Podcasts about shufflin

We consider the legacy of the great Venezuelan players who have graced the game going back to Alex Carrasquel in 1939, constructing an all-star team of players from that beleaguered nation. What can any one of them tell us about Venezuelans as a whole? Hint: it's the same thing that a highway serial killer can tell us about your best friend's gramma. Then we return to the strange, inebriated world of Shufflin' Phil Douglas. Did he betray not just the game and himself, but his wife as well?The Infinite Inning is not only about baseball but a state of mind. Steven Goldman discusses the game's present, past, and future with forays outside the foul lines to the culture at large. Expect stats, anecdotes, digressions, explorations of writing and fandom, and more Casey Stengel quotations than you thought possible. Along the way, they'll try to solve the puzzle that is the Infinite Inning: How do you find the joy in life when you can't get anybody out?

Laughing My Freaking Ass Off, or LMFAO as they were more commonly known - were one of the most enigmatic duos in pop music history. Formed in 2006 by Motown Records’ founder Berry Gordy’s youngest son Stefan Kendal Gordy - AKA Redfoo, and Redfoo’s half-nephew Skyler Austen Gordy - or Sky Blu (with no e, of course)... I would hazard a guess that these hyperactive nepo-babies are the single most successful Uncle-Nephew duo in all of music. As was the style at the time - Foo and Blu’s club bangers included tracks with influences from contemporary pop, hip hop, synthpop, paving the way for a somewhat mindless wave of EDM that focused on the carefree vibes of nightlife, partying, drinking, and just having a good time. After gaining a bit of a following and laying down some demos that truly distilled their party-rocking sound, Redfoo decided to show his demos off to his best friend to get his thoughts on the songs. Now, You may not be surprised to find out that Redfoo’s best friend LOVED the demos; you could even say he had a feelin’ that LMFAO were ready for the big time. Of course, I’m burying the lede here. It PROBABLY didn’t hurt that this ‘best friend’ in question, was none other than Will. I . Am. This is the story of LMFAO's 'Party Rock Anthem' with newly unearthed audio from the group.

This month of love, we're joined by Darren and Susan Reese, a couple whose story is as unique as it is heartwarming. They met in 1991 but didn't start dating until 1995, when Darren made the ultimate romantic gesture—inviting Susan to a waste management meeting. Since then, they've built a life full of love, laughter, and inside jokes, making Marion their home of choice thanks to its incredible human capital. From Darren's custom-made ring for Susan to their cherished celebrations at their favorite pizza place, their journey is filled with meaningful moments. Tune in as they share their playful banter and  some hilarious “album names” suggestions, including Shufflin' on Shag, Phone Looker, and Light Stalking. This episode is a testament to love, humor, and finding joy in the everyday.

NUEVA LISTA. LA PRIMERA DE 2025!! Smooth Jazz TOP 100 for December 9th | The Official Smooth Jazz Singles Chart for Spain & LATAM 𝗦𝗠𝗢𝗢𝗧𝗛 𝗝𝗔𝗭𝗭 𝗧𝗢𝗣 💯 𝗦𝗣𝗔𝗜𝗡 & 𝗟𝗔𝗧𝗔𝗠 𝗙𝗢𝗥 𝗝𝗔𝗡𝗨𝗔𝗥𝗬 𝟲𝗧𝗛 Congratulations 🅐🅜🅐🅝🅓🅤🅢 , our new TOP 1 Congratulations to everyone that made it into this week’s Top 100! 𝗡𝗘𝗪 𝗧𝗢 𝗧𝗛𝗘 𝗧𝗢𝗣 𝟭𝟬𝟬 🔊 100.- SEVILLA AURAFLAME - LoFiAtticus 🔊 097.- CITRUS & CHAMALEON - Dmitriy Sevostyanov 🔊 095.- PARADISE - Michael Walker 🔊 093.- SUBWAY VIBES - Solomon Robertson 🔊 088.- CAN'T GET OVER YOU - Dante' 🔊 087.- INMERSION - DM Ascension & Christophe Goze 🔊 087.- SHUFFLIN' FOR KC - Cord Martin 𝗦𝗠𝗢𝗢𝗧𝗛 𝗝𝗔𝗭𝗭 𝗖𝗟𝗔𝗦𝗦𝗜𝗖𝗦 | 𝗔𝗡𝗜𝗧𝗔 𝗕𝗔𝗞𝗘𝗥 𝗦𝗣𝗘𝗖𝗜𝗔𝗟 🅒🅞🅝 🅒🅐🅟🅘🅣🅐🅝 🅙🅐🅩🅩 🔊 YOU BRING ME JOY 🔊 SWEET LOVE 𝗠𝗨𝗦𝗜𝗖 𝗣𝗜𝗟𝗟𝗦 🔊 IT'S ALRIGHT - Patrik Dimak 𝗕𝗬 𝗙𝗥𝗔𝗡𝗖𝗜𝗦𝗖𝗢 𝗦𝗔𝗡𝗖𝗛𝗘𝗭 𝗡𝗘𝗪 𝗧𝗢 𝗧𝗛𝗘 𝗧𝗢𝗣 𝟮𝟬 🔊 019.- MY GIRL - Hubert Eaves IV 🔊 018.- MORNING DELIGHT - Lucía sarmiento 🔊 019.- THE JOURNEY AHEAD- Roberto Tola 🔊 018.- TIMELAPSE - Christophe Goze 𝗧𝗢𝗣 𝟭 🔊 001.- BALEARIC MOMENTS - Amandis Ft. Uli Brodersen

Jon Jones, Calvin Ridley, and Nick Bosa are among the latest celebrity athletes to publicly do the "Trump Dance" on stages like NFL Sunday and UFC. Trump has become a cultural icon and since he's won, many are coming out in support with a simple shuffle. Also on the show,  we break down why Morning Joe with Joe Scarborough and Mika Brzezinski are now kissing up to Trump and we give our full thoughts on last Friday's fight between Mike Tyson and Jake Paul. See omnystudio.com/listener for privacy information.

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We come in hot shufflin' with a classic before presenting a tribute to Ray St. Germain. A bunch of new/recent cuts follow and then along come some things outside of the country music box. It's a good one. - - - BOOTS & SADDLE (2.0) | Episode 009 INTRO & THEME: The Boots & Saddle Jingle - Boots Graham [w. Catherine Robertson] (2024) Chaparral - Buck Owens' Buckaroos – A Night On The Town (1968) Shufflin' in to the Saddle: 1. The One You Slip Around With - Jan Howard (Single - 1959) A Tribute to Ray St. Germain [1940-2024]: Louis Riel Reel - The Red River Ramblers (Métis Fiddle Music - 2020) 2. The Metis - Ray St. Germain (My Many Moods - 2003) 3. She's a Square -  Ray St. Germain (My Many Moods - 2003) 4. Heart, Don't Let Me Down - Ray St. Germain (There's No Love Like Our Love - 1995) New & Recent Releases: 5. Untamed Heart - Charlie Thompson (Untamed Heart - 2024) 6. Wild Juanita's Cactus Juice - Kaitlin Butts (Roadrunner! - 2024) 7. Granny's Cutlass Supreme (feat. Riley Downing) - Hannah Juanita (Single - 2024) 8. You Can Find Love at Longbranch - The Local Group (Saskatunes | Single - 2024) 9. Somewhere Between Texas and Tennessee - Melissa Carper (Borned In Ya - 2024) 10. Young, Wild & Free - Ellis Bullard (Honky Tonk Ain't Noise Pollution - 2024) Country Cousins - Rockabilly, Hillybilly: 11. Rockin' And Wreckin' - Dave Del Monte & The Cross County Boys [feat. Crash Gordon] (Single - 2024) 12. Let the Love Bug Bite - Ann Jones & Her Western Sweethearts (Single - 1951)   Outro: You Win Again (instrumental) - Jeff Bradshaw & Dave Hamilton (Swingin' Country Dance Toons - 2003) 13. I Won't Stand in Your Way - Stray Cats (Rant n' Rave with the Stray Cats - 1983) Closing/Oh! Susanna (show 11) - Hank Williams (The Garden Spot Programs, 1950)

Bit of a different presentation for this one but the quality does not suffer one bit. A couple new ones, some favourites from the last handful of years + 2022-2023 cuts I missed while on “semi-permanent hiatus”. - - - BOOTS & SADDLE (2.0) | Episode 008 INTRO & THEME: The Boots & Saddle Jingle - Boots Graham [w. Catherine Robertson] (2024) Chaparral - Buck Owens' Buckaroos – A Night On The Town (1968) Shufflin' in to the Saddle: 1. Ain't Through Honky Tonkin' Yet - Brennen Leigh (Ain't Through Honky Tonkin' Yet - 2023) Manitoba-based: 2. Gal Back Home - Andrew Neville & The Poor Choices (Let'r Buck - 2007)  3. Petals and Permanents - The Stanley County Cutups (Single - 2024) 4. Hopeless Romantic - Bobby Dove (Hopeless Romantic - 2021) New & not-so recent Releases: 5. Shot in the Dark - Charlie Marie (Western AF - 2024) 6. Poor Man's Gold - Woody Woodworth (Rebels & Dreamers - 2024) 7. Bad Case of the Blues - Michelle Billingsley (Both Sides of Lonely - 2023)  8. Bayou Moon - Paige Plaisance (Different Now [EP] - 2022)  All over the U.S Map [Georgia to Tennessee, Tucson to Tulsa and out to L.A]: 9. Vicky Lynn - Lauren Morrow (Lauren Morrow [EP] - 2018) 10. I Think I'm Gonna Kill Myself - Hank Topless (Songs I Hate to Sing - 2021)  11. Sad State of Affairs - Joey Frendo (Bound for Heartache - 2023) 12. Foolin' - West of Texas (Heartaches, Hangovers & Honky Tonks - 2021)  Outro: You Win Again (instrumental) - Jeff Bradshaw & Dave Hamilton (Swingin' Country Dance Toons - 2003) 13. I Don't Know Where Your Heart Is - Katie Jo (Pawn Shop Queen -2021) Closing/Oh! Susanna (show 11) - Hank Williams (The Garden Spot Programs, 1950)

Classic country, a 6-pack of new/recently released cuts, 4 from the famed Arc Records label plus, the lengthiest and most opinionated set intro to-date leading us in to what just might be a perfect song. - - - BOOTS & SADDLE (2.0) | Episode 007 INTRO & THEME: The Boots & Saddle Jingle - Boots Graham [w. Catherine Robertson] (2024) Chaparral - Buck Owens' Buckaroos – A Night On The Town (1968) Shufflin' in to the Saddle: 1. I'm the Fool Who Told You to Go - Asleep at the Wheel (Comin' Right At Ya - 1973) Beautiful Country Music by Beautiful Country Music Singers: 2. Just Between You and Me - Charley Pride (Pride of Country Music - 1967) 3. Yes, I Love You Only - Bonnie Owens (Single - 1968) 4. (My Friends Are Gonna Be) Strangers - Liz Anderson (My Friends Are Gonna Be) Strangers And Other Country Songs By - 1966) New & Recent Releases: 5. Old Fox - JP Harris (Single | JP Harris Is A Trash Fire - 2024) 6. Unwanted Visitors - Ben Vallee (Introducing… - 2024) 7. Insomniac Show - Leaf Rapids (Velvet Paintings - 2024) 8. The Light Saw Me  (live) Jason Boland & The Stragglers (Live from Cain's Ballroom - 2024)  9. You Can't Make Me - Zach Willdee (Meant To Be - 2024)  10. Hello Stranger [feat. S.G Goodman] - Kelsey Waldon (There's Always a Song - 2024) Regional Round-Up of “lost” Canadian Country: The Arc Records Edition: 11. Stop Your World - Diane Merritt (Angel Of My Dreams)  12. Jambalaya - Sweet Daddy Siki (Squares Off With Country Music - 1966) 13. The Lumberjack - Hal Willis (Mr. Lumberjack - 1966) Outro: You Win Again (instrumental) - Jeff Bradshaw & Dave Hamilton (Swingin' Country Dance Toons - 2003) 14. We Missed You - Chef Adams And Yvonne Terry (Show Stoppers - 1965) Closing/Oh! Susanna (show 11) - Hank Williams (The Garden Spot Programs, 1950)

Classic Country, a handful of new/recent cuts and some aggressive opinions from your host. A 3-pack from Red Steagall + a nice set for the "lost" Canadian Country Round-Up segment to close the program. - - - BOOTS & SADDLE (2.0) | Episode 006 INTRO & THEME: The Boots & Saddle Jingle - Boots Graham [w. Catherine Robertson] (2024) Chaparral - Buck Owens' Buckaroos – A Night On The Town (1968) Shufflin' in to the Saddle: 1. Mr. Record Man - Jeannie Seely (I'll Love You More - 1968) Beautiful Country Music by Beautiful Country Music Singers [Red Steagall Edition]: 2. Truck Driving Man - Red Steagall Lone Star Beer And Bob Wills Music (1976) 3. Someday You'll Want Me - Red Steagall (Single - 1976) 4. Her L-O-V-E's Gone - Red Steagall (Texas Red - 1976) New & Recent Releases: 5. Let Me Lose Again - Rachel Brooke (Single - 2024)  6. The Nearest Stranger - Dennis J. Leise ( Firestarter - 2023)  7. Big Rig - Wine Soaked Preachers (El Quatro [EP]  - 2024)  8. Pain In My Heart - Jenny Don't and the Spurs (Broken Hearted Blue - 2024)  9. Meant To Me - Zach Wildee (Meant To Be [EP] - 2024) Regional Round-Up of "lost" Canadian Country: 10. Little Boy Lost - Diane Leigh (Single - 1964) 11. Lonely Lady - Robbie Brass And Red Wine (Lonely Lady - 1981) 12. You Bet I Kissed Him - Myrna Lorrie (Single - 1954) 13. Homegrown - Dick Damron (Honky Tonk Angel - 1982) Outro: You Win Again (instrumental) - Jeff Bradshaw & Dave Hamilton (Swingin' Country Dance Toons - 2003) 14. Leavin' On Your Mind - Joyce Smith (Single - 1962) Closing/Oh! Susanna (show 11) - Hank Williams (The Garden Spot Programs, 1950)

