Podcasts about Rollin

Today's episode of the podcast features Dr. Rollin McCraty, Director of Research at the HeartMath Institute.The primary focus of the HeartMath Institute is on the connection between the heart, brain, and emotions, and how this connection can impact health, well-being, and overall performance.Here are some key aspects of HeartMath:Heart-Brain Connection: HeartMath emphasizes the importance of the heart in influencing our emotions, cognitive functions, and overall physiological state. Research conducted by HeartMath suggests that the heart communicates with the brain in ways that can affect our emotional responses, decision-making processes, and stress levels.Coherence: One of the central concepts in HeartMath is "heart coherence." This refers to a state in which the heart's rhythms become more ordered and harmonious. Achieving heart coherence is believed to have a positive impact on mental and emotional well-being, as well as physical health.Techniques and Tools: HeartMath provides various techniques and tools to help individuals achieve heart coherence. These techniques often involve practices like rhythmic breathing, focusing on positive emotions, and using biofeedback devices to monitor and improve heart rate variability.Applications: HeartMath techniques and tools are used in various contexts, including stress management, performance optimization, and emotional regulation. They have been applied in educational settings, corporate environments, healthcare, and sports performance.Research and Science: The Institute of HeartMath conducts research to explore the scientific basis of their methods and to demonstrate the benefits of heart coherence and emotional regulation. Some studies suggest that HeartMath techniques can help reduce stress, improve emotional well-being, and enhance cognitive performance.It's important to note that while many people find value in HeartMath practices and techniques, the scientific community may not universally accept all of its claims, and more research is ongoing to better understand the mechanisms and effects of these practices.I hope you enjoy this episode with Dr. McCraty, which is but a tiny portion of what you'll discover studying HeartMath in-depth!In this interview with Rollin, you'll discover:-A bit of Rollin's life history and career measuring consciousness...02:00-What is "heart math" and how does it equate to "heart coherence"?...06:00-A case study of how just one incoherent person can distort the energy in an entire room...11:00-Does our physical heart have its own consciousness separate from our mind?...14:40-Coherence correlated to physical activity...17:00-How collective action and thought affect global trends, for better or worse...21:30-Any one of us have the power to build or destroy an entire city with our level of consciousness...25:30-How to learn more about HeartMath™...30:10-And much more...Resources mentioned:Global Coherence PulseRollin's profile at Heart MathAbout the guest:LinkedInRollin McCraty, Ph.D., director of research at the HeartMath Institute, is a professor at Florida Atlantic University. McCraty is a psychophysiologist whose interests include the physiology of emotion. One of his primary areas of focus is the mechanisms by which emotions influence cognitive processes, behavior, health and the global interconnectivity between people and Earth's energetic systems. He has been with HeartMath Institute...

Last night’s episode of CFRO Co-Op Community Radio’s weekly hour-long Accordion Noir broadcast is up online and ready for your listening enjoyment, offering our trademark survey of all the different ways free-reed aerophones are used in different styles of music from all over the planet! If your Apple or Android (or plain old RSS) podcast subscriptions (strongly recommended!) haven't alerted […]

Deion Sanders and Colorado continue to dominate the ratings. The guys aren't panicking yet over the Steelers week 1 struggles. Plus, the midweek awards on “The Good, The Bad & The Ugly.”See omnystudio.com/listener for privacy information.

Avec Jean-Marie Bigard, Jeanfi Janssens, Rachel Khan, François Rollin, Marcela Iacub et Florian Gazan. Retrouvez tous les jours le meilleur des Grosses Têtes en podcast sur RTL.fr et l'application RTL.

A Lemon Italian Ice Gin & Tonic that combines an Italian classic with a cocktail classic During his 30+ years in banking, Rollin Amore traveled extensively throughout Europe and Asia, and loved bringing back flavor ideas to use in his cooking at home. Today, in "retirement," his travels infuse the constantly changing menu of ice creams and sorbets at Mimi's Handmade Ice Cream. But you won't find “shock value” ingredients in his delicious frozen concoctions. Instead, he—and his customers—prefer fresh and unique flavors, such as cucumbers, lychee, roasted red peppers, or purple yams. It's a new twist on one of America's oldest treats. And whatever your tastes, these flavors appeal to the kid in all of us. Get the featured cocktail recipe: What Float Rollin's Boat? Looking for the best cocktail to accompany you while you listen. Then head over to our library of libations for the right recipe to get you in the mood. Don't forget to follow, download and review to share your thoughts about the show! ********************************** The Designated Drinker Show is produced by Missing Link—a Latina-owned strategy-driven, creatively fueled production co-op. From ideation to creation, we craft human connections through intelligent, engaging and informative content.   Also in the Missing Link line-up of podcasts, is Rodger That—a podcast dedicated to guiding you through the haze of dementia led by skilled caregivers, Bobbi and Mike Carducci.  Now, if you are looking for a whole new way to enjoy the theater, check out Between Acts—an immersive audio theater podcast experience. Each episode takes you on a spellbinding journey through the works of newfound playwrights—from dramas to comedies and everything in between.

