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Zondag 21 december Kerstuitzending Kerstmis (Long) Robert Long 4'06 Van de DVD Kerstconcert Eigen beheer Kerst (Veenstra) Harald Veenstra 2'51 Spotify Jubelzang (Polzer) Drs. P 1'57 Van de cd Drs. P compilé sur cd Polydor 847 920-2 Ik ben een kerstbal (Plafond, Haenen/Van Mechelen) Bert en Ernie 3'09 Van de cd Schippers in Plafondvaart CDJD 15 WTS Oh Lord, what a morning (De Corte) Jules de Corte 3'33 Eigen opname Kyrie Eleison (W. Vermandere) Herman van Veen 2'30 Van de cd Carré 2000 Polydor 549 653-2 Nepreportages (Kaandorp) Brigitte Kaandorp 4'30 Van de cd Badwater BIS 061 Praktische vrouwen (Rienstra) Yora Rienstra 2'55 Van de cd Aan jou heeft het niet gelegen Eigen beheer Kerst Pi-pa-pijpen (Polderman) Katinka Polderman 2'51 van de cd Kerstmis vier je niet alleen Eigen beheer Een beetje sneeuw (L. Vermeulen) Lotte Velvet 2'26 Van de cd Carrousel Eigen beheer Dit jaar wil ik sneeuw (Fosko/Raggende Manne) De raggende manne 1'45 Van de cd Het rottigste van de Raggende manne Eigen beheer Op deze avond (Degenhardt/Groot) Don Quishocking 3'29 Van de LP Trappen op Philips 6423 126 Hier in de stal (Verburg) Roel C. Verburg 3'00 Eigen opname Kerstmis (Finkers) Herman Finkers 3'02 Van de cd Als gezonde jongen zijnde Mercury 812 668-2 Zolang (Lohues) Jenny Arean 2'55 Van de cd Jenny Arean solo BIS 066 Rudolph the red-nosed reindeer (J. Marks) Tonny Eyk Quartet met Frans Poptie, viool Van de LP Christmas party Philips 6401 084
In unserer diesjährigen Weihnachtsfolge reisen wir zurück zu einem der frühesten Weihnachtsalben der Kelly Family: „Festliche Stunden bei der Kelly Family“, erschienen 1980 bei Polydor. Wir sprechen über die kontroverse Entstehung des Albums und ordnen „Festliche Stunden“ in die frühe Diskografie der Kelly Family ein. Natürlich nehmen wir auch die einzelnen Songs unter die Lupe. Auch wenn ihr vielleicht mit diesem Album eher weniger vertraut seid, lohnt es sich auf jeden Fall reinzuhören! Viel Spaß beim Hören! Folgt uns auch gerne auf unseren Social Media-Seiten: Instagram: www.instagram.com/keeponsinging_podcast Facebook: www.facebook.com/keeponsingingpodcast Oder schreibt uns eine Mail an keeponsinging@gmx.de Wir freuen uns auf euer Feedback! Reguläre Folgen erscheinen alle drei Wochen samstags. "Ein Song, eine Folge" erscheint alle drei Wochen mittwochs. Und bis dahin: Keep on singing!
This is the glittery grand finale of our three-part deep dive and oral history of Rachel Stevens' "Come And Get It" album, one of the greatest pop albums of the 2000s. This episode is packed with exclusives that no S Club and Rachel fan can go without knowing!In this episode, your zesty 2000s pop explorers Joel and David get into all the album tracks (like 'Crazy Boys' and the Xenomania bops 'Nothing Good About This Goodbye' and 'Funny How'). We dive into the glamorous album photoshoot by fashion photographer Morten Laursen, myth bust stories around potential singles, Rachel's unreleased songs from "Come And Get It" sessions and 2015 recordings with Richard X and Hannah Robinson, and deeply ponder... 'What would a third Rachel Stevens album sound like?'This episode features Peter Loraine of Fascination Management (the "Godfather of British Pop" and former Marketing Director at Rachel's label Polydor), Richard X and Hannah Robinson (who did 'Some Girls' and 'Crazy Boys'), Barry Stone of The Alias (formerly Jewels & Stone, who did 'I Said Never Again' and 'Every Little Thing') - plus contributions from Alexis Strum (songwriter behind 'Nothing Good About This Goodbye'), Karen Poole (who wrote 'Secret Garden') and David Eriksen (who wrote 'Dumb Dumb').In case you missed it, Joel and David covered the singles 'Some Girls' and 'Negotiate With Love' in Part One and 'So Good' and 'I Said Never Again (But Here We Are)' in Part Two. Follow Right Back At Ya!https://www.instagram.com/rightbackpod/https://twitter.com/rightbackpodhttps://www.facebook.com/rightbackpodFollow Joelhttps://www.instagram.com/dr_joelb/https://twitter.com/DR_JoelBFollow Davidhttps://www.instagram.com/lovelimmy/https://twitter.com/lovelimmyEmail us rightbackpod@gmail.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Temapláta er 'Diffucult To Cure' hjá Rainbow í 1981. Tá var Joe Lynn Turner komin við at syngja. Vokal-avloysari fyri upprunasangaran i Rainbow, Ronnie James Dio, hevði verið 'Graham Bonnet', men hann sang einans við á 'Down To Earth' í '79. Tað skuldi vísa seg, at Joe Lynn Turner fór at innspæla eins nógvar studioplátur sum Rainbowsangari og Ronnie James Dio, sum fór úr bólkinum í 1978 - tríggjar í part. Graham Bonnet er breti, meðani bæði Joe Lynn Turner og Ronnie James Dio, sáli, vóru føddir í USA. Í 1981 var trummusláarin, Bobby Rondinelli, úr New York City eisni nýggjur í bólkinum, meðan bæði Roger Glover á bassi og Don Airey á tangentum høvdu plátuna frammanundan, 'Down To Earth', sum sína Rainbow-debut. Rainbow varð upployst í 1984 og teir báðir seinast nevndu eru í 2025 við í dagsins Deep Purple. Roger Glover er bæði bassgittaristur og framleiðari, og Don Airey er ein meistari á hammondurgu í rætta tangent-anda John Lords, sála, sum tók stig til Deep Purple. Undir leiðslu av Roger Glover varð 'Diffucult To Cure' tilfarið tikið upp í Sweet Silence Studios í Keypmannahavn og Kingdom Sound Studios, Long Island, New York City. Plátufelagið Polydor gav verkið út tann 9. februar í 1981. Plátubarrin 13.12.25
Amidst a puff of smoke machine across a sticky regional gay club dancefloor, Joel and David are meeting you in July 2005, rocking cropped leather gloves for the 'spiritual lead single' of the album. 'So Good' - written by friend of the podcast and brilliant pop songwriter Hannah Robinson and Pascal Gabriel - is a stomping, empowering electro-pop banger. An utterly irresistible way to welcome Rachel's new album and also a key part of Hannah's journey as a songwriter, as we discover. Your zesty hosts chat to Hannah Robinson about 'So Good' and Barry Stone, the amazing songwriter and producer part of The Alias (previously Jewels & Stone) who did the Adam Ant-inspired single 'I Said Never Again (But Here We Are)'. Plus, legendary director Trudy Bellinger, who did the fun "Bad Girls" prison-themed music video. Joel and David are joined by music industry legend Peter Loraine of Fascination Management, who was the Marketing Director at Polydor at time, looking after Rachel alongside Simon Fuller's 19 Entertainment (now XIX Management). As far as content goes - this episode is jam packed with value like the single releases Rachel was giving us in this time. Joel and David take you through her unforgettable live performances in this era including G-A-Y and T4 On The Beach, plus the b-side ('Never Go Back') and interactive PC games!Follow Right Back At Ya!https://www.instagram.com/rightbackpod/https://twitter.com/rightbackpodhttps://www.facebook.com/rightbackpodFollow Joelhttps://www.instagram.com/dr_joelb/https://twitter.com/DR_JoelBFollow Davidhttps://www.instagram.com/lovelimmy/https://twitter.com/lovelimmyEmail us rightbackpod@gmail.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Top up the champagne and don a pair of zip-up boots, dallyn! We are celebrating 20 years of one of the greatest pop albums of the 2000s: Rachel Stevens' "Come And Get It". Featured on The Guardian's "1000 Albums You Must Listen To Before You Die" list, this brilliant electro-pop opus has stood the test of time and gained a fervent cult following, taking former-S Club star Rachel into bona fide pop star territory.Joel and David are coming at you with a zesty deep dive and oral history on the making of one of British pop's most underrated classics of the 2000s. This episode features interviews with hit songwriters and producers Richard X, Hannah Robinson and NERVO - plus an exclusive insight into the project from music industry legend Peter Loraine of Fascination Management, who was the Marketing Director at Polydor at the time, looking after Rachel alongside Simon Fuller's 19 Entertainment (now XIX Management).In Part One, we land in July 2004 for the career-defining hit single 'Some Girls', speaking to the creators Richard X and Hannah Robinson. We reminisce on the infamous clash with Spice Girl Geri Halliwell and also bring you exclusive audio from Rachel's studio session.We get into the sassy lead single of the album 'Negotiate With Love' with GRAMMY-winning songwriter / producer NERVO and connect with hitmaker Kara DioGuardi on the b-side 'Queen'. You'll also hear from music video directors Paul Weiland ('Some Girls' and one of the co-founders of Comic Relief) and Harvey B Brown (who co-directed 'Negotiate With Love').Get ready for a real vibrant snapshot of the 2000s British pop star-making machine through the lens of this unforgettable album by the one and only Rachel Stevens.Follow Right Back At Ya!https://www.instagram.com/rightbackpod/https://twitter.com/rightbackpodhttps://www.facebook.com/rightbackpodFollow Joelhttps://www.instagram.com/dr_joelb/https://twitter.com/DR_JoelBFollow Davidhttps://www.instagram.com/lovelimmy/https://twitter.com/lovelimmyEmail us rightbackpod@gmail.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
L'invité culture est le journaliste Didier Varrod, directeur musical de Radio France. Il publie La chanson française, un peu, beaucoup, passionnément. aux éditions Le Robert. Une balade en 21 chapitres dans l'histoire de la chanson française. RFI : La chanson française, un peu, beaucoup, passionnément, c'est le titre de l'ouvrage en forme de déclaration d'amour que vous consacrez à votre passion, qui est aussi celle de beaucoup de gens dans le monde pour la chanson française. Il compte 21 chapitres, 21 moments qui retracent l'histoire moderne de cette chanson. Et en vous lisant, on comprend une chose essentielle : cette chanson française est aussi le miroir de la société dans toutes ses dimensions, ses revendications, ses soubresauts et ses crises. Didier Varrod : Contrairement à ce qu'avait dit Serge Gainsbourg sur un plateau de télévision, j'ai toujours pensé que la chanson était un art majeur, même si ce n'est pas un art académique. Je comprends la nuance gainsbourienne qui consiste à dire que pour faire de la peinture, il faut un apprentissage académique, il faut connaître toute l'histoire de la peinture, mais pour moi, la chanson m'a élevé « au grain ». C'est vrai que la littérature, les livres, le cinéma, ont été importants, mais la chanson a été une sorte de tuteur qui m'a accompagné dans mon éducation, dans mes prises de conscience, dans mes émotions et dans mon identité. Je pense que c'est comme ça pour beaucoup de Françaises et de Français et de gens dans le monde entier, d'ailleurs. Parce que la musique est « un cri qui vient de l'Intérieur », comme disait Bernard Lavilliers. C'est un terrain de jeu commun, un terrain qui fabrique du bien commun, du vivre-ensemble. Pour moi, c'est aussi une langue. Le français est peut-être ma première langue maternelle, mais la chanson française, en quelque sorte, est une deuxième langue. Elle m'a permis de communiquer avec des gens. Elle m'a permis d'entrer dans l'intimité des artistes que j'ai rencontré. Pour moi, elle fait socle. Et, j'ai toujours pensé aussi que si demain il y avait une catastrophe nucléaire ou une catastrophe épouvantable, et que dans un endroit secret était protégés des disques et des vinyles, on pourrait alors comprendre ce qu'était la France des années 1950 à aujourd'hui, rien qu'à travers des chansons. C'est pour ça qu'elle a cette importance pour moi. Dans ce livre, vous partez souvent d'un cas particulier, d'une rencontre, d'une anecdote, pour exhumer une tendance générale dans la chanson française. Prenons le cas des rapports entre le monde politique et la chanson. Est-ce que les personnels politiques ont toujours courtisé les chanteurs et chanteuses ? A contrario, est-ce que les artistes ont eu besoin des politiques ? C'est un phénomène qui est apparu progressivement avec l'émergence de la société du spectacle pour reprendre les termes de Guy Debord. Il est vrai que dans les années 1950 et les années début des années 1960, les artistes, la chanson d'un côté et le monde politique, de l'autre, étaient deux territoires relativement distincts. Ce qui a changé, c'est qu'à la fin des années 1950 et au début des années 1960, il y a une nouvelle catégorie sociologique qui apparait : la jeunesse. Dans les années 1950 ou 1940, voire avant la guerre, il n'y avait pas d'adolescence. L'adolescence n'était pas considérée comme une catégorie sociale à l'instar des enfants et des adultes. Et souvent d'ailleurs, les artistes qui sont issus des années 1960 le racontent. Leur révolution, c'est ça. C'est la prise en compte tout d'un coup d'une catégorie nouvelle qui s'appelle la jeunesse, l'adolescence. Et pour le coup, elle arrive avec sa propre langue, ses propres désirs d'apparence, sa volonté de se distinguer par des vêtements, par la musique, et puis progressivement par du cinéma, puis dans les années 1980 avec la BD. Et ça, le monde politique le comprend... À partir du moment où cette catégorie est identifiée, elle devient attractive, et elle est convoitée par le personnel politique. D'autant plus avec l'instauration par Valéry Giscard d'Estaing (président de la France entre 1974 et 1981, NDLR) du droit de vote à 18 ans où, finalement, on sort de l'adolescence. Et on comprend que cette adolescence construit aussi les premières utopies, les premières convictions politiques. Je pense que ce qui a rapproché finalement le monde politique et le monde de la musique, c'est à la fois le courant des yéyés, la période de mai 1968, et aussi après les années s1970, la prise en compte de la jeunesse comme une véritable catégorie socioprofessionnelle. Et cette chanson française n'évolue pas en vase clos. Elle se fait la caisse de résonance des luttes de l'époque, des injustices, des combats. Il y a toujours eu une chanson d'auteur qui avait comme préoccupation de raconter le monde et de raconter en chanson quelles étaient les préoccupations sociales et politiques de leurs auteurs. Il y a eu, comme je le raconte dans le livre, des compagnons de route du Parti communiste français, notamment avec Jean Ferrat qui était un artiste extrêmement populaire à l'époque. À côté, il y avait des acteurs comme Yves Montand et Simone Signoret. Toute une sphère artistique très en lien avec le Parti communiste. Mais dans les années 1970, la France rattrape son retard dans la culture politique. John Fitzgerald Kennedy (président des États-Unis de 1961 à 1963, NDLR) est passé par là. Il a fait de sa campagne électorale, une campagne spectacle où le show business commençait à intervenir dans la vie politique américaine. Et du coup, Giscard, quand il arrive en 1974, applique un peu cette recette. Avec une volonté de resserrer les liens avec la sphère artistique. D'ailleurs, il vise les jeunes. Il fait fabriquer des t-shirts et il les fait porter aux artistes qui sont les plus populaires, les plus emblématiques. On a des photos de Claude François ou de Johnny Hallyday ou Sylvie Vartan avec le t-shirt « Giscard à la barre ». La chanson française se fait l'écho des revendications et des cris, enfin des revendications, des injustices, des combats. Dans les années 1970, il y a une nouvelle scène française, une nouvelle chanson française qui est une chanson d'auteur, portée par des auteurs, compositeurs, interprètes et non plus seulement par des interprètes qui se contentaient de faire des adaptations de standards américains ou anglais. Donc, à partir du moment où cette génération d'auteurs est arrivée, elle s'est inscrite dans la tradition française, celle de l'écrit qui dit quelque chose du monde, et qui existait déjà, du reste, dans les années 1920 ou 1930, avec des chanteurs qui utilisaient la chanson pour raconter à la fois leur intériorité, mais aussi leur relation au monde et leur volonté d'émancipation. Dans les années 1970, il y a la volonté d'accompagner un désir de changement, d'alternance. Il faut se remettre dans l'esprit une chose : à l'époque, les gens pensaient que l'alternance politique n'était qu'une utopie, qu'elle n'arriverait jamais. Dès lors, nous n'avions pour y croire que quelques enseignants qui nous enseignaient une vision alternative du monde. Et puis, nous avions les chanteurs. Renaud, Bernard Lavilliers, Alain Souchon, Daniel Balavoine qui exprimaient à travers leurs mots une conscience ouvrière, une volonté de changer le monde. Pour mon cas personnel, j'ai toujours pensé que les chansons de Renaud ont été bien plus efficaces que tous les cours d'éducation civique que je subissais à l'école. Quant à Balavoine, je le considère un peu comme un tuteur, un grand frère qui m'a appris la vie, qui m'a appris quel était le prix de l'émotion, qui m'a appris à « m'emporter pour ce qui m'importe », puisque c'était une des grandes phrases de Balavoine, « je m'emporte pour ce qu'il m'importe ». Alors, est-ce que pour autant les chansons changent le monde ? C'est Jean-Jacques Goldman qui a posé de façon assez judicieuse la question, sans réellement y répondre. Mais en tout cas, elles accompagnent les soubresauts politiques, elles accompagnent les mutations, et parfois, elles sont simplement la bande originale d'un moment. Chaque révolution à ses chansons. Dans ce livre, vous abordez aussi un chapitre très intéressant, c'est l'irruption du rap dans les années 1990 et la difficulté qu'a eue l'industrie musicale à intégrer le rap dans le champs de vision. Il a fallu le succès de MC Solaar, expliquez-vous, pour que finalement, on se rende compte que les banlieues avaient quelque chose à dire. Et elles le disaient d'une façon différente, mais qui était aussi de la chanson française. J'ai eu la chance de vivre personnellement ce moment. Je suis en 1991 appelé à la direction artistique de Polydor. Je ne suis pas un enfant du rap, loin de là. J'ai acheté quelques 45 tours de rap, Sugar Hill Gang qui tournait sur ma platine tout le temps. On commençait à voir des breakers comme Sydney à la télévision. Mais pour moi, c'était quand même un monde un peu étranger. Et quand j'arrive en 1991 chez Polydor, qui est vraiment le label très imprégné de chanson française, Serge Reggiani, Renaud, Maxime Le Forestier etc, il y a toute une nouvelle pop française qui émerge avec Niagara, Mylène Farmer, Patricia Kaas. Et au milieu, il y a une espèce de d'électron libre qui s'appelle MC Solaar, avec un projet hybride entre la chanson et le rap. Ce n'est pas tout à fait du rap au sens où on croit l'entendre, et ce n'est pas tout à fait de la chanson. Et de cette hybridité va naître effectivement une culture qui est celle du rap populaire qui va débouler sur les antennes de toutes les radios. Pourquoi l'industrie musicale a eu autant de mal à intégrer le rap dans ses raisonnements ? Parce que ces jeunes gens n'avaient jamais eu la chance d'être visibles, ni à la radio ni à la télé. Faut quand même rappeler que jusque dans les années 1980, il n'y a pas de « blacks » à la télé, il n'y a pas d'arabes à la télé. Et quand on les voit, c'est soit parce qu'il y a des émeutes, soit parce que tout d'un coup, il y a un élan collectif antiraciste. Donc tout d'un coup, cette jeunesse que l'on ne connaît pas arrive et remet en question la manière traditionnelle de faire la chanson. La chanson, ce n'est plus forcément un couplet, un refrain, un couplet, un refrain. Ça peut être un flow qui dure pendant trois minutes sans refrain. Ça peut être – oh scandale ! – l'arrivée du sampling dans cette musique. Et ce sampling déstabilise une partie des gens de la chanson française qui se disent « mais enfin, ils ne peuvent pas composer leur propre rythmique, ils ne peuvent pas employer un batteur et un bassiste pour créer une rythmique ! ». Et la chanson française a aussi refusé quelque part cette irruption de ce mode d'expression qui était nouveau, spontané, et aussi extrêmement écrit, mais dans une langue qui n'était pas tout à fait la langue académique. Et c'est vrai que finalement, Solaar a réussi à imposer une image de grand sage. Et il a réussi, tout d'un coup, à intéresser les tenants du patrimoine de la chanson française, c'est à dire les Aznavour, les Gainsbourg, les Juliette Gréco, tous ces artistes vraiment très patrimoniaux qui avaient connu la poésie surréaliste, qui avaient connu Boris Vian, qui avaient connu Jacques Canetti. Donc ça a été pour moi magnifique de vivre à la fois cette émergence, de comprendre aussi que ça grattait, que ça n'allait pas être facile. Finalement, puisque j'ai toujours une vision un peu historique de la chanson, je me dis que ce n'est pas si loin de ce qu'ont vécus dans les années 1960 Eddy Mitchell, Dick Rivers, Johnny Hallyday qui – comme par hasard – étaient tous des mômes issus des quartiers populaires, de la banlieue, qu'on n'appelait pas encore banlieue, et qui s'exprimaient avec des rythmes et des mots qui n'étaient pas ceux de la génération d'avant. On voit à nouveau avec le rap l'émergence d'une musique stigmatisée par l'establishment, adoubée par la rue et par le public. C'est ça qui est très intéressant. Mais encore aujourd'hui, on s'aperçoit par exemple avec la mort de Werenoi, une partie de la France s'interroge. C'est juste le plus gros vendeur de disque en France ! Et moi, je voulais aussi raconter ce long chemin de croix qu'ont vécu les rappeurs pourtant installés depuis le début des années 1990. Je ne vous dis pas le nombre de courriers que reçoit la médiatrice de France Inter (station de radio où travaille Didier Varrod, NDLR) tous les jours, toutes les semaines pour râler en disant « mais comment vous pouvez passer cette musique qui n'est pas de la musique ? ». On a eu la même chose avec la musique électronique. Mais c'est pour dire encore qu'aujourd'hui, même si cette musique-là est majoritaire économiquement dans le pays et qu'elle draine effectivement la majorité de la jeunesse, elle n'est pas la musique majoritaire pour l'institution. Dans ce livre, vous évoquez beaucoup d'artistes qui vous ont marqués. On ne va pas tous les citer. Il y a Véronique Sanson, bien évidemment. Et puis, vous parlez de Mylène Farmer. Et en lisant le chapitre sur Mylène Farmer, je me suis dit : est-ce que la chanson française fabrique des mythes ? Ou est-ce que ce sont les mythes qui s'incarnent dans la chanson française, comme ils pourraient s'incarner en littérature ou ailleurs ? C'est une question que je me suis posée plusieurs fois en écrivant ce chapitre sur Mylène Farmer. Est-ce qu'elle est née pour devenir mythologique, avec la volonté de le devenir ? Ou est-ce que finalement, c'est l'histoire de la chanson française dans son évolution qui a fabriqué ce mythe ? En fait, je pense très honnêtement que, c'est l'histoire de la chanson française qui crée le mythe autour de Mylène Farmer. Même si Mylène Farmer, quand elle arrive au début des années 1980, se nourrit d'un certain nombre de mythologies très fortes, de figures mythologiques qui cultivent à la fois le secret, un univers un peu sombre, etc. Mais en fait, c'est en regardant l'histoire de la chanson que l'on s'aperçoit que finalement, ce mythe va naître et se muscler et s'intensifier. Cette identité, parfois, se transmet de père en fils. Vous abordez parmi tous les phénomènes que génère la chanson dans une société. Celui de l'héritage et des familles : les Higelin, les Chedid, les Gainsbourg.. La chanson française, serait-elle transmissible génétiquement, si je puis dire ? C'est l'une de ses singularités. Et en fait, c'est un questionnement que j'ai eu parce souvent, quand on me présente un artiste, je me dis « Tiens, c'est la fille de ou le fils de... ». Il y a quand même ce truc en France qui rend un peu suspect la légitimité ou l'intégrité, lorsque l'on est fille ou fils de ou petit-fils ou petite fille de. Et c'est vrai que c'est une question. En fait, c'est l'une des singularités de l'histoire de la chanson française. Il y a Gainsbourg, il y a Chedid, il y a Hardy, Dutronc, France Gall... Une partie de l'histoire de la chanson s'est construite, édifiée et fut nourrie par ces familles. Et c'était aussi peut-être leur rendre alors ce qui m'a aussi poussé. J'ai beaucoup hésité à écrire ce chapitre, jusqu'au moment où je suis allé voir le spectacle d'Alain Souchon avec ses deux fils. Au départ, je me disais « Mais il ne peut pas faire un spectacle tout seul ou avec Laurent Voulzy (son complice de scène NDLR) ». Et en fait, de voir ces trois personnalités liées par le sang, par un amour inconditionnel et construire une œuvre d'art à l'intérieur d'une histoire de la chanson, ça m'a bouleversé. Je me suis dit : « Il faut rendre hommage à cette volonté de revendiquer à ciel ouvert une histoire de famille. » Et puis après, il y a aussi une dimension dans les histoires de famille que l'on aborde assez peu. C'est le phénomène de la statue du Commandeur, c'est-à-dire qu'il y a beaucoup d'artistes qui sont tellement impressionnés par l'image de la mère ou du père qui se disent « comment puis-je le dépasser ? ». Ce n'est pas simple pour tout le monde. Oui, et j'aurais pu aussi d'ailleurs évoquer dans le livre toutes les histoires de famille qui ont échoué, ou en tout cas, ces histoires d'enfants qui ont eu moins de succès ou ont eu plus de difficultés que leur maman ou leur papa. Et ça fera peut-être l'objet d'un tome 2, mais ce n'est jamais très agréable d'écrire sur les échecs. Mais ce que vous racontez là est vraiment juste. Quand on parle de Thomas Dutronc par exemple (fils de Jacques Dutronc et de Françoise Hardy, tous deux artistes NDLR), c'est quand même génial. Une jeune garçon, un fils de, avec un père et une mère qui ont marqué la chanson... Il fait son apprentissage en secret se disant « si j'ai une chance de réussir, il ne faut pas que je sois chanteur, ou en tout cas, il ne faut pas que mon fantasme premier soit d'être dans la lumière ». Et c'est très bouleversant, parce qu'en fait, il va devenir un immense musicien en s'imposant la clandestinité. Il est devenu guitariste de jazz manouche, pour aller dans un monde qui n'était ni celui de son père, ni celui de sa mère. Donc il y a des très belles histoires dans cette épopée de la chanson française.
