Podcast appearances and mentions of Roger Dean

TCW Podcast Episode 234 - Yu Suzuki   Often called SEGA's Shigeru Miyamoto, Yu Suzuki redefined arcade gaming through innovation and ambition. He pioneered immersive cabinets like Hang-On's rideable motorcycle and After Burner's flight sim, and used sprite scaling to simulate 3D in hits like Space Harrier and OutRun. His work culminated in the R360 G-LOC—a gyroscopic cabinet offering full 360° motion. Suzuki later led SEGA into 3D with Virtua Racing and Virtua Fighter, and pushed console design forward with Shenmue. Though he didn't invent Quick Time Events, he coined the term—and created a living, interactive world filled with dynamic conversations, a fully explorable city, and unprecedented detail for 1999. His vision helped shape what players now expect from immersive game worlds.   Champion Boxing (SC 1000): https://www.youtube.com/watch?v=FkDpaSXTGwE Hang On (Arcade): https://www.youtube.com/watch?v=TopLKeDqYhw Hang On (Bike Cabinet): https://www.youtube.com/watch?v=5KV6gWzBnJw Space Harrier (Arcade): https://www.youtube.com/watch?v=PXO7HOUaHaQ Space Harrier (Cabinet): https://www.youtube.com/watch?v=J_ljkKcDsKs Roger Dean Album Covers: https://en.wikipedia.org/wiki/Category:Albums_with_cover_art_by_Roger_Dean_(artist) OutRun (Arcade): https://www.youtube.com/watch?v=tp3GLGu7cfg OutRun (Cabinet): https://www.youtube.com/watch?v=VK3CpGLk0VU The Cannonball Run (Trailer): https://www.youtube.com/watch?v=s8BNVDUslcE Ferrari Testarossa: https://www.youtube.com/watch?v=Lvfx5z4uMOo After Burner (Arcade): https://www.youtube.com/watch?v=pSvxN7nMNwo After Burner Deluxe (Cabinet): https://www.youtube.com/watch?v=iGWesvT9z8Q Top Gun (Trailor): https://www.youtube.com/watch?v=xa_z57UatDY Castle in the Sky (English Trailer): https://www.youtube.com/watch?v=5lMRfLJGXSM Power Drift (Arcade): https://www.youtube.com/watch?v=2ZZMU2HPmTE Power Drift (Cabinet): https://www.youtube.com/watch?v=cs0slBdnArg R 360 SEGA G-Loc: https://www.youtube.com/watch?v=0OrXW5vCurc G-Loc Air Battle (Arcade): https://www.youtube.com/watch?v=58JKeizTZF0 Virtua Racing (Arcade): https://www.youtube.com/watch?v=ssPfEPaTaGo Kenji (Manga): https://mangapill.com/manga/2249/kenji Virtua Fighter (Arcade): https://www.youtube.com/watch?v=o7HQ2vspMHA Virtua Fighter 2 (Arcade): https://www.youtube.com/watch?v=F7OYlmdhOZY Shenmue (Dreamcast): https://www.youtube.com/watch?v=PkuWoz6RbgE   New episodes are on the 1st and 15th of every month!   TCW Email: feedback@theycreateworlds.com  Twitter: @tcwpodcast Patreon: https://www.patreon.com/theycreateworlds Alex's Video Game History Blog: http://videogamehistorian.wordpress.com Alex's book, published Dec 2019, is available at CRC Press and at major on-line retailers: http://bit.ly/TCWBOOK1     Intro Music: Josh Woodward - Airplane Mode -  Music - "Airplane Mode" by Josh Woodward. Free download: http://joshwoodward.com/song/AirplaneMode  Outro Music: RoleMusic - Bacterial Love: http://freemusicarchive.org/music/Rolemusic/Pop_Singles_Compilation_2014/01_rolemusic_-_bacterial_love    Copyright: Attribution: http://creativecommons.org/licenses/by/4.0/

Send us a textThe hunting community in the Northeast continues to grow stronger through shared experiences, knowledge, and a deep-rooted sense of camaraderie. This episode welcomes Roger Dean III (Bow Guy Outdoors) as he shares his inspiring bowhunting journey, his thriving custom archery business, and the unforgettable hunts that have shaped him.What's Inside This Episode:

Produced by Wayne Hall, Joseph Cottrell, Jeffrey Crecelius and Ken Fuller In a bumper double-feature episode (or something like that), Mark and I compare the Empire featuring Peter Banks version of Something's Coming with the Yes studio version and we also indulge in a little bit of speculation about the forthcoming Yes album - and who doesn't enjoy these kinds of guessing games? Well if you don't, feel free to use the fast forward button.  Anyway, it was a lot of fun listening to some very early Yes and what Peter Banks did when he revisited it himself in 1979. Videos of the 2 songs are available below of course. How similar are the 2 versions of Something's Coming? Does Peter Banks play it the same way he did with Yes? What do we have in-store from Yes' forthcoming new album? Let us know if you agree with us! https://youtu.be/OQl1xTU0y_0?si=36PV9sMZkP5OGYLS https://youtu.be/axDZyUvAXEs?si=8AkCMhR9RUutcdw1 Mark Lang's copy of the new CTTE! After we spoke about a forthcoming Washington DC exhibition that includes Roger Dean's Yessongs artwork, YMP listener Craig Tiren went along to see it. Here he is, suitable attired! I MADE IT TO ANTHEM 52! MY Other podcast - https://anthem52.com/ Yes - The Tormato Story Available now! YesMusicBooks.com YMP Patrons: Producers: Joseph Cottrell Wayne Hall Ken Fuller Jeffrey Crecelius Patrons: Aaron SteelmanLindAl Dell'AngeloLobate ScarpBarry GorskyMark BaggsBill WhittakerMark James LangBob MartilottaMark SlaterBrian HarrisMartin KjellbergBrian SullivanMichael HanderhanChris BandiniMichael O'ConnorCraig EstenesMiguel FalcãoDave OwenPaul HailesDavidPaul TomeiDavid HeydenRachel HadawayDavid PannellRobert NasirDavid WatkinsonRobert VandiverDeclan LogueRonnie NeeleyDemScott ColomboDoug CurranSimon BarrowFergus CubbageStephen LambeFred BarringerSteve DillGary BettsSteve LuziettiGeoff BailieSteve PerryGeoffrey MasonSteve RodeGuy DeRomeSteve ScottHenrik AntonssonSteven RoehrHogne Bø PettersenTerence SadlerTodd DudleyJohn CowanJohn ThomsonJohn HoldenJohn ViolaJamie McQuinnTim Stannard Become a Patron! Our Facebook YMP Discussion Group is open to anyone to join. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts.

Produced by Wayne Hall, Joseph Cottrell, Jeffrey Crecelius and Ken Fuller This week, Mark and I return to one of our favourite pastimes - listening to Yes tracks through time. We each chose 3 different live recordings of Awaken to listen to and then discuss. So it's time to put your Roger Dean thinking caps on and see if you would have chosen the same versions as us. Which versions did we choose? Why did we chose those ones? Who does it best? Let us know if you agree with us! Going for the One Chris Squire - photo by Jeremy North Jon Davison https://youtu.be/u3TEdCrMIHU?si=9q2DabCKqwCmZIlS https://youtu.be/YLk5FfR464Y?si=DW5TMPSMhauNKjDw https://youtu.be/mk6s7uesdqo?si=2XAq7YzMwjJMdBsO https://youtu.be/da-kOOzfVII?si=yDy6HilqEz2JPRMW https://youtu.be/Lc4og6PSMms?si=VIOrryEAhFPD66HB&t=4014 I MADE IT TO ANTHEM 52! MY Other podcast - https://anthem52.com/ Yes - The Tormato Story Available now! YesMusicBooks.com YMP Patrons: Producers: Joseph Cottrell Wayne Hall Ken Fuller Jeffrey Crecelius Patrons: Aaron SteelmanLindAl Dell'AngeloLobate ScarpBarry GorskyMark BaggsBill WhittakerMark James LangBob MartilottaMark SlaterBrian HarrisMartin KjellbergBrian SullivanMichael HanderhanChris BandiniMichael O'ConnorCraig EstenesMiguel FalcãoDave OwenPaul HailesDavidPaul TomeiDavid HeydenRachel HadawayDavid PannellRobert NasirDavid WatkinsonRobert VandiverDeclan LogueRonnie NeeleyDemScott ColomboDoug CurranSimon BarrowFergus CubbageStephen LambeFred BarringerSteve DillGary BettsSteve LuziettiGeoff BailieSteve PerryGeoffrey MasonSteve RodeGuy DeRomeSteve ScottHenrik AntonssonSteven RoehrHogne Bø PettersenTerence SadlerTodd DudleyJohn CowanJohn ThomsonJohn HoldenJohn ViolaJamie McQuinnTim Stannard Become a Patron! Our Facebook YMP Discussion Group is open to anyone to join. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts.

