Podcast appearances and mentions of Rosie Flores

Hello friends! Austin-based drummer and actor Matt Patterson is my guest for episode 1494! You might know Matt from his many, many bands including Yacht Z (yacht rock tribute), Mock Lobster (B-52's tribute), FAB! (Beatles tribute), Pepperland Players (album tribute), and more. Matt and I have a great conversation about playing together in 1992, acting vs music, our shared love of poster art and artists, our relationship to heavy metal, we play a game of "yacht or nyacht", playing with the great Rosie Flores,  playing outside in Texas in the summer, the weirdness of modern show business and fame, and much more. I had a great time catching up with my dear old friend. I'm sure you will too. Let's get down!   Follow us on Instagram, TikTok, X, Facebook, Spotify, Apple Podcasts, or anywhere you pod.   If you feel so inclined. Venmo: venmo.com/John-Goudie-1  Paypal: paypal.me/johnnygoudie

Rosie Flores est devenue accro à la guitare à 6 ans quand son frère lui a appris les premiers accords. Elle déménage à San Diego avec sa famille quand elle avait 12 ans. Ses parents l'encouragent à pratiquer le chant et la guitare. Elle s'imprègne alors de la musique en absorbant les sons propres à la Californie du sud: Country music, Rock 'n' Roll, Swing, etc. A 16 ans, elle crée son premier groupe, et vers 1979, elle découvre Janis Martin, l'une des quelques artistes femmes qui avaient joué de la country Music et du Rockabilly dans les années 1950. Elle dit: ‘'J'ai commencé à jouer dans les bars quand j'avais 21 ans. Cela a été une longue route pour arriver à connaître un certain succès. ‘'

Hello friends! Musician and author of White Noise & Lightning: The Continental Drifters Story, Sean Kelley and Continental Drifter and Guitar player of The Bangles, Vicki Peterson are my guests for episode 1428. White Noise & Lightning: The Continental Drifters Story follows ten disparate musicians from humble beginnings at a dive bar residency in Los Angeles through lineup changes, addiction, marriages, divorces, and industry letdowns. The Continental Drifters, composed of members of The Bangles, The Cowsills, The Dream Syndicate, The dB's, and more, found each because they'd been burned by the music industry and sought refuge in a freewheeling environment where they could experiment without constraint. When everything fell apart in New Orleans a decade later, they ended up with so much more. White Noise & Lightning: The Continental Drifters Story Drops next Friday, Sept. 27 along with We're All Drifters: A Tribute To The Continental Drifters, a 2 CD tribute album featuring Marshall Crenshaw, Kim Richey, Rosie Flores and more. Go to continentaldriftersbook.com for book and album info. Go to continentaldrifters.com for music, photos, merch and more. We have a great conversation about the book, the journey of the Continental Drifters and more. I had a blast getting to know Vicki and Sean. I'm sure you will too. Let's get down!   Follow us on Instagram, Facebook, Spotify, Apple Podcasts, or anywhere you pod.   If you feel so inclined. Venmo: www.venmo.com/John-Goudie-1  Paypal: paypal.me/johnnygoudie 

Hello friends! Rosie Flores and Fausto Faustito drummer, multi-instrumentalist, and singer-songwriter Chris Sensat, is my guest for episode 1399! His debut, full-length, self-titled album is out today, Friday, June 21st on Mule Kick Records wherever you stream your music. Go to chrissensat.com for music, videos and more. We have a great conversation about growing up playing drums in his dad's blues band, playing a show with my band Goudie when he was 13, playing with Rosie Flores, Fasto Faustito, deciding to step up to the mic with his self-titled album, songwriting, playing the Outlaw Country Cruise, The Alice Rose, and much more. I've known Chris since the late 90's when he was just 13 years old playing drums with my godson's band, PigGie Hat. It's a real pleasure to see him grow up to be such a talented and great guy. I hope you enjoy our conversation. I sure did. Let's get down!   Follow us on Instagram, Facebook, Spotify, Apple Podcasts, or anywhere you pod.   If you feel so inclined. Venmo: www.venmo.com/John-Goudie-1  Paypal: paypal.me/johnnygoudie  

Besides being among the nicest people in show business, Marty Rifkin is a multi-instrumentalist session musician, producer, and pedal steel guitar virtuoso.   Marty has recorded with numerous artists, including Bruce Springsteen, Tom Petty, Jewel, Glen Campbell, Elton John, Weird Al Yankovic, Hans Zimmer, Dwight Yoakam and many more. He's toured with Bruce Springsteen, Glen Campbell, Billy Bob Thornton, Rosie Flores, Chris Shiflett  (from Foo Fighters) and John C. Reilly. As the owner of Rifkin Productions in Santa Monica, CA, he has produced music for over 1500 songwriters & artists including Smokey Robinson, Hal David, Rita Coolidge, Creed Bratton.

Dusty Springfield, The Dave Clark Five, The Beatles, The Swinging blue jeans. Zouzou, Francoise Hardy, Margaret Whiting, Walter Wanderley, Silvana Mangano, Nat ''king'' Cole, Mario Visconti, Lisa Ono, Hermanos Reyes, Lucho Gatica, Luz Casal, Janis Martin, Wanda Jackson, Sparkle Moore, Kim Lenz & her Jaguars, Imelda May, Rosie Flores y Sammi Smith.

“A Texas Heroes & Friends Tribute to Randy Travis” has announced additional performers for the upcoming star-studded show at the Texas Trust CU Theatre in Grand Prairie, Texas this Wednesday (Nov. 15). Paul Overstreet, Asleep at the Wheel‘s Ray Benson, Casey Donahew, Pecos & The Rooftop‘s Pecos Hurley, Mike Ryan, Jon Wolfe, Rosie Flores, Waylon Payne, Jolie Holliday and Sonny Burgess have all joined the lineup for the tribute show, which will be filled with many of Travis' 23 No. 1 hits performed live by some of his musical heroes and friends specifically from or greatly associated with the Texas music scene. Texas has been close to Travis' heart since he was a boy, learning about the cowboy lifestyle from his father in rural North Carolina. He always had a special connection with Texas fans and primarily resided in nearby New Mexico in the '90s. In the 2010s, Travis and his wife Mary moved to a ranch in the Dallas-Fort Worth area, where they now call home, and have had a deep rooted relationship with the Lone Star State, its culture and its music ever since. A portion of the proceeds from the evening will be donated to the Randy Travis Foundation. The foundation is focused on stroke and aphasia awareness and supporting music education in schools. Previously announced performers include Clay Walker, Cody Jinks, Joe Nichols, Neal McCoy, War Hippies, Braxton Keith, Jacob Tolliver, Whey Jennings, Casey Chesnutt and Garrett Miles. Also, Travis' original touring band will back all of the artists on some of his most enduring songs.See omnystudio.com/listener for privacy information.

258. "Go Kat, GO!" is getting excited for the 2024 Ameripolitan Music Awards! Not only has the 'Aztec Werewolf™' DJ Del Villarreal been nominated once again for an award in the Best DJ category but we'll be chatting with the co-organizer Celine Lee LIVE tonite on the program! In between all the organizing and planning Celine has to work on, she'll chat with us and share nominees and explain how things will be a bit different for next year's ceremony. Always an exciting time here on "Go Kat, GO!" Not only will you hear a bunch of the nominees' music, but we'll share AWESOME new music from Geoff Miller and the Rockin' Two, The Same Old Shoes, Voodoo Mars, The Shook Boys, Hambone Skinny, Wanda Jackson and Les Greene & The Televisionaries, to boot! We're lovin' the ladies and are thrilled to spin boppin' wax action from Marti Brom, Mel Peekaboo, Sylvia Sands, Miss Mary Ann & The Ragtime Wranglers & Texas guitar slinger, Rosie Flores! Go wild with the primitive vintage sounds of Link Wray, Johnny Knight, Carl Perkins, Johnny Cash and Ricky Nelson! Latch on and  soak up some seriously sweet sounds on "Go Kat, GO! The Rock-A-Billy Show!" -good to the last bop!™Please follow on FaceBook, Instagram & Twitter!

Sweatin' with the oldies…that's all we can say. This week's Deeper Roots focuses on both the vintage and the contemporary performances by women who took on the rockabilly mantle. While a male-dominated genre, particularly when the boys (and record companies) were chasing the next Elvis, gave us hundreds (thousands?) of gyrating hips and raw rock in the form of pounding piano, thrashing guitar and duck tails, there was barely enough room for the ladies. But we've made some room on this morning's show where we'll be featuring the likes of Wanda Jackson, Janis Martin, Laura Lee Perkins and a bevy of brash rocking women from the early days of rock ‘n roll. We'll do our best to balance the show with late breakers of the rockabilly kind:  Kim Lenz, Linda Gail Lewis, Imelda May and Rosie Flores are some of the contemporary sounds we'll be hearing from on this September morning. Tune in for a wild two hours…guaranteed. 

216. We got plenty of time for R-O-C-K-I-N'! Daylight savings can't hold back the Aztec Werewolf: DJ Del Villarreal is back with another big block of vintage & modern rockailly sounds sure to soothe the savagest rock 'n' roller! Join him for more fantastic female fronted ferocity (it's still National Women's History Month!) as we spin hot tracks from Miss Amy Griffin, Jane Rose & The Deadends, Lara Hope & The Arktones, Sue Moreno, Dawn Shipley, Rosie Flores, Miss Georgia Peach, Ria & The Hi-Binders, Mozzy Dee and Blue Dawn & The Day Breakers -hot damn! Debuting new vinyl from John Lewis & His Trio plus fresh recordings from Don Cavalli, Peter Egri's One Man Boogie '55, Rev. Horton Heat and a dynamite 10" reissue of Johnny Bach & His Moonshine Boozers. Rock sock the clock with DJ Del's "Go Kat, GO! The Rock-A-Billy Show!" -so good down to the last bop!™Please follow on FaceBook, Instagram & Twitter!

Clint Mephisto's Shit Kickin Road Show Episode 270, week of February 26th. It’s the annual Johnny Cash Birthday Bash! This week your ol’ drinkin’ buddy celebrates Johnny’s birthday with some of his favorites, as well as other artists covering tunes made famous by The Man In Black. Featuring The Hillbilly Moon Explosion, Rosie Flores, Rob Coffinshaker, The Supersuckers, Hank III and more!

Hello friends! Guitar hero, singer-songwriter and legendary rockabilly artist, Rosie Flores returns to the show for episode 1239! Rosie has a new band, Rosie Flores & The Talismen and they've released a couple of great singles, "So Sad (To Watch Good Love Go Bad)" and "I've Got A Right To Cry". Go to rosieflores.com for music, tour dates and much more. Rosie and I have a great conversation about her legendary red Telecaster and some of her other historical items in the Country Music Hall of Fame, jamming recently with Patricia Vonne, Chris Isaac and more, the story behind The Talismen, what she did during lock down, staying cool in a world gone mad and much more. I had a blast catching up with Rosie. I'm sure you will too. Let's get down! Get set up or repair on your guitars with J. Scott Lutherie! If you feel so inclined. Venmo: www.venmo.com/John-Goudie-1  Paypal: paypal.me/johnnygoudie

Multi-genre music legend, Rosie Flores, talks about her youth in San Antonio in the 1950's, garage bands, an early 2-track tape recorder, San Diego and San Francisco in the 1960's, songwriting with John Prine, and playing with Chuck Berry onstage at the Rock & Roll Hall Of Fame. Recorded at Arlyn Studios and hosted by Karl Anderson.

Hello and Welcome to Daily Austin Music, I am Pastor Colin McDonald and this is WHO'S PLAYING TONIGHT? For Tuesday July 19th First up tonight you can see finger pistol at the little longhorn saloon Or head over to Zilker Park to catch Blues on the Green presented by ACL Radio with Shinyribs, Tomar and the FC's and Scott Strickland at 7 Songwriters open mic is at the cactus at 7 Merry Cherry, the Answers and Gorbit are all at Hotel Vegas doors at 8 The Blue Moon jazz quartet with Rosie Flores is at the Continental Club gallery at 830 Volstead presents the singer songwriter night with Andrew Cashen, Benjamin Violet and Magnolia kids starting at 830 Grooveline Horns and Shawn Pander are at C-boys at 10 Rance may and the coyotes are at sam's town point at 10 And finally tonight you can see Deer Fellow at the continental club gallery at 10 That's it for Who's Playing Tonight for Tuesday July 19th If I missed something on the show Let me know in the comments below. Do more Better Faster. I love you, and there's NOTHING you can do about it. See you tomorrow!

One sidebar in the last few years of 12 Songs has been the role of COVID in the creation of Christmas music. Some artists recorded Christmas albums to remind themselves that they were musicians during the pandemic shutdown of 2020. Some were able to get musicians who would otherwise be unavailable because COVID forced them off the road, and others had specific circumstances related to COVID that led to their Christmas albums.  San Antonio-based roots rocker Patricia Vonne falls into the latter category. In this week's episode, she tells the story of what prompted her to record My Favorite Holiday, and how she got an army of musical friends including Rubén Blades, Alex Ruiz, David Grissom, Rosie Flores, Stephen Ferrone, Carmine Rojas and more to participate.   I love Vonne's energy and positivity in this conversation. She never stops selling, but that makes sense. Her story is a working artist's story, and she lives from gig to gig and album to album. That's a perspective that's easy to overlook in the show biz world that many Christmas albums live in.    This week's episode also takes a quick look at the last Christmas-related hit of 2021, “Christmas Tree” by V of K-pop stars BTS. I argue that it's not really a Christmas song and pay more attention to an earlier, truer Christmas song from BTS, “Christmas Day” by Jimin and Jungkook.    If you haven't already done so, please do what you have to do to get Twelve Songs in your podcast feed. You can find us at Apple Podcasts, Google Play, Stitcher, Pandora, and Spotify.  During our post-Christmas break, we went live on the IHeartRadio platform and Amazon's podcast platform. Now, you can ask Alexa and Siri to play the Twelve Songs of Christmas podcast and let them pop it up on your voice-controlled personal assistant. 

Stacey Earle & Mark Stuart, Rosie Flores, Jack Arnold from Arnold's Country Kitchen and Michael dressed in Manuel still warm from Porter Wagoner? Must be Whad'ya Know in Nashville on January 8, 2005!

In the latest episode, you’ll learn about Austin Housing Opportunities for Musicians and Entertainers or HOME. This Austin organization helps older musicians with housing and living expenses. You’ll hear from Marcia Ball and Rosie Flores.  

Happy Thanksgiving everyone! Singer/songwriter, actor and activist, Patricia Vonne returns to the show for episode 1114! She's just released her 8th album, a Christmas album, My Favorite Holiday, produced by Rick Del Castillo and featuring performances from Rosie Flores, Ruben Blades, Steve Ferrone (Tom Petty), Carmine Rojas (David Bowie), David Grissom and many more. She's celebrating the release of My Favorite Holiday with a show this Saturday, 11/27 at One-2-One Bar in Austin and Sunday 11/28 at Sam's Burger Joint Music Hall in San Antonio. Go to patriciavonne.com for ticket info, music and more. Great conversation about raising money for the hungry during the pandemic, working with some of the best musicians in the world on My Favorite Holiday and more! Plus, Ainjel Emme checks in about SoundGirls First Virtual Conference taking place on December 4th and 5th. Go to soundgirls.org for info and tickets. Ainjel will be moderating a panel of amazing female engineer/producers including Lenise Bent (The Band, Blondie), Susan Rogers (Prince) and more. If you're interested in engineering and producing, this is a great resource for you. I had a great time catching up with these two amazing women. I'm sure you will too. Have a safe and happy Thanksgiving. Let's get down! Get the chords and tabs for over a million songs at ultimate-guitar.com  Find all of your favorite podcasts and access over 1,100 episodes of "How Did I Get Here?" with the Podbean App  find it in your app store or at podbean.com If you feel so inclined. Venmo: www.venmo.com/John-Goudie-1  Paypal: paypal.me/johnnygoudie  

Happy Thanksgiving everyone! Singer/songwriter, actor and activist, Patricia Vonne returns to the show for episode 1114! She's just released her 8th album, a Christmas album, My Favorite Holiday, produced by Rick Del Castillo and featuring performances from Rosie Flores, Ruben Blades, Steve Ferrone (Tom Petty), Carmine Rojas (David Bowie), David Grissom and many more. She's celebrating the release of My Favorite Holiday with a show this Saturday, 11/27 at One-2-One Bar in Austin and Sunday 11/28 at Sam's Burger Joint Music Hall in San Antonio. Go to patriciavonne.com for ticket info, music and more. Great conversation about raising money for the hungry during the pandemic, working with some of the best musicians in the world on My Favorite Holiday and more! Plus, Ainjel Emme checks in about SoundGirls First Virtual Conference taking place on December 4th and 5th. Go to soundgirls.org for info and tickets. Ainjel will be moderating a panel of amazing female engineer/producers including Lenise Bent (The Band, Blondie), Susan Rogers (Prince) and more. If you're interested in engineering and producing, this is a great resource for you. I had a great time catching up with these two amazing women. I'm sure you will too. Have a safe and happy Thanksgiving. Let's get down! Get the chords and tabs for over a million songs at ultimate-guitar.com  Find all of your favorite podcasts and access over 1,100 episodes of "How Did I Get Here?" with the Podbean App  find it in your app store or at podbean.com If you feel so inclined. Venmo: www.venmo.com/John-Goudie-1  Paypal: paypal.me/johnnygoudie  

Sarah and Vic sit down with Publisher, A&R Exec., and Co-Founder of Change the Conversation and Nashville Music Equality Tracy Gershon to discuss her long journey and more, including: Finding your way in the music industry with no roadmap Constant evolution and following your passions to your purpose Knowing and trusting your gut Discovering and championing new talent Women, Minorities, and moving with the times When people stand in your way, how do you continue on? Integrity and what it looks like to mentor and inspire the next generation Working with Miranda Lambert, Emmylou Harris, Brandi Carlile and more! The start of Change the Conversation, Male Advocates, and are things changing? Leading by example and admitting when you've been wrong Having confidence in your abilities while you learn  Embracing aging and changing the narrative of age in entertainment How the next generation is already charging ahead with change Notes: Brandi Carlile: https://book.brandicarlile.com/ Emmylou Harris: https://www.emmylouharris.com/ Change the Conversation: http://www.changetheconversation.net/ Nashville Music Equality: https://www.nashvillemusicequality.com/ Y'all Together Now: https://blog.siriusxm.com/celebrate-the-beatles-influence-on-country-music-with-brandi-carlisle-rodney-crowell-more-stars/ Tomato Gate:  https://www.tennessean.com/story/entertainment/music/2015/06/18/tomato-gate-galvanizes-women-country/28936501/ Gary Borman: https://celebrityaccess.com/caarchive/borman-entertainment-flatiron-management-to-merge/ Donna Hilley: https://en.wikipedia.org/wiki/Donna_Hilley Paul Worley: https://en.wikipedia.org/wiki/Paul_Worley Natalie Stovall: http://www.nataliestovall.com/  Leslie Fram: http://www.cmtpress.com/network/executive/leslie-fram/ Beverly Keel: https://www.namm.org/nammu/contributors/beverly-keel Todd Cassetty: https://www.cassettyentertainment.com/ CMT Equal Play: https://www.cmtequalplay.com/ Cris Lacy: https://www.warnermusicnashville.com/news/warner-music-nashville-promotes-cris-lacy-evp-ar-names-ben-kline-evpgeneral-manager-2786 Missy Roberts: https://www.umusicpub.com/nashville/About-Us/Missy-Roberts.aspx Rosie Flores: https://rosieflores.com/bio/   

Kirsten plays influential Black blues artists including women artists of the 1920s and 1930's, alongside new releases. Plus a seasoning of rockabilly. A standout track is Rosie Flores covering Joe Ely's "Boxcars" - a great song and a great singer's interpretation. Pure soul coming through. 

With a voice as big as her home state of Texas, and guitar skills that make younger players green with envy, "The Rockabilly Philly" Rosie Flores shows no signs of slowing down in her fifth decade as a performer.

