears only to have been released in mainland Europe. But then came the big hit: [Excerpt: Tina Turner, "What's Love Got to Do With It?"] wenty-six years after she started performing with Ike, Tina Turner was suddenly a major star. She had a string of successes throughout the eighties and nineties, with more hit records, film appearances, a successful autobiography, a film based on the autobiography, and record-setting concert appearan

Making a Scene Presents an Interview with Mississippi McDonaldMacDonald knows that tradition. He's been to Al Green's church and heard him preach. He's been to Willie Mitchell's Royal Studios in Memphis, where the great records on the Hi Label were recorded. He's seen Jerry Lee Lewis kick over his piano stool. He's met B.B. King and Pinetop Perkins, Otis Clay and Sam Moore. Big Joe Turner told him to listen to Albert King. In 2008, he was a prime mover in finally getting a stone for the previously unmarked grave of soul legend O.V. Wright.

Just a 10 minute drive from Clarksdale is the world-famous "Bed & Beer" Shack Up Inn. Meet Bill Talbot, one of the owners, as he talks about the history of how the Shack Up Inn came to be. Enjoy music from Pinetop Perkins, Super Chikan, Charlie Musselwhite, Libby Rae and GA-20.

The Peterson Brothers‘ very first show was opening for Pinetop Perkins at his birthday show at Antone’s in 2009 – at ages 13 and 11. Talk about pivotal life moments. But something special was brewing. More was on the way for these budding musicians who were already making a huge impression. Speaking of pivotal moments, […]

Redd Waters grew up immersing himself in blues music at the age of seven years old. Born in Rye Brook, Ny, his early inspiration came from Muddy Waters, Stevie Ray Vaughan, and Pinetop Perkins. During his teenage years, he began singing at different bars and clubs through the nyc area. He began writing songs that spoke to the intersection of his knowledge and love of folk,blues,americana, and jazz piano. Redd Waters went on to graduate from berklee college of music in 2015, where his studies were concentrated in music performance and jazz piano. He studied with Yoko Miwa, Joanne Brackeen, and expanded his techincal prowess under the tutelage of Mike Ledonne in NYC. His band consist of award winning guitarist Jernej Bervar, revered jazz drummer Clemens Grassman, and Italy's finest bass player Carlo de Biaggio. Redd Waters debut album, “Dirt and Ash,” was just released Sept 24th!

James and Andy discuss desserts and music with Redd Waters. About the Artist An experienced pianist, Redd Waters grew up immersing himself in blues music from the tender age of seven. Born in Rye Brook, New York, he cites his early inspiration from Muddy Waters, Stevie Ray Vaughan, and Pinetop Perkins. During his teenage years, he began performing at different clubs and bars throughout the NYC area, and started writing songs that spoke to the intersection of his knowledge and appreciation of jazz piano, blues, folk, and Americana. Redd Waters went on to graduate from the Berklee College of Music in 2015, where his studies were concentrated in music performance and jazz piano with esteemed professors including Joanne Brackeen and Yoka Miwa. He continued expanding his technical prowess under the tutelage of Mike Ledonne in NYC, while also broadening his musicality as a guitarist and vocalist. Citing his former battle with addiction as one of the most profound experiences of his life, Redd Waters credits music as his medium for sharing his truth and Buddhism for overcoming his demons. Now residing in Southern Connecticut, he seeks to write songs which draw on his personal experiences, with the goal of bringing more authentic human connection to the music landscape. His debut release features sounds similar to Randy Newman, John Fulbright, and Leonard Cohen, and blends his original musicality along with a lifetime of education and development as a revered multi-instrumentalist. The highly anticipated debut album, “Dirt and Ash,” from Redd Waters is now available on all major distribution platforms through independent label, Lock City Music Group.

Making a Scene Presents an Interview with Brad Vickers of Brad Vickers and his VestapolitansBrad Vickers learned on the job playing, touring, and recording with America's blues and roots masters: Jimmy Rogers, Hubert Sumlin, Bo Diddley, Chuck Berry, Odetta, Sleepy LaBeef, Rosco Gordon, and Pinetop Perkins—with whom Brad had the good fortune to play on the Grammy-nominated discs, “Born in the Delta” (Telarc) and “Ladies' Man” (MC)—to name just a few.