Produced by Wayne Hall, Joseph Cottrell, Jeffrey Crecelius and Ken Fuller This week I'm feeding back on my trip to Trading Boundaries to see what Dave Watkinson has put on display alongside the permanent Roger Dean exhibition there. I made a video of Dave showing me around and we both enthuse about all the amazing items. I then had a chance to chat with Mark about what he noticed on the video - of course it's embedded into the show notes below. What was on display? Where and what is Trading Boundaries? What has Paul Graf sent to Kevin? Let us know if you agree with us! https://youtu.be/Wp6WaMAD7Co?si=6_rtQZZkaa66aG2h I MADE IT TO ANTHEM 52! MY Other podcast - https://anthem52.com/ Yes - The Tormato Story Available now! YesMusicBooks.com YMP Patrons: Producers: Joseph Cottrell Wayne Hall Ken Fuller Jeffrey Crecelius Patrons: Aaron SteelmanLindAl Dell'AngeloLobate ScarpBarry GorskyMark BaggsBill WhittakerMark James LangBob MartilottaMark SlaterBrian HarrisMartin KjellbergBrian SullivanMichael HanderhanChris BandiniMichael O'ConnorCraig EstenesMiguel FalcãoDave OwenPaul HailesDavidPaul TomeiDavid HeydenRachel HadawayDavid PannellRobert NasirDavid WatkinsonRobert VandiverDeclan LogueRonnie NeeleyDemScott ColomboDoug CurranSimon BarrowFergus CubbageStephen LambeFred BarringerSteve DillGary BettsSteve LuziettiGeoff BailieSteve PerryGeoffrey MasonSteve RodeGuy DeRomeSteve ScottHenrik AntonssonSteven RoehrHogne Bø PettersenTerence SadlerTodd DudleyJohn CowanJohn ThomsonJohn HoldenJohn ViolaJamie McQuinnTim Stannard Become a Patron! Our Facebook YMP Discussion Group is open to anyone to join. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts.

(00:00-2:28) Been a big program so far. Getting that clock right.(2:37-11:47) No onboarding for Martin today as he's down to City Field. Audio of Katie Woo on BK & Ferrario talking about fan angst. Roger Dean becoming a little outdated compared to other Spring Training facilities. Poor allocation of dollars. (11:57-23:42) Buddy Hield was a "bucket," right Gabe? Gabe's down on Penn State's quarterback play from last night. Expectations for tonight's Cotton Bowl. How would Missouri have fared against these Final Four teams? Mizzou Vandy tomorrow. (23:50-33:26) Audio of allegations against former punter Sean Landeta for shaving his shrubs in the sauna. Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

(00:00-2:28) Been a big program so far. Getting that clock right. (2:37-11:47) No onboarding for Martin today as he's down to City Field. Audio of Katie Woo on BK & Ferrario talking about fan angst. Roger Dean becoming a little outdated compared to other Spring Training facilities. Poor allocation of dollars. (11:57-23:42) Buddy Hield was a "bucket," right Gabe? Gabe's down on Penn State's quarterback play from last night. Expectations for tonight's Cotton Bowl. How would Missouri have fared against these Final Four teams? Mizzou Vandy tomorrow. (23:50-33:26) Audio of allegations against former punter Sean Landeta for shaving his shrubs in the sauna. Learn more about your ad choices. Visit podcastchoices.com/adchoices

November 21, 1985. Littleton, Colorado. A masked gunman enters the home of 51-year old businessman Roger Dean and forces him to tie up and blindfold his wife, D.J.. After an apparent dispute over money, the gunman fatally shoots Roger and flees the scene, but investigators find evidence to suggest that Roger may have hired the intruder himself in a failed attempt at a kidnapping-robbery scheme. Nearly five years later, D.J. receives an anonymous letter from a man claiming to be Roger's killer, who threatens to murder her daughter unless she pays him $100,000. Even after he instructs D.J. to drop off the money at a specified location, he does not show up and breaks off all contact. Were the extortionist and Roger Dean's killer actually the same person? If so, what was his motive for the crime? Did Roger have some dark secrets in his background which led to his death? On this week's episode of “The Path Went Chilly”, we examine a very bizarre and complex case of murder and extortion.Support the Show: Patreon.com/thetrailwentcoldPatreon.com/julesandashleyAdditional Reading:https://unsolved.com/gallery/roger-dean/https://coloradocommunitymedia.com/stories/cold-case-files-who-killed-roger-dean,75259http://blogs.denverpost.com/coldcases/2010/12/05/family-of-murdered-businessman-extorted-years-later/1830/

November 21, 1985. Littleton, Colorado. A masked gunman enters the home of 51-year old businessman Roger Dean and forces him to tie up and blindfold his wife, D.J.. After an apparent dispute over money, the gunman fatally shoots Roger and flees the scene, but investigators find evidence to suggest that Roger may have hired the intruder himself in a failed attempt at a kidnapping-robbery scheme. Nearly five years later, D.J. receives an anonymous letter from a man claiming to be Roger's killer, who threatens to murder her daughter unless she pays him $100,000. Even after he instructs D.J. to drop off the money at a specified location, he does not show up and breaks off all contact. Were the extortionist and Roger Dean's killer actually the same person? If so, what was his motive for the crime? Did Roger have some dark secrets in his background which led to his death? On this week's episode of “The Path Went Chilly”, we examine a very bizarre and complex case of murder and extortion.Support the show: Patreon.com/julesandashleyPatreon.com/thetrailwentcoldAdditional Reading:https://unsolved.com/gallery/roger-dean/https://coloradocommunitymedia.com/stories/cold-case-files-who-killed-roger-dean,75259http://blogs.denverpost.com/coldcases/2010/12/05/family-of-murdered-businessman-extorted-years-later/1830/