Join Garrett T. Capps and the Trouble Country crew as we shuffle through the Suffering Jukebox. We've asked all kinds of folks, from outlaw icons to honky-tonk headbangers, to pick-a-tune and tell us what it means to them

Carrie and Debbie spend an evening with the Rockabilly Filly, Rosie Flores, on her deck in Austin Texas. Listen in as they laugh, tell stories, sing songs and discover why Rosie has become known as the "Chick With A Pick"

Welcome back to The Neon Eon. We kick off February being joined by singer-songwriter Terry McBride. McBride began making a name for himself as a bass player playing for the likes of Dale McBride (his father), Delbert McClinton, Rosie Flores, Jimmie Dale Gilmore, and others down in his native Texas before bursting onto the scene as the lead vocalist and chief lyricist of the trio McBride & The Ride. Later, he'd be recognized as a hit songwriter for the likes of Brooks & Dunn and Reba McEntire. During this conversation, we talk about those early Texas roots, establishing McBride & The Ride, hanging out with Guy Clark, recording the breakout album Sacred Ground, hitting it off with Ronnie Dunn, writing "If You See Him/If You See Her," and making his way back to recording albums once more.  Like and Follow The Neon Eon on Facebook, Instagram, Twitter, and Patreon. Today's theme music is "Rollin'" by Lauren Duski.

In this week's episode we're featuring the studio version of an event which became an Austin, Texas institution: "Happy Birthday Buck: A Texas Salute To Buck Owens" (2002). When a couple of accomplished Austin-area musicians in Casper Rawls and Tom Lewis started kicking around the idea to hold a Buck Owens birthday party, they didn't think anyone would show up. It was mostly just an excuse to pick on some Bakersfield Sound and have some fun. But on August 12, 1992 (Buck's 63rd birthday), the legendary Continental Club was a full house and the event was so popular that Buck Owens Birthday Bash became an annual event. Over 25 years, Buck's Birthday Bash attracted local musicians and legends alike, and this week's feature album commemorates ten years with a stack of names (some regular Birthday Bash attendees, some just admirers) covering Owens' hits, from the big ones to the lesser known gems - with contributions from David Ball, Rick Trevino, Rosie Flores, Jim Lauderdale, Libbi Bosworth, Jeff Hughes, Ray Benson and one very special guest who made Buck's 1995 Birthday Bash one for the history books!

In this week's episode we're featuring the studio version of an event which became an Austin, Texas institution: "Happy Birthday Buck: A Texas Salute To Buck Owens" (2002). When a couple of accomplished Austin-area musicians in Casper Rawls and Tom Lewis started kicking around the idea to hold a Buck Owens birthday party, they didn't think anyone would show up. It was mostly just an excuse to pick on some Bakersfield Sound and have some fun. But on August 12, 1992 (Buck's 63rd birthday), the legendary Continental Club was a full house and the event was so popular that Buck Owens Birthday Bash became an annual event. Over 25 years, Buck's Birthday Bash attracted local musicians and legends alike, and this week's feature album commemorates ten years with a stack of names (some regular Birthday Bash attendees, some just admirers) covering Owens' hits, from the big ones to the lesser known gems - with contributions from David Ball, Rick Trevino, Rosie Flores, Jim Lauderdale, Libbi Bosworth, Jeff Hughes, Ray Benson and one very special guest who made Buck's 1995 Birthday Bash one for the history books!

gfire interviews legendary rockabilly singer/songwriter Rosie Flores from Austin, Texas. gfire's website: https://gfiremusic.com Rosie Flores' websites: https://rosieflores.com/wp/ (main site) http://www.rockabillyradio.org/ (rockabilly documentary) https://www.facebook.com/watch/live/?v=229565381817008 (Facebook Live) https://www.etsy.com/shop/RosiesRocknRollRags (her vintage clothes for sale) contact the podcast (please be nice): gfirepodcast@gmail.com

Kicking off December in style!  NEW tunes from Darrel Higham, The Honkabillies, Sean Burns & Lost Country, Brad Stivers (with Lindsay Beaver), Jackslacks, Robert Gordon (with Rosie Flores), Stray Cats (live), Brandon Cunning and The Memphians and Ruzz Guitar's Blues Revue in our instru-Mental Breakdown.  Beth Riley brings a great Dion tune in her Beth's Blues Break.  We take a stroll to the Doo-Wop Corner and we'll drop a coin in the Christmas Jukebox to hear a track from Los Straitjackets.  We have a Christmas tune from Adriano BaTolba Orchestra and rockers from Hank Ballard & The Midnighters and Jack Scott as well! Intro Voice Over- Rob "Cool Daddy" Dempsey Intro Music Bed: Brian Setzer- "Rockabilly Blues"   Darrel Higham- "Jitterbop Baby" The Honkabillies- "Please Let Me In" (Alt Version) Brad Stivers (with Lindsay Beaver)- "Turn Your Damper Down"   instru-Mental Breakdown: Ruzz Guitar's Blues Revue- "Jump In" The Memphians- "2020"   Brandon Cunning- "Go Baby Go" Stray Cats- "Gene & Eddie" Sean Burns & Lost Country- "Looking At The World Through A Windshield"   Beth's Blues Break: (Music bed: Buddy Guy- "Slow Blues") Dion- "Son Of Skip James" Follow Beth's Blues Break HERE   Jack Scott- "Leroy" Jackslacks- "The Way" Marty Stuart- "Don't Be Cruel" Robert Gordon (with Rosie Flores)- "Hot Dog"   Doo-Wop Corner: The Heartbeats- "Sometimes I Wonder" The Dominoes- "Have Mercy Baby"   Christmas Jukebox: Los Straitjackets- "Hark The Herald Angels Sing"   Adriano BaTolba Orchestra- "I'll Be Home On Christmas Day"   Hank Ballard & The Midnighters- "Sugaree"   Outro Music Bed: The Ventures- "Winter Wonderland"

Terry McBride in his growing up years was one of the most sought-after bass players in the local Austin music scene. After auditioning in his father's band, his career was proven more so with other Texas collaborations like Lee Roy Parnell, Bill Carter and the Blame, Jimmy Dale Gilmore, Johnny Duncan, Rosie Flores, and Delbert McClinton would soon follow. As one does eventually, songs become of interest. A meeting with Jody Williams, former BMI Vice President of Creative, and MCA President Tony Brown would soon discover and start the 1990's legacy of McBride and The Ride. Songs like "Sacred Ground" a #1 Single in 1992 surely would have locked in their success but such is the ride a quick one, the demise came from a surprising angle. A near-death experience, on and off the wagon, and co-writes and cuts with Brooks and Dunn. Terry shares that there is no feeling than the cut of a song and to live in sobriety is a life worth living for these days. Celebrating more than a decade sober, he's releasing his latest project Rebels and Angels on October 23rd. American Songwriter Podcast Network

El pasado martes moría el tejano de Lubbock Mac Davis. A partir de la mitad de los 60 se le empezó a reconocer como compositor, firmando temas como "Within My Memory" (Glen Campbell) o "Somethin's Burnin" (Kenny Rogers & The First Edition). Pero, además, fue el autor de "A Little Less Conversation" y sobre todo de "In The Ghetto" para el especial de televisión de Elvis Presley del 68. En un principio, Mac Davis tituló “In The Ghetto” como "The Vicious Circle" y se la presentó a Sammy Davis Jr. en un estudio junto a otros miembros de la comunidad negra. Su propio compositor la grabó de esta forma con la que hemos abierto hoy nuestro tiempo de radio después del tremendo éxito de Elvis en 1969. Sin embargo, la versión original no salió a la luz hasta aparecer en un recopilatorio de 1991 titulado Golden Throats, cuando el artista tejano ya tenía una seria consideración en el terreno del country. Mac Davis era un nativo de la tejana ciudad de Lubbock, que comenzó su carrera artística sin demasiado éxito a comienzos de los años 60. Pasaría después a ejercer de ejecutivo discográfico, un trabajo que le llevó a Los Angeles, donde comenzaría a ejercer de compositor. Como solista, dejó éxitos como "Baby Don't Get Hooked On Me", "Stop and Smell the Roses" y de manera muy especial "Texas In My Rear View Mirror", de tintes autobiográficos. Willie Nelson vuelve a dar ejemplo y recupera "Vote 'Em Out", una canción que exhorta a utilizar la herramienta más poderosa que cualquier ciudadano libre tiene a su disposición: el voto. Y como recuerda, es sagrado y pone el poder en manos de la gente. Está escrita junto a su viejo amigo Buddy Cannon y en ella se encuentra acompañado de Lukas y Micah, animando a sus conciudadanos a que ejerzan su derecho en el Election Day 2020 de Noviembre en Estados Unidos. El arma más grande que tenemos Se llama urna. Así que si no te gusta quién está ahí Vota para echarlo… Palabra de Willie. Terry McBride es de la tejana Austin, hijo de Dale McBride, en cuya banda estuvo tocando, y fue líder de McBride & the Ride, una excelente banda de la primera mitad de los 90 en el terreno del country. Tras disolverse, pasó a ser uno de los compositores más solicitados, especialmente por Brooks & Dunn. Ahora ha decidido grabar en solitario y dar continuidad al EP Hotels & Highways que publicó hace tres años inspirado por los honky-tonks y las salas de baile. Se trata del álbum Rebels & Angels, cuyo tema central lo ha compuesto junto a Chris Stapleton y ha contado, además, con la voz de Patty Loveless, a quien echamos de menos como protagonista de alguna nueva aventura sonora desde hace demasiado tiempo. Terry McBride fue el bajista de Delbert McClinton y, más tarde, trabajó con Lee Roy Parnell y Rosie Flores. Nunca se había puesto al frente de una banda hasta que llegó a Nashville. Su talento como cantante y compositor llamó la atención de Tony Brown, presidente de MCA Nashville y en Junio de 1989, durante la celebración de la desaparecida Fan Fair en Nashville, se creó McBride & The Ride como trío. Debutaron al año siguiente y con su segundo disco, Sacred Ground, del 92 lograron sus mayores éxitos, incluso el segundo puesto de las listas con la canción que les dio título. En TOMA UNO tenemos el compromiso no escrito de compartir pasado, presente y buena parte del futuro de la Americana. Esa es una de las razones por la que estamos anticipando The Highway Kind, el nuevo álbum de la Josh Abbott Band que saldrá al mercado a mediados de noviembre. Desde que se formaron en la Texas Tech University de Lubbock, han pasado a convertirse en una de los más sólidos pilares de la Red Dirt music gracias a canciones en las que su líder refleja situaciones reales y cotidianas que casi siempre tienen que ver con su propia vida. “The Highway Kind” como canción es una de las favoritas de las emisoras tejanas en estas fechas. The Band Of Heathens han sido una de las formaciones más activas en estos tiempos de pandemia. El resultado de su casi frenética actividad se resume ahora en Stranger, un último álbum que aborda el temor existencial de estos momentos con referencias a Albert Camus o a Robert Heinlein. Un tema tan sobresaliente como “Asheville Nashville Austin” ensalza la magia de la carretera en todo su esplendor a través de un tema de medio tiempo convertido casi en un himno sobre los espacios abiertos y los buenos tiempos. Otra de las bandas que ha aprovechado el aislamiento para crear nuevas propuestas sonoras es Drive-By Truckers, que publicará a mediados de diciembre por sorpresa un nuevo álbum, The New OK, aunque está ahora disponible para descarga digital. Una vez más la banda de Athens, en Georgia, ha canalizado sus frustraciones que ya manifestaban en su disco de enero, The Unraveling, y han hecho una selección de las canciones que habían grabado en Memphis los Sun Studios de Memphis en el otoño de 2018, añadiendo un par de temas recién compuesto por Patterson Hood y la inesperada versión de un tema de los Ramones como "The KKK Took My Baby Away", manteniendo esa postura desafiante ante la depresión. “Sarah’s Flame” es una de las deliciosas canciones que ha compuesto Mike Cooley y que nos recuerdan que pudimos haber visto a banda la pasada primavera en nuestro país, pero la Covid-19 lo impidió. Joachim Cooder es un californiano de Santa Monica que también debe soportar el “peso de la púrpura” al ser hijo del legendario Ry Cooder. Joachim, un multi-instrumentista centrado especialmente en la percusión tiene una larga andadura que le han encontrado con nombres de la talla de Mavis Staples, Buena Vista Social Club o Dr. John, entre otros. Ayer mismo, se publicó el tercero de sus discos en solitario, Over That Road I'm Bound: The Songs of Uncle Dave Macon, dedicado a las canciones de Uncle Dave Macon, una figura esencial en el desarrollo de la música de raíces norteamericana, a caballo entre el final del siglo XIX y los primeros años del XX. Uncle Dave Macon, conocido como "Dixie Dewdrop", era un banjista de Tennessee convertido en un pionero seminal, a la altura de Jimmie Rodgers. De hecho, cuando Ralph Peer realizó las famosas sesiones de Bristol, él ya había grabado más de 100 canciones. Fue la primera gran estrella del Grand Ole Opry y eso que comenzó su carrera profesional cuando ya tenía 50 años. Joachim Cooder ha utilizado las tonadas de Uncle Dave Macon como punto de partida, jugando con las letras y reelaborando melodías para su instrumento favorito, la mbira. Originalmente es un instrumento africano que los esclavos llevaron a América y que se suele considerar antecesor del piano. “Come Along Buddy” es una melodía creada por Uncle Dave Macon en 1930, descubierta medio siglo después por Stephen Wade en un acetato de prueba en casa de la familia Macon. Steve Earle compuso una canción como “Times Like These” hace cuatro años manifestando su ansiedad por los tiempos covulsos que se avecinaban, pero recordando que siempre puede haber esperanza a pesar de lo sombrío del presente. "Times Like These" se lanzó en principio como una pieza acústica, pero con motivo de la celebración del último Record Store Day se ha publicado una versión grabada durante las sesiones de su último álbum, Ghost Of West Virginia, realizadas en los Electric Ladyland Studios y en la que Steve Earle está acompañado por los Dukes. Se publicó en single de vinilo el 7 pulgadas siendo una edición limitada a 1300 copias. The Mastersons siguen creciendo como propuesta alternativa y respondiendo a la complejidad de la situación actual. A primeros de año publicaban No Time For Love Songs, un disco con el que volvían a poner el foco en sus propuestas como pareja, contando con la producción de su buen amigo Shooter Jennings. Algunas de las canciones grabadas por entonces quedaron fuera de aquel disco porque parecían precisar su propio espacio. La llegada de la pandemia cambió los planes de un calendario lleno de conciertos y aislados en su casa se motivaron para dedicarse a esos nuevos temas con mayor crudeza que su álbum anterior. El próximo 16 de este mes de octubre, se edita el nuevo EP de los Mastersons, Red, White & I Love You Too. Son cinco canciones que miran de frente al dilema moral sobre qué quiere ser Estados Unidos como nación. “Sensitive Souls” es un buen ejemplo de este Red, White & I Love You Too, que ha sido grabado en el estudio casero de la pareja con el apoyo de Jeff Hill, compañero en los Dukes, en las mezclas. Canciones como “A Change Is Gonna Come” pudieron costarle la vida a Sam Cooke. Fue uno de los primeros que se implicó en la industria musical, formando su propia editora y su sello discográfico Su activismo político se fue acentuando según iba ampliando su fama, no olvidando sus raíces. Su implicación en la defensa de los derechos sociales y en contra del racismo le ganó serios enemigos. “A Change Is Gonna Come” fue compuesta por Sam Cooke después de hablar para los manifestantes que habían protagonizado una sentada en Durham, en el estado de Carolina del Norte, en mayo de 1963. Es evidente que el artista de Clarksdale, en Mississippi, estaba influido por “Blowin' In The Wind” de Bob Dylan, una canción que le gustaba mucho y que, incluso, llegó a grabar. Siempre es reconfortante escuchar una canción como esta, que acaba de ser actualizada por Gary Clark Jr., Brandi Carlile y John Leventhal como un mensaje de esperanza para estos tiempos. Es evidente que la música es un nexo de unión entre distintas generaciones y las hermanas Rebecca y Megan Lovell, que forman Larkin Poe, lo dejan claro en su nueva apuesta sonora, Kindred Spirits, que se va a editar el 20 de noviembre a través de su propio sello Tricki-Woo Records. Se trata de un disco de versiones con guiños a Elton John, Neil Young, The Allman Brothers Band, e incluso los Moody Blues. Kindred Spirits expresa su admiración profunda y agradecimiento por artistas que marcaron el camino en épocas precedentes. De hecho, Larkin Poe, nativas de Calhoun, en Georgia, ya había iniciado hace cinco años una serie de YouTube dedicada a rendir homenaje a sus héroes musicales. "Nights In White Satin" es una de las canciones elegidas. Originalmente formó parte de un álbum coral y emblemático como fue Days Of Future Passed de los británicos Moody Blues. Escuchar audio

Songs about work for Labor Day weekend. Songs for the long, dark night shift of the soul. Songs for when the whistle blows. Songs for when the job blows. Songs to whistle while you work, plus some new songs that have nothing to do with work. All this & much, much less!

Amy Wright catches up with the "Rockabilly Filly" Rosie Flores during Ameripolitan Weekend 2019! They discuss where she's from, how she began playing music, and much more.  See omnystudio.com/listener for privacy information.

Live from the 5th annual Ameripolitan Awards in Memphis, Rosie Flores fields questions from host Tatiana Z about her life in Austin, TX, her previous Ameripolitan wins, touring with Wanda Jackson, and more. Recorded February 2018 See omnystudio.com/listener for privacy information.

It's our annual Train Show on Rockabilly N Blues Radio Hour!  We spin an hour of train-themed tunes to celebrate National Train Day on May 9th!  Come ride the rails and hear tunes from Carl Perkins, Johnny Cash, Merle Haggard, Dale Watson, Rosie Flores, John Fogerty, Tom Jones, George Jones, Big Jon Atkinson, Conway Twitty, Stray Cats, Carlene Carter, Kim Wilson, Sonny Burgess and an instru-Mental Breakdown with Jimmy Bryant and Sean Mencher!!  Allllllll aboard!! Intro Voice Over- Rob "Cool Daddy" Dempsey Intro Music Bed: Brian Setzer- "Rockabilly Blues"   Carl Perkins- "Rock Island Line" Big Jon Atkinson- "Trainfare Blues" Johnny Cash- "Casey Jones" Conway Twitty- "Long Black Train" Stray Cats- "Devil Train" John Fogerty- "Train Of Fools" George Jones & The Smoky Mountain Boys- "Night Train To Memphis" Carlene Carter- "Little Blakc Train"   instru-Mental Breakdown: Jimmy Bryant- "Railroadin'" Sean Mencher- "Mystery Train"   Tom Jones- "Everybody Loves A Train" Sonny Burgess- "Fast Train" Kim Wilson- "Mean Old Frisco" Dale Watson & His Lone Stars- "Rattlesnake Train" Merle Haggard- "Hobo Bill's Last Ride" Johnny Cash- "Daughter Of A Railroad Man" Rosie Flores- "Heartbreak Train"   Outro Music Bed: Kenichi Yamaguchi- "Memphis Train"