Mark sits down with blues guitar legend Steve Freund to talk about his career and blues history. Steve began his career in Chicago with Hubert Sumlin, Lee Jackson, Homesick James, Louis Myers, and many others. He spent two years working with Big Walter Horton and Floyd Jones, and in 1978 he became Sunnyland Slim's main guitarist. Freund is the consummate piano accompanist working with Pinetop Perkins, Jimmy Walker, Henry Gray, Erwin Helfer and many more. Steve spent nine years working with harmonica legend James Cotton. Steve tours internationally and has played with and opens shows for Boz Scaggs. Special Thanks to Bob Corritore for his photographs Steve Freund's Website Mark Hummel's Website Produced by Accidental Productions For a video version please visit  Mark Hummel's Harmonica Party on YouTube

#OTD Blues pianist Pinetop Perkins, the oldest Grammy winner of all time (age 97), was born in Belzoni, Mississippi. Actor Stephen Bishop narrates.

21 Tiny Bradshaw / Train Kept a Rollin (Get Your Wings) 22. Rufus Thomas / Walkin' the Dog (Aerosmith [clouds]) 23. Pinetop Perkins, Rusty Zinn, Ronnie Baker Brooks / Walk This Way (Run DMC) 23. Aerosmith / You Gotta Move (Mississippi Sam McDowell, Rolling Stones (Sticky Fingers) 24. Hector Anchondo / Here's to Me Giving Up 25. Kingfish / 662 26. Kris Lager Band / Revolution 27. Josh Hoyer Band / Sunday Lies 28. Eric Clapton / Cajun Moon (JJ Cale) 29. Marshall Chapman / After Midnight 30. JJ Cale / Cocaine 32. Joe Bonamassa / Asking Around for You 33. Indigenous / Things We Do 34. Robin Trower / Find Me 35. Tom Johnston & Ellis Hall / Listen to the Music 36. Sam & Dave / I Can't Stand Up for Falling Down

This week's show is packed with some amazing music both brand new and classic... We start with the Steady Rollin' Revue and finish with an epic slow blues from John Mayall that features amazing playing from Buddy Whittington, Chris Barber and Eric Clapton... In between you'll hear amazing tracks from Lurrie Bell, Rob Stone, Dust Radio, John Lee Hooker, Mark Harrison, Richard Townend, Alex Lopex, Pinetop Perkins and Willie Big Eyes Smith, Emanuela Fizzotti, The Starlite Campbell Band, Terry Harmonica Bean and Dave Thomas, The Private Dicks Band, Matt Walklate and more... Hit play to enjoy two hours of amazing music!

In this week's episode, the men discuss big sugar and their efforts to avoid it. Tom proclaims his stern dislike for the cicadas currently taking over the Mid-Atlantic. Lupe and Royce discuss the best recording studios they’ve been to, and spar endlessly about Detroit v. Chicago. Shinola, you listening? And finally, please take the last 9 minutes of silence to remember George Floyd and why we must continue to acknowledge systemic racism and inequality in order to fulfill the promise of American freedom and justice for every citizen.Watch to watch the video version? Check out this one and all our past episodes at https://www.youtube.com/c/SayWhatMediaPodcastsEmail your questions to saywhatdotmedia@gmail.com OR leave us a voicemail at 707-276-6261.Shout out to the sponsor of today’s show, Magic Spoon: Go to magicspoon.com/lupeandroyce and use code LUPEANDROYCE at checkout for $5 off.The Lupe & Royce Show is a Say What Media Production: https://www.saywhat.media/ It is hosted by Lupe Fiasco, Royce da 5’9” and Tom Frank. It’s produced by Tom Frank and Lauren Sloat, and recorded and mixed by Claude Jennings. FOLLOW US:https://www.instagram.com/saywhat.media/https://twitter.com/saywhatdotmedia