Chris and Rob tell us why the Colorado Buffaloes' hype train has already gone off the rails after just one game and explain why Shohei Ohtani may need to give up pitching altogether following his latest elbow injury. Plus, FOX Sports Radio Weekend host Martin Weiss swings by to bring you this week's edition of Trollin' or Rollin'.See omnystudio.com/listener for privacy information.

Colorado gets a huge opening win over TCU to get the Dion Sanders Era started. Travis hunter is him. Ohio State wins by 20 over Indiana but didn't look great. Michigan wins easy without Harbaugh. Penn St looks good making the Big 10 East a nightmare. NFL getting started this week with the Lions takining on the Chiefs

The British Invasion of the mid-60's is best known for The Beatles, but there were more groups than just the boys from Liverpool.  In fact, just a month after The Beatles played on Ed Sullivan the Dave Clark Five would take that stage, the first of 12 appearances on The Ed Sullivan Show.  The quintet consisted of Dave Clark on drums and backing vocals, Rick Huxley on bass, Mike Smith on vocals and keyboard, Lenny Davidson on lead guitar, and Dennis Payton on Sax, Harmonica, and vocals.The British Invasion was really a re-introduction of American music, as many of the British acts took inspiration from soul, gospel, and blues music from places like Chicago, Detroit, Memphis, and New Orleans.  This re-introduction was accompanied by intriguing accents, strange fashion and hair styles, and a lot of energy and heart.The sixth American album release from the Dave Clark Five was entitled Having a Wild Weekend, and was the soundtrack to a movie of the same title.  This film was originally released as "Catch Us If You Can," in the UK, but was renamed when it was released in the States.  It is a light-hearted social drama similar to "A Hard Day's Night" released by the Beatles, and it likewise was used as a vehicle to increase the popularity of the band and their songs.Unlike the Beatles, the Dave Clark Five never ventured into the psychedelic sound of the late 60's, and their popularity began to wane by 1967.  The group would disband in 1967.John Lynch brings us this classic group and soundtrack for this week's podcast. Having a Wild WeekendThis single was written by Dave Clark and Mike Smith, and is the lead-off and title track to the album.  The premise of the album is that Dinah, a model for an add campaign for meat, runs off with one of the stunt men while shooting a TV commercial.  The ad executives use their disappearance to generate more publicity for their client.New Kind of LoveWe're not really sure if this song is about a guy whose girlfriend cheats on him, or about a stalker who like a girl who has no idea that the guy thinks they're dating.  I Said I Was SorryWhen the guy messes up in the relationship, he is left wondering why everything isn't OK now that he has said he was sorry.  The lyrics at the time weren't meant to be studied too seriously, were they?  At least he said he was sorry, because we would find out from Elton John years later that "sorry" seems to be the hardest word.Catch Us If You CanCo-written by Dave Clark and Lenny Davidson, this was the title song for the UK version of the album.  It leads off side two, and was the hit single from the album, rising to number 4 on the US charts.  The finger snapping and guitar leading into the song was a catchy hook. ENTERTAINMENT TRACK:Main theme from the television series “Gidget” The Frederick Kohner novels about a teenager in the surfing culture would lead to films of the late 50's, and a TV show that would begin in 1965 starring Sally Field. STAFF PICKS:Just a Little by The Beau BrummelsBruce's staff pick is one of the groups that is credited with creating the San Francisco sound.  The Beau Brummels were Sal Valentino on vocals, Ron Elliott on lead guitar, Declan Mulligan on guitar, Ron Meagher on bass, and John Petersen on drums.  This is off their debut album entitled "Introducing the Beau Brummels," which was produced by Sly Stallone  The Train Kept a-Rollin' by Screaming Lord Sutch & the SavagesYou may be familiar with the Aerosmith version of this song, but Rob brings you an earlier version of the classic blues track originally recorded by Tiny Bradshow in 1951.  Screaming Lord Sutch was known for his Halloween-themed stage shows, complete with knives and coffins, with the lead singer appearing as Jack the RIpper.The Game of Love by Wayne Fontana and the MindbendersWayne features a number 1 hit from the Billboard Hot 100.  The group took its name from a British movie, and appeared in the 1967 Sidney Poitier film, "To Sir, with Love."  The group broke up at the final concert of a UK tour with The Who, Arthur Brown, and Joe Coker on November 20, 1968.Count Me In by Gary Lewis and The PlayboysLynch closes out the staff picks with a group that was originally known as Gary & the Playboys, hiding the relationship that Gary had with his celebrity father, Jerry Lewis.  They auditioned and were hired to play at Disneyland, and frequently played to full houses.  The group suffered in live performances, because producer Snuff Garrett utilized session musicians heavily on their studio tracks, and the band could not duplicate their studio sound on the stage.   INSTRUMENTAL TRACK:Maiden Voyage by the Herbie HancockThis instrumental jazz piece that closes out the podcast shows the longevity of Herbie Hancock's career, and was the title track to his album of the same name.

