Podcasts about smokestack lightning

Nuevo álbum de la banda más salvaje del punk australiano. Titulado “¯_(ツ)_/¯” y rebautizado como “A bunch of songs”, los de Melbourne vuelven a hacer gala de su peculiar mezcla de estilos en torno al punk, el hardcore y el metal, así como de su singular sentido del humor; la portada está hecha con 2500 imágenes, hay cuatro canciones que duran 28 segundos y se lanza una tirada limitada bañada en un perfume muy especial.Playlist;PRIVATE FUNCTION “Gamma Ray”PRIVATE FUNCTION “Echuca”PRIVATE FUNCTION “Sucked in fuckhead”PRIVATE FUNCTION “Art sucks (but not as much as you)”PRIVATE FUNCTION “Bum cigs, cum big”PRIVATE FUNCTION “Fuck”PRIVATE FUNCTION “Shit”PRIVATE FUNCTION “S.O.S.”TY SEGALL “Buildings”LOS JAGUARES DE LA BAHÍA feat CANDELA “Mi plan genial”Versión y Original; PLASTIC BERTRAND “Ça plane pour moi”Versión y Original; ELTON MOTELLO “Jet Boy, Jet Girl”GARBAYO “Todos mis amigos”PAUL ZINNARD “Lucky man”AMELIA and THE HOUSEWIVES “Maybe”JD McPHERSON “Just like summer”JAKE LABOTZ and SMOKESTACK LIGHTNING “Mystery train”JE’TEXAS “Perhaps a Saturday”Escuchar audio

Send us a textNOTE: Ep 7-12 of Classic Rock Review will return March 3, 2025. In the meantime, enjoy Guess the Year Season 7!Welcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Hot Dog by They Might Be Giants (2006)Song 1: Werewolves of London by Warren Zevon (1978)Song 2: I Can See You (Taylor's Version) by Taylor Swift (2023)Song 3: They Say I'm Different by Betty Davis (1974)Song 4: Heart Full of Soul by The Yardbirds (1965)Song 5: Mayday!!! Fiesta Fever by AWOLNATION (2020)Song 6: Smokestack Lightning by Howlin' Wolf (1956)Song 7: Sweater Weather by The Neighbourhood (2012)Song 8: Them Belly Full (But We Hungry) by Bob Marley & the Wailers (1974)Song 9: Never Freestyle by Coast Contra (2022)Song 10: This Velvet Glove by Red Hot Chili Peppers (1999)

"Cannabis, COVID, and Concerts: A Grateful Dead Fan's Journey"Larry Mishkin is back from a break spent in South Carolina with his granddaughter he shares his experience of contracting a mild case of COVID, attributing his quick recovery to his cannabis use. He references studies suggesting that certain strains of sativa marijuana may mitigate COVID symptoms.The episode features a detailed discussion of a special Grateful Dead concert from July 15, 1989, at Deer Creek Music Theater in Noblesville, Indiana. Larry reminisces about the venue, the band's setlist, and the memorable experience shared with friends. He highlights key performances from the show, including "Bertha," "Greatest Story Ever Told," "Candyman," "Walkin' Blues," and others.Larry also covers recent music news, mentioning Melissa Etheridge's performance in Colorado and her upcoming summer tour. He shares updates on the String Cheese Incident's New Orleans-themed show at Red Rocks and Phish's recent appearance on The Tonight Show with Jimmy Fallon, where they performed "Evolve" from their new album. Grateful DeadDeer Creek Music Theater CenterNoblesville, INGrateful Dead Live at Deer Creek Music Center on 1989-07-15 : Free Borrow & Streaming : Internet Archive With:  Judy, Andy K., Lary V., AWell and others First Dead show ever at Deer Creek which had just opened that year.  Became a regular stop on the Dead's summer tour thereafter and one of the favorite places for the Deadheads given its relatively small size as compared to the stadium venues that soon became the norm for summer tours.  Ironically, two days after this one-off Dead played their final 3 shows at Alpine Valley, switched to Tinley Park in 1990 and then starting in 1991 Chicago summer  tour shows were confined to Soldier Field with 60,000 attendees. INTRO:                                 Bertha                                                Track #2                                                1:20 – 3:00 Garcia/Hunter – first appeared on Grateful Dead (live) aka Skull and Roses or Skullfuck (1971)Played: 401First:  February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:  June 27, 1995 at the Palace of Auburn Hills, Detroit, MI  SHOW No. 1:                    Walkin Blues                                                Track #5                                                1:38 – 3:20 "Walkin' Blues" or "Walking Blues" is a blues standard written and recorded by American Delta blues musician Son House in 1930. Although unissued at the time, it was part of House's repertoire and other musicians, including Robert Johnson and Muddy Waters, adapted the song and recorded their own versions. "Walkin' Blues" was not a commercial success when it was issued as a "race record" marketed to black listeners.  However, the song was received with great enthusiasm by a small group of white jazz record collectors and critics. Producer John Hammond chose "Walkin' Blues" and "Preachin' Blues" as the records to be played at his 1938 From Spirituals to Swing concert, when Johnson himself could not appear (Johnson had died a few months earlier).[15] The 1961 Johnson compilation album King of the Delta Blues Singers was marketed to white enthusiasts. According to most sources, John Hammond was involved in the production and the selection of tracks. The album included the two House-style songs and a song with House-style guitar figures ("Cross Road Blues" and excluded songs in the commercial style of the late 1930s. Notable exclusions were Johnson's one commercial hit, "Terraplane Blues", and two songs which he passed on to the mainstream of blues recording, "Sweet Home Chicago" and "Dust My Broom". Dead first played it in 1966, once in 1982 and 4 times in 1985.  Then, beginning in 1987 it became a standard part of Dead song lists, peaking in 1988 when it was played 23 times.  Became one of Bobby's early first set blues numbers with Minglewood Blues, CC Rider and Little Red Rooster. Played: 141First:  October 7, 1966 at Fillmore Auditorium, San Francisco, CA, USALast:  July 2, 1995 at Deer Creek Music Center, Noblesville, IN, USA   SHOW No. 2:                    Crazy Fingers                                                Track #12                                                4:30 – 6:12 Pretty standard second set song, usually pre-drums.  Fist played in 1975, a few times in 1976 and then dropped until 1982 at Ventura County Fairgrounds (day after my first show).  Played 7 times that year, dropped until 1985 (10 times), then dropped until 1987 and then played regularly until the end.  Great tune, Jerry often forgot the lyrics and this version is great because Bobby saves him on the lyrics when Jerry starts to go astray.  Good fun considering how many times Bobby would forget the words to his songs. But one of those things you remember if you see it happen Garcia/Hunter, released on Blues For Allah (Sept. 1, 1975)Played: 145 timesFirst:  June 17, 1975 at Winterland Arena, San Francisco, CA, USALast:  July 5, 1995 at Riverport Amphitheatre in Maryland Heights, MO (St. Louis)  SHOW No. 3:                    Truckin                                                Track #13                                                7:00 – end Hunter/Garcia/Weir/Lesh/Kreutzman (Pigpen went inside to take a nap) by the side of a pool.Released on American Beauty (November, 1970) final tune on the albumPlayed: 532 timesFirst:  August 17, 1970 at Fillmore West, San Francisco, CA, USALast:  July 6, 1995 at Riverport Amphitheatre in Maryland Heights, MO                                                  INTO                                                Smokestack Lightning                                                Track #14                                                0:00 – 0:36  "Smokestack Lightning" (also "Smoke Stack Lightning" or "Smokestack Lightnin'") is a blues song recorded by Howlin' Wolf (Chester Burnett) in 1956. It became one of his most popular and influential songs. It is based on earlier blues songs, and numerous artists later interpreted it.  Recorded at Chess Records in Chicago and released in March, 1956 with You Can't Be Beat on the B side. Wolf had performed "Smokestack Lightning" in one form or another at least by the early 1930s,[1] when he was performing with Charley Patton in small Delta communities.[1] The song, described as "a hypnotic one-chord drone piece",[2] draws on earlier blues, such as Tommy Johnson's "Big Road Blues",[3] the Mississippi Sheiks' "Stop and Listen Blues",[4] and Charley Patton's "Moon Going Down".[5][6] Wolf said the song was inspired by watching trains in the night: "We used to sit out in the country and see the trains go by, watch the sparks come out of the smokestack. That was smokestack lightning." In a song review for AllMusic, Bill Janovitz described "Smokestack Lightning" as "almost like a distillation of the essence of the blues... a pleasingly primitive and raw representation of the blues, pure and chant-like. Wolf truly sounds like a man in otherwise inexpressible agony, flailing for words."[8] In 1999, the song received a Grammy Hall of Fame Award, honoring its lasting historical significance.[13]Rolling Stone magazine ranked it at number 291 in its list of the "500 Greatest Songs of All Time"[7] and the Rock and Roll Hall of Fame included it in its list of the "500 Songs that Shaped Rock and Roll".[14] In 1985, the song was inducted into the Blues Foundation Hall of Fame in the "Classics of Blues Recordings" category[15] and, in 2009, it was selected for permanent preservation in the National Recording Registry of the U.S. Library of Congress. Janovitz also identifies "Smokestack Lightning" as a blues standard "open to varied interpretation, covered by artists ranging from the Yardbirds to Soundgarden, all stamping their personal imprint on the song".[8] Clapton identifies the Yardbirds' performances of the song as the group's most popular live number.[17] They played it almost every show, and sometimes it could last up to 30 minutes. Dead often played it out of Truckin, would also play the blues tune Spoonful out of Truckin. Played:  63 timesFirst:  November 19, 1966 at Fillmore Auditorium, San Francisco, CA, USALast:  October 18, 1994 at Madison Square Garden, New York, NY, USA   SHOW No. 4:                    Space                                                Track #17                                                7:45 – 9:20  On November 28, 1973, Grateful Dead guitarist Jerry Garcia and drummer Mickey Hart staged a performance at San Francisco's Palace Of Fine Arts. At the time, Hart – whose 80th birthday is today – was on a sabbatical from the Dead, having last performed in public with Garcia and the band in February 1971. Hart would rejoin the Dead for good in October 1974.A poster promoting the concert shows a clean-shaven Garcia dressed in black beside an equally freshly shaven Hart wearing all white. At the bottom of the advertisement was printed “An Experiment in Quadrophonic Sound.”Hart recalled his experience at the duo concert with Garcia in 1973 that was not only a Seastones precursor but also planted the seeds for the band's mind-bending “Space” jams.“There were so many exciting that we've done together. Adventurous musical things. He was also into adventure and creating new spaces, so we had that in common. We got together many times out of the ring – where he first discovered synthesizers, being able to synthesize his guitar, which led to MIDI.“The first concert we did was in 1973. It was just a duo. He got an Arp [Odyssey], an electric instrument, a keyboard, and he plugged his guitar into it and that was the first time I had heard his guitar I had heard his guitar running through sophisticated synthesizers.“I just thought of that concert, which kind of was the beginning of ‘Space' – ‘Drums' and ‘Space' actually – it might have been the very beginning of it. And I think of that on his birthday, the seminal things we did together.” After the November 28, 1973 concert, the Grateful Dead began to occasionally incorporate elements of a “Space” jam into their shows. In January 1978, Dead shows almost always included a nightly “Drums” jam paired with a freeform “Space” jam, consistently showing up mid-second set throughout the rest of their career. Played:  1086First:  March 19, 1966 at Carthay Studios, Los Angeles, CA, USALast:  July 9, 1995 at Soldier Field, Chicago, IL   OUTRO:                               Brokedown Palace                                                Track #22                                                5:04 – 6:43  The lyric to “Brokedown Palace” was written by Robert Hunter as part of a suite of songs that arrived via his pen during a stay in London in 1970. He entitled it “Broke-Down Palace,” and now that it exists as a piece of writing, it seems to have always existed. It was composed on the same afternoon as “Ripple” and “To Lay Me Down,” with the aid of a half bottle of retsina.Its first performance was on August 18, 1970, at the Fillmore West in San Francisco, and became a staple of the live repertoire. After the 1975 hiatus, “Brokedown Palace” appeared almost exclusively as the closing song of the show, as an encore. It had the effect of sending us out of the show on a gentle pillow of sound, the band bidding us “Fare you well, fare you well…”Garcia/HunterReleased on American Beauty (Nov. 1970) Played: 219 timesFirst:  August 18, 1970 at Fillmore West, San Francisco, CA, USALast:  June 25, 1995 at RFK Stadium in Washington, D.C. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