L'invité culture est le journaliste Didier Varrod, directeur musical de Radio France. Il publie La chanson française, un peu, beaucoup, passionnément. aux éditions Le Robert. Une balade en 21 chapitres dans l'histoire de la chanson française. RFI : La chanson française, un peu, beaucoup, passionnément, c'est le titre de l'ouvrage en forme de déclaration d'amour que vous consacrez à votre passion, qui est aussi celle de beaucoup de gens dans le monde pour la chanson française. Il compte 21 chapitres, 21 moments qui retracent l'histoire moderne de cette chanson. Et en vous lisant, on comprend une chose essentielle : cette chanson française est aussi le miroir de la société dans toutes ses dimensions, ses revendications, ses soubresauts et ses crises. Didier Varrod : Contrairement à ce qu'avait dit Serge Gainsbourg sur un plateau de télévision, j'ai toujours pensé que la chanson était un art majeur, même si ce n'est pas un art académique. Je comprends la nuance gainsbourienne qui consiste à dire que pour faire de la peinture, il faut un apprentissage académique, il faut connaître toute l'histoire de la peinture, mais pour moi, la chanson m'a élevé « au grain ». C'est vrai que la littérature, les livres, le cinéma, ont été importants, mais la chanson a été une sorte de tuteur qui m'a accompagné dans mon éducation, dans mes prises de conscience, dans mes émotions et dans mon identité. Je pense que c'est comme ça pour beaucoup de Françaises et de Français et de gens dans le monde entier, d'ailleurs. Parce que la musique est « un cri qui vient de l'Intérieur », comme disait Bernard Lavilliers. C'est un terrain de jeu commun, un terrain qui fabrique du bien commun, du vivre-ensemble. Pour moi, c'est aussi une langue. Le français est peut-être ma première langue maternelle, mais la chanson française, en quelque sorte, est une deuxième langue. Elle m'a permis de communiquer avec des gens. Elle m'a permis d'entrer dans l'intimité des artistes que j'ai rencontré. Pour moi, elle fait socle. Et, j'ai toujours pensé aussi que si demain il y avait une catastrophe nucléaire ou une catastrophe épouvantable, et que dans un endroit secret était protégés des disques et des vinyles, on pourrait alors comprendre ce qu'était la France des années 1950 à aujourd'hui, rien qu'à travers des chansons. C'est pour ça qu'elle a cette importance pour moi. Dans ce livre, vous partez souvent d'un cas particulier, d'une rencontre, d'une anecdote, pour exhumer une tendance générale dans la chanson française. Prenons le cas des rapports entre le monde politique et la chanson. Est-ce que les personnels politiques ont toujours courtisé les chanteurs et chanteuses ? A contrario, est-ce que les artistes ont eu besoin des politiques ? C'est un phénomène qui est apparu progressivement avec l'émergence de la société du spectacle pour reprendre les termes de Guy Debord. Il est vrai que dans les années 1950 et les années début des années 1960, les artistes, la chanson d'un côté et le monde politique, de l'autre, étaient deux territoires relativement distincts. Ce qui a changé, c'est qu'à la fin des années 1950 et au début des années 1960, il y a une nouvelle catégorie sociologique qui apparait : la jeunesse. Dans les années 1950 ou 1940, voire avant la guerre, il n'y avait pas d'adolescence. L'adolescence n'était pas considérée comme une catégorie sociale à l'instar des enfants et des adultes. Et souvent d'ailleurs, les artistes qui sont issus des années 1960 le racontent. Leur révolution, c'est ça. C'est la prise en compte tout d'un coup d'une catégorie nouvelle qui s'appelle la jeunesse, l'adolescence. Et pour le coup, elle arrive avec sa propre langue, ses propres désirs d'apparence, sa volonté de se distinguer par des vêtements, par la musique, et puis progressivement par du cinéma, puis dans les années 1980 avec la BD. Et ça, le monde politique le comprend... À partir du moment où cette catégorie est identifiée, elle devient attractive, et elle est convoitée par le personnel politique. D'autant plus avec l'instauration par Valéry Giscard d'Estaing (président de la France entre 1974 et 1981, NDLR) du droit de vote à 18 ans où, finalement, on sort de l'adolescence. Et on comprend que cette adolescence construit aussi les premières utopies, les premières convictions politiques. Je pense que ce qui a rapproché finalement le monde politique et le monde de la musique, c'est à la fois le courant des yéyés, la période de mai 1968, et aussi après les années s1970, la prise en compte de la jeunesse comme une véritable catégorie socioprofessionnelle. Et cette chanson française n'évolue pas en vase clos. Elle se fait la caisse de résonance des luttes de l'époque, des injustices, des combats. Il y a toujours eu une chanson d'auteur qui avait comme préoccupation de raconter le monde et de raconter en chanson quelles étaient les préoccupations sociales et politiques de leurs auteurs. Il y a eu, comme je le raconte dans le livre, des compagnons de route du Parti communiste français, notamment avec Jean Ferrat qui était un artiste extrêmement populaire à l'époque. À côté, il y avait des acteurs comme Yves Montand et Simone Signoret. Toute une sphère artistique très en lien avec le Parti communiste. Mais dans les années 1970, la France rattrape son retard dans la culture politique. John Fitzgerald Kennedy (président des États-Unis de 1961 à 1963, NDLR) est passé par là. Il a fait de sa campagne électorale, une campagne spectacle où le show business commençait à intervenir dans la vie politique américaine. Et du coup, Giscard, quand il arrive en 1974, applique un peu cette recette. Avec une volonté de resserrer les liens avec la sphère artistique. D'ailleurs, il vise les jeunes. Il fait fabriquer des t-shirts et il les fait porter aux artistes qui sont les plus populaires, les plus emblématiques. On a des photos de Claude François ou de Johnny Hallyday ou Sylvie Vartan avec le t-shirt « Giscard à la barre ». La chanson française se fait l'écho des revendications et des cris, enfin des revendications, des injustices, des combats. Dans les années 1970, il y a une nouvelle scène française, une nouvelle chanson française qui est une chanson d'auteur, portée par des auteurs, compositeurs, interprètes et non plus seulement par des interprètes qui se contentaient de faire des adaptations de standards américains ou anglais. Donc, à partir du moment où cette génération d'auteurs est arrivée, elle s'est inscrite dans la tradition française, celle de l'écrit qui dit quelque chose du monde, et qui existait déjà, du reste, dans les années 1920 ou 1930, avec des chanteurs qui utilisaient la chanson pour raconter à la fois leur intériorité, mais aussi leur relation au monde et leur volonté d'émancipation. Dans les années 1970, il y a la volonté d'accompagner un désir de changement, d'alternance. Il faut se remettre dans l'esprit une chose : à l'époque, les gens pensaient que l'alternance politique n'était qu'une utopie, qu'elle n'arriverait jamais. Dès lors, nous n'avions pour y croire que quelques enseignants qui nous enseignaient une vision alternative du monde. Et puis, nous avions les chanteurs. Renaud, Bernard Lavilliers, Alain Souchon, Daniel Balavoine qui exprimaient à travers leurs mots une conscience ouvrière, une volonté de changer le monde. Pour mon cas personnel, j'ai toujours pensé que les chansons de Renaud ont été bien plus efficaces que tous les cours d'éducation civique que je subissais à l'école. Quant à Balavoine, je le considère un peu comme un tuteur, un grand frère qui m'a appris la vie, qui m'a appris quel était le prix de l'émotion, qui m'a appris à « m'emporter pour ce qui m'importe », puisque c'était une des grandes phrases de Balavoine, « je m'emporte pour ce qu'il m'importe ». Alors, est-ce que pour autant les chansons changent le monde ? C'est Jean-Jacques Goldman qui a posé de façon assez judicieuse la question, sans réellement y répondre. Mais en tout cas, elles accompagnent les soubresauts politiques, elles accompagnent les mutations, et parfois, elles sont simplement la bande originale d'un moment. Chaque révolution à ses chansons. Dans ce livre, vous abordez aussi un chapitre très intéressant, c'est l'irruption du rap dans les années 1990 et la difficulté qu'a eue l'industrie musicale à intégrer le rap dans le champs de vision. Il a fallu le succès de MC Solaar, expliquez-vous, pour que finalement, on se rende compte que les banlieues avaient quelque chose à dire. Et elles le disaient d'une façon différente, mais qui était aussi de la chanson française. J'ai eu la chance de vivre personnellement ce moment. Je suis en 1991 appelé à la direction artistique de Polydor. Je ne suis pas un enfant du rap, loin de là. J'ai acheté quelques 45 tours de rap, Sugar Hill Gang qui tournait sur ma platine tout le temps. On commençait à voir des breakers comme Sydney à la télévision. Mais pour moi, c'était quand même un monde un peu étranger. Et quand j'arrive en 1991 chez Polydor, qui est vraiment le label très imprégné de chanson française, Serge Reggiani, Renaud, Maxime Le Forestier etc, il y a toute une nouvelle pop française qui émerge avec Niagara, Mylène Farmer, Patricia Kaas. Et au milieu, il y a une espèce de d'électron libre qui s'appelle MC Solaar, avec un projet hybride entre la chanson et le rap. Ce n'est pas tout à fait du rap au sens où on croit l'entendre, et ce n'est pas tout à fait de la chanson. Et de cette hybridité va naître effectivement une culture qui est celle du rap populaire qui va débouler sur les antennes de toutes les radios. Pourquoi l'industrie musicale a eu autant de mal à intégrer le rap dans ses raisonnements ? Parce que ces jeunes gens n'avaient jamais eu la chance d'être visibles, ni à la radio ni à la télé. Faut quand même rappeler que jusque dans les années 1980, il n'y a pas de « blacks » à la télé, il n'y a pas d'arabes à la télé. Et quand on les voit, c'est soit parce qu'il y a des émeutes, soit parce que tout d'un coup, il y a un élan collectif antiraciste. Donc tout d'un coup, cette jeunesse que l'on ne connaît pas arrive et remet en question la manière traditionnelle de faire la chanson. La chanson, ce n'est plus forcément un couplet, un refrain, un couplet, un refrain. Ça peut être un flow qui dure pendant trois minutes sans refrain. Ça peut être – oh scandale ! – l'arrivée du sampling dans cette musique. Et ce sampling déstabilise une partie des gens de la chanson française qui se disent « mais enfin, ils ne peuvent pas composer leur propre rythmique, ils ne peuvent pas employer un batteur et un bassiste pour créer une rythmique ! ». Et la chanson française a aussi refusé quelque part cette irruption de ce mode d'expression qui était nouveau, spontané, et aussi extrêmement écrit, mais dans une langue qui n'était pas tout à fait la langue académique. Et c'est vrai que finalement, Solaar a réussi à imposer une image de grand sage. Et il a réussi, tout d'un coup, à intéresser les tenants du patrimoine de la chanson française, c'est à dire les Aznavour, les Gainsbourg, les Juliette Gréco, tous ces artistes vraiment très patrimoniaux qui avaient connu la poésie surréaliste, qui avaient connu Boris Vian, qui avaient connu Jacques Canetti. Donc ça a été pour moi magnifique de vivre à la fois cette émergence, de comprendre aussi que ça grattait, que ça n'allait pas être facile. Finalement, puisque j'ai toujours une vision un peu historique de la chanson, je me dis que ce n'est pas si loin de ce qu'ont vécus dans les années 1960 Eddy Mitchell, Dick Rivers, Johnny Hallyday qui – comme par hasard – étaient tous des mômes issus des quartiers populaires, de la banlieue, qu'on n'appelait pas encore banlieue, et qui s'exprimaient avec des rythmes et des mots qui n'étaient pas ceux de la génération d'avant. On voit à nouveau avec le rap l'émergence d'une musique stigmatisée par l'establishment, adoubée par la rue et par le public. C'est ça qui est très intéressant. Mais encore aujourd'hui, on s'aperçoit par exemple avec la mort de Werenoi, une partie de la France s'interroge. C'est juste le plus gros vendeur de disque en France ! Et moi, je voulais aussi raconter ce long chemin de croix qu'ont vécu les rappeurs pourtant installés depuis le début des années 1990. Je ne vous dis pas le nombre de courriers que reçoit la médiatrice de France Inter (station de radio où travaille Didier Varrod, NDLR) tous les jours, toutes les semaines pour râler en disant « mais comment vous pouvez passer cette musique qui n'est pas de la musique ? ». On a eu la même chose avec la musique électronique. Mais c'est pour dire encore qu'aujourd'hui, même si cette musique-là est majoritaire économiquement dans le pays et qu'elle draine effectivement la majorité de la jeunesse, elle n'est pas la musique majoritaire pour l'institution. Dans ce livre, vous évoquez beaucoup d'artistes qui vous ont marqués. On ne va pas tous les citer. Il y a Véronique Sanson, bien évidemment. Et puis, vous parlez de Mylène Farmer. Et en lisant le chapitre sur Mylène Farmer, je me suis dit : est-ce que la chanson française fabrique des mythes ? Ou est-ce que ce sont les mythes qui s'incarnent dans la chanson française, comme ils pourraient s'incarner en littérature ou ailleurs ? C'est une question que je me suis posée plusieurs fois en écrivant ce chapitre sur Mylène Farmer. Est-ce qu'elle est née pour devenir mythologique, avec la volonté de le devenir ? Ou est-ce que finalement, c'est l'histoire de la chanson française dans son évolution qui a fabriqué ce mythe ? En fait, je pense très honnêtement que, c'est l'histoire de la chanson française qui crée le mythe autour de Mylène Farmer. Même si Mylène Farmer, quand elle arrive au début des années 1980, se nourrit d'un certain nombre de mythologies très fortes, de figures mythologiques qui cultivent à la fois le secret, un univers un peu sombre, etc. Mais en fait, c'est en regardant l'histoire de la chanson que l'on s'aperçoit que finalement, ce mythe va naître et se muscler et s'intensifier. Cette identité, parfois, se transmet de père en fils. Vous abordez parmi tous les phénomènes que génère la chanson dans une société. Celui de l'héritage et des familles : les Higelin, les Chedid, les Gainsbourg.. La chanson française, serait-elle transmissible génétiquement, si je puis dire ? C'est l'une de ses singularités. Et en fait, c'est un questionnement que j'ai eu parce souvent, quand on me présente un artiste, je me dis « Tiens, c'est la fille de ou le fils de... ». Il y a quand même ce truc en France qui rend un peu suspect la légitimité ou l'intégrité, lorsque l'on est fille ou fils de ou petit-fils ou petite fille de. Et c'est vrai que c'est une question. En fait, c'est l'une des singularités de l'histoire de la chanson française. Il y a Gainsbourg, il y a Chedid, il y a Hardy, Dutronc, France Gall... Une partie de l'histoire de la chanson s'est construite, édifiée et fut nourrie par ces familles. Et c'était aussi peut-être leur rendre alors ce qui m'a aussi poussé. J'ai beaucoup hésité à écrire ce chapitre, jusqu'au moment où je suis allé voir le spectacle d'Alain Souchon avec ses deux fils. Au départ, je me disais « Mais il ne peut pas faire un spectacle tout seul ou avec Laurent Voulzy (son complice de scène NDLR) ». Et en fait, de voir ces trois personnalités liées par le sang, par un amour inconditionnel et construire une œuvre d'art à l'intérieur d'une histoire de la chanson, ça m'a bouleversé. Je me suis dit : « Il faut rendre hommage à cette volonté de revendiquer à ciel ouvert une histoire de famille. » Et puis après, il y a aussi une dimension dans les histoires de famille que l'on aborde assez peu. C'est le phénomène de la statue du Commandeur, c'est-à-dire qu'il y a beaucoup d'artistes qui sont tellement impressionnés par l'image de la mère ou du père qui se disent « comment puis-je le dépasser ? ». Ce n'est pas simple pour tout le monde. Oui, et j'aurais pu aussi d'ailleurs évoquer dans le livre toutes les histoires de famille qui ont échoué, ou en tout cas, ces histoires d'enfants qui ont eu moins de succès ou ont eu plus de difficultés que leur maman ou leur papa. Et ça fera peut-être l'objet d'un tome 2, mais ce n'est jamais très agréable d'écrire sur les échecs. Mais ce que vous racontez là est vraiment juste. Quand on parle de Thomas Dutronc par exemple (fils de Jacques Dutronc et de Françoise Hardy, tous deux artistes NDLR), c'est quand même génial. Une jeune garçon, un fils de, avec un père et une mère qui ont marqué la chanson... Il fait son apprentissage en secret se disant « si j'ai une chance de réussir, il ne faut pas que je sois chanteur, ou en tout cas, il ne faut pas que mon fantasme premier soit d'être dans la lumière ». Et c'est très bouleversant, parce qu'en fait, il va devenir un immense musicien en s'imposant la clandestinité. Il est devenu guitariste de jazz manouche, pour aller dans un monde qui n'était ni celui de son père, ni celui de sa mère. Donc il y a des très belles histoires dans cette épopée de la chanson française.