Moopsy! As Lower Decks is back for the last time, we're looking at three animated Star Trek episodes, specifically ones about strange creatures. The Eye of the Beholder brings us weird dopey-looking elephant slug things who are actually more evolved than humans! A Tribble Called Quest brings us all kinds of mutant tribbles including a bizarre horrible Tribble with a face! Ugh… I Have No Bones, Yet I Must Scream brings us an adorable monster in Moopsy, who may have done one or two things wrong. Moopsy! 00:03:55 What Non-Star Trek Thing We've Been Enjoying: Still Wakes the Deep, Kew Gardens' Halloween Trail 00:09:58 Star Trek: The Animated Series “The Eye of the Beholder” 00:35:37 Star Trek: Prodigy “A Tribble Called Quest” 00:56:03 Star Trek: Lower Decks “I Have No Bones, Yet I Must Scream” Talking points include: Pokémon, which Pokémon wore sunglasses the best? Dave Willis, Still Wakes the Deep, big ups to The Chinese Room, Alien Isolation, Kew Gardens, Merry Xmas Everyone, that song from X-Men Apocalypse or whatever one it was, Charlie tries to remember X-Men: Dark Phoenix, Roger Dean album covers, sand trouts in Dune, that one Flight of the Conchords song where a leg gets eaten, Play-Doh, Morph, vast, desolate landscapes, does The Federation still have Timpsons? You don't put the Scottish in a zoo, space zoos, Equilibrium, at some point Charlie should watch Star Trek, dunking on Chakotay, picking up a story partway through, Peter David's weird universal Majel Barrett thing, X-Men, I Have No Mouth And I Must Scream, Todd in the Shadows, Miles gets angry at Charlie, the show and himself for having to listen to Oliver Anthony Music, Anthony Michael Hall, self-destructive insubordination at work, bones and teeth aren't the same thing, Charlie's childhood rabbit and the little bunny gulag, Monty Python and the Holy Grail, Nolan North, Vegeta & Goku workforce dynamics, trying to stop from having any Big Bang Theory rants, can you tell Charlie's vamping for time because he forgot who wrote I Have No Mouth and I Must Scream? The Spoony Experiment, Awesomed by Comics, Miles was right to be a despairing heap on a men's room floor given the election results. Oh, and occasionally Star Trek. Pedant's Corner: While I don't recall Karate Kid being in a zoo in The Legion of Super-Heroes, there was a tragic story about Beast Boy of Lallor dying defending a girl from a zoo animal. The fish that nibble you in those baths are not piranhas. DO NOT have piranhas nibble your feet. Oliver Anthony Music has since given up music, I assume it was pressure from us at Casual Trek. Peter Pan isn't killed in the holodeck, but Robin Hood Official Moopsy Plush: https://www.masterreplicas.com/products/star-trek-lower-desks-moopsy-plush-10inch Casual Trek is by Charlie Etheridge-Nunn and Miles Reid-Lobatto Music by Alfred Etheridge-Nunn Casual Trek is a part of the Nerd & Tie Network https://ko-fi.com/casualtrek Miles' blog: http://www.mareidlobatto.wordpress.com Charlie's blog: http://www.fakedtales.com

Scott Rettberg is back with another season of the podcast Off Center. In this first episode of season 3, Scott is joined by Will Luers, a digital artist, filmmaker and writer. Luers also teaches web development, digital cinema and multimodal publishing in the Creative Media & Digital Culture program at Washington State University Vancouver. In this episode, they will discuss AI filmmaking and Luers' previous works.   Sign up for the CDN newsletter here.   References Amerika, Mark. 2002. FILMTEXT 2.0.  Amerika, Mark. 2022. My Life as an Artificial Creative Intelligence. Stanford University Press.  Amerika, Mark, Will Luers, & Chad Mossholder. 2023. Posthuman Cinema. https://posthumancinema.com/.   Electronic Book Review. n. d. “Electronic Book Review.” https://electronicbookreview.com/.     Farrell, Lisa. 2024. Demons & Ghosts. doi: https://doi.org/10.7273/fbaj-sb31.   Johnston, Jhave. 2024. Identity Upgrade. doi: https://doi.org/10.7273/fs7n-a798.   Krauth, Alinta. 2024. The Songbird Speaks. doi: https://doi.org/10.7273/bpw7-an93.   Luers, Will (editor). 2020. Issue: 00 Digital Essayism. The Digital Review. https://thedigitalreview.com/issue00/index.html.   Luers, Will (editor). 2024. Issue: 04 AI-augmented Creativity. The Digital Review. https://thedigitalreview.com/index.html.   Luers, Will, Roger Dean, & austraLYSIS. 2013. Hypnagogia. https://will-luers.com/collage-cinema/hypnagogia.html.  Luers, Will, Hazel Smith, & Roger Dean. Novelling. https://dtc-wsuv.org/wluers/novelling/.   Rettberg, Scott. 2024. Fin du Monde. doi: https://doi.org/10.7273/m4ke-zs24.  

Happy 80th birthday to Roger Dean! What are some of your favorite non-Yes artworks he's done? Being very familiar with Yes, we share our observations on what makes his non-Yes art for other bands and solo albums different. He's made many incredible works over the years, so let's celebrate! --- Support this podcast: https://podcasters.spotify.com/pod/show/yesshift/support

Esta semana, en una nueva sesión de Rebelión Sónica, destacamos el nuevo álbum de la leyenda holandesa del rock progresivo Focus, “Focus 12”, además de material de su canónico tercer disco de 1972, “Focus 3”. “Focus 12” fue editado el 05 de julio por el sello Spirit of Unicorn Music y es el primer trabajo del grupo en seis años. Sucesor de “Focus 11” de 2019, el LP fue escrito en su mayor parte por el líder y fundador Thijs Van Leer, quien, a sus 75 años, “todavía se levanta todos los días a las 4:30 de la mañana para trabajar en sus últimas composiciones. Por su parte, el imparable Pierre van der Linden se hace cargo de la batería en Focus, como lo ha hecho durante más de 50 años”. “Focus 12” fue producido por el guitarrista Menno Gootjes y el bajista Udo Pannekeet y grabado en los mundialmente famosos estudios Wisseloord y Wedgeview, ubicados en los Países Bajos natales de la banda. “Gracias Pierre, Udo y Menno por tanta pasión musical”, dijo Van Leer. “Qué hermosa puede ser la vida cuando una banda toca con tanta facilidad y tan junta”. “Focus 12” está integrado por diez pistas y la carátula fue diseñada por Roger Dean, el más reconocido artista visual asociado al rock progresivo, quien ha trabajado con la banda desde hace más de una década. Al final del programa, viajamos al pasado en la longeva historia de la agrupación, para escucharlos con música de su tercer disco de 1972: el doble “Focus 3”. Semana a semana, Rebelión Sónica se transmite por radio Rockaxis los jueves a las 10 y 22 horas, con la conducción y curatoría de Héctor Aravena.

Asia has announced The Heat of The Moment Tour, with a new lineup that includes original keyboardist Geoff Downes, drummer Virgil Donatti (UK, Southern Sons, Steve Vai, Allan Holdsworth), guitarist John Mitchell (Frost, Lonely Robot) and bassist/vocalist Harry Whitley. Here we talk with John Mitchell and Harry Whitley about the new tour and how they got involved. The tour headlined by Asia, featuring Focus, Martin Turner ex Wishbone Ash and Curved Air and MC'd by artist Roger Dean will commence on 3rd July 2024 and incorporate 21 dates across the USA and Canada.

Produced by Joseph Cottrell, Jeffrey Crecelius and Ken Fuller I've had no time to put together any news this week but I still managed to speak at length to Mark about both my experiences seeing Yes at Birmingham Symphony Hall. It was a wonderful experience and not just because of the quality of the concert itself. We've also enjoyed listening to the new music from Jon Anderson and the Band Geeks that fans have captured from live concerts and posted on YouTube. There are many reasons to be excited in Yesworld at the moment. How was the performance at Birmingham? What is the venue like? How was Roger Dean? Let us know if you agree with us! My Brum experience: https://youtu.be/XED1BvuYXwQ?si=JPq2AGT87ZmjkkjL https://www.youtube.com/watch?v=m4R5k8l6KOw https://www.youtube.com/watch?v=ahKn84JaGiw NO BARRIERS 2024 There are only 100 of these packs available, so buy yours now! (Opens in a new window) Check out the progress on my other podcast - https://anthem52.com/ Yes - The Tormato Story Available now! TormatoBook.com In Production: Sign up to the e-newsletter updates! TormatoBook.com YMP Patrons: Producers: Joseph Cottrell Ken Fuller Jeffrey Crecelius Patrons: Jim Morrison Jon Pickles Declan Logue Gary Betts Aaron SteelmanMichael Handerhan Barry Gorsky Steve Perry Doug Curran Martin Kjellberg Todd Dudley Rachel Hadaway Lind  Paul Hailes Craig Estenes Mark James Lang Steve Rode David Bob Martilotta John Holden Stephen LambeDem Fred Barringer Scott Colombo Chris Bandini David Heyden John Thomson Mark Baggs John Cowan John Parry Dave Owen Simon Barrow Steve Scott Terence Sadler Steve Dill Robert Nasir  Fergus Cubbage William Hayes Geoff Bailie Steven Roehr Lobate Scarp Geoffrey Mason David Watkinson Tim Stannard Robert VandiverBrian Sullivan David Pannell Jamie McQuinnMiguel Falcão Paul Tomei Michael O'ConnorBrian HarrisHogne Bø PettersenGuy DeRome Become a Patron! Our Facebook YMP Discussion Group is open to anyone to join. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert – I put it together from: archive.org