In this heartfelt Black Music Month episode of PGC After Dark, we delve into the profound themes of heartache, loss, and redemption in blues music. Join us as we explore how the raw, emotional content of blues songs resonates deeply with listeners, especially during the quiet hours of the night. Blues music, with its roots in African American history and culture, has long served as a powerful outlet for expressing the deepest sorrows and the journey toward healing. In this episode, we trace the origins of the blues and highlight its evolution through the stories and sounds of iconic artists like B.B. King, Billie Holiday, Muddy Waters, and Etta James. We'll dissect classic tracks such as Robert Johnson's “Cross Road Blues,” Bessie Smith's “Nobody Knows You When You're Down and Out,” and Howlin' Wolf's “Smokestack Lightning,” revealing the emotional depth and storytelling prowess that define the genre. Our conversation will uncover how blues music captures the universal human experience of pain and perseverance. We'll discuss the ways in which these songs have provided comfort and solidarity to listeners, allowing them to confront their own struggles and find solace in the shared experience of suffering and hope. Listeners will gain insight into the unique musical elements that give blues its distinctive sound— from the melancholic guitar riffs to the soulful, wailing vocals. We'll also explore how contemporary artists continue to draw inspiration from the blues, keeping its spirit alive while infusing it with modern sensibilities. Tune in for an evocative journey through the emotional landscape of the blues, as we share stories of heartache and redemption that have been immortalized in song. Whether you're a long-time blues aficionado or new to the genre, this episode offers a deep, resonant look at the music that speaks to the soul. Press play and let the haunting melodies and poignant lyrics guide you through the timeless world of the blues. This is one episode that promises to touch your heart and remind you of the healing power of music. Don't miss out on this soulful celebration of the blues! We wanna hear all your thoughts and answer all the questions, so come connect with us.......... Instagram: @pgcafterdark Facebook.com/thephatgirlchronicles Twitter: @pgcafterdark YouTube: https://youtube.com/c/ThePhatGirlChronicles Did you learn something in this episode that you didn't know?!? If so, please share this episode with a friend and leave a 5-star review and comment wherever you listen to this podcast. We would love to know how our show made your day or taught you something new!!! https://www.facebook.com/thephatgirlchronicles/reviews And make sure you listen in on your favorite podcast streaming platform, and leave us a rating, follow us, and share, share, share!!!!

In this episode we're looking at the blues classic Smokestack Lightning! This is a great example of a 'one riff song' its totally hypnotic to play and has a great feel and groove to it.At Chess' studio in Chicago in January 1956, Howlin' Wolf recorded "Smokestack Lightning".The song takes the form of "a propulsive, one-chord vamp, nominally in E major but with the flatted blue notes that make it sound like E minor", and lyrically it is "a pastiche of ancient blues lines and train references, timeless and evocative".Longtime Wolf guitarist Hubert Sumlin is credited with the distinctive guitar line.Howlin' Wolf sang and played harmonica, backed by pianist Hosea Lee Kennard, guitarists Willie Johnsonand Hubert Sumlin, bassist Willie Dixon, and drummer Earl Phillips.If you find this stuff useful leave me a review on Spotify or Apple PodcastsBecome a Blues Guitar Show Member: https://www.buzzsprout.com/950998/subscribeShoot me a question to cover in the upcoming episodes by emailing ben@thebluesguitarshow.comFollow me on instagram @bluesguitarshowpodcastSupport the show

Anunciamos que nuestra próxima escapada a la superficie tendrá lugar este próximo jueves 23 de noviembre, con programa en directo desde la sala Capitol de Santiago de Compostela, en el marco del festival Outono Códax y acompañados por varios artistas locales y con la actuación estelar de Nick Waterhouse. Aderezamos con jugosas novedades y anuncios de interesantes giras inminentes. (Foto del podcast por James Juarez; Nick Waterhouse) Playlist; NICK WATERHOUSE “Late in the garden” (The fooler, 2023) NIKKI HILL “Holler out loud” (Feline roots, 2018) THE BEAT FROM PALLOKABILLY “Sinner not a saint” (single 2017) THE BO DEREKS “Ese no soy yo” (Porca miseria, 2023) KATE CLOVER “These boots are made for walkin’” (single) DION LUNADON “Nikki” (Systems edge, 2023) MING CITY ROCKERS “Jill was an anarchist” (Lime, 2023) BIZNAGA “Domingo especialmente triste” (Bremen no existe, 2022) LORD FRIDAY THE 13TH “Larger than life” (single 2023) THE BLACK HALOS “No tomorrow girls” (The violent years, 2001) SLANDER TONGUE “Allover the place” (Monochrome, 2023) PIERRE OMER’S SWING REVUE “Just one kiss” (Tropical breakdown, 2023) BLOODSHOT BILL “Monsters daughter” (Trick and treat Vol. 2, 2023) MARCEL BONTEMPI “Eighteen” (EP, 2023) JAKE LABOTZ and SMOKESTACK LIGHTNING “Mystery train” (single 2023) Escuchar audio

Sesión de viernes con unas cuantas novedades favoritas del mes de octubre. Playlist; (sintonía) MESSER CHUPS “Hard times for Dracula” JAKE LABOTZ and SMOKESTACK LIGHTNING “Never been wrong (about loving you)” MARCEL BONTEMPI “Mummy walk” LOS MEJILLONES TIGRE con NAT SIMONS “El viaje” NEW MATH “Johnny’s on top” TV’S DANIEL “Usual students” LAS ODIO “Presente perfecto” THE HANGMEN “Last time I saw you” PAT TODD and THE RANKOUTSIDERS “Living in a world of hurt” SIR BALD y LOS HAIRIES “Twist in the sand” (Escaped from the zoo) JE’TEXAS “California Sun” THE GIANT ROBOTS “Avanti la macchina” THE WOGGLES “Mr last chance” DOCTOR EXPLOSION “Mamma Leggin” MING CITY ROCKERS “Void” SONIC TRASH “Arma tiro punk” VÍCTIMAS CLUB “Humillante speed” HAIRY NIPPLES “Space debris” Escuchar audio

We're going to Kansas City to get our baby back home! This week on the Help on the Way podcast, our hosts are heading down to Kansas City for the Grateful Dead's September 3rd, 1985 show at the Starlight Theatre. Discussions abound about John Mayer's recent Dead Covers shenanigans, Jerry's opinions on rap music, and whether or not Knob likes The Grateful Dead. Feel Like A Stranger > They Love Each Other Little Red Rooster Dire Wolf Cassidy Big Railroad Blues The Music Never Stopped > Don't Ease Me In   Cryptical Envelopement > The Other One > Eyes Of The World > Don't Need Love > Drums > Space > Nobody's Fault But Mine > Truckin' > Smokestack Lightning > Comes A Time > Turn On Your Love Light   It's All Over Now Baby Blue

Put some shredded cheese on your chili, we're heading to Cincinnati. This week, our hosts Game, FiG, and Knob are heading to River Bend Music Center for the Grateful Dead's June 24th, 1985 show. Discussions abound about Knob's adventure with Billy and the Kids, the Book of Iko Ikos, and whether or not 1985 is an underrated year. Alabama Getaway > Greatest Story Ever Told They Love Each Other New Minglewood Blues Tennessee Jed My Brother Esau Loser Let It Grow Iko Iko > Samson & Delilah > He's Gone > Smokestack Lightning > Cryptical Envelopment > Drums > Comes A Time > The Other One > Cryptical Envelopment > Wharf Rat > Around & Around > Good Lovin' U.S. Blues 

Singles Going Around- Rag And BoneThe Beatles- "Getting Better" (SMAS 2653)The Yardbirds- "Smokestack Lightning" (LN 24246)Tommy James & The Shondells- "Gotta Get Back To You" (R 7071)The Raconteurs- "Hey Gyp (Dig The Slowness)" (TMR 600)Donovan- "Hurdy Gurdy Man" (BXN 26439)The Beach Boys- "Your So Good To Me" (T 2354)The Rolling Stones- "Mona" (LK 4605)Howlin Wolf- "You'll Be Mine" (DOL 929HG)AC/DC- "Dog Eat Dog" (E 80203)The Monkees- "Tomorrow's Gonna Be Another Day" (COM 101)The Detroit Cobras- "Stupidity" (TMR 372)Van Morrison- "Call Me Up In Dreamland" (RDV1 1884)Sonny & Cher- "The Letter" (ATCO 33-177)Neil Young & Crazy Horse- "Prisoners Of Rock & Roll" (GHS 24154)The Beatles- "What Goes On" (T 2553)Flat Duo Jets- "You Belong To Me" (TMR 059)Led Zepplin- "The Lemon Song" (ATL 8122796640)The White Stripes- "Catch Hell Blues" (TMR 500)The Rolling Stones- "I'm Free" (LON 9792)*All songs from records listed.

James Booker "Feel So Bad"Louis Jordan & His Tympany Five "June Tenth Jamboree"Eilen Jewell "Breakaway"Elvis Costello "Dr. Watson, I Presume"Precious Bryant "The Truth"The Yardbirds "Smokestack Lightning"Fats Waller "Whose Honey Are You?"Lyle Lovett "This Old Porch"Lucinda Williams "Minneapolis"The Replacements "Kiss Me On The Bus"Joe Hill Louis "Hydramatic Woman"Built To Spill "Aisle 13"Neil Young "Out On The Weekend"Art Blakey "A Night In Tunisia"Howlin' Wolf "House Rockin' Boogie"Cory Branan "No Hit Wonder"Sister Rosetta Tharpe "Didn't It Rain"Sonny Burgess "Red Headed Woman"Bruce Springsteen "I Ain't Got No Home"Billie Holiday "Travelin' Light"Bonnie "Prince" Billy "This Is Far From Over"Etta Baker "Bully of the Town"Bob Dylan "Visions of Johanna"Ted Leo and the Pharmacists "A Bottle of Buckie"Nina Nastasia "What's Out There"Little Esther Phillips "Cherry Wine"Hank Williams "Cool Water"Jason Isbell "Cover Me Up"Effie Smith "Water! Water!"Jeff Beck "I Ain't Superstitious"Howlin' Wolf "Sitting On Top Of The World"Lucero "At the Show"Sleater-Kinney "Call the Doctor"Gillian Welch "Look At Miss Ohio"Tom Waits "Jersey Girl"Bill Boyd's Cowboy Ramblers "Fan It"Amos Milburn "My Baby's Boogying"Willie Dixon "Big 3 Boogie"John Moreland "Blacklist"Elizabeth Cotten "I'm Going Away"ZZ Top "Sure Got Cold After the Rain Fell"Howlin' Wolf "Back Door Man"John Coltrane "Ev'ry Time We Say Goodbye"

This is a good one. June 25, 1995, Jimmy Page & Robert Plant at the Glastonbury Festival. This show is on fire throughout. I play scorching versions of Four Sticks, In The Evening (amazing), & Calling To You>Smokestack Lightning>Break on Through>Dazed (also amazing). This one is great.