Lampworker or Glass Blower--What's the difference? Vivid Tadpole, a local Las Vegas lampworker, visits Deadwalker's Studio to sesh with the Budeez and discuss the work he does, how his techniques have evolved, and why he started this centuries old craft of sculpting with glass! Strains of the Day include: Blue Hash Plant by AMA Waui Infused Pre-roll by Presidential Find Vivid Tadpole's work on Instagram: @Vivid_Tadpole Find Stoner Budeez at: www.StonerBudeezStore.com On IG: @Stoner_Budeez Keep it Rollin'! --- Send in a voice message: https://podcasters.spotify.com/pod/show/stonerbudeez/message

During his 30+ years in banking, Rollin Amore traveled extensively throughout Europe and Asia, and loved bringing back flavor ideas to use in his cooking at home. Today, in "retirement," his travels infuse the constantly changing menu of ice creams and sorbets at Mimi's Handmade Ice Cream. But you won't find “shock value” ingredients in his delicious frozen concoctions. Instead, he—and his customers—prefer fresh and unique flavors, such as cucumbers, lychee, roasted red peppers, or purple yams. It's a new twist on one of America's oldest treats. And whatever your tastes, these flavors appeal to the kid in all of us. Looking for the best cocktail to accompany you while you listen. Then head over to our library of libations for the right recipe to get you in the mood. Don't forget to follow, download and review to share your thoughts about the show! ********************************** The Designated Drinker Show is produced by Missing Link—a Latina-owned strategy-driven, creatively fueled production co-op. From ideation to creation, we craft human connections through intelligent, engaging and informative content. Also in the Missing Link line-up of podcasts, is Rodger That—a podcast dedicated to guiding you through the haze of dementia led by skilled caregivers, Bobbi and Mike Carducci.  Now, if you are looking for a whole new way to enjoy the theater, check out Between Acts—an immersive audio theater podcast experience. Each episode takes you on a spellbinding journey through the works of newfound playwrights—from dramas to comedies and everything in between.  

Zach Anner is an award-winning comedian, TV writer, disability advocate and viral sensation (with over 100 millions views on social media!). After winning "Oprah's Search for the Next TV Star" competition, Zach hosted a travel show called Rollin' with Zach on the OWN network. In the show, he traveled around the United States, exploring different cities and engaging with the local culture and activities. Today, Zach shares how he's learned to not let his cerebral palsy define him or his goals, how he faces his numerous challenges with the utmost resilience and positivity, and so much more. If you're looking for an uplifting conversation packed with humor, heart, edginess and determination, this episode is for you.

Chris and Rob tell us if all the hype around the Detroit Lions has actually made it easier to root against them and discuss Richard Sherman's assertion that playing cornerback in the NFL is tougher than playing wide receiver. Plus, FOX Sports Radio Weekend host Martin Weiss swings by to host this week's edition of Trollin' or Rollin'.See omnystudio.com/listener for privacy information.