Mark , Lou and Perry discuss artist Roger Dean also rock band Cream and Felix Pappalardi plus newsfeed stories and random relish topics music trivia also a listen to David Gates with Glen Campbell and much more ! --- Send in a voice message: https://podcasters.spotify.com/pod/show/perry--dedovitch/message

Chris sits down with legendary artist Roger Dean to philosophize over the art and architecture movements, what influenced them into what they are today, his extensive career, working closely with the progressive rock band “Yes” and what the future of the world may hold. About the Artist: Roger Dean is a world renowned artist and designer, known for his unique style of album cover paintings, logos, typefaces and organic architectural designs. He was born in Kent, England and graduated from the Royal College of Art as a silver medallist. Website: https://www.rogerdean.com Social Media (IG): @rogerdeanofficial --- Support this podcast: https://podcasters.spotify.com/pod/show/chris-dyer8/support

Welcome back to Music Fishbowl - music chatter for all! Dan is back, bringing you another episode and another fantastic guest! On this week's episode, Brandon takes the guest seat. Brandon has a vinyl Instagram account and is part of the vinyl community on there. His music taste involves a lot of metal and rock music. However, his taste has a lot of variety, too. In this episode, the two talk about Roger Dean's artwork, Quite Riot and much more! Sit down, strap in and enjoy the conversation Follow Brandon on Instagram: @brandos_record_collection Dan would like to thank Brandon for being a guest on the podcast. His time and kindness are very much appreciated. If you would like to be on Music Fishbowl, either direct message Dan on Instagram (@thisisvinyl.tap) or send him an email (musicfishbowl123@gmail.com). Once again, thank you to all the listeners. Dan really appreciated the time you put into the podcast and how you share it around the web. Follow Dan on Instagram and TikTok: @thisisvinyl.tap Email the podcast: musicfishbowl123@gmail.com

Produced by Joseph Cottrell, Jeffrey Crecelius and Ken Fuller This week's episode is a rather visual one so you will probably want to listen after (or concurrently with) looking at the images below. Mark and I discuss some of the most instantly identifiable (for Yes fans) images which don't include the name of the band. We start off with a quiz for Mark using the first set of images below and then we head off down Yes, Jon Anderson, Roger Dean and some other associated rabbit holes. All of this was kicked off for me by the tiny, circular icons on the inner gatefold sleeve of Tales from Topographic Oceans and I posted this photo of Instagram: It's one of those 'in the weeds' episodes so I hope you find it entertaining! The images I tested Mark with: All images from Discogs What are those little icons on the sleeve of Tales all about? You is the Vitruvian Man? What is the Olias symbol? Let us know if you agree with us! Check out the progress on my other podcast - https://anthem52.com/ The Tales images we talk about: Image credit: detail from photo by RDZK - uploaded to Forgotten Yesterdays Roger Dean items on various Yes albums: The Olias symbol Image credits - left - ana-conda uploaded to Forgotten Yesterdays right - Jeremy North 80s icons: Support the Fundraiser! Yes - The Tormato Story Available now! TormatoBook.com YMP Patrons: Producers: Joseph Cottrell Ken Fuller Jeffrey Crecelius Patrons: Jim Morrison Jon Pickles Declan Logue Gary Betts Alan Begg Michael Handerhan Barry Gorsky Steve Perry Doug Curran Martin Kjellberg Todd Dudley Rachel Hadaway Lind  Paul Hailes Craig Estenes Mark James Lang Steve Rode David Bob Martilotta John Holden Stephen LambeDem Fred Barringer Scott Colombo Chris Bandini David Heyden John Thomson Mark Baggs John Cowan John Parry Dave Owen Simon Barrow Steve Scott Terence Sadler Steve Dill Robert Nasir  Fergus Cubbage William Hayes Geoff Bailie Steven Roehr Lobate Scarp Geoffrey Mason David Watkinson Tim Stannard Robert VandiverBrian Sullivan David Pannell Jamie McQuinnMiguel Falcão Paul Tomei Michael O'ConnorBrian HarrisHogne Bø PettersenGuy DeRomeAaron Steelman Become a Patron! Our (not really) new Facebook YMP Discussion Group is open to anyone to join but I'll be adding rules and joining requirements when I have time (one day…). One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert – I put it together from: archive.org

Fans of our show know that The Wolf and Action Jackson have a special place in their hearts for 80s prog/pop rock band Asia. While we've spoken with keyboardist Geoff Downes (UAWIL 79) and drummer Carl Palmer (UAWIL 80), we never had the opportunity to speak with singer/bassist John Wetton as he passed away before we started our show. However, there have been many celebrations of John's life and works in 2023 and to tell us more about the kind of person John Wetton was, we've enlisted the great Oliver Wakeman to offer some stories about the man himself. Oliver toured with Yes during 2009-2011 and during that time, befriended John Wetton as Asia was touring with Yes. Despite Oliver being a generation younger and the fact that John had worked with his father Rick, John took Oliver under his wing and they formed a bond that had a big impact on Oliver (and John too). Oliver relates some stories of his time with John including watching him play every night, how John checked in on him as he slated to transition out of Yes and one time John joined Oliver and his band to play Heat of the Moment. Oliver will also give us some tidbits about music he's working on, including his plan to play songs he wrote with Yes on From A Page live this spring at Winters End Festival. Oliver is helping to promote the new box set John Wetton: An Extraordinary Life which is out November 24 around the world - an 8 disc set of his solo albums with bonus tracks and discs full of rarities, unreleased gems and live cuts (more information below). We had a great time chatting with Oliver and hope you'll enjoy our conversation about John, Yes, prog music and more! Oliver Wakeman Website - https://www.oliverwakeman.co.uk/ Ugly American Werewolf in London Website Ugly American Werewolf in London Store - Get your Wolf merch! Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com John Wetton: An Extraordinary Life - On 24th November the first in a series of box sets commemorating the life and music of one of the UK`s most extraordinary and prolific musicians, John Wetton, will be released.  The An Extraordinary Life box set contains 8 newly remastered CDs, featuring the six solo albums Wetton released between 1980 and 2011. Each album now includes special bonus tracks. Additionally, two further discs are included which feature a gold mine of rare, live and unreleased material from the vaults, compiled by John`s archivist, Rick Nelson.  Check out trailer for the box set here:  https://www.youtube.com/watch?v=0EE0HFoq2Ck  Housed in a sumptuous 12 by 12 box, this set includes a 64-page book with an introduction by legendary artist, Roger Dean and contains comprehensive sleeve notes by Nick Shilton, author of Wetton's biography, An Extraordinary Life, published earlier this year. The book also features a raft of photographs taken from the Wetton archive and has been designed by John's long-time friend, Michael Inns.  This whole project has been lovingly crafted and compiled with the full blessing of John`s son Dylan and his wife Lisa and is endorsed by the Wetton estate. With a career spanning more than four decades, John Wetton`s rich baritone voice and accomplished bass playing has adorned many recordings. In this ‘An Extraordinary Life where his extensive solo career is captured for posterity all in one sumptuous box set, making this a fitting tribute to one of the UK most loved and respected artists. An Extraordinary Life   DISC 1: Caught in The Crossfire (1980) DISC 2: Battle Lines (1994) DISC 3: Arkangel (1997) DISC 4: Welcome to Heaven (2000) DISC 5: Rock of Faith (2003) DISC 6: Raised in Captivity (2011) DISC 7: New Live and Unreleased Tracks DISC 8: New Live and Unreleased Tracks Learn more about your ad choices. Visit megaphone.fm/adchoices