Speellijst Zondag 23 november 2025 Versjes (Hermans) Toon Hermans 1'10 Van de cd One Man Show 1997 Polydor 547 007-2 Er was eens een wolk (Hermans) Toon Hermans 1'30 Van de cd One Man Show 1997 Polydor 547 007-2 De stok de steen (Lobim/Sinninghe Damsté) Anna Serierse, Jim van der Zee 3'37 Spotify Mijn lieve kleinkind (Beuving/Vlasblom) Josee Koning 2'48 eigen opname Tolerant (Long) Leen Jongewaard 5'25 Van de LP Leen is alive 1A 062-26602 Cést ca (Y. Rienstra/G. Bouchez, H. v. Veen) Herman van Veen, Gaetane Boucher-Van Veen 2'27 Van de cd Plus Universal 787 739-1 La tendresse/zonder liefde (Roux/Giraud/Nooteboom) Britta Maria & Maurits Fondse 3'25 Van de cd Heb het leven lief Eigen beheer As, de regen en mij (Walsh/Peters/Nooteboom) Liesbeth List 3'02 Van de cd Het mooiste van Liesbeth List Mercury 542 402-2 Meneer van Duinenberg (De Corte) Jules de Corte 1'54 Eigen opname De gulle lach (S. Carmiggelt) Wim Sonneveld 5'50 Uit de DVD box Wim Sonneveld in beeld Universal 984 710-6 De amateur atoombom (Vian/Van Altena) Peter Blanker 2'21 van EP Peter Blanker zingt ant- militaire liedjes van Boris Vian Delta DE 119 Je deed het (Verburg) Roel C. Verburg 2'29 Eigen opname Toen ik hoorde dat het slecht ging (Woe) Jeroen Woe 2'50 Spotify Heel veel hebben (L. van der Klein) Grof geschut 2'52 Van de cd Meer SMART 17 492851 10 Huppelliedje (S. Gaaikema) Wim Kan Van de cd Altijd leuk is ook zo lollig niet 3'47 Mercury 528 760-2 S.O.S. (Bouber) Het 2'10 Van de LP Het: ik heb geen zin om op te staan Pseudonym VP99.021
Sintonía: "Armadillo" - Mandrill"Positive Thing" - "Positive Thing" + "Skying Upward" - "Love Is Sunshine" - "Mini-Suite For Duke" - "Cal-Ipso" - "Bro´ Weevil & The Swallow" - "Khidja" - "Drill In The Bush" - "After The Race"Todas las músicas extraídas del álbum "Mandrilland" (2xLP, Polydor 1974) de MandrillTodas las músicas compuestas e interpretadas por Mandrill Escuchar audio
Zondag 16 november 2025: Verdraagzaamheid Zoldercafé fragment (Van 't Hek) Youp van 't Hek 1'28 van de cd Spelen met je leven CNR 2002185 Scheidt (Visser) Joop & Jessica 2'07 Van de cd Voor Kees en Annie Eigen beheer We willen ze niet (Long) Robert Long 4'17 Van de cd Voor mijn vrienden Universal 471 410-2 Nederland een paradijs (Gaaikema, Vermaat) Seth Gaaikema 2'27 Van de cd Ik zou je het liefste in een doosje willen doen NN 500.005-2 De Polen (Roeka) Alex Roeka 3'55 Van de cd Rauwe genadeExcel96592 Polen gestolen (Frencken) Mylou Frencken 3'38 Van de cd Mylou geeft licht Eigen beheer Radicaal tolerant (Fokkema) Marjolein Fokkema 3'00 Eigen opname Loopje kwijt (Meijers) De Berini's 3'23 Van de cd De Straat Munich CDJD 27BR De zeeliedenstaking (Gilbert/Bew. Jaap van de Merwe) Cobi Schreijer, Bernard Droog 1'59 Eigen opname Turken in Amsterdam (I. de Wijs/A. Oomen) Kabaret Ivo de Wijs 3'30 Van de LP Cabaret in Amsterdam Philips 6629 002 Zondag voor de gastarbeiders (Wilmink/Bannink) Joost Prinsen 3'00 Van de cd Een kop die je zelf niet bevalt BASTA 30-9139-2 ZVBO-school (Raymann) Jörgen Raymann 5'18 Van de cd Even slikken… RB 66.185 Verrek vertrek (I. de Wijs/J. Stokkermans 3'45 Van de cd Jenny Arean solo BIS 066 Een beter land (L. Spee, W. Wilmink/L. Spee) Herman van Veen 3'06 Van de cd Er was eens…Polydor 543 418-2 Vogeltje (H. v. Veen) Herman van Veen, viool 2'51 van de cd Je zoenen zijn zoeter Polydor 543 009- 2
Hosts Jim DeRogatis and Greg Kot talk with journalist and author Alan Light about his book “Don't Stop: Why We (Still) Love Fleetwood Mac's Rumours.” They discuss the music, history and why younger generations are still listening to this record almost 50 years after its release.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Fleetwood Mac, "I Don't Want to Know," Rumours, Warner Bros., 1977The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Fleetwood Mac, "Don't Stop," Rumours, Warner Bros., 1977Fleetwood Mac, "Second Hand News," Rumours, Warner Bros., 1977Fleetwood Mac, "Silver Springs (Live)," The Dance, Reprise, 1997Fleetwood Mac, "You Make Loving Fun," Rumours, Warner Bros., 1977Fleetwood Mac, "Gold Dust Woman," Rumours, Warner Bros., 1977Fleetwood Mac, "Go Your Own Way," Rumours, Warner Bros., 1977Buckingham Nicks, "Frozen Love," Buckingham Nicks, Polydor, 1973Fleetwood Mac, "Tusk," Tusk, Warner Bros., 1979Fleetwood Mac, "The Chain," Rumours, Warner Bros., 1977Fleetwood Mac, "Dreams," Rumours, Warner Bros., 1977Fleetwood Mac, "Never Going Back," Rumours, Warner Bros., 1977Fleetwood Mac, "Songbird," Rumours, Warner Bros., 1977Fleetwood Mac, "Landslide (Live)," The Dance, Reprise, 1997Alanis Morissette, "Thank U," Supposed Former Infatuation Junkie, Maverick, 1998See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Sintonía: "Fat City Strut" - Mandrill1.- "Hang Loose"2.- "Hagalo"3.- "Polk Street Carnival"4.- "Golden Stone"Extraídas del tercer álbum de la banda estadounidense titulado "Composite Truth" (Polydor, 1973)5.- "Mango Meat"6.- "Never Die"7.- "Two Sisters of Mystery"8.- "Africus Retrospectus"Extraídas del 4º, "Just Outside Of Town" (Polydor, 1973)9.- "Moroccan Nights" (extraída de "Composite Truth")Todas las músicas compuestas e interpretadas por MandrillEscuchar audio
The Money Trench - The Music Industry Podcast with Mark Sutherland
Welcome to The Money Trench! This week, Mark is joined by Rich Castillo, President of LionBear Music Group and one of the UK's most influential A&R executives of the past two decades. From his beginnings as a boy band hopeful, to discovering N-Dubz, signing Tion Wayne, and leading A&R teams at Polydor, Sony, and EMI, Rich's career spans the past 20 years of British music. Now running his own independent label, publisher, and management company, he shares his hard-won insights into what it takes to survive and thrive in the modern music industry. NEWSLETTER Sign up HERE for the TMT newsletter - featuring each week's hottest music industry stories. SOUNDON The Money Trench is sponsored by SoundOn. TIXEL The Money Trench is sponsored by Tixel. PPL The Money Trench is sponsored by the PPL. KEEP UP TO DATE For the latest podcast and music business updates, make sure to follow us on: Instagram: @the_money_trench LinkedIn: The Money Trench Website: The Money Trench GET IN TOUCH If you have any feedback, guest suggestions or general comments? We'd love to hear from you! - Get in touch here! Thanks to our partners SoundOn Tixel PPL Earth/Percent Tom A Smith Aimless Play Fourth Pillar Sennheiser Junkhead Studio Tape Notes Executive Producer: Mike Walsh Producer: Tape Notes
Sintonía: "Peace & Love (Amani Na Mapenzi): Movement V (Beginning)" - Mandrill"Mandrill" - "Rollin´ On" - "Peace And Love: Movement I (Birth)" - "Peace And Love: Movement II (Now)" - "Peace And Love: Movement III (Time)" - "Chutney". Todas las músicas extraídas del primer álbum de Mandrill, de título homónimo (Polydor, 1970/UMG-Universal, 2020)"Ape Is High" - "Git It All" - "Children Of The Sun" - "Lord Of The Golden" - "Central Park" - "Kofijahm" - "The Sun Must Go Down". Todas las músicas extraídas del 2º LP, titulado "Mandrill Is" (Polydor, 1972)Todas las músicas compuestas e interpretadas por MandrillEscuchar audio
Hosts Jim DeRogatis and Greg Kot sit down with Jason Schneider, author of That Gun in Your Hand: The Strange Saga of ‘Hey Joe' and Popular Music's History of Violence. The hosts also review the new album from Lifeguard.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Lifeguard, "It Will Get Worse," Ripped and Torn, Matador, 2025Lifeguard, "Ripped + Torn," Ripped and Torn, Matador, 2025Lifeguard, "Under Your Reach," Ripped and Torn, Matador, 2025Lifeguard, "How to Say Deisar," Ripped and Torn, Matador, 2025Wilson Pickett, "Hey Joe," Right On, Atlantic, 1970Jimi Hendrix, "Hey Joe," Are You Experienced, Polydor, 1967Tim Rose, "Hey Joe," Live on Later With Jools Holland, NA, 1997The Byrds, "Hey Joe (Where You Gonna Go)," Mr. Tambourine Man, Columbia, 1965Lee Moses, "Hey Joe," Time and Place, Maple, 1971The Leaves, "Hey Joe," Hey Joe, Mira, 1966Patti Smith, "Hey Joe (Version)," Hey Joe (Version) / Piss Factory, Mer, 1974Charlotte Gainsbourg, "Hey Joe," Nymphomaniac (soundtrack), Zentropa, 2014Body Count, "Hey Joe," Born Dead, Virgin, 1994Roy Buchanan, "Hey Joe," That's What I Am Here For, Polydor, 1973Spirit, "Hey Joe," Spirit of '76, Mercury, 1975Golden Cups, "Hey Joe," The Golden Cups Album, Capitol, 1968Bruce Springstreen, "Dancing in the Dark," Born in the U.S.A., Columbia, 1984See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Zomerveren 2025. Uitzending 3 augustus. Opname 6 juli 2025 Deel 1 Het Theater, Blaricum Erik wil een meisje zijn (Schippers) Kiki Schippers Erik van Muiswinkel met Light verse Het klasje van Frank met Roos Vervelde en Aron Scholte. Het huwelijk (Elsschot/Bos) Kiki Schippers Alle domme dingen (Schippers) Kiki Schippers Vrouwen in de politiek (Schippers) Kiki Schippers Kofferbak (Schippers) Kiki Schippers Navalny (Schippers) Kiki Schippers Maarten Maarten (H. v. Veen, E. Leerkes) Herman van Veen, viool e.a. Van de cd Herman van Veen & The Rosenberg Trio Je zoenen zijn zoeter Polydor 543 009-2
Speellijst Zondag 27 juli 2025 Boekenrubriek (Snijders) Ronald Snijders 1'21 van het album Een avond met mij Spotify De Roxy (B. de Groot/G. Kooymans) Vreemde kostgangers 3'21 van de cd Vreemde kostgangers Universal 573 058-4 Bakker de baksteen (Croce/Vreeswijk) Bob Fosko 3'19 Van de cd Cornelis Vreeswijk: een hommage NN 500.015-2 Truckershart (Frencken/Mylou Frencken 4'56 van de cd Minnares Eigen beheer Vreemde laarzen (Dijkshoorn/The Hank Five) Nico Dijkshoorn & The Hank Five 5'44 Spotify Bij Krul in Den Haag (Fred Raymond/M. van der Plas) Gerard Cox 2'35 Eigen opname Zeven gedichten (Michiel Bakker) J.M. Baccus 3'50 Van de LP Fragmenten van de achtste dag BMRLP01 De fietstocht (De Jonge) Freek de Jonge 3'58 Van de cd Neerlands Hoop: Weerzien in Panama EMI 7 92456 2 Moskou is ver (Dorrestijn/Bannink) Joost Prinsen 4'04 Van de cd Een kop die je zelf niet bevalt BASTA 30-9139-2 Moskou (Nieuwint) Pieter Nieuwint 3'00 Van cd/boekje Pieter Nieuwint zingt en dicht Eigen beheer Alyosha (Shaffy) Ramses Shaffy 4'56 Van de cd Alleen als je me verleidt Mercury 522 288-2 Nathalie (Delanoe/Bécaud/Gaaikema) Lia Dorana 4'16 Van de LP Solo '68 Relax 7004 Maarten Maarten (H. v. Veen, E. Leerkes) Herman van Veen viool e.a. Van de cd Je zoenen zijn zoeter Polydor 543 009-2
Zondag 22 juni 2015: Dieren Jeanine (Gerritsen/Lieven) Liselore Gerritsen 3'35 Van de LP Oktoberkind Utopia 6399 380 Dierenleed (Wiersma) Dorine Wiersma 2'29 Van de cd dat doet ze anders nooit Coast to coast 1967-01 Die van nummer 158 (Van Merwijk) Jeroen van Merwijk 2'08 Van de cd Dat kunnen alleen de hele groten Eigen beheer Ons katje is een poes (Van Merwijk) Jeroen van Merwijk 1'50 Van de cd Lucky Eigen beheer Ballade van de slingeraap (Van Merwijk) Jeroen van Merwijk 2'40 Van de cd Lucky Eigen beheer Biologen (Dorrestijn) Hans Dorrestijn 2'34 Van de cd Cabaret des animaux QS 900.812-2 Vogelgriep (Fokkema) Marjolein Fokkema 2'57 Eigen opname Een andere keer (B. de Groot/Jaco van der Steen) Dieuwertje Blok 4'07 Van de cd bij het boek Met mijn neus in de wind Uitg. Lemicscaat Vogeltje (Kraaijkamp) Maria Kraaijkamp 2'46 Eigen opname Zebra (Van Altena/Potsdammer) Ronnie Potsdammer 2'28 Van de EP Ronnie Potsdammer zingt Ernst van Altena Delta DE 106 Beestenboel (E.A. Moes) Moestafa 3'01 Eigen opname Verlaten (Drs. P) Drs. P 1'55 Van de cd Drs. P compilé sur cd Polydor 847 920-2 Ornitholoog (Hermans) Toon Hermans 4'19 Van de cd Cabaret des animaux QS 900.812-2 Kleine huisdieren (De Wijs/Nieuwint) Kabaret Ivo de Wijs 3'06 Van de cd Cabaret des animaux QS 900.812-2 Berensonate (Anoniem/Bew. En muziek Wilbert Friederichs) Mezzo Macho 2'21 Van de cd Van rijm tot rap Uitg. Kinderboekenweek 1998 Honds (Chrispijn/Van der Wurff, Van Veen) Herman van Veen 4'33 van de cd Op handen Harlekijn 847 056-2 Dolf in the dark (Van der Wurff) Erik van der Wurff 2'25 van de cd Erik van der Wurff Harlekijn 841 893-2
Subscribe to Blue White Illustrated on YouTube: https://bit.ly/3KzEcqKCheck out the site too! - https://bit.ly/3u8dilDThis time of year is all about the official visits in Penn State football recruiting. The team hosted elite players last weekend at critical positions like defensive end, defensive tackle and offensive tackle. This week, they'll bring in a five-star player, top targets at tight end, and several sleeper targets to round out the group. Join the BWI Live Recruiting show as reporter Ryan Snyder discusses those topics, plus he takes your questions on the show! We're live at 10 a.m. on YouTube. If you can't catch the show live and be part of the chat, check us out on replay either on the channel, here in this article, or anywhere you get your podcasts. Penn State recruiting news and previewsOf course, it's not all about official visits. Penn State will continue its search for the next wave of prospects on Friday with a team camp, hosting seven-on-seven teams from across the region. Snyder will give you a quick preview of what to expect. Next, we'll return to cornerback Amauri Polydor's commitment to the Penn State last weekend. Snyder spoke with On3 National recruiting director Charles Power about the three-star cornerback. He'll relate what Power had to say about Polydor's film and what he expects from the St. Frances cornerback this coming season. Finally, Snyder will recap the conversations he had with Penn State's elite targets from last weekend. What did Grayson Mckeogh have to say about his time with the Nittany Lions? Snyder spoke with the LaSalle offensive tackle. He also spoke with potential five-star defensive Luke Wafle's father about the visit his son took last weekend. We'll review the highlights of those conversations. Official visit preview Finally, we'll spend the second half of the show discussing the players visiting campus this weekend. From five-star offensive lineman Immanuel Iheanacho to commits Ben Eziuka and Terry Wiggins, Snyder will discuss the stories and importance of the players visiting this weekend. Can Penn State swing for the fences with the elite lineman visiting, such as Texas native Drew Evers? We'll also track the story of fast-rising offensive tackle Charlie Thom. The Avon Old Farms prospect received an offer less than a week ago and has quickly scheduled an official visit to Penn State for this weekend. We'll discuss the tackle situation with Snyder to understand how Thom fits into the picture with so many elite prospects considering joining position coach Phil Trautwein's room. Join us at 10 a.m. to get your weekly dose of Penn State recruiting info!#PennState #NittanyLions JOIN Blue White Illustrated: https://www.on3.com/teams/penn-state-nittany-lions/join/?plan=annualSUBSCRIBE to Blue White Illustrated on YouTube and enable alerts - new highlights and videos uploaded regularly: https://www.youtube.com/c/bluewhiteillustratedvideo?sub_confirmationBookmark our homepage: https://www.on3.com/teams/penn-state-nittany-lions/Subscribe to BWI Magazine and Newsletters: https://bluewhiteonline.com Like us on Facebook https://www.facebook.com/BlueWhiteIllustrated/Follow us on Twitter https://twitter.com/PennStateOn3
(S4 Ep 27) The Jimi Hendrix Experience Axis: Bold as LoveReleased December 1967 and recorded mostly May -June 1967 (Reprise in the USA and Polydor in the UK) Axis: Bold As Love is the Jimi Hendrix Experience's pivotal second album. Produced by Chas Chandler and engineered by Eddie Kramer, it arrived just seven months after Are You Experienced, showcasing Hendrix's rapid artistic growth. The album bridges raw psychedelia and the jazz-inflected soul of Electric Ladyland, with standout tracks like “Little Wing,” “Spanish Castle Magic,” and the epic closer “Bold as Love.” Studio innovations—including stereo panning, backward guitar, and flanging—are evident on tracks like “EXP.” Though less commercially successful than its predecessor, Axis is now hailed as a masterpiece. Hendrix's lyrical introspection, technical guitar wizardry, and the trio's cohesive interplay marked a new direction for rock. The album's blend of soul, blues, and psychedelia cements Hendrix as one of the most innovative artists of the 1960s, rivaled only by The Beatles.Signature Tracks: "Little Wing," "Castles Made of Sand," "Bold As Love" Full Album You Tube Spotify Playlist YouTube Spotify
Speellijst Zondag 8 juni 2025 De Zee Declamatie (Drs. P) Drs. P 0'40 Van de cd Drs. P compilé sur cd Polydor 847 920-2 (groeirijm) Zeemansleed (Drs. P) Gerard Cox 0'23 Eigen opname (ruilrijm) Scheepvaartberichten (Drs. P) Jenny Arean 4'01 Van de cd Anderen zingen Drs. P NN 500.051-2 Het maatje van de schipper (Trad./L. Nijgh) Astrid Nijgh 2'48 Van de cd de razende bol bij het Plucheboek Ik doe wat ik doe van Lennaert Nijgh Uitg. Nijgh & van Ditmar. Mannen huilen niet (Koole/Planteijdt) Ricky Koole 5'35 Eigen opname Zeemansliedje (De Corte) Jules de Corte 2'40 Eigen opname En altijd komen er schepen (Beuving/Vogel) Gerard Cox 3'42 Van de cd Wat je zingt dat ben je zelf NN500.203-2 Het schip van de V.O.C. (Wilmink/Bannink) Gijs de Lange, Harry van Rijthoven, Edwin Rutten, Joost Prinsen, Laus Steenbeke 2'30 Van de cd Het Klokhuis QS 800.851-2 Loos (Torn) Kees Torn 2'37 Eigen opname In de vismijn (Jeroen Zijlstra) Zijlstra 3'26 Van de cd Olie & rook Klick KC 700.001-2 Merie (het lied van de fraaie buste) (Molenaar) Jaap Molenaar 3'22 Van de cd Die goeie ouwe radio 1 Dureco 11 64592 Zeemanslied (Polderman) Katinka Polderman 3'30 Van de cd Polderman kachelt door PIASCOM141 Houtepoot (Behrman/Blanker) Peter Blanker 2'44 Van de EP Peter Blanker DE 115 Poot (Beuving/De Bekker) Martijn Kardol 4'08 Van Liedjes uit Fris Spotify De zee (Van Vliet/Van Kreeveld) Paul van Vliet 3'44 Van de cd De One Man Shows Philips 824 349-2 De zee (Kamagurka/De Smet) Kamagurka 2'51 Van de LP When giants meet! Telstar TMS 129565
Sintonía: "Deja Vu" - Chinese Man1.- "We´ve Been Here Before" (feat. Stogie T, Isadora & Miscellaneous), "¡Que Sí!", "Too Late" (feat. Stogie T, KT Gorique & FP (ASM) y "Where I Go" (feat. General Elektrics), extraídas del último álbum de Chinese Man, titulado "We´ve Been Here Before" (SPPF, 2024). Todas las músicas compuestas e interpretadas por Chinese Man2.- "Sweetness", "The 15th" y "Emerge", extraídas del primer disco de Fisherspooner, titulado "#1" (2000/2003, Capitol Records). Todas las músicas compuestas e interpretadas por Fisherspooner3.- "Musical Mayday", "Duet", "Making Love On Your Side" y "Telephone", del 4º LP de Howie B, titulado "Folk" (Polydor, 2001). Todas las músicas compuestas e interpretadas por Howie BEscuchar audio
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Lucas Brêda RIO DE JANEIRO Eram os primeiros meses de 1970, e Cassiano desfilava seu "black power" reluzente por São Paulo quando conheceu outro cabeludo chamado Paulo Ricardo Botafogo, de aspecto e ideologia hippie, fã de Marvin Gaye como ele. Nos alto-falantes de uma lanchonete, o locutor da rádio anunciava a nova música de Tim Maia, que deixou seu novo amigo boquiaberto. Ao som de "Primavera (Vai Chuva)", a dupla pagou a conta, mas o dinheiro de Cassiano acabou. Ele estava sem lugar para dormir e pediu abrigo a Botafogo. Voltava de uma excursão, quando viu calças de homem no varal de sua mulher e não quis conversa. Também fez uma revelação. "Olha, essa música é minha, mas por favor não fale para ninguém." Dita como um pedido singelo, a frase se tornou uma maldição para Cassiano. Autor de sucessos na voz de Tim Maia e Ivete Sangalo, o paraibano fascinou músicos, virou "sample" e rima dos Racionais MCs e gravou discos até hoje cultuados. Mas morreu há quatro anos como um gênio esquecido —a dimensão de seu talento é um segredo guardado por quem conviveu e trabalhou com ele.  Reprodução de foto do músico Cassiano, morto em 2021 - Eduardo Anizelli/Folhapress Isso não quer dizer que Cassiano tenha sido um desconhecido. Bastião do movimento black e precursor do soul brasileiro, angariou uma legião de fãs, vem sendo redescoberto por novas gerações e acumula milhões de "plays" no streaming. Sua obra que veio ao mundo, no entanto, é só uma parcela do que produziu de maneira informal durante toda a vida —e que segue inédita até hoje. Cassiano, morto aos 78, deixou um disco de inéditas incompleto, gravado em 1978 e hoje em posse da Sony. Também tem gravações "demo" feitas nas décadas de 1980 e 1990 que há anos circulam entre fãs e amigos. Isso fora o que William Magalhães, líder da banda Black Rio, chama de "baú do tesouro" —as dezenas de fitas cassete com gravações caseiras nunca ouvidas. "Ele nunca parou. Só parou para o mundo", diz Magalhães, que herdou do pai, Oberdan, não só a banda que reativou nos anos 2000, mas a amizade e o respeito de Cassiano. "Todo dia ele tocava piano, passeava com gente simples, trocava ideia. Era tão puro que às vezes a gente duvidava da bondade dele." O tal baú, ele diz, contém "coisas que fizemos em estúdio, composições dele tocando em casa, ideias, tudo inédito". "E só coisa boa. Cassiano nunca fez nada ruim, musicalmente falando. Com ou sem banda, arrasava. A voz, o jeito de compor. Era uma genialidade ímpar." Acervo de Cassiano Esse material está na casa que Cassiano dividiu com a mulher, Cássia, e a filha, Clara, no fim da vida, no bairro de Santa Teresa, no Rio de Janeiro. Há também registros escritos de memórias, recortes de revistas e jornais, filmagens de performances no palco e em casa, diversos instrumentos e até desenhos e colagens que ele costumava fazer. A viúva conta que o marido saía às vezes para o bar e para conversar na rua, mas "não era um homem de multidões". "Gostava de música e queria trabalhar o tempo todo, não era tanto de atividade social. Mas, se chamasse para o estúdio ou para o palco, esse era o grande sonho. Ele queria estar entre os músicos." Por volta de 2016, na reunião com o presidente da Sony, Paulo Junqueiro, para negociar o lançamento do disco de 1978, Cassiano estava mais interessado em apresentar o material mais novo que vinha criando. Não se opôs ao lançamento do álbum engavetado, mas suas prioridades eram diferentes daquelas da gravadora, e o papo esfriou. Descoberto antes desse encontro pelo produtor Rodrigo Gorky, hoje conhecido pelo trabalho com Pabllo Vittar, o disco chegou aos ouvidos de Junqueiro, fã declarado do cantor, que logo se interessou. Kassin, produtor que trabalhou na finalização póstuma do álbum "Racional 3", de Tim Maia, foi chamado para ajudar. No primeiro contato com as músicas, ele diz, sentiu que tinha "um negócio enorme na frente". O produtor conta que o trabalho que ele e Gorky fizeram foi apenas de "limpar e viabilizar", além de reorganizar e mixar as músicas, sem edições ou acréscimos. Em sua opinião, o álbum não precisa de muitos retoques para ser lançado. Segundo Junqueiro, ainda há o que ser feito. "Chamei Cassiano para ouvir, ele se lembrava de tudo, mas concordava que faltava muito. O que existe é uma pré-mixagem e, a partir dela, terminar o disco, caso a família queira finalizar. Na minha opinião, não está terminado. Mas, se a família achar que está terminado, tudo bem. Estamos tentando encontrar uma maneira de chegar lá." Um dos impeditivos para que o disco perdido de 1978 seja lançado é a falta de créditos aos músicos que participaram das gravações. Claudio Zoli, no entanto, lembra não só que gravou "backing vocals", mas sabe de vários dos instrumentistas envolvidos no disco. Tinha 14 anos e mal tocava violão, mas Cassiano vislumbrou um futuro para ele na música. "A gente se reunia numa casa lá em Jacarepaguá", diz Zoli. "Era aquele clima meio Novos Baianos, todo mundo dormindo lá, ensaiando. Nos reunimos para gravar esse disco da CBS, que não saiu, e o Cassiano fazia um ‘esquenta' antes de entrar em estúdio. Ficava tocando violão, falando sobre harmonia." Há alguns registros desses momentos de "esquenta" e também de estúdio feitos por Paulo Ricardo Botafogo, que é fotógrafo. Ele acreditava, sem muita certeza, que eram imagens da gravação de "Cuban Soul", disco de Cassiano do qual fez a foto da capa, gravado há 50 anos. Mas é bastante improvável que Zoli, nascido em 1964, tivesse apenas 11 anos nas imagens. Produtor que trabalhou com Tim Maia e foi amigo de Cassiano, Carlos Lemos se mudou da Philips, hoje Universal, para a CBS, hoje Sony, na segunda metade dos anos 1970. Pelas fotos, ele diz ter certeza que as gravações aconteceram no estúdio Haway, que era alugado pela CBS. Ele também confirma as identidades dos músicos lembrados por Zoli. São eles os guitarristas Paulinho Roquette, Paulinho Guitarra, Beto Cajueiro e Paulo Zdan, além de Dom Charles no piano e Paulo César Barros no baixo. Quem também corrobora as lembranças de Zoli é Paulo Zdan, médico de Cassiano, de quem se tornou grande amigo e foi letrista do disco "Cuban Soul". Morto há um ano, ele deu uma entrevista a Christian Bernard, que preparava um documentário sobre Cassiano —o filme acabou não autorizado pela família. A reportagem ouviu uma pré-mixagem desse disco de 1978, que destaca a faceta mais suingada de Cassiano. É um registro coeso de 12 faixas, mais funk do que soul, com vocais simultâneos cheios de candura e um flerte com a música disco daquela época. Para Kassin, é um registro "mais pop". "Se tivesse saído na época, teria feito sucesso", ele diz. Junqueiro, da Sony, concorda que as faixas mantêm uma coerência, mas que não é possível saber se isso se manteria caso Cassiano continuasse o trabalho no álbum. "Não tem nenhuma música que eu imagino que o Cassiano não botaria no disco. Talvez ele colocasse mais músicas. É um disco mais para cima, mas para ser mais dançante faltam arranjos." Clara, filha de Cassiano, lembra que o pai não tinha boas memórias da época que fez esse disco. "Não sei o que ele estava sentindo, mas não era um momento feliz para ele", ela diz. "Ele já não se via mais tanto como aquele Cassiano de 1978. Mas hoje reconheço a importância de lançar. Acho que todo mundo merece, mesmo que ele não tenha ficado tão empolgado assim com a ideia."  