New and Classic Country cuts, finally some RF, a few favourite Country/Western leaning troubadours, one for little Moonie and a whole lot more. - - - BOOTS & SADDLE (2.0) | Episode 005 INTRO & THEME: The Boots & Saddle Jingle - Boots Graham [w. Catherine Robertson] (2024) Chaparral - Buck Owens' Buckaroos – A Night On The Town (1968) Shufflin' in to the Saddle: 1. Rock Bottom Pop. 1 - Robbie Fulks (Country Love Songs - 1996) Beautiful Country Music by Beautiful Country Music Singers: 2. A Six Pack to Go - Hank Thompson (A Six Pack to Go - 1966) 3. I Wonder if She Knows - Wanda Jackson (Reckless Love Affair - 1967) 4. Honky Tonk Stardust Cowboy - Jake Hooker (The Outsider - 2007) New & Recent Releases: 5. Roadrunner - Kaitlin Butts (Roadrunner! - 2024 | Single)  6. It's Not Me, It's You - Mallory Eagle (The Neon Waltz - 2024)  7. Light of Day - Sarah Gayle Meech (Easin' On - 2024) 8. When It Gets Gray I Get Blue - Russell deCarle (The End of the Road - 2024) Troubadours: 9. Give Back My Heart - Lyle Lovett (Pontiac - 1987) 10. Corpus Christie Bay - Todd Snider (The Excitement Plan - 2009) 11. Nowhere Road - Steve Earle (Exit 0 - 1987) 12. My Baby Thinks He's a Train - Rosanne Cash (Seven Year Ache - 1981) Outro: You Win Again (instrumental) - Jeff Bradshaw & Dave Hamilton (Swingin' Country Dance Toons - 2003) 13. So Wrong - Patsy Cline (Single - 1962)  Closing/Oh! Susanna (show 11) - Hank Williams (The Garden Spot Programs, 1950)

Recorded from my living room at home on the fringes of downtown Winnipeg, Manitoba, Canada, Episode 004 of the Boots & Saddle [2.0] Show was a spirited affair featuring a fantastic mix of classic cuts and hot new jams. - - - BOOTS & SADDLE (2.0) | Episode 004 INTRO & THEME: The Boots & Saddle Jingle - Boots Graham [w. Catherine Robertson] (2024) Chaparral - Buck Owens' Buckaroos – A Night On The Town (1968) Shufflin' in to the Saddle: 1.  If She Could See Me Now - Ray Price (Night Life - 1963) Beautiful Country Music by Beautiful Country Music Singers: 2. Fist City - Loretta Lynn (Fist City - 1968) 3. Love Bug - George Jones (New Country Hits - 1965) 4. If You Won't Tell - Connie Smith (Miss Smith Goes to Nashville - 1966) New & Recent Releases: 5. I Only Exist [feat. Isaac Gibson] - Kelsey Waldon (There's Always A Song - 2024 6. Better Safe Than Sober - The Honkytonk Wranglers (Single - 2024) 7. A Thousand Ways - Wonder Women of Country (Willis, Carper, Leigh - 2024) 8. Make It Back Home - Pat Reedy (Make It Back Home  - 2024) Round-Up of “lost” Canadian Country [1989 Edition]: 9. Scene of the Crime - Lori Yates (Can't Stop the Girl - 1989) 10. The Legend of Dick Nolan - Barry Smith (Single - 1989) 11. Hello Again - Anita Perras (Touch My Heart - 1989) 2023 Highlights + Outro: 12. California poppy - Theo Lawrence (Chérie - 2023) 13. Lowland Trail - Margo Cilker (Valley Of Heart's Delight - 2023) You Win Again (instrumental) - Jeff Bradshaw & Dave Hamilton (Swingin' Country Dance Toons - 2003) 14. Half Forgotten Tunes - Ags Connolly (Siempre - 2023)  Closing/Oh! Susanna (show 11) - Hank Williams (The Garden Spot Programs, 1950)

Comin' Right at Ya on an unscheduled night off from a hotel room in Sacramento, California. . . . BOOTS & SADDLE (2.0) | Episode 003 INTRO & THEME: The Boots & Saddle Jingle - Boots Graham [w. Catherine Robertson] (2024) Chaparral - Buck Owens' Buckaroos – A Night On The Town (1968) Shufflin' in to the Saddle: 1. One Too Many Memories - Ray Pillow (Stars of the Grand Ole Opry - 1981) Beautiful Country Music by Beautiful Country Music Singers: 2. A Thief in the Night - Jean Shepard (Lonesome Love - 1958) 3. Wait Just a Minute - Pat Patterson) Most Requested Country Songs - 1969) 4. Deep as You Pocket - Amber Digby (Passion, Pride and What Might Have Been - 2008) New & Recent Releases: 5. The Only One - Rachel Brooke (Single - 2024) 6. The Motel King - Noel McKay (You Only Live Always - 2024) 7. The Long Way - Nicolette & The Nobodies (Single - 2024 | The Long Way - 2024) 8. Get To Know Ya - Emily Nenni (Drive & Cry - 2024) 9. The County - Forrest VanTuyl (Single - 2024) Regional Round-Up [“lost” Canadian Country: Newfoundland Edition]: 10. No Price Tags on the Doors of Newfoundland - Roy Payne (Goofy Newfie (1969) 11. Last Day In The Mines - Dick Nolan (Truck Driving Man - 1964) Modern Day Honky-Tonkers: 12. The Sun's Gonna Rise Again - Summer Dean (The Biggest Life - 2023) 13. No Drinks On the Pool Table - Brandon Birkedahl (Lone Wolf - 2022) Outro: You Win Again (instrumental) - Jeff Bradshaw & Dave Hamilton (Swingin' Country Dance Toons - 2003) 14. The Day I Doubted You - Melba Montgomery (Country Girl - 1966) Closing/Oh! Susanna (show 11) - Hank Williams (The Garden Spot Programs, 1950)

We're back in the saddle now and Episode 002 of Boots & Saddle [2.0} is a beauty. . . . BOOTS & SADDLE (2.0) | Episode 002 INTRO & THEME: The Boots & Saddle Jingle - Boots Graham [w. Catherine Robertson] (2024) Chaparral - Buck Owens' Buckaroos – A Night On The Town (1968) Shufflin' in to the Saddle: 1. I Don't Believe I'll Fall in Love Today - Jody Nix (Compilation: On the Road Again -  2012) Beautiful Country Music by Beautiful Country Music Singers: 2. Left to Right - Kitty Wells (Single - 1960) 3. Sam's Place - Buck Owens (Single - 1967 |  (Your Tender Loving Care - 1967) New & Recent Releases: 4. Since the Farm Got Sold - The Lucky Ones (A Nickel for the Fiddler - 2024)  5. What They'll Never Know - Nicholas Campbell (Gonna Have a Ball Tonight! - 2024) 6. Face to a Name - Sentimental Family Band (Sweethearts Only - 2024) 7. Runnin' - Mallory Eagle (The Neon Waltz - 2024)  El Viejo U.S Tour Round-Up: 8. Runnin' Free - Jeff Crosby (Waitin' on a Miracle - 2022)   9. Colorado - Branson Anderson (Single - 2024) 10. Seven Times a Day - Sam Platts And The Plainsmen (West Side - 2022)  Grinders: 11. The Mountain Song - Amy Nelson (Educated Woman - 2019) 12. Honky Tonkitis - Gus Clark & the Least of His Problems (Single - 2023) Outro: You Win Again (instrumental) - Jeff Bradshaw & Dave Hamilton (Swingin' Country Dance Toons - 2003) 13. Apartment #9 - Tammy Wynette (Your Good Girl's Gonna Go Bad - 1967) Closing/Oh! Susanna (show 11) - Hank Williams (The Garden Spot Programs, 1950)

Hosted by Sean Burns, Boots & Saddle officially returns from our 2-year "semi-permanent hiatus" with Episode 001 of the relaunched, revamped program. . . . BOOTS & SADDLE (2.0) | Episode 001 INTRO & THEME: The Boots & Saddle Jingle - Boots Graham [w. Catherine Robertson] (2024) Chaparral - Buck Owens' Buckaroos – A Night On The Town (1968) Shufflin' in to the Saddle: 1. Big City - Merle Haggard (Big City - 1981)  Beautiful Country Music by Beautiful Country Music Singers: 2. There She Goes - Carl Smith (Single - 1955) 3. Little Pink Mack - Kay Adams (Wheels & Tears - 1966) 4. How's It Feel - Justin Tubb (Single - 1961)  New & Recent Releases: 5. Long Drives and Lonesome Mornings - Pat Reedy (Make It Back Home - 2024) 6. Losing More - Nicolette and The Nobodies (The Long Way - 2024)  7. The More You Live - Russell deCarle (The End Of The Road - 2024) 8. Hanging On To You - Wonder Women of Country (Willis, Carper, Leigh - 2024) Regional Round-Up of “lost” Canadian Country Music: 9. My Home in Saskatchewan - Chef Adams (Singer/Songwriter - 1969) 10. I'll Be Lonesome When You Are Gone - June Pasher (Your Cheating Heart And Other Country Favourites - 1962*) 11. I Don't Want To Be Me - Mickey McGivern & The Mustangs Featuring Billy Adams (Hard Times - 1967) 12. It's All Over - Fern Dauth (Fern Dauth Of Country Music Hall - 1967) Outro: You Win Again (instrumental) - Jeff Bradshaw & Dave Hamilton (Swingin' Country Dance Toons - 2003) 13. Badly Broken Man - Scotty Campbell (Damned If I Recall - 1999) Closing/Oh! Susanna (show 11) - Hank Williams (The Garden Spot Programs, 1950)

With a week to go before the Super Bowl, we figured we'd travel back in time to when the Chicago Bears celebrated their Super Bowl victory two full months before they actually won the championship. Hosted by @sliiiiip and @megamixdotcom, the Super Hits Podcast reviews a different retro single each episode! We're on all of the usual podcast platforms, so come find us. Come and give us a 5-star review! To correct us if we miss a fact or get something wrong, to request a single, or to just say hello, hit us up at superhitspodcast@gmail.com Here's our website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://megamixdotcom.com/super-hits/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Here's our Twitter: @SuperHitsCast Here's our Instagram: @SuperHitsPodcast You can also find playlists for all of the songs we've covered on ⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠ and Apple Music. Just search for Super Hits Podcast Playlist! --- Send in a voice message: https://podcasters.spotify.com/pod/show/superhitspodcast/message

As Rishi Sunak wrangles with the school cement fiasco, he's also been forced into a timid reshuffle. Meanwhile, Keir Starmer has also tweaked his top team. Who's in, who's out and who cares? And Penny Mordaunt wants to give young people National Service (but not really) to increase "resilience and pride". Out of touch? Or is this a scheme that could actually work?  “It's not so much mismanagement as it is the entire Conservative approach.” – Ros Taylor “It really is the epitome of everything a government SHOULDN'T be doing.” – Zoë Grünewald “I think it's really important to give young people something other than ‘finish these exams or you're screwed' which it does now.” – Ros Taylor We're on YouTube!: https://www.youtube.com/channel/UCVOIkIWUDtu7VrVcFs0OI0A  www.patreon.com/ohgodwhatnow Presented by Jacob Jarvis with Ros Taylor, and Zoë Grünewald. Producer: Chris Jones. Assistant Producer: Adam Wright. Social Media Producer: Jess Harpin. Audio production by: Robin Leeburn. Group Editor: Andrew Harrison. OH GOD, WHAT NOW? is a Podmasters production. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week the crew take the fight west and follow the tracks to what may be the ancient site of Sumitha, home of the islands remaining Cyclops. When the Captain tries to get fancy and awakens the site's defenders will the Tide Breaker's get lucky or will they find out the meaning of an eye for an eye the hard way? Find out on this week's Dead Men Roll No Crits! How to Get More Pirate Action Dead Men Roll No Crits is released to the public on a 7-8 month delay. To catch up on more recent episodes of our pirate adventures and to participate in future episodes, become a Cosmic Crit patron. Cast and Characters Gibert is Qandoso, Rahadoumi Druid, and Bartleby, Gnomish Cleric of Pharasma Rebecca is Elaerys Delqarin, half-elf Rogue, and Sharga, Orc Barbarian Seth is Hanto, Iruxi/Lizardfolk Monk, and Ozzie, Kobold Witch/Swashbuckler Tyler is Casius Vell, Human Swashbuckler, and Kovik, Half-Orc Ranger Patrick is Grogmaster GM and A Devilishly Handsome Man! About the Podcast Dead Men Roll No Crits is an actual play podcast from the Cosmic Crit network, featuring the beloved Adventure Path “Skull and Shackles,” converted for Pathfinder 2E (Second Edition). Join Patrick (GM), Rebecca, Gibert, Tyler, and Seth as they don their tricorne hats and set out to conquer (or at least survive) the Shackled Seas. Music Credit Intro music created exclusively for Dead Men Roll No Crits by Max Coltrin of Coltrin Compositions Additional music from Bensound, Kevin MacLeod, Tim Beek, Scott Buckley, Alexander Nakarada, and Max Coltrin.

The boys are back for Episode 3 and by god what an episode it is. The Chief is licking his wounds after a very embarrassing social media mishap, but its nothing a few tunes on the tin whistle can't fix! Big Mikes parents are in town so he has his work cut out for him. In an exciting development, they also announce a new sponsor for the show.