Fans of our show know that The Wolf and Action Jackson have a special place in their hearts for 80s prog/pop rock band Asia. While we've spoken with keyboardist Geoff Downes (UAWIL 79) and drummer Carl Palmer (UAWIL 80), we never had the opportunity to speak with singer/bassist John Wetton as he passed away before we started our show. However, there have been many celebrations of John's life and works in 2023 and to tell us more about the kind of person John Wetton was, we've enlisted the great Oliver Wakeman to offer some stories about the man himself. Oliver toured with Yes during 2009-2011 and during that time, befriended John Wetton as Asia was touring with Yes. Despite Oliver being a generation younger and the fact that John had worked with his father Rick, John took Oliver under his wing and they formed a bond that had a big impact on Oliver (and John too). Oliver relates some stories of his time with John including watching him play every night, how John checked in on him as he slated to transition out of Yes and one time John joined Oliver and his band to play Heat of the Moment. Oliver will also give us some tidbits about music he's working on, including his plan to play songs he wrote with Yes on From A Page live this spring at Winters End Festival. Oliver is helping to promote the new box set John Wetton: An Extraordinary Life which is out November 24 around the world - an 8 disc set of his solo albums with bonus tracks and discs full of rarities, unreleased gems and live cuts (more information below). We had a great time chatting with Oliver and hope you'll enjoy our conversation about John, Yes, prog music and more! Oliver Wakeman Website - https://www.oliverwakeman.co.uk/ Ugly American Werewolf in London Website Ugly American Werewolf in London Store - Get your Wolf merch! Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com John Wetton: An Extraordinary Life - On 24th November the first in a series of box sets commemorating the life and music of one of the UK`s most extraordinary and prolific musicians, John Wetton, will be released.  The An Extraordinary Life box set contains 8 newly remastered CDs, featuring the six solo albums Wetton released between 1980 and 2011. Each album now includes special bonus tracks. Additionally, two further discs are included which feature a gold mine of rare, live and unreleased material from the vaults, compiled by John`s archivist, Rick Nelson.  Check out trailer for the box set here:  https://www.youtube.com/watch?v=0EE0HFoq2Ck  Housed in a sumptuous 12 by 12 box, this set includes a 64-page book with an introduction by legendary artist, Roger Dean and contains comprehensive sleeve notes by Nick Shilton, author of Wetton's biography, An Extraordinary Life, published earlier this year. The book also features a raft of photographs taken from the Wetton archive and has been designed by John's long-time friend, Michael Inns.  This whole project has been lovingly crafted and compiled with the full blessing of John`s son Dylan and his wife Lisa and is endorsed by the Wetton estate. With a career spanning more than four decades, John Wetton`s rich baritone voice and accomplished bass playing has adorned many recordings. In this ‘An Extraordinary Life where his extensive solo career is captured for posterity all in one sumptuous box set, making this a fitting tribute to one of the UK most loved and respected artists. An Extraordinary Life   DISC 1: Caught in The Crossfire (1980) DISC 2: Battle Lines (1994) DISC 3: Arkangel (1997) DISC 4: Welcome to Heaven (2000) DISC 5: Rock of Faith (2003) DISC 6: Raised in Captivity (2011) DISC 7: New Live and Unreleased Tracks DISC 8: New Live and Unreleased Tracks Learn more about your ad choices. Visit megaphone.fm/adchoices

Steven gives his review of the Yes show that took place at The Wiltern in Los Angeles on October 30, 2023. He even got to see friends, meet Roger Dean, and buy the Gottlieb Bros' latest tourbook (which will also be reviewed here)! Facebook photo album: https://www.facebook.com/media/set/?set=a.390845859939984&type=3 --- Support this podcast: https://podcasters.spotify.com/pod/show/yesshift/support

Get your eyes and ears ready for a lesson in Psychedelic Art History! Chris sits down with “The Chambers Project” gallery owner, Brian Chambers, to pick his brain about his passion for psychedelic art, how he became immersed in the culture, his art collection, projects, exhibitions, favorite artists and why this branch of art and collaboration is so important. About The Chambers Project: The Chambers Project is the world's leading psychedelic art gallery representing the most influential contemporary artists in psychedelic culture, holding long standing relationships with the likes of Ralph Steadman, Roger Dean, the Rick Griffin Estate, Oliver Vernon, Mars 1 and many more!  Website: https://thechambersproject.com Social Media: Instagram - the_chambers_project Facebook - https://www.facebook.com/thechambersproject YouTube: @thechambersproject --- Support this podcast: https://podcasters.spotify.com/pod/show/chris-dyer8/support

When one ballpark caters to SIX different teams, it sure does get busy! To hear how Roger Dean Chevrolet Stadium handles all the events, as well as the big role two new LED video displays play in entertainment, Justin and Matt visited with General Manager Mike Bauer and Media Relations and Marketing Manager Ryer Gardenswartz. Give it a listen to get a glimpse behind the curtain at America's Busiest Ballpark! Links: Roger Dean Chevrolet Stadium Website: https://www.rogerdeanchevroletstadium.com/ Daktronics News Release: https://www.daktronics.com/news/two-new-views-coming-to-roger-dean-chevrolet-stadium-from-daktronics

Welcome to another Yesshift News Desk Edition! There was a LOT to talk about, listed as chapters below: 00:00 - Intro and Classic Tales of Yes Tour 03:00 - John Lodge's Days of Future Passed - My Sojourn 14:07 - Steve Hackett's Foxtrot at 50 + Hackett Highlights: Live in Brighton 25:02 - Kansas Concert at Orpheum Theatre in Los Angeles 37:00 - The Flower Kings' Look at You Now 39:05 - Meddle Reimagined 41:12 - Coming soon: The Fusion Syndicate's Speedway on Saturn's Rings 42:00 - Yesterday's A Moonlit Night in Budapest 47:47 - Flash on Midnight Special and Claiming Peter Banks documentary 45:00 - Roger Dean & Freyja Dean doing conversation videos again 46:24 - Bill Bruford activities and uploads 48:28 - Keith Emerson: Variations 49:40 - Patrick Moraz at ProgStock 50:15 - Rick Wakeman activities 51:23 - Oliver Wakeman's band at Winter's End 53:00 - Yes on Track revised edition 55:27 - Jon Anderson activities 1:04:47 - Trevor Horn YouTube uploads 1:05:43 - Tease for next episode & closing --- Support this podcast: https://podcasters.spotify.com/pod/show/yesshift/support

What is your favorite work by Roger Dean and/or Freyja Dean? Hi it's Dan Shinder and Steven Shinder of Yesshift! In October of 2022 we hit the road for downtown San Francisco's Haight Street Art Center to see the magnificent art exhibit by Roger Dean and Freyja Dean. A week later, Steven also saw Roger's art exhibited prior to a Yes show at the Magnolia in El Cajon. Join us for this Yesshift documentary, A Trip Through “The Secret Path”: Featuring the Art of Roger Dean and Freyja Dean. You will see their art like never before in jaw-dropping, eye-popping detail and vivid color that will absolutely evoke gasps of astonishment. Some works you will recognize as iconic, some you may be seeing for the first time. So, join us to see the worlds created only through the art of Roger Dean and Freyja Dean. --- Support this podcast: https://podcasters.spotify.com/pod/show/yesshift/support