La guitarrista de los Cramps, Poison Ivy, citó hace años algunos de sus riffs favoritos. Aderezamos su lista con unas cuantas propuestas de nuestra cosecha que esperamos mantengan esas atmósferas malvadas y amenazantes que tanto disfrutaba esta reina del rocknroll. Playlist; (sintonía) THE CRAMPS “Peter Gunn” THE SCARLETS “Stampede” THE GEE CEES “Buzz saw” THE SONICS “The witch” THE MARKETTS “Out of Limits” THE VENTURES “The bat” LINK WRAY “Ace os spades” VINCE TAYLOR and HIS PLAYBOYS “Brand new Cadillac” JOHNNY KIDD and THE PIRATES “Shakin’ All Over” BO DIDDLEY “I’m a man” THE PRETTY THINGS “Come see me” THE KINKS “You really got me” THEM “Baby please don’t go” JOHNNY BURNETTE “The train kept a rollin’” DALE HAWKINS “Suzie Q” DUANE EDDY “Ramrod” ROLAND JANES “Guitarville” MUDDY WATERS “You need love” HOWLIN’ WOLF “Smokestack Lightning” THE COASTERS “Poison Ivy” Escuchar audio

As Kim Petras and Sam Smith don 'devilish' attire for their Grammy performance of 'Unholy', right-wring pundits claim Satanic panic, echoing outrage seen in American politics since the 1830s. Our new series charts 200 years in American moral panics about music, race, sexuality, and the conservative religious zealot's war for control of America's heart and mind. Links: Kim Petras Defends Sam Smith Against 'I'm Not Here to Make Friends' Music Video Backlash (Exclusive) [ET] The Christian Right Is Having a Meltdown Over the ‘Satanic' Grammys [Vice] Did We Really Need a Satan Bondage Show at the Grammys? [TheDailyBeast] Link to Smokestack Lightning by Howlin Wolf, Life (1964) The Black Musician and the White City: Race and Music in Chicago, 1900-1967, Amy Absher [PDF] Why they tried to censor the blues [Louder Sound] SEX AND THE FIRST AMENDMENT: THE LONG AND WINDING HISTORY OF OBSCENITY LAW Geoffrey R. Stone, First Amendment Law Review (2019) [WordPress] The Pop Life; IS PRINCE LEADING MUSIC TO A TRUE BIRACISM? (Dec 2, 1981) [NYT] WHY THESE POP SINGERS HAVE RISEN TO SUPERSTARDOM (Sep 2, 1984) [NYT] Birth of the PMRC, Claude Chastanger [HAL Science PDF] Notes from: Record Labeling: Hearing Before the Committee on Commerce, Science, and Transportation, United States Senate, Ninety-Ninth Congress, First Session, on Contents of Music and the Lyrics of Records, September 19, 1985[University of California Riverside]  Zappa Defends Obscene Lyrics (Nov 6, 1985) [The Harvard Crimson] Discord on Record Warning (August 29, 1985) [Washington Post] UNREST IN THE PURPLE KINGDOM (April 12, 1987) [Washington Post] Bloom and Doom: ‘The Closing of the American Mind' [Oct 8, 1987) [Rolling Stone] [Prager U Video] (Start at 1:05) About: Hosted by journalists Joan Summers and Matthew Lawson, Eating For Free is a weekly podcast that explores gossip and power in the pop culture landscape: Where it comes from, who wields it, and who suffers at the hands of it. Find out the stories behind the stories, as together they look beyond the headlines of troublesome YouTubers or scandal-ridden A-Listers, and delve deep into the inner workings of Hollywood's favorite pastime. The truth, they've found, is definitely stranger than any gossip. You can also find us on our website, Twitter, and Instagram. Or buy our merch! Any personal, business, or general inquires can be sent to eatingforfreepodcast@gmail.com  Joan Summers: Twitter: @laracroftbarbie Matthew Lawson: Twitter: @_matthewlawson

Dedicamos nuestro tiempo de radio a sumergirnos en el apetitoso cartel que ofrecerá esta semana el Rockin' Race Jamboree. El festival de Torremolinos alcanza su 29ª edición y lo hace con el cartel más ambicioso de su trayectoria. Hasta cuarenta bandas pasarán por los escenarios de esta cita malagueña ofreciendo todo un abanico de sonidos vinculados a los años 50 y 60. Playlist; THE DELTA BOMBERS “The wolf” THE ORIGINAL PLANET ROCKERS “Spin my wheels” SLINK MOSS EXPLOSION “Space cowboy number 1” THE LUCKY STARS “Don’t count your chickens” MARCEL RIESCO “Because you broke your heart” THE SEATSNIFFERS “Are you gonna be the one” JAKE LABOTZ “How I wish she was mine” THE CASH BOX KINGS “House party” WHISTLE BAIT “Kana kapila” MARCEL BONTEMPI “Blue moon baby” ICHI-BONS “Ichi-i-bon #1” GOONS! “Junkie for your love” LES GREENE “Reconcile” McKINLEY JAMES “Lean on me” MAD MARTIN TRIO “Ace of spades” LOS BRIOLES “Pegado a ti” SMOKESTACK LIGHTNING “Paradise city” Escuchar audio

Click on the picture/link and hear the music of Buddy Guy, Joe Bonamassa, Walter Trout, Shemekia Copeland, Albert King and more. Also my Blueprint special featuring the original Smokestack Lightning from 1956 and the cover from The Yardbirds. Thanks for tuning in. Tell all your friends the live show is on Thursday nights 7-9 PM and the podcast is posted Friday here on my Facebook page Leo Schumaker. Become a friend of mine and you will get news about upcoming shows and music. #kmre

Descripción breve del programa y playlist:Playlist:  Snatch It Back and Hold It – Junior Wells; Mojo Blues, Stranger Blues, Johnny B. Good [sic] – Johnny Winter; Smokestack Lightning, Down in the Dumps, Bad Avenue, Love Don't Love Nobody – Valerie Wellington; Howling Wolf Blues, Milk Cow Blues, Welfare Blues, Black and Evil Blues – Josh White; Eyesight To the Blind, Nine Below Zero, I Can't Do Without You – Sonny Boy Williamson II; You Can't Have My Monkey – Valerie Wellingston.Escuchar audio

W odcinku #31 Pick Please Podcast “wyjeżdżamy” do Chicago by opowiedzieć o jednej z najważniejszych wytwórni w historii muzyki - Chess Records. Czemu tak ważna? Bo śmiemy uważać, że rocka w Stanach Zjednoczonych, bez tej wytwórni (jej artystów i wizjonerów za sterami), by nie było

Bookclub members! Laurence Campbell and Rob Williams, creators of Sword of Hyperborea, join the gang this week! Listen to us talk their epic series, David Lynch and pterodactyls! Thank you Laurence Campbell#bookclubmember and Rob Williams #bookclubmember for all your time!  https://www.getcampbell.com/ https://www.robwilliamscomics.co.uk/   "Smokestack Lightning," by Howling Wolf, & "Get Back," by The Beatles used for educational purposes only opening and closing theme by https://onlybeast.com/ 

Let's do this! The Cult of Hockey podcast. By the Faithful and for the Faithful, tonight with Bruce McCurdy and David Staples. They dig into Edmonton's 4-1 OT win over the Lightning of Tampa

#65-61Intro/Outro: I Wonder Why by Dion & the Belmonts65. Chances Are by Johnny Mathis64. (I'm Your) Hoochie Coochie Man by Muddy Waters63. When I Fall in Love by Nat "King" Cole62. Lucille by Little Richard61. Smokestack Lightning by Howlin' WolfVote on your favorite song from today's episodeVote on your favorite song from Week 1

Revenons aux sources avec la terreur du Delta Blues, Howlin' Wolf. Cet immense gaillard impose le respect par son vécu à travers l'Amérique ségrégationniste du début du XXe siècle, sans compter une situation familiale déplorable dont il s'arracha avec un courage exemplaire. Wolf avait une force de caractère hors du commun qu'il injecta dans un blues guerrier et revanchard, une musique si puissante et évocatrice qu'elle inspira le monde entier. Durant son parcours hallucinant, Wolf croisa le chemin de toutes les légendes du Mississippi : Charley Patton, Son House, Robert Johnson, Muddy Waters... Des musiciens au talent surnaturel qui changèrent la donne. Howlin Wolf en fut l'un des emblèmes, un artiste parmi les plus importants de l'histoire de la musique moderne. Publié pour la première fois en octobre 2015. Article disponible sur le site Chicane Magazine : http://www.chicane-magazine.com/2017/03/10/gdvhw/ Quelques références... Des bouquins : "Moanin' at Midnight, The Life and Times of Howlin' Wolf" de James Segrest et Mark Hoffman, chez Tunder's Mouth Press (livre en anglais) "Love in Vain" de Jean Michel Dupont (scénariste) et Mezzo (dessins), chez Gléna. Biographie romancée de Robert Johnson en bande dessinée "Le Peuple du Blues" de LeRoi Jones, chez Folio "Feel Like Going Home" de Peter Guralnick, chez Rivages Rouges. Série de portraits de bluesmen. De la musique : Smokestack Lightning, The Complete Chess Master - Howlin' Wolf (4 CDs, enregistrements de 1951 à 1960) The Rockin' Chair album - Howlin' Wolf (1962) The Backdoor Wolf - Howlin' Wolf (1973) Electric Mud - Muddy Waters (1968) "Screamin' and Cryin'" - Muddy Waters (enregistrements de 1947 à 1953) Complete Recordings - Robert Johnson (2CDs, enregistrements de 1936 à 1938) The Definitive Charley Patton - Charley Patton (Enregistrements de 1929 à 1934) Death Letter - Son House (1965) Harmonica Wizard - Sonny Boy Williamson (enregistrements de 1951 à 1956) Et du gros doc : Martin Scorsese Presente The Blues, une collection de 7 documentaires fantastiques réalisés par Martin Scorsese, Wim Wenders, Clint Eastwood, Marc Levin, Mike Figgis, Charles Burnett, Richard Pearce et Robert Kenner. Retrouvez la playlist avec tous les morceaux utilisés pour l'épisode ici : https://open.spotify.com/playlist/0jXiFkU2B0J4XXATtGp4k7?si=8cca9590150e4dee facebook twitter Instagram