When FreedaSol tells you it is her funkiest mix yet, it is gonna be fun.  Right out of the gate the tracks are modern funk with elements plucked from dance music history.  Once the vibe is ignited there is no time wasted to push on through a number of styles; yes its even got soul.  The vocals come and go in full presentation and snippets giving the set plenty of voice.  Classic and fresh vibes all the way. Track List: 01.  Zone- Funk Rimini  02.  Funky Town (Shlomi Hazan & AckerMan remix - Lipps Inc  03.  Move Your Hips - Sonic Future  04.  Papa Was a Rollin' Stone (Uza edit) - The Temptations  05.  Icare (Yuksek remix) - Bertrand Burgalat  06.  Perpetrating - Wildkats  07.  For Those Who Like to Get Down (Soul Clap & Click Click remix) - Marques Wyatt  08.  Gimmie Five 2k18  - Alex Kenji, Federico Scavo  09.  Look Right Through (Trimtone Sunshine Groove) - StormQueen  10.  I Can' Sit Down - Guy Laliberte  11.  Devil's Music - Strainhouse  12.  Bumpin' Da Funk - Da Funk Junkies  13.  Shook - The Illustrious Blacks & Seven Davis Jr.  14.  It's On Tonight - Lonely Boy  15.  Sunshine (Enzo Siffred remix) - Vidaloca & Piem  16.  Got 2 Be Loved (Extended Mix) - Soul Reductions  17.  When the Heat is On - Hatiras, Angelo Ferreri    18.  Mountains of Diamonds (Inamo Flashback mix) - Tracy Chapman  19.  Magic (SEVENRS remix) - Mich Smiley  20.  You Can Feel Good Now (Luke & Goreb edit) - Liva K 21.  It Is What It Is - Teddy Black, Austin Groove  22.  Time To Get Funky - Tommy Vercetti  23.  Good To You - Claptone  24.  Get Your Thing - DJ Dan  25.  What Are We To You - Da Funk Junkies  26.  The Shit Baby - Omar S 27.  Pick Up (12” Extended Disco Version) - DJ Koze   #djkoze #omars #djdan #claptone #tommyvercetti #austingroove #teddyblack #dafuinkjunkies #livak #lukengoreb #tracychappman #mitchsmiley #hatiras #angeloferrari #FunkRimini #ShlomiHazan #AckerMan #LippsInc #SonicFuture #Uza #TheTemptations #Yuksek #BertrandBurgalat #Wildkats #SoulClap #ClickClick #MarquesWyatt #AlexKenji #FedericoScavo #Trimtone #StormQueen # GuyLaliberte #Strainhouse #DaFunkJunkies #TheIllustriousBlacks #SevenDavisJr #LonelyBoy #EnzoSiffred #Vidaloca #Piem #SoulReductions #freedasol #megangarard #eartheater #usdjs #cd3000 #cdj2000nxs #cdj2000

FOX Sports Radio Weekend host Bucky Brooks is in for Rob, and he and Chris tell us if they're believers in Aaron Rodgers and the New York Jets for the upcoming season and discuss whether the Philadelphia 76ers would be better served keeping James Harden and dumping Daryl Morey. Plus, the guys answer the tough questions in this week's edition of Trollin' or Rollin'.See omnystudio.com/listener for privacy information.

The Lord will construct the Highway of Holiness to accommodate pilgrims visiting Jerusalem during the one-thousand year Kingdom on Earth. Isaiah 35:1-10 Series: The Millennium Forecast Pastor Gene Pensiero Find audio, video, and text of this whole series in the Old Testament book of Isaiah at https://calvaryhanford.com/themillenniumforecast

The Lord will construct the Highway of Holiness to accommodate pilgrims visiting Jerusalem during the one-thousand year Kingdom on Earth. Isaiah 35:1-10 Series: The Millennium Forecast Pastor Gene Pensiero Find audio, video, and text of this whole series in the Old Testament book of Isaiah at https://calvaryhanford.com/themillenniumforecast