Here's our trailer for the video we shot last year of our trip seeing The Secret Path exhibit. This is just a taste of how amazing Freyja Dean and Roger Dean's works look! The full video will be posted this weekend, and it will also include a bit of Steven looking at Roger's art at the pre-Yes show exhibit last year! --- Support this podcast: https://podcasters.spotify.com/pod/show/yesshift/support

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 --

Roger Dean is a visual artists and one of the all time greats of psychedelic and sci-fi art. His mesmerizing landscapes transports the viewer to another world of floating rocks, vivid colours, surreal arching rock formations and futuristic architecture. With an incredibly successful career stretching back to the 60's, Roger's work rose to prominence through the music industry, adorning album covers for Asia, Osibisa and a long standing collaboration with the rock band Yes. His iconic style has been the source of inspiration for many and enjoyed by millions around the world. https://www.rogerdean.com/ Instagram: @rogerdeanofficial

Tormato is an album that only hardcore Yes fans seem to know about. Without huge hit singles and a non-Roger Dean cover that many people do not like (including famously some of the members of the band), their 1978 offering often flies under the radar. But thanks to Kevin Mulryne, co-host of The Yes Music Podcast and author of the book Yes - The Tormato Story you can learn the most extraordinary details that went into the making of this album. From working with Hipgnosis on the cover, working at Advision studios to only move to RAC, the equipment the band used, the extra tracks that didn't make the album, to never before seen images from those sessions this book is a real treasure. Even rock fans who aren't that into Yes will be blown away by the detail Kevin has included through his extensive research from members of the band to their crew and all sorts of folks in the Yes orbit. Did you know they used a rotating stage on that tour? Did you know it went platinum in the US but you couldn't get it on CD until 1989? Though Don't Kill The Whale was a minor hit, the odd songs like Arriving UFO and Circus of Heaven make this one a bit different. And with rare epics like On The Silent Wings of Freedom, Onward or the baroque Madrigal, Tormato serves up some buried treasure which Kevin has helped to unearth. The book is a fantastic read and our conversation with Kevin was even more informative. Order his book Yes - The Tormato Story below: YesMusicPodcast.com - Order Yes - The Tormato Story Ugly American Werewolf in London Website Ugly American Werewolf in London Store - Get your Wolf merch! Twitter Instagram YouTube LInkTree www.pantheonpodcasts.com Visit RareVinyl.com and use the NEW code UGLY to save 10%! Learn more about your ad choices. Visit megaphone.fm/adchoices

Tormato is an album that only hardcore Yes fans seem to know about. Without huge hit singles and a non-Roger Dean cover that many people do not like (including famously some of the members of the band), their 1978 offering often flies under the radar. But thanks to Kevin Mulryne, co-host of The Yes Music Podcast and author of the book Yes - The Tormato Story you can learn the most extraordinary details that went into the making of this album. From working with Hipgnosis on the cover, working at Advision studios to only move to RAC, the equipment the band used, the extra tracks that didn't make the album, to never before seen images from those sessions this book is a real treasure. Even rock fans who aren't that into Yes will be blown away by the detail Kevin has included through his extensive research from members of the band to their crew and all sorts of folks in the Yes orbit. Did you know they used a rotating stage on that tour? Did you know it went platinum in the US but you couldn't get it on CD until 1989? Though Don't Kill The Whale was a minor hit, the odd songs like Arriving UFO and Circus of Heaven make this one a bit different. And with rare epics like On The Silent Wings of Freedom, Onward or the baroque Madrigal, Tormato serves up some buried treasure which Kevin has helped to unearth. The book is a fantastic read and our conversation with Kevin was even more informative. Order his book Yes - The Tormato Story below: YesMusicPodcast.com - Order Yes - The Tormato Story Ugly American Werewolf in London Website Ugly American Werewolf in London Store - Get your Wolf merch! Twitter Instagram YouTube LInkTree www.pantheonpodcasts.com Visit RareVinyl.com and use the NEW code UGLY to save 10%! Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 164:   “ You couldn't have the shark in JAWS in the snow!”THE GREAT DEBATE: Joseph adjudicates long-held debates between Jim and George from the previous 150 plus shows. Also discussed are the best fake bands in television and movies.·        I want to own a squadron of tanks!·        Is it possible that Jim didn't know he was hosting a podcast along ?·        What is the name of the tune that the cantina band played in Star Wars?·        Who's second grade teacher played The Beatles' ABBEY ROAD in class to shut them up?·        Which Grammy Award winning artist wrote many of the songs for Scott Pilgrim's fake band?·        Who are the members of the River Bottom Nightmare Band?·        Which podcast host is accused of being a ‘combaphobe'?·        Which mockumentary did actress Bea Arthur say was her all-time favorite movie?·        Which movie did John Lennon refuse to give back?·        Jim insults both English artist Roger Dean and Yes guitarist Steve Howe.·        Which television show did the real band, The Wellingtons have a guest appearance on as well as sang the theme song to?For once and for all – Is 1968 Planet of the Apes a dystopian tale or not?

The 5 Solved True Crime Cases feature the following victims,  Kayson Toliver and Kloee Hall, Roger Dean, Virginia Bradford Freeman, Tommy Rowland, and Baby Girl.Sources:https://pastebin.com/uLmC0LbFSubscribe:✅ https://www.youtube.com/c/SouthernGirlCrimeStories?sub_confirmation=1

Mike is live from Roger Dean and joined by Joe Roderick for this week's show featuring LOTS of Cardinals Spring Training discussion Sponsored by: Ameren Illinois Mungenast St Louis Acura

Mike Claiborne and Joe Roderick come to you early on a Monday this week, as Claibs gets ready to be on the call of Cards/Mets at Roger Dean. Lots of Spring Training talk, with games underway and new rules in play, plus the issues between Oli Marmol and CB Bucknor. Next up, Claibs gets on his soap box to talk STL City SC after their 3-2 win on Saturday, and talk of safety downtown with events coming to St. Louis. Finally, the show wraps up with Blues trade talk and Damian Lillard. Powered by Ameren Illinois Driven by Mungneast St Louis Acura Spring Training coverage is brought to you by Mungenast Burkard Alton Toyota

Join us for the first Yesshift News Desk Edition of 2023! We've got a lot to cover, including Warner acquiring Yes' Atlantic catalog, Roger Dean sharing his painting for an upcoming Yes album, Jon Anderson's comments on Zamran and Chagall from a recent Q&A, the upcoming John Wetton biography, some upcoming tours, and more! Plus, an announcement toward the end about our next interview we have lined up! Relevant Links: -Warner announcement: https://www.yesworld.com/2023/01/warner-musics-global-catalog-division-and-yes-announce-milestone-deal/ -Roger Dean vids about work for new Yes album: -https://www.facebook.com/watch/?v=939481583617393 -https://www.facebook.com/rogerdeanofficial/videos/589411429681520/ -https://www.facebook.com/rogerdeanofficial/videos/3428527937470196/ -Zamran is Coming: https://youtu.be/3qnHxjiSEdc -Rick Wakeman GORR January 2023: https://www.rwcc.com/gorrarchive/gorr_2301.php -Rick's tour announcement: https://www.facebook.com/RickWakemanMusic/posts/pfbid0uJQJdP2TJNSg5eQh8goEtvcWoaiHFzgttZiezYxdZS191fHLgWaRN6mZfjEFRjSul?__cft__[0]=AZVe5CaRhg-VhPgL-4n1RY1JoNlzjdQfgVCqeJdHQH3nr7tLsU0yh9sw_DHsn6LE-ros9E4HUtbyNsFuZFCwCp2fIWjdq4RurT9y39NmbkanevtPmf9zMJ9_M8uSpfElQH5M9BdCXwlkFo-M8N8J_SkBA-tEBNFqNgdeQdTFMzPQxzGFGiDbJ0fMswv6ZYSyvRgpM0sKA9x-G-GbP6yB2mgg&__tn__=%2CO%2CP-R -Trevor Horn post about Buggles tour with Seal: https://www.facebook.com/trevorhornofficial/videos/1227122681222169/ -John Wetton: An Extraordinary Life: www.johnwettonbook.com -Fantasia vinyl set pre-order link: https://asiaband.lnk.to/fantasia3LPPR -Kansas tour dates: https://www.kansasband.com/tour-dates/ -London Now '71: https://youtu.be/rUEfTAlqgec -"Owner of a Lonely Heart" by Waldmeister: https://youtu.be/39K4CQjO-tA -Kevin Mulryne's Own Tourmato: https://www.facebook.com/events/841350720263309 -Dave Watkinson's Yes weekend: https://www.facebook.com/dave.watkinson.94/posts/pfbid0UR5hUvSyyDuFnnUMk91mAByxMc984dz3GNf4gJKWUmRZgs6DzNfcU7sMbszPVvmPl --- Support this podcast: https://anchor.fm/yesshift/support