Episode one hundred and thirty-six of A History of Rock Music in Five Hundred Songs is a special long episode, running almost ninety minutes, looking at "My Generation" by the Who. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "The Name Game" by Shirley Ellis. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I mispronounce the Herman's Hermits track "Can't You Hear My Heartbeat" as "Can You Hear My Heartbeat". I say "Rebel Without a Cause" when I mean "The Wild One". Brando was not in "Rebel Without a Cause". Resources As usual, I've created a Mixcloud playlist of the music excerpted here. This mix does not include the Dixon of Dock Green theme, as I was unable to find a full version of that theme anywhere (though a version with Jack Warner singing, titled "An Ordinary Copper" is often labelled as it) and what you hear in this episode is the only fragment I could get a clean copy of. The best compilation of the Who's music is Maximum A's & B's, a three-disc set containing the A and B sides of every single they released. The super-deluxe five-CD version of the My Generation album appears to be out of print as a CD, but can be purchased digitally. I referred to a lot of books for this episode, including: Generations: The History of America's Future, 1584 to 2069 by William Strauss and Neil Howe, which I don't necessarily recommend reading, but which is certainly an influential book. Revolt Into Style: The Pop Arts by George Melly which I *do* recommend reading if you have any interest at all in British pop culture of the fifties and sixties. Jim Marshall: The Father of Loud by Rich Maloof gave me all the biographical details about Marshall. The Who Before the Who by Doug Sandom, a rather thin book of reminiscences by the group's first drummer. The Ox by Paul Rees, an authorised biography of John Entwistle based on notes for his never-completed autobiography. Who I Am, the autobiography of Pete Townshend, is one of the better rock autobiographies. A Band With Built-In Hate by Peter Stanfield is an examination of the group in the context of pop-art and Mod. And Anyway, Anyhow, Anywhere by Andy Neill and Matt Kent is a day-by-day listing of the group's activities up to 1978. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript In 1991, William Strauss and Neil Howe wrote a book called Generations: The History of America's Future, 1584 to 2069. That book was predicated on a simple idea -- that there are patterns in American history, and that those patterns can be predicted in their rough outline. Not in the fine details, but broadly -- those of you currently watching the TV series Foundation, or familiar with Isaac Asimov's original novels, will have the idea already, because Strauss and Howe claimed to have invented a formula which worked as well as Asimov's fictional Psychohistory. Their claim was that, broadly speaking, generations can be thought to have a dominant personality type, influenced by the events that took place while they were growing up, which in turn are influenced by the personality types of the older generations. Because of this, Strauss and Howe claimed, American society had settled into a semi-stable pattern, where events repeat on a roughly eighty-eight-year cycle, driven by the behaviours of different personality types at different stages of their lives. You have four types of generation, which cycle -- the Adaptive, Idealist, Reactive, and Civic types. At any given time, one of these will be the elder statespeople, one will be the middle-aged people in positions of power, one will be the young rising people doing most of the work, and one will be the kids still growing up. You can predict what will happen, in broad outline, by how each of those generation types will react to challenges, and what position they will be in when those challenges arise. The idea is that major events change your personality, and also how you react to future events, and that how, say, Pearl Harbor affected someone will have been different for a kid hearing about the attack on the radio, an adult at the age to be drafted, and an adult who was too old to fight. The thesis of this book has, rather oddly, entered mainstream thought so completely that its ideas are taken as basic assumptions now by much of the popular discourse, even though on reading it the authors are so vague that pretty much anything can be taken as confirmation of their hypotheses, in much the same way that newspaper horoscopes always seem like they could apply to almost everyone's life. And sometimes, of course, they're just way off. For example they make the prediction that in 2020 there would be a massive crisis that would last several years, which would lead to a massive sense of community, in which "America will be implacably resolved to do what needs doing and fix what needs fixing", and in which the main task of those aged forty to sixty at that point would be to restrain those in leadership positions in the sixty-to-eighty age group from making irrational, impetuous, decisions which might lead to apocalypse. The crisis would likely end in triumph, but there was also a chance it might end in "moral fatigue, vast human tragedy, and a weak and vengeful sense of victory". I'm sure that none of my listeners can think of any events in 2020 that match this particular pattern. Despite its lack of rigour, Strauss and Howe's basic idea is now part of most people's intellectual toolkit, even if we don't necessarily think of them as the source for it. Indeed, even though they only talk about America in their book, their generational concept gets applied willy-nilly to much of the Western world. And likewise, for the most part we tend to think of the generations, whether American or otherwise, using the names they used. For the generations who were alive at the time they were writing, they used five main names, three of which we still use. Those born between 1901 and 1924 they term the "GI Generation", though those are now usually termed the "Greatest Generation". Those born between 1924 and 1942 were the "Silent Generation", those born 1943 through 1960 were the Boomers, and those born between 1982 and 2003 they labelled Millennials. Those born between 1961 and 1981 they labelled "thirteeners", because they were the unlucky thirteenth generation to be born in America since the declaration of independence. But that name didn't catch on. Instead, the name that people use to describe that generation is "Generation X", named after a late-seventies punk band led by Billy Idol: [Excerpt: Generation X, "Your Generation"] That band were short-lived, but they were in constant dialogue with the pop culture of ten to fifteen years earlier, Idol's own childhood. As well as that song, "Your Generation", which is obviously referring to the song this week's episode is about, they also recorded versions of John Lennon's "Gimme Some Truth", of Johnny Kidd and the Pirates' "Shakin' All Over", and an original song called "Ready Steady Go", about being in love with Cathy McGowan, the presenter of that show. And even their name was a reference, because Generation X were named after a book published in 1964, about not the generation we call Generation X, but about the Baby Boomers, and specifically about a series of fights on beaches across the South Coast of England between what at that point amounted to two gangs. These were fights between the old guard, the Rockers -- people who represented the recent past who wouldn't go away, what Americans would call "greasers", people who modelled themselves on Marlon Brando in Rebel Without A Cause, and who thought music had peaked with Gene Vincent and Eddie Cochran -- and a newer, younger, hipper, group of people, who represented the new, the modern -- the Mods: [Excerpt: The Who, "My Generation"] Jim Marshall, if he'd been American, would have been considered one of the Greatest Generation, but his upbringing was not typical of that, or of any, generation. When he was five, he was diagnosed as having skeletal tuberculosis, which had made his bones weak and easily broken. To protect them, he spent the next seven years of his life, from age five until twelve, in hospital in a full-body cast. The only opportunity he got to move during those years was for a few minutes every three months, when the cast would be cut off and reapplied to account for his growth during that time. Unsurprisingly, once he was finally out of the cast, he discovered he loved moving -- a lot. He dropped out of school aged thirteen -- most people at the time left school at aged fourteen anyway, and since he'd missed all his schooling to that point it didn't seem worth his while carrying on -- and took on multiple jobs, working sixty hours a week or more. But the job he made most money at was as an entertainer. He started out as a tap-dancer, taking advantage of his new mobility, but then his song-and-dance man routine became steadily more song and less dance, as people started to notice his vocal resemblance to Bing Crosby. He was working six nights a week as a singer, but when World War II broke out, the drummer in the seven-piece band he was working with was drafted -- Marshall wouldn't ever be drafted because of his history of illness. The other members of the band knew that as a dancer he had a good sense of rhythm, and so they made a suggestion -- if Jim took over the drums, they could split the money six ways rather than seven. Marshall agreed, but he discovered there was a problem. The drum kit was always positioned at the back of the stage, behind the PA, and he couldn't hear the other musicians clearly. This is actually OK for a drummer -- you're keeping time, and the rest of the band are following you, so as long as you can *sort of* hear them everyone can stay together. But a singer needs to be able to hear everything clearly, in order to stay on key. And this was in the days before monitor speakers, so the only option available was to just have a louder PA system. And since one wasn't available, Marshall just had to build one himself. And that's how Jim Marshall started building amplifiers. Marshall eventually gave up playing the drums, and retired to run a music shop. There's a story about Marshall's last gig as a drummer, which isn't in the biography of Marshall I read for this episode, but is told in other places by the son of the bandleader at that gig. Apparently Marshall had a very fraught relationship with his father, who was among other things a semi-professional boxer, and at that gig Marshall senior turned up and started heckling his son from the audience. Eventually the younger Marshall jumped off the stage and started hitting his dad, winning the fight, but he decided he wasn't going to perform in public any more. The band leader for that show was Clifford Townshend, a clarinet player and saxophonist whose main gig was as part of the Squadronaires, a band that had originally been formed during World War II by RAF servicemen to entertain other troops. Townshend, who had been a member of Oswald Moseley's fascist Blackshirts in the thirties but later had a change of heart, was a second-generation woodwind player -- his father had been a semi-professional flute player. As well as working with the Squadronaires, Townshend also put out one record under his own name in 1956, a version of "Unchained Melody" credited to "Cliff Townsend and his singing saxophone": [Excerpt: Cliff Townshend and his Singing Saxophone, "Unchained Melody"] Cliff's wife often performed with him -- she was a professional singer who had  actually lied about her age in order to join up with the Air Force and sing with the group -- but they had a tempestuous marriage, and split up multiple times. As a result of this, and the travelling lifestyle of musicians, there were periods where their son Peter was sent to live with his grandmother, who was seriously abusive, traumatising the young boy in ways that would affect him for the rest of his life. When Pete Townshend was growing up, he wasn't particularly influenced by music, in part because it was his dad's job rather than a hobby, and his parents had very few records in the house. He did, though, take up the harmonica and learn to play the theme tune to Dixon of Dock Green: [Excerpt: Tommy Reilly, "Dixon of Dock Green Theme"] His first exposure to rock and roll wasn't through Elvis or Little Richard, but rather through Ray Ellington. Ellington was a British jazz singer and drummer, heavily influenced by Louis Jordan, who provided regular musical performances on the Goon Show throughout the fifties, and on one episode had performed "That Rock 'n' Rollin' Man": [Excerpt: Ray Ellington, "That Rock 'N' Rollin' Man"] Young Pete's assessment of that, as he remembered it later, was "I thought it some kind of hybrid jazz: swing music with stupid lyrics. But it felt youthful and rebellious, like The Goon Show itself." But he got hooked on rock and roll when his father took him and a friend to see a film: [Excerpt: Bill Haley and the Comets, "Rock Around the Clock"] According to Townshend's autobiography, "I asked Dad what he thought of the music. He said he thought it had some swing, and anything that had swing was OK. For me it was more than just OK. After seeing Rock Around the Clock with Bill Haley, nothing would ever be quite the same." Young Pete would soon go and see Bill Haley live – his first rock and roll gig. But the older Townshend would soon revise his opinion of rock and roll, because it soon marked the end of the kind of music that had allowed him to earn his living -- though he still managed to get regular work, playing a clarinet was suddenly far less lucrative than it had been. Pete decided that he wanted to play the saxophone, like his dad, but soon he switched first to guitar and then to banjo. His first guitar was bought for him by his abusive grandmother, and three of the strings snapped almost immediately, so he carried on playing with just three strings for a while. He got very little encouragement from his parents, and didn't really improve for a couple of years. But then the trad jazz boom happened, and Townshend teamed up with a friend of his who played the trumpet and French horn. He had initially bonded with John Entwistle over their shared sense of humour -- both kids loved Mad magazine and would make tape recordings together of themselves doing comedy routines inspired by the Goon show and Hancock's Half Hour -- but Entwistle was also a very accomplished musician, who could play multiple instruments. Entwistle had formed a trad band called the Confederates, and Townshend joined them on banjo and guitar, but they didn't stay together for long. Both boys, though, would join a variety of other bands, both together and separately. As the trad boom faded and rock and roll regained its dominance among British youth, there was little place for Entwistle's trumpet in the music that was popular among teenagers, and at first Entwistle decided to try making his trumpet sound more like a saxophone, using a helmet as a mute to try to get it to sound like the sax on "Ramrod" by Duane Eddy: [Excerpt: Duane Eddy, "Ramrod"] Eddy soon became Entwistle's hero. We've talked about him before a couple of times, briefly, but not in depth, but Duane Eddy had a style that was totally different from most guitar heroes. Instead of playing mostly on the treble strings of the guitar, playing high twiddly parts, Eddy played low notes on the bass strings of his guitar, giving him the style that he summed up in album titles like "The Twang's the Thang" and "Have Twangy Guitar Will Travel". After a couple of years of having hits with this sound, produced by Lee Hazelwood and Lester Sill, Eddy also started playing another instrument, the instrument variously known as the six-string bass, the baritone guitar, or the Danelectro bass (after the company that manufactured the most popular model).  