El Covid-19 nos dejó sin Joe Diffie el pasado domingo, una de las voces más representativas del country de los años 90. Había nacido en Tulsa, Oklahoma, y durante mucho tiempo vivió en aquella zona. Posteriormente se trasladó a Texas, Washington y Wisconsin, desarrollando su amor por la country music desde muy temprana edad. En su familia había una enorme inclinación musical, ya que su padre tocaba la guitarra y su madre cantaba. Era fácil escuchar a un jovencísimo Joe Diffie interpretar junto a la radio temas tradicionales y en el tocadiscos casero siempre sonaban los que fueron sus grandes favoritos: Merle Haggard, Johnny Cash, Buck Owens, Lefty Frizzell… y George Jones. Uno de los indiscutibles maestros de la country music es George Jones, una de las grandes influencias de Joe Diffie, que recordaba de esta manera el que fue primer No. 1 del "Possum", un “White Lightning” que escribió una estrella del rock and roll de los 50 como J.P. Richardson, apodado The Big Bopper, que había muerto pocos meses antes en el mismo accidente de avión en el que desaparecieron Buddy Holly y Ritchie Valens. En 1993, Diffie escribió esta oda a las salas de baile que surgieron por todo Estados Unidos en los primeros años noventa, cuando se despertó la Garth Brooks-manía y aparecieron canciones como "Boot Scootin’ Boogie" de Brooks & Dunn. El propio artista cantaba sobre "pantalones ajustados, baile en línea, sombreros Stetson y botas de vaquero", siendo un excelente ejemplo de cómo su voz se convirtió en la compañía habitual de cualquier viaje en coche en el que sintonizabas una emisora de radio de country music en aquella época. "Honky-Tonk Attitude” dio nombre a su tercer álbum y supuso su afianzamiento definitivo. A pesar de seguir las pautas de su segundo registro, en aquella ocasión Joe Diffie se apuntó a esa actitud de honky-tonk que definió su título e incrementó su popularidad. Tras un divorcio complicado, el artista hoy recordado marchó a Nashville porque no tenía nada más que perder. Trabajó para una editorial y empezó a ser conocido como compositor a la vez que sus maquetas eran de las más solicitadas, ya que su voz destacaba de forma natural. De esa forma consiguió firmar un contrato discográfico. Su single de debut llegó en 1990 con el tema de apertura de su primer álbum, A Thousand Winding Roads, y marco el comienzo de su carrera. Además, supuso todo un récord para su compañía discográfica, Epic, ya que se convirtió en el primer No.1 de uno de sus artistas debutantes en toda su historia. Incluso obligó a Alan Jackson a no publicar como single una canción del mismo título. "Home" era una balada campera en toda regla con recuerdos de mejores tiempos en el hogar, con imágenes familiares entrañables que ahora parecen perdidas. Joe Diffie se asoció con Mary Chapin Carpenter para una colaboración que resultó sorprendente por los distintos modos y maneras de sus protagonistas. La artista de Princeton, en Nueva Jersey, estaba en 1992 ante su obra cumbre, el álbum Come On, Come On, y fue allí donde apareció “Not Too Much To Ask”, una canción de amor interpretada a dúo con una evidente diferencia de registro pero con un resultado armonioso que conjugó el dobro del maestro Jerry Douglas. La repercusión fue tal que el tema consiguió una nominación al Grammy. Joe Diffie tenía 61 años y a lo largo de su carrera nos dejó canciones como "Prop Me Up Beside the Jukebox (If I Die)", que su espíritu del honky tonk nos pide siempre escuchar a todo volumen. En cierto modo, recuerda a "Friends In Low Places", con el protagonismo del piano y el ruego a los amigos de que cumplan una última petición, la de dejarle apoyado contra la vieja máquina de discos. A su vez, él les promete que será el alma de la fiesta, incluso cuando esté muerto y desaparecido. El regreso a nuestra especial "normalidad" nos cita con Blackberry Smoke, una de las bandas más poderosas de la escena del Southern rock que no tiene ninguna intención de entregar el testigo. Al contrario, van fortaleciendo su estatus con grabaciones como la que estará a la venta el próximo 19 de junio, en forma de nuevo EP especial con el título de Live From Capricorn Sound Studios. La apertura es una versión imponente de “Midnight Rider”, un tema de la Allman Brothers Band, que el mítico grupo tocó por primera vez hace medio siglo en aquellos míticos estudios de Macon, en Georgia, y que formó parte de su segundo álbum, Idlewild South. Es el único tema de las seis canciones que componen el disco en que Blackberry Smoke tocan solos, ya que a lo largo de la grabación participaron Marcus Henderson de la Marshall Tucker Band, Jimmy Hall de Wet Willie y The Black Bettys. Las ganancias se destinarán al Fondo de Ayuda MusiCares COVID-19 para ayudar a las personas de la comunidad musical afectada por el coronavirus. Naked Garden, el último álbum editado por Lukas Nelson & Promise Of The Real, pone el foco a las sesiones de grabación de su predecesor, Turn Off the News (Build a Garden), incluyendo tomas alternativas de la mitad de esas canciones. Pero también encontramos un buen número de las que no pasaron a formar parte de aquel registro, como es el caso del sinuoso "Entirely Different Stars", que sirve de apertura y en la que el narrador imagina una visita a otros planetas para tener una perspectiva diferente del mundo, con riffs de guitarra de tintes psicodélicos. Al contrario de la imagen que dio Turn Off the News (Build a Garden), con un tono musculoso y atrevido, Naked Garden termina siendo la otra cara de la moneda, mostrando a la banda en un ambiente relajado e íntimo, interiorizando la conformación del que ha sido uno de sus proyectos más contundentes. "Only Children", la historia de dos bohemios inundada con un sentimiento de nostalgia, es una de las más bellas canciones de estas fechas y forma parte de la nueva aventura sonora de Jason Isbell And The 400 Unit, Reunions. Tomando el relevo a The Nashville Sound, publicado hace tres años, el registro ha sido producido con la maestría habitual de su viejo amigo Dave Cobb que ha cincelado un disco en el que contribuyen con su presencia David Crosby y Jay Buchanan, cantante de Rival Sons. Con riffs de guitarras que evocan al más intenso y profundo Neil Young, Lucinda Williams sigue destapando canciones personales de su nuevo álbum Good Souls, Better Angels. “Big Black Train” es una de esas canciones impactantes a las que nos tiene acostumbrado la artista de Louisiana. En este caso, el propio título, “el gran tren negro”, es toda una metáfora de la depresión, un problema en el que profundiza, haciéndose eco de los sentimientos de miedo que suelen envolver a quienes la padecen y de la súplica solemne de no volver a subir a ese barco. El salto de calidad de los Mastersons en los últimos tiempos es espectacular y su nueva entrega discográfica, No Time For Love Songs, producido por Shooter Jennings, que ha aportado un toque de prestancia al trabajo. El álbum está tejido por el dolor de las experiencias personales vividas por la pareja en el último año, como las muertes de sus amigos de Austin Chris Porter y George Reiff, además de la pérdida de Kelley Looney miembro de los Dukes. Tras la publicación de Good Luck Charm, había muerto el padre de Chris Masterson y tras una charla con su amiga Rosie Flores surgió el título del nuevo disco, No Time for Love Songs. "King of the Castle" intenta canalizar y darle una utilidad a la pena para convertirla en palabras y música, sabiendo que el dolor no se va nunca. Es una forma de homenajear a quien se ha ido. Y nos detenemos para despedir el programa de hoy con Lilly Hiatt que ha continuado su línea ascendente con Walking Proof, el cuarto álbum de una carrera que siempre estará marcada por ser hija de John Hiatt, uno de los más respetados iconos de la Americana. Es la primera vez que el veterano músico participa junto a ella, en este caso en una de las canciones más brillantes del trabajo, "Some Kind of Drug", descotando por supuesto el lanzamiento especial que hicieron en la pasada edición del Record Store Day, versionándose mutuamente. La cantante y compositora californiana establecida en Nashville, pero apartada de la industria más visible de la Music City, ha completado un álbum que exhibe poderío, imaginación y letras de mayor intensidad emocional. También se ha rodeado de invitados selectos, entre los que encontramos a Aaron Lee Tasjan, Amanda Shires y Luke Schneider. Escuchar audio

  Episode 62 - Interviews and performances with the best of Austin's hard-working musicians being interviewed by local comedians. Sometimes strange, sometimes serious, but always sincere. Brought to you by Music Firsthand. Hosts BeckiJo Neill and Zac Brooks go on a drive with Rosie Flores live from The Velveeta Room. So much to cover in this episode... Pat Dean's giant head, 1st vibrators, the minnie winnie, Screaming Sirens, getting castle wasted, Rosie's new single, teaching ukelele, Pleasant Isn't, boy toys, Rosie Flores Day (8/31), great sex, tour hacks, smoking pot with dad, Mom Linda Questions, Mechanophilia, and the new album 'Drive, Drive, Drive'! Plus, a great a live performance! Check out the full video on YouTube and remember to support the artist by giving it a like! Enjoy y'all! Recorded live November 6, 2018 from the Velveeta Room in Austin, Texas Sponsored by Austin Eastciders Collaboratory and Nine Banded Whiskey! This show is made possible because of generous patrons! Become a patron for as little as $1 and get access to rewards, bonus content and exclusive features. Join the club: Comedians Interviewing Musicians Vodcast     Podcast Hosts: BeckiJo Neill and Zac Brooks Check out the live video and subscribe to our YouTube channel. Hire a local band with our live music booking app that matches you based on lifestyle and brand. Request the app here: Music Firsthand. Keep up with the Austin music news for free with the Austin Music Firsthand Magazine on Flipboard.

She lives near Austin now, but musician Bonnie Montgomery is a native of Arkansas. Raised in a musical family in Searcy that owned a music shop, she started playing classical piano at a young age. Later, she picked up a guitar. After graduating with a graduate degree in music, she taught in China, lived in Nashville, and traveled overseas with the popular (though now defunct) Arkansas group The Gossip. She is known for her alt-country records, but it was an opera she co-wrote with a college friend that got her noticed. The subject: Bill Clinton, of course. With an opera to her credit, she soon turned to writing country songs. Her self-titled, full album debut, Bonnie Montgomery, was released in 2014. Her work won her an Ameripolitan award in 2016 and got the attention of the Outlaw Country community. In 2018, she released Forever, her second album, which combines country and classical elements and features a duet with Dale Watson. These days, you can find her playing not only with Dale Watson but Ray Wiley Hubbard and Rosie Flores. Bonnie made her first appearance on the Outlaw Country Cruise this year and lived to tell the tale.      Music in this episode: "Joy" from Bonnie Montgomery; "Black County" from Bonnie Montgomery; "Goin' Out Tonight (with Dale Watson) from Forever; and "No More" from Forever. You can read more about Bonnie and buy her music at www.bonniemontgomerymusic.com.

On the 15th anniversary of The Roadhouse, I've got a show so hot you might want to hydrate before listening. Rosie Flores, Shelley King, Altered Five Blues Band, The Cash Box Kings, and Thornetta Davis make for the most consistently upbeat show of the year. The hour ahead is top-notch, top-shelf, top-speed, and a celebration for the finest blues you've never heard - the 781st Roadhouse.

On the 15th anniversary of The Roadhouse, I've got a show so hot you might want to hydrate before listening. Rosie Flores, Shelley King, Altered Five Blues Band, The Cash Box Kings, and Thornetta Davis make for the most consistently upbeat show of the year. The hour ahead is top-notch, top-shelf, top-speed, and a celebration for the finest blues you've never heard - the 781st Roadhouse.

On the 15th anniversary of The Roadhouse, I've got a show so hot you might want to hydrate before listening. Rosie Flores, Shelley King, Altered Five Blues Band, The Cash Box Kings, and Thornetta Davis make for the most consistently upbeat show of the year. The hour ahead is top-notch, top-shelf, top-speed, and a celebration for the finest blues you've never heard - the 781st Roadhouse.

On the 15th anniversary of The Roadhouse, I've got a show so hot you might want to hydrate before listening. Rosie Flores, Shelley King, Altered Five Blues Band, The Cash Box Kings, and Thornetta Davis make for the most consistently upbeat show of the year. The hour ahead is top-notch, top-shelf, top-speed, and a celebration for the finest blues you've never heard - the 781st Roadhouse.

Episode sixty-nine of A History of Rock Music in Five Hundred Songs looks at “Fujiyama Mama” by Wanda Jackson, and the first rock and roller to become “big in Japan” Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Purple People Eater” by Sheb Wooley.  —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.   I have two main sources for this eposode. One is Wanda Jackson’s autobiography, Every Night is Saturday Night. The other is this article on “Fujiyama Mama”, which I urge everyone to read, as it goes into far more detail about the reasons why the song had the reception it did in Japan.   And this compilation collects most of Jackson’s important early work.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin this episode, a minor content note. I am going to be looking at a song that is, unfortunately, unthinkingly offensive towards Japanese people and culture. If that – or flippant lyrics about the bombings of Hiroshima or Nagasaki – are likely to upset you, be warned. When we left Wanda Jackson six months ago, it looked very much like she might end up being a one-hit wonder. “I Gotta Know” had been a hit, but there hadn’t been a successful follow-up. In part this was because she was straddling two different genres — she was trying to find a way to be successful in both the rock and roll and country markets, and neither was taking to her especially well. In later years, it would be recognised that the music she was making combined some of the best of both worlds — she was working with a lot of the musicians on the West Coast who would later go on to become famous for creating the Bakersfield Sound, and changing the whole face of country music, and her records have a lot of that sound about them. And at the same time she was also making some extremely hot rockabilly music, but she was just a little bit too country for the rock market, and a little bit too rock for the country market. Possibly the place where she fit in best was among the Sun records acts, and so it’s not surprising that she ended up towards the bottom of the bill on the long tour that Jerry Lee Lewis, Carl Perkins and Johnny Cash did over much of North America in early 1957 — the tour on which Jerry Lee Lewis moved from third billed to top of the bill by sheer force of personality. But it says quite a bit about Jackson that while everyone else talking about that tour discusses the way that some of the men did things like throwing cherry bombs at each other’s cars, and living off nothing but whisky, Wanda’s principal recollection of the tour in her autobiography is of going to church and inviting all the men along, but Jerry Lee being the only one who would come with her. To a great extent she was shielded from the worst aspects of the men’s behaviour by her father, who was still looking after her on the road, and acted as a buffer between her and the worst excesses of her tourmates, but she seems to have been happy with that situation — she didn’t seem to have much desire to become one of the boys, the way many other female rock and roll stars have. She enjoyed making wild-sounding music, but she saw that mostly as a kind of acting — she didn’t think that her onstage persona had to match her offstage behaviour at all. And one of the wildest records she made was “Fujiyama Mama”: [Excerpt: Wanda Jackson, “Fujiyama Mama”] “Fujiyama Mama” was written by the rockabilly and R&B songwriter Jack Hammer (whose birth name was the more prosaic Earl Burroughs), who is best known as having been the credited co-writer of “Great Balls of Fire”. We didn’t talk about him in the episode on that song, because apparently Hammer’s only contribution to the song was the title — he wrote a totally different song with the same title, which Paul Case, who was the music consultant on the film “Jamboree”, liked enough to commission Otis Blackwell to write another song of the same name, giving Hammer half the credit. But Hammer did write some songs on his own that became at least moderate successes. For example, he wrote “Rock and Roll Call”, which was recorded by Louis Jordan: [Excerpt: Louis Jordan, “Rock and Roll Call”] And “Milkshake Mademoiselle” for Jerry Lee Lewis: [Excerpt, Jerry Lee Lewis, “Milkshake Mademoiselle”] And in 1954, when Hammer was only fourteen, he wrote “Fujiyama Mama”, which was originally recorded by Annisteen Allen: [Excerpt: Annisteen Allen, “Fujiyama Mama”] This was a song in a long line of songs about black women’s sexuality which lie at the base of rock and roll, though of course, as with several of those songs, it’s written by a man, and it’s mostly the woman boasting about how much pleasure she’s going to give the man — while it’s a sexually aggressive record, this is very much a male fantasy as performed by a woman. Allen was yet another singer in the early days of R&B and rock and roll to have come out of Lucky Millinder’s orchestra — she had been his female singer in the late forties, just after Rosetta Tharpe had left the group, and while Wynonie Harris was their male singer. She’d sung lead on what turned out to be Millinder’s last big hit, “I’m Waiting Just For You”: [Excerpt: Lucky Millinder and his orchestra, “I’m Waiting Just For You”] After she left Millinder’s band, Allen recorded for a variety of labels, with little success, and when she recorded “Fujiyama Mama” in 1954 she was on Capitol — this was almost unique at the time, as her kind of R&B would normally have come out on King or Apollo or Savoy or a similar small label. In its original version, “Fujiyama Mama” wasn’t a particularly successful record, but Wanda Jackson heard it on a jukebox and fell in love with the record. She quickly learned the song and added it to her own act. In 1957, Jackson was in the studio recording a country song called “No Wedding Bells for Joe”, written by a friend of hers called Marijohn Wilkin, who would later go on to write country classics like “Long Black Veil”: [Excerpt: Wanda Jackson, “No Wedding Bells For Joe”] For the B-side, Jackson wanted to record “Fujiyama Mama”, but Ken Nelson was very concerned — the lyrics about drinking, smoking, and shooting were bad enough for a girl who was not yet quite twenty, the blatant female sexuality was not something that would go down well at all in the country market, and lyrics like “I’ve been to Nagasaki, Hiroshima too/The things I did to them I can do to you” were horribly tasteless — and remember, this was little more than a decade after the bombs were dropped on those cities. Nelson really, really, disliked the song, and didn’t want Jackson to record it, and while I’ve been critical of Nelson for making poor repertoire choices for his artists — Nelson was someone with a great instinct for performers, but a terrible instinct for material — I can’t say I entirely blame him in this instance. But Wanda overruled him — and then, when he tried to tone down her performance in the studio, she rebelled against that, with the encouragement of her father, who told her “You’re the one who wanted to do it, so you need to do it your way”. In the last episode about Jackson, we talked about how she’d tried to do her normal growling roar on “Hot Dog! That Made Him Mad!” but was let down by having drunk milk before recording the song. This time, she had no problem, and for the first time in the studio she sang in the voice that she used for her rock and roll songs on stage: [Excerpt: Wanda Jackson, “Fujiyama Mama”] To my ears, Jackson’s version of the song is still notably inferior to Allen’s version, but it’s important to note that this isn’t a Georgia Gibbs style white person covering a black artist for commercial success at the instigation of her producer, and copying the arrangement precisely, this is a young woman covering a record she loved, and doing it as a B-side. There’s still the racial dynamic at play there, but this is closer to Elvis doing “That’s All Right” than to Georgia Gibbs ripping off LaVern Baker or Etta James. It’s also closer to Elvis than it is to Eileen Barton, who was the second person to have recorded the song. Barton was a novelty singer, whose biggest hit was “If I Knew You Were Coming I’d Have Baked a Cake” from 1950: [Excerpt: Eileen Barton, “If I Knew You Were Coming I’d Have Baked a Cake”] Barton’s version of “Fujiyama Mama” was the B-side to a 1955 remake of “If I Knew You Were Coming I’d Have Baked a Cake”, redone as a blues. I’ve not actually been able to track down a copy of that remake, so I can’t play an excerpt — I’m sure you’re all devastated by that. Barton’s version, far more than Jackson’s, was a straight copy of the original, though the arranger on her version gets rid of most of the Orientalisms in Allen’s original recording: [Excerpt: Eileen Barton, “Fujiyama Mama”] I think the difference between Barton’s and Jackson’s versions simply comes down to their sincerity. Barton hated the song, and thought of it as a terrible novelty tune she was being forced to sing. She did a competent professional job, because she was a professional vocalist, but she would talk later in interviews about how much she disliked the record. Jackson, on the other hand, pushed to do the song because she loved it so much, and she performed the song as she wanted it to be done, and against the wishes of her producer. For all the many, many problematic aspects of the song, which I won’t defend at all, that passion does show through in Jackson’s performance of it. Jackson’s single was released, and did absolutely nothing sales-wise, as was normal for her records at this point. Around this time, she also cut her first album, and included on it a cover version of a song Elvis had recently recorded, “Party”, which in her version was retitled “Let’s Have a Party”: [Excerpt: Wanda Jackson, “Let’s Have a Party”] That album also did essentially nothing, and while Jackson continued releasing singles throughout 1958, none of them charted. Ken Nelson didn’t even book her in for a single recording session in 1959 — by that point they’d got enough stuff already recorded that they could keep releasing records by her until her contract ran out, and they didn’t need to throw good money after bad by paying for more studio sessions to make records that nobody was going to buy. And then something really strange happened. “Fujiyama Mama” became hugely successful in Japan. Now, nobody seems to have adequately explained quite how this happened. After all, this record was… not exactly flattering about Japanese people, and its first couple of lines seem to celebrate the bombings of Hiroshima and Nagasaki. And it’s not as if they didn’t know what was being sung. While obviously Jackson was singing in English and most listeners in Japan couldn’t speak English, there was a Japanese translation of the lyrics printed on the back sleeve of the single, so most people would at least have had some idea what she was singing about. Yet somehow, the record made number one in Japan. In part, this may just have been simply because any recognition of Japanese culture from an American artist at all might have been seen as a novelty. But also, while in the USA pretty much all the rock and roll hits were sung by men, Japan was developing its own rock and roll culture, and in Japan, most of the big rock and roll stars were teenage girls, of around the same age as Wanda Jackson. Now, I am very far from being an expert on post-war Japanese culture, so please don’t take anything I say on the subject as being any kind of definitive statement, but from the stuff I’ve read (and in particular from a very good, long, article on this particular song that I’m going to link in the liner notes and which I urge you all to read, which goes into the cultural background a lot more than I can here) it seems as if these girls were, for the most part, groomed as manufactured pop stars, and that many of them were recording cover versions of songs in English, which they learned phonetically from the American recordings. For example, here’s Izumi Yukimura’s version of “Ko Ko Mo”: [Excerpt: Izumi Yukimura, “Ko Ko Mo”] In many of these versions, they would sing a verse in the original English, and then a verse in Japanese translation, as you can again hear in that recording: [Excerpt: Izumi Yukimura, “Ko Ko Mo”] Izumi Yuklmura also recorded a version of “Fujiyama Mama”, patterned after Jackson’s: [Excerpt: Izumi Yukimura, “Fujiyama Mama”] There are many, many things that can be said about these recordings, but the thing that strikes me about them, just as a music listener, and separate from everything else, is how comparatively convincing a rock and roll recording that version of “Fujiyama Mama” actually is. When you compare it to the music that was coming out of places like the UK or Australia or France, it’s far more energetic, and shows a far better understanding of the idiom. It’s important to note though that part of the reason for this is the peculiar circumstances in Japan at the time. Much of the Japanese entertainment industry in the late forties and fifties had grown up around the US occupying troops who were stationed there after the end of World War II, and those servicemen were more interested in seeing pretty young girls than in seeing male performers. But this meant two things — it firstly meant that young women were far more likely to be musical performers in Japan than in the US, and it also meant that the Japanese music industry was geared to performers who were performing in American styles — and so Japanese listeners were accustomed to hearing things like this: [Excerpt: Chiemi Eri, “Rock Around the Clock”] So when a recording by a young woman singing about Japan, however offensively, in a rock and roll style, was released in Japan, the market was ready for it. While in America rock and roll was largely viewed as a male music, in Japan, they were ready for Wanda Jackson. And Jackson, in turn, was ready for Japan. In her autobiography she makes clear that she was the kind of person who would nowadays be called a weeb — having a fascination with Japanese culture, albeit the stereotyped version she had learned from pop culture. She had always wanted to visit Japan growing up, and when she got there she was amazed to find that they were organising a press conference for her, and that wherever she went there were fans wanting her autograph. Jackson, of course, had no idea about the complex relationship that Japan was having at the time with American culture — though in her autobiography she talks about visiting a bar over there where Japanese singers were performing country songs — she just knew that they had latched on, for whatever reason, to an obscure B-side and given her a second chance at success. When Jackson got back from Japan, she put together her own band for the first time — and unusually for country music at the time, it was an integrated band, with a black pianist. She had to deal with some resistance from her mother, who was an older Southern white woman, but eventually managed to win her round. That pianist, Big Al Downing, later went on to have his own successful career, including a hit single duetting with Esther Phillips: [Excerpt Big Al Downing and Little Esther Phillips, “You’ll Never Miss Your Water Until The Well Runs Dry”] Downing also had disco hits in the early seventies, and later had a run of hits on the country charts. Jackson also took on a young guitarist named Roy Clark, who would go on to have a great deal of success himself, as one of the most important instrumentalists in country music, and Clark would later co-star in the hit TV show Hee-Haw, with Buck Owens (who had played on many of Jackson’s earlier records). In 1960, Jackson returned to the studio. While she’d not had much commercial success in the US yet, her records were now selling well enough to justify recording more songs with her. But Ken Nelson had a specific condition for any future recordings — he pointed out that while she’d been recording both rock and roll and country music in her previous sessions, she had only ever charted in the US as a country artist, and she’d been signed as a country artist to Capitol. All her future sessions were going to be purely country, to avoid diluting her brand. Jackson agreed, and so she went into the studio and recorded a country shuffle, “Please Call Today”: [Excerpt: Wanda Jackson, “Please Call Today”] But a few weeks later she got a call from Ken Nelson, telling her that she was in the charts — not with “Please Call Today”, but with “Party”, the album track she’d recorded three years earlier. She was obviously confused by this, but Nelson explained that a DJ in Iowa had taken up the song and used it as the theme song for his radio show. So many people had called the DJ asking about it that he in turn had called Ken Nelson at Capitol and convinced him to put the track out as a single, and it had made the pop top forty. As a result, Capitol rushed out an album of her previous rockabilly singles, and then got her back into the studio, with her touring band, to record her first proper rock and roll album — as opposed to her first album, which was a mixture of country and rock, and her second, which was a compilation of previously-released singles. This album was full of cover versions of rock and roll hits from the previous few years, like Elvis’ “Hard-Headed Woman”, LaVern Baker’s “Tweedle Dee”, and Buddy Holly’s “It Doesn’t Matter Any More”. And she also recorded a few rock and roll singles, like a cover version of the Robins’ “Riot in Cell Block #9”. Those sessions also produced what became Jackson’s biggest hit single to that point. At the time, Brenda Lee was a big star, and a friend of Jackson. The two had had parallel careers, and Lee was someone else who straddled the boundaries between rockabilly and country, but at the time she had just had a big hit with “I’m Sorry”: [Excerpt: Brenda Lee, “I’m Sorry”] That was one of the first recordings in what would become known as “the Nashville Sound”, a style of music that was somewhere between country music and middle-of-the-road pop. Wanda had written a song in that style, and since she was now once again being pushed in a rock and roll direction, she thought she would give it to Lee to record. However, she mentioned the song to Ken Nelson when she was in the studio, and he insisted that she let him hear it — and once he heard it, he insisted on recording it with her, saying that Brenda Lee had enough hits of her own, and she didn’t need Wanda Jackson giving her hers. The result was “Right or Wrong”, which became her first solo country top ten hit, and all of a sudden she had once again switched styles — she was now no longer Wanda Jackson the rock and roller, but she was Wanda Jackson the Nashville Sound pop-country singer: [Excerpt: Wanda Jackson, “Right or Wrong”] Unfortunately, Jackson ended up having to give up the songwriting royalties on that record, as she was sued by the company that owned “Wake the Town and Tell the People”, which had been a hit in 1955 and had an undeniably similar melody: [Excerpt: Mindy Carson, “Wake the Town and Tell the People”] Even so, her switch to pure country music ended up being good for Jackson. While she would have peaks and troughs in her career, she managed to score another fifteen country top forty hits over the next decade — although her biggest hit was as a writer rather than a performer, when she wrote “Kickin’ Our Hearts Around” for Buck Owens, who had played on many of her sessions early in his career before he went on to become the biggest star in country music: [Excerpt: Buck Owens, “Kickin’ Our Hearts Around”] Like almost everything Owens released in the sixties, that went top ten on the country charts. Jackson was a fairly major star in the country field through the sixties, even having her own TV show, but she was becoming increasingly unhappy, and suffering from alcoholism. In the early seventies she and her husband had a religious awakening, and became born-again Christians, and she once again switched her musical style, this time from country music to gospel — though she would still sing her old secular hits along with the gospel songs on stage. Unfortunately, Capitol weren’t interested in putting out gospel material by her, and she ended up moving to smaller and smaller labels, and by the end of the seventies she was reduced to rerecording her old hits for mail-order compilations put out by K-Tel records. But then her career got a second wind. In Europe in the early 1980s there was something of a rockabilly revival, and a Swedish label, Tab Records, got in touch with Jackson and asked her to record a new album of rockabilly music, which led to her touring all over Europe playing to crowds of rockabilly fans. By the nineties, American rockabilly revivalists were taking notice of her as well, and Rosie Flores, a rockabilly artist who would later produce Janis Martin’s last sessions, invited Jackson to duet with her on a few songs and tour North America with her: [Excerpt: Wanda Jackson and Rosie Flores, “His Rockin’ Little Angel”] In 2003, she recorded her first new album of secular music for the American market for several decades, featuring several of her younger admirers, like the Cramps and Lee Rocker of the Stray Cats. But the most prominent guest star was Elvis Costello, who duetted with her on a song by her old friend Buck Owens: [Excerpt: Elvis Costello and Wanda Jackson, “Crying Time”] After duetting with her, Costello discovered that she wasn’t yet in the rock and roll hall of fame, and started lobbying for her inclusion, writing an open letter that says in part: “For heaven’s sake, the whole thing risks ridicule and having the appearance of being a little boy’s club unless it acknowledges the contribution of one of the first women of rock and roll. “It might be hard to admit, but the musical influence of several male pioneers is somewhat obscure today. Even though their records will always be thrilling, their sound is not really heard in echo. Look around today and you can hear lots of rocking girl singers who owe an unconscious debt to the mere idea of a girl like Wanda. She was standing up on stage with a guitar in her hands and making a sound that was as wild as any rocker, man or woman, while other gals were still asking ‘How much is that doggy in the window'” Thanks in large part to Costello’s advocacy, Jackson finally made it into the hall of fame in 2009, and that seems to have spurred another minor boost to her career, as she released two albums in the early part of last decade, produced by young admirers — one produced by Justin Townes Earle, and the other by Jack White. Jackson has been having some health problems recently, and her husband and manager of fifty-six years died in 2017, so she finally retired from live performance in March last year, but she’s apparently still working on a new album, produced by Joan Jett, which should be out soon. With luck, she will have a long and happy retirement.  