"December 7, 1941—a date which will live in infamy—the United States of America was suddenly and deliberately attacked by the naval and air forces of the Empire of Japan."Pearl Harbor day today. We remember and honor our veterans from WWII. And all veterans.'Holi-Drag Storytime' for children canceled. Organizers in Columbus (Ohio) were concerned about safety as Proud Boys members and other demonstrators, some armed, gathered near the venue, a church. The more you suppress this, the more it becomes "attractive" to the wrong element.Columbus council approves new gun-control law amid questions over its legality. Amazingly, two of the three legs of this legislation bring "duh" moments. But the kicker, this bans “large capacity magazines” that can hold 30 or more rounds or can be converted to accept that many rounds. This misdemeanor would result in a mandatory 180 consecutive days in jail without work release, and potentially up to one year, and a $1,500 fine. "We have to do something" as one council person puts it.When covid-19 broke out, Dr. Aaron Kheriaty's work put him on the front lines. Realizing that the mental, physical, and economic toll of lockdowns was catastrophic, he began to protest that the cure was worse than the disease—an intolerable heresy. When he refused vaccination because he had natural immunity from a previous infection, the University of California, Irvine, medical school fired him. He fought back, in the courts and in the media, and has become a reliable source of truth amid official obfuscation and censorship. Norm talks about his book, The New Abnormal: The Rise of the Biomedical Security State.Your word for the week - gaslighting - a psychological tactic is a form of manipulation that makes someone question their own reality and is surprisingly common — and harmful. Used intentionally, it's a means of slowly eroding the trust someone has in their own feelings or point of view.A record verdict was announced Monday for a Fairborn man wrongfully accused of raping several women in the 1990s, awarding 57-year-old Roger ‘Dean' Gillispie $45 million, the highest settlement in state history.And a wistful Christmas moment from Vince Guaraldi Trio and A Charlie Brown Christmas.Submit your questions to www.lawyertalkpodcast.com.Recorded at Channel 511, a production of 511 South High Media LLC.Stephen E. Palmer, Esq. has been practicing criminal defense almost exclusively since 1995. He has represented people in federal, state, and local courts in Ohio and elsewhere.Though he focuses on all areas of criminal defense, he...

BTW if you listen to any of the links: Play loud (but please don't damage your ears!)Links All the Day and All of the Night:  The Kinks:  https://www.youtube.com/watch?v=D6qYstpbNu4 New Dawn Fades Joy Division: https://www.youtube.com/watch?v=iHC2ozNKfYA New Rose  The Damned: https://www.youtube.com/watch?v=TUxFQ5QBiYk Long distance runaround  Yes:  https://www.youtube.com/watch?v=ZS-k02hf-hI Roundabout  Yes:  https://www.youtube.com/watch?v=cPCLFtxpadE Little fluffy clouds   The Orb  https://www.youtube.com/watch?v=KNfjpmvbQG0 Nelly the elephant by the Toy Dolls:  https://www.youtube.com/watch?v=9m7tPikH0UA Song 2 Blur:  https://www.youtube.com/watch?v=Bz4l9_bzfZM Roots Manuva,  Witness the Fitness  https://www.youtube.com/watch?v=ltP7L16A8Hs Rizzle Kicks   Prophet:  https://www.youtube.com/watch?v=5lLyr76L5Ic Sammy Virji.  Daga da:  https://www.youtube.com/watch?v=L9nm50vmQks Stranglers    Nice  N Sleazy:  https://www.youtube.com/watch?v=ZAEM40UYKeU Nina Simone  My baby just cares for me:  https://www.youtube.com/watch?v=3ZS7iKdRo5Q Strawbs   Part of the Union:  https://www.youtube.com/watch?v=qJYbFFFZwdE Queen  The Show Must Go On:  https://www.youtube.com/watch?v=t99KH0TR-J4 Amy Winehouse You know I'm know good.  https://www.youtube.com/watch?v=b-I2s5zRbHg Grinderswitch: Pickin the Blues:  https://www.youtube.com/watch?v=IJjFWGd8iPg   

As The Wolf has moved to London & around Europe he finds progressive rock to be a very English sub genre of rock music.  Growing up an Anglophile when it came to rock music, he was fascinated by The Beatles, The Rolling Stones, The Who, Cream, Led Zeppelin and all the blues based guitar driven rock.  But progressive rock has different textures and flavors, not to mention some bands that to this day are still mostly unknown in the US.So who does he get to lead him on a journey to get to know UK prog legends Gentle Giant around the 50th anniversary of their Octopus album?  Why a 30 year old American, of course.  Autumn Hawk Percival is a songwriter, singer and multi-instrumentalist who has passion and knowledge for prog music.  Ahead of the release of her own new album, she takes us on a tour of the soundscapes of these UK proggers in an album that has become known as the turning point in their career.  Hear why the eccentric literary references, offbeat harmonies and odd sounds all craft a soundscape that Autumn finds appealing and hear her articulate those feelings to us lowbrow rockers.Ugly American Werewolf in London WebsiteTwitterInstagramYouTubeLInkTreewww.pantheonpodcasts.com

We saw Roger Dean and Freyja Dean's art at The Secret Path exhibit in San Francisco, and here's our broad overall thoughts on the experience before we delve deeper in a later episode! Later in the week, we'll be putting out a more detailed video tour of the experience, with our commentary accompanying the footage. --- Support this podcast: https://anchor.fm/yesshift/support

In this episode we sit down and talk to Roger Dean aka Bowguy Custom Archery . We talk about how he grew up hunting and how much it means to spend time with his children n the outdoors and get them on some deer, family trip to Indiana for deer hunting, first deer as a kid, working on bows and fletching arrows starting at age 10, plus much more! Hope you guy's enjoy! Hit the follow button, rate and give the show a comment!Rogers instagram: https://www.instagram.com/bowguycustomarchery/Roger's TikTok: https://www.tiktok.com/@bowguycustomarchery?_t=8WV2Kr42zuQ&_r=1Support the show

On this First Look we talk with Michael Clawson about the October issue of American Art Collector magazine. Michael talks with us about the beauty and importance of trees in art, Roger Dean and Freyja Dean at the Haight Street Art Center, upcoming previews and so much more!