Retrato do cantor Cassiano em 1998 As gravações foram pausadas depois que Cassiano teve tuberculose e passou por uma cirurgia para a retirada de uma parte do pulmão. Mas as pessoas ouvidas pela reportagem também relatam um hábito constante do artista —demorar para finalizar seus trabalhos, ao ponto de as gravadoras desistirem de bancar as horas de estúdio e os músicos caros, pondo os projetos na geladeira. Bernard, o documentarista, também afirma que foi logo após as gravações desse álbum da CBS que Cassiano rompeu com Paulo Zdan e ficou 40 anos sem falar com ele. "Zoli depois tocou na banda do Cassiano, no show ‘Cassiano Disco Club'. Mas na verdade não tocou. Só ensaiou e, como nunca faziam shows, ele e o Zdan saíram e montaram a banda Brylho." A década de 1980 marcou o período de maior dificuldade para Cassiano, que passou a gravar esporadicamente, parou de lançar álbuns e enfrentou dificuldades financeiras. Cassiano nasceu em Campina Grande, na Paraíba, e no fim dos anos 1940 se mudou para o Rio de Janeiro com o pai, que ganhava a vida como pedreiro e era também um seresteiro e amigo de Jackson do Pandeiro. O menino acompanhava, tocando cavaquinho desde pequeno. Conheceu Amaro na Rocinha, onde morava, e formou com ele e o irmão, conhecido como Camarão, o Bossa Trio, que deu origem à banda Os Diagonais. O forte do trio eram os vocais simultâneos. Chegaram a gravar até para Roberto Carlos. "Ele era um mestre em vocalização. Era impressionante, um talento", diz Jairo Pires, que foi produtor de diversos discos de Tim Maia e depois diretor de grandes gravadoras. "Foram pioneiros nessa música negra. Esse tipo de vocalização era muito moderna. Ele já tinha essa coisa no sangue. Por isso que o Tim amava o Cassiano." Não demorou até que o lado compositor do artista fosse notado por gente da indústria. Em 1970, ele assinou quatro músicas do primeiro disco de Tim Maia e ainda é tido como um arranjador informal, por não ter sido creditado, daquele álbum. O Síndico havia voltado dos Estados Unidos impregnado pela música negra americana, e a única pessoa que tinha bagagem suficiente para conversar com ele era Cassiano. "Cassiano tinha esse dom", diz Carlos Lemos, que foi de músico a assistente de produção e depois produtor nessa época. "Ele era muito criativo e teve momentos na gravação que ele cantou a bola de praticamente o arranjo todo. Ele não escrevia, mas sabia o que queria. Praticamente nos três primeiros discos do Tim Maia ele estava junto." Dali em diante, o paraibano despontou numa carreira solo que concentra nos anos 1970 sua fase mais influente. São três discos —"Imagem e Som", de 1971, "Apresentamos Nosso Cassiano", de 1973, e o mais conhecido deles, "Cuban Soul: 18 Kilates", de 1976, que teve duas músicas em novelas da Globo. São elas "A Lua e Eu", o maior sucesso em sua voz, e "Coleção", que há 30 anos virou hit com Ivete Sangalo, na Banda Eva. Lemos se recorda de que chegou a dividir apartamento com Cassiano e outros músicos na rua Major Sertório, no centro de São Paulo, nos anos 1970. O artista estava apaixonado por uma mulher chamada Ingrid, para quem compôs algumas músicas. Era uma época inspirada para o cantor, que em 1975 atingiu sucesso com "A Lua e Eu", produzida por Lemos e feita ao longo de seis meses. "Produzir um disco com Cassiano demorava uma infinidade", afirma Carlos Lemos. "Ele entrava em estúdio, falava que queria assim e assado, chamava os músicos. Quando voltava para o aquário [espaço onde se ouvem as gravações], já tinha outra coisa na cabeça. Era difícil gravar. Você tinha que administrar uma criatividade excessiva. Ele falava ‘isso pode ficar muito melhor', e realmente ficava. Mas quem tem paciência? A gravadora quer vender logo. Mas era nessa essência que estava a verdade dele —e também seu sucesso." Lemos calcula que, na época em que faziam "A Lua e Eu", deixaram mais de 20 músicas prontas, mais de 500 horas de gravações em estúdio, uma quantidade de fitas suficiente para encher um cômodo inteiro. Procurada pela reportagem desde o fim do ano passado, a Universal, que hoje detém o acervo da Philips, onde essas gravações aconteceram, não respondeu sobre o paradeiro das fitas. O antigo assistente lembra que Jairo Pires, então um dos diretores da Philips, ficava desesperado com essa situação. "Ele tinha um temperamento difícil", diz Pires. "Fora do estúdio, era maravilhoso, um doce de criatura, mas, quando entrava no estúdio, era complicado." Cassiano era especialmente preocupado com o ritmo e a química entre baixo e bateria, com os quais gastava dias e mais dias fazendo e refazendo. Claudio Zoli diz que ele gravava cada parte da bateria separadamente para depois juntar, o que para Ed Motta era "uma invenção da bateria eletrônica antes de ela existir". Lemos conta que Cassiano tinha uma precisão detalhista. "Ele tinha uma visão de matemática forte, de como as frequências combinavam. E era o grande segredo de tudo, porque nem sempre o resultado da sonoridade é o que está na imaginação. Só vi coisa parecida em João Gilberto. E também com Tim Maia —que não respeitava quase ninguém, mas respeitava Cassiano." Outras duas pessoas ouvidas pela reportagem lembraram o pai da bossa nova para falar de Cassiano. Uma delas é Claudio Zoli, que destaca sua qualidade como compositor. O outro é Ed Motta, que foi amigo do paraibano e tentou diversas vezes viabilizar sua carreira. "Ele era o João Gilberto do soul brasileiro", afirma. "Mas, você imagine, um João Gilberto que não é abraçado pelos tropicalistas. Claro que ele tinha um gênio difícil, mas e a Maria Bethânia não tem?" Cassiano chegou a integrar a mesma gravadora de Bethânia e Caetano Veloso, a Philips, mas no braço da firma dedicado à música mais popular, a Polydor. Lemos, o assistente de produção, diz que o paraibano, na época, era humilde e não tinha rancor, mas não dava tanta importância aos baianos, "porque sua qualidade musical era muito superior à de todos eles".  Capa do álbum 'Cuban Soul: 18 Kilates', de Cassiano, de 1976 - Reprodução "Ainda tinha uma rivalidade interna dentro da Philips, criada naturalmente. Poucos sabem que quem sustentava toda a estrutura da gravadora para os baianos serem os caras eram os artistas da Polydor. A Philips gastava e tinha nome, amava os baianos, mas eles nunca venderam como Tim Maia. Vendiam coisa de 50 mil cópias", diz o produtor. Os desentendimentos com a indústria foram gerando mais problemas com o passar do tempo. Paulo Ricardo Botafogo conta que Cassiano recusava oportunidades de aparecer em programas de TV, dar entrevistas e ser fotografado. "Não sei se foi sacaneado, mas ele era um cara muito fácil de enganar. Era muito puro, quase uma criança", afirma. "Cassiano ganhava dinheiro e distribuía entre os músicos. E imagine o que ele passou. Preto, pobre e nordestino. Ele se achava feio. Chamavam ele de ‘Paraíba'", diz Paulo Ricardo Botafogo. Quando "Cuban Soul" foi lançado, depois das centenas de horas de gravações lembradas por Carlos Lemos, o cantor deixou a gravadora. Há na capa do disco um detalhe que, segundo Botafogo, Cassiano interpretou como uma indireta sutil contra ele —é um espaço entre as sílabas da primeira palavra do título do álbum, deixando um "cu" em destaque. Uma reportagem deste jornal de 2001 retratou a dificuldade de Cassiano para gravar. "Levamos para várias gravadoras, mas nenhuma teve interesse, até por ele estar há muito fora da mídia. Mas sua participação em ‘Movimento' prova que ele está a mil, numa fase criativa. Ele tem umas 150 músicas no baú", disse William Magalhães na época.  CD com músicas inéditas do músico Cassiano, morto em 2021 - Eduardo Anizelli/Folhapress "Movimento", o disco que marcou o retorno da Black Rio sob o comando do filho de Oberdan, traz composições, arranjos e a voz de Cassiano, como a faixa "Tomorrow". É uma das músicas que a dupla trabalhou em conjunto, incluindo uma gravação dela apenas com o paraibano cantando, além de duas canções já famosas de maneira informal entre fãs e amigos do artista, "Pérola" e "Maldito Celular". Feitas entre 1993 e 1995, foram gravadas como "demo" e nunca lançadas comercialmente. Magalhães já havia tocado teclado e piano com Cassiano alguns anos antes. Foi quando Ed Motta conseguiu convencer um italiano chamado Willy David a bancar um disco do cantor. "Falei que ele era um gênio, o Stevie Wonder brasileiro", diz. "George Benson era amigo desse David e ia participar do disco. Chegou até a ouvir algumas músicas." Eles gravaram as "demos" no estúdio de Guto Graça Mello, no Rio de Janeiro. As fitas em melhor qualidade dessas gravações, nunca lançadas, estariam com David, que nunca mais foi localizado depois de ter ido morar em Cuba. Nem mesmo por Christian Bernard, que o procurou exaustivamente nos últimos anos para seu documentário. Há, no entanto, cópias dessas faixas em qualidade pior com amigos do cantor. "São umas oito músicas inéditas, coisas que ele já tinha guardado por anos", diz Ed Motta. "Não era um disco pronto, mas tinha qualidade de disco." Na segunda metade da década de 1980, Cassiano passava por dificuldades financeiras até para conseguir o que comer. Tinha apenas um violão antigo, de estrutura quadrada, que o pai fez, ainda na Paraíba, e que a família guarda até hoje. Morava no Catete, no Rio de Janeiro, e costumava gravar em estúdios liberados por amigos nas horas vagas —caso da estrutura do músico e produtor Junior Mendes, na Barra da Tijuca.  Violão feito pelo pai do músico Cassiano, morto em 2021 - Eduardo Anizelli/Folhapress Cassiano viveu um breve renascimento artístico na virada dos anos 1980 para os 1990. Ele se casou com Cássia, aprendeu a tocar piano e fez um show lotado no Circo Voador, registrado em vídeo. Gravou também o álbum "Cedo ou Tarde", com um repertório de canções antigas, que saiu pela Sony em 1991 e tem participações de Djavan, Marisa Monte, Sandra de Sá e Luiz Melodia, entre outros. Esse álbum não vendeu tão bem, o que frustrou os planos de gravar material novo, mas, com o sucesso de "Coleção" na voz de Ivete Sangalo, há 30 anos, Cassiano conseguiu comprar um apartamento às margens da lagoa Rodrigo de Freitas, no Rio de Janeiro. Praticamente não fazia shows e sobrevivia dos direitos autorais que ganhava com suas composições. No início da década de 2000, William Magalhães chegou a viabilizar a gravação de um disco para Cassiano. Diretor da gravadora Regata, Bernardo Vilhena tinha US$ 140 mil para um álbum de Claudio Zoli, que acabou indo para outro selo. Com isso, decidiu redirecionar todo esse dinheiro ao paraibano. "Quando Cassiano soube disso, disse ‘US$ 140 mil é só a luva'", diz Magalhães. "Ele era muito orgulhoso, queria que as pessoas o tratassem à altura que ele se via. Seria o dinheiro para começar a produzir. A gente conseguiria fazer, mas ele recusou por causa dos traumas que tinha da indústria. Quando soube que o dinheiro era do Zoli, ainda se sentiu desmerecido, por ser um discípulo dele. Não tirando o direito dele, mas acho que ele viajou um pouco nesse trauma." Ao longo das últimas décadas, Magalhães diminuiu o contato com Cassiano, mas eles se reaproximaram no fim da vida do cantor. Falaram sobre fazer novos projetos, e o paraibano disse que o líder da Black Rio, que ele admirava por ser um grande músico negro, era uma das poucas pessoas com quem ele aceitaria trabalhar àquela altura. "O que eu posso dizer é que o Cassiano ainda vai dar muito pano para manga", afirma Magalhães. "O dia que a Cássia abrir esse baú dele, eu sou o primeiro da fila." Há muitas razões pelas quais Cassiano não conseguiu deixar uma obra mais volumosa, e elas não têm a ver com o respeito que ele tem até hoje no meio da música. Mas o ícone da soul music brasileira encarava essa devoção com ceticismo. "Mestre é o cacete. Não adianta falar isso. Me bota no estúdio", ele dizia, segundo Cássia, a viúva. "Era assim. Todo mundo pira nas ideias do cara, mas ninguém deixa ele gravar. O empresário André Midani chegou a declarar que as gravadoras devem um disco ao Cassiano", afirma ela. "Tudo bem, é ‘cult', é um nicho, mas é um nicho importante e não é tão pequeno assim." O último "não" que Cassiano ouviu de uma gravadora talvez tenha sido nos momentos posteriores à reunião de 2016 com Paulo Junqueiro. Depois de falar à reportagem, o presidente da Sony pediu para marcar uma nova entrevista, em que admitiu ter ouvido o material novo que o paraibano queria lançar e não quis apostar naquelas músicas. A Sony passava por um período complicado, ele diz. Tinha feito uma reestruturação em que perdeu muita gente de sua equipe. "Do que ouvi, não fiquei tão fascinado e, quando pensei em fazer discos inéditos do Cassiano àquela altura, disse ‘não consigo'. Não tinha estrutura financeira nem emocional." Posto isso, ele acrescenta que se arrepende profundamente. "Ajoelho no milho todos os dias. Tive uma oportunidade de ouro nas mãos, de registrar as últimas obras dele, e a perdi. Não tenho nem palavras para pedir desculpas à família, aos fãs e a mim mesmo. Não tenho como ser mais honesto do que estou sendo. Se gostei ou não, foda-se. Se vai vender para caralho ou não, foda-se." Junqueiro se põe à disposição da família para lançar o disco de 1978, diz que tinha seus motivos para fazer o que fez, mas errou. "Se alguém tivesse me contado essa história, eu ia falar ‘olha que filho da puta, não gravou as coisas do Cassiano'. Então, se eu teria essa visão sobre alguém, eu no mínimo tenho que ter essa visão sobre mim também." Hoje, Cassiano vive no imaginário por sua produção nos anos 1970 e pelos fragmentos que deixou espalhados em fitas e memórias. Dizia que fazer música era como o mar —"ondas que vêm e vão, mas nunca estão no mesmo lugar". Os fãs, por sua vez, aguardam uma movimentação das marés que traga para a superfície pelo menos algumas dessas pérolas submersas.
From the audio to the visual, we delve into the wondrous world of the album sleeve with Bill Smith, of Bill Smith Studios, responsible for some wonderful images in the 80s. 1. THE JAM (1977-1981) After getting his foot in the door at Polydor in the 70s, Bill has a breakthrough with The Jam. He is responsible for the artwork for all their albums up to and including Sound Affects as well as a number of single sleeves. More importantly, he has one shot at the iconic The Jam logo. RIP Rick. 2. THE CURE (1979-80)From mod to goth, Bill moves from the immediacy of The Jam to the more surreal, indie world of The Cure. Bill discusses working on their first three LP's. One a bit of an outlier in their back catalogue, the other more typical.But which household appliance WAS Robert Smith??3. GENESIS (1980-83) Another contrast, this time the prog-rockers entering their 80s pop period with some truly iconic sleeves for Duke, Abacab and Genesis. Fortuitious accidentslead to the iconic Abacab sleeve. AI won't/can't do that shit.Discussion moves onto discussing copyright and who owns the rights to artwork; the artist or the designer. Then talk on the general LP artwork package; sleeve, back sleeve, inner sleeve, disc labels, etc ending on why he didn't do the cover to Invisible Touch.4. THOMAS DOLBY (1981-82)A very special collaboration with former guest, Thomas Dolby, leads to uniquely brilliant artwork for The Golden Age of Wireless and related singles.5. NOW THAT'S WHAT I CALL MUSIC (1983)Nowt more iconic in the UK than the Now series and Bill was there from Vol 1.billsmithstudios.com80sography@gmail.comTwitter @80sographyBlue Sky @80sographySend us a text
durée : 00:25:07 - Bernard de Bosson, pianiste de jazz, ancien directeur de Warner Music et président des victoires de la musique (2/5) - par : Jérôme Badini - Bernard de Bosson aime les gens et cela s'entend. En particulier les artistes qui le lui rendent bien, appréciant ce personnage de roman, tout en superlatif. Il est la mémoire vivante de la musique enregistrée des soixante dernières années et il en demeure l'un des producteurs les plus respectés. - réalisé par : Béatrice Trichet
Hosts Jim DeRogatis and Greg Kot pay tribute to the late president Jimmy Carter by revisiting a discussion on his character and love for music with the director of the documentary, Jimmy Carter: Rock & Roll President. Plus, they will bid farewell to music journalist Stanley Booth, the most profound chronicler of the Rolling Stones.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Bob Dylan, "It's Alright, Ma (I'm Only Bleeding)," Bringing It All Back Home, Columbia, 1965The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967The Allman Brothers Band, "Ramblin' Man," Brothers and Sisters, Capricorn, 1973Bob Dylan, "Maggie's Farm," Bringing It All Back Home, Columbia, 1965Bob Dylan, "Gotta Serve Somebody," Slow Train Coming, Columbia, 1979The Rolling Stones, "Gimme Shelter," Let It Bleed, Decca, 1969The Rolling Stones, "No Expectations," Beggars Banquet, Decca, 1968The Rolling Stones, "Street Fighting Man," Get Yer Ya-Ya's Out!, Decca, 1970The Rolling Stones, "Around And Around," 12 x 5, London, 1964The Rolling Stones, "Honky Tonk Women," Honky Tonk Women (Single), Decca, 1969The Rolling Stones, "You Gotta Move," Sticky Fingers, Polydor, 1971The Rolling Stones, "Sympathy For the Devil," Get Yer Ya-Ya's Out!, Decca, 1970The Rolling Stones, "Wild Horses," Sticky Fingers, Polydor, 1971Robyn Hitchcock, "The Man Who Loves the Rain," Shufflemania!, Tiny Ghost, 2022See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Hosts Jim DeRogatis and Greg Kot share favorite tracks that they loved as TV show theme songs. Plus, the hosts review the new album from Kendrick Lamar.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:The Handsome Family, "Far from Any Road," Singing Bones, Carrot Top, 2003The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Kendrick Lamar, "squabble up," GNX, PGLang and Interscope, 2024Kendrick Lamar, "reincarnated," GNX, PGLang and Interscope, 2024Kendrick Lamar, "tv off (feat. Lefty Gunplay)," GNX, PGLang and Interscope, 2024Kendrick Lamar, "gloria," GNX, PGLang and Interscope, 2024Kendrick Lamar, "wacced out murals," GNX, PGLang and Interscope, 2024Mick Jagger, "Strange Game," Strange Game (Single), Polydor, 2022Johnny Rivers, "Secret Agent Man," ...And I Know You Wanna Dance, Imperial, 1966Nick Cave and the Bad Seeds, "Red Right Hand," Let Love In, Mute, 1994Massive Attack, "Teardrop," Mezzanine, Virgin, 1998Gavin DeGraw, "I Don't Want To Be," Chariot, J, 2004Carole King and Louise Goffin, "Where You Lead I Will Follow," Our Little Corner of the World: Music from Gilmore Girls, Rhino, 2002RJD2, "A Beautiful Mine," Magnificent City Instrumentals, Decon, 2006The Coup, "My Favorite Mutiny (feat. Black Thought and Talib Kweli)," Pick a Bigger Weapon, Epitaph, 2006Norma Tenaga, "You're Dead," Walkin' My Cat Named Dog, Rhino, 1966Godfather of Harlem, "Just in Case (feat. Swizz Beatz, Rick Ross & DMX)," Just in Case (feat. Swizz Beatz, Rick Ross & DMX) (Single), Epic, 2019The High Strung, "The Luck You Got," Moxie Bravo, Paper Thin, 2005Blind Boys of Alabama, "Way Down In the Hole," The Spirit Of The Century, Real World, 2001Regina Spektor, "You've Got Time," You've Got Time (Single), Sire, 2013Quincy Jones, "Sanford & Son (The Streebeater)," You've Got It Bad Girl, A&M, 1973Aloe Blacc, "I Need a Dollar," Good Things, Stones Throw, 2010Bob Dylan, "Buckets of Rain ," Blood on the Tracks, Columbia, 1975See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
This week, hosts Jim DeRogatis and Greg Kot welcome Andy Cirzan, their favorite collector of offbeat holiday music, for their annual celebration of all things strange and festive.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Unknown, "Santa Claus is Coming to Town," Unknown, Unknown, UnknownThe Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Herman Apple, "Let It Snow," (Single), Unknown, UnknownJohnny Dollar, "Truck Drivers Lament," (Single), Chart, 1970Vin Bruce, "Christmas on the Bayou," (Single), Swallow, UnknownRed Ellis and the Huron Valley Boys, "Christmas Is Not Far Away," (Single), Unknown, UnknownBuddy Thornton, "Ole Santa Is Coming to Town," (Single), Four Star, 1953Unknown, "EZ Listening," (Single), Unknown, UnknownThurmon McKinney, "Santa & the Truck Driver," (Single), MCW, 1974Bobby Allen & the Exceptions, "Lonely Christmas Tears," (Single), Soul Sound, UnknownGene Adkins & the Tune Toppers, "What Christmas Is," (Single), SRC, 1952Jimmie Davis, "Christmas Choo Choo," (Single), Decca, 1953Unknown, "Sleigh Ride," Unknown, Unknown, UnknownJimmy Wheeler, "Snowflakes Falling On My Head," (Single), Unknown, UnknownMimi Rogers, "Snow Blossoms," (Demo), Unknown, UnknownOriginal Sons Of Christ, "Christmas Comes But Once A Year," (Single), Unknown, UnknownClyde Lasley, "Santa Came Home Drunk," (Single), Sundown, 1967Cordell Jackson, "Rock N' Roll Christmas," (Single), Moon, 1956Cordell Jackson, "Beboppers Christmas," (Single b-side), Moon, 1956Unknown, "Rudolph The Red-Nosed Reindeer," Unknown, Unknown, UnknownMick Jagger, "Strange Game," From the Apple TV+ Original Series Slow Horses, Polydor, 2022See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
A dope mix from Sydney's Jazz Funk Bootleg Don, DJ CMAN, one of the original selectors from our musical family since 2009. CMAN takes us on a journey through funk, soul, jazz, hip-hop party recorded live at the Soul of Sydney 13th Birthday Party, this set is a celebration of everything that has made these iconic parties legendary. From dance-floor jazz grooves to modern edits and bootlegs. DJ CMAN take you on a journey through the sounds that define Soul of Sydney. This is more than music—it's a movement. SOUL OF SYDNEY's resident vibe creator DJ CMAN laying down a dope 1-hour selection of heavy FUNK, SOUL & JAZZY HIP HOP REMIXEs, EDITS & BOOTLEGS to close out the 13th Birthday celebration last month for podcast episode #418. Be sure to check out DJ CMAN's for dope mixes, remixes and edits which he has become so well known for around the world. Check out more of his stuff here. https://soundcloud.com/djcmanmusic Track List / 1. War - Galaxy 2000** (1977, MCA Records) 2. Arrested Development - Mama's Always On Stage** (1992, Chrysalis Records) 3. Junior Wells X CMAN - Mama's Finally Off Stage ... Junior's Bluebreak (CMAN Edit)** (Edit, Release Details Unknown) 4. p-rallel, Jords - One Time** (2023, PLATOON) 5. dialE - AOT** (Details Unknown) 6. Common X George Benson - Go** (Mashup, Common's "Go" (2005, Geffen Records), George Benson Track Uncredited) 7. George Benson - On Broadway (Mikeandtess Edit 4 Mix)** (Original: 1978, Warner Bros.; Edit, Unofficial Release) 8. Jodie Abacus - Good Feeling (CMAN Edit)** (Edit, Original: 2017, Label Unknown) 9. Hidden Jazz Quartett Feat. Omar - High Heels (Lack Of Afro Remix)** (2014, Agogo Records) 10. Nina Simone - See Line Woman** (1964, Philips Records) 11. Theophilus London - Calypso Blues (Nat King Cole Cover)** (2011, Reprise Records) 12. The Bamboos - Ride On Time** (2006, Tru Thoughts) 13. DJ Nu-Mark, The Traffic - Hot In Herre** (2019, Hot Plate Records) 14. Nat King Cole - Day In - Day Out (Cut Chemist Mix)** (2005, Capitol Records – Verve Remixed 3) 15. Big Daddy Kane X Chic - Good Times** (Mashup, Details Unknown) 16. Michael Jackson x James Brown - Wanna Get Up And Start Being A Sex Machine** (Mashup, Details Unknown) 17. Legacy - I'm So Glad (CMAN Edit)** (Edit, Release Details Unknown) 18. Stevie Wonder - Happy Birthday** (1980, Motown) 19. Harry Belafonte - Jump In The Line** (1961, RCA Victor) 20.James Brown - Feel Good (Pays Bass Disco Mix)** (Edit, Original: 1972, Polydor) 21. Janet - All For You (Remix)** (2001, Virgin Records; Remix, Unofficial Release) 22. Blackstreet X Cameo - No Diggity (Word!)** (Mashup, Original Tracks: 1996 Interscope & 1986 Atlanta Artists/PolyGram) 23. Cameo - Candy** (1986, Atlanta Artists/PolyGram) 24. Monie Love - Don't Funk Wid The Mo** (1990, Warner Bros. Records) 25. Robson Jorge & Lincoln Olivetti - Aleluia** (1982, Som Livre) 26. Sharon Redd - Can You Handle It** (1980, Prelude Records) 27. Salif Keita - Madan (Petko Afrobeat Edit)** (Edit, Original: 2002, Universal Music) 28. Kanye West - Gold Digger** (2005, Roc-A-Fella Records) 29. Tems + Foxy Brown ft. Blackstreet - Free Mind** (Mashup, Original Tems: 2020, Leading Vibes LLC) 30. Black Thought, Juls, Worlasi, Kofi Mole - Focus** (2023, Details Unknown) 31. Big Pun - Still Not A Player** (1998, Loud Records) 32. Gospel Gods Got A Blend (Big Pun "Playa" Sample)** (Blend/Mashup, Details Unknown) 33. Black Men United - U Will Know** (1994, MCA Records) 34. Billy Stewart - Summertime** (1966, Chess Records) 35. Louis Prima - Buono Sera** (1956, Capitol Records)
Label: Polydor 881008Year: 1984Condition: MPrice: $12.00From a warehouse find, this is a new, unplayed stock copy, in its original Polydor factory sleeve. This appealing Techno/Disco dancer cried out for an mp3 "snippet" so you can have a listen... Enjoy! The B side is the "Dub Version" of the tune. Note: This beautiful 45 has no notable flaws, grading Mint across the board (Labels, Vinyl, Audio).