The baritone guitar has six strings, like a normal guitar, but it's tuned lower than a standard guitar -- usually a fourth lower, though different players have different preferences. The Danelectro became very popular in recording studios in the early sixties, because it helped solve a big problem in recording bass tones. You can hear more about this in the episodes of Cocaine and Rhinestones I recommended last week, but basically double basses were very, very difficult to record in the 1950s, and you'd often end up just getting a thudding, muddy, sound from them, which is one reason why when you listen to a lot of early rockabilly the bass is doing nothing very interesting, just playing root notes -- you couldn't easily get much clarity on the instrument at all. Conversely, with electric basses, with the primitive amps of the time, you didn't get anything like the full sound that you'd get from a double bass, but you *did* get a clear sound that would cut through on a cheap radio in a way that the sound of a double bass wouldn't. So the solution was obvious -- you have an electric instrument *and* a double bass play the same part. Use the double bass for the big dull throbbing sound, but use the electric one to give the sound some shape and cut-through. If you're doing that, you mostly want the trebly part of the electric instrument's tone, so you play it with a pick rather than fingers, and it makes sense to use a Danelectro rather than a standard bass guitar, as the Danelectro is more trebly than a normal bass. This combination, of Danelectro and double bass, appears to have been invented by Owen Bradley, and you can hear it for example on this record by Patsy Cline, with Bob Moore on double bass and Harold Bradley on baritone guitar: [Excerpt: Patsy Cline, "Crazy"] This sound, known as "tic-tac bass", was soon picked up by a lot of producers, and it became the standard way of getting a bass sound in both Nashville and LA. It's all over the Beach Boys' best records, and many of Jack Nitzsche's arrangements, and many of the other records the Wrecking Crew played on, and it's on most of the stuff the Nashville A-Team played on from the late fifties through mid-sixties, records by people like Elvis, Roy Orbison, Arthur Alexander, and the Everly Brothers. Lee Hazelwood was one of the first producers to pick up on this sound -- indeed, Duane Eddy has said several times that Hazelwood invented the sound before Owen Bradley did, though I think Bradley did it first -- and many of Eddy's records featured that bass sound, and eventually Eddy started playing a baritone guitar himself, as a lead instrument, playing it on records like "Because They're Young": [Excerpt: Duane Eddy, "Because They're Young"] Duane Eddy was John Entwistle's idol, and Entwistle learned Eddy's whole repertoire on trumpet, playing the saxophone parts. But then, realising that the guitar was always louder than the trumpet in the bands he was in, he realised that if he wanted to be heard, he should probably switch to guitar himself. And it made sense that a bass would be easier to play than a regular guitar -- if you only have four strings, there's more space between them, so playing is easier. So he started playing the bass, trying to sound as much like Eddy as he could. He had no problem picking up the instrument -- he was already a multi-instrumentalist -- but he did have a problem actually getting hold of one, as all the electric bass guitars available in the UK at the time were prohibitively expensive. Eventually he made one himself, with the help of someone in a local music shop, and that served for a time, though he would soon trade up to more professional instruments, eventually amassing the biggest collection of basses in the world. One day, Entwistle was approached on the street by an acquaintance, Roger Daltrey, who said to him "I hear you play bass" -- Entwistle was, at the time, carrying his bass. Daltrey was at this time a guitarist -- like Entwistle, he'd built his own instrument -- and he was the leader of a band called Del Angelo and his Detours. Daltrey wasn't Del Angelo, the lead singer -- that was a man called Colin Dawson who by all accounts sounded a little like Cliff Richard -- but he was the bandleader, hired and fired the members, and was in charge of their setlists. Daltrey lured Entwistle away from the band he was in with Townshend by telling him that the Detours were getting proper paid gigs, though they weren't getting many at the time. Unfortunately, one of the group's other guitarists, the member who owned the best amp, died in an accident not long after Entwistle joined the band. However, the amp was left in the group's possession, and Entwistle used it to lure Pete Townshend into the group by telling him he could use it -- and not telling him that he'd be sharing the amp with Daltrey. Townshend would later talk about his audition for the Detours -- as he was walking up the street towards Daltrey's house, he saw a stunningly beautiful woman walking away from the house crying. She saw his guitar case and said "Are you going to Roger's?" "Yes." "Well you can tell him, it's that bloody guitar or me". Townshend relayed the message, and Daltrey responded "Sod her. Come in." The audition was a formality, with the main questions being whether Townshend could play two parts of the regular repertoire for a working band at that time -- "Hava Nagila", and the Shadows' "Man of Mystery": [Excerpt: The Shadows, "Man of Mystery"] Townshend could play both of those, and so he was in. The group would mostly play chart hits by groups like the Shadows, but as trad jazz hadn't completely died out yet they would also do breakout sessions playing trad jazz, with Townshend on banjo, Entwistle on trumpet and Daltrey on trombone. From the start, there was a temperamental mismatch between the group's two guitarists. Daltrey was thoroughly working-class, culturally conservative,  had dropped out of school to go to work at a sheet metal factory, and saw himself as a no-nonsense plain-speaking man. Townshend was from a relatively well-off upper-middle-class family, was for a brief time a member of the Communist Party, and was by this point studying at art school, where he was hugely impressed by a lecture from Gustav Metzger titled “Auto-Destructive Art, Auto-Creative Art: The Struggle For The Machine Arts Of The Future”, about Metzger's creation of artworks which destroyed themselves. Townshend was at art school during a period when the whole idea of what an art school was for was in flux, something that's typified by a story Townshend tells about two of his early lectures. At the first, the lecturer came in and told the class to all draw a straight line. They all did, and then the lecturer told off anyone who had drawn anything that was anything other than six inches long, perfectly straight, without a ruler, going north-south, with a 3B pencil, saying that anything else at all was self-indulgence of the kind that needed to be drummed out of them if they wanted to get work as commercial artists. Then in another lecture, a different lecturer came in and asked them all to draw a straight line. They all drew perfectly straight, six-inch, north-south lines in 3B pencil, as the first lecturer had taught them. The new lecturer started yelling at them, then brought in someone else to yell at them as well, and then cut his hand open with a knife and dragged it across a piece of paper, smearing a rough line with his own blood, and screamed "THAT'S a line!" Townshend's sympathies lay very much with the second lecturer. Another big influence on Townshend at this point was a jazz double-bass player, Malcolm Cecil. Cecil would later go on to become a pioneer in electronic music as half of TONTO's Expanding Head Band, and we'll be looking at his work in more detail in a future episode, but at this point he was a fixture on the UK jazz scene. He'd been a member of Blues Incorporated, and had also played with modern jazz players like Dick Morrissey: [Excerpt: Dick Morrissey, "Jellyroll"] But Townshend was particularly impressed with a performance in which Cecil demonstrated unorthodox ways to play the double-bass, including playing so hard he broke the strings, and using a saw as a bow, sawing through the strings and damaging the body of the instrument. But these influences, for the moment, didn't affect the Detours, who were still doing the Cliff and the Shadows routine. Eventually Colin Dawson quit the group, and Daltrey took over the lead vocal role for the Detours, who settled into a lineup of Daltrey, Townshend, Entwistle, and drummer Doug Sandom, who was much older than the rest of the group -- he was born in 1930, while Daltrey and Entwistle were born in 1944 and Townshend in 1945. For a while, Daltrey continued playing guitar as well as singing, but his hands were often damaged by his work at the sheet-metal factory, making guitar painful for him. Then the group got a support slot with Johnny Kidd and the Pirates, who at this point were a four-piece band, with Kidd singing backed by bass, drums, and Mick Green playing one guitar on which he played both rhythm and lead parts: [Excerpt: Johnny Kidd and the Pirates, "Doctor Feel Good"] Green was at the time considered possibly the best guitarist in Britain, and the sound the Pirates were able to get with only one guitar convinced the Detours that they would be OK if Daltrey switched to just singing, so the group changed to what is now known as a "power trio" format. Townshend was a huge admirer of Steve Cropper, another guitarist who played both rhythm and lead, and started trying to adopt parts of Cropper's style, playing mostly chords, while Entwistle went for a much more fluid bass style than most, essentially turning the bass into another lead instrument, patterning his playing after Duane Eddy's work. By this time, Townshend was starting to push against Daltrey's leadership a little, especially when it came to repertoire. Townshend had a couple of American friends at art school who had been deported after being caught smoking dope, and had left their records with Townshend for safe-keeping. As a result, Townshend had become a devotee of blues and R&B music, especially the jazzier stuff like Ray Charles, Mose Allison, and Booker T and the MGs. He also admired guitar-based blues records like those by Howlin' Wolf or Jimmy Reed. Townshend kept pushing for this music to be incorporated into the group's sets, but Daltrey would push back, insisting as the leader that they should play the chart hits that everyone else played, rather than what he saw as Townshend's art-school nonsense. Townshend insisted, and eventually won -- within a short while the group had become a pure R&B group, and Daltrey was soon a convert, and became the biggest advocate of that style in the band. But there was a problem with only having one guitar, and that was volume. In particular, Townshend didn't want to be able to hear hecklers. There were gangsters in some of the audiences who would shout requests for particular songs, and you had to play them or else, even if they were completely unsuitable for the rest of the audience's tastes. But if you were playing so loud you couldn't hear the shouting, you had an excuse. Both Entwistle and Townshend had started buying amplifiers from Jim Marshall, who had opened up a music shop after quitting drums -- Townshend actually bought his first one from a shop assistant in Marshall's shop, John McLaughlin, who would later himself become a well-known guitarist. Entwistle, wanting to be heard over Townshend, had bought a cabinet with four twelve-inch speakers in it. Townshend, wanting to be heard over Entwistle, had bought *two* of these cabinets, and stacked them, one on top of the other, against Marshall's protestations -- Marshall said that they would vibrate so much that the top one might fall over and injure someone. Townshend didn't listen, and the Marshall stack was born. This ultra-amplification also led Townshend to change his guitar style further. He was increasingly reliant on distortion and feedback, rather than on traditional instrumental skills. Now, there are basically two kinds of chords that are used in most Western music. There are major chords, which consist of the first, third, and fifth note of the scale, and these are the basic chords that everyone starts with. So you can strum between G major and F major: [demonstrates G and F chords] There's also minor chords, where you flatten the third note, which sound a little sadder than major chords, so playing G minor and F minor: [demonstrates Gm and Fm chords] There are of course other kinds of chord -- basically any collection of notes counts as a chord, and can work musically in some context. But major and minor chords are the basic harmonic building blocks of most pop music. But when you're using a lot of distortion and feedback, you create a lot of extra harmonics -- extra notes that your instrument makes along with the ones you're playing. And for mathematical reasons I won't go into here because this is already a very long episode, the harmonics generated by playing the first and fifth notes sound fine together, but the harmonics from a third or minor third don't go along with them at all. The solution to this problem is to play what are known as "power chords", which are just the root and fifth notes, with no third at all, and which sound ambiguous as to whether they're major or minor. Townshend started to build his technique around these chords, playing for the most part on the bottom three strings of his guitar, which sounds like this: [demonstrates G5 and F5 chords] Townshend wasn't the first person to use power chords -- they're used on a lot of the Howlin' Wolf records he liked, and before Townshend would become famous the Kinks had used them on "You Really Got Me" -- but he was one of the first British guitarists to make them a major part of his personal style. Around this time, the Detours were starting to become seriously popular, and Townshend was starting to get exhausted by the constant demands on his time from being in the band and going to art school. He talked about this with one of his lecturers, who asked how much Townshend was earning from the band. When Townshend told him he was making thirty pounds a week, the lecturer was shocked, and said that was more than *he* was earning. Townshend should probably just quit art school, because it wasn't like he was going to make more money from anything he could learn there. Around this time, two things changed the group's image. The first was that they played a support slot for the Rolling Stones in December 1963. Townshend saw Keith Richards swinging his arm over his head and then bringing it down on the guitar, to loosen up his muscles, and he thought that looked fantastic, and started copying it -- from very early on, Townshend wanted to have a physical presence on stage that would be all about his body, to distract from his face, as he was embarrassed about the size of his nose. They played a second support slot for the Stones a few weeks later, and not wanting to look like he was copying Richards, Townshend didn't do that move, but then he noticed that Richards didn't do it either. He asked about it after the gig, and Richards didn't know what he was talking about -- "Swing me what?" -- so Townshend took that as a green light to make that move, which became known as the windmill, his own. The second thing was when in February 1964 a group appeared on Thank Your Lucky Stars: [Excerpt: Johnny Devlin and the Detours, "Sometimes"] Johnny Devlin and the Detours had had national media exposure, which meant that Daltrey, Townshend, Entwistle, and Sandom had to change the name of their group. They eventually settled on "The Who", It was around this time that the group got their first serious management, a man named Helmut Gorden, who owned a doorknob factory. Gorden had no management experience, but he did offer the group a regular salary, and pay for new equipment for them. However, when he tried to sign the group to a proper contract, as most of them were still under twenty-one he needed their parents to countersign for them. Townshend's parents, being experienced in the music industry, refused to sign, and so the group continued under Gorden's management without a contract. Gorden, not