This is an episode of Bizarre Singles, originally posted on patreon.com/bizarrealbums This is the story of The Chicago Bears Shufflin' Crew's "The Super Bowl Shuffle" from 1985. Support the show: patreon.com/bizarrealbums Follow the show on Twitter & Instagram: @bizarrealbums Follow Tony on Twitter & Instagram: @tonythaxton

Rob and Terry discuss Aaron Judge, the Chicago Bears, fantasy football, how a bill becomes a law, and hero dogs.  They also do a Retro Review of Super Bowl 20, and all it's Shufflin' greatness.

Listen as host D-Mo and cohost of the week Robert look at the weekly news and discover new, interesting, or off-the-wall trivia facts! Any thoughts? Email the show at triviarewrites@gmail.com or tweet the twitter @TriviaRewrites

Sugaray Rayford (In Too Deep); Eddy "The Chief" Clearwater (Real Fine Woman); Toronzo Cannon (Fine Seasoned Woman); Lead Belly (Mr. Tom Hughes' Town); Alvin Youngblood Hart (Gallows Pole); Mike Guldin (One Percent); Trudy Lynn (If Your Phone Don't Ring); The Duchess Jureesa McBride (Blues Woman); Garfield Akers (Jumpin' And Shoutin' Blues); Joe Hill Louis and His One-Man Band (A' Jumpin' And A' Shufflin'); Doug MacLeod (Money Talks); Hattie Hudson (Black Hand Blues); Hattie Hart and The Memphis Jug Band (Won't You Be Kind To Me); Eddie Vinson (Please Send Me Someone To Love); Louis Jordan (Somebody Done Changed The Lock In My Door); Johnny B. Moore (No Good Woman Blues).

This week is a shorter episode; but, it's packed full of interesting(?) details about how to shuffle, why to shuffle, and what the rules about shuffling are. Let us know how you shuffle your deck by emailing us at PlaneswalkersPod@gmail.com supported this week by Fennrick and Swinnler, Attorneys at Law! (Overcharged Amalgam) You can help too! Support the show by visiting Patreon.com/Planeswalkers Or TeePublic.com/user/EngineWithin And, as always, Special Thanks to Joseph McDade for music used in this episode. Check out his music at josephmcdade.com/music or support him at www.patreon.com/josephmcdade Twitch.tv/dday_99 Facebook.com/planeswalkersanonymous

Adele has spoken!Follow the show on social media:@TylerCarrfm@JasminLaine@Energy106fmTyler Carr on Tik Tok

BOOTS & SADDLE - September 28, 2021 1. I'll Give A Lot Of Lovin' To You - Melba Montgomery (Country Girl - 1966) 2. Music City USA - Charley Crockett (Music City USA - 2021) 3. What's Wrong With This Picture? - Junior & Tanya Rae Brown (His & Hers - 2021) 4. Does The Sun Know? - Wolf Willow (Old Guitars and Shooting Stars - 2021) 5. Grandma - Quinn T. Sprague (...to those Eastern slopes - 2021) 6. Nosedive - Skinny Dyck (Canned Chicken Demos - 2018) 7. Road Runner - The Denim Daddies (Single - 2018) 8. And It's Quiet - Dwayne Dueck (Mendin' Fences - 2015) 9. Right Side of the Daisies - Derek Hintz (The Old S.S. Wam Bam - 2016) 10. The Harvest Song - Jolie Blue (Canadian Drifter - 2020) 11. Help Me Make It Through the Night - Riddy Arman (Riddy Arman - 2021) 12. Night Time Eagle - Jeremy Pinnell  (Goodbye L.A. - 2021) 13. Silver Dollar - Sierra Ferrell (Long Time Coming - 2021) 14. The Little Green Valley - Marty Robbins (Gunfighter Ballads and Trail Songs - 1959) 15. Wake Up On The Run - Dan Frechette (That Old Open Road - 2021) 16. Border Ride [instrumental] - The Stanley County Cut-Ups (The Stanley County Cut-Ups EP - 2021) 17. Two Wrongs Don't Make a Right - Mickey Barnett (Single - 1977) 18. You're Still On My Mind - Shalea Miller (Bad Ideas - 2018) 19. Shufflin' (through the tough times) - Tyler Bird (Skinny Dyck & Friends: Twenty One-Nighters - 2017) 20. I Ain't No Cowpoke - Red Hot Hayseeds (Red Hot Hayseeds - 2020) 21. Paycheck to Paycheck - Mike and the Moonpies (One to Grow On - 2021) 22. Pick the Right Man - Theo Lawrence  (Pick the Right Man / You'll Do - Single - 2021) 23. Queen of the Rodeo - Victoria Bailey (Single - 2021) 24. Bristol 1927 - Mick Mullin (Single 2021) 25. Devil - Santa Poco (Single - 2021) 26. One of Two Ways - Thomas Stajcer (Midwestern States - 2021) 27. Haunted Horror Howl - Dave Del Monte & The Cross County Boys (Single - 2021) 28. Password - Kitty Wells (Single - 1964)  29. Don't Push Me Too Far - Skeets McDonald (Single - 1956) 30. The Dim and Distant Past - Ags Connolly (How About Now - 2014) 31. Guess I Got It Wrong - Robbie Fulks (Gone Away Backward - 2013) 32. All of Me - Cement City Stompers (Live - Back by Popular Request - 1979) 33. Pickin' Rocks [instrumental] - Bryce Lewis (Single - 2021) 34. Just A Little Heat - Del Barber (Stray Dogs (Collected B-Sides / Vol. 1) - 2021)

Sintonía: "Scattered" - A Projection "Wheeler Dealer Healer" - Lowb; "Amira" - Submotion Orchestra; "Saundersfoot" - Minotaur Shock; "Phoenix Riddim" - KID606; "´95 aka Make Things Right" (Vocals: Terri Walker) - Lemon Jelly; "Am Ufer" - Pyrolator; "Bladder Wrack" - Dextro; "Shufflin´ The Cards" - Junior High; "Whistling In Tongues" - Todd Terje Remix Escuchar audio

In this 18th edition of this still birth abortion dumpster fire of a podcast, we bring back the "What's In A Word?" game, in which we find strange words and create what we think they sound like, then read the actual definition of the word. Suck our tits.

In honor of Super Bowl week, we dissect the most notorious display of Super Bowl swag put on from any team in NFL history with the '85 Chicago Bears' infamous "Super Bowl Shuffle". This is a bonus edition of Dissect DJs taken from last year's '3 Things We Gotta Talk About' podcast's Super Bowl Spectacular, in which Castle was joined by Juan Hernandez to break down all the shufflin' and swagger from the '85 Super Bowl champs.

In honor of Super Bowl week, we dissect the most notorious display of Super Bowl swag put on from any team in NFL history with the '85 Chicago Bears' infamous "Super Bowl Shuffle". This is a bonus edition of Dissect DJs taken from last year's '3 Things We Gotta Talk About' podcast's Super Bowl Spectacular, in which Castle was joined by Juan Hernandez to break down all the shufflin' and swagger from the '85 Super Bowl champs.

Become an official Patreon member today! www.patreon.com/ttmwagThis week Andrew and Marc talk about the career of the one year wonders LMFAO. They discuss how this group impacted culture at the time as Andrew and Marc reminiscence on listening to this group in Jr. High and how some of their music videos may have scarred them for the rest of their lives. They also find themselves talking about Full House and which Presidents would have been the most fun to party with.CHECK OUT MY WEBSITE FOR MORE CONTENT: www.ttmwag.com