On this episode Matt is joined by Visionary Art Collective, Chambers Obscura. Chambers Obscura was formed when Brian Chambers, founder of The Chambers Project, joined forces with Travis Threlkel, founder of Obscura Digital, with a common mission to create the world's most immersive visionary art installations. Daniel Merrill, also known as A Path Untold, who is also part of the collective and a guest on this podcast, set this incredible interview up and is responsible for the music label arm of the Chambers Project. During the conversation we learn the story behind all three guest's psychedelic worldviews, each of their respective projects, and the culmination of their individual efforts to bring Chambers Obscura to the world. The Chambers Project is the world's leading psychedelic art gallery representing the most influential contemporary artists in psychedelic culture, holding long standing relationships with the likes of Ralph Steadman, Roger Dean, the Rick Griffin Estate, Oliver Vernon and Mars 1. Deeply immersed in the psychedelic scene since the mid nineties, owner/curator Brian Chambers has dedicated his life's work to connecting the dots between art and the psychedelic state, culminating in the opening of his most recent gallery space in Grass Valley, California.  Obscura Digital has designed and developed immersive, interactive digital art installations and experiences around the world, working with cultural dignitaries, Fortune 100 companies, and global foundations to light up the world and inspire peace through positive change. From the first global warming conference in 2008, to UNESCO's 70th Anniversary in 2015, Obscura Digital and Pacific Domes have teamed up to create impactful statements through projection both on and in our domes. Obscura Digital was recently purchased by Madison Square Garden‘s to orchestrate the building of large digital dome concert venues across the globe.   Find Updates on Chambers Obscura: https://thechambersproject.com/   Sponsored by Feel Free: https://botanictonics.com/   Use code 'Xian40' at checkout to save 40%   --- Sponsored by SHEATH: https://sheathunderwear.com   Use code 'TIMEWHEEL' at checkout to save 20%.

We're so used to the idea of art being hung in museums or on our walls, that we forget that we have may have hundreds or thousands of pieces of art hiding in plain sight – on shelves in our record or CD collections. Welcome to episode 99 of See Hear Podcast. Anytime you go exploring through your local record or CD store, before you even hear the music, the potential to draw you to an album you're unfamiliar with is the cover art. They can be futuristic paintings, posed photos, extravagant, plain, in questionable taste, exciting or dull. The designer is the person the musicians have entrusted to be the gateway to their own work. Kevin Hosmann is an album cover designer and first time film maker. He has released a documentary paying tribute to his colleagues in the design profession. He speaks to a lot of them, many who have designed many iconic covers over the course of popular music history, and many who have just designed functional covers. The film explores their experiences and the history of this artform. Does the cover art always say something about the music? How much does an album's iconic status relate to the front (or rear) cover? How have things changed in the streaming age? Kevin's film is a fascinating exploration into a side of the music business we don't always consider, but is hugely important. Bernie and I were fascinated hearing him talk about his own experiences as a cover designer (Beastie Boys, Ice Cube) as well as telling stories about giants in the field like Reid Miles, Roger Dean and Tom Wilkes. Tune in, then watch the film – you'll be very entertained, The film is streaming on Prime or in England on Sky Arts International. You can keep up with album cover talk at the film's Facebook site: https://www.facebook.com/THE-ALBUM-1514923212059261/If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... NEXT MONTH IS EPISODE 100 OF SEE HEAR.....SPREAD THE WORD. See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com. Send us feedback via email at seehearpodcast@gmail.com. Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour.

Formed in London in 1969, Uriah Heep released their fourth and (to this point) most successful album, Demons and Wizards in May 1972.  This album would also see the debut of what is considered the classic lineup of Uriah Heep as bassist Gary Thain and drummer Lee Kerslake joined vocalist David Byron, guitarist Mick Box, and keyboardist/multi-instrumentalist/singer/songwriter Ken Hensley to form the group for this album.  While the album cover and title suggest medieval fantasy, Hensley has stated that it was just a collection of songs, not a concept album.  It is hard to deny the prog rock feel, however.Uriah Heep is considered a forerunner of hard rock, heay metal, and progressive rock.  They have developed quite the cult following over the years, having released 24 studio albums, 20 live albums, and 41 compilation albums.Roger Dean created the cover art, as he did for a number of prog rock groups including Yes and Asia.The name Uriah Heep comes from a character from Charles Dickens' "David Copperfield"Brian is featuring this album.  Friend of the show Bill Cook joins us in Bruce's place for this episode. The Wizard Former bassist Mark Clarke and Ken Hensley wrote this song, the opening track to the album and the first single released from the album.  The lyrics are about a wanderer who meets "the Wizard for a thousand kings."  It would be the first Uriah Heep song to be made into a video.Easy Livin'The second single off the album would be the only one to chart in the United States, making it to number 39 on the Billboard Hot 100.  Surprisingly it did not chart in the UK.  This is a common cover for party bands, though it was intended to be taken ironically.Circle of HandsThis is a deeper cut from the album, starting strong with the Hammond Organ.  With lyrics like "Circle of hands, cold spirits' plan, searching the land for an enemy,"  it is hard to not see a thread of fantasy running through the track.Rainbow DemonThis track leads off side 2 of the album.  "There rides the rainbow demon on his horse of crimson fire.  Black shadows are following closely on the heels of his desire."  This slow anthem continues with the strong organ work and combines it with a fuzzy guitar sound. ENTERTAINMENT TRACK:Sitting Pretty (from the motion picture "Cabaret")  Liza Minnelli and Michael York starred in this movie based on the Broadway show. STAFF PICKS:I Saw the Light by Todd RundgrenRob's staff pick was the lead-off track from Rundgren's third album, "Something/Anything?" and was placed there via inspiration from Motown's history of putting the hit songs first.  Multi-instrumentalist Rundgren wrote the track in 20 minutes and credits the use of stimulants like Ritalin for his prolific songwriting at the time.  Run Run Run  by JoJo GunneBill Cook brings us a shuffle beat number by Los Angeles based JoJo Gunne, a band formed by Jay Ferguson and Mark Andes after they left the band Spirit.  "We're all just papers in the wind."  Sweet Hitch-Hiker by Creedence Clearwater Revival Wayne presents an underplayed swamp rock song from CCR.  This is off their last album with John Fogerty.  A restaurant called the Greasy King is referenced in the song, and that restaurant is in El Cerrito, the home town of the band members.Baby Blue by BadfingerBrian finishes off the staff picks with a song from an album produced by Todd Rundgren.  Badfinger was the first group signed to The Beatles' Apple Records.  This is the last top 40 hit in the US for the group.     COMEDY TRACK:Troglodyte (Cave Man) by The Jimmy Castor BunchThis is a funk novelty song hit number 6 on the Billboard Hot 100.  The song is the introduction of a character called Bertha Butt, who would recur in other songs from the Jimmy Castor Bunch.

Listen to Simon's experiences at the London concert of #CTTE50 from the iconic Royal Albert Hall. Simon's photos: Roger Dean introduced the band

YES marks the 50th anniversary of their legendary Close To The Edge album by performing it live in its entirety.  After waiting more than 2 and a half years, I arrived at Royal Albert Hall in London to soak in the atmosphere of progressive rock greatness.Just weeks before the start of the tour, drummer Alan White died suddenly which shook the band & its fans to the core.  YES has chosen to soldier on and dedicate the tour to Alan's memory with Jay Schellen filling in for him.  With iconic artist Roger Dean on hand to introduce the band and pay tribute to Alan, it really set the stage for a memorable night of great music.There really was a sense of community in the crowd that night, despite the railway strike which ultimately kept a few fans from attending and The Wolf enjoyed a special evening amongst the prog rock heroes.  He and Action Jackson walk through the setlist, the people we bumped into and the performance from June 21, 2022.

This week is another two-fer! First up is the legend herself and one of the greatest voices in rock history, Heart's Ann Wilson! Ann and Nancy have been doing their own thing the last few years and Ann has a brand new solo album called Fierce Bliss coming out on the 29th. To me, it sounds the closest to the heavy rock sound of the 70s that Heart and their influences like Led Zeppelin and Bad Company were doing. Singles like "Greed" and her cover of the Eurythmics' "Missionary Man" are already out there. Ann and I talk about her approach to covers, the status of Heart these days, how she got Roger Dean to do the album cover and more.  Then we hear from Grammy winning producer/keyboardist/sideman Jeff Bova. Jeff's career began in the early 80s when he was the go-to guy keyboardist for artists like Herbie Hancock and Cyndi Lauper and worked closely with producers like Bernard Edwards and Jim Steiinman. We hear stories about all these great people and what those glory days were like. Enjoy!  www.annwilson.com www.bovaland.com www.patreon.com/thehustlepod