Salve! This is a bonus episode for paid subscribers!Every episode is a different song. This is the song today:"Maracatu Atômico" by Jorge Mautner (written by Mautner/Nelson Jacobina)Gilberto Gil released this song as a single (compact), then produced Jorge Mautner's sophomore album, released in 1974 via Polydor. Before making music, Mautner was a controversial writer, with his Trilogy of Kaos banned by the military regime. Born in Rio, and raised in Sao Paulo to immigrant parents from Yugoslavia who escaped the Holocaust, Mautner was partially raised by his nanny from whom he learned much about Brazilian Afro religions. "Maracatu Atômico" is a mix of samba, funk, MPB, maracatu (a regional folklore rhythm from Pernambuco), and even Easter European music, as Mautner was primarily a violin player. The song was revitalized in the 1990s by Chico Science and Nação Zumbi, a crucial point for the manguebeat movement. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
What's up, dudes? It's a Siouxsie and the Banshees Christmas, as Rikki Meece from the Sleigh Bells and Mistletoe Podcast and I break down two songs from goth rock band! Yep, it's “Israel” v ”Il Est Né Le Divin Enfant” in the Thunderdome! We talk the band's catalogue, their Christmas music, their look and sound, and definitely their lyrics! In other words, we get into it all! Two songs enter, one song leaves!"Israel" was released as a stand-alone single in between the albums Kaleidoscope (1980) and Juju (1981) on November 28, 1980 by record label Polydor. While touring in Europe in autumn 1980, the band wanted to write a Christmas song to be released on time for December of that year. They composed it on the road, which was quite unusual for them. It was the first time that Siouxsie Sioux and Steven Severin composed a single with guitarist John McGeoch and drummer Budgie. The song was co-produced by Nigel Gray: it prominently featured a 30 singer Welsh choir on backing vocals. It soon became a classic of their repertoire and was regularly performed during encores at each of their tours.Subsequently, “Il Est Né Le Divin Enfant” was released as B-side to “Melt” on November 26, 1982. The tune for this carol can be found in R. Grosjean's Airs des noêl lorrain (1862), where it is called 'Ancien air de chasse', and it is indeed the case that an old Normandy hunting tune 'Tête bizarde', though in 6/8, is melodically very similar. The Shorter New Oxford Book of Carols editors postulated that the tune is an 18th century composition in a rustic style. The text of this carol was first published in Dom G. Legeay's Noêls anciens (1875-6). Most Common translation is from Edward Bliss Reed from 1930.Synths? Check. ‘80s Goth videos? Yup. 19th century carol with a quasi-canon? Definitely! So put on your makeup, grab your mic, and sing along with this post-punk goth episode! It's a Siouxsie and the Banshees Christmas!Sleigh Bells and MistletoeFB: @Sleigh Bells & Mistletoe PodcastTwitter: @BellsSleighIG: @bellssleighchristmasGive us a buzz! Send a text, dudes!Check us out on Facebook, Twitter, Instagram, Totally Rad Christmas Mall & Arcade, Teepublic.com, or TotallyRadChristmas.com! Later, dudes!
Episode 134 From Organ to Synthesizer: The Evolution of the Yamaha Electone Playlist Time Track Time Start Introduction –Thom Holmes 06:56 00:00 Electone E-1, home style cabinet, transistorized oscillators, analog, two manuals, pedalboard, two built-in speakers. 1.Hidemi Saito, Tadashi Yoshida, “Kiriko No Tango” from Enchanting Mood (Electone Sound) (1963 Nivico). Composed by Tadashi Yoshida; Electone organ, Hidemi Saito. Used the Electone E-1 The highest-end Electone model at that time, with a starting price of ¥647.000 in 1962. 03:32 07:14 2.Hidemi Saito, Tadashi Yoshida, “Furare Jyozu Ni Hore Jyozu” from Enchanting Mood (Electone Sound) (1963 Nivico). Composed by, Tadashi Yoshida; Electone organ, Hidemi Saito. Used the Electone E-1 The highest-end Electone model at that time, with a starting price of ¥647.000 in 1962. 02:54 10:42 Electone B-6, home style cabinet, transistorized oscillators, analog, two manuals (44 notes each), pedalboard, two built-in speakers. 3.Koichi Oki, “September In The Rain” from Swingin' Electone! (1967 Takt). Arranged by, Electone organ, Koichi Oki; Bass, Masanaga Harada; Drums, George Otsuka, Akira Ishikawa; Guitar, Masaaki Fujita; Tenor Saxophone, Yasushi Ashida. The Electone model is not specified but it had two manuals and is likely a model A-3. 03:22 13:38 Electone EX-42, space age cabinet, like the GX-1, integrated circuits, Pulse Analog Synth (PASS) technology, three manuals, portamento strip, pedalboard. 4.Shiro Michi, “Hey Jude” from Let's Learn Electone/Shiro Michi Electone Course Vol. 5/ "All About The Rhythm" (1970 CBS/Sony). Drums, Takeshi Inomata; Electone, Yuri Tashiro; Percussion – Tokyo Cuban Boys Percussion Group. Used the EX-42, Yamaha's first commercially available stage model Electone, and the commercial successor to the EX-21. It is likely that less than 200 of these were built. 03:29 16:56 5.Shiro Michi, “Summertime” from Let's Learn Electone/Shiro Michi Electone Course Vol. 6 Jazz Standards and New Hits (1971 CBS/Sony).1970 — EX-42. Yamaha's first commercially available stage model Electone, and the commercial successor to the EX-21. It was the first Electone to use integrated circuits, although it was still based on analogue technology. Famous Electone players such as Shigeo Sekito used this instrument to make the "Special Sound Series.” Used the EX-42, Yamaha's first commercially available stage model Electone, and the commercial successor to the EX-21. It is likely that less than 200 of these were built. 02:17 20:20 6.Koichi Oki, “Light My Fire” from Yamaha Superstar! (1972 Universal Summit). Oki was known as the “world's leading Yamaha Electone player” in the liner notes. Uses the Yamaha Electone EX-42. 02:59 22:32 7.Koichi Oki, “Spring” and “Summer” (side 1) from Exciting Keyboards - Four Seasons (1973 CBS/Sony). Arranged by, ARP Synthesizer, Electone [Electone Koichi Oki;Drums, Akira Ishikawa; Guitar, Ken Yajima. Music by Vivaldi, Koichi Oki. This release was dated 1978 but the recordings were made in 1973. Oki was a musician working for Yamaha in the early seventies, providing demonstrations of their Electone organ. The model used here was an EX-42, Yamaha's first commercially available stage model Electone, and the commercial successor to the EX-21. It was the first Electone to use integrated circuits, although it was still based on analogue technology. 21:34 25:30 8.Yuri Tashiro, “Summertime” from Beautiful Electone (1973 Polydor). Japanese jazz organist, pianist, and Electone artist from the 1970s. She also made some albums with the Hammond and its influence on her jazz playing is illustrated here in these Electone tracks. The side musicians are uncredited. 04:00 47:16 9.Yuri Tashiro, “Jazz Samba” from Beautiful Electone (1973 Polydor). Japanese jazz organist, pianist, and Electone artist from the 1970s. She also made some albums with the Hammond and its influence on her jazz playing is illustrated here in these Electone tracks. The side musicians are uncredited. 04:35 52:28 10. Archie Ulm, “Popcorn” from At The Yamaha EX-42 (1976 Private release). Ulm was another American lounge player equipped with the “electronic marvel” of the Yamaha EX-42. The classic Gershon Kingsley Moog tune played on the Electone EX-42. Percussion by Paul Hergert. 03:55 55:48 11. Archie Ulm, “Harlem Nocturne” from At The Yamaha EX-42 (1976 Private release). Ulm was another American lounge player equipped with the “electronic marvel” of the Yamaha EX-42. Percussion by Paul Hergert. 05:20 59:42 Electone E-70, home style cabinet, integrated circuits, Pulse Analog Synth (PASS) technology, two manuals, pedalboard, built-in speakers. Same circuit board as used in the Yamaha CS-80 synthesizer. 12. Denny Hinman, “How Deep is Your Love?” from Denny Plays The Yamaha Electone E-70 (1980 Yamaha). Ued the E-70 One of the first home-based organs to feature Yamaha's PASS (Pulse Analog Synthesis System) in a console cabinet. The E-70's architecture resembled the famous CS-80 synthesizer, though it lacked analog VCOs. Its original price tag was ¥1,800,000. 02:46 01:04:58 Electone D-80, home style cabinet, integrated circuits, Pulse Analog Synth (PASS) technology, three manuals, pedalboard, built-in speakers. 13. Bob Hacker, “Rocky Top” "One Man Opry" Bob Hacker Plays The Yamaha Electone D-80 (1980 Yamaha). Used the three-manual Yamaha Electone D-80. 04:01 01:07:46 Electone FX-1, space age cabinet, like the GX-1, integrated circuits, program cartridges, three manuals, pedalboard. 14. Claude Dupras, “Pulstar” from Interface Yamaha FX-1 (1983 Yamaha). Arranged for the Yamaha Electone FX-1 by Claude Dupras. An interesting rendition of a Vangelis song. 03:22 01:11:44 15. Claude Dupras, “The Spring” from Interface Yamaha FX-1 (1983 Yamaha). Arranged for the Yamaha Electone FX-1 by Claude Dupras. A little bit of Vivaldi. 03:32 01:15:06 Electone 7000, home style cabinet, integrated circuits, Pulse Analog Synth (PASS) technology, two manuals, pedalboard, two speakers. 16. Jim Levesque, “Moonlight Sonata/Night and Day” from Record Breaking Performances Featuring The Yamaha Electone 7000. (1981 Yamaha). The Electone 7000 (aka E-75 in Europe/Japan) was a synthesizer-based electric organ produced by Yamaha in 1981. It featured two keyboards and a foot pedal board with a total of 28 voices of polyphony. 03:49 01:18:36 17. Tracy Hammer, “Top Banana” from Record Breaking Performances Featuring The Yamaha Electone 7000. (1981 Yamaha). Used the Electone 7000 (aka E-75 in Europe/Japan), a synthesizer-based electric organ produced by Yamaha in 1981. It featured two keyboards and a foot pedal board with a total of 28 voices of polyphony. 01:43 01:22:22 18. Debbie Culbertson, “Ice Castles” from Record Breaking Performances Featuring The Yamaha Electone 7000. (1981 Yamaha). The Electone 7000 (aka E-75 in Europe/Japan) is a synthesizer-based electric organ produced by Yamaha in 1981. It featured two keyboards and a foot pedal board with a total of 28 voices of polyphony. 04:09 01:23:58 Electone EL-90, home style cabinet, integrated circuits, disc recording of programming, two manuals, pedalboard, two built-in speakers. Introduced new synthesizers, filtering, and expression technologies that made instrument voices on the Electone closer to digital samples. 19. Unknown Artist, “Prime Time,” Yamaha Electone EL-90 the Demonstrations (1991 Yamaha). A cassette demonstration tape showcasing the Electone EL-90 in various musical settings. 03:50 01:28:04 Opening background music: Hidemi Saito, Tadashi Yoshida, side 1 from Enchanting Mood (Electone Sound) (1963 Nivico). Composed by Tadashi Yoshida; Electone organ, Hidemi Saito. Used the Electone E-1. Introduction to the podcast voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp. Electone Museum online. Electone Technology The Organ Forum
Twitter: @podgaverockInsta: @podgaverockSpecial Guest Hosts: Nick BaetzThe Who “Baba O'Riley" from the 1971 album "Who's Next" released on Polydor. Written by Pete Townshend and produced by The Who.Personel:Roger Daltrey – lead vocals and harmonica (live versions only)Pete Townshend – Lowrey organ, piano, electric guitar and co-lead vocalsJohn Entwistle – bassKeith Moon – drumsAdditional Personnel:Dave Arbus – violin (member of East of Eden)Cover:Performed by Neal Marsh and Josh BondIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:Men At Work "Overkill"
Twitter: @podgaverockInsta: @podgaverockSpecial Guest Hosts: Nick BaetzThe Who “Baba O'Riley" from the 1971 album "Who's Next" released on Polydor. Written by Pete Townshend and produced by The Who.Personel:Roger Daltrey – lead vocals and harmonica (live versions only)Pete Townshend – Lowrey organ, piano, electric guitar and co-lead vocalsJohn Entwistle – bassKeith Moon – drumsAdditional Personnel:Dave Arbus – violin (member of East of Eden)Cover:Performed by Josh BondIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:Damien MarleyStephen MarleyBob MarleyPearl Jam “Dark Matter”Pearl Jam “Evenflow”Bill SimmonsChuck KlostermanTaylor SwiftLed Zeppelin “Stairway to HeavenThe Eagles “Hotel California”Journey “Don't Stop Believin'”Queen “Another One Bites the Dust”Queen “We Are the Champions”AC/DCEarth, Wind, and Fire “September”Pink Floyd “Wish You Were Here”Pink Floyd “Comfortably Numb”Pink Floyd “Another Brick in the Wall Pt 2”Deep Purple “Smoke on the Water”Dire Straits “Money for Nothing”The White Stripes “Seven Nation Army”Bon Jovi “Livin' on a Prayer”Sly and the Family Stone “Everyday People”Buffalko Springfield “For What It's Worth”Bob Dylan “Lik a Rolling Stone”Bob Dylan “Times They Are A-Changin''Bob Dylan “Knocking on Heaven's Door”Bob Dylan “Tambourine Man”Marvin GayThe Temptations “My Girl”Aretha Franklin “Respect”Otis Redding “Sitting On the Dock of the Bay”Aretha Franklin “Think”Ben E King “Stand By Me”Gary Glitter “Rock and Roll”CSIThe Who “Pinball Wizard”Meher BabaTerry RileyEast of EdenRobert PlantIsle of WightWoodstockThe Girl Next DoorMetallicaFuture IslandsVan Halen “Jump”Pearl Jam “Rearview Mirror”Pink Floyd “Shine On You Crazy Diamond”One Direction “The Best Song Ever”The Moddy BluesU2 “With or Without You”The Beatles “A Day in the Life”The Beatles “Hey Jude”The KinksThe Beatles “Norwegian Wood”The Rolling Stones “Gimme Shelter”Hall and Oates “Rich Girl”Eddie VedderStone GossardMike McCreadyAcoustic SyndicateHoneysucklePaul Revere Is Not DeadThe Avett BrothersThe Grateful DeadBob WeirBruce HornsbyBrent MidlandGuided By VoicesThe Flaming LipsThe Zac Brown Band
Michael Milosh (RHYE) is a lifelong musician from Toronto, Canada. He learned to play cello at 3 years old, having had a father who dedicated his life to teaching and playing music. RHYE is the musical project of Mike's that has garnered the most worldwide success, but as I reveal in this bath, I have been listening to his music since I was 18, when I first heard his song ‘The City' under the moniker, Milosh.In this bath, we uncover so much about how Mike makes music, why Mike makes music, and what music has unlocked in his life. Music is Mike's journal entries - but he only writes about positive things, things that he wants to bring into the world. In this sense, music is also spiritual and he aligns it with his spiritual beliefs. Often, he has found that his lyrics reveal some truth that already exists underlyingly, or will come true. In this episode, we learn about his songwriting process, and where songs come from. For example, the most recent RHYE EP, Passing, is specifically a dedication to his father, who passed away from cancer in 2022. In writing this EP about loving his father, Mike felt it was important to digest grief in the only way he knew how: writing songs. Grief was something he felt he was not alone in, and album became birdsongs to whomever might be feeling loneliness their own experiences of loss. We discuss loss and love in depth, speaking for the first time about our experience of being attacked online by his ex-wife, and how that has impacted our relationship and work. Mike shares about how we've deepened our understanding of radical self-reliance and how that plays into making art and putting it into the world. It is a story of resilience, and choosing to continue living a good life, in spite of what life throws at you. Mike talks about life and lemons, into lemonade. This tub talks is a joy for me to share because I get to sit with someone I admire and know intimately. I am excited to share his heart with you. Welcome to our tub!
djbigdirty.com 1. [00:00] Intro 2. [00:39] Vintage Culture with Coach Harrison- Hear You Calling {Vintage Culture} 3. [05:09] Disclosure & Eliza Doolittle- You & Me (Rivo Remix) {Geffen} 4. [09:53] Florence + The Machine- You've Got The Love (Sonny Noto Private Mix) {White} 5. [15:00] Meduza X Ferreck Dawn X Clemetine Douglas- I Got Nothing {Defected} 6. [19:17] Kaskade- On My Way {Arkade} 7. [24:25] Lufthaus- Ringo (Miss Monique Remix) {Armada} 8. [29:36] SeeMeNot- Deception (Hot Since 82 Remix) {Brainstream} 9. [34:12] Space Motion & Angel Sanchez feat Magnus- Moonlight (Space Motion Remix) {Space Motion} 10. [38:26] Ladytron- Destroy Everything You Touch (Space Motion Remix) {Ladytron} 11. [43:02] CHRSTPHR- Anomaly {Clubsonica} 12. [48:17] Marvin Gaye, Tiesto & R3HAB- Heard It Through The Grapevine (Pat C's Run Free Edit) {White} 13. [50:04] Tiesto, R3HAB & Deborah Cox- Leave The World Run (Jean Luc & Nick Jay Mashup) {White} 14. [52:05] Heerhorst- Wimbo (6am Mix) {Drumcode} 15. [55:53] Grimix- Feel Me Too {Gemstone} 16. [59:52] John Summit, Hayla, Artbat, Camelphat & Mau P- Where You Are Metro For a Feeling (Djs From Mars Mashup) {White} 17. [01:03:30] Becky Hill, Chase & Status- Disconnect (Tiesto remix) {Polydor} 18. [01:06:28] Genix & flowanstasia- Dependent on You {Anjunabeats} 19. [01:10:43] Dom Dolla- Saving Up {Three Six Zero} 20. [01:15:23] Audien & Xira- One Last Dance (Farius Remix) {Armada} 21. [01:20:24] Pretty Girl- Sun Phase {Gallery}
Having first captured our attention with Monolithic Nuance (2018) for Longform Editions, Megan Mitchell's Cruel Diagonals has continued to impress with each new work. With Fractured Whole, she set herself the task of producing an album using nothing but her voice as raw material. While she deserves recognition as a gifted vocalist, she deserves at least as much praise for her production work, alchemically transmuting her voice into a wide range of instruments and textures. In this episode, she discusses the production challenges posed by Fractured Whole, her background in musical theatre, her work with the feminist archive Many Many Women, and much more. Read more at www.acloserlisten.com TRACKLIST ARTIST – “TITLE” (ALBUM, LABEL, YEAR) Cruel Diagonals - “Penance” (Fractured Whole, Beacon Sound, 2023) INTRO Cruel Diagonals - “Monolithic Nuance” (Monolithic Nuance, Longform Editions, 2018) Mika Vainio - “Se On Olemassa (It Is Existing)” (In The Land Of The Blind One-Eyed Is King, Touch, 2003) Matthewdavid - “Phased Moon” (Mycelium Music, Leaving, 2023) Cruel Diagonals - “Monolithic Nuance” (Monolithic Nuance, Longform Editions, 2018) Cruel Diagonals - “Render Arcane” (Disambiguation, Drawing Room Records, 2018) Cruel Diagonals & Jon Carr - “Fall Back Into Earth” (Fall Back Into Earth, 2022) Asmus Tietchens - “Club of Rome” (The Emergency Cassette Vol. 2, Los Angeles Free Music Society, 1981) Faust - “Why don't you eat carrots?” (Faust, Polydor, 1971) Can - “One More Night” (Ege Bamyasi, Liberty, 1972) Demdike Stare - “Black Sun” (Voices of Dust, Modern Love, 2010) Andy Stott - “Luxury Problems” (Luxury Problems, Modern Love, 2012) Porter Ricks - “Biokinetics 2” (Biokinetics, Chain Reaction, 1996) Anne Gillis - “A6” (Monetachek, Rangehen, 1985) Techno Animal - “Bionic Beatbox (Tortoise version)” (Techno Animal Versus Reality, City Slang, 1998) Cruel Diagonals - “Intuit Sensate [edit]” (Fractured Whole, Beacon Sound, 2023) Pauline Oliveros, Stuart Dempster, Panaiotis - “Lear” (Deep Listening, New Albion, 1989) Eliane Radigue - “L'Île re-sonante (2000)” (L'Île re-sonante, Shiiin, 2005) Annea Lockwood - “For Ruth” (Tête-à-tête by Ruth Anderson & Annea Lockwood, Ergot, 2023) Petr Kotik – S.E.M. Ensemble – Many Many Women – Part 13 (That being uncovered) (Many Many Women, Labor, 1981) Cruel Diagonals - “Fluvial” (A Dormant Vigor, 2021) Laurie Spiegel - “Three Sonic Spaces II” (Unseen Worlds, Scarlett/Infinity, 1991) Lana Del Rabies - “Grace the Teacher (Cruel Diagonals remix)” (Becoming Everything: STREGA BEATA Remixed, 2024) Cruel Diagonals - “Live in Los Angeles - March 2023 pt.1” (Live in Los Angeles, March 2023, Beacon Sound, 2023) Cruel Diagonals - “Vestigial Mythology (remix)” (Live in Los Angeles, March 2023, Beacon Sound, 2023) Cruel Diagonals - “Vestigial Mythology” (Fractured Whole, Beacon Sound, 2023) Andy Stott - “Submission” (We Stay Together, Modern Love, 2011) Andy Stott - “Promises” (It Should Be Us, Modern Love, 2019) Luc Ferrari - “Music Promenade” (Music Promenade / Unheimlich Schön, Recollection GRM, 2019) Cruel Diagonals - “Soporific Return” (Disambiguation, Drawing Room, 2018) Cruel Diagonals - “Decimated Whole” (Fractured Whole, Beacon Sound, 2023) Pauline Oliveros, Roscoe Mitchell, John Tilbury, Wadada Leo Smith - “Part III [Encore]” (Nessuno, I Dischi Di Angelica, 2016) Demdike Stare - “We have already died” (Elemental, Modern Love, 2012) Can - “Call Me” (Saw Delight, Mute/Spoon, 1977/1991) Silent Servant - “Violencia” (Violencia, Sandwell District, 2008) Realivox Ladies (2015) Bjork - “It's Not Up To You” (Vespertine, Polydor, 2001) Pauline Oliveros - “Sound Patterns” (Extended Voices, Odyssey, 1967) Maxwell - “This Woman's Work” (Now, 2001) Richard Maxwell - “Pastoral Symphony” (An Anthology of Noise & Electronic Music Volume 5, 2008) Cruel Diagonals - “Live in Los Angeles - March 2023 pt.2” -—- Sound Propositions produced by Joseph Sannicandro. --- Support this podcast: https://podcasters.spotify.com/pod/show/soundpropositions/support
Hosts Jim DeRogatis and Greg Kot share favorite songs that they loved as TV show theme songs. Plus the hosts review the new album from Peter Gabriel.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:The Handsome Family, "Far from Any Road," Singing Bones, Carrot Top, 2003Peter Gabriel, "Panopticom (Bright-Side Mix)," I/O, Real World, 2023Peter Gabriel, "Playing For Time (Bright-Side Mix)," I/O, Real World, 2023Peter Gabriel, "Road to Joy (Bright-Side Mix)," I/O, Real World, 2023Mick Jagger, "Strange Game," (Single), Polydor, 2022Johnny Rivers, "Secret Agent Man," ...And I Know You Wanna Dance, Imperial, 1966Nick Cave and the Bad Seeds, "Red Right Hand," Let Love In, Mute, 1994Massive Attack, "Teardrop," Mezzanine, Virgin, 1998Gavin DeGraw, "I Don't Want To Be," Chariot, J, 2004Carole King and Louise Goffin, "Where You Lead I Will Follow," Our Little Corner of the World: Music from Gilmore Girls, Rhino, 2002RJD2, "A Beautiful Mine," Magnificent City Instrumentals, Decon, 2006The Coup, "My Favorite Mutiny (feat. Black Thought and Talib Kweli)," Pick a Bigger Weapon, Epitaph, 2006Norma Tenaga, "You're Dead," Walkin' My Cat Named Dog, Rhino, 1966Godfather of Harlem, "Just in Case (feat. Swizz Beatz, Rick Ross & DMX)," Just in Case (feat. Swizz Beatz, Rick Ross & DMX) (Single), Epic, 2019The High Strung, "The Luck You Got," Moxie Bravo, Paper Thin, 2005Blind Boys of Alabama, "Way Down In the Hole," The Spirit Of The Century, Real World, 2001Regina Spektor, "You've Got Time," You've Got Time (Single), Sire, 2013Quincy Jones, "Sanford & Son (The Streebeater)," You've Got It Bad Girl, A&M, 1973Aloe Blacc, "I Need a Dollar," Good Things, Stones Throw, 2010Jamila Woods, "Tiny Garden (feat. duendita)," Water Made Us, Jagjaguwar, 2023See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
"Tunes of the Season: Phish, Grateful Dead, and Merry Jams"Larry Mishkin discusses Christmas-themed songs performed by various artists, including The Who and Grateful Dead. Larry delves into The Who's rock opera "Tommy," particularly focusing on the song "Christmas" and its critical reception. He transitions to discussing Grateful Dead's rendition of Chuck Berry's "Run, Rudolph, Run" performed at the Felt Forum in 1971 and analyzes its significance in the band's repertoire.Larry further explores the potential residency of bands like Dead & Company at the Sphere in Las Vegas, following U2's shows there. He touches on Phish's upcoming performances at the same venue and discusses the difficulty in acquiring tickets for these highly anticipated shows.Later, Larry reminisces about New Year's Eve shows by various bands, specifically mentioning Grateful Dead's memorable performances during the countdown. He also features unconventional Christmas renditions by Phish and Jerry Garcia with David Grisman..Produced by PodConx Theme – Rock n Roll ChristmasIf you were in the Mishkin household earlier this morning, you might have heard this blasting out of the speakers:INTRO: ChristmasThe WhoFebruary 14, 1970University of Leeds, Leeds, England aka “Live At Leeds”The Who - Christmas - Live At Leeds (with Footage) (youtube.com)2:00 – 3:17 "Christmas" is a song written by Pete Townshend and is the seventh song on The Who's rock opera Tommy. On the original LP, it opens the second side of the album. Tommy is the fourth studio album by the English rock band the Who, first released on 19 May 1969.[2] Primarily written by guitarist Pete Townshend, Tommy is a double album and an early rock opera that tells the story of Tommy Walker and his experiences through life. The song tells how on Christmas morning, Tommy's father is worried about Tommy's future, and soul. His future is jeopardized due to being deaf, dumb, and blind.[2] The lyrics contrast religious themes such as Christmas and Jesus Christ with Tommy's ignorance of such matters. The rhetorical question, "How can he be saved from the eternal grave?" is asked about Tommy's condition and adds speculation as to the nature of original sin and eternal salvation. In the middle of the song, "Tommy can you hear me?" is repeated, with Tommy responding, "See me, feel me, touch me, heal me." "Christmas" was praised by critics. Richie Unterberger of AllMusic called it an "excellent song."[5]Rolling Stone's Mac Randall said it was one of several "prime Pete Townshend songs" on the album.[6] A review in Life by Albert Goldman considered it beautiful and highlighted the song's "croaking chorus".[7] James Perone said it was "perhaps one of the best sleeper tracks of the collection." Townshend came up with the concept of Tommy after being introduced to the work of Meher Baba, and he attempted to translate Baba's teachings into music. Recording on the album began in September 1968, but took six months to complete as material needed to be arranged and re-recorded in the studio. Tommy was acclaimed upon its release by critics, who hailed it as the Who's breakthrough. Its critical standing diminished slightly in later years; nonetheless, several writers view it as an important and influential album in the history of rock music. The Who promoted the album's release with an extensive tour, including a live version of Tommy, which lasted throughout 1969 and 1970. Key gigs from the tour included appearances at Woodstock, the 1969 Isle of Wight Festival, the University of Leeds, the Metropolitan Opera House, and the 1970 Isle of Wight Festival. The live performances of Tommy drew critical praise and revitalised the band's career. Live at Leeds is the first live album by English rock band the Who. It was recorded at the University of Leeds Refectory on 14 February 1970, and is their only live album that was released while the group were still actively recording and performing with their best-known line-up of Roger Daltrey, Pete Townshend, John Entwistle and Keith Moon. The album was released on 11 May 1970 by Decca and MCA in the United States,[2] and by Track and Polydor in the United Kingdom. It has been reissued on several occasions and in several different formats. Since its release, Live at Leeds has been ranked by several music critics as the best live rock recording of all time SHOW No. 1: Run Rudolph RunGrateful DeadFelt Forum at MSG, NYCDecember 7, 1971Track No. 10Grateful Dead Live at Felt Forum, Madison Square Garden on 1971-12-07 : Free Borrow & Streaming : Internet Archive0:11 – 1:54 Run Rudolph Run"[2][3][4] is a Christmas song written by Chuck Berry but credited to Johnny Marks and M. Brodie due to Marks' trademark on the character of Rudolph the Red-Nosed Reindeer.[5][note 1] It was published by St. Nicholas Music (ASCAP) and was first recorded by Berry in 1958, released as a single on Chess Records.It has since been covered by numerous other artists, sometimes with the title "Run Run Rudolph".[16] The song is a 12-bar blues, musically similar to Berry's popular and recognizable song "Johnny B. Goode", and melodically similar to his song "Little Queenie", the latter of which was released shortly after, in 1959.During its initial chart run, Berry's 1958 recording peaked at number 69 on the Billboard Hot 100 chart in December 1958.