Rollin' down the street smokin' indo, sippin on bug juice.  LAID BACK! With my mind on those clowns and those clowns on my mind.   Right?  Anyway, hello and welcome to another episode of KEEP IT WEIRD!! The podcast for all things strange and unusual.  We are the luckiest gals alive because each week we get to sit down and gab about something WEIRD!    We hope you're not turned off by the Trigger Warning at the beginning-- it seems like this episode is going to be VERY heavy but it's surprisingly tame... except for all the death.   This week Laura starts us off with one of our favorite new segments WHERE IN THE WORLD IS KEEP IT WEIRD!!  Just like our hero Carmen Sandiego, we go ALL over this planet (in our hearts) in search of the world's weirdest places and boy we found a doozy.  I'm surprised it took us seven years to talk about this place but HERE WE ARE.  The Clown Motel in Tonopah, Nevada!   Located directly across the street from a very spooky cemetery, this place has more clowns than one man or woman could possibly handle.  Maybe that's why there's so much paranormal activity??  Orrrrr maybe they're trying to sell you a ticket.  We will never find out, because we will not go.   Ashley cuts in because she HAD A THOUGHT! Could it be that criminal profiler and FBI Agent John Douglas wasn't just ahead of his time and good at his job?  Could he have been... psychic?  It's just a thought OKAY!?   And Lauren brings us home (or to hell?) with one of our newest segments, a SPONSORED segment called CURSED CROONERS AND SPOOKY SONGS (Sponsored by Melanie Vartabedian) as she shares with us possibly the most cursed song of all-- "Gloomy Sunday" by Rezso Seress.  Did this song CAUSE suicides?  Or was it the widespread famine and war in Hungary that pushed them over the edge?  Is this song just too damn sad?     Check out some links below if you want to do some FURTHER reading into all of this madness.  Please follow us on social media @keepitweirdcast and LIKE and SUBSCRIBE to our YouTube channel if you love us long time.   Also consider becoming a patron of the show by visiting www.patreon.com/keepitweirdpodcast-- you'll get a TON of BONUS EPISODES, discounts on merch, and a newsletter every single month.  Not a bad deal for the price of a coffee at Starbucks, amirite?   Clownin' Around https://www.tonopahnevada.com/clown-motel/ https://www.uniqhotels.com/clown-motel   Psychic or Profiler https://www.themidwestcrimefiles.com/post/murder-in-wood-river-the-karla-brown-story#:~:text=He%20went%20to%20the%20basement,socks%20tied%20around%20her%20neck. https://allthatsinteresting.com/john-douglas https://crimereads.com/john-douglas-on-his-lifes-work-talking-with-killers/   Gloomy Sunday  https://www.savagecontent.com/post/the-spooky-history-behind-cursed-songs https://www.treblezine.com/gloomy-sunday-hungarian-suicide-song/

durée : 00:21:17 - Le Feuilleton - Où l'on plonge brièvement dans la vie musicale de Londres au début des années 60, et comment s'inventent les Rollin' Stones.

2x World Series champion David Justice is in for Chris, and he and Rob tell us if Dallas Cowboys owner Jerry Jones is the worst negotiator in American pro sports history and debate whether Mookie Betts or Freddie Freeman is the real MVP of the Los Angeles Dodgers (and the National League, as a whole). Plus, FOX Sports Radio Weekend host Martin Weiss swings by for this week's edition of Trollin' or Rollin'.See omnystudio.com/listener for privacy information.

Salutations lovers of the underworld! Doom 2016. A lightning blast of blistering gameplay, buckets of blood and an incomprehensible lore nobody cares about, this Bethesda backed splatterfest is a joy to experience. Join my brother and I as we talk potential TV series, make comparisons to the original Doom, and share the dangers of standing still in the bowels of Hell.LIKE THIS EPISODE? BECOME A PATRON! https://www.patreon.com/agamerlooksat40My Discord: https://discord.com/invite/SdaE4atGjCMy Twitter: @agamerlooksat40My Facebook: facebook.com/agamerlooksat40My Insta: @agamerlooksat40My Patreon: patreon.com/agamerlooksat40My Email: agamerlooksat40@gmail.comMy Phone Number: Ehhhhh, not gonna happen. :-DSupport the show

Live coverage from the 2023 Dice Masters World Championship at Gencon.  ‘Nuff Said!     The Venerable Craig Huebner     Post 1st Draft with Rob L.    Jocelyn from “A Double Double and Dice”     Nick Wahle day 1   Nick Wahle – The Queue & the Sheriff Strange Mutation ruling    The […] The post Rollin' Thunder – Talkin' Dice Masters “Moldy Gencon” – S303 appeared first on Rollin' Thunder.

durée : 00:21:17 - Le Feuilleton - Où l'on plonge brièvement dans la vie musicale de Londres au début des années 60, et comment s'inventent les Rollin' Stones.

Rita Engedalen & Margit Bakken - 05 - I Wanna See You In The Light - My Precious Blues - 2023Mike Guldin and Rollin' & Tumblin' – Killing Floor  feat Kevin Mckendree The Franklin Sessions – 2023Oliver Sean - Before You Accuse Me - 2023 - singleBeaux Gris Gris & The Apocalypse – Thrill me - Live In The United Kingdom 2023 – 2023Chickenbone Slim – Ice in my whiskey - Damn Good And Ready – 2023Connor Selby - That's Alright (Live Masterlink Session) - single  - 2021Delbert McClinton – Give it up for your love - Live From Austin - 2023Granvil Poynter - Cigarettes And Gin - Cigarettes And Gin – 2023Walter Horton - Little Walter's Boogie  -Sun Records Originals Easy - 2023Tony Wessels & The Revolvers – Gotta move across the river - Reloaded - 2023Name Droppers – Hollywood - Blue Diamonds - 2023Mojo Corner – Blues train rider - Help Me Out - 2023King Kool & His Royal Blues – Think it's gonna rain - Leaving Behind - 2023