Episode sixty-nine of A History of Rock Music in Five Hundred Songs looks at “Fujiyama Mama” by Wanda Jackson, and the first rock and roller to become “big in Japan” Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Purple People Eater” by Sheb Wooley.  —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.   I have two main sources for this eposode. One is Wanda Jackson’s autobiography, Every Night is Saturday Night. The other is this article on “Fujiyama Mama”, which I urge everyone to read, as it goes into far more detail about the reasons why the song had the reception it did in Japan.   And this compilation collects most of Jackson’s important early work.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin this episode, a minor content note. I am going to be looking at a song that is, unfortunately, unthinkingly offensive towards Japanese people and culture. If that – or flippant lyrics about the bombings of Hiroshima or Nagasaki – are likely to upset you, be warned. When we left Wanda Jackson six months ago, it looked very much like she might end up being a one-hit wonder. “I Gotta Know” had been a hit, but there hadn’t been a successful follow-up. In part this was because she was straddling two different genres — she was trying to find a way to be successful in both the rock and roll and country markets, and neither was taking to her especially well. In later years, it would be recognised that the music she was making combined some of the best of both worlds — she was working with a lot of the musicians on the West Coast who would later go on to become famous for creating the Bakersfield Sound, and changing the whole face of country music, and her records have a lot of that sound about them. And at the same time she was also making some extremely hot rockabilly music, but she was just a little bit too country for the rock market, and a little bit too rock for the country market. Possibly the place where she fit in best was among the Sun records acts, and so it’s not surprising that she ended up towards the bottom of the bill on the long tour that Jerry Lee Lewis, Carl Perkins and Johnny Cash did over much of North America in early 1957 — the tour on which Jerry Lee Lewis moved from third billed to top of the bill by sheer force of personality. But it says quite a bit about Jackson that while everyone else talking about that tour discusses the way that some of the men did things like throwing cherry bombs at each other’s cars, and living off nothing but whisky, Wanda’s principal recollection of the tour in her autobiography is of going to church and inviting all the men along, but Jerry Lee being the only one who would come with her. To a great extent she was shielded from the worst aspects of the men’s behaviour by her father, who was still looking after her on the road, and acted as a buffer between her and the worst excesses of her tourmates, but she seems to have been happy with that situation — she didn’t seem to have much desire to become one of the boys, the way many other female rock and roll stars have. She enjoyed making wild-sounding music, but she saw that mostly as a kind of acting — she didn’t think that her onstage persona had to match her offstage behaviour at all. And one of the wildest records she made was “Fujiyama Mama”: [Excerpt: Wanda Jackson, “Fujiyama Mama”] “Fujiyama Mama” was written by the rockabilly and R&B songwriter Jack Hammer (whose birth name was the more prosaic Earl Burroughs), who is best known as having been the credited co-writer of “Great Balls of Fire”. We didn’t talk about him in the episode on that song, because apparently Hammer’s only contribution to the song was the title — he wrote a totally different song with the same title, which Paul Case, who was the music consultant on the film “Jamboree”, liked enough to commission Otis Blackwell to write another song of the same name, giving Hammer half the credit. But Hammer did write some songs on his own that became at least moderate successes. For example, he wrote “Rock and Roll Call”, which was recorded by Louis Jordan: [Excerpt: Louis Jordan, “Rock and Roll Call”] And “Milkshake Mademoiselle” for Jerry Lee Lewis: [Excerpt, Jerry Lee Lewis, “Milkshake Mademoiselle”] And in 1954, when Hammer was only fourteen, he wrote “Fujiyama Mama”, which was originally recorded by Annisteen Allen: [Excerpt: Annisteen Allen, “Fujiyama Mama”] This was a song in a long line of songs about black women’s sexuality which lie at the base of rock and roll, though of course, as with several of those songs, it’s written by a man, and it’s mostly the woman boasting about how much pleasure she’s going to give the man — while it’s a sexually aggressive record, this is very much a male fantasy as performed by a woman. Allen was yet another singer in the early days of R&B and rock and roll to have come out of Lucky Millinder’s orchestra — she had been his female singer in the late forties, just after Rosetta Tharpe had left the group, and while Wynonie Harris was their male singer. She’d sung lead on what turned out to be Millinder’s last big hit, “I’m Waiting Just For You”: [Excerpt: Lucky Millinder and his orchestra, “I’m Waiting Just For You”] After she left Millinder’s band, Allen recorded for a variety of labels, with little success, and when she recorded “Fujiyama Mama” in 1954 she was on Capitol — this was almost unique at the time, as her kind of R&B would normally have come out on King or Apollo or Savoy or a similar small label. In its original version, “Fujiyama Mama” wasn’t a particularly successful record, but Wanda Jackson heard it on a jukebox and fell in love with the record. She quickly learned the song and added it to her own act. In 1957, Jackson was in the studio recording a country song called “No Wedding Bells for Joe”, written by a friend of hers called Marijohn Wilkin, who would later go on to write country classics like “Long Black Veil”: [Excerpt: Wanda Jackson, “No Wedding Bells For Joe”] For the B-side, Jackson wanted to record “Fujiyama Mama”, but Ken Nelson was very concerned — the lyrics about drinking, smoking, and shooting were bad enough for a girl who was not yet quite twenty, the blatant female sexuality was not something that would go down well at all in the country market, and lyrics like “I’ve been to Nagasaki, Hiroshima too/The things I did to them I can do to you” were horribly tasteless — and remember, this was little more than a decade after the bombs were dropped on those cities. Nelson really, really, disliked the song, and didn’t want Jackson to record it, and while I’ve been critical of Nelson for making poor repertoire choices for his artists — Nelson was someone with a great instinct for performers, but a terrible instinct for material — I can’t say I entirely blame him in this instance. But Wanda overruled him — and then, when he tried to tone down her performance in the studio, she rebelled against that, with the encouragement of her father, who told her “You’re the one who wanted to do it, so you need to do it your way”. In the last episode about Jackson, we talked about how she’d tried to do her normal growling roar on “Hot Dog! That Made Him Mad!” but was let down by having drunk milk before recording the song. This time, she had no problem, and for the first time in the studio she sang in the voice that she used for her rock and roll songs on stage: [Excerpt: Wanda Jackson, “Fujiyama Mama”] To my ears, Jackson’s version of the song is still notably inferior to Allen’s version, but it’s important to note that this isn’t a Georgia Gibbs style white person covering a black artist for commercial success at the instigation of her producer, and copying the arrangement precisely, this is a young woman covering a record she loved, and doing it as a B-side. There’s still the racial dynamic at play there, but this is closer to Elvis doing “That’s All Right” than to Georgia Gibbs ripping off LaVern Baker or Etta James. It’s also closer to Elvis than it is to Eileen Barton, who was the second person to have recorded the song. Barton was a novelty singer, whose biggest hit was “If I Knew You Were Coming I’d Have Baked a Cake” from 1950: [Excerpt: Eileen Barton, “If I Knew You Were Coming I’d Have Baked a Cake”] Barton’s version of “Fujiyama Mama” was the B-side to a 1955 remake of “If I Knew You Were Coming I’d Have Baked a Cake”, redone as a blues. I’ve not actually been able to track down a copy of that remake, so I can’t play an excerpt — I’m sure you’re all devastated by that. Barton’s version, far more than Jackson’s, was a straight copy of the original, though the arranger on her version gets rid of most of the Orientalisms in Allen’s original recording: [Excerpt: Eileen Barton, “Fujiyama Mama”] I think the difference between Barton’s and Jackson’s versions simply comes down to their sincerity. Barton hated the song, and thought of it as a terrible novelty tune she was being forced to sing. She did a competent professional job, because she was a professional vocalist, but she would talk later in interviews about how much she disliked the record. Jackson, on the other hand, pushed to do the song because she loved it so much, and she performed the song as she wanted it to be done, and against the wishes of her producer. For all the many, many problematic aspects of the song, which I won’t defend at all, that passion does show through in Jackson’s performance of it. Jackson’s single was released, and did absolutely nothing sales-wise, as was normal for her records at this point. Around this time, she also cut her first album, and included on it a cover version of a song Elvis had recently recorded, “Party”, which in her version was retitled “Let’s Have a Party”: [Excerpt: Wanda Jackson, “Let’s Have a Party”] That album also did essentially nothing, and while Jackson continued releasing singles throughout 1958, none of them charted. Ken Nelson didn’t even book her in for a single recording session in 1959 — by that point they’d got enough stuff already recorded that they could keep releasing records by her until her contract ran out, and they didn’t need to throw good money after bad by paying for more studio sessions to make records that nobody was going to buy. And then something really strange happened. “Fujiyama Mama” became hugely successful in Japan. Now, nobody seems to have adequately explained quite how this happened. After all, this record was… not exactly flattering about Japanese people, and its first couple of lines seem to celebrate the bombings of Hiroshima and Nagasaki. And it’s not as if they didn’t know what was being sung. While obviously Jackson was singing in English and most listeners in Japan couldn’t speak English, there was a Japanese translation of the lyrics printed on the back sleeve of the single, so most people would at least have had some idea what she was singing about. Yet somehow, the record made number one in Japan. In part, this may just have been simply because any recognition of Japanese culture from an American artist at all might have been seen as a novelty. But also, while in the USA pretty much all the rock and roll hits were sung by men, Japan was developing its own rock and roll culture, and in Japan, most of the big rock and roll stars were teenage girls, of around the same age as Wanda Jackson. Now, I am very far from being an expert on post-war Japanese culture, so please don’t take anything I say on the subject as being any kind of definitive statement, but from the stuff I’ve read (and in particular from a very good, long, article on this particular song that I’m going to link in the liner notes and which I urge you all to read, which goes into the cultural background a lot more than I can here) it seems as if these girls were, for the most part, groomed as manufactured pop stars, and that many of them were recording cover versions of songs in English, which they learned phonetically from the American recordings. For example, here’s Izumi Yukimura’s version of “Ko Ko Mo”: [Excerpt: Izumi Yukimura, “Ko Ko Mo”] In many of these versions, they would sing a verse in the original English, and then a verse in Japanese translation, as you can again hear in that recording: [Excerpt: Izumi Yukimura, “Ko Ko Mo”] Izumi Yuklmura also recorded a version of “Fujiyama Mama”, patterned after Jackson’s: [Excerpt: Izumi Yukimura, “Fujiyama Mama”] There are many, many things that can be said about these recordings, but the thing that strikes me about them, just as a music listener, and separate from everything else, is how comparatively convincing a rock and roll recording that version of “Fujiyama Mama” actually is. When you compare it to the music that was coming out of places like the UK or Australia or France, it’s far more energetic, and shows a far better understanding of the idiom. It’s important to note though that part of the reason for this is the peculiar circumstances in Japan at the time. Much of the Japanese entertainment industry in the late forties and fifties had grown up around the US occupying troops who were stationed there after the end of World War II, and those servicemen were more interested in seeing pretty young girls than in seeing male performers. But this meant two things — it firstly meant that young women were far more likely to be musical performers in Japan than in the US, and it also meant that the Japanese music industry was geared to performers who were performing in American styles — and so Japanese listeners were accustomed to hearing things like this: [Excerpt: Chiemi Eri, “Rock Around the Clock”] So when a recording by a young woman singing about Japan, however offensively, in a rock and roll style, was released in Japan, the market was ready for it. While in America rock and roll was largely viewed as a male music, in Japan, they were ready for Wanda Jackson. And Jackson, in turn, was ready for Japan. In her autobiography she makes clear that she was the kind of person who would nowadays be called a weeb — having a fascination with Japanese culture, albeit the stereotyped version she had learned from pop culture. She had always wanted to visit Japan growing up, and when she got there she was amazed to find that they were organising a press conference for her, and that wherever she went there were fans wanting her autograph. Jackson, of course, had no idea about the complex relationship that Japan was having at the time with American culture — though in her autobiography she talks about visiting a bar over there where Japanese singers were performing country songs — she just knew that they had latched on, for whatever reason, to an obscure B-side and given her a second chance at success. When Jackson got back from Japan, she put together her own band for the first time — and unusually for country music at the time, it was an integrated band, with a black pianist. She had to deal with some resistance from her mother, who was an older Southern white woman, but eventually managed to win her round. That pianist, Big Al Downing, later went on to have his own successful career, including a hit single duetting with Esther Phillips: [Excerpt Big Al Downing and Little Esther Phillips, “You’ll Never Miss Your Water Until The Well Runs Dry”] Downing also had disco hits in the early seventies, and later had a run of hits on the country charts. Jackson also took on a young guitarist named Roy Clark, who would go on to have a great deal of success himself, as one of the most important instrumentalists in country music, and Clark would later co-star in the hit TV show Hee-Haw, with Buck Owens (who had played on many of Jackson’s earlier records). In 1960, Jackson returned to the studio. While she’d not had much commercial success in the US yet, her records were now selling well enough to justify recording more songs with her. But Ken Nelson had a specific condition for any future recordings — he pointed out that while she’d been recording both rock and roll and country music in her previous sessions, she had only ever charted in the US as a country artist, and she’d been signed as a country artist to Capitol. All her future sessions were going to be purely country, to avoid diluting her brand. Jackson agreed, and so she went into the studio and recorded a country shuffle, “Please Call Today”: [Excerpt: Wanda Jackson, “Please Call Today”] But a few weeks later she got a call from Ken Nelson, telling her that she was in the charts — not with “Please Call Today”, but with “Party”, the album track she’d recorded three years earlier. She was obviously confused by this, but Nelson explained that a DJ in Iowa had taken up the song and used it as the theme song for his radio show. So many people had called the DJ asking about it that he in turn had called Ken Nelson at Capitol and convinced him to put the track out as a single, and it had made the pop top forty. As a result, Capitol rushed out an album of her previous rockabilly singles, and then got her back into the studio, with her touring band, to record her first proper rock and roll album — as opposed to her first album, which was a mixture of country and rock, and her second, which was a compilation of previously-released singles. This album was full of cover versions of rock and roll hits from the previous few years, like Elvis’ “Hard-Headed Woman”, LaVern Baker’s “Tweedle Dee”, and Buddy Holly’s “It Doesn’t Matter Any More”. And she also recorded a few rock and roll singles, like a cover version of the Robins’ “Riot in Cell Block #9”. Those sessions also produced what became Jackson’s biggest hit single to that point. At the time, Brenda Lee was a big star, and a friend of Jackson. The two had had parallel careers, and Lee was someone else who straddled the boundaries between rockabilly and country, but at the time she had just had a big hit with “I’m Sorry”: [Excerpt: Brenda Lee, “I’m Sorry”] That was one of the first recordings in what would become known as “the Nashville Sound”, a style of music that was somewhere between country music and middle-of-the-road pop. Wanda had written a song in that style, and since she was now once again being pushed in a rock and roll direction, she thought she would give it to Lee to record. However, she mentioned the song to Ken Nelson when she was in the studio, and he insisted that she let him hear it — and once he heard it, he insisted on recording it with her, saying that Brenda Lee had enough hits of her own, and she didn’t need Wanda Jackson giving her hers. The result was “Right or Wrong”, which became her first solo country top ten hit, and all of a sudden she had once again switched styles — she was now no longer Wanda Jackson the rock and roller, but she was Wanda Jackson the Nashville Sound pop-country singer: [Excerpt: Wanda Jackson, “Right or Wrong”] Unfortunately, Jackson ended up having to give up the songwriting royalties on that record, as she was sued by the company that owned “Wake the Town and Tell the People”, which had been a hit in 1955 and had an undeniably similar melody: [Excerpt: Mindy Carson, “Wake the Town and Tell the People”] Even so, her switch to pure country music ended up being good for Jackson. While she would have peaks and troughs in her career, she managed to score another fifteen country top forty hits over the next decade — although her biggest hit was as a writer rather than a performer, when she wrote “Kickin’ Our Hearts Around” for Buck Owens, who had played on many of her sessions early in his career before he went on to become the biggest star in country music: [Excerpt: Buck Owens, “Kickin’ Our Hearts Around”] Like almost everything Owens released in the sixties, that went top ten on the country charts. Jackson was a fairly major star in the country field through the sixties, even having her own TV show, but she was becoming increasingly unhappy, and suffering from alcoholism. In the early seventies she and her husband had a religious awakening, and became born-again Christians, and she once again switched her musical style, this time from country music to gospel — though she would still sing her old secular hits along with the gospel songs on stage. Unfortunately, Capitol weren’t interested in putting out gospel material by her, and she ended up moving to smaller and smaller labels, and by the end of the seventies she was reduced to rerecording her old hits for mail-order compilations put out by K-Tel records. But then her career got a second wind. In Europe in the early 1980s there was something of a rockabilly revival, and a Swedish label, Tab Records, got in touch with Jackson and asked her to record a new album of rockabilly music, which led to her touring all over Europe playing to crowds of rockabilly fans. By the nineties, American rockabilly revivalists were taking notice of her as well, and Rosie Flores, a rockabilly artist who would later produce Janis Martin’s last sessions, invited Jackson to duet with her on a few songs and tour North America with her: [Excerpt: Wanda Jackson and Rosie Flores, “His Rockin’ Little Angel”] In 2003, she recorded her first new album of secular music for the American market for several decades, featuring several of her younger admirers, like the Cramps and Lee Rocker of the Stray Cats. But the most prominent guest star was Elvis Costello, who duetted with her on a song by her old friend Buck Owens: [Excerpt: Elvis Costello and Wanda Jackson, “Crying Time”] After duetting with her, Costello discovered that she wasn’t yet in the rock and roll hall of fame, and started lobbying for her inclusion, writing an open letter that says in part: “For heaven’s sake, the whole thing risks ridicule and having the appearance of being a little boy’s club unless it acknowledges the contribution of one of the first women of rock and roll. “It might be hard to admit, but the musical influence of several male pioneers is somewhat obscure today. Even though their records will always be thrilling, their sound is not really heard in echo. Look around today and you can hear lots of rocking girl singers who owe an unconscious debt to the mere idea of a girl like Wanda. She was standing up on stage with a guitar in her hands and making a sound that was as wild as any rocker, man or woman, while other gals were still asking ‘How much is that doggy in the window'” Thanks in large part to Costello’s advocacy, Jackson finally made it into the hall of fame in 2009, and that seems to have spurred another minor boost to her career, as she released two albums in the early part of last decade, produced by young admirers — one produced by Justin Townes Earle, and the other by Jack White. Jackson has been having some health problems recently, and her husband and manager of fifty-six years died in 2017, so she finally retired from live performance in March last year, but she’s apparently still working on a new album, produced by Joan Jett, which should be out soon. With luck, she will have a long and happy retirement.  