  Episode sixty-seven of A History of Rock Music in Five Hundred Songs looks at "Johnny B. Goode" by Chuck Berry, and the decline and fall of both Berry and Alan Freed. 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 "Splish Splash" by Bobby Darin.  ----more---- Resources As always, I've created Mixcloud streaming playlists with full versions of all the songs in the episode. Because of the limit on the number of songs by one artist, I have posted them as two playlists -- part one, part two. I used foue main books as reference here: Brown Eyed Handsome Man: The Life and Hard Times of Chuck Berry by Bruce Pegg is a good narrative biography of Berry, which doesn't shy away from the less salubrious aspects of his personality, but is clearly written by an admirer. Long Distance Information: Chuck Berry's Recorded Legacy by Fred Rothwell is an extraordinarily researched look at every single recording session of Berry's career up to 2001. I also used a Chuck Berry website, http://www.crlf.de/ChuckBerry/ , which contains updates on Rothwell's research. The information on the precursors to the "Johnny B. Goode" intro comes from Before Elvis by Larry Birnbaum.  And for information about Freed, I used  Big Beat Heat: Alan Freed and the Early Years of Rock & Roll by John A. Jackson. There are a myriad Chuck Berry compilations available. The one I'd recommend if you don't have a spare couple of hundred quid for the complete works box set is the double-CD Gold, which has every major track without much of the filler.    Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A brief content warning for this episode – like last week's, this discusses, though not in any great detail, a few crimes of a sexual nature. If that's likely to upset you, please either check the transcript to make sure you'll be OK, or come back next week. Today we're going to talk about the definitive fifties rock and roll song. “Johnny B. Goode” is so much the epitome of American post-war culture that when NASA sent a record into space, on the Voyager probes in the seventies, it was the only rock and roll song included in the selection of audio, which also included pieces by Bach, Beethoven, Mozart, and Stravinsky, and performances by Louis Armstrong and Blind Willie Johnson, along with folk songs, spoken greetings from world leaders, and so on. At the time the golden record was put together, it was criticised for containing any rock and roll at all. Now, that record is further away from Earth than any other object created by a human being. On Saturday Night Live, the week the probe was launched, Steve Martin joked that there'd been a message from aliens – “Send more Chuck Berry”. That's what an important record "Johnny B. Goode" is. [Excerpt: Chuck Berry, “Johnny B. Goode”] When we last looked at Chuck Berry, he'd just released "School Day", which had been his breakout hit into the broader white teenage market that had started to listen to rock and roll. Berry's career didn't go on a completely upward curve after that point. His next single, "Oh Baby Doll", was a comparative flop -- it reached number twelve in the R&B charts, but only number fifty-seven on the pop charts. But the record after that was the start of a three-single run that would consolidate Berry as rock and roll's premier mythologiser. Where in May 1956 Berry had sung about "these rhythm and blues", this time he was going to use the music's new name, and he was singing "just let me hear some of that rock and roll music": [Excerpt: Chuck Berry, "Rock and Roll Music"] That put him back in the top ten, and everything seemed to be going wonderfully for him. He was so popular now as a rock and roll star that on one of the late 1957 tours he did, when Buddy Holly and the Crickets were lower down the bill, the Crickets would do "Roll Over Beethoven" and "Brown-Eyed Handsome Man" as part of their set. Berry had written enough classics by now that other acts on the bill could do the ones he didn't have time for. When he next went back into the studio, it was to cut seven songs. One of them, "Reelin' and Rockin'", was a slight reworking of the old Wynonie Harris song, "Round the Clock Blues". Harris' song, which had also been recorded by Big Joe Turner with Johnny Otis' band, was an inspiration for "Rock Around the Clock" among other records: [Excerpt: Wynonie Harris, "Round the Clock Blues"] Berry's version got rid of some of the more sexual lyrical content -- though that would later come back in live performances of the song -- and played up the song's similarity to "Rock Around the Clock", but it's still basically the exact same song that Wynonie Harris had performed. Of course, the copyright is in Chuck Berry's name -- for all that he and his publishers would be very eager to sue anyone who might come too close to one of Berry's songs, he had no compunction about taking all the credit for a song someone else had written. [Excerpt: Chuck Berry, “Reelin' and Rockin'”] You might notice that the piano style on that track is very different from some of Berry's earlier recordings. Now, there are two possible explanations for this, because I've seen two different pianists credited for these sessions. Some sources credit Lafayette Leake with playing the piano here, and that might be enough to explain the difference in style, but I'm going with the other sources, which credit Johnnie Johnson, Berry's regular player, as playing on the session. If it is, though, he's playing in a different style. This is because of the popularity of Jerry Lee Lewis, who had risen to fame since Berry's last session. Lewis used to use a simple technique called "ripping" when playing the piano, in which you just slide your fingers across the keys as fast as possible. He does it pretty much constantly in his solos, as you can hear in this: [Excerpt: Jerry Lee Lewis, “Great Balls of Fire”, piano solo] Leonard Chess had heard that sound, and become convinced that that was the main reason that Lewis' records were so successful, so he insisted on Johnnie Johnson doing that on Berry's new records. Johnson didn't like the sound, which he considered "all flash and no technique", but Chess insisted -- to the extent that when they were rehearsing the tracks, Chess would walk over and rip his hand down the keys himself, to show Johnson what he wanted. Johnson eventually went along with it, though he said he "'bout tore my thumbnail off" getting it done. [Excerpt: Chuck Berry, “Reelin' and Rockin'”] He later acknowledged that Chess had a point, though -- simple as it was, it did make the records more exciting, and it was something that the kids clearly liked. And something else that the kids liked was another song recorded at the same session -- this time about the kids themselves: [Excerpt: Chuck Berry, "Sweet Little Sixteen"] "Sweet Little Sixteen" was one of the first songs about the experience of being a rock and roll fan. There had been earlier records about just dancing to rock and roll music, of course -- things like "Drugstore Rock & Roll" or "Rip it Up" -- but this was about fandom, and about the experience of following musicians. It's not completely about that, sadly -- it's the teen girl fan filtered through the male gaze, and so it's also about how "everybody wants to dance with" this sixteen-year-old girl, and about her "tight dresses and lipstick" -- but where the song gains its power is in the verse sections where the girl becomes the viewpoint character, and we hear about how excited she is to go to the show, and about her collections of autographs and photos. However flawed it is, it's one of the best evocations of the experience of fandom as a hobby -- not just liking the music, but having the experience of fandom be a major part of your life. One of the most notable things about "Sweet Little Sixteen" is the way that Berry uses the song to namecheck American Bandstand, which was fast becoming the most important rock and roll TV show around. While in the first chorus he sings about how they'll be rocking in Boston and Pittsburgh, PA, in the subsequent choruses he changes that to "on Bandstand" and "in Philadelphia PA", which is where American Bandstand was broadcast from. It's a sign that Dick Clark was becoming more important than Berry's mentor, Alan Freed. A week after the session for "Reelin' and Rockin'" and "Sweet Little Sixteen", came another session for what would become Berry's most well-known song, and one that remains in the repertoire of almost every bar band in the world. It's instantly recognisable right from the start. The introduction to "Johnny B. Goode" is one of the most well-known guitar parts in history: [Excerpt: Chuck Berry, "Johnny B. Goode"] But that guitar part has a long history -- it's original to Chuck Berry, but at the same time it's based on a lot of earlier examples. Berry took the basic idea for that line from Carl Hogan, Louis Jordan's guitarist, who played this as the intro to Jordan's "Ain't That Just Like a Woman": [Excerpt: Louis Jordan, "Ain't That Just Like a Woman"] But Hogan was only the latest in a long line of people who had played essentially that identical line. The first recording we have of that riff dates back to 1918, and a recording by Wilbur Sweatman's Jazz Orchestra. Sweatman was a friend and colleague of Scott Joplin, and his band was one of the very first black jazz groups to record at all. And on their song "Bluin' the Blues", you hear this: [Excerpt: Wilbur Sweatman's Jazz Orchestra, "Bluin' the Blues"] We hear it in Blind Lemon Jefferson's "Got the Blues", in 1926: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] In Blind Blake's "Too Tight", also from 1926: [Excerpt: Blind Blake, "Too Tight"] then in records by Cow Cow Davenport, Andy Kirk, and Count Basie, before it turns up in the Louis Jordan record. But there is a crucial difference between what Carl Hogan played and what Chuck Berry played. Listen again to Hogan's playing: [Excerpt: Louis Jordan, "Ain't That Just Like a Woman"] and now to Berry: [Excerpt: Chuck Berry, "Johnny B. Goode"] The crucial change Berry makes there is that most of the time he's playing the solo line on two strings instead of one, creating a thicker sound, with parallel harmonies, rather than just the simple melody line. This was something that Berry learned from the great blues guitarist T-Bone Walker: [Excerpt: T-Bone Walker, "Shufflin' the Blues"] Berry took Walker's playing style, and combined it with Hogan's note choices, and that simple change makes all the difference. It transmutes the part that Hogan had played from just a standard riff you find in dozens of old jazz records, a standard part of any musician's toolkit, into a specific intro to a specific song. When, six years later, Carl Wilson of the Beach Boys played this as the intro to "Fun, Fun, Fun": [Excerpt: The Beach Boys, "Fun Fun Fun"] Absolutely no-one listening thought "Oh, he's riffing off 'Texas Shout' by Cow Cow Davenport" -- everyone instantly thought "Oh, that's the intro to 'Johnny B. Goode'". Berry had taken a standard piece of every musician's toolkit, and by putting a very slight twist on it had made everyone listening hear it differently, so now it was identified solely with him. The lyric to Johnny B. Goode is more original than the music, but even there we can trace its origins. Berry always talked about how the original idea for the lyric was as a message to Johnnie Johnson, saying "Johnnie, be good", stop drinking so much -- a wake-up call to his friend and colleague. But that quickly changed, and the song became more about Berry himself, or an idealised version of Berry, perhaps how he would want people to see him -- something that was even more explicit in the original version of the lyric, where rather than sing "a country boy", he sang "a coloured boy". But there's another sign that Berry was talking about himself, and that's in the very title itself. Goode is spelled "G-o-o-d-e", with an "e" on the end -- and Berry's childhood home was at 2520 Goode avenue, with an E. There's another possible origin as well -- the poet Langston Hughes had written a very widely circulated series of newspaper columns, which Berry would have encountered in his teenage years and early twenties, about a character named Jesse B. Simple. (And in an interesting note, in 1934 Hughes wrote a story about racial injustice called "Berry", about a boy named Berry who would, among other things, tell children stories and sing them songs, and Hughes signed the dedication in the book that story was in "Berry" rather than with his own name.) You can point to every element of "Johnny B. Goode" and say "well, this came from there, and this came from there", but still you're no closer to identifying why Johnny B. Goode works as well as it does. it's the combination of all these elements in a way that they'd never been put together before that is Berry's genius, and is why Berry is pretty much universally regarded as an innovator, not just as an imitator. "Johnny B. Goode" was also the title song for what turned out to be Alan Freed's final film -- a film called Go, Johnny, Go! which also featured Eddie Cochran, the Moonglows, and Ritchie Valens. [Excerpt: Berry and Freed dialogue from Go, Johnny, Go!] That film came out in 1959, and had Berry as Freed's co-star, appearing with Freed as himself in almost every scene. It was the last gasp of rock and roll cultural relevance for almost everyone involved. By the time the film had come out, Valens was already dead, and within a little over eighteen months after its release, Cochran was also dead, Freed was disgraced, and Berry was in prison. In the last couple of episodes, I've mentioned a tour that Chuck Berry and Jerry Lee Lewis headlined in 1958, just after “Johnny B. Goode” came out, with Alan Freed as the MC. What I didn't mention until now is that as well as the tension between Chuck and Jerry Lee, that tour ended up spelling the end of Freed's career. Freed was already on the downturn in his career -- rock and roll was moving from being a music made largely by black musicians to one dominated by white people, and to make matters worse the major labels had finally got a handle on it and started churning out dozens of prepackaged teen idols, most of them called Bobby. Freed didn't have the connections with the major labels, or the understanding of the new manufactured pop, that he did with the R&B records from labels like Chess. But it was the show in Boston on this tour that led to Freed's downfall. The early show, which had been headlined by Lewis, had had the audience dancing, and the police were not at all impressed with this. They'd forced Alan Freed to make the audience sit down, and Lewis had had to play his set to an audience who were seated and squirming, unable to get up and dance to his recent big hits like “Great Balls of Fire”: [Excerpt: Jerry Lee Lewis, “Great Balls of Fire”] Then came the late show, which Berry was headlining. The same thing started to happen -- the kids in the audience got up to dance, and the police made Alan Freed make them sit down. But then, when the audience had quietened down, while Berry was standing there on stage, the police refused to dim the house lights and let the musicians carry on playing. So Freed got back on stage and said "It looks like the Boston police don't want you to have a good time." The show continued with the lights on, but the audience got annoyed -- so much so that Chuck Berry finished the show from behind the drummer, in case the audience attacked. But the police got more annoyed. They got so annoyed, in fact, that they decided to simply claim that every single crime reported to them that night had been inspired by the show. Nobody now thinks that the New York Times reports which said there were multiple stabbings, fifteen people hospitalised, and multiple rapes, are actually accurate reports of anything caused by the show. But at the time, everyone believed it. Boston decided to ban rock and roll concerts altogether, as a result of the show, and while the tour continued through a couple more dates, most of the remaining tour dates got cancelled. Oddly, going through this adversity seems to have brought Berry and Jerry Lee Lewis together. While they'd been fighting each other for almost the entire tour, after this point they became quite close friends, and would speak warmly about each other. Things didn't end so happily for Alan Freed. Freed had been having some problems with his radio station for a little while. He was difficult to work with, and they particularly disliked that he had started doing his broadcasts from home, rather than from the studio. When he'd been hired, the station was losing money, and he'd been a gamble. Now, they were in profit, and they didn't need to take risks, and they'd been considering not renewing his contract when it came up in six months. Now that this had happened, they took the opportunity to use the morals clause in Freed's contract to fire him, although he was allowed to present it as a resignation instead of a firing. Freed would manage to get another radio job, but not one with anything like the same prominence. He would, within a couple of years, become the designated industry fall guy for the practice of payola. This is something that we've talked about before -- record labels would pay DJs to play their records. Sometimes it was in the form of adding their name to the writing credits, as was the case for Freed with records like "Maybellene" and "Sincerely" – and you can tell how much Freed contributed to those songs by hearing his own attempts at making records: [Excerpt: Alan Freed and his Rock and Roll Band, “Rock and Roll Boogie”, Rock Rock Rock version] Sometimes a promoter would just slip a DJ fifty dollars when handing over a promotional copy of the record. Sometimes, the DJ would be hired to announce a show by the act whose record was to be promoted. There were a lot of different methods, some of them more blatant than others, but it was a common practice. Every DJ and TV presenter took part in this, pretty much -- Dick Clark certainly did -- and while no-one other than the DJs liked the practice, the small labels that built rock and roll, labels like Sun or Chess or Atlantic, all saw it as a way that they could equalise things a little bit. The major labels all had an inbuilt advantage, and would get their records played on the radio no matter what -- this was a way that the smaller labels could be heard. But precisely because it levelled the playing field somewhat, the larger record labels didn't like it, and by this point the major labels were becoming more interested in rock and roll. And to protect that interest, they promoted a campaign against payola. Freed, as the most prominent DJ in the country, and someone who did his fair share of taking bribes, was essentially chosen as the scapegoat for this, once he lost his job at WINS. By the end of 1959 he lost his job with the station he moved to, WABC, once the payola scandal became headline news, and he spent the next few years moving from smaller stations to yet smaller ones, not staying anywhere very long. He died in 1965, of illnesses caused by his alcoholism. He was only forty-three. [Excerpt: Alan Freed sign-off, “This is not goodbye, it's just goodnight”] And here we get to the downfall of Chuck Berry himself. It's an unfortunate fact of chronology that I have to deal with this the week after dealing with Jerry Lee Lewis' own underage sex scandal -- well, a fact of both chronology and a terrible society that sees the bodies of young girls as something to which powerful men are entitled, anyway. Chuck Berry had been on a tour of the Southwest, when in Texas he had met up with a fourteen-year-old sex worker, who had accompanied him on the rest of the tour. He'd promised her a job working at his nightclub in St. Louis, and when he fired her shortly after she started there, she went to the police. Like Lewis, Berry has been more or less forgiven by the consensus narrative of rock history. There is slightly more justification for doing so in Berry's case than in Lewis', because the Mann Act, the law under which he was charged and convicted, was a law that was created specifically to punish black men -- indeed, its official title was The White Slave Traffic Act. Given the way that other rock and roll artists seem to have had carte blanche to abuse young girls, the fact that a black man was about the only one, certainly for many decades, to spend time in prison for this, is more than a little unjust. But the fact remains, a man in his thirties had had sexual relations with a fourteen-year-old girl. And it's not like this was an isolated incident -- he would later famously settle a class-action suit brought against him by a large number of women he had videotaped on the toilet without their permission. So while Berry had an entirely fair complaint that the prosecution was motivated by race -- and his prison sentence was reduced in large part because the judge made some extremely racist remarks -- it's still a fact that what he did was wrong. Now, I'm not going to spend much more time on this with Berry -- not as much as I did with Jerry Lee Lewis last week -- and that's because as I said in the beginning of the series, this is not a podcast about the horrible crimes men have committed against women. So why bring it up at all? Well, there's a myth that Berry's career was completely wrecked by his arrest. This simply isn't true. It's true that "Johnny B. Goode" was Berry's last top ten hit for quite a few years, and he only had one more top twenty hit in the fifties. But the thing is, his singles had had a very inconsistent chart history before that. He'd released eleven singles up to that point, and only five of them had made the top ten on the pop charts. Classics like "Thirty Days", "Too Much Monkey Business", "Brown-Eyed Handsome Man" and "You Can't Catch Me" had totally failed to hit the pop charts at all. Berry was arrested in December 1959, and between trials and appeals, he didn't end up going to jail until 1961. "Johnny B. Goode" came out in March 1958. That means that for almost two years *before* the arrest, Berry was, at best, charting in the lower reaches of the charts. The fact is, there's a simple reason why Berry didn't chart very much in the late fifties and early sixties. Well, there are two reasons. The first is that public taste had moved on, as it does every few years. There are very few singles artists -- and all artists in the fifties were singles artists -- who can survive a major change in the public's taste. The other reason, as he would later admit himself, is that the material he recorded in the few years after "Johnny B. Goode" wasn't his best. There were some good songs -- things like "Carol", "Little Queenie", and "I've Got to Find My Baby" -- but even those weren't Berry at his absolute peak. And the majority of the material he put out during that time was stuff like "Anthony Boy" and "Too Pooped to Pop", which very few of even Berry's most ardent fans will tell you are worth listening to. There was one exception -- during that time, he put out what may be the best song he ever wrote, "Memphis, Tennessee": [Excerpt: Chuck Berry, "Memphis, Tennessee"] While it's a travesty that that record didn't chart, in retrospect it's easy to see why it didn't. Berry's audience were, for the most part, teenagers. No matter how good a song it was, "Memphis Tennessee" was about a man wanting to regain contact with his six-year-old daughter after he's split up with her mother. That's something that would have far more relevance to people of Berry's own age group than to the people who had been, a year or so earlier, wanting to dance with sweet little sixteen, and wanting to hear some of that rock and roll music. As odd as it is to say, Berry's eighteen months in jail may have done him some good as a commercial prospect. The first three singles he released in 1964, right after getting out of prison, were all bigger hits than he'd had since summer 1958 -- "Nadine" made number 23, "You Never Can Tell" made number fourteen, and "No Particular Place to Go", a rewrite of "School Day", with new, funnier, lyrics about sexual frustration, went to number ten: [Excerpt: Chuck Berry, "No Particular Place to Go"] Those songs were better than anything he'd released for several years previously, and it seemed that Berry might be on his way back to the top, but it was a false dawn. Berry's studio work slid back into mediocrity with occasional flashes of his old brilliance, and his only hit after this point was in the seventies, when he had his only number one with a novelty song by Dave Bartholomew, "My Ding-a-Ling", which if you've not heard it is about as juvenile as it sounds. In the late seventies, Berry essentially retired from making new music, choosing instead to spend the best part of forty years touring the world with just his guitar, playing with whatever local pickup band the promoter could scrape together, and often not even letting them know in advance what the next song was going to be -- he assumed that everyone knew all of his songs, and he was, by and large, correct in that assumption. He was, by all accounts, an extremely bitter man. He did, though, work on one final album, just called "Chuck", which was announced as part of the celebrations for his ninetieth birthday, but wasn't released until shortly after his death. He died, aged ninety, in 2017, and the obituaries concentrated on his music rather than his crimes against women. John Lennon once said "if you tried to give rock and roll another name, it would be Chuck Berry", and for both better and worse, that's probably true.