having management experience, didn't have any contacts in the music industry. But his barber did. Gorden enthused about his group to Jack Marks, the barber, and Marks in turn told some of his other clients about this group he'd been hearing about. Tony Hatch wasn't interested, as he already had a guitar group with the Searchers, but Chris Parmenter at Fontana Records was, and an audition was arranged. At the audition, among other numbers, they played Bo Diddley's "Here 'Tis": [Excerpt: Bo Diddley, "Here 'Tis"] Unfortunately for Doug, he didn't play well on that song, and Townshend started berating him. Doug also knew that Parmenter had reservations about him, because he was so much older than the rest of the band -- he was thirty-four at the time, while the rest of the group were only just turning twenty -- and he was also the least keen of the group on the R&B material they were playing. He'd been warned by Entwistle, his closest friend in the group, that Daltrey and Townshend were thinking of dropping him, and so he decided to jump before he was pushed, walking out of the audition. He agreed to come back for a handful more gigs that were already booked in, but that was the end of his time in the band, and of his time in the music industry -- though oddly not of his friendship with the group. Unlike other famous examples of an early member not fitting in and being forced out before a band becomes big, Sandom remained friends with the other members, and Townshend wrote the foreword to his autobiography, calling him a mentor figure, while Daltrey apparently insisted that Sandom phone him for a chat every Sunday, at the same time every week, until Sandom's death in 2019 at the age of eighty-nine. The group tried a few other drummers, including someone who Jim Marshall had been giving drum lessons to, Mitch Mitchell, before settling on the drummer for another group that played the same circuit, the Beachcombers, who played mostly Shadows material, plus the Beach Boys and Jan and Dean songs that their drummer, Keith Moon, loved. Moon and Entwistle soon became a formidable rhythm section, and despite having been turned down by Fontana, they were clearly going places. But they needed an image -- and one was provided for them by Pete Meaden. Meaden was another person who got his hair cut by Jack Marks, and he had had  little bit of music business experience, having worked for Andrew Oldham, the Rolling Stones' manager, for a while before going on to manage a group called the Moments, whose career highlight was recording a soundalike cover version of "You Really Got Me" for an American budget label: [Excerpt: The Moments, "You Really Got Me"] The Moments never had any big success, but Meaden's nose for talent was not wrong, as their teenage lead singer, Steve Marriott, later went on to much better things. Pete Meaden was taken on as Helmut Gorden's assistant, but from this point on the group decided to regard him as their de facto manager, and as more than just a manager. To Townshend in particular he was a guru figure, and he shaped the group to appeal to the Mods. Now, we've not talked much about the Mods previously, and what little has been said has been a bit contradictory. That's because the Mods were a tiny subculture at this point -- or to be more precise, they were three subcultures. The original mods had come along in the late 1950s, at a time when there was a division among jazz fans between fans of traditional New Orleans jazz -- "trad" -- and modern jazz. The mods were modernists, hence the name, but for the most part they weren't as interested in music as in clothes. They were a small group of young working-class men, almost all gay, who dressed flamboyantly and dandyishly, and who saw themselves, their clothing, and their bodies as works of art. In the late fifties, Britain was going through something of an economic boom, and this was the first time that working-class men *could* buy nice clothes. These working-class dandies would have to visit tailors to get specially modified clothes made, but they could just about afford to do so. The mod image was at first something that belonged to a very, very, small clique of people. But then John Stephens opened his first shop. This was the first era when short runs of factory-produced clothing became possible, and Stephens, a stylish young man, opened a shop on Carnaby Street, then a relatively cheap place to open a shop. He painted the outside yellow, played loud pop music, and attracted a young crowd. Stephens was selling factory-made clothes that still looked unique -- short runs of odd-coloured jeans, three-button jackets, and other men's fashion. Soon Carnaby Street became the hub for men's fashion in London, thanks largely to Stephens. At one point Stephens owned fifteen different shops, nine of them on Carnaby Street itself, and Stephens' shops appealed to the kind of people that the Kinks would satirise in their early 1966 hit single "Dedicated Follower of Fashion": [Excerpt: The Kinks, "Dedicated Follower of Fashion"] Many of those who visited Stephens' shops were the larger, second, generation of mods. I'm going to quote here from George Melly's Revolt Into Style, the first book to properly analyse British pop culture of the fifties and sixties, by someone who was there: "As the ‘mod' thing spread it lost its purity. For the next generation of Mods, those who picked up the ‘mod' thing around 1963, clothes, while still their central preoccupation, weren't enough. They needed music (Rhythm and Blues), transport (scooters) and drugs (pep pills). What's more they needed fashion ready-made. They hadn't the time or the fanaticism to invent their own styles, and this is where Carnaby Street came in." Melly goes on to talk about how these new Mods were viewed with distaste by the older Mods, who left the scene. The choice of music for these new Mods was as much due to geographic proximity as anything else. Carnaby Street is just round the corner from Wardour Street, and Wardour Street is where the two clubs that between them were the twin poles of the London R&B scenes, the Marquee and the Flamingo, were both located. So it made sense that the young people frequenting John Stephens' boutiques on Carnaby Street were the same people who made up the audiences -- and the bands -- at those clubs. But by 1964, even these second-generation Mods were in a minority compared to a new, third generation, and here I'm going to quote Melly again: "But the Carnaby Street Mods were not the final stage in the history of this particular movement. The word was taken over finally by a new and more violent sector, the urban working class at the gang-forming age, and this became quite sinister. The gang stage rejected the wilder flights of Carnaby Street in favour of extreme sartorial neatness. Everything about them was neat, pretty and creepy: dark glasses, Nero hair-cuts, Chelsea boots, polo-necked sweaters worn under skinny V-necked pullovers, gleaming scooters and transistors. Even their offensive weapons were pretty—tiny hammers and screwdrivers. En masse they looked like a pack of weasels." I would urge anyone who's interested in British social history to read Melly's book in full -- it's well worth it. These third-stage Mods soon made up the bulk of the movement, and they were the ones who, in summer 1964, got into the gang fights that were breathlessly reported in all the tabloid newspapers. Pete Meaden was a Mod, and as far as I can tell he was a leading-edge second-stage Mod, though as with all these things who was in what generation of Mods is a bit blurry. Meaden had a whole idea of Mod-as-lifestyle and Mod-as-philosophy, which worked well with the group's R&B leanings, and with Townshend's art-school-inspired fascination with the aesthetics of Pop Art. Meaden got the group a residency at the Railway Hotel, a favourite Mod hangout, and he also changed their name -- The Who didn't sound Mod enough. In Mod circles at the time there was a hierarchy, with the coolest people, the Faces, at the top, below them a slightly larger group of people known as Numbers, and below them the mass of generic people known as Tickets. Meaden saw himself as the band's Svengali, so he was obviously the Face, so the group had to be Numbers -- so they became The High Numbers. Meaden got the group a one-off single deal, to record two songs he had allegedly written, both of which had lyrics geared specifically for the Mods. The A-side was "Zoot Suit": [Excerpt: The High Numbers, "Zoot Suit"] This had a melody that was stolen wholesale from "Misery" by the Dynamics: [Excerpt: The Dynamics, "Misery"] The B-side, meanwhile, was titled "I'm the Face": [Excerpt: The High Numbers, "I'm the Face"] Which anyone with any interest at all in blues music will recognise immediately as being "Got Love if You Want It" by Slim Harpo: [Excerpt: Slim Harpo, "Got Love if You Want it"] Unfortunately for the High Numbers, that single didn't have much success. Mod was a local phenomenon, which never took off outside London and its suburbs, and so the songs didn't have much appeal in the rest of the country -- while within London, Mod fashions were moving so quickly that by the time the record came out, all its up-to-the-minute references were desperately outdated. But while the record didn't have much success, the group were getting a big live following among the Mods, and their awareness of rapidly shifting trends in that subculture paid off for them in terms of stagecraft. To quote Townshend: "What the Mods taught us was how to lead by following. I mean, you'd look at the dance floor and see some bloke stop during the dance of the week and for some reason feel like doing some silly sort of step. And you'd notice some of the blokes around him looking out of the corners of their eyes and thinking 'is this the latest?' And on their own, without acknowledging the first fellow, a few of 'em would start dancing that way. And we'd be watching. By the time they looked up on the stage again, we'd be doing that dance and they'd think the original guy had been imitating us. And next week they'd come back and look to us for dances". And then Kit Lambert and Chris Stamp came into the Railway Hotel. Kit Lambert was the son of Constant Lambert, the founding music director of the Royal Ballet, who the economist John Maynard Keynes described as the most brilliant man he'd ever met. Constant Lambert was possibly Britain's foremost composer of the pre-war era, and one of the first people from the serious music establishment to recognise the potential of jazz and blues music. His most famous composition, "The Rio Grande", written in 1927 about a fictitious South American river, is often compared with Gershwin's Rhapsody in Blue: [Excerpt: Constant Lambert, "The Rio Grande"] Kit Lambert was thus brought up in an atmosphere of great privilege, both financially and intellectually, with his godfather being the composer Sir William Walton while his godmother was the prima ballerina Dame Margot Fonteyn, with whom his father was having an affair. As a result of the problems between his parents, Lambert spent much of his childhood living with his grandmother. After studying history at Oxford and doing his national service, Lambert had spent a few months studying film at the Institut des hautes études cinématographiques in Paris, where he went because Jean-Luc Godard and Alain Renais taught there -- or at least so he would later say, though there's no evidence I can find that Godard actually taught there, so either he went there under a mistaken impression or he lied about it later to make himself sound more interesting. However, he'd got bored with his studies after only a few months, and decided that he knew enough to just make a film himself, and he planned his first documentary. In early 1961, despite having little film experience, he joined two friends from university, Richard Mason and John Hemming, in an attempt to make a documentary film tracing the source of the Iriri, a river in South America that was at that point the longest unnavigated river in the world. Unfortunately, the expedition was as disastrous as it's possible for such an expedition to be. In May 1961 they landed in the Amazon basin and headed off on their expedition to find the source of the Iriri, with the help of five local porters and three people sent along by the Brazillian government to map the new areas they were to discover. Unfortunately, by September, not only had they not found the source of the Iriri, they'd actually not managed to find the Iriri itself, four and a half months apparently not being a long enough time to find an eight-hundred-and-ten-mile-long river. And then Mason made his way into history in the worst possible way, by becoming the last, to date, British person to be murdered by an uncontacted indigenous tribe, the Panará, who shot him with eight poison arrows and then bludgeoned his skull. A little over a decade later the Panará made contact with the wider world after nearly being wiped out by disease. They remembered killing Mason and said that they'd been scared by the swishing noise his jeans had made, as they'd never encountered anyone who wore clothes before. Before they made contact, the Panará were also known as the Kreen-Akrore, a name given them by the Kayapó people, meaning "round-cut head", a reference to the way they styled their hair, brushed forward and trimmed over the forehead in a way that was remarkably similar to some of the Mod styles. Before they made contact, Paul McCartney would in 1970 record an instrumental, "Kreen Akrore", after being inspired by a documentary called The Tribe That Hides From Man. McCartney's instrumental includes sound effects, including McCartney firing a bow and arrow, though apparently the bow-string snapped during the recording: [Excerpt: Paul McCartney, "Kreen Akrore"] For a while, Lambert was under suspicion for the murder, though the Daily Express, which had sponsored the expedition, persuaded Brazillian police to drop the charges. While he was in Rio waiting for the legal case to be sorted, Lambert developed what one book on the Who describes as "a serious anal infection". Astonishingly, this experience did not put Lambert off from the film industry, though he wouldn't try to make another film of his own for a couple of years. Instead, he went to work at Shepperton Studios, where he was an uncredited second AD on many films, including From Russia With Love and The L-Shaped Room. Another second AD working on many of the same films was Chris Stamp, the brother of the actor Terence Stamp, who was just starting out in his own career. Stamp and Lambert became close friends, despite -- or because of -- their differences. Lambert was bisexual, and preferred men to women, Stamp was straight. Lambert was the godson of a knight and a dame, Stamp was a working-class East End Cockney. Lambert was a film-school dropout full of ideas and grand ambitions, but unsure how best to put those ideas into practice, Stamp was a practical, hands-on, man. The two complemented each other perfectly, and became flatmates and collaborators. After seeing A Hard Day's Night, they decided that they were going to make their own pop film -- a documentary, inspired by the French nouvelle vague school of cinema, which would chart a pop band from playing lowly clubs to being massive pop stars. Now all they needed was to find a band that were playing lowly clubs but could become massive stars. And they found that band at the Railway Hotel, when they saw the High Numbers. Stamp and Lambert started making their film, and completed part of it, which can be found on YouTube: [Excerpt: The High Numbers, "Oo Poo Pa Doo"] The surviving part of the film is actually very, very, well done for people who'd never directed a film before, and I have no doubt that if they'd completed the film, to be titled High Numbers, it would be regarded as one of the classic depictions of early-sixties London club life, to be classed along with The Small World of Sammy Lee and Expresso Bongo. What's even more astonishing, though, is how *modern* the