Episode sixty-nine of A History of Rock Music in Five Hundred Songs looks at "Fujiyama Mama" by Wanda Jackson, and the first rock and roller to become "big in Japan" Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Purple People Eater" by Sheb Wooley.  ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.   I have two main sources for this eposode. One is Wanda Jackson's autobiography, Every Night is Saturday Night. The other is this article on "Fujiyama Mama", which I urge everyone to read, as it goes into far more detail about the reasons why the song had the reception it did in Japan.   And this compilation collects most of Jackson's important early work.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin this episode, a minor content note. I am going to be looking at a song that is, unfortunately, unthinkingly offensive towards Japanese people and culture. If that – or flippant lyrics about the bombings of Hiroshima or Nagasaki – are likely to upset you, be warned. When we left Wanda Jackson six months ago, it looked very much like she might end up being a one-hit wonder. "I Gotta Know" had been a hit, but there hadn't been a successful follow-up. In part this was because she was straddling two different genres -- she was trying to find a way to be successful in both the rock and roll and country markets, and neither was taking to her especially well. In later years, it would be recognised that the music she was making combined some of the best of both worlds -- she was working with a lot of the musicians on the West Coast who would later go on to become famous for creating the Bakersfield Sound, and changing the whole face of country music, and her records have a lot of that sound about them. And at the same time she was also making some extremely hot rockabilly music, but she was just a little bit too country for the rock market, and a little bit too rock for the country market. Possibly the place where she fit in best was among the Sun records acts, and so it's not surprising that she ended up towards the bottom of the bill on the long tour that Jerry Lee Lewis, Carl Perkins and Johnny Cash did over much of North America in early 1957 -- the tour on which Jerry Lee Lewis moved from third billed to top of the bill by sheer force of personality. But it says quite a bit about Jackson that while everyone else talking about that tour discusses the way that some of the men did things like throwing cherry bombs at each other's cars, and living off nothing but whisky, Wanda's principal recollection of the tour in her autobiography is of going to church and inviting all the men along, but Jerry Lee being the only one who would come with her. To a great extent she was shielded from the worst aspects of the men's behaviour by her father, who was still looking after her on the road, and acted as a buffer between her and the worst excesses of her tourmates, but she seems to have been happy with that situation -- she didn't seem to have much desire to become one of the boys, the way many other female rock and roll stars have. She enjoyed making wild-sounding music, but she saw that mostly as a kind of acting -- she didn't think that her onstage persona had to match her offstage behaviour at all. And one of the wildest records she made was "Fujiyama Mama": [Excerpt: Wanda Jackson, "Fujiyama Mama"] "Fujiyama Mama" was written by the rockabilly and R&B songwriter Jack Hammer (whose birth name was the more prosaic Earl Burroughs), who is best known as having been the credited co-writer of "Great Balls of Fire". We didn't talk about him in the episode on that song, because apparently Hammer's only contribution to the song was the title -- he wrote a totally different song with the same title, which Paul Case, who was the music consultant on the film "Jamboree", liked enough to commission Otis Blackwell to write another song of the same name, giving Hammer half the credit. But Hammer did write some songs on his own that became at least moderate successes. For example, he wrote "Rock and Roll Call", which was recorded by Louis Jordan: [Excerpt: Louis Jordan, "Rock and Roll Call"] And "Milkshake Mademoiselle" for Jerry Lee Lewis: [Excerpt, Jerry Lee Lewis, "Milkshake Mademoiselle"] And in 1954, when Hammer was only fourteen, he wrote "Fujiyama Mama", which was originally recorded by Annisteen Allen: [Excerpt: Annisteen Allen, "Fujiyama Mama"] This was a song in a long line of songs about black women's sexuality which lie at the base of rock and roll, though of course, as with several of those songs, it's written by a man, and it's mostly the woman boasting about how much pleasure she's going to give the man -- while it's a sexually aggressive record, this is very much a male fantasy as performed by a woman. Allen was yet another singer in the early days of R&B and rock and roll to have come out of Lucky Millinder's orchestra -- she had been his female singer in the late forties, just after Rosetta Tharpe had left the group, and while Wynonie Harris was their male singer. She'd sung lead on what turned out to be Millinder's last big hit, "I'm Waiting Just For You": [Excerpt: Lucky Millinder and his orchestra, "I'm Waiting Just For You"] After she left Millinder's band, Allen recorded for a variety of labels, with little success, and when she recorded "Fujiyama Mama" in 1954 she was on Capitol -- this was almost unique at the time, as her kind of R&B would normally have come out on King or Apollo or Savoy or a similar small label. In its original version, "Fujiyama Mama" wasn't a particularly successful record, but Wanda Jackson heard it on a jukebox and fell in love with the record. She quickly learned the song and added it to her own act. In 1957, Jackson was in the studio recording a country song called "No Wedding Bells for Joe", written by a friend of hers called Marijohn Wilkin, who would later go on to write country classics like "Long Black Veil": [Excerpt: Wanda Jackson, "No Wedding Bells For Joe"] For the B-side, Jackson wanted to record "Fujiyama Mama", but Ken Nelson was very concerned -- the lyrics about drinking, smoking, and shooting were bad enough for a girl who was not yet quite twenty, the blatant female sexuality was not something that would go down well at all in the country market, and lyrics like "I've been to Nagasaki, Hiroshima too/The things I did to them I can do to you" were horribly tasteless -- and remember, this was little more than a decade after the bombs were dropped on those cities. Nelson really, really, disliked the song, and didn't want Jackson to record it, and while I've been critical of Nelson for making poor repertoire choices for his artists -- Nelson was someone with a great instinct for performers, but a terrible instinct for material -- I can't say I entirely blame him in this instance. But Wanda overruled him -- and then, when he tried to tone down her performance in the studio, she rebelled against that, with the encouragement of her father, who told her "You're the one who wanted to do it, so you need to do it your way". In the last episode about Jackson, we talked about how she'd tried to do her normal growling roar on "Hot Dog! That Made Him Mad!" but was let down by having drunk milk before recording the song. This time, she had no problem, and for the first time in the studio she sang in the voice that she used for her rock and roll songs on stage: [Excerpt: Wanda Jackson, "Fujiyama Mama"] To my ears, Jackson's version of the song is still notably inferior to Allen's version, but it's important to note that this isn't a Georgia Gibbs style white person covering a black artist for commercial success at the instigation of her producer, and copying the arrangement precisely, this is a young woman covering a record she loved, and doing it as a B-side. There's still the racial dynamic at play there, but this is closer to Elvis doing "That's All Right" than to Georgia Gibbs ripping off LaVern Baker or Etta James. It's also closer to Elvis than it is to Eileen Barton, who was the second person to have recorded the song. Barton was a novelty singer, whose biggest hit was "If I Knew You Were Coming I'd Have Baked a Cake" from 1950: [Excerpt: Eileen Barton, "If I Knew You Were Coming I'd Have Baked a Cake"] Barton's version of "Fujiyama Mama" was the B-side to a 1955 remake of "If I Knew You Were Coming I'd Have Baked a Cake", redone as a blues. I've not actually been able to track down a copy of that remake, so I can't play an excerpt -- I'm sure you're all devastated by that. Barton's version, far more than Jackson's, was a straight copy of the original, though the arranger on her version gets rid of most of the Orientalisms in Allen's original recording: [Excerpt: Eileen Barton, "Fujiyama Mama"] I think the difference between Barton's and Jackson's versions simply comes down to their sincerity. Barton hated the song, and thought of it as a terrible novelty tune she was being forced to sing. She did a competent professional job, because she was a professional vocalist, but she would talk later in interviews about how much she disliked the record. Jackson, on the other hand, pushed to do the song because she loved it so much, and she performed the song as she wanted it to be done, and against the wishes of her producer. For all the many, many problematic aspects of the song, which I won't defend at all, that passion does show through in Jackson's performance of it. Jackson's single was released, and did absolutely nothing sales-wise, as was normal for her records at this point. Around this time, she also cut her first album, and included on it a cover version of a song Elvis had recently recorded, "Party", which in her version was retitled "Let's Have a Party": [Excerpt: Wanda Jackson, "Let's Have a Party"] That album also did essentially nothing, and while Jackson continued releasing singles throughout 1958, none of them charted. Ken Nelson didn't even book her in for a single recording session in 1959 -- by that point they'd got enough stuff already recorded that they could keep releasing records by her until her contract ran out, and they didn't need to throw good money after bad by paying for more studio sessions to make records that nobody was going to buy. And then something really strange happened. "Fujiyama Mama" became hugely successful in Japan. Now, nobody seems to have adequately explained quite how this happened. After all, this record was... not exactly flattering about Japanese people, and its first couple of lines seem to celebrate the bombings of Hiroshima and Nagasaki. And it's not as if they didn't know what was being sung. While obviously Jackson was singing in English and most listeners in Japan couldn't speak English, there was a Japanese translation of the lyrics printed on the back sleeve of the single, so most people would at least have had some idea what she was singing about. Yet somehow, the record made number one in Japan. In part, this may just have been simply because any recognition of Japanese culture from an American artist at all might have been seen as a novelty. But also, while in the USA pretty much all the rock and roll hits were sung by men, Japan was developing its own rock and roll culture, and in Japan, most of the big rock and roll stars were teenage girls, of around the same age as Wanda Jackson. Now, I am very far from being an expert on post-war Japanese culture, so please don't take anything I say on the subject as being any kind of definitive statement, but from the stuff I've read (and in particular from a very good, long, article on this particular song that I'm going to link in the liner notes and which I urge you all to read, which goes into the cultural background a lot more than I can here) it seems as if these girls were, for the most part, groomed as manufactured pop stars, and that many of them were recording cover versions of songs in English, which they learned phonetically from the American recordings. For example, here's Izumi Yukimura's version of "Ko Ko Mo": [Excerpt: Izumi Yukimura, "Ko Ko Mo"] In many of these versions, they would sing a verse in the original English, and then a verse in Japanese translation, as you can again hear in that recording: [Excerpt: Izumi Yukimura, "Ko Ko Mo"] Izumi Yuklmura also recorded a version of "Fujiyama Mama", patterned after Jackson's: [Excerpt: Izumi Yukimura, "Fujiyama Mama"] There are many, many things that can be said about these recordings, but the thing that strikes me about them, just as a music listener, and separate from everything else, is how comparatively convincing a rock and roll recording that version of "Fujiyama Mama" actually is. When you compare it to the music that was coming out of places like the UK or Australia or France, it's far more energetic, and shows a far better understanding of the idiom. It's important to note though that part of the reason for this is the peculiar circumstances in Japan at the time. Much of the Japanese entertainment industry in the late forties and fifties had grown up around the US occupying troops who were stationed there after the end of World War II, and those servicemen were more interested in seeing pretty young girls than in seeing male performers. But this meant two things -- it firstly meant that young women were far more likely to be musical performers in Japan than in the US, and it also meant that the Japanese music industry was geared to performers who were performing in American styles -- and so Japanese listeners were accustomed to hearing things like this: [Excerpt: Chiemi Eri, "Rock Around the Clock"] So when a recording by a young woman singing about Japan, however offensively, in a rock and roll style, was released in Japan, the market was ready for it. While in America rock and roll was largely viewed as a male music, in Japan, they were ready for Wanda Jackson. And Jackson, in turn, was ready for Japan. In her autobiography she makes clear that she was the kind of person who would nowadays be called a weeb -- having a fascination with Japanese culture, albeit the stereotyped version she had learned from pop culture. She had always wanted to visit Japan growing up, and when she got there she was amazed to find that they were organising a press conference for her, and that wherever she went there were fans wanting her autograph. Jackson, of course, had no idea about the complex relationship that Japan was having at the time with American culture -- though in her autobiography she talks about visiting a bar over there where Japanese singers were performing country songs -- she just knew that they had latched on, for whatever reason, to an obscure B-side and given her a second chance at success. When Jackson got back from Japan, she put together her own band for the first time -- and unusually for country music at the time, it was an integrated band, with a black pianist. She had to deal with some resistance from her mother, who was an older Southern white woman, but eventually managed to win her round. That pianist, Big Al Downing, later went on to have his own successful career, including a hit single duetting with Esther Phillips: [Excerpt Big Al Downing and Little Esther Phillips, "You'll Never Miss Your Water Until The Well Runs Dry"] Downing also had disco hits in the early seventies, and later had a run of hits on the country charts. Jackson also took on a young guitarist named Roy Clark, who would go on to have a great deal of success himself, as one of the most important instrumentalists in country music, and Clark would later co-star in the hit TV show Hee-Haw, with Buck Owens (who had played on many of Jackson's earlier records). In 1960, Jackson returned to the studio. While she'd not had much commercial success in the US yet, her records were now selling well enough to justify recording more songs with her. But Ken Nelson had a specific condition for any future recordings -- he pointed out that while she'd been recording both rock and roll and country music in her previous sessions, she had only ever charted in the US as a country artist, and she'd been signed as a country artist to Capitol. All her future sessions were going to be purely country, to avoid diluting her brand. Jackson agreed, and so she went into the studio and recorded a country shuffle, "Please Call Today": [Excerpt: Wanda Jackson, "Please Call Today"] But a few weeks later she got a call from Ken Nelson, telling her that she was in the charts -- not with "Please Call Today", but with "Party", the album track she'd recorded three years earlier. She was obviously confused by this, but Nelson explained that a DJ in Iowa had taken up the song and used it as the theme song for his radio show. So many people had called the DJ asking about it that he in turn had called Ken Nelson at Capitol and convinced him to put the track out as a single, and it had made the pop top forty. As a result, Capitol rushed out an album of her previous rockabilly singles, and then got her back into the studio, with her touring band, to record her first proper rock and roll album -- as opposed to her first album, which was a mixture of country and rock, and her second, which was a compilation of previously-released singles. This album was full of cover versions of rock and roll hits from the previous few years, like Elvis' "Hard-Headed Woman", LaVern Baker's "Tweedle Dee", and Buddy Holly's "It Doesn't Matter Any More". And she also recorded a few rock and roll singles, like a cover version of the Robins' "Riot in Cell Block #9". Those sessions also produced what became Jackson's biggest hit single to that point. At the time, Brenda Lee was a big star, and a friend of Jackson. The two had had parallel careers, and Lee was someone else who straddled the boundaries between rockabilly and country, but at the time she had just had a big hit with "I'm Sorry": [Excerpt: Brenda Lee, "I'm Sorry"] That was one of the first recordings in what would become known as "the Nashville Sound", a style of music that was somewhere between country music and middle-of-the-road pop. Wanda had written a song in that style, and since she was now once again being pushed in a rock and roll direction, she thought she would give it to Lee to record. However, she mentioned the song to Ken Nelson when she was in the studio, and he insisted that she let him hear it -- and once he heard it, he insisted on recording it with her, saying that Brenda Lee had enough hits of her own, and she didn't need Wanda Jackson giving her hers. The result was "Right or Wrong", which became her first solo country top ten hit, and all of a sudden she had once again switched styles -- she was now no longer Wanda Jackson the rock and roller, but she was Wanda Jackson the Nashville Sound pop-country singer: [Excerpt: Wanda Jackson, "Right or Wrong"] Unfortunately, Jackson ended up having to give up the songwriting royalties on that record, as she was sued by the company that owned "Wake the Town and Tell the People", which had been a hit in 1955 and had an undeniably similar melody: [Excerpt: Mindy Carson, "Wake the Town and Tell the People"] Even so, her switch to pure country music ended up being good for Jackson. While she would have peaks and troughs in her career, she managed to score another fifteen country top forty hits over the next decade -- although her biggest hit was as a writer rather than a performer, when she wrote "Kickin' Our Hearts Around" for Buck Owens, who had played on many of her sessions early in his career before he went on to become the biggest star in country music: [Excerpt: Buck Owens, "Kickin' Our Hearts Around"] Like almost everything Owens released in the sixties, that went top ten on the country charts. Jackson was a fairly major star in the country field through the sixties, even having her own TV show, but she was becoming increasingly unhappy, and suffering from alcoholism. In the early seventies she and her husband had a religious awakening, and became born-again Christians, and she once again switched her musical style, this time from country music to gospel -- though she would still sing her old secular hits along with the gospel songs on stage. Unfortunately, Capitol weren't interested in putting out gospel material by her, and she ended up moving to smaller and smaller labels, and by the end of the seventies she was reduced to rerecording her old hits for mail-order compilations put out by K-Tel records. But then her career got a second wind. In Europe in the early 1980s there was something of a rockabilly revival, and a Swedish label, Tab Records, got in touch with Jackson and asked her to record a new album of rockabilly music, which led to her touring all over Europe playing to crowds of rockabilly fans. By the nineties, American rockabilly revivalists were taking notice of her as well, and Rosie Flores, a rockabilly artist who would later produce Janis Martin's last sessions, invited Jackson to duet with her on a few songs and tour North America with her: [Excerpt: Wanda Jackson and Rosie Flores, "His Rockin' Little Angel"] In 2003, she recorded her first new album of secular music for the American market for several decades, featuring several of her younger admirers, like the Cramps and Lee Rocker of the Stray Cats. But the most prominent guest star was Elvis Costello, who duetted with her on a song by her old friend Buck Owens: [Excerpt: Elvis Costello and Wanda Jackson, "Crying Time"] After duetting with her, Costello discovered that she wasn't yet in the rock and roll hall of fame, and started lobbying for her inclusion, writing an open letter that says in part: "For heaven's sake, the whole thing risks ridicule and having the appearance of being a little boy's club unless it acknowledges the contribution of one of the first women of rock and roll. “It might be hard to admit, but the musical influence of several male pioneers is somewhat obscure today. Even though their records will always be thrilling, their sound is not really heard in echo. Look around today and you can hear lots of rocking girl singers who owe an unconscious debt to the mere idea of a girl like Wanda. She was standing up on stage with a guitar in her hands and making a sound that was as wild as any rocker, man or woman, while other gals were still asking 'How much is that doggy in the window'" Thanks in large part to Costello's advocacy, Jackson finally made it into the hall of fame in 2009, and that seems to have spurred another minor boost to her career, as she released two albums in the early part of last decade, produced by young admirers -- one produced by Justin Townes Earle, and the other by Jack White. Jackson has been having some health problems recently, and her husband and manager of fifty-six years died in 2017, so she finally retired from live performance in March last year, but she's apparently still working on a new album, produced by Joan Jett, which should be out soon. With luck, she will have a long and happy retirement.  