  Episode sixty-seven of A History of Rock Music in Five Hundred Songs looks at “Johnny B. Goode” by Chuck Berry, and the decline and fall of both Berry and Alan Freed. 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 “Splish Splash” by Bobby Darin.  —-more—- Resources As always, I’ve created Mixcloud streaming playlists with full versions of all the songs in the episode. Because of the limit on the number of songs by one artist, I have posted them as two playlists — part one, part two. I used foue main books as reference here: Brown Eyed Handsome Man: The Life and Hard Times of Chuck Berry by Bruce Pegg is a good narrative biography of Berry, which doesn’t shy away from the less salubrious aspects of his personality, but is clearly written by an admirer. Long Distance Information: Chuck Berry’s Recorded Legacy by Fred Rothwell is an extraordinarily researched look at every single recording session of Berry’s career up to 2001. I also used a Chuck Berry website, http://www.crlf.de/ChuckBerry/ , which contains updates on Rothwell’s research. The information on the precursors to the “Johnny B. Goode” intro comes from Before Elvis by Larry Birnbaum.  And for information about Freed, I used  Big Beat Heat: Alan Freed and the Early Years of Rock & Roll by John A. Jackson. There are a myriad Chuck Berry compilations available. The one I’d recommend if you don’t have a spare couple of hundred quid for the complete works box set is the double-CD Gold, which has every major track without much of the filler.    Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A brief content warning for this episode – like last week’s, this discusses, though not in any great detail, a few crimes of a sexual nature. If that’s likely to upset you, please either check the transcript to make sure you’ll be OK, or come back next week. Today we’re going to talk about the definitive fifties rock and roll song. “Johnny B. Goode” is so much the epitome of American post-war culture that when NASA sent a record into space, on the Voyager probes in the seventies, it was the only rock and roll song included in the selection of audio, which also included pieces by Bach, Beethoven, Mozart, and Stravinsky, and performances by Louis Armstrong and Blind Willie Johnson, along with folk songs, spoken greetings from world leaders, and so on. At the time the golden record was put together, it was criticised for containing any rock and roll at all. Now, that record is further away from Earth than any other object created by a human being. On Saturday Night Live, the week the probe was launched, Steve Martin joked that there’d been a message from aliens – “Send more Chuck Berry”. That’s what an important record “Johnny B. Goode” is. [Excerpt: Chuck Berry, “Johnny B. Goode”] When we last looked at Chuck Berry, he’d just released “School Day”, which had been his breakout hit into the broader white teenage market that had started to listen to rock and roll. Berry’s career didn’t go on a completely upward curve after that point. His next single, “Oh Baby Doll”, was a comparative flop — it reached number twelve in the R&B charts, but only number fifty-seven on the pop charts. But the record after that was the start of a three-single run that would consolidate Berry as rock and roll’s premier mythologiser. Where in May 1956 Berry had sung about “these rhythm and blues”, this time he was going to use the music’s new name, and he was singing “just let me hear some of that rock and roll music”: [Excerpt: Chuck Berry, “Rock and Roll Music”] That put him back in the top ten, and everything seemed to be going wonderfully for him. He was so popular now as a rock and roll star that on one of the late 1957 tours he did, when Buddy Holly and the Crickets were lower down the bill, the Crickets would do “Roll Over Beethoven” and “Brown-Eyed Handsome Man” as part of their set. Berry had written enough classics by now that other acts on the bill could do the ones he didn’t have time for. When he next went back into the studio, it was to cut seven songs. One of them, “Reelin’ and Rockin'”, was a slight reworking of the old Wynonie Harris song, “Round the Clock Blues”. Harris’ song, which had also been recorded by Big Joe Turner with Johnny Otis’ band, was an inspiration for “Rock Around the Clock” among other records: [Excerpt: Wynonie Harris, “Round the Clock Blues”] Berry’s version got rid of some of the more sexual lyrical content — though that would later come back in live performances of the song — and played up the song’s similarity to “Rock Around the Clock”, but it’s still basically the exact same song that Wynonie Harris had performed. Of course, the copyright is in Chuck Berry’s name — for all that he and his publishers would be very eager to sue anyone who might come too close to one of Berry’s songs, he had no compunction about taking all the credit for a song someone else had written. [Excerpt: Chuck Berry, “Reelin’ and Rockin’”] You might notice that the piano style on that track is very different from some of Berry’s earlier recordings. Now, there are two possible explanations for this, because I’ve seen two different pianists credited for these sessions. Some sources credit Lafayette Leake with playing the piano here, and that might be enough to explain the difference in style, but I’m going with the other sources, which credit Johnnie Johnson, Berry’s regular player, as playing on the session. If it is, though, he’s playing in a different style. This is because of the popularity of Jerry Lee Lewis, who had risen to fame since Berry’s last session. Lewis used to use a simple technique called “ripping” when playing the piano, in which you just slide your fingers across the keys as fast as possible. He does it pretty much constantly in his solos, as you can hear in this: [Excerpt: Jerry Lee Lewis, “Great Balls of Fire”, piano solo] Leonard Chess had heard that sound, and become convinced that that was the main reason that Lewis’ records were so successful, so he insisted on Johnnie Johnson doing that on Berry’s new records. Johnson didn’t like the sound, which he considered “all flash and no technique”, but Chess insisted — to the extent that when they were rehearsing the tracks, Chess would walk over and rip his hand down the keys himself, to show Johnson what he wanted. Johnson eventually went along with it, though he said he “’bout tore my thumbnail off” getting it done. [Excerpt: Chuck Berry, “Reelin’ and Rockin’”] He later acknowledged that Chess had a point, though — simple as it was, it did make the records more exciting, and it was something that the kids clearly liked. And something else that the kids liked was another song recorded at the same session — this time about the kids themselves: [Excerpt: Chuck Berry, “Sweet Little Sixteen”] “Sweet Little Sixteen” was one of the first songs about the experience of being a rock and roll fan. There had been earlier records about just dancing to rock and roll music, of course — things like “Drugstore Rock & Roll” or “Rip it Up” — but this was about fandom, and about the experience of following musicians. It’s not completely about that, sadly — it’s the teen girl fan filtered through the male gaze, and so it’s also about how “everybody wants to dance with” this sixteen-year-old girl, and about her “tight dresses and lipstick” — but where the song gains its power is in the verse sections where the girl becomes the viewpoint character, and we hear about how excited she is to go to the show, and about her collections of autographs and photos. However flawed it is, it’s one of the best evocations of the experience of fandom as a hobby — not just liking the music, but having the experience of fandom be a major part of your life. One of the most notable things about “Sweet Little Sixteen” is the way that Berry uses the song to namecheck American Bandstand, which was fast becoming the most important rock and roll TV show around. While in the first chorus he sings about how they’ll be rocking in Boston and Pittsburgh, PA, in the subsequent choruses he changes that to “on Bandstand” and “in Philadelphia PA”, which is where American Bandstand was broadcast from. It’s a sign that Dick Clark was becoming more important than Berry’s mentor, Alan Freed. A week after the session for “Reelin’ and Rockin'” and “Sweet Little Sixteen”, came another session for what would become Berry’s most well-known song, and one that remains in the repertoire of almost every bar band in the world. It’s instantly recognisable right from the start. The introduction to “Johnny B. Goode” is one of the most well-known guitar parts in history: [Excerpt: Chuck Berry, “Johnny B. Goode”] But that guitar part has a long history — it’s original to Chuck Berry, but at the same time it’s based on a lot of earlier examples. Berry took the basic idea for that line from Carl Hogan, Louis Jordan’s guitarist, who played this as the intro to Jordan’s “Ain’t That Just Like a Woman”: [Excerpt: Louis Jordan, “Ain’t That Just Like a Woman”] But Hogan was only the latest in a long line of people who had played essentially that identical line. The first recording we have of that riff dates back to 1918, and a recording by Wilbur Sweatman’s Jazz Orchestra. Sweatman was a friend and colleague of Scott Joplin, and his band was one of the very first black jazz groups to record at all. And on their song “Bluin’ the Blues”, you hear this: [Excerpt: Wilbur Sweatman’s Jazz Orchestra, “Bluin’ the Blues”] We hear it in Blind Lemon Jefferson’s “Got the Blues”, in 1926: [Excerpt: Blind Lemon Jefferson, “Got the Blues”] In Blind Blake’s “Too Tight”, also from 1926: [Excerpt: Blind Blake, “Too Tight”] then in records by Cow Cow Davenport, Andy Kirk, and Count Basie, before it turns up in the Louis Jordan record. But there is a crucial difference between what Carl Hogan played and what Chuck Berry played. Listen again to Hogan’s playing: [Excerpt: Louis Jordan, “Ain’t That Just Like a Woman”] and now to Berry: [Excerpt: Chuck Berry, “Johnny B. Goode”] The crucial change Berry makes there is that most of the time he’s playing the solo line on two strings instead of one, creating a thicker sound, with parallel harmonies, rather than just the simple melody line. This was something that Berry learned from the great blues guitarist T-Bone Walker: [Excerpt: T-Bone Walker, “Shufflin’ the Blues”] Berry took Walker’s playing style, and combined it with Hogan’s note choices, and that simple change makes all the difference. It transmutes the part that Hogan had played from just a standard riff you find in dozens of old jazz records, a standard part of any musician’s toolkit, into a specific intro to a specific song. When, six years later, Carl Wilson of the Beach Boys played this as the intro to “Fun, Fun, Fun”: [Excerpt: The Beach Boys, “Fun Fun Fun”] Absolutely no-one listening thought “Oh, he’s riffing off ‘Texas Shout’ by Cow Cow Davenport” — everyone instantly thought “Oh, that’s the intro to ‘Johnny B. Goode'”. Berry had taken a standard piece of every musician’s toolkit, and by putting a very slight twist on it had made everyone listening hear it differently, so now it was identified solely with him. The lyric to Johnny B. Goode is more original than the music, but even there we can trace its origins. Berry always talked about how the original idea for the lyric was as a message to Johnnie Johnson, saying “Johnnie, be good”, stop drinking so much — a wake-up call to his friend and colleague. But that quickly changed, and the song became more about Berry himself, or an idealised version of Berry, perhaps how he would want people to see him — something that was even more explicit in the original version of the lyric, where rather than sing “a country boy”, he sang “a coloured boy”. But there’s another sign that Berry was talking about himself, and that’s in the very title itself. Goode is spelled “G-o-o-d-e”, with an “e” on the end — and Berry’s childhood home was at 2520 Goode avenue, with an E. There’s another possible origin as well — the poet Langston Hughes had written a very widely circulated series of newspaper columns, which Berry would have encountered in his teenage years and early twenties, about a character named Jesse B. Simple. (And in an interesting note, in 1934 Hughes wrote a story about racial injustice called “Berry”, about a boy named Berry who would, among other things, tell children stories and sing them songs, and Hughes signed the dedication in the book that story was in “Berry” rather than with his own name.) You can point to every element of “Johnny B. Goode” and say “well, this came from there, and this came from there”, but still you’re no closer to identifying why Johnny B. Goode works as well as it does. it’s the combination of all these elements in a way that they’d never been put together before that is Berry’s genius, and is why Berry is pretty much universally regarded as an innovator, not just as an imitator. “Johnny B. Goode” was also the title song for what turned out to be Alan Freed’s final film — a film called Go, Johnny, Go! which also featured Eddie Cochran, the Moonglows, and Ritchie Valens. [Excerpt: Berry and Freed dialogue from Go, Johnny, Go!] That film came out in 1959, and had Berry as Freed’s co-star, appearing with Freed as himself in almost every scene. It was the last gasp of rock and roll cultural relevance for almost everyone involved. By the time the film had come out, Valens was already dead, and within a little over eighteen months after its release, Cochran was also dead, Freed was disgraced, and Berry was in prison. In the last couple of episodes, I’ve mentioned a tour that Chuck Berry and Jerry Lee Lewis headlined in 1958, just after “Johnny B. Goode” came out, with Alan Freed as the MC. What I didn’t mention until now is that as well as the tension between Chuck and Jerry Lee, that tour ended up spelling the end of Freed’s career. Freed was already on the downturn in his career — rock and roll was moving from being a music made largely by black musicians to one dominated by white people, and to make matters worse the major labels had finally got a handle on it and started churning out dozens of prepackaged teen idols, most of them called Bobby. Freed didn’t have the connections with the major labels, or the understanding of the new manufactured pop, that he did with the R&B records from labels like Chess. But it was the show in Boston on this tour that led to Freed’s downfall. The early show, which had been headlined by Lewis, had had the audience dancing, and the police were not at all impressed with this. They’d forced Alan Freed to make the audience sit down, and Lewis had had to play his set to an audience who were seated and squirming, unable to get up and dance to his recent big hits like “Great Balls of Fire”: [Excerpt: Jerry Lee Lewis, “Great Balls of Fire”] Then came the late show, which Berry was headlining. The same thing started to happen — the kids in the audience got up to dance, and the police made Alan Freed make them sit down. But then, when the audience had quietened down, while Berry was standing there on stage, the police refused to dim the house lights and let the musicians carry on playing. So Freed got back on stage and said “It looks like the Boston police don’t want you to have a good time.” The show continued with the lights on, but the audience got annoyed — so much so that Chuck Berry finished the show from behind the drummer, in case the audience attacked. But the police got more annoyed. They got so annoyed, in fact, that they decided to simply claim that every single crime reported to them that night had been inspired by the show. Nobody now thinks that the New York Times reports which said there were multiple stabbings, fifteen people hospitalised, and multiple rapes, are actually accurate reports of anything caused by the show. But at the time, everyone believed it. Boston decided to ban rock and roll concerts altogether, as a result of the show, and while the tour continued through a couple more dates, most of the remaining tour dates got cancelled. Oddly, going through this adversity seems to have brought Berry and Jerry Lee Lewis together. While they’d been fighting each other for almost the entire tour, after this point they became quite close friends, and would speak warmly about each other. Things didn’t end so happily for Alan Freed. Freed had been having some problems with his radio station for a little while. He was difficult to work with, and they particularly disliked that he had started doing his broadcasts from home, rather than from the studio. When he’d been hired, the station was losing money, and he’d been a gamble. Now, they were in profit, and they didn’t need to take risks, and they’d been considering not renewing his contract when it came up in six months. Now that this had happened, they took the opportunity to use the morals clause in Freed’s contract to fire him, although he was allowed to present it as a resignation instead of a firing. Freed would manage to get another radio job, but not one with anything like the same prominence. He would, within a couple of years, become the designated industry fall guy for the practice of payola. This is something that we’ve talked about before — record labels would pay DJs to play their records. Sometimes it was in the form of adding their name to the writing credits, as was the case for Freed with records like “Maybellene” and “Sincerely” – and you can tell how much Freed contributed to those songs by hearing his own attempts at making records: [Excerpt: Alan Freed and his Rock and Roll Band, “Rock and Roll Boogie”, Rock Rock Rock version] Sometimes a promoter would just slip a DJ fifty dollars when handing over a promotional copy of the record. Sometimes, the DJ would be hired to announce a show by the act whose record was to be promoted. There were a lot of different methods, some of them more blatant than others, but it was a common practice. Every DJ and TV presenter took part in this, pretty much — Dick Clark certainly did — and while no-one other than the DJs liked the practice, the small labels that built rock and roll, labels like Sun or Chess or Atlantic, all saw it as a way that they could equalise things a little bit. The major labels all had an inbuilt advantage, and would get their records played on the radio no matter what — this was a way that the smaller labels could be heard. But precisely because it levelled the playing field somewhat, the larger record labels didn’t like it, and by this point the major labels were becoming more interested in rock and roll. And to protect that interest, they promoted a campaign against payola. Freed, as the most prominent DJ in the country, and someone who did his fair share of taking bribes, was essentially chosen as the scapegoat for this, once he lost his job at WINS. By the end of 1959 he lost his job with the station he moved to, WABC, once the payola scandal became headline news, and he spent the next few years moving from smaller stations to yet smaller ones, not staying anywhere very long. He died in 1965, of illnesses caused by his alcoholism. He was only forty-three. [Excerpt: Alan Freed sign-off, “This is not goodbye, it’s just goodnight”] And here we get to the downfall of Chuck Berry himself. It’s an unfortunate fact of chronology that I have to deal with this the week after dealing with Jerry Lee Lewis’ own underage sex scandal — well, a fact of both chronology and a terrible society that sees the bodies of young girls as something to which powerful men are entitled, anyway. Chuck Berry had been on a tour of the Southwest, when in Texas he had met up with a fourteen-year-old sex worker, who had accompanied him on the rest of the tour. He’d promised her a job working at his nightclub in St. Louis, and when he fired her shortly after she started there, she went to the police. Like Lewis, Berry has been more or less forgiven by the consensus narrative of rock history. There is slightly more justification for doing so in Berry’s case than in Lewis’, because the Mann Act, the law under which he was charged and convicted, was a law that was created specifically to punish black men — indeed, its official title was The White Slave Traffic Act. Given the way that other rock and roll artists seem to have had carte blanche to abuse young girls, the fact that a black man was about the only one, certainly for many decades, to spend time in prison for this, is more than a little unjust. But the fact remains, a man in his thirties had had sexual relations with a fourteen-year-old girl. And it’s not like this was an isolated incident — he would later famously settle a class-action suit brought against him by a large number of women he had videotaped on the toilet without their permission. So while Berry had an entirely fair complaint that the prosecution was motivated by race — and his prison sentence was reduced in large part because the judge made some extremely racist remarks — it’s still a fact that what he did was wrong. Now, I’m not going to spend much more time on this with Berry — not as much as I did with Jerry Lee Lewis last week — and that’s because as I said in the beginning of the series, this is not a podcast about the horrible crimes men have committed against women. So why bring it up at all? Well, there’s a myth that Berry’s career was completely wrecked by his arrest. This simply isn’t true. It’s true that “Johnny B. Goode” was Berry’s last top ten hit for quite a few years, and he only had one more top twenty hit in the fifties. But the thing is, his singles had had a very inconsistent chart history before that. He’d released eleven singles up to that point, and only five of them had made the top ten on the pop charts. Classics like “Thirty Days”, “Too Much Monkey Business”, “Brown-Eyed Handsome Man” and “You Can’t Catch Me” had totally failed to hit the pop charts at all. Berry was arrested in December 1959, and between trials and appeals, he didn’t end up going to jail until 1961. “Johnny B. Goode” came out in March 1958. That means that for almost two years *before* the arrest, Berry was, at best, charting in the lower reaches of the charts. The fact is, there’s a simple reason why Berry didn’t chart very much in the late fifties and early sixties. Well, there are two reasons. The first is that public taste had moved on, as it does every few years. There are very few singles artists — and all artists in the fifties were singles artists — who can survive a major change in the public’s taste. The other reason, as he would later admit himself, is that the material he recorded in the few years after “Johnny B. Goode” wasn’t his best. There were some good songs — things like “Carol”, “Little Queenie”, and “I’ve Got to Find My Baby” — but even those weren’t Berry at his absolute peak. And the majority of the material he put out during that time was stuff like “Anthony Boy” and “Too Pooped to Pop”, which very few of even Berry’s most ardent fans will tell you are worth listening to. There was one exception — during that time, he put out what may be the best song he ever wrote, “Memphis, Tennessee”: [Excerpt: Chuck Berry, “Memphis, Tennessee”] While it’s a travesty that that record didn’t chart, in retrospect it’s easy to see why it didn’t. Berry’s audience were, for the most part, teenagers. No matter how good a song it was, “Memphis Tennessee” was about a man wanting to regain contact with his six-year-old daughter after he’s split up with her mother. That’s something that would have far more relevance to people of Berry’s own age group than to the people who had been, a year or so earlier, wanting to dance with sweet little sixteen, and wanting to hear some of that rock and roll music. As odd as it is to say, Berry’s eighteen months in jail may have done him some good as a commercial prospect. The first three singles he released in 1964, right after getting out of prison, were all bigger hits than he’d had since summer 1958 — “Nadine” made number 23, “You Never Can Tell” made number fourteen, and “No Particular Place to Go”, a rewrite of “School Day”, with new, funnier, lyrics about sexual frustration, went to number ten: [Excerpt: Chuck Berry, “No Particular Place to Go”] Those songs were better than anything he’d released for several years previously, and it seemed that Berry might be on his way back to the top, but it was a false dawn. Berry’s studio work slid back into mediocrity with occasional flashes of his old brilliance, and his only hit after this point was in the seventies, when he had his only number one with a novelty song by Dave Bartholomew, “My Ding-a-Ling”, which if you’ve not heard it is about as juvenile as it sounds. In the late seventies, Berry essentially retired from making new music, choosing instead to spend the best part of forty years touring the world with just his guitar, playing with whatever local pickup band the promoter could scrape together, and often not even letting them know in advance what the next song was going to be — he assumed that everyone knew all of his songs, and he was, by and large, correct in that assumption. He was, by all accounts, an extremely bitter man. He did, though, work on one final album, just called “Chuck”, which was announced as part of the celebrations for his ninetieth birthday, but wasn’t released until shortly after his death. He died, aged ninety, in 2017, and the obituaries concentrated on his music rather than his crimes against women. John Lennon once said “if you tried to give rock and roll another name, it would be Chuck Berry”, and for both better and worse, that’s probably true.