[22] Sixty years later, the single re-entered the Hot 100 chart at number 45 (on the week ending January 5, 2019), reaching an overall peak position of number 10 on the week ending January 2, 2021, following its third chart re-entry, becoming Berry's third top-ten hit and his first since 1972's "My Ding-a-Ling". In doing so, it broke the record for the longest climb to the top 10 since its first entry in December 1958, at 62 years and two weeks.This Ciip:Out of Brokedown Palace and into You Win AgainPlayed a total of 7 times.This was the first timeLast: December 15, 1971 Hill Auditorium, Ann Arbor, MI SHOW No. 2: Little Drummer BoyPhishJuly 3, 1999Coca Cola Lakewood Amphitheatre, Atlanta, GAPhish - The Little Drummer Boy - 7/3/1999 - Atlanta, GA (youtube.com)Start to 1:30 Out of Contact to close the second set. Played it again as the first encore (into, Won't You Come Home Bill Bailery starring Page's dad, Jack, on vocals and kazoo. "The Little Drummer Boy" (originally known as "Carol of the Drum") is a Czechoslovakian popular Christmas song written by American composer Katherine Kennicott Davis in 1941.[1] First recorded in 1951 by the Austrian Trapp Family, the song was further popularized by a 1958 recording by the Harry Simeone Chorale; the Simeone version was re-released successfully for several years, and the song has been recorded many times since.[2] In the lyrics, the singer relates how, as a poor young boy, he was summoned by the Magi to the Nativity of Jesus. Without a gift for the Infant, the little drummer boy played his drum with approval from Jesus' mother, Mary, recalling, "I played my best for him" and "He smiled at me". Phish has only performed the song three times during the month of December – the debut performance segueing out of “Mike's Song” and into “Whipping Post,” a tease during the 12/28/94 “Weekapaug Groove,” and jammed out of the “YEM” vocal jam (12/2/99) (which melted down until Jon was left singing it to close the set). But the song was jammed out of season during “My Friend, My Friend” (3/18/93) and “Stash” (7/15/93), and teased during “Weekapaug Groove” and “Big Ball Jam” (4/9/94), “Wilson” (8/13/97), “Silent in the Morning” (7/4/99), and "Wilson" (4/16/04). This version is generally considered to be Fishman's most memorable version. SHOW No. 3: God Rest Ye Merry GentlemenJerry Garcia and David GrismanNovember 9, 1991Warfield Theater, S.F.God Rest Ye Merry Gentlemen - Jerry Garcia - Bing videoStart – 1:37Out of The Two Sisters to close second set "God Rest You Merry, Gentlemen" is an English traditional Christmas carol. It is in the Roxburghe Collection (iii. 452), and is listed as no. 394 in the Roud Folk Song Index. It is also known as "Tidings of Comfort and Joy", and by other variant incipits. An early version of this carol is found in an anonymous manuscript, dating from the 1650s it appeared in a parody published in 1820 by William Hone. Story here is the way Jerry and David play so tight, trading off leads and filling in gaps. A great sound for a traditional tune. There are many sides of Jerry and we don't get to see all of them. Nice to take a break from the traditional Dead stuff and take a look in at what else Garcia was doing during that creative period of his life. SHOW No. 4: Stagger LeeGrateful DeadDecember 30, 1985Track No. 6Grateful Dead Live at Oakland Coliseum on 1985-12-30 : Free Borrow & Streaming : Internet ArchiveStart – 1:32 As is made clear by the opening lyrics, this is a tale about events that unfolded and played out on Christmas: “1940 Xmas Eve with a full moon over town”. On some occasions, Jerry was known to substitute in “Christmas” Eve. "Stagger Lee", also known as "Stagolee" and other variants, is a popular American folk song about the murder of Billy Lyons by "Stag" Lee Shelton, in St. Louis, Missouri, at Christmas 1895. The song was first published in 1911 and first recorded in 1923, by Fred Waring's Pennsylvanians, titled "Stack O' Lee Blues". A version by Lloyd Price reached number one on the Billboard Hot 100 in 1959. The historical Stagger Lee was Lee Shelton, an African-American pimp living in St. Louis, Missouri, in the late 19th century. He was nicknamed Stag Lee or Stack Lee, with a variety of explanations being given: he was given the nickname because he "went stag" (went to social events unaccompanied by a person of the opposite sex); he took the nickname from a well-known riverboat captain called Stack Lee; or, according to John and Alan Lomax, he took the name from a riverboat owned by the Lee family of Memphis called the Stack Lee, which was known for its on-board prostitution.[2] Shelton was well known locally as one of the Macks, a group of pimps who demanded attention through their flashy clothing and appearance.[3] In addition to those activities, he was the captain of a black Four Hundred Club, a social club with a dubious reputation. On Christmas night in 1895, Shelton and his acquaintance William "Billy" Lyons were drinking in the Bill Curtis Saloon. Lyons was also a member of St. Louis' underworld, and may have been a political and business rival to Shelton. Eventually, the two men got into a dispute, during which Lyons took Shelton's Stetson hat.[5]Subsequently, Shelton shot Lyons, recovered his hat, and left.[6] Lyons died of his injuries, and Shelton was charged, tried, and convicted of the murder in 1897. He was paroled in 1909, but returned to prison in 1911 for assault and robbery. He died in incarceration in 1912. The Grateful Dead frequently played and eventually recorded a version of the tale which focuses on the fictionalized hours after the death of "Billy DeLyon", when Billy's wife Delia tracks down Stagger Lee in a local saloon and "she shot him in the balls" in revenge for Billy's death. Based on the traditional song "Stagger Lee", "Stagolee" or "Stack O'Lee." Robert Hunter wrote a version that he performed solo, and Jerry Garcia subsequently re-ordered the lyrics and rewrote the music for the Grateful Dead's version. More recently Bob Weir has also been performing some of the older traditional versions with Ratdog. Dead released it on Shakedown Street, Nov. 8, 1978 Played 146 times by the Dead1st: August 30, 1978Last: June 18, 1995 Giants Stadium OUTRO: Santa Clause Is Coming To TownBruce Springsteen and the E Street BandCW Post University, Greenvale, NYDecember, 19756Santa Claus Is Comin' to Town (Live at C.W. Post College, Greenvale, NY - December 1975) - Bing video2:15 - 4:00 Santa Claus Is Comin' to Town" is a Christmas song featuring Santa Claus, written by J. Fred Coots and Haven Gillespie and first recorded by Harry Reser and His Band.[1] When it was covered by Eddie Cantor on his radio show in November 1934 it became a hit; within 24 hours, 500,000 copies of sheet music and more than 30,000 records were sold.[2][3] The version for Bluebird Records by George Hall and His Orchestra (vocal by Sonny Schuyler) was very popular in 1934 and reached the various charts of the day.[4] The song has been recorded by over 200 artists including Bing Crosby and the Andrews Sisters, the Crystals, Neil Diamond, Fred Astaire, Bruce Springsteen, Frank Sinatra, Bill Evans, Chris Isaak, the Temptations, The Pointer Sisters, the Carpenters, Michael Bublé, Luis Miguel, and the Jackson 5 A rock version by Bruce Springsteen & the E Street Band was recorded on December 12, 1975, at C. W. Post College in Brookville, New York, by Record Plant engineers Jimmy Iovine and Thom Panunzio.[14][15] This version borrows the chorus refrain from the 1963 recording by the Crystals.[16] It was first released as a track on the 1981 Sesame Street compilation album, In Harmony 2, as well as on a 1981 promotional, radio-only, 7-inch single (Columbia AE7 1332).[17][18] Four years later, it was released as the B-side to "My Hometown," a single off the Born in the U.S.A. album.[19] Springsteen's rendition of the song has received radio airplay perennially at Christmastime for years; it appeared on Billboard magazine's Hot Singles Recurrents chart each year from 2002 to 2009 due to seasonal air play. Live performances of the song often saw the band encouraging the audience to sing some of the lyrics with—or in place of—the band's vocalists (usually the line "you'd better be good for goodness sake", and occasionally the key line "Santa Claus is Comin' to Town" as well). Sometimes, concert crowds would sing along with the entire song, and the band, who were known to encourage this behavior for the song, would do nothing to dissuade those audiences from doing so, instead welcoming the crowds' enthusiasm. This version remains a Springsteen concert favorite during the months of November and December (often concluding the show), and the band is among the few that keep it in their roster of songs during the holidays. Dead & Co at the Sphere?Phish – sold out fast Merry ChristmasHappy Holidays .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast
EP 576 featuring a discussion with vocalist David Glen Eisley
The guys give us 60 minutes of non-stop club ready beats from the likes of Fedde Le Grand, SIDEPIECE, Eli Brown, their own track with Gian Varela and also a triple A Track from Kino Todo and Trillion. 1. Mochakk - Jealous [CircoLoco Records]2. Steve Angello - Monday (Sunnery James & Ryan Marciano, Magnificence Remix) [SIZE]3. Fedde Le Grand - Elektro [Spinnin']4. Thomas Newson & Novak - Do My Thing 5. Sunnery James & Ryan Marciano x Gian Varela feat. Bla-De - Keloke [SONO Music]:::TRIPLE A TRACK:::6. Kino Todo & Trilion 'Raver' [Higher Ground]7. Kideko - Dingdading [Solotoko]8. Simon Fava & Yvvan Back - Se Danza (ft. Martina Camargo) [White Label]9. SIDEPIECE - Westside [D4 D4NCE]10. Go Freek & Dope Earth Alien - Turning It Up (Ben Miller Remix) [Club Sweat]11. James Hype & Major Lazer - Number 1 [STEREOHYPE]12. DJ Minx - The Throne [Higher Ground]13. Kyle Watson - See Your Truth [No Context Records]14. Breach - Jack (Jonathan Kaspar Remix) [Defected]15. Eli Brown 'Diamonds On My Mind' [Polydor]16. Lohrasp Kansara - Follow Me feat. Norman Alexander
Hosts Jim DeRogatis and Greg Kot share some of their favorite songs about work in honor of Labor Day. They also review the new album from Big Freedia and add a song to the Desert Island Jukebox. Join our Facebook Group: https://bit.ly/3sivr9T Become a member on Patreon: https://bit.ly/3slWZvc Sign up for our newsletter: https://bit.ly/3eEvRnG Make a donation via PayPal: https://bit.ly/3dmt9lU Send us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs: Donna Summer, "She Works Hard For the Money," She Works Hard for the Money, Mercury, 1983The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Big Freedia, "Gin In My System," Central City, Queen Diva, 2023Big Freedia, "Booty Like A Drummer," Central City, Queen Diva, 2023Big Freedia, "Life Lessons," Central City, Queen Diva, 2023Big Freedia, "Pepto Interlude," Central City, Queen Diva, 2023Mitski, "Working for the Knife," Laurel Hell, Dead Oceans, 2022Margo Price, "Pay Gap," All American Made, Third Man, 2017Dolly Parton, "9 To 5," 9 to 5 and Odd Jobs, RCA Victor, 1980The Animals, "We Gotta Get Out Of This Place," Animal Tracks, MGM, 1965John Lennon, "Working Class Hero," John Lennon/Plastic Ono Band, Apple, 1970Van Morrison, "Cleaning Windows," Beautiful Vision, Mercury, 1982Rhymefest, "Good Ass Job," Rhymefest Presents Raw Dawg, Self Released, 2001Sam Cooke, "Chain Gang," Swing Low, RCA Victor, 1961R.E.M., "Finest Worksong," Document, I.R.S., 1987The Clash, "Career Opportunities," The Clash, CBS, 1977Bob Marley & The Wailers, "Night Shift," Rastaman Vibration, Island, 1976Lou Reed, "Don't Talk To Me About Work," Legendary Hearts, RCA , 1983The Jam, "Smithers Jones," When We're Young (Single), Polydor, 1979Flaming Lips, "Bad Days," Clouds Taste Metallic, Warner Bros, 1995Al Green, "Perfect Day," Perfect Day (Single), Fat Possum, 2023Lou Reed , "Perfect Day," Transformer, RCA, 1972Support The Show: https://www.patreon.com/soundopinionsSee omnystudio.com/listener for privacy information.
Episode 166 of A History of Rock Music in Five Hundred Songs looks at “Crossroads", Cream, the myth of Robert Johnson, and whether white men can sing the blues. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-eight-minute bonus episode available, on “Tip-Toe Thru' the Tulips" by Tiny Tim. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I talk about an interview with Clapton from 1967, I meant 1968. I mention a Graham Bond live recording from 1953, and of course meant 1963. I say Paul Jones was on vocals in the Powerhouse sessions. Steve Winwood was on vocals, and Jones was on harmonica. Resources As I say at the end, the main resource you need to get if you enjoyed this episode is Brother Robert by Annye Anderson, Robert Johnson's stepsister. There are three Mixcloud mixes this time. As there are so many songs by Cream, Robert Johnson, John Mayall, and Graham Bond excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here -- one, two, three. This article on Mack McCormick gives a fuller explanation of the problems with his research and behaviour. The other books I used for the Robert Johnson sections were McCormick's Biography of a Phantom; Up Jumped the Devil: The Real Life of Robert Johnson, by Bruce Conforth and Gayle Dean Wardlow; Searching for Robert Johnson by Peter Guralnick; and Escaping the Delta by Elijah Wald. I can recommend all of these subject to the caveats at the end of the episode. The information on the history and prehistory of the Delta blues mostly comes from Before Elvis by Larry Birnbaum, with some coming from Charley Patton by John Fahey. The information on Cream comes mostly from Cream: How Eric Clapton Took the World by Storm by Dave Thompson. I also used Ginger Baker: Hellraiser by Ginger Baker and Ginette Baker, Mr Showbiz by Stephen Dando-Collins, Motherless Child by Paul Scott, and Alexis Korner: The Biography by Harry Shapiro. The best collection of Cream's work is the four-CD set Those Were the Days, which contains every track the group ever released while they were together (though only the stereo mixes of the albums, and a couple of tracks are in slightly different edits from the originals). You can get Johnson's music on many budget compilation records, as it's in the public domain in the EU, but the double CD collection produced by Steve LaVere for Sony in 2011 is, despite the problems that come from it being associated with LaVere, far and away the best option -- the remasters have a clarity that's worlds ahead of even the 1990s CD version it replaced. And for a good single-CD introduction to the Delta blues musicians and songsters who were Johnson's peers and inspirations, Back to the Crossroads: The Roots of Robert Johnson, compiled by Elijah Wald as a companion to his book on Johnson, can't be beaten, and contains many of the tracks excerpted in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick note that this episode contains discussion of racism, drug addiction, and early death. There's also a brief mention of death in childbirth and infant mortality. It's been a while since we looked at the British blues movement, and at the blues in general, so some of you may find some of what follows familiar, as we're going to look at some things we've talked about previously, but from a different angle. In 1968, the Bonzo Dog Band, a comedy musical band that have been described as the missing link between the Beatles and the Monty Python team, released a track called "Can Blue Men Sing the Whites?": [Excerpt: The Bonzo Dog Band, "Can Blue Men Sing the Whites?"] That track was mocking a discussion that was very prominent in Britain's music magazines around that time. 1968 saw the rise of a *lot* of British bands who started out as blues bands, though many of them went on to different styles of music -- Fleetwood Mac, Ten Years After, Jethro Tull, Chicken Shack and others were all becoming popular among the kind of people who read the music magazines, and so the question was being asked -- can white men sing the blues? Of course, the answer to that question was obvious. After all, white men *invented* the blues. Before we get any further at all, I have to make clear that I do *not* mean that white people created blues music. But "the blues" as a category, and particularly the idea of it as a music made largely by solo male performers playing guitar... that was created and shaped by the actions of white male record executives. There is no consensus as to when or how the blues as a genre started -- as we often say in this podcast "there is no first anything", but like every genre it seems to have come from multiple sources. In the case of the blues, there's probably some influence from African music by way of field chants sung by enslaved people, possibly some influence from Arabic music as well, definitely some influence from the Irish and British folk songs that by the late nineteenth century were developing into what we now call country music, a lot from ragtime, and a lot of influence from vaudeville and minstrel songs -- which in turn themselves were all very influenced by all those other things. Probably the first published composition to show any real influence of the blues is from 1904, a ragtime piano piece by James Chapman and Leroy Smith, "One O' Them Things": [Excerpt: "One O' Them Things"] That's not very recognisable as a blues piece yet, but it is more-or-less a twelve-bar blues. But the blues developed, and it developed as a result of a series of commercial waves. The first of these came in 1914, with the success of W.C. Handy's "Memphis Blues", which when it was recorded by the Victor Military Band for a phonograph cylinder became what is generally considered the first blues record proper: [Excerpt: The Victor Military Band, "Memphis Blues"] The famous dancers Vernon and Irene Castle came up with a dance, the foxtrot -- which Vernon Castle later admitted was largely inspired by Black dancers -- to be danced to the "Memphis Blues", and the foxtrot soon overtook the tango, which the Castles had introduced to the US the previous year, to become the most popular dance in America for the best part of three decades. And with that came an explosion in blues in the Handy style, cranked out by every music publisher. While the blues was a style largely created by Black performers and writers, the segregated nature of the American music industry at the time meant that most vocal performances of these early blues that were captured on record were by white performers, Black vocalists at this time only rarely getting the chance to record. The first blues record with a Black vocalist is also technically the first British blues record. A group of Black musicians, apparently mostly American but led by a Jamaican pianist, played at Ciro's Club in London, and recorded many tracks in Britain, under a name which I'm not going to say in full -- it started with Ciro's Club, and continued alliteratively with another word starting with C, a slur for Black people. In 1917 they recorded a vocal version of "St. Louis Blues", another W.C. Handy composition: [Excerpt: Ciro's Club C**n Orchestra, "St. Louis Blues"] The first American Black blues vocal didn't come until two years later, when Bert Williams, a Black minstrel-show performer who like many Black performers of his era performed in blackface even though he was Black, recorded “I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,” [Excerpt: Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,”] But it wasn't until 1920 that the second, bigger, wave of popularity started for the blues, and this time it started with the first record of a Black *woman* singing the blues -- Mamie Smith's "Crazy Blues": [Excerpt: Mamie Smith, "Crazy Blues"] You can hear the difference between that and anything we've heard up to that point -- that's the first record that anyone from our perspective, a hundred and three years later, would listen to and say that it bore any resemblance to what we think of as the blues -- so much so that many places still credit it as the first ever blues record. And there's a reason for that. "Crazy Blues" was one of those records that separates the music industry into before and after, like "Rock Around the Clock", "I Want to Hold Your Hand", Sgt Pepper, or "Rapper's Delight". It sold seventy-five thousand copies in its first month -- a massive number by the standards of 1920 -- and purportedly went on to sell over a million copies. Sales figures and market analysis weren't really a thing in the same way in 1920, but even so it became very obvious that "Crazy Blues" was a big hit, and that unlike pretty much any other previous records, it was a big hit among Black listeners, which meant that there was a market for music aimed at Black people that was going untapped. Soon all the major record labels were setting up subsidiaries devoted to what they called "race music", music made by and for Black people. And this sees the birth of what is now known as "classic blues", but at the time (and for decades after) was just what people thought of when they thought of "the blues" as a genre. This was music primarily sung by female vaudeville artists backed by jazz bands, people like Ma Rainey (whose earliest recordings featured Louis Armstrong in her backing band): [Excerpt: Ma Rainey, "See See Rider Blues"] And Bessie Smith, the "Empress of the Blues", who had a massive career in the 1920s before the Great Depression caused many of these "race record" labels to fold, but who carried on performing well into the 1930s -- her last recording was in 1933, produced by John Hammond, with a backing band including Benny Goodman and Jack Teagarden: [Excerpt: Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer"] It wouldn't be until several years after the boom started by Mamie Smith that any record companies turned to recording Black men singing the blues accompanied by guitar or banjo. The first record of this type is probably "Norfolk Blues" by Reese DuPree from 1924: [Excerpt: Reese DuPree, "Norfolk Blues"] And there were occasional other records of this type, like "Airy Man Blues" by Papa Charlie Jackson, who was advertised as the “only man living who sings, self-accompanied, for Blues records.” [Excerpt: Papa Charlie Jackson, "Airy Man Blues"] But contrary to the way these are seen today, at the time they weren't seen as being in some way "authentic", or "folk music". Indeed, there are many quotes from folk-music collectors of the time (sadly all of them using so many slurs that it's impossible for me to accurately quote them) saying that when people sang the blues, that wasn't authentic Black folk music at all but an adulteration from commercial music -- they'd clearly, according to these folk-music scholars, learned the blues style from records and sheet music rather than as part of an oral tradition. Most of these performers were people who recorded blues as part of a wider range of material, like Blind Blake, who recorded some blues music but whose best work was his ragtime guitar instrumentals: [Excerpt: Blind Blake, "Southern Rag"] But it was when Blind Lemon Jefferson started recording for Paramount records in 1926 that the image of the blues as we now think of it took shape. His first record, "Got the Blues", was a massive success: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] And this resulted in many labels, especially Paramount, signing up pretty much every Black man with a guitar they could find in the hopes of finding another Blind Lemon Jefferson. But the thing is, this generation of people making blues records, and the generation that followed them, didn't think of themselves as "blues singers" or "bluesmen". They were songsters. Songsters were entertainers, and their job was to sing and play whatever the audiences would want to hear. That included the blues, of course, but it also included... well, every song anyone would want to hear. They'd perform old folk songs, vaudeville songs, songs that they'd heard on the radio or the jukebox -- whatever the audience wanted. Robert Johnson, for example, was known to particularly love playing polka music, and also adored the records of Jimmie Rodgers, the first country music superstar. In 1941, when Alan Lomax first recorded Muddy Waters, he asked Waters what kind of songs he normally played in performances, and he was given a list that included "Home on the Range", Gene Autry's "I've Got Spurs That Jingle Jangle Jingle", and Glenn Miller's "Chattanooga Choo-Choo". We have few recordings of these people performing this kind of song though. One of the few we have is Big Bill Broonzy, who was just about the only artist of this type not to get pigeonholed as just a blues singer, even though blues is what made him famous, and who later in his career managed to record songs like the Tin Pan Alley standard "The Glory of Love": [Excerpt: Big Bill Broonzy, "The Glory of Love"] But for the most part, the image we have of the blues comes down to one man, Arthur Laibley, a sales manager for the Wisconsin Chair Company. The Wisconsin Chair Company was, as the name would suggest, a company that started out making wooden chairs, but it had branched out into other forms of wooden furniture -- including, for a brief time, large wooden phonographs. And, like several other manufacturers, like the Radio Corporation of America -- RCA -- and the Gramophone Company, which became EMI, they realised that if they were going to sell the hardware it made sense to sell the software as well, and had started up Paramount Records, which bought up a small label, Black Swan, and soon became the biggest manufacturer of records for the Black market, putting out roughly a quarter of all "race records" released between 1922 and 1932. At first, most of these were produced by a Black talent scout, J. Mayo Williams, who had been the first person to record Ma Rainey, Papa Charlie Jackson, and Blind Lemon Jefferson, but in 1927 Williams left Paramount, and the job of supervising sessions went to Arthur Laibley, though according to some sources a lot of the actual production work was done by Aletha Dickerson, Williams' former assistant, who was almost certainly the first Black woman to be what we would now think of as a record producer. Williams had been interested in recording all kinds of music by Black performers, but when Laibley got a solo Black man into the studio, what he wanted more than anything was for him to record the blues, ideally in a style as close as possible to that of Blind Lemon Jefferson. Laibley didn't have a very hands-on approach to recording -- indeed Paramount had very little concern about the quality of their product anyway, and Paramount's records are notorious for having been put out on poor-quality shellac and recorded badly -- and he only occasionally made actual suggestions as to what kind of songs his performers should write -- for example he asked Son House to write something that sounded like Blind Lemon Jefferson, which led to House writing and recording "Mississippi County Farm Blues", which steals the tune of Jefferson's "See That My Grave is Kept Clean": [Excerpt: Son House, "Mississippi County Farm Blues"] When Skip James wanted to record a cover of James Wiggins' "Forty-Four Blues", Laibley suggested that instead he should do a song about a different gun, and so James recorded "Twenty-Two Twenty Blues": [Excerpt: Skip James, "Twenty-Two Twenty Blues"] And Laibley also suggested that James write a song about the Depression, which led to one of the greatest blues records ever, "Hard Time Killing Floor Blues": [Excerpt: Skip James, "Hard Time Killing Floor Blues"] These musicians knew that they were getting paid only for issued sides, and that Laibley wanted only blues from them, and so that's what they gave him. Even when it was a performer like Charlie Patton. (Incidentally, for those reading this as a transcript rather than listening to it, Patton's name is more usually spelled ending in ey, but as far as I can tell ie was his preferred spelling and that's what I'm using). Charlie Patton was best known as an entertainer, first and foremost -- someone who would do song-and-dance routines, joke around, play guitar behind his head. He was a clown on stage, so much so that when