group look. Most footage of guitar bands of this period looks very dated, not just in the fashions, but in everything -- the attitude of the performers, their body language, the way they hold their instruments. The best performances are still thrilling, but you can tell when they were filmed. On the other hand, the High Numbers look ungainly and awkward, like the lads of no more than twenty that they are -- but in a way that was actually shocking to me when I first saw this footage. Because they look *exactly* like every guitar band I played on the same bill as during my own attempts at being in bands between 2000 and about 2005. If it weren't for the fact that they have such recognisable faces, if you'd told me this was footage of some band I played on the same bill with at the Star and Garter or Night and Day Cafe in 2003, I'd believe it unquestioningly. But while Lambert and Stamp started out making a film, they soon pivoted and decided that they could go into management. Of course, the High Numbers did already have management -- Pete Meaden and Helmut Gorden -- but after consulting with the Beatles' lawyer, David Jacobs, Lambert and Stamp found out that Gorden's contract with the band was invalid, and so when Gorden got back from a holiday, he found himself usurped. Meaden was a bit more difficult to get rid of, even though he had less claim on the group than Gorden -- he was officially their publicist, not their manager, and his only deal was with Gorden, even though the group considered him their manager. While Meaden didn't have a contractual claim though, he did have one argument in his favour, which is that he had a large friend named Phil the Greek, who had a big knife. When this claim was put to Lambert and Stamp, they agreed that this was a very good point indeed, one that they hadn't considered, and agreed to pay Meaden off with two hundred and fifty pounds. This would not be the last big expense that Stamp and Lambert would have as the managers of the Who, as the group were now renamed. Their agreement with the group had the two managers taking forty percent of the group's earnings, while the four band members would split the other sixty percent between themselves -- an arrangement which should theoretically have had the managers coming out ahead. But they also agreed to pay the group's expenses. And that was to prove very costly indeed. Shortly after they started managing the group, at a gig at the Railway Hotel, which had low ceilings, Townshend lifted his guitar up a bit higher than he'd intended, and broke the headstock. Townshend had a spare guitar with him, so this was OK, and he also remembered Gustav Metzger and his ideas of auto-destructive art, and Malcolm Cecil sawing through his bass strings and damaging his bass, and decided that it was better for him to look like he'd meant to do that than to look like an idiot who'd accidentally broken his guitar, so he repeated the motion, smashing his guitar to bits, before carrying on the show with his spare. The next week, the crowd were excited, expecting the same thing again, but Townshend hadn't brought a spare guitar with him. So as not to disappoint them, Keith Moon destroyed his drum kit instead. This destruction was annoying to Entwistle, who saw musical instruments as something close to sacred, and it also annoyed the group's managers at first, because musical instruments are expensive. But they soon saw the value this brought to the band's shows, and reluctantly agreed to keep buying them new instruments. So for the first couple of years, Lambert and Stamp lost money on the group. They funded this partly through Lambert's savings, partly through Stamp continuing to do film work, and partly from investors in their company, one of whom was Russ Conway, the easy-listening piano player who'd had hits like "Side Saddle": [Excerpt: Russ Conway, "Side Saddle"] Conway's connections actually got the group another audition for a record label, Decca (although Conway himself recorded for EMI), but the group were turned down. The managers were told that they would have been signed, but they didn't have any original material. So Pete Townshend was given the task of writing some original material. By this time Townshend's musical world was expanding far beyond the R&B that the group were performing on stage, and he talks in his autobiography about the music he was listening to while he was trying to write his early songs. There was "Green Onions", which he'd been listening to for years in his attempt to emulate Steve Cropper's guitar style, but there was also The Freewheelin' Bob Dylan, and two tracks he names in particular, "Devil's Jump" by John Lee Hooker: [Excerpt: John Lee Hooker, "Devil's Jump"] And "Better Get Hit in Your Soul" by Charles Mingus: [Excerpt: Charles Mingus, "Better Get Hit In Your Soul"] He was also listening to what he described as "a record that changed my life as a composer", a recording of baroque music that included sections of Purcell's Gordian Knot Untied: [Excerpt: Purcell, Chaconne from Gordian Knot Untied] Townshend had a notebook in which he listed the records he wanted to obtain, and he reproduces that list in his autobiography -- "‘Marvin Gaye, 1-2-3, Mingus Revisited, Stevie Wonder, Jimmy Smith Organ Grinder's Swing, In Crowd, Nina in Concert [Nina Simone], Charlie Christian, Billie Holiday, Ella, Ray Charles, Thelonious Monk Around Midnight and Brilliant Corners.'" He was also listening to a lot of Stockhausen and Charlie Parker, and to the Everly Brothers -- who by this point were almost the only artist that all four members of the Who agreed were any good, because Daltrey was now fully committed to the R&B music he'd originally dismissed, and disliked what he thought was the pretentiousness of the music Townshend was listening to, while Keith Moon was primarily a fan of the Beach Boys. But everyone could agree that the Everlys, with their sensitive interpretations, exquisite harmonies, and Bo Diddley-inflected guitars, were great, and so the group added several songs from the Everlys' 1965 albums Rock N Soul and Beat N Soul to their set, like "Man With Money": [Excerpt: The Everly Brothers, "Man With Money"] Despite Daltrey's objections to diluting the purity of the group's R&B sound, Townshend brought all these influences into his songwriting. The first song he wrote to see release was not actually recorded by the Who, but a song he co-wrote for a minor beat group called the Naturals, who released it as a B-side: [Excerpt: The Naturals, "It Was You"] But shortly after this, the group got their first big break, thanks to Lambert's personal assistant, Anya Butler. Butler was friends with Shel Talmy's wife, and got Talmy to listen to the group. Townshend in particular was eager to work with Talmy, as he was a big fan of the Kinks, who were just becoming big, and who Talmy produced. Talmy signed the group to a production deal, and then signed a deal to license their records to Decca in America -- which Lambert and Stamp didn't realise wasn't the same label as British Decca. Decca in turn sublicensed the group's recordings to their British subsidiary Brunswick, which meant that the group got a minuscule royalty for sales in Britain, as their recordings were being sold through three corporate layers all taking their cut. This didn't matter to them at first, though, and they went into the studio excited to cut their first record as The Who. As was typical at the time, Talmy brought in a few session players to help out. Clem Cattini turned out not to be needed, and left quickly, but Jimmy Page stuck around -- not to play on the A-side, which Townshend said was "so simple even I could play it", but the B-side, a version of the old blues standard "Bald-Headed Woman", which Talmy had copyrighted in his own name and had already had the Kinks record: [Excerpt: The Who, "Bald-Headed Woman"] Apparently the only reason that Page played on that is that Page wouldn't let Townshend use his fuzzbox. As well as Page and Cattini, Talmy also brought in some backing vocalists. These were the Ivy League, a writing and production collective consisting at this point of John Carter and Ken Lewis, both of whom had previously been in a band with Page, and Perry Ford. The Ivy League were huge hit-makers in the mid-sixties, though most people don't recognise their name. Carter and Lewis had just written "Can You Hear My Heartbeat" for Herman's Hermits: [Excerpt: Herman's Hermits, "Can You Hear My Heartbeat?"] And, along with a couple of other singers who joined the group, the Ivy League would go on to sing backing vocals on hits by Sandie Shaw, Tom Jones and others. Together and separately the members of the Ivy League were also responsible for writing, producing, and singing on "Let's Go to San Francisco" by the Flowerpot Men, "Winchester Cathedral" by the New Vaudeville Band, "Beach Baby" by First Class, and more, as well as their big hit under their own name, "Tossing and Turning": [Excerpt: The Ivy League, "Tossing and Turning"] Though my favourite of their tracks is their baroque pop masterpiece "My World Fell Down": [Excerpt: The Ivy League, "My World Fell Down"] As you can tell, the Ivy League were masters of the Beach Boys sound that Moon, and to a lesser extent Townshend, loved. That backing vocal sound was combined with a hard-driving riff inspired by the Kinks' early hits like "You Really Got Me" and "All Day and All of the Night", and with lyrics that explored inarticulacy, a major theme of Townshend's lyrics: [Excerpt: The Who, "I Can't Explain"] "I Can't Explain" made the top ten, thanks in part to a publicity stunt that Lambert came up with. The group had been booked on to Ready, Steady, Go!, and the floor manager of the show mentioned to Lambert that they were having difficulty getting an audience for that week's show -- they were short about a hundred and fifty people, and they needed young, energetic, dancers. Lambert suggested that the best place to find young, energetic, dancers, was at the Marquee on a Tuesday night -- which just happened to be the night of the Who's regular residency at the club. Come the day of filming, the Ready, Steady, Go! audience was full of the Who's most hardcore fans, all of whom had been told by Lambert to throw scarves at the band when they started playing. It was one of the most memorable performances on the show. But even though the record was a big hit, Daltrey was unhappy. The man who'd started out as guitarist in a Shadows cover band and who'd strenuously objected to the group's inclusion of R&B material now had the zeal of a convert. He didn't want to be doing this "soft commercial pop", or Townshend's art-school nonsense. He wanted to be an R&B singer, playing hard music for working-class men like him. Two decisions were taken to mollify the lead singer. The first was that when they went into the studio to record their first album, it was all soul and R&B apart from one original. The album was going to consist of three James Brown covers, three Motown covers, Bo Diddley's "I'm a Man", and a cover of Paul Revere and the Raiders' "Louie Louie" sequel "Louie Come Home", retitled "Lubie". All of this was material that Daltrey was very comfortable with. Also, Daltrey was given some input into the second single, which would be the only song credited to Daltrey and Townshend, and Daltrey's only songwriting contribution to a Who A-side. Townshend had come up with the title "Anyway, Anyhow, Anywhere" while listening to Charlie Parker, and had written the song based on that title, but Daltrey was allowed to rewrite the lyrics and make suggestions as to the arrangement. That record also made the top ten: [Excerpt: The Who, "Anyway, Anyhow, Anywhere"] But Daltrey would soon become even more disillusioned. The album they'd recorded was shelved, though some tracks were later used for what became the My Generation album, and Kit Lambert told the Melody Maker “The Who are having serious doubts about the state of R&B. Now the LP material will consist of hard pop. They've finished with ‘Smokestack Lightning'!” That wasn't the only thing they were finished with -- Townshend and Moon were tired of their band's leader, and also just didn't think he was a particularly good singer -- and weren't shy about saying so, even to the press. Entwistle, a natural peacemaker, didn't feel as strongly, but there was a definite split forming in the band. Things came to a head on a European tour. Daltrey was sick of this pop nonsense, he was sick of the arty ideas of Townshend, and he was also sick of the other members' drug use. Daltrey didn't indulge himself, but the other band members had been using drugs long before they became successful, and they were all using uppers, which offended Daltrey greatly. He flushed Keith Moon's pill stash down the toilet, and screamed at his band mates that they were a bunch of junkies, then physically attacked Moon. All three of the other band members agreed -- Daltrey was out of the band. They were going to continue as a trio. But after a couple of days, Daltrey was back in the group. This was mostly because Daltrey had come crawling back to them, apologising -- he was in a very bad place at the time, having left his wife and kid, and was actually living in the back of the group's tour van. But it was also because Lambert and Stamp persuaded the group they needed Daltrey, at least for the moment, because he'd sung lead on their latest single, and that single was starting to rise up the charts. "My Generation" had had a long and torturous journey from conception to realisation. Musically it originally had been inspired by Mose Allison's "Young Man's Blues": [Excerpt: Mose Allison, "Young Man's Blues"] Townshend had taken that musical mood and tied it to a lyric that was inspired by a trilogy of TV plays, The Generations, by the socialist playwright David Mercer, whose plays were mostly about family disagreements that involved politics and class, as in the case of the first of those plays, where two upwardly-mobile young brothers of very different political views go back to visit their working-class family when their mother is on her deathbed, and are confronted by the differences they have with each other, and with the uneducated father who sacrificed to give them a better life than he had: [Excerpt: Where the Difference Begins] Townshend's original demo for the song was very much in the style of Mose Allison, as the excerpt of it that's been made available on various deluxe reissues of the album shows: [Excerpt: Pete Townshend, "My Generation (demo)"] But Lambert had not been hugely impressed by that demo. Stamp had suggested that Townshend try a heavier guitar riff, which he did, and then Lambert had added the further suggestion that the music would be improved by a few key changes -- Townshend was at first unsure about this, because he already thought he was a bit too influenced by the Kinks, and he regarded Ray Davies as, in his words, "the master of modulation", but eventually he agreed, and decided that the key changes did improve the song. Stamp made one final suggestion after hearing the next demo version of the song. A while earlier, the Who had been one of the many British groups, like the Yardbirds and the Animals, who had backed Sonny Boy Williamson II on his UK tour. Williamson had occasionally done a little bit of a stutter in some of his performances, and Daltrey had picked up on that and started doing it. Townshend had in turn imitated Daltrey's mannerism a couple of times on the demo, and Stamp thought that was something that could be accentuated. Townshend agreed, and reworked the song, inspired by John Lee Hooker's "Stuttering Blues": [Excerpt: John Lee Hooker, "Stuttering Blues"] The stuttering made all the difference, and it worked on three levels. It reinforced the themes of inarticulacy that run throughout the Who's early work -- their first single, after all, had been called "I Can't Explain", and Townshend talks movingly in his autobiography about talking to teenage fans who felt that "I Can't Explain" had said for them the things they couldn't say th