  Episode sixty-seven of A History of Rock Music in Five Hundred Songs looks at “Johnny B. Goode” by Chuck Berry, and the decline and fall of both Berry and Alan Freed. 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 “Splish Splash” by Bobby Darin.  —-more—- Resources As always, I’ve created Mixcloud streaming playlists with full versions of all the songs in the episode. Because of the limit on the number of songs by one artist, I have posted them as two playlists — part one, part two. I used foue main books as reference here: Brown Eyed Handsome Man: The Life and Hard Times of Chuck Berry by Bruce Pegg is a good narrative biography of Berry, which doesn’t shy away from the less salubrious aspects of his personality, but is clearly written by an admirer. Long Distance Information: Chuck Berry’s Recorded Legacy by Fred Rothwell is an extraordinarily researched look at every single recording session of Berry’s career up to 2001. I also used a Chuck Berry website, http://www.crlf.de/ChuckBerry/ , which contains updates on Rothwell’s research. The information on the precursors to the “Johnny B. Goode” intro comes from Before Elvis by Larry Birnbaum.  And for information about Freed, I used  Big Beat Heat: Alan Freed and the Early Years of Rock & Roll by John A. Jackson. There are a myriad Chuck Berry compilations available. The one I’d recommend if you don’t have a spare couple of hundred quid for the complete works box set is the double-CD Gold, which has every major track without much of the filler.    Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A brief content warning for this episode – like last week’s, this discusses, though not in any great detail, a few crimes of a sexual nature. If that’s likely to upset you, please either check the transcript to make sure you’ll be OK, or come back next week. Today we’re going to talk about the definitive fifties rock and roll song. “Johnny B. Goode” is so much the epitome of American post-war culture that when NASA sent a record into space, on the Voyager probes in the seventies, it was the only rock and roll song included in the selection of audio, which also included pieces by Bach, Beethoven, Mozart, and Stravinsky, and performances by Louis Armstrong and Blind Willie Johnson, along with folk songs, spoken greetings from world leaders, and so on. At the time the golden record was put together, it was criticised for containing any rock and roll at all. Now, that record is further away from Earth than any other object created by a human being. On Saturday Night Live, the week the probe was launched, Steve Martin joked that there’d been a message from aliens – “Send more Chuck Berry”. That’s what an important record “Johnny B. Goode” is. [Excerpt: Chuck Berry, “Johnny B. Goode”] When we last looked at Chuck Berry, he’d just released “School Day”, which had been his breakout hit into the broader white teenage market that had started to listen to rock and roll. Berry’s career didn’t go on a completely upward curve after that point. His next single, “Oh Baby Doll”, was a comparative flop — it reached number twelve in the R&B charts, but only number fifty-seven on the pop charts. But the record after that was the start of a three-single run that would consolidate Berry as rock and roll’s premier mythologiser. Where in May 1956 Berry had sung about “these rhythm and blues”, this time he was going to use the music’s new name, and he was singing “just let me hear some of that rock and roll music”: [Excerpt: Chuck Berry, “Rock and Roll Music”] That put him back in the top ten, and everything seemed to be going wonderfully for him. He was so popular now as a rock and roll star that on one of the late 1957 tours he did, when Buddy Holly and the Crickets were lower down the bill, the Crickets would do “Roll Over Beethoven” and “Brown-Eyed Handsome Man” as part of their set. Berry had written enough classics by now that other acts on the bill could do the ones he didn’t have time for. When he next went back into the studio, it was to cut seven songs. One of them, “Reelin’ and Rockin'”, was a slight reworking of the old Wynonie Harris song, “Round the Clock Blues”. Harris’ song, which had also been recorded by Big Joe Turner with Johnny Otis’ band, was an inspiration for “Rock Around the Clock” among other records: [Excerpt: Wynonie Harris, “Round the Clock Blues”] Berry’s version got rid of some of the more sexual lyrical content — though that would later come back in live performances of the song — and played up the song’s similarity to “Rock Around the Clock”, but it’s still basically the exact same song that Wynonie Harris had performed. Of course, the copyright is in Chuck Berry’s name — for all that he and his publishers would be very eager to sue anyone who might come too close to one of Berry’s songs, he had no compunction about taking all the credit for a song someone else had written. [Excerpt: Chuck Berry, “Reelin’ and Rockin’”] You might notice that the piano style on that track is very different from some of Berry’s earlier recordings. Now, there are two possible explanations for this, because I’ve seen two different pianists credited for these sessions. Some sources credit Lafayette Leake with playing the piano here, and that might be enough to explain the difference in style, but I’m going with the other sources, which credit Johnnie Johnson, Berry’s regular player, as playing on the session. If it is, though, he’s playing in a different style. This is because of the popularity of Jerry Lee Lewis, who had risen to fame since Berry’s last session. Lewis used to use a simple technique called “ripping” when playing the piano, in which you just slide your fingers across the keys as fast as possible. He does it pretty much constantly in his solos, as you can hear in this: [Excerpt: Jerry Lee Lewis, “Great Balls of Fire”, piano solo] Leonard Chess had heard that sound, and become convinced that that was the main reason that Lewis’ records were so successful, so he insisted on Johnnie Johnson doing that on Berry’s new records. Johnson didn’t like the sound, which he considered “all flash and no technique”, but Chess insisted — to the extent that when they were rehearsing the tracks, Chess would walk over and rip his hand down the keys himself, to show Johnson what he wanted. Johnson eventually went along with it, though he said he “’bout tore my thumbnail off” getting it done. [Excerpt: Chuck Berry, “Reelin’ and Rockin’”] He later acknowledged that Chess had a point, though — simple as it was, it did make the records more exciting, and it was something that the kids clearly liked. And something else that the kids liked was another song recorded at the same session — this time about the kids themselves: [Excerpt: Chuck Berry, “Sweet Little Sixteen”] “Sweet Little Sixteen” was one of the first songs about the experience of being a rock and roll fan. There had been earlier records about just dancing to rock and roll music, of course — things like “Drugstore Rock & Roll” or “Rip it Up” — but this was about fandom, and about the experience of following musicians. It’s not completely about that, sadly — it’s the teen girl fan filtered through the male gaze, and so it’s also about how “everybody wants to dance with” this sixteen-year-old girl, and about her “tight dresses and lipstick” — but where the song gains its power is in the verse sections where the girl becomes the viewpoint character, and we hear about how excited she is to go to the show, and about her collections of autographs and photos. However flawed it is, it’s one of the best evocations of the experience of fandom as a hobby — not just liking the music, but having the experience of fandom be a major part of your life. One of the most notable things about “Sweet Little Sixteen” is the way that Berry uses the song to namecheck American Bandstand, which was fast becoming the most important rock and roll TV show around. While in the first chorus he sings about how they’ll be rocking in Boston and Pittsburgh, PA, in the subsequent choruses he changes that to “on Bandstand” and “in Philadelphia PA”, which is where American Bandstand was broadcast from. It’s a sign that Dick Clark was becoming more important than Berry’s mentor, Alan Freed. A week after the session for “Reelin’ and Rockin'” and “Sweet Little Sixteen”, came another session for what would become Berry’s most well-known song, and one that remains in the repertoire of almost every bar band in the world. It’s instantly recognisable right from the start. The introduction to “Johnny B. Goode” is one of the most well-known guitar parts in history: [Excerpt: Chuck Berry, “Johnny B. Goode”] But that guitar part has a long history — it’s original to Chuck Berry, but at the same time it’s based on a lot of earlier examples. Berry took the basic idea for that line from Carl Hogan, Louis Jordan’s guitarist, who played this as the intro to Jordan’s “Ain’t That Just Like a Woman”: [Excerpt: Louis Jordan, “Ain’t That Just Like a Woman”] But Hogan was only the latest in a long line of people who had played essentially that identical line. The first recording we have of that riff dates back to 1918, and a recording by Wilbur Sweatman’s Jazz Orchestra. Sweatman was a friend and colleague of Scott Joplin, and his band was one of the very first black jazz groups to record at all. And on their song “Bluin’ the Blues”, you hear this: [Excerpt: Wilbur Sweatman’s Jazz Orchestra, “Bluin’ the Blues”] We hear it in Blind Lemon Jefferson’s “Got the Blues”, in 1926: [Excerpt: Blind Lemon Jefferson, “Got the Blues”] In Blind Blake’s “Too Tight”, also from 1926: [Excerpt: Blind Blake, “Too Tight”] then in records by Cow Cow Davenport, Andy Kirk, and Count Basie, before it turns up in the Louis Jordan record. But there is a crucial difference between what Carl Hogan played and what Chuck Berry played. Listen again to Hogan’s playing: [Excerpt: Louis Jordan, “Ain’t That Just Like a Woman”] and now to Berry: [Excerpt: Chuck Berry, “Johnny B. Goode”] The crucial change Berry makes there is that most of the time he’s playing the solo line on two strings instead of one, creating a thicker sound, with parallel harmonies, rather than just the simple melody line. This was something that Berry learned from the great blues guitarist T-Bone Walker: [Excerpt: T-Bone Walker, “Shufflin’ the Blues”] Berry took Walker’s playing style, and combined it with Hogan’s note choices, and that simple change makes all the difference. It transmutes the part that Hogan had played from just a standard riff you find in dozens of old jazz records, a standard part of any musician’s toolkit, into a specific intro to a specific song. When, six years later, Carl Wilson of the Beach Boys played this as the intro to “Fun, Fun, Fun”: [Excerpt: The Beach Boys, “Fun Fun Fun”] Absolutely no-one listening thought “Oh, he’s riffing off ‘Texas Shout’ by Cow Cow Davenport” — everyone instantly thought “Oh, that’s the intro to ‘Johnny B. Goode'”. Berry had taken a standard piece of every musician’s toolkit, and by putting a very slight twist on it had made everyone listening hear it differently, so now it was identified solely with him. The lyric to Johnny B. Goode is more original than the music, but even there we can trace its origins. Berry always talked about how the original idea for the lyric was as a message to Johnnie Johnson, saying “Johnnie, be good”, stop drinking so much — a wake-up call to his friend and colleague. But that quickly changed, and the song became more about Berry himself, or an idealised version of Berry, perhaps how he would want people to see him — something that was even more explicit in the original version of the lyric, where rather than sing “a country boy”, he sang “a coloured boy”. But there’s another sign that Berry was talking about himself, and that’s in the very title itself. Goode is spelled “G-o-o-d-e”, with an “e” on the end — and Berry’s childhood home was at 2520 Goode avenue, with an E. There’s another possible origin as well — the poet Langston Hughes had written a very widely circulated series of newspaper columns, which Berry would have encountered in his teenage years and early twenties, about a character named Jesse B. Simple. (And in an interesting note, in 1934 Hughes wrote a story about racial injustice called “Berry”, about a boy named Berry who would, among other things, tell children stories and sing them songs, and Hughes signed the dedication in the book that story was in “Berry” rather than with his own name.) You can point to every element of “Johnny B. Goode” and say “well, this came from there, and this came from there”, but still you’re no closer to identifying why Johnny B. Goode works as well as it does. it’s the combination of all these elements in a way that they’d never been put together before