In this episode I am talking with Rosie Flores.  She is a friend and she is my guitar teacher.  She has won multiple Ameripolitan awards as well as a Peabody Award for her narration of the documentary "Whole Lotta Shakin".  She has an actual day named after her in Austin on August 31st and was inducted into the Austin Music Hall of Fame in 2007.  She’s been on both Austin City Limits and Late Night With Conan Obrien.  It’s pretty awesome having one of your good friends as a hero.   In 2012 she released WORKING GIRLS GUITAR and in 2019 she dropped her long awaited blues album called SIMPLE CASE OF THE BLUES.  Please check them out.  They’re amazing.   Close your eyes.  You’ve been locked up for 10 years.  What 5 records do you have? LISTEN HERE: https://mytopfiverecords.podbean.com/e/rosie-flores-top-five-records    ROSIE SOCIAL: https://rosieflores.com/wp/home/ https://www.facebook.com/rosie.flores3 https://www.instagram.com/therosieflores/   MY SOCIAL: https://www.facebook.com/thebiggunshowband/ https://www.instagram.com/thebiggunshowband/   CAMPFIRE GATHERING: https://www.campfiregathering.com https://www.instagram.com/campfiregathering/

Opening Monologues. High Holiday Spirits. Setting the SpyGate Stage with latest developments. The Beard John Durham, Hero Mike Rogers and Goat John Brennan. Coup Plotters playing the Victim Card. Devin Nunes and Dan Bongino blast the "totally ridiculous" allegations against General Flynn and Svetlana Lokhova. Gaming out the Pelosi Impeachment Bag O' Tricks. We listen to former Democrat Dr. Jeff Van Drew explain why he's become a Republican. President Trump advises treating "the word impossible as nothing more than motivation." Leadership by example. Notes on how CNN holds everyone hostage in America's airports. A full year from The Ace Man. Christmas Sweaters. A rockabilly Dance of the Sugar Plum Fairies. El Burrito de Belen. Christmas Done Got Funky. With Listener Calls & Christmas Music via the Pretenders, Ernest Tubb, Sheryl Crow, Rosie Flores, La Rondallita, Bing Crosby and Jimmy Jules & Nuclear Soul System.

Rosie Flores from the Tradition of Real Heartfelt Music. She doesn't sound like anyone else listen in to this

Salty Dog's STING Podcast, November 2019 Visit: www.salty.com.au Careful! You will be stung when the Sting show comes in to bite. This time around just great cuts from everywhere, and we finish with an 18min unreleased Neil N Crazy Horse version of Cortez The Killer. Yep, indeed... Cuts from Sheryl Crow, Buddy Flett, Lonesome Shack, Rosie Flores, Kevin Bennett, C.W. Stoneking, John Mayall, 8 Ball Aitken, Boz Scaggs, Giles Robson, Eddie 9V, Wilson Diesel, Nathan Seeckts, Beth Hart, Levon Helm, Peter Malick, Rosie Ledet, Walter Trout, Andy Baylor, Velman Brothers, Neil Young N Crazy Horse. ----------- ARTIST / TRACK / ALBUM ** Australia 1. Sheryl Crow / Gasoline / Detours 2. Buddy Flett / Nothin Easy / Rough Edges 3. Lonesome Shack / Lonely / Desert Dreams 4. Rosie Flores / Drive Drive Drive / Simple Case Of The Blues 5. ** Kevin Bennett N The Flood / Down The Line / Blood Red Ties 6. ** C.W. Stoneking / Way Out In The World / King Hokum 7. John Mayall / What Have I Done Wrong / Nobody Told Me 8. ** 8 Ball Aitken / Knocking On Your Door / Swamp Blues 2 9. Boz Scaggs / I've Just Got To Know / Out Of The Blues 10. Giles Robson / Your Dirty Look N Sneaky Grin / Don't Give Up On The Blues 11. Eddie 9V / Woke Up Sweatin' / Left My Soul In Memphis 12. ** Wilson Diesel / Evil / Short Cool Ones 13. ** Nathan Seeckts / All Night, Hold Tight / The Heart Of The City 14. Beth Hart / Bad Woman Blues / War In My Mind 15. Levon Helm Band / All About John / The Midnight Rambal Vol 2 16. Peter Malick Group / Midsize City Girl / Chance N Circumstance 17. Rosie Ledet / Git Up On It / Come Get Some 18. Walter Trout / The Blues Came Callin' / The Blues Came Callin' 19. ** Andy Baylor / Restless Spirit / Blues From The Irene Building 20. The Veldman Brothers / Livin' By The Day / Livin' By The Day 21. Neil Young N Crazy Horse / Cortex The Killer / Unreleased 'Horse Jam'

We've got everything from Doo-Wop to Honky Tonk to Rockabilly to Psychobilly on the Rockabilly N Blues Radio Hour this week!  Hear NEW tunes from Bonnie Montgomery with Rosie Flores, Stray Cats, Tiger Army, Hot Chickens, The Hi-Jivers, Tilford Sellers, Dallas Moore, Jimmie Vaughan, Charley Crockett, Awkward Family Portraits, Dan Whitaker & The Shinebenders as part of our instru-Mental Breakdown, a Five Year Flashback with Rocky Burnette and a trip to the Doo Wop Corner!  Plus, we've got a live track from Dale Watson, rockers from The Altar Billies, Wanda Jackson and more!! Intro Voice Over- Rob "Cool Daddy" Dempsey Intro Music Bed: Brian Setzer- "Rockabilly Blues"   Stray Cats- "I Attract Trouble" The Hi-Jivers- "I Can't Hold Out" The Altar Billies- "Hot"   instru-Mental Breakdown: The Spitfires- "Fireball Mail" Dan Whitaker & The Shinebenders- "Gettin' Dirty"   Tilford Sellers- "She's Coming Home" Dallas Moore- "All I Need" Bonnie Montgomery with Rosie Flores- "You Can't Shake" Awkward Family Portraits- "Ring Ring Angus" Wanda Jackson- "It'll Be Me" Jimmie Vaughan- "What's Your Name?" Charley Crockett- "Borrowed Time" Dale Watson- "Lee's Liquor Lounge"   Doo-Wop Corner: The Robins- "The Hatchet Man" The Prisonaires- "Baby Please"   Five Year Flashback: Rocky Burnette on The Beatles and Elvis Rocky Burnette with Darrel Higham & The Enforcers- "Lonesome Tears In My Eyes" Tiger Army- "Devil That You Don't Know" Hot Chickens- "Tell Me How"   Outro Music Bed:   The Di Maggio Connection- "A Night In Shanghai"

Wanda Jackson was only halfway through high school when, in 1954, country singer Hank Thompson heard her on an Oklahoma City radio show and asked her to record with his band, the Brazos Valley Boys. By the end of the decade, Jackson had become one of America’s first major female country and rockabilly singers.Jackson was born in Maud, Oklahoma, but her father Tom – himself a country singer who quit because of the Depression – moved the family to California in 1941. He bought Wanda her first guitar two years later, gave her lessons and encouraged her to play piano as well. In addition, he took her to see such acts as Tex Williams, Spade Cooley and Bob Wills, which left a lasting impression on her young mind. Tom moved the family back to Oklahoma City when his daughter was 12 years old. In 1952, she won a local talent contest and was given a 15-minute daily show on KLPR. The program, soon upped to 30 minutes, lasted throughout Jackson’s high-school years. It’s here that Thompson heard her sing. Jackson recorded several songs with the Brazos Valley Boys, including “You Can’t Have My Love,” a duet with Thompson’s bandleader, Billy Gray. The song, on the Decca label, became a national hit, and Jackson’s career was off and running.When Jackson first toured in 1955 and 1956, she was placed on a bill with none other than Elvis Presley. The two hit it off almost immediately. Jackson said it was Presley, along with her father, who encouraged her to sing rockabilly.Jackson cut the rockabilly hit “Fujiyama Mama” in 1958, which became a major success in Japan. Her version of “Let’s Have a Party,” which Elvis had cut earlier, was a U.S. Top 40 pop hit for her in 1960, after which she began calling her band the Party Timers. A year later, she was back in the country Top Ten with “Right or Wrong” and “In the Middle of a Heartache.” In 1965, she topped the German charts with “Santa Domingo,” sung in German. In 1966, she hit the U.S. Top 20 with “The Box It Came In” and “Tears Will Be the Chaser for Your Wine.” Jackson’s popularity continued through the end of the decade.Jackson toured regularly, was twice nominated for a Grammy, and was a big attraction in Las Vegas from the mid-’50s into the ’70s. She married IBM programmer Wendell Goodman in 1961, and instead of quitting the business – as many women singers had done at the time – Goodman gave up his job in order to manage his wife’s career. In 1971, Jackson and her husband became Christians, which she says saved their marriage. She released one gospel album on Capitol in 1972, “Praise the Lord”, before shifting to the Myrrh label for three more gospel albums. In 1977, she switched again, this time to Word Records, and released another two.In the early 1980s, Jackson was invited to Europe to play rockabilly and country festivals and to record. More recently, American country artists Pam Tillis, Jann Browne, and Rosie Flores have acknowledged Jackson as a major influence. Jackson embarked on a major U.S. tour with Flores in 1995. Jackson returned to the studio in 2010 to begin work on a new album. “The Party Ain’t Over” arrived in early 2011 and while in her seventies she was still touring in 2012.

Salty Dog's TORQUE Podcast, July 2019 Visit: www.salty.com.au Tension down those tracks as we apply the right amount of torque. Bolted and pulling their weight, great tracks from Watermelon Slim, Rosie Flores, Giant Sand, Jeff Lang, Lachlan Bryant, Electro Blues Society, Violet Femmes, Billy Price, Dom Turner, Lonesome Shack, Taj Mahal, Samantha Fish, Ash Grunwald, Talk Talk, Over The Rhine, Deborah Conway, Stephen Forster, Tail Dragger, Garrington T Jones, Pinetop Perkins. ----------- ARTIST / TRACK / ALBUM ** Australia 1. Watermelon Slim / Gypsy Woman / Church Of The Blues 2. Rosie Flores / Love Don't Love No Body / Simple Case of the Blues 3. Giant Sand / Barrio / Returns To Valley Of Rain 4. ** Jeff Lang / Smarts Hill Rd / Alone In Bad Company 5. ** Lachlan Byrant N The Wildes / The Road / Pre release 6. Electro Blues Society / Back Door Man / Back Door Man 7. Violet Femmes / Run With It / 2 Mics And The Truth 8. Billy Price / Expert Witness / Reckoning 9. ** Dom Turner N Tony Wheeler / Robert 'Wolfman' Belfour / Microtonal Crossroads One: Music For Slide Guitar And Guqin 10. Lonesome Shack / King Clone / Desert Dreams 11. Taj Mahal / Leaving Trunk / Taj Mahal 12. Samantha Fish / Poor Black Mattie / Belle Of The West 13. ** Ash Grunwald N Ian Collard / Everyday / Live At The Corner 14. Talk Talk / Ascension Day / Laughing Stock 15. Over The Rhine / Leaving Days / Love N Revelation 16. ** Deborah Conway / Fallen Star / The Words of Man 17. ** Stephen Forster / Crazy Jane On The Day Of Judgement / Inferno 18. Tail Dragger N Bob Corritore / Sugar Mama / Longtime Friends In The Blues 19. Garrington T Jones / Watch Me Go Blues / Dead Roses 20. Pinetop Perkins / Anna Lee / Back On Top 21. ** Dom Turner N Tony Wheeler / Dark Was The Night / Microtonal Crossroads One: Music For Slide Guitar And Guqin

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The two-time Grammy nominee and alt.country pioneer joins us to discuss his career as an eclectic and fiercely independent singer songwriter. EPISODE DETAILS: PART ONE Scott and Paul chat about the classic conundrum of getting annoyed when your favorite artists get too popular, but also getting annoyed when people don't catch on their greatness. PART TWO - 8:20 mark Paul plays a friend's brand new single for Scott and the guys talk about Pearl Snap Studios, Patreon, and how a lucky listener can win a free hat. PART THREE - 12:59 mark Robbie stops by Songcraft World Headquarters to chat about one of his earliest songs--a super twisted parody of a Red Sovine classic; why he never moved to Nashville; how he got a record deal by writing a manifesto; why putting an album's songs in the proper sequence is important; the song he wrote for his celebrity crush; the concept album he never made; the insider details he learned from Tom Brumley; and which of his songs he doesn't want to play anymore. Plus, Robbie performs live and acoustic! ABOUT ROBBIE FULKS Singer, recording artist, instrumentalist, composer and songwriter Robbie Fulks’s most recent solo album, Upland Stories, was named among the year’s best by NPR and Rolling Stone, and was nominated for a Best Folk Album Grammy. Additionally, his “Alabama at Night” earned a Grammy nomination for Best American Roots Song. Though his tastes are wide-ranging, Fulks is steeped in country, bluegrass, and folk traditions with an often irreverent sensibility that can range from hilarious to heart breaking.  Robbie’s first two albums, Country Love Songs and South Mouth, helped define the “alternative country” movement of the 1990s, while subsequent releases found him exploring pop and rock territory. His recent work is more reflective and acoustic-oriented, though he occasionally diverges to pursue eclectic projects such as his 2018 duet album with Linda Gail Lewis, Wild! Wild! Wild! Robbie’s songs have been covered by Sam Bush, Kelly Hogan, Andrew Bird, Mollie O’Brien, Rosie Flores, John Cowan, Pinmonkey, Lone Justice, Old 97s, and others. Additionally, his writing on music and life has appeared in GQ, Blender, the Chicago Reader, DaCapo Press’s Best Music Writing anthologies, and other outlets. Besides country and bluegrass music, Robbie is fiercely fond of—in his own words—Charles Mingus, P.G. Wodehouse, quantum mechanics, his wife Donna, comedy in almost all forms, cooking, swimming laps, the past, Arthur Schopenhauer, Universal horror movies, his grandson and even his sons, coastal towns in the off-season, and rye whiskey, though in nothing like that order.

This hour's Five Year Flashback goes back to May, 2015 when we spoke with the late, great Dick Dale.  Dick passed away at 81 years old on March 16th, 2019 just a few weeks shy of his 82nd birthday.  We hear him talking about Quenin Tarantino requesting that "Miserlou" be part of his Pulp Fiction film.  Our Heavy Hitter Triple Threat segment honors Buck Owens with covers by Rosie Flores and John Fogerty.  Plus, we hear NEW tunes in our instru-Mental Breakdown by The Di Maggio Connection and The Delstroyers and we also spin NEW tracks from Bloodshot Bill, Doel Brothers, John Lewis & His Rock 'n' Roll Trio, The Mellows, Wild Bill & The Railroad Cats, Wildcat Rose, RvB, Bonita & The Blues Shacks, Million Dollar Tones and more! Intro Voice Over- Rob "Cool Daddy" Dempsey Intro Music Bed: Brian Setzer- "Rockabilly Blues" Doel Brothers- "Bottle On The Table" Bloodshot Bill- "Do What You Do" John Lewis & His Rock 'n' Roll Trio- "Wipe Me Out" Million Dollar Tones- "Jenny Lee" Elvis Presley- "Fool, Fool, Fool" Bonita & The Blues Shacks- "Where's The Money Honey" Johnny Cash- "Bad News" RvB- "Over And Over Much" instru-Mental Breakdown: The Di Maggio Connection- "The Red Bridge" The Delstroyers- "Invasion Of The Body Surfers" Wildcat Rose- "Broken Bones" Mighty Joe Castro & The Gravamen- "Everybody Tells Her That" Heavy Hitter Triple Threat: Buck Owens (as "Corky Jones")- "Rhythm And Booze" Rosie Flores- "Hot Dog" John Fogerty- "I Don't Care (Just As Long As You Love Me)" Five Year Flashback: Dick Dale on Quentin Tarantino wanting "Miserlou" for Pulp Fiction Dick Dale- "Miserlou" Wild Bill & The Railroad Cats- "Three Times Seven" The Mellows- "City Lights" Ricky Nelson- "I'm In Love Again" Outro Music Bed:  Dick Dale- "Riders In The Sky"

No. 90 - Honky tonk maestro Dale Watson grew up in Pasadena, TX, just on the Galveston Bay side of Houston. With a father and brother who played country music, he was playing professionally by his early teens. In 1988, alt-country pioneer Rosie Flores convinced him to move to Los Angeles, where he became integral to the scene at the Palomino Club. Then it was on to Austin, a debut album on Hightone Records and a long run of critical and popular acclaim as one of the proudest, silkiest voices carrying the torch for country music. Now he's putting down new roots in Memphis TN. He's the new owner of a legendary south Memphis road house called Hernando's Hideaway, which he'll reopen after renovations this summer. He's taken his concept of Ameripolitan music to new heights with a growing Memphis festival and an awards show that just wrapped its sixth edition. And he made his new album there - his 32nd release. So there's a lot to talk about. Also, getting to know English folk singer and master guitarist John Smith, whose new album Hummingbird blends a few originals with a collection of age-old English ballads. 