Son House finally heard some of Patton's records, in the mid-sixties, decades after the fact, he was astonished that Patton could actually play well. Even though House had been in the room when some of the records were made, his memory of Patton was of someone who acted the fool on stage. That's definitely not the impression you get from the Charlie Patton on record: [Excerpt: Charlie Patton, "Poor Me"] Patton is, as far as can be discerned, the person who was most influential in creating the music that became called the "Delta blues". Not a lot is known about Patton's life, but he was almost certainly the half-brother of the Chatmon brothers, who made hundreds of records, most notably as members of the Mississippi Sheiks: [Excerpt: The Mississippi Sheiks, "Sitting on Top of the World"] In the 1890s, Patton's family moved to Sunflower County, Mississippi, and he lived in and around that county until his death in 1934. Patton learned to play guitar from a musician called Henry Sloan, and then Patton became a mentor figure to a *lot* of other musicians in and around the plantation on which his family lived. Some of the musicians who grew up in the immediate area around Patton included Tommy Johnson: [Excerpt: Tommy Johnson, "Big Road Blues"] Pops Staples: [Excerpt: The Staple Singers, "Will The Circle Be Unbroken"] Robert Johnson: [Excerpt: Robert Johnson, "Crossroads"] Willie Brown, a musician who didn't record much, but who played a lot with Patton, Son House, and Robert Johnson and who we just heard Johnson sing about: [Excerpt: Willie Brown, "M&O Blues"] And Chester Burnett, who went on to become known as Howlin' Wolf, and whose vocal style was equally inspired by Patton and by the country star Jimmie Rodgers: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] Once Patton started his own recording career for Paramount, he also started working as a talent scout for them, and it was him who brought Son House to Paramount. Soon after the Depression hit, Paramount stopped recording, and so from 1930 through 1934 Patton didn't make any records. He was tracked down by an A&R man in January 1934 and recorded one final session: [Excerpt, Charlie Patton, "34 Blues"] But he died of heart failure two months later. But his influence spread through his proteges, and they themselves influenced other musicians from the area who came along a little after, like Robert Lockwood and Muddy Waters. This music -- or that portion of it that was considered worth recording by white record producers, only a tiny, unrepresentative, portion of their vast performing repertoires -- became known as the Delta Blues, and when some of these musicians moved to Chicago and started performing with electric instruments, it became Chicago Blues. And as far as people like John Mayall in Britain were concerned, Delta and Chicago Blues *were* the blues: [Excerpt: John Mayall and the Bluesbreakers, "It Ain't Right"] John Mayall was one of the first of the British blues obsessives, and for a long time thought of himself as the only one. While we've looked before at the growth of the London blues scene, Mayall wasn't from London -- he was born in Macclesfield and grew up in Cheadle Hulme, both relatively well-off suburbs of Manchester, and after being conscripted and doing two years in the Army, he had become an art student at Manchester College of Art, what is now Manchester Metropolitan University. Mayall had been a blues fan from the late 1940s, writing off to the US to order records that hadn't been released in the UK, and by most accounts by the late fifties he'd put together the biggest blues collection in Britain by quite some way. Not only that, but he had one of the earliest home tape recorders, and every night he would record radio stations from Continental Europe which were broadcasting for American service personnel, so he'd amassed mountains of recordings, often unlabelled, of obscure blues records that nobody else in the UK knew about. He was also an accomplished pianist and guitar player, and in 1956 he and his drummer friend Peter Ward had put together a band called the Powerhouse Four (the other two members rotated on a regular basis) mostly to play lunchtime jazz sessions at the art college. Mayall also started putting on jam sessions at a youth club in Wythenshawe, where he met another drummer named Hughie Flint. Over the late fifties and into the early sixties, Mayall more or less by himself built up a small blues scene in Manchester. The Manchester blues scene was so enthusiastic, in fact, that when the American Folk Blues Festival, an annual European tour which initially featured Willie Dixon, Memhis Slim, T-Bone Walker, Sonny Terry & Brownie McGhee, and John Lee Hooker, first toured Europe, the only UK date it played was at the Manchester Free Trade Hall, and people like Mick Jagger, Keith Richards, Brian Jones and Jimmy Page had to travel up from London to see it. But still, the number of blues fans in Manchester, while proportionally large, was objectively small enough that Mayall was captivated by an article in Melody Maker which talked about Alexis Korner and Cyril Davies' new band Blues Incorporated and how it was playing electric blues, the same music he was making in Manchester. He later talked about how the article had made him think that maybe now people would know what he was talking about. He started travelling down to London to play gigs for the London blues scene, and inviting Korner up to Manchester to play shows there. Soon Mayall had moved down to London. Korner introduced Mayall to Davey Graham, the great folk guitarist, with whom Korner had recently recorded as a duo: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] Mayall and Graham performed together as a duo for a while, but Graham was a natural solo artist if ever there was one. Slowly Mayall put a band together in London. On drums was his old friend Peter Ward, who'd moved down from Manchester with him. On bass was John McVie, who at the time knew nothing about blues -- he'd been playing in a Shadows-style instrumental group -- but Mayall gave him a stack of blues records to listen to to get the feeling. And on guitar was Bernie Watson, who had previously played with Screaming Lord Sutch and the Savages. In late 1963, Mike Vernon, a blues fan who had previously published a Yardbirds fanzine, got a job working for Decca records, and immediately started signing his favourite acts from the London blues circuit. The first act he signed was John Mayall and the Bluesbreakers, and they recorded a single, "Crawling up a Hill": [Excerpt: John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)"] Mayall later called that a "clumsy, half-witted attempt at autobiographical comment", and it sold only five hundred copies. It would be the only record the Bluesbreakers would make with Watson, who soon left the band to be replaced by Roger Dean (not the same Roger Dean who later went on to design prog rock album covers). The second group to be signed by Mike Vernon to Decca was the Graham Bond Organisation. We've talked about the Graham Bond Organisation in passing several times, but not for a while and not in any great detail, so it's worth pulling everything we've said about them so far together and going through it in a little more detail. The Graham Bond Organisation, like the Rolling Stones, grew out of Alexis Korner's Blues Incorporated. As we heard in the episode on "I Wanna Be Your Man" a couple of years ago, Blues Incorporated had been started by Alexis Korner and Cyril Davies, and at the time we're joining them in 1962 featured a drummer called Charlie Watts, a pianist called Dave Stevens, and saxophone player Dick Heckstall-Smith, as well as frequent guest performers like a singer who called himself Mike Jagger, and another one, Roderick Stewart. That group finally found themselves the perfect bass player when Dick Heckstall-Smith put together a one-off group of jazz players to play an event at Cambridge University. At the gig, a little Scottish man came up to the group and told them he played bass and asked if he could sit in. They told him to bring along his instrument to their second set, that night, and he did actually bring along a double bass. Their bluff having been called, they decided to play the most complicated, difficult, piece they knew in order to throw the kid off -- the drummer, a trad jazz player named Ginger Baker, didn't like performing with random sit-in guests -- but astonishingly he turned out to be really good. Heckstall-Smith took down the bass player's name and phone number and invited him to a jam session with Blues Incorporated. After that jam session, Jack Bruce quickly became the group's full-time bass player. Bruce had started out as a classical cellist, but had switched to the double bass inspired by Bach, who he referred to as "the guv'nor of all bass players". His playing up to this point had mostly been in trad jazz bands, and he knew nothing of the blues, but he quickly got the hang of the genre. Bruce's first show with Blues Incorporated was a BBC recording: [Excerpt: Blues Incorporated, "Hoochie Coochie Man (BBC session)"] According to at least one source it was not being asked to take part in that session that made young Mike Jagger decide there was no future for him with Blues Incorporated and to spend more time with his other group, the Rollin' Stones. Soon after, Charlie Watts would join him, for almost the opposite reason -- Watts didn't want to be in a band that was getting as big as Blues Incorporated were. They were starting to do more BBC sessions and get more gigs, and having to join the Musicians' Union. That seemed like a lot of work. Far better to join a band like the Rollin' Stones that wasn't going anywhere. Because of Watts' decision to give up on potential stardom to become a Rollin' Stone, they needed a new drummer, and luckily the best drummer on the scene was available. But then the best drummer on the scene was *always* available. Ginger Baker had first played with Dick Heckstall-Smith several years earlier, in a trad group called the Storyville Jazzmen. There Baker had become obsessed with the New Orleans jazz drummer Baby Dodds, who had played with Louis Armstrong in the 1920s. Sadly because of 1920s recording technology, he hadn't been able to play a full kit on the recordings with Armstrong, being limited to percussion on just a woodblock, but you can hear his drumming style much better in this version of "At the Jazz Band Ball" from 1947, with Mugsy Spanier, Jack Teagarden, Cyrus St. Clair and Hank Duncan: [Excerpt: "At the Jazz Band Ball"] Baker had taken Dobbs' style and run with it, and had quickly become known as the single best player, bar none, on the London jazz scene -- he'd become an accomplished player in multiple styles, and was also fluent in reading music and arranging. He'd also, though, become known as the single person on the entire scene who was most difficult to get along with. He resigned from his first band onstage, shouting "You can stick your band up your arse", after the band's leader had had enough of him incorporating bebop influences into their trad style. Another time, when touring with Diz Disley's band, he was dumped in Germany with no money and no way to get home, because the band were so sick of him. Sometimes this was because of his temper and his unwillingness to suffer fools -- and he saw everyone else he ever met as a fool -- and sometimes it was because of his own rigorous musical ideas. He wanted to play music *his* way, and wouldn't listen to anyone who told him different. Both of these things got worse after he fell under the influence of a man named Phil Seaman, one of the only drummers that Baker respected at all. Seaman introduced Baker to African drumming, and Baker started incorporating complex polyrhythms into his playing as a result. Seaman also though introduced Baker to heroin, and while being a heroin addict in the UK in the 1960s was not as difficult as it later became -- both heroin and cocaine were available on prescription to registered addicts, and Baker got both, which meant that many of the problems that come from criminalisation of these drugs didn't affect addicts in the same way -- but it still did not, by all accounts, make him an easier person to get along with. But he *was* a fantastic drummer. As Dick Heckstall-Smith said "With the advent of Ginger, the classic Blues Incorporated line-up, one which I think could not be bettered, was set" But Alexis Korner decided that the group could be bettered, and he had some backers within the band. One of the other bands on the scene was the Don Rendell Quintet, a group that played soul jazz -- that style of jazz that bridged modern jazz and R&B, the kind of music that Ray Charles and Herbie Hancock played: [Excerpt: The Don Rendell Quintet, "Manumission"] The Don Rendell Quintet included a fantastic multi-instrumentalist, Graham Bond, who doubled on keyboards and saxophone, and Bond had been playing occasional experimental gigs with the Johnny Burch Octet -- a group led by another member of the Rendell Quartet featuring Heckstall-Smith, Bruce, Baker, and a few other musicians, doing wholly-improvised music. Heckstall-Smith, Bruce, and Baker all enjoyed playing with Bond, and when Korner decided to bring him into the band, they were all very keen. But Cyril Davies, the co-leader of the band with Korner, was furious at the idea. Davies wanted to play strict Chicago and Delta blues, and had no truck with other forms of music like R&B and jazz. To his mind it was bad enough that they had a sax player. But the idea that they would bring in Bond, who played sax and... *Hammond* organ? Well, that was practically blasphemy. Davies quit the group at the mere suggestion. Bond was soon in the band, and he, Bruce, and Baker were playing together a *lot*. As well as performing with Blues Incorporated, they continued playing in the Johnny Burch Octet, and they also started performing as the Graham Bond Trio. Sometimes the Graham Bond Trio would be Blues Incorporated's opening act, and on more than one occasion the Graham Bond Trio, Blues Incorporated, and the Johnny Burch Octet all had gigs in different parts of London on the same night and they'd have to frantically get from one to the other. The Graham Bond Trio also had fans in Manchester, thanks to the local blues scene there and their connection with Blues Incorporated, and one night in February 1963 the trio played a gig there. They realised afterwards that by playing as a trio they'd made £70, when they were lucky to make £20 from a gig with Blues Incorporated or the Octet, because there were so many members in those bands. Bond wanted to make real money, and at the next rehearsal of Blues Incorporated he announced to Korner that he, Bruce, and Baker were quitting the band -- which was news to Bruce and Baker, who he hadn't bothered consulting. Baker, indeed, was in the toilet when the announcement was made and came out to find it a done deal. He was going to kick up a fuss and say he hadn't been consulted, but Korner's reaction sealed the deal. As Baker later said "‘he said “it's really good you're doing this thing with Graham, and I wish you the best of luck” and all that. And it was a bit difficult to turn round and say, “Well, I don't really want to leave the band, you know.”'" The Graham Bond Trio struggled at first to get the gigs they were expecting, but that started to change when in April 1963 they became the Graham Bond Quartet, with the addition of virtuoso guitarist John McLaughlin. The Quartet soon became one of the hottest bands on the London R&B scene, and when Duffy Power, a Larry Parnes teen idol who wanted to move into R&B, asked his record label to get him a good R&B band to back him on a Beatles cover, it was the Graham Bond Quartet who obliged: [Excerpt: Duffy Power, "I Saw Her Standing There"] The Quartet also backed Power on a package tour with other Parnes acts, but they were also still performing their own blend of hard jazz and blues, as can be heard in this recording of the group live in June 1953: [Excerpt: The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)"] But that lineup of the group didn't last very long. According to the way Baker told the story, he fired McLaughlin from the group, after being irritated by McLaughlin complaining about something on a day when Baker was out of cocaine and in no mood to hear anyone else's complaints. As Baker said "We lost a great guitar player and I lost a good friend." But the Trio soon became a Quartet again, as Dick Heckstall-Smith, who Baker had wanted in the band from the start, joined on saxophone to replace McLaughlin's guitar. But they were no longer called the Graham Bond Quartet. Partly because Heckstall-Smith joining allowed Bond to concentrate just on his keyboard playing, but one suspects partly to protect against any future lineup changes, the group were now The Graham Bond ORGANisation -- emphasis on the organ. The new lineup of the group got signed to Decca by Vernon, and were soon recording their first single, "Long Tall Shorty": [Excerpt: The Graham Bond Organisation, "Long Tall Shorty"] They recorded a few other songs which made their way onto an EP and an R&B compilation, and toured intensively in early 1964, as well as backing up Power on his follow-up to "I Saw Her Standing There", his version of "Parchman Farm": [Excerpt: Duffy Power, "Parchman Farm"] They also appeared in a film, just like the Beatles, though it was possibly not quite as artistically successful as "A Hard Day's Night": [Excerpt: Gonks Go Beat trailer] Gonks Go Beat is one of the most bizarre films of the sixties. It's a far-future remake of Romeo and Juliet. where the two star-crossed lovers are from opposing countries -- Beatland and Ballad Isle -- who only communicate once a year in an annual song contest which acts as their version of a war, and is overseen by "Mr. A&R", played by Frank Thornton, who would later star in Are You Being Served? Carry On star Kenneth Connor is sent by aliens to try to bring peace to the two warring countries, on pain of exile to Planet Gonk, a planet inhabited solely by Gonks (a kind of novelty toy for which there was a short-lived craze then). Along the way Connor encounters such luminaries of British light entertainment as Terry Scott and Arthur Mullard, as well as musical performances by Lulu, the Nashville Teens, and of course the Graham Bond Organisation, whose performance gets them a telling-off from a teacher: [Excerpt: Gonks Go Beat!] The group as a group only performed one song in this cinematic masterpiece, but Baker also made an appearance in a "drum battle" sequence where eight drummers played together: [Excerpt: Gonks Go Beat drum battle] The other drummers in that scene included, as well as some lesser-known players, Andy White who had played on the single version of "Love Me Do", Bobby Graham, who played on hits by the Kinks and the Dave Clark Five, and Ronnie Verrell, who did the drumming for Animal in the Muppet Show. Also in summer 1964, the group performed at the Fourth National Jazz & Blues Festival in Richmond -- the festival co-founded by Chris Barber that would evolve into the Reading Festival. The Yardbirds were on the bill, and at the end of their set they invited Bond, Baker, Bruce, Georgie Fame, and Mike Vernon onto the stage with them, making that the first time that Eric Clapton, Ginger Baker, and Jack Bruce were all on stage together. Soon after that, the Graham Bond Organisation got a new manager, Robert Stigwood. Things hadn't been working out for them at Decca, and Stigwood soon got the group signed to EMI, and became their producer as well. Their first single under Stigwood's management was a cover version of the theme tune to the Debbie Reynolds film "Tammy". While that film had given Tamla records its name, the song was hardly an R&B classic: [Excerpt: The Graham Bond Organisation, "Tammy"] That record didn't chart, but Stigwood put the group out on the road as part of the disastrous Chuck Berry tour we heard about in the episode on "All You Need is Love", which led to the bankruptcy of Robert Stigwood Associates. The Organisation moved over to Stigwood's new company, the Robert Stigwood Organisation, and Stigwood continued to be the credited producer of their records, though after the "Tammy" disaster they decided they were going to take charge themselves of the actual music. Their first album, The Sound of 65, was recorded in a single three-hour session, and they mostly ran through their standard set -- a mixture of the same songs everyone else on the circuit was playing, like "Hoochie Coochie Man", "Got My Mojo Working", and "Wade in the Water", and originals like Bruce's "Train Time": [Excerpt: The Graham Bond Organisation, "Train Time"] Through 1965 they kept working. They released a non-album single, "Lease on Love", which is generally considered to be the first pop record to feature a Mellotron: [Excerpt: The Graham Bond Organisation, "Lease on Love"] and Bond and Baker also backed another Stigwood act, Winston G, on his debut single: [Excerpt: Winston G, "Please Don't Say"] But the group were developing severe tensions. Bruce and Baker had started out friendly, but by this time they hated each other. Bruce said he couldn't hear his own playing over Baker's loud drumming, Baker thought that Bruce was far too fussy a player and should try to play simpler lines. They'd both try to throw each other during performances, altering arrangements on the fly and playing things that would trip the other player up. And *neither* of them were particularly keen on Bond's new love of the Mellotron, which was all over their second album, giving it a distinctly proto-prog feel at times: [Excerpt: The Graham Bond Organisation, "Baby Can it Be True?"] Eventually at a gig in Golders Green, Baker started throwing drumsticks at Bruce's head while Bruce was trying to play a bass solo. Bruce retaliated by throwing his bass at Baker, and then jumping on him and starting a fistfight which had to be broken up by the venue security. Baker fired Bruce from the band, but Bruce kept turning up to gigs anyway, arguing that Baker had no right to sack him as it was a democracy. Baker always claimed that in fact Bond had wanted to sack Bruce but hadn't wanted to get his hands dirty, and insisted that Baker do it, but neither Bond nor Heckstall-Smith objected when Bruce turned up for the next couple of gigs. So Baker took matters into his own hands, He pulled out a knife and told Bruce "If you show up at one more gig, this is going in you." Within days, Bruce was playing with John Mayall, whose Bluesbreakers had gone through some lineup changes by this point. Roger Dean had only played with the Bluesbreakers for a short time before Mayall had replaced him. Mayall had not been impressed with Eric Clapton's playing with the Yardbirds at first -- even though graffiti saying "Clapton is God" was already starting to appear around London -- but he had been *very* impressed with Clapton's playing on "Got to Hurry", the B-side to "For Your Love": [Excerpt: The Yardbirds, "Got to Hurry"] When he discovered that Clapton had quit the band, he sprang into action and quickly recruited him to replace Dean. Clapton knew he had made the right choice when a month after he'd joined, the group got the word that Bob Dylan had been so impressed with Mayall's single "Crawling up a Hill" -- the one that nobody liked, not even Mayall himself -- that he wanted to jam with Mayall and his band in the studio. Clapton of course went along: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] That was, of course, the session we've talked about in the Velvet Underground episode and elsewhere of which little other than that survives, and which Nico attended. At this point, Mayall didn't have a record contract, his experience recording with Mike Vernon having been no more successful than the Bond group's had been. But soon he got a one-off deal -- as a solo artist, not with the Bluesbreakers -- with Immediate Records. Clapton was the only member of the group to play on the single, which was produced by Immediate's house producer Jimmy Page: [Excerpt: John Mayall, "I'm Your Witchdoctor"] Page was impressed enough with Clapton's playing that he invited him round to Page's house to jam together. But what Clapton didn't know was that Page was taping their jam sessions, and that he handed those tapes over to Immediate Records -- whether he was forced to by his contract with the label or whether that had been his plan all along depends on whose story you believe, but Clapton never truly forgave him. Page and Clapton's guitar-only jams had overdubs by Bill Wyman, Ian Stewart, and drummer Chris Winter, and have been endlessly repackaged on blues compilations ever since: [Excerpt: Jimmy Page and Eric Clapton, "Draggin' My Tail"] But Mayall was having problems with John McVie, who had started to drink too much, and as soon as he found out that Jack Bruce was sacked by the Graham Bond Organisation, Mayall got in touch with Bruce and got him to join the band in McVie's place. Everyone was agreed that this lineup of the band -- Mayall, Clapton, Bruce, and Hughie Flint -- was going places: [Excerpt: John Mayall's Bluesbreakers with Jack Bruce, "Hoochie Coochie Man"] Unfortunately, it wasn't going to last long. Clapton, while he thought that Bruce was the greatest bass player he'd ever worked with, had other plans. He was going to leave the country and travel the world as a peripatetic busker. He was off on his travels, never to return. Luckily, Mayall had someone even better waiting in the wings. A young man had, according to Mayall, "kept coming down to all the gigs and saying, “Hey, what are you doing with him?” – referring to whichever guitarist was onstage that night – “I'm much better than he is. Why don't you let me play guitar for you?” He got really quite nasty about it, so finally, I let him sit in. And he was brilliant." Peter Green was probably the best blues guitarist in London at that time, but this lineup of the Bluesbreakers only lasted a handful of gigs -- Clapton discovered that busking in Greece wasn't as much fun as being called God in London, and came back very soon after he'd left. Mayall had told him that he could have his old job back when he got back, and so Green was out and Clapton was back in. And soon the Bluesbreakers' revolving door revolved again. Manfred Mann had just had a big hit with "If You Gotta Go, Go Now", the same song we heard Dylan playing earlier: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] But their guitarist, Mike Vickers, had quit. Tom McGuinness, their bass player, had taken the opportunity to switch back to guitar -- the instrument he'd played in his first band with his friend Eric Clapton -- but that left them short a bass player. Manfred Mann were essentially the same kind of band as the Graham Bond Organisation -- a Hammond-led group of virtuoso multi-instrumentalists who played everything from hardcore Delta blues to complex modern jazz -- but unlike the Bond group they also had a string of massive pop hits, and so made a lot more money. The combination was irresistible to Bruce, and he joined the band just before they recorded an EP of jazz instrumental versions of recent hits: [Excerpt: Manfred Mann, "(I Can't Get No) Satisfaction"] Bruce had also been encouraged by Robert Stigwood to do a solo project, and so at the same time as he joined Manfred Mann, he also put out a solo single, "Drinkin' and Gamblin'" [Excerpt: Jack Bruce, "Drinkin' and Gamblin'"] But of course, the reason Bruce had joined Manfred Mann was that they were having pop hits as well as playing jazz, and soon they did just that, with Bruce playing on their number one hit "Pretty Flamingo": [Excerpt: Manfred Mann, "Pretty Flamingo"] So John McVie was back in the Bluesbreakers, promising to keep his drinking under control. Mike Vernon still thought that Mayall had potential, but the people at Decca didn't agree, so Vernon got Mayall and Clapton -- but not the other band members -- to record a single for a small indie label he ran as a side project: [Excerpt: John Mayall and Eric Clapton, "Bernard