Vincent Alverez joins us to discuss Jenkem The Devil's Playground: A Satanic Skate Spot?, BATB 13: Andy Anderson Vs. Torey Pudwill & TJ Rogers Vs. John Chyk, Budget Or Buttery, Lakai "Bubble" video, Mark Gonzales for Spitfire Wheels, Remembering Keenan Milton, Hanging Out With Akwasí Owusu, Ed McMahon Publishers Clearing House Mandela Effect, Grant Yansura out there Thrasher and much more! Timestamps 00:00:00 Nine Club Live #11 00:04:57 Intro 00:05:40 Jenkem The Devil's Playground: A Satanic Skate Spot? 00:13:25 Rollin with Dubs 00:15:08 Dubs found an alien baby 00:18:40 Battle At The Berrics Brackets 00:22:41 BATB 13: Andy Anderson Vs. Torey Pudwill 00:32:54 BATB 13: TJ Rogers Vs. John Chyk 00:35:05 Vince's BATB 13 picks 00:38:15 Pizookie cookie 00:41:15 AI Nine Club 00:42:30 Budget Or Buttery 01:06:15 Lakai "Bubble" video 01:38:08 Crob on a date with Taylor Swift at Cheesecake Factory 01:40:53 Mark Gonzales for Spitfire Wheels 01:48:09 Instagrams 01:54:05 Keenan Milton footage 02:09:06 Remembering Keenan Milton 02:12:15 Cornphoto NYC to Tampa bike ride 02:15:29 Hanging Out With Akwasí Owusu 02:29:15 Ed McMahon publishers clearing house Mandela Effect 02:35:05 Vince farted and scared his baby  02:36:07 Grant Yansura out there Thrasher 02:42:01 Outro Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's K-Pop Musician is "브브걸(BBGIRLS)". They debuted on April 8, 2011. It hasn't been known to the public for five years. As a regular guest on a military consolation show, they were called the military president. After that, Rollin' started climbing back on YouTube. They became a popular girl group right before their break up. They show off great live performance in the middle of fierce dancing. In April 2023, all the members moved to the same agency. Instead of a complete new name, they started their promotions with "BB-Girl(브브걸)“, a new group name that connects the past and the present. Once again, the music of "BB-Girl(브브걸)“, Let's meet now! * Today's playlist 1. ONE MORE TIME - 브브걸 (BBGIRLS) 2. 롤린 (Rollin') - 브레이브걸스(Brave Girls) 3. 운전만해 (We Ride) - 브레이브걸스(Brave Girls) 4. 치맛바람 (Chi Mat Ba Ram) - 브레이브걸스(Brave Girls) 5. 술버릇 (운전만해 그후) (After ‘We Ride') - 브레이브걸스(Brave Girls) (Nive's Pick) 6. Can I Love You - 브레이브걸스(Brave Girls) (Sam's Pick)

Chris and Rob explain why it's way too soon to declare that Jalen Hurts is a better quarterback than Joe Burrow and discuss the narrative that they both have inherent biases against certain professional athlets. Plus, FOX Sports Radio Weekend host Martin Weiss swings by for this week's edition of Trollin' or Rollin'.See omnystudio.com/listener for privacy information.

In this episode, we answer some listener email about bronze age games, hear about what arcades we have visited lately and go over some long awaited updates. Enjoy!

In this episode, Marvyn is joined by Mist a UK rapper and entrepreneur. Since his “Rollin'” hit with Burna Boy in 2021, the Birmingham rapper has launched a motor show called Gassed Up on BBC Three and featured on countless tracks with everyone from Nathan Dawe to Bugzy Malone to fellow Brummie spitter Mowgs. Now ready with his long-awaited debut album, Redemption, they discuss his newfound faith, his mistakes in his younger years and his ongoing journey to becoming a better man.Dope Black Dads is a place where we are changing the narrative and having progressive conversations about black fathers to create a safe digital space within the community. Join the conversation and the community online through our social channels:Twitter: @DopeBlackDadsInstagram: @DopeBlackDadsFacebook Page: @DopeBlackDadsIf you want to get in touch with us, email us at hello@dopeblackdads.org or follow our conversations in-depth on our Facebook Group by searching 'Dope Black Dads'. Hosted on Acast. See acast.com/privacy for more information.