How great is it to say there is a NEW Stray Cats tune on the latest Rockabilly N Blues Radio Hour?!!  We also spin NEW tracks from Charley Crockett, Tami Neilson, Rosie Flores, Kim Lenz, Pope Paul & The Illegals, Wild Deuces, rockers from Jimmy Dale, Gene Vincent, Darrel Higham, Glen Campbell and more!  Our instru-Mental Breakdown has NEW tunes from Cap'n Mike & The King Tide and Anthony Castagna, the Five Year Flashback is with the always great Levi Dexter AND we board the Rockabilly N Blues Time Machine for the week ending October 12, 1957!! Intro Voice Over- Rob "Cool Daddy" Dempsey Intro Music Bed: Brian Setzer- "Rockabilly Blues"   Jimmy Dale & The Beltline- "She's Wild" Kim Lenz- "Guilty" Stray Cats- "Cat Fight (Over A Dog Like Me)" Rosie Flores- "Till The Well Runs Dry" Tami Neilson- "Big Boss Mama" Gene Vincent- "Hey Good Looking" Charley Crockett- "River Of Sorrow" Roger Miller- "Burma Shave"   instru-Mental Breakdown: Anthony Castagna- "Rumble To Newport" Cap'n Mike & The King Tide- "Rumble"   Pope Paul & The Illegals- "I Love The Way" Wild Deuces- "Rock-A-Beatin' Boogie"   Rockabilly N Blues Time Machine for week ending Oct. 12, 1957: #79 Fats Domino- "Wait & See" #68 Thurston Harris- "Little Bitty Pretty One" #1 The Everly Brothers- "Wake Up Little Susie"   Five Year Flashback: Levi Dexter on the Levi & The Rockats new sound maybe not appealing to Ted's Levi & The Rockats- "All Thru The Night"   Glen Campbell- "I'll Be Back" Darrel Higham- "Blood From A Stone" Eddie Cochran- "Little Lou"   Outro Music Bed:  Eddie Cochran- "Eddie's Blues"

Portada de hoy para otra gran dama del blues Alexis P. Suter y su banda abren esta edición con su nuevo álbum. La ganadora del 'Koko Taylor' nos presenta un disco emocionante . Además, seguimos tras la pista del nuevo álbum de Mavis Staples, hoy traemos el segundo sencillo del disco que le ha escrito y producido Ben Harper. Más blues con Greg Copeland que tiene nuevo disco. Le siguen Shane Dwight y la fantástica Rosie Flores de quién volvemos a recuperar su disco 'Simple Case of Blues'. También estrenamos el nuevo sencillo de Sheryl Crow, nada menos que junto a Johnny Cash. Y cerramos con Dale Watson, en las despedidas, homenajea al hombre de negro y a su dama June Carter en su último disco.

Portada de hoy para otra gran dama del blues Alexis P. Suter y su banda abren esta edición con su nuevo álbum. La ganadora del 'Koko Taylor' nos presenta un disco emocionante . Además, seguimos tras la pista del nuevo álbum de Mavis Staples, hoy traemos el segundo sencillo del disco que le ha escrito y producido Ben Harper. Más blues con Greg Copeland que tiene nuevo disco. Le siguen Shane Dwight y la fantástica Rosie Flores de quién volvemos a recuperar su disco 'Simple Case of Blues'. También estrenamos el nuevo sencillo de Sheryl Crow, nada menos que junto a Johnny Cash. Y cerramos con Dale Watson, en las despedidas, homenajea al hombre de negro y a su dama June Carter en su último disco.

Nick Lowe once again teams up with those rockin' masked crusaders of Los Straitjackets for a new EP Love Starvation (available May 17th) and we spin the title track this hour!  We also give you NEW tunes from Motel Mirrors, Fatboy, The Mellows (feat. Colton Turner), Carl Bradychok, Clint Bradley, Ray Allen, Rosie Flores as part of our instru-Mental Breakdown and classics from Carl Perkins, Joe Maphis & Rose Lee Maphis, Waylon Jennings, Two Tons Of Steel, Annisteen Allen and more!  Plus, we hear a trio of Buddy Holly-related tracks AND our Five Year Flashback is with Phil Alvin talking about The Blasters classic, "Marie, Marie" so you don't want to miss it! Intro Voice Over- Rob "Cool Daddy" Dempsey Intro Music Bed: Brian Setzer- "Rockabilly Blues"   Motel Mirrors- "Everybody's Moving" Sonny Burns- "A Real Cool Cat" The Mellows (feat. Colton Turner)- "Always" Annisteen Allen- "Fujiyama Mama" Carl Perkins- "Jenny, Jenny" Fatboy- "Diggin' The Scene" Ray Allen- "Jersey Pearl" Clint Bradley- "Lone Lonesome Moon" Joe Maphis & Rose Lee Maphis- "Dim Lights, Thick Smoke (& Loud, Loud Music)" Waylon Jennings- "Nobody Knows" Niki Sullivan- "It's All Over" (former guitarist of The Crickets) Ronnie Smith & The Poor Boys- "Lookie, Lookie, Lookie" (w/ Carl Bunch on drums) Lou Giordano- "Don'tcha Know" (w/ Phil Everly & Buddy Holly on falsetto BGV's)   instru-Mental Breakdown: Rosie Flores- "Teenage Rampage" Bill Kirchen- "Guitar Boogie Shuffle"   Five Year Flashback: Phil Alvin on "Marie, Marie" The Blasters- "Marie, Marie" Carl Bradychok- "Put Your Cat Clothes On" Nick Lowe (w/ Los Straitjackets)- "Love Starvation" Two Tons Of Steel- "Not That Lucky"   Outro Music Bed: The Domestic Bumblebees- "The Screamin' Lobster"

Rosie Flores Interview and performance on Folkscene. Recorded on 4-1-19. Engineered by Peter Cutler. Hosted by Allen Larman

Artist Interviews - Rosie Flores 4 - 4 - 19 by

Rosie Flores née le 10 Septembre 1950 à San Antonio au Texas est une chanteuse de Rockabilly et Country Music. Comme d'autres, sa culture musicale se construit à partir de ce qu'elle entend à la radio puis ce qu'elle voit à la télé comme par exemple les émissions ‘’ American band stand ‘’ autrement dit le « Dick Clark show ». Au cours de cette période, Brenda Lee et Elvis Presley retiennent son attention, puis un peu plus tard, Buck Owens, Tammy Wynette et même Creedence Clearwater ont sa préférence. Elle aime chanter et sur l'album ‘’Rockabilly Filly‘’, figure un enregistrement réalisé par son père alors que Rosie avait 7 ans. Rosie est une artiste travailleuse, à l'esprit indépendant, qui est respectée pour son chant énergique et ses solos de guitare enflammés. Faisant d’abord son nom dans des groupes comme ‘’Rosie & the Screamers’’ et les ‘’Screaming Sirens’’ qui jouaient du punk rock avec une touche piquante, Rosie Flores a montré son talent pour le style rétro Bakersfield avec son album de 1987

On this Rockabilly N Blues Radio Hour, we'll spin NEW tracks from Rosie Flores, Hot Rod Walt & The Psycho DeVilles, Motel Mirrors, The Hawkmen, Screamin' Rebel Angels, The Outsiders, The Bullets and Dale Watson & Celine Lee (with "Johnny & June" as part of our "Double Trouble" segment (along with a track FROM Johnny & June).  Vince Ray sends over an earlier track he did with Vern Vain & The Blue Vains.  Our Heavy Hitter Triple Threat segment honors Little Walter with covers by Keith Richards and Eilen Jewell.  Plus, our Five Year Flashback is with Rock & Roll Hall Of Famer Duane Eddy as he discusses "Rebel Rouser" being a part of the Forrest Gump movie and soundtrack plus we've got tunes from Big Sandy Bo Diddley and Red Foley! Intro Voice Over- Rob "Cool Daddy" Dempsey Intro Music Bed: Brian Setzer- "Rockabilly Blues"   The Hawkmen- "Acai" The Outsiders- "Rockabilly's Back In Town" Motel Mirrors- "Gotta Lotta Rhythm" Bo Diddley- "Bo Diddley Is A Lover" Screamin' Rebel Angels- "Hands Off" Rosie Flores- "Love Don't Love Nobody" The Bullets- "Ba Boom" Vern Vain & The Blue Vains- "I Ride Alone"   Double Trouble segment: Johnny Cash & June Carter Cash- "Jackson" (live) Dale Watson & Celine Lee- "Johnny & June"   Big Sandy- "Make A Little Time With Jesus" Red Foley- "Salty Dog Rag"   Heavy Hitter Triple Threat segment: Little Walter- "Hate To See You Go" Keith Richards- "My Babe" Eilen Jewell- "Crazy Mixed Up World"   Five Year Flashback: Duane Eddy on "Rebel Rouser" in Forrest Gump Duane Eddy- "Rebel Rouser Hot Rod Walt & The Psycho DeVilles- "Gasser 66"   Outro Music Bed: Johnny Cash- "Rollin' Free"

"T'agrada el blues?" d'aquesta setmana proposa una alegria femenina i una novetat captivadora tamb

With a fiery passion that developed at a young age, Bonnie Montgomery says she had no choice but to pursue a career in music. A Searcy native and Ouachita Baptist University graduate, Montgomery has been a fixture in the Arkansas music scene for years. While she's drawn inspiration from Texas-based artists such as Rosie Flores, Billy Joe Shaver and Ray Wylie Hubbard, Montgomery has never steered too far from her roots, calling Johnny Cash her “North Star.” She joined host Natalie Ghidotti to share more about her career in our latest episode.

A quintessential sideman, Stormy has been musically anchored in Austin, LA and Nashville. He’s played all over the world with artists like Coffey Anderson, Ted Russell Kamp, Nick 13, Sarah Gayle Meech, James Intveld, Rosie Flores & others Really great convo where Storm talks about quitting drinking and the tremendous impact it’s had on his life, loads of interesting career stories about places he’s lived and the reasons he moved there in the first place, working through childhood stuff, regrets, leaving Omaha & more! Subscribe https://www.everyonelovesguitar.com/subscribe/ Facebook: https://www.facebook.com/EveryoneLovesGuitar/ Instagram: https://www.instagram.com/everyonelovesguitar/ Twitter: https://twitter.com/ELovesGuitar

We're cruising through the final few shows of another year in The Roadhouse. And, we're doing it with the variety you've come to love from each and every show. Tommy Castro, Byther Smith, Shemekia Copeland, Ben Poole, and Rosie Flores lead the next hour. We may be winding down year 14, but we're definitely winding up for another hour of the finest blues you've never heard - the 726th Roadhouse.

We're cruising through the final few shows of another year in The Roadhouse. And, we're doing it with the variety you've come to love from each and every show. Tommy Castro, Byther Smith, Shemekia Copeland, Ben Poole, and Rosie Flores lead the next hour. We may be winding down year 14, but we're definitely winding up for another hour of the finest blues you've never heard - the 726th Roadhouse.

Opening Monologues. Major Schadenfreude on the demise of Bill Kristol's The Weekly Standard. The flagship Never Trump publication finally goes down the tubes, for sheer sustained wrongitude and lack of relevance. Old Guard "neoconservatives" now angry and lashing out. After decades of turning a blind eye to job losses in Blue Collar America, suddenly David Brooks and John Podhoretz find great injustice in corporate terminations. Meanwhile, we review the failures of Globalism in the West. Open Borders Macron, May and Merkel losing control in Europe. The Gilets Jaunes still protesting in France, as we observe the rise of enlightened, patriotic nationalism. The right side of history? Plus, persecuting General Flynn. Mueller sitting at Zero. No Prague for Michael Cohen. A federal judge rules Obamacare unconstitutional. Still totally ready for President Trump to unleash the Declassification. Let's have the High Noon Showdown. Also, vignettes on Tchaikovsky's The Nutcracker Suite holiday ballet. With Listener Calls & Music via Dwight Yoakam, Rosie Flores, the Beach Boys, Frei Wild, Jo Stafford, Sheryl Crow and Weezer.  See omnystudio.com/listener for privacy information.

Je hoort vandaag muziek van The Outsiders, John Primer, Pablo van de Poel, Rosie Flores, George Michael en The Marcus King Band.

Linda Gail Lewis is our guest this hour as we chat about her new album with Robbie Fulks on Bloodshot Records titled Wild! Wild! Wild!  We also talk about 2019 touring including Viva Las Vegas Rockabilly Weekender, her animated appearance in an episode of Mike Judge Presents: Tales From The Tour Bus, a special request for a song from her brother Jerry Lee Lewis and more!  We'll also spin a brand NEW tune from Reverend Horton Heat and rockers from Dion, Darrel Higham, Celine Lee and Rosie Flores!! Intro Voice Over- Rob "Cool Daddy" Dempsey Intro Music Bed:  Brian Setzer- "Rockabilly Blues"   Reverend Horton Heat- "Whole New Life" Rosie Flores & The Pine Valley Cosmonauts- "I Ain't Got You" Celine Lee- "Miss Atomic Bombshell 1949" Darrel Higham- "If You Can't Rock Me" Dion- "Kansas City"   Linda Gail Lewis interview: Linda Gail Lewis & The Rockarounds- "Lie & Deny" Interview segment 1 *includes snippet of "Memphis Never Falls From Style" Linda Gail Lewis, Annie Marie Lewis & Danny B. Harvey- "Whole Lotta Shakin' Goin' On Segment 2 *includes snippet of "Round Too Long" Robbie Fulks & Linda Gail Lewis- "Boogie Woogie Country Gal" Segment 3 Robbie Fulks & Linda Gail Lewis- "Till Death" Segment 4 Robbie Fulks & Linda Gail Lewis- "Wild Wild Wild" Jerry Lee Lewis & Linda Gail Lewis- "North To Alaska" Segment 5 Jerry Lee Lewis- "Rockin' My Life Away" Linda Gail Lewis (with Robbie Fulks)- "You Are My Sunshine" Robbie Fulks- "Cry, Cry, Cry"   Outro Music Bed: Linda Gail Lewis- "Little Baby Rock"  

We're celebrating what would have been Eddie Cochran's 80th birthday (October 3rd) and we've got the top 2 songs voted on by the listeners on this Rockabilly N Blues Radio Hour!  We also get 2 rockin' Cochran Covers by Darrel Higham and Brian Setzer!  Plus, we have NEW tunes from Rosie Flores, Colton Turner, Alex Valenzi & The Hideaway Cats, Chery Deseree, The Hi-Jivers, Kim Wilson, our instru-Mental Breakdown, a rare rocker from Dion, Howlin' Wolf talks about his nickname and so much more.  We also pay tribute to Lazy Lester who passed away August 22nd. Intro Voice Over- Rob "Cool Daddy" Dempsey Intro Music Bed: Brian Setzer- "Rockabilly Blues"   Darrel Higham- "Don't Bye Bye Baby Me" The Hi-Jivers- "Got Me Wrong"   #2 Eddie Cochran- "Somethin' Else"   Buddy Holly- "Ting-A-Ling" George Jones- "Tall Tall Trees" Rosie Flores- "Drive, Drive, Drive" Kim Wilson- "Look Whatcha Done" Carl Perkins- "Glad All Over"   instru-Mental Breakdown: Bill Haley & His Comets- "Guitar Boogie" Duane Eddy- "Stalkin'"   Brian Setzer- "Nervous Breakdown" Dion- "Feelin' No Pain" Lazy Lester- "I'm A Lover Not A Fighter" Howlin' Wolf on his nickname Howlin' Wolf- "Moanin' At Midnight"   #1 Eddie Cochran- "Twenty Flight Rock"   Colton Turner- "Midnight Hour" Alex Valenzi & The Hideaway Cats- "Bop Bop Boogie" Cheryl Deseree with Ray Benson- "Oooh-Dah-Dilly-Dah"   Outro Music Bed:  Danny B. Harvey- "Cattin' Around"

In this episode I sat down with Texas native Terry McBride; who was making a run through Texas and was a judge at our TMP Songwriter Competition. Terry scored a #1 (Sacred Ground) as well as a string of Top 5 hits, with his group McBride and the Ride in the 90’s, but that’s only where his songwriting accolades begin… After McBride and the Ride disbanded, Terry began to focus most of his attention on songwriting, and through the years since has had songs cut by other artists such as Garth Brooks, George Strait, Reba McEntire, Hank Williams Jr., Ronnie Dunn, Kix Brooks, Alan Jackson, Trace Adkins, Easton Corbin, Lost Frequencies, Kenny Rogers, John Anderson, Cole Swindell, Jim Lauderdale, Chase Bryant, Clare Dunn, Ricky Van Shelton, George Ducas, David Ball, Casey James, Wade Hayes, Gretchen Wilson, Andy Griggs, Jedd Hughes, Jason Michael Carroll, James Otto, Gord Bamford, Emerson Drive, Rosie Flores, as well as Texas stars Cody Johnson, Jack Ingram, and Josh Ward. In 2004, Terry co-wrote American Idol finalist Josh Gracin’s top five single “Stay With Me/Brass Bed”. He followed that up by co-writing “Play Something Country” with Ronnie Dunn, which was the fastest rising single of Brooks and Dunn’s career and was also the final #1 song for the award-winning duo. Terry has had over 25 songs recorded by Brooks & Dunn, which led to 13 singles and 12 BMI million air awards. So we talk about his musical journey, get the scoop on his latest project and what’s next and pick his brain about songwriting and any advice he has for aspiring songwriters.

Danielle Colby from History Channel's American Pickers joins us on Rockabilly N Blues Radio Hour again this week.  We discuss her experience co-hosting the 5th Annual Ameripolitan Music Awards as well as her relief efforts to Puerto Rico with Jeremy Scheuch.  We'll also hear tunes from some of the winners at the awards show: Chris Scruggs, The Go-Getters, Bailey Dee, Luke Bell, The Carolyn Sills Combo and Al Dual plus rockin' tunes from Jason D. Williams, Dickie Lee, Matthew & Gunnar Nelson, Johnny Cash, Rosie Flores, Jesse Dayton and Dale Watson! Intro Voice Over- Rob "Cool Daddy" Dempsey Intro Music Bed:  Brian Setzer- "Rockabilly Blues"   Bailey Dee- "Too Long" Al Dual- "Call EO To Pray" The Carolyn Sills Combo- "Lorene" Luke Bell- "All Blue" The Go-Getters- "Long Black Shiny Car" Jason D. Williams- "Fingernails"   Danielle Colby segment 1 Dickie Lee- "Good Lovin" Danielle Colby segment 2 Chris Scruggs- "Ain't Got Time" Danielle Colby segment 3 Matthew & Gunnar Nelson- "Milk Cow Blues" Danielle Colby segment 4 Johnny Cash & Tom Petty- "I Won't Back Down" Danielle Colby segment 5 Dale Watson & The Texas Two- "Johnny At The Door"   Rosie Flores- "Crazy Mixed Emotions" Jesse Dayton- "Both Sides Of The Line"   Outro Music Bed:  Rosie Flores- "Surf Demon #5"  

Visit our new Podcast/Audio portal at http://dittytvradio.com for 24/7 audio music entertainment and our complete catalog of on demand podcasts. The Rockabilly Filly herself, Rosie Flores, sits down with Tatiana Z during the 2018 Ameripolitan Music Awards to discuss her celebrated career in music.