that is Berry’s genius, and is why Berry is pretty much universally regarded as an innovator, not just as an imitator. “Johnny B. Goode” was also the title song for what turned out to be Alan Freed’s final film — a film called Go, Johnny, Go! which also featured Eddie Cochran, the Moonglows, and Ritchie Valens. [Excerpt: Berry and Freed dialogue from Go, Johnny, Go!] That film came out in 1959, and had Berry as Freed’s co-star, appearing with Freed as himself in almost every scene. It was the last gasp of rock and roll cultural relevance for almost everyone involved. By the time the film had come out, Valens was already dead, and within a little over eighteen months after its release, Cochran was also dead, Freed was disgraced, and Berry was in prison. In the last couple of episodes, I’ve mentioned a tour that Chuck Berry and Jerry Lee Lewis headlined in 1958, just after “Johnny B. Goode” came out, with Alan Freed as the MC. What I didn’t mention until now is that as well as the tension between Chuck and Jerry Lee, that tour ended up spelling the end of Freed’s career. Freed was already on the downturn in his career — rock and roll was moving from being a music made largely by black musicians to one dominated by white people, and to make matters worse the major labels had finally got a handle on it and started churning out dozens of prepackaged teen idols, most of them called Bobby. Freed didn’t have the connections with the major labels, or the understanding of the new manufactured pop, that he did with the R&B records from labels like Chess. But it was the show in Boston on this tour that led to Freed’s downfall. The early show, which had been headlined by Lewis, had had the audience dancing, and the police were not at all impressed with this. They’d forced Alan Freed to make the audience sit down, and Lewis had had to play his set to an audience who were seated and squirming, unable to get up and dance to his recent big hits like “Great Balls of Fire”: [Excerpt: Jerry Lee Lewis, “Great Balls of Fire”] Then came the late show, which Berry was headlining. The same thing started to happen — the kids in the audience got up to dance, and the police made Alan Freed make them sit down. But then, when the audience had quietened down, while Berry was standing there on stage, the police refused to dim the house lights and let the musicians carry on playing. So Freed got back on stage and said “It looks like the Boston police don’t want you to have a good time.” The show continued with the lights on, but the audience got annoyed — so much so that Chuck Berry finished the show from behind the drummer, in case the audience attacked. But the police got more annoyed. They got so annoyed, in fact, that they decided to simply claim that every single crime reported to them that night had been inspired by the show. Nobody now thinks that the New York Times reports which said there were multiple stabbings, fifteen people hospitalised, and multiple rapes, are actually accurate reports of anything caused by the show. But at the time, everyone believed it. Boston decided to ban rock and roll concerts altogether, as a result of the show, and while the tour continued through a couple more dates, most of the remaining tour dates got cancelled. Oddly, going through this adversity seems to have brought Berry and Jerry Lee Lewis together. While they’d been fighting each other for almost the entire tour, after this point they became quite close friends, and would speak warmly about each other. Things didn’t end so happily for Alan Freed. Freed had been having some problems with his radio station for a little while. He was difficult to work with, and they particularly disliked that he had started doing his broadcasts from home, rather than from the studio. When he’d been hired, the station was losing money, and he’d been a gamble. Now, they were in profit, and they didn’t need to take risks, and they’d been considering not renewing his contract when it came up in six months. Now that this had happened, they took the opportunity to use the morals clause in Freed’s contract to fire him, although he was allowed to present it as a resignation instead of a firing. Freed would manage to get another radio job, but not one with anything like the same prominence. He would, within a couple of years, become the designated industry fall guy for the practice of payola. This is something that we’ve talked about before — record labels would pay DJs to play their records. Sometimes it was in the form of adding their name to the writing credits, as was the case for Freed with records like “Maybellene” and “Sincerely” – and you can tell how much Freed contributed to those songs by hearing his own attempts at making records: [Excerpt: Alan Freed and his Rock and Roll Band, “Rock and Roll Boogie”, Rock Rock Rock version] Sometimes a promoter would just slip a DJ fifty dollars when handing over a promotional copy of the record. Sometimes, the DJ would be hired to announce a show by the act whose record was to be promoted. There were a lot of different methods, some of them more blatant than others, but it was a common practice. Every DJ and TV presenter took part in this, pretty much — Dick Clark certainly did — and while no-one other than the DJs liked the practice, the small labels that built rock and roll, labels like Sun or Chess or Atlantic, all saw it as a way that they could equalise things a little bit. The major labels all had an inbuilt advantage, and would get their records played on the radio no matter what — this was a way that the smaller labels could be heard. But precisely because it levelled the playing field somewhat, the larger record labels didn’t like it, and by this point the major labels were becoming more interested in rock and roll. And to protect that interest, they promoted a campaign against payola. Freed, as the most prominent DJ in the country, and someone who did his fair share of taking bribes, was essentially chosen as the scapegoat for this, once he lost his job at WINS. By the end of 1959 he lost his job with the station he moved to, WABC, once the payola scandal became headline news, and he spent the next few years moving from smaller stations to yet smaller ones, not staying anywhere very long. He died in 1965, of illnesses caused by his alcoholism. He was only forty-three. [Excerpt: Alan Freed sign-off, “This is not goodbye, it’s just goodnight”] And here we get to the downfall of Chuck Berry himself. It’s an unfortunate fact of chronology that I have to deal with this the week after dealing with Jerry Lee Lewis’ own underage sex scandal — well, a fact of both chronology and a terrible society that sees the bodies of young girls as something to which powerful men are entitled, anyway. Chuck Berry had been on a tour of the Southwest, when in Texas he had met up with a fourteen-year-old sex worker, who had accompanied him on the rest of the tour. He’d promised her a job working at his nightclub in St. Louis, and when he fired her shortly after she started there, she went to the police. Like Lewis, Berry has been more or less forgiven by the consensus narrative of rock history. There is slightly more justification for doing so in Berry’s case than in Lewis’, because the Mann Act, the law under which he was charged and convicted, was a law that was created specifically to punish black men — indeed, its official title was The White Slave Traffic Act. Given the way that other rock and roll artists seem to have had carte blanche to abuse young girls, the fact that a black man was about the only one, certainly for many decades, to spend time in prison for this, is more than a little unjust. But the fact remains, a man in his thirties had had sexual relations with a fourteen-year-old girl. And it’s not like this was an isolated incident — he would later famously settle a class-action suit brought against him by a large number of women he had videotaped on the toilet without their permission. So while Berry had an entirely fair complaint that the prosecution was motivated by race — and his prison sentence was reduced in large part because the judge made some extremely racist remarks — it’s still a fact that what he did was wrong. Now, I’m not going to spend much more time on this with Berry — not as much as I did with Jerry Lee Lewis last week — and that’s because as I said in the beginning of the series, this is not a podcast about the horrible crimes men have committed against women. So why bring it up at all? Well, there’s a myth that Berry’s career was completely wrecked by his arrest. This simply isn’t true. It’s true that “Johnny B. Goode” was Berry’s last top ten hit for quite a few years, and he only had one more top twenty hit in the fifties. But the thing is, his singles had had a very inconsistent chart history before that. He’d released eleven singles up to that point, and only five of them had made the top ten on the pop charts. Classics like “Thirty Days”, “Too Much Monkey Business”, “Brown-Eyed Handsome Man” and “You Can’t Catch Me” had totally failed to hit the pop charts at all. Berry was arrested in December 1959, and between trials and appeals, he didn’t end up going to jail until 1961. “Johnny B. Goode” came out in March 1958. That means that for almost two years *before* the arrest, Berry was, at best, charting in the lower reaches of the charts. The fact is, there’s a simple reason why Berry didn’t chart very much in the late fifties and early sixties. Well, there are two reasons. The first is that public taste had moved on, as it does every few years. There are very few singles artists — and all artists in the fifties were singles artists — who can survive a major change in the public’s taste. The other reason, as he would later admit himself, is that the material he recorded in the few years after “Johnny B. Goode” wasn’t his best. There were some good songs — things like “Carol”, “Little Queenie”, and “I’ve Got to Find My Baby” — but even those weren’t Berry at his absolute peak. And the majority of the material he put out during that time was stuff like “Anthony Boy” and “Too Pooped to Pop”, which very few of even Berry’s most ardent fans will tell you are worth listening to. There was one exception — during that time, he put out what may be the best song he ever wrote, “Memphis, Tennessee”: [Excerpt: Chuck Berry, “Memphis, Tennessee”] While it’s a travesty that that record didn’t chart, in retrospect it’s easy to see why it didn’t. Berry’s audience were, for the most part, teenagers. No matter how good a song it was, “Memphis Tennessee” was about a man wanting to regain contact with his six-year-old daughter after he’s split up with her mother. That’s something that would have far more relevance to people of Berry’s own age group than to the people who had been, a year or so earlier, wanting to dance with sweet little sixteen, and wanting to hear some of that rock and roll music. As odd as it is to say, Berry’s eighteen months in jail may have done him some good as a commercial prospect. The first three singles he released in 1964, right after getting out of prison, were all bigger hits than he’d had since summer 1958 — “Nadine” made number 23, “You Never Can Tell” made number fourteen, and “No Particular Place to Go”, a rewrite of “School Day”, with new, funnier, lyrics about sexual frustration, went to number ten: [Excerpt: Chuck Berry, “No Particular Place to Go”] Those songs were better than anything he’d released for several years previously, and it seemed that Berry might be on his way back to the top, but it was a false dawn. Berry’s studio work slid back into mediocrity with occasional flashes of his old brilliance, and his only hit after this point was in the seventies, when he had his only number one with a novelty song by Dave Bartholomew, “My Ding-a-Ling”, which if you’ve not heard it is about as juvenile as it sounds. In the late seventies, Berry essentially retired from making new music, choosing instead to spend the best part of forty years touring the world with just his guitar, playing with whatever local pickup band the promoter could scrape together, and often not even letting them know in advance what the next song was going to be — he assumed that everyone knew all of his songs, and he was, by and large, correct in that assumption. He was, by all accounts, an extremely bitter man. He did, though, work on one final album, just called “Chuck”, which was announced as part of the celebrations for his ninetieth birthday, but wasn’t released until shortly after his death. He died, aged ninety, in 2017, and the obituaries concentrated on his music rather than his crimes against women. John Lennon once said “if you tried to give rock and roll another name, it would be Chuck Berry”, and for both better and worse, that’s probably true.