In this Episode 21 of Factz Ova Feelinz podcast with Spider Loc, he is joined by guest Ron Ron from Rollin 60s Crips Topics include: -being related to the original Crip Raymond Washington-Doing almost 30 years in prison-The gang module in the LA County jail during 1980s- and much more- Contact Luxx: https://www.tiktok.com/@luxx_tattoos_Spider Loc Youtube: https://www.youtube.com/user/bangerzs23Factz Ova Feelinz video clips on Street TV: http://www.youtube.com/streetgangsIf you want to advertise on Factz Ova Feelinz send a message to STEF (AT) StreetGangs.com

Chris and Rob tell us whether or not Lamar Jackson can finally establish himself as a Tier 1 quarterback in the NFL this season, share their thoughts on Patrick Mahomes publicly declaring that he plans to keep taking less than market value to help out the Kansas City Chiefs and discuss one MLB pitcher's controversial decision to veto a trade to the Los Angeles Dodgers. Plus, the guys answer the tough questions in this week's edition of Trollin' or Rollin'. See omnystudio.com/listener for privacy information.

It's Podcast Sunday!! Today on the show is me, your Rollin' MC! So I decided to name this episode Navigating the Storm, because of the challenges I have experienced this past week. In today's episode, I'll dive into two deeply emotional subjects: grief and dementia.  Then wrap it up with some exciting news!

djravish.com djchico.com

djravish.com djchico.com

Links Email: digstraightdowncast@gmail.com Twitter: https://twitter.com/RebelJC_92 YouTube: https://www.youtube.com/channel/RebelJC Music: Blue Wednesday, Magnus Klausen - Runaway https://chll.to/2b4ce5ef The Ripple Effect: http://rippleeffectsmp.com/

Hit it Tina Turner! In this chapter and recording there's lots of river talk...and rapids...and sharp stones in brown lands....and a liiiittle hint of plot. One more chapter until we're done with the book! Oh how time flies when you're adventuring with a cursed ring. Welcome to The Sillymarillion! Where Paul (the forever fan) teaches Tori (the newcomer) all about J.R.R. Tolkien's tales and stories. Join us on twitter (X???) & discord and tell us who in the Fellowship is a Barbie and who is a Ken. Twitter & Insta: @sillymarillions  Patreon: https://patreon.com/thesillymarillion  for bonus content Email: thesillymarillion@gmail.com for inquiries Heartfelt thank you to Evelyn @wow__then for our Season 3 podcast art! --- Send in a voice message: https://podcasters.spotify.com/pod/show/thesillymarillion/message Support this podcast: https://podcasters.spotify.com/pod/show/thesillymarillion/support

A couple recent Crystal Ball predictions for WR recruit Jonathan Paylor have sent South Carolina fans into a tailspin. Has NC State flipped the script heading into a massive recruiting weekend? Support Us By Supporting Our Sponsors! LinkedIn LinkedIn Jobs helps you find the qualified candidates you want to talk to, faster. Post your job for free at LinkedIn.com/LOCKEDONCOLLEGE. Terms and conditions apply. eBay Motors For parts that fit, head to eBay Motors and look for the green check. Stay in the game with eBay Guaranteed Fit. eBay Motors dot com. Let's ride. eBay Guaranteed Fit only available to US customers. Eligible items only. Exclusions apply. FanDuel Make Every Moment More. Don't miss the chance to get your No Sweat First Bet up to TWO HUNDRED DOLLARS in Bonus Bets when you go FanDuel.com/LOCKEDON. FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN) Learn more about your ad choices. Visit podcastchoices.com/adchoices

We know that nobody is perfect and following this fact we should also know that everyone has a past, based on which we should never judge a person in the future. Growing up in Los Angeles, Caz got involved in drug dealing and got caught. Police arrested him, and he lived four years in prison. But living in prison changed his vantage point about life and all. In 1996 when he got released from jail, he decided to change himself and never involve in wrong activities. He was appointed CEO of Mo Thugs Records by Layzie Bone of Bone Thugs & Harmony and has since turned out successful projects and still going strong today. Big Caz recently released his auto-biography "I Made It Off The Block". Learn more about your ad choices. Visit megaphone.fm/adchoices