Jenkins"] That label normally only released records in print runs of ninety-nine copies, because once you hit a hundred copies you had to pay tax on them, but there was so much demand for that single that they ended up pressing up five hundred copies, making it the label's biggest seller ever. Vernon eventually convinced the heads at Decca that the Bluesbreakers could be truly big, and so he got the OK to record the album that would generally be considered the greatest British blues album of all time -- Blues Breakers, also known as the Beano album because of Clapton reading a copy of the British kids' comic The Beano in the group photo on the front. [Excerpt: John Mayall with Eric Clapton, "Ramblin' On My Mind"] The album was a mixture of originals by Mayall and the standard repertoire of every blues or R&B band on the circuit -- songs like "Parchman Farm" and "What'd I Say" -- but what made the album unique was Clapton's guitar tone. Much to the chagrin of Vernon, and of engineer Gus Dudgeon, Clapton insisted on playing at the same volume that he would on stage. Vernon later said of Dudgeon "I can remember seeing his face the very first time Clapton plugged into the Marshall stack and turned it up and started playing at the sort of volume he was going to play. You could almost see Gus's eyes meet over the middle of his nose, and it was almost like he was just going to fall over from the sheer power of it all. But after an enormous amount of fiddling around and moving amps around, we got a sound that worked." [Excerpt: John Mayall with Eric Clapton, "Hideaway"] But by the time the album cane out. Clapton was no longer with the Bluesbreakers. The Graham Bond Organisation had struggled on for a while after Bruce's departure. They brought in a trumpet player, Mike Falana, and even had a hit record -- or at least, the B-side of a hit record. The Who had just put out a hit single, "Substitute", on Robert Stigwood's record label, Reaction: [Excerpt: The Who, "Substitute"] But, as you'll hear in episode 183, they had moved to Reaction Records after a falling out with their previous label, and with Shel Talmy their previous producer. The problem was, when "Substitute" was released, it had as its B-side a song called "Circles" (also known as "Instant Party -- it's been released under both names). They'd recorded an earlier version of the song for Talmy, and just as "Substitute" was starting to chart, Talmy got an injunction against the record and it had to be pulled. Reaction couldn't afford to lose the big hit record they'd spent money promoting, so they needed to put it out with a new B-side. But the Who hadn't got any unreleased recordings. But the Graham Bond Organisation had, and indeed they had an unreleased *instrumental*. So "Waltz For a Pig" became the B-side to a top-five single, credited to The Who Orchestra: [Excerpt: The Who Orchestra, "Waltz For a Pig"] That record provided the catalyst for the formation of Cream, because Ginger Baker had written the song, and got £1,350 for it, which he used to buy a new car. Baker had, for some time, been wanting to get out of the Graham Bond Organisation. He was trying to get off heroin -- though he would make many efforts to get clean over the decades, with little success -- while Bond was starting to use it far more heavily, and was also using acid and getting heavily into mysticism, which Baker despised. Baker may have had the idea for what he did next from an article in one of the music papers. John Entwistle of the Who would often tell a story about an article in Melody Maker -- though I've not been able to track down the article itself to get the full details -- in which musicians were asked to name which of their peers they'd put into a "super-group". He didn't remember the full details, but he did remember that the consensus choice had had Eric Clapton on lead guitar, himself on bass, and Ginger Baker on drums. As he said later "I don't remember who else was voted in, but a few months later, the Cream came along, and I did wonder if somebody was maybe believing too much of their own press". Incidentally, like The Buffalo Springfield and The Pink Floyd, Cream, the band we are about to meet, had releases both with and without the definite article, and Eric Clapton at least seems always to talk about them as "the Cream" even decades later, but they're primarily known as just Cream these days. Baker, having had enough of the Bond group, decided to drive up to Oxford to see Clapton playing with the Bluesbreakers. Clapton invited him to sit in for a couple of songs, and by all accounts the band sounded far better than they had previously. Clapton and Baker could obviously play well together, and Baker offered Clapton a lift back to London in his new car, and on the drive back asked Clapton if he wanted to form a new band. Clapton was as impressed by Baker's financial skills as he was by his musicianship. He said later "Musicians didn't have cars. You all got in a van." Clearly a musician who was *actually driving a new car he owned* was going places. He agreed to Baker's plan. But of course they needed a bass player, and Clapton thought he had the perfect solution -- "What about Jack?" Clapton knew that Bruce had been a member of the Graham Bond Organisation, but didn't know why he'd left the band -- he wasn't particularly clued in to what the wider music scene was doing, and all he knew was that Bruce had played with both him and Baker, and that he was the best bass player he'd ever played with. And Bruce *was* arguably the best bass player in London at that point, and he was starting to pick up session work as well as his work with Manfred Mann. For example it's him playing on the theme tune to "After The Fox" with Peter Sellers, the Hollies, and the song's composer Burt Bacharach: [Excerpt: The Hollies with Peter Sellers, "After the Fox"] Clapton was insistent. Baker's idea was that the band should be the best musicians around. That meant they needed the *best* musicians around, not the second best. If Jack Bruce wasn't joining, Eric Clapton wasn't joining either. Baker very reluctantly agreed, and went round to see Bruce the next day -- according to Baker it was in a spirit of generosity and giving Bruce one more chance, while according to Bruce he came round to eat humble pie and beg for forgiveness. Either way, Bruce agreed to join the band. The three met up for a rehearsal at Baker's home, and immediately Bruce and Baker started fighting, but also immediately they realised that they were great at playing together -- so great that they named themselves the Cream, as they were the cream of musicians on the scene. They knew they had something, but they didn't know what. At first they considered making their performances into Dada projects, inspired by the early-twentieth-century art movement. They liked a band that had just started to make waves, the Bonzo Dog Doo-Dah Band -- who had originally been called the Bonzo Dog Dada Band -- and they bought some props with the vague idea of using them on stage in the same way the Bonzos did. But as they played together they realised that they needed to do something different from that. At first, they thought they needed a fourth member -- a keyboard player. Graham Bond's name was brought up, but Clapton vetoed him. Clapton wanted Steve Winwood, the keyboard player and vocalist with the Spencer Davis Group. Indeed, Winwood was present at what was originally intended to be the first recording session the trio would play. Joe Boyd had asked Eric Clapton to round up a bunch of players to record some filler tracks for an Elektra blues compilation, and Clapton had asked Bruce and Baker to join him, Paul Jones on vocals, Winwood on Hammond and Clapton's friend Ben Palmer on piano for the session. Indeed, given that none of the original trio were keen on singing, that Paul Jones was just about to leave Manfred Mann, and that we know Clapton wanted Winwood in the band, one has to wonder if Clapton at least half-intended for this to be the eventual lineup of the band. If he did, that plan was foiled by Baker's refusal to take part in the session. Instead, this one-off band, named The Powerhouse, featured Pete York, the drummer from the Spencer Davis Group, on the session, which produced the first recording of Clapton playing on the Robert Johnson song originally titled "Cross Road Blues" but now generally better known just as "Crossroads": [Excerpt: The Powerhouse, "Crossroads"] We talked about Robert Johnson a little back in episode ninety-seven, but other than Bob Dylan, who was inspired by his lyrics, we had seen very little influence from Johnson up to this point, but he's going to be a major influence on rock guitar for the next few years, so we should talk about him a little here. It's often said that nobody knew anything about Robert Johnson, that he was almost a phantom other than his records which existed outside of any context as artefacts of their own. That's... not really the case. Johnson had died a little less than thirty years earlier, at only twenty-seven years old. Most of his half-siblings and step-siblings were alive, as were his son, his stepson, and dozens of musicians he'd played with over the years, women he'd had affairs with, and other assorted friends and relatives. What people mean is that information about Johnson's life was not yet known by people they consider important -- which is to say white blues scholars and musicians. Indeed, almost everything people like that -- people like *me* -- know of the facts of Johnson's life has only become known to us in the last four years. If, as some people had expected, I'd started this series with an episode on Johnson, I'd have had to redo the whole thing because of the information that's made its way to the public since then. But here's what was known -- or thought -- by white blues scholars in 1966. Johnson was, according to them, a field hand from somewhere in Mississippi, who played the guitar in between working on the cotton fields. He had done two recording sessions, in 1936 and 1937. One song from his first session, "Terraplane Blues", had been a very minor hit by blues standards: [Excerpt: Robert Johnson, "Terraplane Blues"] That had sold well -- nobody knows how well, but maybe as many as ten thousand copies, and it was certainly a record people knew in 1937 if they liked the Delta blues, but ten thousand copies total is nowhere near the sales of really successful records, and none of the follow-ups had sold anything like that much -- many of them had sold in the hundreds rather than the thousands. As Elijah Wald, one of Johnson's biographers put it "knowing about Johnson and Muddy Waters but not about Leroy Carr or Dinah Washington was like knowing about, say, the Sir Douglas Quintet but not knowing about the Beatles" -- though *I* would add that the Sir Douglas Quintet were much bigger during the sixties than Johnson was during his lifetime. One of the few white people who had noticed Johnson's existence at all was John Hammond, and he'd written a brief review of Johnson's first two singles under a pseudonym in a Communist newspaper. I'm going to quote it here, but the word he used to talk about Black people was considered correct then but isn't now, so I'll substitute Black for that word: "Before closing we cannot help but call your attention to the greatest [Black] blues singer who has cropped up in recent years, Robert Johnson. Recording them in deepest Mississippi, Vocalion has certainly done right by us and by the tunes "Last Fair Deal Gone Down" and "Terraplane Blues", to name only two of the four sides already released, sung to his own guitar accompaniment. Johnson makes Leadbelly sound like an accomplished poseur" Hammond had tried to get Johnson to perform at the Spirituals to Swing concerts we talked about in the very first episodes of the podcast, but he'd discovered that he'd died shortly before. He got Big Bill Broonzy instead, and played a couple of Johnson's records from a record player on the stage. Hammond introduced those recordings with a speech: "It is tragic that an American audience could not have been found seven or eight years ago for a concert of this kind. Bessie Smith was still at the height of her career and Joe Smith, probably the greatest trumpet player America ever knew, would still have been around to play obbligatos for her...dozens of other artists could have been there in the flesh. But that audience as well as this one would not have been able to hear Robert Johnson sing and play the blues on his guitar, for at that time Johnson was just an unknown hand on a Robinsonville, Mississippi plantation. Robert Johnson was going to be the big surprise of the evening for this audience at Carnegie Hall. I know him only from his Vocalion blues records and from the tall, exciting tales the recording engineers and supervisors used to bring about him from the improvised studios in Dallas and San Antonio. I don't believe Johnson had ever worked as a professional musician anywhere, and it still knocks me over when I think of how lucky it is that a talent like his ever found its way onto phonograph records. We will have to be content with playing two of his records, the old "Walkin' Blues" and the new, unreleased, "Preachin' Blues", because Robert Johnson died last week at the precise moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall on December 23. He was in his middle twenties and nobody seems to know what caused his death." And that was, for the most part, the end of Robert Johnson's impact on the culture for a generation. The Lomaxes went down to Clarksdale, Mississippi a couple of years later -- reports vary as to whether this was to see if they could find Johnson, who they were unaware was dead, or to find information out about him, and they did end up recording a young singer named Muddy Waters for the Library of Congress, including Waters' rendition of "32-20 Blues", Johnson's reworking of Skip James' "Twenty-Two Twenty Blues": [Excerpt: Muddy Waters, "32-20 Blues"] But Johnson's records remained unavailable after their initial release until 1959, when the blues scholar Samuel Charters published the book The Country Blues, which was the first book-length treatment ever of Delta blues. Sixteen years later Charters said "I shouldn't have written The Country Blues when I did; since I really didn't know enough, but I felt I couldn't afford to wait. So The Country Blues was two things. It was a romanticization of certain aspects of black life in an effort to force the white society to reconsider some of its racial attitudes, and on the other hand it was a cry for help. I wanted hundreds of people to go out and interview the surviving blues artists. I wanted people to record them and document their lives, their environment, and their music, not only so that their story would be preserved but also so they'd get a little money and a little recognition in their last years." Charters talked about Johnson in the book, as one of the performers who played "minor roles in the story of the blues", and said that almost nothing was known about his life. He talked about how he had been poisoned by his common-law wife, about how his records were recorded in a pool hall, and said "The finest of Robert Johnson's blues have a brooding sense of torment and despair. The blues has become a personified figure of despondency." Along with Charters' book came a compilation album of the same name, and that included the first ever reissue of one of Johnson's tracks, "Preaching Blues": [Excerpt: Robert Johnson, "Preaching Blues"] Two years later, John Hammond, who had remained an ardent fan of Johnson, had Columbia put out the King of the Delta Blues Singers album. At the time no white blues scholars knew what Johnson looked like and they had no photos of him, so a generic painting of a poor-looking Black man with a guitar was used for the cover. The liner note to King of the Delta Blues Singers talked about how Johnson was seventeen or eighteen when he made his recordings, how he was "dead before he reached his twenty-first birthday, poisoned by a jealous girlfriend", how he had "seldom, if ever, been away from the plantation in Robinsville, Mississippi, where he was born and raised", and how he had had such stage fright that when he was asked to play in front of other musicians, he'd turned to face a wall so he couldn't see them. And that would be all that any of the members of the Powerhouse would know about Johnson. Maybe they'd also heard the rumours that were starting to spread that Johnson had got his guitar-playing skills by selling his soul to the devil at a crossroads at midnight, but that would have been all they knew when they recorded their filler track for Elektra: [Excerpt: The Powerhouse, "Crossroads"] Either way, the Powerhouse lineup only lasted for that one session -- the group eventually decided that a simple trio would be best for the music they wanted to play. Clapton had seen Buddy Guy touring with just a bass player and drummer a year earlier, and had liked the idea of the freedom that gave him as a guitarist. The group soon took on Robert Stigwood as a manager, which caused more arguments between Bruce and Baker. Bruce was convinced that if they were doing an all-for-one one-for-all thing they should also manage themselves, but Baker pointed out that that was a daft idea when they could get one of the biggest managers in the country to look after them. A bigger argument, which almost killed the group before it started, happened when Baker told journalist Chris Welch of the Melody Maker about their plans. In an echo of the way that he and Bruce had been resigned from Blues Incorporated without being consulted, now with no discussion Manfred Mann and John Mayall were reading in the papers that their band members were quitting before those members had bothered to mention it. Mayall was furious, especially since the album Clapton had played on hadn't yet come out. Clapton was supposed to work a month's notice while Mayall found another guitarist, but Mayall spent two weeks begging Peter Green to rejoin the band. Green was less than eager -- after all, he'd been fired pretty much straight away earlier -- but Mayall eventually persuaded him. The second he did, Mayall turned round to Clapton and told him he didn't have to work the rest of his notice -- he'd found another guitar player and Clapton was fired: [Excerpt: John Mayall's Bluesbreakers, "Dust My Blues"] Manfred Mann meanwhile took on the Beatles' friend Klaus Voorman to replace Bruce. Voorman would remain with the band until the end, and like Green was for Mayall, Voorman was in some ways a better fit for Manfred Mann than Bruce was. In particular he could double on flute, as he did for example on their hit version of Bob Dylan's "The Mighty Quinn": [Excerpt: Manfred Mann "The Mighty Quinn"] The new group, The Cream, were of course signed in the UK to Stigwood's Reaction label. Other than the Who, who only stuck around for one album, Reaction was not a very successful label. Its biggest signing was a former keyboard player for Screaming Lord Sutch, who recorded for them under the names Paul Dean and Oscar, but who later became known as Paul Nicholas and had a successful career in musical theatre and sitcom. Nicholas never had any hits for Reaction, but he did release one interesting record, in 1967: [Excerpt: Oscar, "Over the Wall We Go"] That was one of the earliest songwriting attempts by a young man who had recently named himself David Bowie. Now the group were public, they started inviting journalists to their rehearsals, which were mostly spent trying to combine their disparate musical influences --
We had the pleasure of interviewing Shaun Farrugia over Zoom video!Rising artist and songwriter Shaun Farrugia recently released his long awaited debut EP ‘Heaven Like Mine' via Polydor.‘Heaven Like Mine' is tinged with emotion that's both elevating yet deeply poignant, and continues to showcase the rising star's effortlessly rich and raspy vocals against a backdrop of alt-pop goodness. Lined five tracks deep, the EP is delicately furnished with themes surrounding love, acceptance and modern day anxieties. Featuring previous singles ‘Dear God' and ‘Count On You', title track ‘Heaven Like Mine' is abundant with uplifting folk inspired acoustics, which transitions seamlessly into the ethereal ‘Recognise Me' - leading to the beautifully climatic final track ‘Vertigo'.Quickly emerging as a frequenter on BBC Radio 1 including multiple plays from Jack Saunders and Maia Beth on BBC Radio 1's Future Pop, bringing Shaun's catalogue to 30 million streams to date. His previous cover of The Weeknd's Billboard Chart topping #1 hit Blinding Lights flew straight to #1 on the Shazam Discovery Charts, after featuring on Love Island, the biggest reaction to any song in the latest season of the show.The 26-year-old Maltese native dropped his life on the island to fly to London in 2019, quit his job, sell everything he owned and showed up on the doorstep of Sigala after being invited to come and meet the producer during an Instagram Live. The gamble paid off, Shaun was quickly snapped up by Polydor. As a regular guy doing extraordinary things Shaun scores high on the likability scale, but he manages to balance his modest nature with an ambition that's hard to ignore — and is right there in his extraordinary songwriting.From Shaun's early songwriting credits for artists as diverse as Mimi Webb (‘I'll Break My Heart Again') and The Script (‘Hot Summer Nights'), to two collaborations with the likes of renowned DJ Martin Garrix ('Starlight ‘Keep Me Afloat'' and 'If We'll Ever Be Remembered'), to co-signs from some of the biggest tunesmiths in the business, and at the start of 2022 hitting a brand new milestone with Sigala's top 40 record 'Melody'.Over the summer of 2022, Shaun made his live performance debut at MTV's Isle of MTV in his home of Malta on July 19th, joining Marshmello, French Montana and Mae Muller on the lineup. With more music set for release over the coming months, this gifted lyricist and superstar-in-the-making is already on his way to become one of the most exciting prospects this year. Definitely one-to-watch.We want to hear from you! Please email Hello@BringinitBackwards.com.www.BringinitBackwards.com#podcast #interview #bringinbackpod #ShaunFarrugia #HeavenLikeMine #NewMusic #ZoomListen & Subscribe to BiBhttps://www.bringinitbackwards.com/follow/Follow our podcast on Instagram and Twitter!https://www.facebook.com/groups/bringinbackpodThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4972373/advertisement
Hosts Jim DeRogatis and Greg Kot dissect De La Soul's iconic debut 3 Feet High and Rising. They discuss the innovative sampling and rapping style, as well as the legal troubles that plagued the record for decades. They also pay tribute to the late De La Soul rapper Trugoy the Dove and hear from some listeners. Join our Facebook Group: https://bit.ly/3sivr9T Become a member on Patreon: https://bit.ly/3slWZvc Sign up for our newsletter: https://bit.ly/3eEvRnG Make a donation via PayPal: https://bit.ly/3dmt9lU Send us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs: De La Soul, "Me Myself and I," 3 Feet High And Rising, Tommy Boy, 1989The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Capitol, 1967De La Soul, "Plug Tunin'," Plug Tunin' / Freedom Of Speak (Single), Tommy Boy, 1988De La Soul, "Tread Water," 3 Feet High And Rising, Tommy Boy, 1989De La Soul, "Intro," 4 Feet High And Rising, Tommy Boy, 1989Joe Bataan, "Rap-O Clap-O," Rap-O Clap-O (Single), Salsoul, 1979Eric B. & Rakim, "Eric B. Is President," Paid in Full, 4th & Broadway, 1987James Brown, "Funky President (People It's Bad)," Reality, Polydor, 1974Stetsasonic, "Sally," In Full Gear, Tommy Boy, 1988De La Soul, "Plug Tunin (Last Chance To Comprehend)," 3 Feet High And Rising, Tommy Boy, 1989Johnny Cash, "Five Feet High and Rising," Songs of Our Soil, Columbia, 1959The Invitations, "Written on the Wall," Hallelujah (Single), DynoVoice, 1965De La Soul, "Potholes In My Lawn," 3 Feet High And Rising, Tommy Boy, 1989Bob Dorough, "Three Is a Magic Number," Schoolhouse Rock! Rocks, Lava, 1996De La Soul, "The Magic Number," 3 Feet High And Rising, Tommy Boy, 1989De La Soul, "Jenifa Taught Me (Derwin's Revenge)," 3 Feet High And Rising, Tommy Boy, 1989De La Soul, "Say No Go," 3 Feet High And Rising, Tommy Boy, 1989Funkadelic, "Not Just Knee Deep," Uncle Jam Wants You, Casablanca, 1979Ohio Players, "Funky Worm," Funky Worm (Single), Westbound, 1972Edwin Birdsong, "Rapper Dapper Snapper," Funktaztik, Salsoul, 1981Loose Ends, "Gonna Make You Mine," Zagora, MCA, 1986Doug E. Fresh, "The Original Human Beatbox," The Original Human Beatbox (12" Single), Vintertainment, 1984The Turtles, "You Showed Me," You Showed Me (Single), White Whale, 1966The Mothers of Invention, "Louie Louie (Live At the Royal Albert Hall In London)," Uncle Meat, Reprise, 1969Buddy Guy, "First Time I Met the Blues," I Got My Eyes On You (Single), Chess, 1960Gilbert O'Sullivan, "Alone Again (Naturally)," Alone Again (Naturally) (Single), MAM, 1972Biz Markie, "Alone Again ," I Need A Haircut, Cold Chillin', 1991De La Soul, "Buddy," 3 Feet High And Rising, Tommy Boy, 1989Nico Segal & The Social Experiment, "Windows," Windows, (self-released), 2015Common, "I Am Music," Electric Circus, MCA, 2002Frank Ocean, "Sweet Life," Channel ORANGE, Island Def Jam Music, 2012Puff Daddy & Faith Evans, "I'll Be Missing You (feat. 112)," Tribute to the Notorious B.I.G. - EP, Bad Boy, 1989A Tribe Called Quest, "Electric Relaxation," Midnight Marauders, Jive, 1993Jungle Brothers, "Because I Got It Like That," Straight Out the Jungle, Warlock, 1988Black Star, "Brown Skin Lady," Mos Def and Talib Kweli Are Black Star, Rawkus, 1999Lupe Fiasco, "Kick Push," Lupe Fiasco's Food & Liquor, Atlantic, 2006Kanye West, "Spaceship," The College Dropout, Roc-A-Fella, 2004Murs, "The Pain," Murs 3:16: The 9th Edition, Definitive Jux, 2004Lady Gaga, "Paparazzi," The Fame, Interscope, 2008Richard Buckner, "Lil Wallet Picture," Devotion + Doubt, MCA, 1997The Speedies, "Let Me Take Your Photo," Let Me Take Your Photo (Single), Golden Disc, 1979The Cure, "Pictures of You," Disintegration, Fiction, 1989boygenius, "Not Strong Enough," the record, Interscope, 2023 Support The Show: https://www.patreon.com/soundopinionsSee omnystudio.com/listener for privacy information.
Hosts Jim DeRogatis and Greg Kot talk with Dr, Ricky Rodriguez about the cultural exchange between Latino fans and British bands in the 1980s. Plus, Jim and Greg review new albums by Kelela and Yo La Tengo. Join our Facebook Group: https://bit.ly/3sivr9T Become a member on Patreon: https://bit.ly/3slWZvc Sign up for our newsletter: https://bit.ly/3eEvRnG Make a donation via PayPal: https://bit.ly/3dmt9lU Send us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs: Siouxsie & The Banshees, "Spellbound," Juju, Polydor, 1981The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Capitol, 1967Kelela, "Washed Away," Raven, Warp, 2023Kelela, "Raven," Raven, Warp, 2023Kelela, "Enough for Love," Raven, Warp, 2023Kelela, "On the Run," Raven, Warp, 2023Kelela, "Bruises," Raven, Warp, 2023Yo La Tengo, "Sinatra Drive Breakdown," This Stupid World, Matador, 2023Yo La Tengo, "Fallout," This Stupid World, Matador, 2023Yo La Tengo, "Aselestine," This Stupid World, Matador, 2023Yo La Tengo, "This Stupid World," This Stupid World, Matador, 2023Yo La Tengo, "Until It Happens," This Stupid World, Matador, 2023Adam Ant, "Juanito the Bandito," Juanito the Bandito (Single), CBS, 1982Blue Rondo À La Turk, "Me and Mr. Sanchez," Me and Mr. Sanchez (Single), Virgin, 1981Holly Johnson, "Americanos," Blast, MCA, 1989Duran Duran, "The Reflex (The Dance Mix)," The Reflex (The Dance Mix) (Single), EMI, 1984Orchestral Manœuvres In The Dark, "So In Love," So In Love (Single), Virgin, 1985Pat Boone, "Speedy Gonzales," Speedy Gonzales (Single), Dot, 1962John Cale, "Story of Blood feat. Weyes Blood," Mercy, Double Six, 2023Support The Show: https://www.patreon.com/soundopinionsSee omnystudio.com/listener for privacy information.
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