The great Fats Domino unfortunately passed away on October 24 at 89 years old.  His musical legacy and influence is strong and will be felt for generations.  We hear a couple of songs from Fats including a Christmas tune to kick it off plus covers from Buddy Holly, Rosie Flores and Linda Gail Lewis.  We also hear Christmas tracks from Ricky Nelson, Ricky's sons Matthew & Gunnar, Rocky Burnette, Elvis Presley with the Royal Philharmonic Orchestra, Miss Mary Ann & The Ragtime Wranglers plus a Christmas instru-Mental Breakdown with Joel Paterson, Reverend Horton Heat and Danny B. Harvey & Annie Marie Lewis.  We also hear from 2018 Ameripolitan nominees Matt & The Peabody Ducks, The Twilight Drifters and rockers from Little Richard, Eilen Jewell, TJ Mayes and Colton Turner!! Intro Voice Over- Rob "Cool Daddy" Dempsey Intro Music Bed:  Brian Setzer- "Rockabilly Blues"   Block of Domino's: Fats Domino- "Please Come Home For Christmas" Fats Domino- "I'm Ready" Rosie Flores- "I'm Walkin'" Buddy Holly- "Valley Of Tears" Linda Gail Lewis- "Wait & See"   Ricky Nelson- "Jingle Bells" Matthew & Gunnar Nelson- "Rockin' Around The Christmas Tree" Johnny Burnette Christmas greeting Rocky Burnette- "Run Rudolph Run" Colton Turner- "Rock-A-Bye" Eilen Jewell- "You'll Be Mine" TJ Mayes- "In My Head" Del Reeves- "Girl On The Billboard" Red Simpson- "Nitro Express"   instru-Mental Breakdown Joel Paterson- "I've Got My Love To Keep Me Warm" Reverend Horton Heat- "Winter Wonderland" Danny B. Harvey & Annie Marie Lewis- "Christmas Guitar Boogie"   Elvis Presley with the Royal Philharmonic Orchestra- "Silver Bells" Miss Mary & The Ragtime Wranglers- "Boogie Woogie Santa Claus" Matt & The Peabody Ducks- "Gal Of My Dreams" The Twilight Drifters- "Dirty Dirty Feeling" Little Richard- "Miss Ann (Take 6)"   Outro Music Bed:  Eddie Angel- "Toe Rag Rumble"

Opening Monologue. Awarding the "Fake News Trophy" becomes a challenge this week, with contenders galore across the media landscape. CNN botches another bombshell on Russian Collusion, then allows its lies to linger, and then supplies a predictably unapologetic "correction." We sample the lame excuses for error offered by CNN's Brian Stelter and hapless Neoconservative David Frum. Meanwhile, President Trump announces plans to move the U.S. Embassy from Tel Aviv to Jerusalem, converting the longstanding rhetoric of Bill Clinton, George W. Bush and Barack Obama into reality. Why so controversial? Plus, we consider the resignation of Senator Al Franken and the string of coincidences that led to his downfall. A case of unfortunate timing? The Establishment was aiming at Roy Moore, but hit Franken instead. After decades of shilling for the predations of the Clintons, can Democrats now claim the moral high ground? They're sure gonna try. Also, we note the absence of "kneeling" before yesterday's Army-Navy football game. With Listener Calls & Music via America, the Cranberries, Janis Martin, Erasure and Rosie Flores.See omnystudio.com/listener for privacy information.

Half the show this week features brand new tunes from Dale Watson & Ray Benson, Hayden Thompson, Nikki Lane, The Sugar Daddies, Derek Irving & His Combo, Babe Miller, Texas T & The Shinerunners and The Rob Ryan Roadshow.  We also hear Billy Harlan talk about "I Wanna Bop" and rockers from Johnny Horton, Rosie Flores, Elvis Presley, Dion, JD McPherson and more!! Intro Voice Over- Rob "Cool Daddy" Dempsey Intro Music Bed:  Brian Setzer- "Rockabilly Blues"   Hayden Thompson- "Trouble On The Line" The Rob Ryan Roadshow- "Monkey Beat City" Johnny Horton- "Honky Tonk Mind (The Woman I Need)" JD McPherson- "It Shook Me Up" Rosie Flores & The Pine Valley Cosmonauts- "Get Rhythm" Babe Miller- "How Do We Rock" Johnny Powers- "Good Gracious Me" Malcolm Yelvington- "Drinkin' Wine Spo-Dee-O-Dee" Dion- "Mean Woman Blues" Texas T & The Shinerunners- "Don't Over Think It" The Palomars- "All I Can Do Is Cry" Derek Irving & His Combo- "Combo Boogie" Billy Harlan talks about "I Wanna Bop" Billy Harlan- "I Wanna Bop" Bob Luman- "Try Me" Nikki Lane- "Jackpot" Elvis Presley- "Viva Las Vegas" Dale Watson & Ray Benson- "Bus' Breakdown" The Sugar Daddies- "Saturday Night"   Outro Music Bed: Danny B. Harvey- "Cattin' Around"    

We hear new tunes from Wayne Hancock, Elvis Presley with the Royal Philharmonic Orchestra, Country Side Of Harmonica Sam, Jack Skuller, Skip Frontz Jr. & His Left Handed Luckies and The Belmonts this week.  We also pay tribute to Bobby Vee who passed away on October 24th.  Plus, we get a Christmas installment of "Dale Yeah" by Dale Watson as well as Christmas tunes from Dale, Rosie Flores, Si Cranstoun, Lara Hope & The Arktones, Southern Culture On The Skids, Ricky Nelson, Martin Cilia, Jack Scott and more! Intro Voice Over- Rob "Cool Daddy" Dempsey Intro Music Bed:  Big Bad Voodoo Daddy- "Rockabilly Christmas" Si Cranstoun- "A Christmas Twist" Lara Hope & The Arktones- "Santa Claus Is Back In Town" Wayne Hancock- "Slingin' Rhythm" Skip Frontz Jr. & His Left-Handed Luckies- "Asphalt In My Veins" Paul Pigat- "Rock A Hula Baby" Ricky Nelson- "The Christmas Song" Jack Scott- "There's Trouble Brewin'" Country Side Of Harmonica Sam- "Lookout Heart" Rebel Dean & Linda Gail Lewis- "Burning The Candle (Both Ends)" Jack Skuller- "Slinky" Martin Cilia- "Jingle Bells" Southern Culture On The Skids- "Silver Bells" Bobby Vee- "Suzie Baby" Deke Dickerson- "The Hatchet Man" Dale Yeah (Christmas edition) with Dale Watson Rosie Flores- "Christmas On West Mistletoe" Dale Watson- "Christmas In Vegas" Elvis Presley & - "Big Hunk Of Love" The Belmonts- "Welcome Me Back Home" Eddie Cochran- "Little Lou" Outro music bed: Eddie Cochran- "Eddie's Blues"

Habitués de longue date à des concerts et des festivals européens, les Bootleggers originaires d’Arthez -de-Béarn en Pyrénées-Atlantiques, parcourent la route depuis 1987 emportant dans leurs bagages des chansons et musiques liées au Rock and Roll, Boogie-Woogie et autres rythmes des années 1950-1960. Leurs prestations sont hors du commun car le groupe a fait la scène avec des artistes tels que: Johnny Hallyday, Dick Rivers, Dale Watson, Calvin Russell, Skinny Molly, Rosie Flores, Billy Joe Shaver, Steve Young, Charlie McCoy et bien d’autres pointures du Rock et de la Country Music. Quelques dates : Mirande 1994, Craponne 1996, Faro au Portugal…etc. Bootleggers est un vieux band country-rock qui existe depuis 1987 avec diverses formations; Didier Céré et Fredo Bordeneuve sont à l’origine de la création du groupe; Didier est aujourd’hui le seul présent de la formation d’origine.

We hear our first "Dale Yeah!" segment with Dale Watson and his recommendation of Don Diego Trio!  This will be an ongoing segment so be sure to watch for these in upcoming episodes as well.  We also have interview segments with Linda Gail Lewis as well as JM Van Eaton and tunes from Glen Glenn, The WildTones, Old Stuff Trio, Wanda Jackson, Carl Bradychok, Si Cranstoun, The Mavericks, Sirocco Brothers, Rosie Flores and more!! Intro Voice Over- Rob "Cool Daddy" Dempsey Intro Music Bed- Brian Setzer- "Rockabilly Blues"   The WildTones- "Love Machine" Lil Mo & The Dynaflos- "Hands Off" Linda Gail Lewis on the pressures of the Lewis name Linda Gail Lewis- "Sure Does Help" Old Stuff Trio- "Capybara Boogie" Big Mama Thornton- "I Smell A Rat" Carl Bradychok- "Too Much" Eddie Clendening & The Blue Ribbon Boys- "That Weeping Willow Tree" Wanda Jackson- "Money Honey" Si Cranstoun- "Jukebox Jump" Rosie Flores- "This Cat's In The Doghouse" Sid King & The Five Strings- "Sag, Drag & Fall" Sirocco Brothers- "Stomp" JM Van Eaton on the recording of "Whole Lotta Shakin' Going On" Jerry Lee Lewis- "Whole Lotta Shakin' Going On" The Mavericks- "The Only Question" Dale Yeah segment 1 with Dale Watson Don Diego Trio- "Good Guy" Dale Watson- "If You Knew What's Good For You" Glen Glenn- "Blue Jeans & A Boy's Shirt" Darrel Higham & The Enforcers- "Burning Love" Fats Domino- "Honey Chile"   Outro Music Bed- Fats Domino- "Fats Frenzy"

This week we spin tunes from some of the artists performing at the 2nd annual Nashville Boogie Vintage Weekender!  We'll talk with festival owner Jason Galaz and hear tunes from Wanda Jackson, Reverend Horton Heat, The Blasters, Chris Isaak, a new track from Big Sandy & His Fly Rite Boys, Deke Dickerson, Dale Watson, James Intveld, Dibbs Preston, Levi Dexter, Rosie Flores, Slim Jim Phantom (with The Stray Cats) and so much more on this week's Rockabilly N Blues Radio Hour! Intro Voice Over- Rob "Cool Daddy" Dempsey   Wanda Jackson- "Let's Have A Party" Dale Watson- "Good Luck N Good Truckin' Tonite" Stray Cats (with Slim Jim Phantom)- "I Fought The Law" Deke Dickerson- "Mexicali Rose" Reverend Horton Heat- "Please Don't Take The Baby To The Liquor Store" Dibbs Preston & The Detonators- "Quit This Big Old Town" Big Sandy & His Fly Rite Boys- "Fine Fine Superfine" James Intveld- "Modern Don Juan" Planet Rockers- "Whatcha Gonna Do" The Blasters- "Marie Marie"   Jason Galaz interview Segment 1 Chris Isaak- "Keep Hanging On" Segment 2 Marcel Bontempi- "Shag Rag"   Woody Pines- "Walkin' Stick" Levi Dexter & The Ripchords- "Jitterbop Baby" Rosie Flores- "Wrong Side Of His Heart" Alton & Jimmy- "I Just Don't Know" Doel Brothers- "Kissin' Bug Boogie" Go Getters- "Hot Rod Roadeo" Outro:  Chris Casello- "Chris' Guitar Boogie"

This special edition of Rockabilly N Blues Radio Hour focuses on artists featured in the great new book, Dig That Beat!  Not only do we talk with author Sheree Homer, we also hear tunes from artists like Don Woody, Jimmy Sutton's Four Charms, James Intveld, Rosie Flores, Sleepy LaBeef, Ray Campi, Dale Hawkins, Janis Martin, The Paladins, Royal Rhythmaires and so much more!!  Great stories and great music equals great fun!!   Intro Voice Over- Rob "Cool Daddy" Dempsey   Royal Rhythmaires- "Tough Lover Jimmy Sutton's Four Charms- "Up Jumped The Devil" Don Woody- "Barking Up The Wrong Tree" Al Ferrier- "Let's Go Boppin' Tonight" James Intveld- "King Cry Baby" Ray Campi- "Play It Cool" Rosie Flores- "If I Could Be With You" Dale Hawkins- "Tornado" Dale Hawkins- "Suzy Q" The Paladins- "Mean Man" Janis Martin- "Long White Cadillac" Andy Anderson- "Tough, Tough, Tough" Sleepy LaBeef- "Bottle Up And Go" Planet Rockers- "Heavy On My Mind"

We hear 3 releases from April's Record Store Day- Junior Brown, Reverend Horton Heat and the first recording by Elvis Presley!  Plus, new tracks from Charlie Gracie, JD McPherson, Jane Rose & The Deadend Boys and Little Lesley & The Bloodshots as well as rockers from The Paladins, Rosie Flores and more!  If that's not enough, we hear from The Reach Around Rodeo Clowns telling about their dream tour (maybe a certain "Rev") in their new installment of Ask The Clowns on this week's Rockabilly N Blues Radio Hour!     Intro Voice Over- Rob "Cool Daddy" Dempsey   The Paladins- "Mercy" JD McPherson- "Head Over Heels" Elvis Presley- "My Happiness" Reverend Horton Heat- "It's A Rave Up" Junior Brown- "Better Call Saul" Jane Rose & The Deadend Boys- "Consequences" Nikki Hill, Deke Dickerson & The Bo-Keys- "Struttin'" Tommy Lam- "Speed Limit" Big Sandy & His Fly Rite Boys- "It's Time" Billy Harlan- "I Wanna Bop" Charlie Gracie- "Cool Baby" Rosie Flores- "Hot Dog" Dion- "Ruby Baby" (live acoustic) The Blasters- "Long White Cadillac" Brian Setzer- "Who Would Love This Car But Me" Ask The Clowns: Reach Around Rodeo Clowns- "Road To Hell" Little Lesley & The Bloodshots- "Down The Line" Johnny Powers- "New Spark For An Old Flame"  

This Episode of Closing Time is epic, to say the least. Legendary Texas troubadour Dale Watson sits with Jayke and has everyone in the room belly-aching in laughter. A bottle of tequila later, Rosie Flores sits down and tells us all about growing up playing punk and surf music. Eventually the Rev. Horton Heat sits in with Rosie as they discuss the "female rockabillys" among other things. It was a Helluva night.@JaykeOrvis@EpicastTV@RevHortonHeat@RosieFlorestwee@TheDaleWatson  

There's so much great music packed into this week's hour!  We hear the debuts of Vince Ray's Loser Machine, Sean Coleman & The Quasars and the Greg Martin Group on our show along with Johnny Cash, Robert Gordon, The Caezars, Rosie Flores, Eddie Cochran, a request for Bo Diddley, new Deke Dickerson & Los Straitjackets and so much more! Intro Voice Over- Rob "Cool Daddy" Dempsey   Johnny Cash- "Mean Eyed Cat" Robert Gordon- "Pretty Girls Everywhere" Tweed & The Sugardaddies- "Release Me" Ritchie Valens- "La Bamba" The Caezars- "You Can Love Me" Vince Ray's Loser Machine- "My Little Sister's Gotta Motorbike Johnny Horton- "Cherokee Boogie" TJ Mayes- "Box Car Star" Rosie Flores- "Too Much" Dave Edmunds- "I Knew The Bride" Bo Diddley- "Mona"  Nick Curran- "Can't Stop Lovin' You" Eddie Cochran- "Jeanie, Jeanie, Jeanie" Sean Coleman & The Quasars- "I'm A Man" Deke Dickerson & Los Straitjackets- "Pipeline" Greg Martin Group- "Groovy Grubworm" Ricky Nelson- "It's Late" Chop Tops- "You Can't Win"   Dr. Rubin's Pomade  

Phil Alvin of The Blasters joins for the 2nd installment of "Blastember" during the month of September.  Also, we hear a new track from the upcoming Johnny Winter project, Rosie Flores, Brian Setzer, Chuck Berry, Gas House Gorillas and more!   Intro Voice Over- Rob "Cool Daddy" Dempsey   Howlin' Wolf- "I Better Go Now" Brian Setzer- "Vinyl Records" The Rockats- "Rockin' Baby" Rosie Flores- "Working Girls Guitar"   Dr. Rubin's Pomade   Carl Mann- "Mona Lisa" Pokey LaFarge- "Central Time" Gas House Gorillas- "One Shot" Chuck Berry- "Let It Rock" Page/Plant- "My Bucket's Got A Hole In It"   Blastember! The Blasters- "I'm Shakin'" The Blasters- "So Long Baby Goodbye" The Blasters- "Flattop Joint" The Blasters- "Jubilee Train"   Johnny Winter (with Ben Harper)- "Can't Hold Out" Jerry Lee Lewis- "Whole Lotta Shakin' Goin' On" The Mavericks- "Come Unto Me"  

FTB podcast #187 features the new album from GREG BROWN called Hymns to What is Left.  Here's the iTunes link to subscribe to the FTB podcasts.  Freight Train Boogie podcasts also air weekly on RootHog Radio on Thursday nights at 7:00 pm CST and again Friday mornings at 10:00 am CST and on Rob Ellen's Medicine Show. And you can purchase the Freight Train Boogie Americana App for Android  from Amazon for only $1.99. Show #187 GREG BROWN - Arkansas  (Hymns to What Is Left) LILLY HIATT & THE DROPPED PONIES -  Young Black Rose (Let Down) JOE PUG - The Great Despiser  (Great Despiser) SCOTT MacLEOD - Out of Line (Right As Rain) (mic break) JIM LAUDERDALE - Can I Have This Dance (Carolina Moonrise) BONNIE & THE CLYDES - Rocky Mtn Town  (Wrong Side Up) MAYNARD AND THE MUSTIES - Miles of Broadway  (Cheap Cigar) TIF GINN - Over You  (Tif Ginn) GREG BROWN - Fatboy Blues (Hymns to What Is Left) (mic break) SKYLINE DRIVE - The Switch (Topanga Ranch Motel) CHRIS ROSS - Maybe It’s Me  (Halfway To Wonderland) GENE BUTLER BAND - Two More Shots Of Doubles (That Light Is Always On) ROSIE FLORES - Working Girls Guitar  (Working Girls Guitar) GUNS OF NAVARONE -  Don't Shoot The Messenger (Prize and Battlefield) (mic break) GREG BROWN- End of the Party  (Hymns to What Is Left) (Nov. 16th, 2012) Bill Frater Freight Train Boogie

So, it took a while but now we're back with thirteen songs that will blow you away: Travis Wammack, Rosie Flores and the Pine Valley Cosmonauts, Tom Petty, Kieran Kane, John Gorka, Swampwater, Greyhound Soul, Kate Mann, Drag the River, Builders & Butchers, Ox, El Pino & the Volunteers and Dave Rawlings Machine

The new CD by DANNY BARNES called Pizza Box is featured on Show #45... it's released with backup vocals and full support of "big star" DAVE MATTHEWS. Also new releases from MATT HARLAN, JO SERRAPERE and ROSIE FLORES. The full playlist is posted below.  Here's the iTunes link to subscribe or download the show and here's the direct download link to listen right now on your computer. Check the artist's websites and order their CD's or downloads and tell 'em you heard the songs on the FTB podcast. Please  email me with any questions, comments or suggestions for the podcasts. Show #45 DANNY BARNES - Caveman Pizza Box JO SERRAPERE - Gotham Hotel Love Going South JOHNSMITH - Jay Bird Gravity of Grace GREG TROOPER - Angel The Williamsburg Affair (mic break) ROSIE FLORES & THE PINE VALLEY COSMONAUTS - Halfway Home Girl of the Century MATT HARLAN - Elizabethtown Tips & Compliments THE BLUSHIN' ROULETTES - That Dream I Had Took to the Country DANNY BARNES - Broken Clock Pizza Box (mic break) ERIC ROBERTSON & THE BOSTON BOYS - You and Me Listen STEVIE COYLE - She Ain't Got Me Ten in One PORTERDAVIS - Smack You Back Porterdavis SUSAN GIBSON -  Perfect World New Dog, Old Tricks (mic break) DANNY BARNES - Overdue Pizza Box Bill Frater Freight Train Boogie

(Part II) Born in Windom MN and currently based in Austin TX, Randy was part of the L.A. scene that included Lucinda Williams, Dwight Yoakam, Jim Lauderdale, Rosie Flores and Buddy Miller.  He was a member of the legendary Lonesome Strangers that recorded three influential albums, two of which were produced by Pete Anderson (Dwight Yoakam) and garnering a Billboard Top 40 Hit.  Joined by Minneapolis based Erik Koskinen, who is quickly becoming one of the Midwest's premier writers and singers of folk and blues music. randyweeks.com cdbaby.com/koskinen3 Erik Koskinen

Born in Windom MN and currently based in Austin TX, Randy was part of the L.A. scene that included Lucinda Williams, Dwight Yoakam, Jim Lauderdale, Rosie Flores and Buddy Miller.  He was a member of the legendary Lonesome Strangers that recorded three influential albums, two of which were produced by Pete Anderson (Dwight Yoakam) and garnering a Billboard Top 40 Hit.  Joined by Minneapolis based Erik Koskinen, who is quickly becoming one of the Midwest's premier writers and singers of folk and blues music. randyweeks.com cdbaby.com/koskinen3 Randy Weeks

New Jacob Camara, Neil Young & Crazy Horse, Son Vo & Halina Janusz, The Wild Feathers, Art Pepper + Leo Kotke & Mike Gordon, Sharon Jones & The Dap Kings, Clifton Chenier, Cheech & Chong, Dr. John, Rosie Flores, Mavis Staples... Birthdays for Lemmy Kilmister

New Edgar Winter, Bonnie Raitt, Red Hot Chili Peppers, Alan Parsons, Lettuce, Bound16, Charlie Musselwhite, Banditos + Squeeze, Indigo Girls, Stevie Wonder, The Cars, Wayne Shorter, Rosie Flores, The Clash, Izzy Spring, Robert Palmer... Birthdays for Prince, Clarence White, Dean Martin, Tom Jones

New Monkey House, Dawes, Shemekia Copeland + Tim Buckley, Ray Charles, Charlie Parker, Ian Dury, Adam Ant, Rosie Flores, Diana Ross… Birthdays for Geddy Lee, Patti Scialfa…