FRIENDS AND ENEMIES On a special last-minute CBP, Joey and Len discuss the latest in Clown World North news. From a couple of Canucks who like to talk about how Bitcoin will impact Canada. As always, none of the info is financial advice. _______________________________________________ Looking for merch? We got ya covered https://my-store-c2aae1.creator-sprin...  _______________________________________________ This show is sponsored by: easyDNS - https://easydns.com/ EasyDNS is the best spot for Anycast DNS, domain name registrations, web and email services. They are fast, reliable and privacy focused. You can even pay for your services with Bitcoin! Apply coupon code 'CBPMEDIA' for 50% off initial purchase Bull Bitcoin - https://mission.bullbitcoin.com/cbp The CBP recommends Bull Bitcoin for all your BTC needs. With their new kyc-free options, there's never been a quicker, simpler, more private and (most importantly) cheaper way to acquire private Bitcoin. Use the link above for $20 bones, and take advantage of all Bull Bitcoin has to offer. --- Send in a voice message: https://podcasters.spotify.com/pod/show/canadian-bitcoiners/message

Alan Lee is in for Chris, and he and Rob discuss the narrative that Bill Belichick is coaching for his job this upcoming season, and share their thoughts on the powder keg that seems to be brewing within the Philadelphia 76ers organization. Plus, Super Producer Rob G fills in for Martin Weiss to host this week's edition of Trollin' or Rollin'.See omnystudio.com/listener for privacy information.

Heres another day in the life with Jonah....this time with me along for the ride!!! Finally got to speak to Jonah Fialkow, one the the awesome vendors at Wrigley Field and also the CEO of Bracketology. And while we spoke about the usual things, Cubs, Wrigley, etc...we also took a deep dive into the important stuff like Taylor Swift and Justin Bieber. Plus there's a Johnny Bananas mention (I'm determined to get the MTV The Challenge bracket somehow!). We also got into Bracketology and one of my favorite reality shows, Survivor! (If you're not a fan of Survivor Austrailia well you should be). Great chat with a great guy who's putting out great content all the time! Check him out on the podcast and on his own platforms here:https://bracketology.tv/https://www.tiktok.com/@jewishjonahhttps://twitter.com/jewishjonahhttps://www.instagram.com/jewishjonah/https://www.facebook.com/jonah.fialkow/

In this installment of TPS Reports the Squares discuss bumping into Lupe Fiasco, tattoo conventions, killer bees, jacked nerds, Robbie Lawler's retirement & needles. Pre-save Junkyard Samurai II (7/14) Outro song: "Rollin" by DJ Hool Smoochie Gang Playlist Term's Album of the Week Playlist Please send questions, stories & whatever else to tpsreportspodcast@gmail.com and feel free to leave us a voicemail at 708-797-3079. The Palmer Squares on Facebook, Twitter, YouTube, Patreon & more Shop for Official TPS Merchandise

FOX Sports Radio Weekend host Ephraim Salaam is in for Rob, and he and Chris explain why they believe Zion Williamson needs a big time attitude (and diet) adjustment if he's going to succeed in the NBA and share their thoughts on Kyrie Irving inking a new show deal with ANTA. Plus, FOX Sports Radio Weekend host Martin Weiss swings by for the latest installment of Trollin' or Rollin'.See omnystudio.com/listener for privacy information.

The Mets winning streak continues after a dominant victory over the D-Backs. Ray forgot his coffee this morning & translators may just be the coolest people within franchises. Learn more about your ad choices. Visit megaphone.fm/adchoices

 In Hour 3 of today's edition of The Odd Couple, Rob Parker and guest host Alan Lee react to Joey Chestnut winning his 16th Mustard Belt at the 2023 Nathan's Hot Dog Eating Contest. Alan is a fan of Joey “Jaws” Chestnut; however Rob is over the act and bored of the GOAT of competitive eaters. The guys also dive into what are the best hot dogs, and the best hot dogs they've ever had. FSR weekend host Martin Weiss joins the show for an NBA-filled edition of “Trollin' or Rollin'”. The guys also react to Mike Trout's injury, and try to sort out how this will affect what the Angels do with Ohtani either this trade deadline, or in the offseason.See omnystudio.com/listener for privacy information.

This week we talk women in sports commentary, the massive ESPN layoffs, and a load of NBA free agency and the draft.To support the show directly and gain access to the weekly Super Secret Pod visit www.patreon.com/punchdrunksports.Past guests include Joe Rogan, Duncan Trussell, Bert Kreischer (again), Pauly Shore, Tom Segura, Bobby Lee, Brody Stevens, Don Barris, Jason Ellis, Bryan Callen, Brian Redban, Josh Barnett, Brendan Schaub, Steve Rannazzisi, Tait Fletcher, and many others.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4713296/advertisement

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 --