Fabuloso Concierto tesoro de Muddy Waters en el Festival de jazz de San Sebastián. Muddy tenía 64 años y nos visitó con una banda de lujo, donde había tres guitarristas y varias leyendas vivas del blues. Plaza de la Trinidad, San Sebastián, 20 de julio de 1977. Producción propia de RNE Digitalizado para su emisión por José Miguel López, que estuvo presente en aquel concierto. MUDDY WATERS: XII FESTIVAL INTERNACIONAL DE JAZZ DE SAN SEBASTIÁN. 1977 Contenido dado por el artista, cuyo orden no se corresponde: 01.- KANSAS CITY 02.- HOOCHIE COOCHIE MAN 03.- HONEY BEE 04.- CALDONIA 05.- WALKING AND TUMBLING 06.- I CAN'T BE SATISFIED 07.- HONKY TONK 08.- SCREAMING AND CRYING Intérpretes: Muddy Waters Blues Band: Muddy Waters (guitarra, voz) Bob Margolin (guitarra) Luther Johnson Jr. (guitarra) Jerry Portnoy (armónica) Este hombre se salió aquel día, ¡vaya recital! Pinetop Perkins (piano) Calvin Jones (bajo) Willie Smith (batería) Aquel año también tocaron en San Sebastián: Charles Mingus, Cab Calloway's Harlem Parade, Wallace Davenport New Orleans Band, Dolores, Nucleus y Clarence Gatemouth Brown, aparte de los grupos aficionados. Yo asistí acreditado por el vedpertino "Informaciones" donde firmaba como José Miguel López de Haro (JMLH). Mañana celebraremos el Día Internacional del Jazz. Escuchar audio

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Steady Rollin' Bob Margolin, legendary blues music guitarist, educator, multiple award winning artist, musician and very dear friend to us here at Blues Radio International.  There is no doubt when you hear the name Bob Margolin you think of blues music, Muddy Waters & the band that Bob spent the better part of a decade playing guitar for.   However, Bob is also a music educator who has introduced blues music to many youths & young adults through the Pinetop Perkins Foundation.  The Foundation provides educational workshops for youths by top blues musicians from all around the world.  There is a new mission, The Pinetop Assistance League which helps elder musicians in their twilight years.Joined by Jesse Finkelstein & Audrey Michelle Bob talks about his friendship with legendary blues man, Pinetop Perkins & how he is carrying his wishes forward through his work with PPF & PPE.#KeepingTheBluesAlive#BluesRadioInternational#BobMargolin

This episode is an amazing interview with filmmaker Scott Rosenbaum about his award winning documentary, Sidemen-Long Road to Glory. Scott and I discuss everything from the Kickstarter campaign that got the film off his hard drive and onto the big screens, to what he was working on at the time of the interview. Scott explains the origins of Sidemen while working on his 2009 film The Perfect Age of Rock and Roll and how those 3 legends, Pinetop Perkins, Willie "Big Eyes" Smith, and Hubert Sumlin, came to be the center of his documentary. The film is now available on iTunes and through a variety of retailers including amazon. Follow Scott at his website to stay up to date on all his projects. Visit my sponsor Pure Mountain Coffee and enter coupon taitc and receive 15% off on all orders over $25. Follow my photography at Black Cat Bone Productions on Instagram --- Send in a voice message: https://podcasters.spotify.com/pod/show/artinsidethecraft/message Support this podcast: https://podcasters.spotify.com/pod/show/artinsidethecraft/support

"Steady Rollin'" Bob Margolin performed on his first record in 1967.  This blues guitarist/songwriter/vocalist has played in bands with the legends - Muddy Waters, Pinetop Perkins and many others.  Bob's won numerous blues music awards and played on several Grammy winning recordings.  Multi-award winning program director, Ray White, caught up with Bob backstage to talk about highlights from his career, his Bob Mangolin album and touched on his latest effort, This Guitar and Tonight.  In our showcase segment, Lisa Davis features the blues and roots music band The Nighthawks, whose 30th album release is Tryin' To Get To You.  Whether it Blues, Soul, R&B or Contemporary Jazz, the Coool CAT is where "Old School Is New School...Again"!