WREDS #553 – Everyday I’m shufflin! Dennis und Nico melden sich aus Hamburg und sprechen über den anstehenden WWE PPV „Clash of Champions“ und die Ereignisse bei RAW und Smackdown aus dem Madison Square Garden. Außerdem berichten wir von unserem Besuch in Berlin inkl. der Ostdeutschen Meisterschaft im Shuffle Board! Das Kicktipp-Tippspiel geht Fr. Mittag online […] Der Beitrag WREDS #553 – Everyday I’m shufflin erschien zuerst auf WREDS.de.

Will and Ray discuss some highlights from 1980s NFL football.

On this week's “Everyday I'm Shufflin'” edition of Political Traction, we unpack this week's surprising Cabinet shuffle at Queen's Park which follows a series of polls that have demonstrated low public support for the Ford government and its handling of key files. It's a very special week for the podcast because in the spirit of the Cabinet shuffle, Political Traction is undertaking a shuffle of its own.

El programa "T'agrada el blues?" d'aquesta setmana proposa dos estils diferents de blues, tots dos sensacionals. El primer

Season 2, my dudes! Fresh off some break time (and something of a turbulent year), we bring you the Haunted Doll Watch scoop on Annabelle: Creation and shuffle on into our ZOMBIE CINEMA thread with our take on the untouchable classic, Night Of The Living Dead. Why yes, that is sexy new theme music courtesy of the excellent Kirby Medway, thanks for noticing. This episode is dedicated to the memory of horror monolith George Romero - we miss you. Our featured interview was shot by Vice Films and published by Grolsch Global. Like the show? Need to convert a non-horror lover? Tell your friends! Tweet us with #nothing2fearpod or follow us at www.twitter.com/nothing2fearpod. Join in on the Facebook conversation at www.facebook.com/nothing2fearpod. Or email us your movie queries, quandaries and quibbles (or any other feedback) at nothing2fearpod@gmail.com!

show#662 10.08.16 Mo' Women Tunz Hurricane Ruth - Cold Day In Hell from Born on the River (4:20) Sari Schorr - Work No More from A Force Of Nature 2016 (5:22) Terrie Odabi - Born To Die from My Blue Soul 2016 (3:08) Ally Venable Band - Love Me Like A Man from No Glass Shoes 2016 (4:02) Joanna Connor - We Stayed Together from Six String Stories 2016 (5:35) Eliza Neals - Aint My Dog No More from 2016 (4:24) Johnny Drummer - My Woman My Money My Whiskey from Bad Attitude 2013 (5:10) Duster Bennett - Beggin' Woman [1965] from Shady Little Baby 2000 (4:31) Johnny O'Neal - Ugly Woman (Peg Leg Baby) [1950s] from The Sun Blues Box Sampler 2013 (2:24) Colin James - Kind-Hearted Woman from National Steel 1997 (2:40) Bonnie Raitt - The Spider And The Fly from Lenox Music Inn 8/25/ 1973 (3:12) Ellen McIlwaine - Born Under a Bad Sign from LIVE 1973 (2:22) Gina Sicilia - Abandoned from Sunset Avenue 2016 (3:02) Lex Grey And The Urban Pioneers - Heal My Soul from Heal My Soul 2016 (7:28) Holly Hyatt and Jon Burden - Black Crow from Shufflin' The Blues 2016 (4:53) Mandeville/Lombardo - Reefer And A Glass Of Wine from The Stars Motel 2016 (3:06) Deb Ryder - Get A Little Steam Up from Grit Grease & Tears 2016 (4:41) Danny Gatton - thirteen women from Cruisin' Deuces 1993 (3:24) Peter Struijk - lowdown woman from Straight Blues 2015 (2:57) Dave and Phil Alvin - Trucking Little Woman from Common Ground 2014 (3:09) Gutbucket Slim - Get Outta My Life Woman from Blues Emporium 2010 (2:46) Sunday Wilde - John The Conquer Root from Blueberries & Grits 2016 (4:28) Kat Riggins - Murphy's Law from Blues Revival 2016 (4:59) Veneese Thomas - The More Things Change from The Long Journey Home 2016 (6:43) Mary Jo Curry - When a Woman's Had Enough from Mary Jo Curry 2016 (3:59) Mr. Boogie Woogie & the Firesweep Bluesband - Woman Like You from Live at the Pub 1997 (4:41) Merle Travis - I Got a Mean Old Woman [1950] from Hot Pickin' 2010 (3:09) Jeff Turmes - That Woman's On Fire from The Distance You Can Travel 2006 (2:52) The Peddlers - Southern Women from Birthday 1969 (2:25) Ali Maas & Mickey Moody - Same Blues, Different Day from Black And Chrome 2016 (3:58) KALO - Oh Father from Dear John (3:39) Markey Blue - Cold Out Side from The Blues Are Knockin' 2016 (3:36) Shari Puorto - Six Months Sober from My Obsession 2015 (2:55) Tasha Taylor - Don't Rush Off from Honey For The Biscuit 2016 (3:08)

Intro Song, Bobby Rush, “I Don't Want Nobody Hanging Around”, Porcupine Meat First Set – Bruce Katz Band, “Don't Feel So Good Today”, Out From The Center Mick Kolassa, “My Hurry Done Broke”, Taylor Made Blues 100% of gross profits to Blues Foundation Little Mike, “Cotton Mouth'”, How Long? Second Set – Jason Elmore & Hoodoo Witch, “House Rockin' Boogie #7”, Champagne Velvet Gonzalo Bergara, “Zalo's Blues”, Zalo's Blues Mike Sponza, “Carpe Diem”, Ergo Sum Third Set – Deb Ryder, “Ain't Gonna Be Easy”, Grit Grease & Tears Nancy Wright, “Yes He Do'”, Play Date! Jj thames, “I'm Leavin'”, Raw Sugar Fourth Set - Eric Sommer, “Cereal Song”, Brooklyn Bolero The McKee Brothers, “One Of Us Gots Ta Go”, Enjoy It While You Can Luxuriant Sedans, “My Back Scratcher”, Born Certified Fifth Set - Holly Hyatt and Jon Burden, “Left Handed Soul'”, Shufflin' The Blues Vasti Jackson, “Taste of New Orleans'”, New Orleans Rhythm Soul Blues Hey folks! Come on out to my new web site and submit your comments! It's Bluzndablood.com ! I know it's still a work in progress but check it out!  

show#655 08.21.16 We're Baa-aack!! Carolyn Wonderland - Living In The Palace Of The King from Live Texas Trio 2015 (3:47) Mary Jo Curry - Husband #2 from Mary Jo Curry 2016 (3:59) Veneese Thomas - Revelation from The Long Journey Home 2016 (4:10) King Mo - The shape you're in from King Of The Town 2011 (4:15) Philip Kroonenberg - Louisiana from Grounded 1998 (4:33) Arthur Ebeling - The Only Way To It from Dreams 2002 (4:11) Johnny Nicholas - Kid Man Blues from Fresh Air 2016 (5:09) Ronnie Earl and the Broadcasters - Blues for David Maxwell from Maxwell Street 2016 (8:24) Duke Robillard and his All-Star Combo - Scufflin' and Shufflin' (feat. Jimmie Vaughan) from Blues Full Circle 2016 (6:31) Hard Swimmin' Fish - Ooh, That Was Close from True Believer 2016 (3:53) B.J. Baartmans - A Couple Apart from BJ's Pawnshop At Second Hand 2000 (2:20) Bradley's Circus - Too Lonely For Too Long from Bang Bang Wa Wee's 2011 (4:28) Drippin' Honey - In the Red from Love The Curse 2002 (3:36) Gigantjes - Well Do It from Royal Giants 1992 (2:39) Handsome Harry Company - Duty Calls from Get On With It 2005 (4:21) JL Fulks - I Believe In Love from On Down The Road EP 2016 (8:57) Dan Bubien - Struggle Is Real from Grinding These Gears 2016 (5:47) Cat Lee King and his Cocks - Drinkin' Wine from Get Up And Dance ! - Jivers ! 2016 (3:01) Backtrack Blues Band - Help Me Just This Time from Way Back Home 2016 (5:22) Dennis Gruenling - Little Sugar from Ready Or Not 2016 (4:39) Nick Moss Band - Serves Me Right (Space Jam) from From the Root to the Fruit 2016 (9:43) Blind Lemon Pledge - 5 Weeks of Heaven from Pledge Drive 2016 (4:00)

http://d20crit.com/wp-content/uploads/2015/06/mm49.mp3 The PTR has lost some spirit, Race changes are in the Ayr and making Leblue Blue, we tackle community unrest and Every Brewmaster’s Shufflin’. This is Monk Meditation - Episode 49. Theme music: John the Return 2K11 - Butterfly Reloaded by Butterfly Tea http://www.butterfly-tea.com/ https://www.youtube.com/watch?v=N2JHsBsr7k0

Is there a right or wrong way to shuffle your deck?  In this episode, Rose Red and Charlie discuss a subject not often brought up by readers: the many ways to mix your cards.  Rose Red and Charlie discuss their own choices for beginning a reading and touch on a few of the pervasive myths new readers will hear.  You may be inspired to make some changes to your methods of working with the cards.  Just don't shotgun shuffle.  We mean it.

Cheating, PTQ deckbuilding, SPOILERS!

Cheating, PTQ deckbuilding, SPOILERS!

Top 40 tracks with some of my favorite dance tracks from back in the day.

Track Listing:- 1)David Guetta Ft. Flo Rida & Nicki Minaj - Where Them Girls At 2)Katy Perry - Last Friday Night (T.G.I.F.) (Sidney Samson Remix) 3)Example - Changed The Way You Kiss Me (Extended Mix) 4)Lady GaGa - Born This Way (Chew Fu Extended Mix) 5)Laidback Luke, Steve Aoki Feat. Lil' Jon - Turbulence (Sidney Samson Remix) 6)Mann Feat. 50 Cent - Buzzin' (Dan Clare Remix) 7)LMFAO - Party Rock Anthem 8)Jodie Connor - Bring It (Digital Dog Extended Mix) 9)Britney Spears - Till The World Ends (Jump Smokers Extended Remix) 10)Anthem Kingz - Hello (LMFAO Party Rock Banger) 11)Anthem Kingz Ft. G-ZO - I Like To Move It (Party Anthem Clean) 12)Inna - Sun Is Up (Extended Version By Play & Win) 13)Yasmin - Finish Line (Freemasons Pegasus Club Mix)

Short stories shared by writer/storyteller Shannon Cason. See acast.com/privacy for privacy and opt-out information.

This is show #84, Blues You Can Live With! Welcome back, everybody! This is an UPDATED corrected version 6 of the show! This is once again, coming at you from the … I've got another good show for you! Who says that the blues aren't good for you? I've heard that often, but it's not always true! Show #84 is created with all great tunes that prove these are Blues You Can Live With! Well, I started off the show with playing Plano Texas Blues! So, who else are you gonna hear on the show? Well, how about with My Lady Don't Love My Lady; , Shufflin' the Blues; , Whiskey By The Glass; , Straw Dog Strut; , Train Called Rock n Roll; , Barkin' All Nite; , Big Mouth; , U B U; , Long Overdue; , Bluesman; and wrapping up with a great tune from , Don't You Lie To Me. Special “Get Well” wishes go out to Bryan Lee, who is hospitalized with a serious infection and respiratory problems. We're playing his new CD on the show and have a video I took of him playing my request for “Blues singer”… Check it out at Also Michael Allen, from the for his ongoing support in allowing me to use his incredible artwork on my show and web sites! Be sure to swing by the home page! There are hyperlinks to all the great music that you hear on my show! Enjoy the show and keep in touch! I can be found at , , and ! Or better yet, e-mail me at . Until next time, this is Dave Harrison, reminding you to keep the blues alive and keep the blues in the blood! Dave

Blues is a vocal and instrumental form of music based on the use of blue notes—a note that is sung or played at a lower pitch than the rest of the song that gives the blues its characteristic, often sad sound. The lyrics usually have a predictable rhyme, and the music also has a repetitive pattern that typically follows a twelve-bar structure. While the blues may tackle serious subjects, it also brings joy to the singer and audience.

Blues is a vocal and instrumental form of music based on the use of blue notes—a note that is sung or played at a lower pitch than the rest of the song that gives the blues its characteristic, often sad sound. The lyrics usually have a predictable rhyme, and the music also has a repetitive pattern that typically follows a twelve-bar structure. While the blues may tackle serious subjects, it also brings joy to the singer and audience.