Joanne Shaw Taylor – Three time a loser - The Blues Album (2021)Wee Willie Walker – Suffering with the blues - Not in my lifetime – 2021Danny Bryant - The Rage To Survive – 2021Bacon Fat Louis – Legends - BFL#3 - 2021 Kris Wiley – Pops - Kris Wiley - 2021 Rob Alley – The way of the Blues - Also-Ran Bluesman - 2021 Tony Holiday -  Smokestack Lightning (feat. Watermelon Slim) - Porch Sessions, Vol. 2 – 2021Deb Ryder - A Storm's Coming Artur Menezes - Any Day, Anytime Beth Hart -  Love Gangster Joe Bonamassa - Asking Around For YouRobert Jon & The Wreck - Last Light On The Highway  part 2 - Last Light On The Highway - 2020Roland Coenen – Hoochie Coochie FoyerDutch Blues radio show. Live recordings , interviews and good blues music since 2004http://www.bluesmoose.nlhttps://www.youtube.com/user/Bluesmooseradiohttps://twitter.com/BluesMoosehttps://www.facebook.com/bluesmooseradio/https://itunes.apple.com/nl/podcast/blues-music-blues-moose-radio/id350828303?mt=2https://www.mixcloud.com/bluesmooseradio

Washington Social Club "Breaking the Dawn"Howlin' Wolf "Back Door Man"The Kills "Pots and Pans"Jimmy Duck Holmes "Buddy Brown"Ramblin' Jack Elliot "Riding In My Car"The Felice Brothers "Woman Next Door"Tommy Johnson "Big Road Blues"Palace Brothers "I Tried To Stay Healthy For You"Etta Baker "Going Down the Road Feeling Bad"Jimmy Reed "I Ain't Got You"Jessie Mae Hemphill "She-Wolf"ZZ Top "Mushmouth Shoutin'"The White Stripes "You've Got Her In Your Pocket"Precious Bryant "The Truth"Peppermint Harris "There's a Dead Cat on the Line (with Maxwell Davis and His All-Stars)"Eilen Jewell "One of Those Days"Kiki Cavazos "Two Bit Gambler"Neko Case "Deep Red Bells"Roy Harper "The Same Old Rock"Led Zeppelin "Hats Off To [Roy] Harper"Blind Gary Davis "Samson And Delilah"Courtney Barnett "Nobody Really Cares If You Don't Go To The Party"Jon Latham "Kimberly Met Billy"Cory Branan "Yesterday (Circa Summer 80 Somethin)"Superchunk "Shallow End"Drag the River "Next Time Not Around"Cafeteria "Gorgeous Friend"The Delgados "Everything Goes Around The Water"Louis Armstrong "(I'll Be Glad When You're Dead) You Rascal You"Tommy McClennan "Cotton Patch Blues"Billie and De De Pierce "Mama Don't Allow"Fred McDowell "Drop Down Mama"Nina Simone "Blues for Mama"The Black Keys "Sinister Kid"Steve Earle "Hard-Core Troubadour"Elvis Costello "Radio Sweetheart"Valerie June "Fallin'"Bob Dylan "Simple Twist of Fate"Billie Holiday "It's Too Hot for Words"Fats Domino "Your Cheatin' Heart"Colter Wall "Big Iron"Drunken Catfish Ramblers "Smokestack Lightning"Cousin Joe "Juice On The Loose"Elvis Presley "Trying to Get to You"Howlin' Wolf "Ridin' In the Moonlight"John R. Miller "Relaxation"

Al son del bluesman Watermelon Slim decimos adiós al maldito 2020 y qué se vaya con viento fresco. Playlist: Snatch It Back and Hold It – Junior Wells; Merry Christmas, Baby – McKinney Williams; Tax Man Blues, Smokestack Lightning, Wolf Cry, Saint Peter's Ledger, Mni Wiconi . The Water Song, Me and My Woman, Pick Up My Gideon, Dark Genius, Northern Blues, Mean Streets, That Ole 1-4-5, Too Much Alcohol, Post-Modern Blues – Watermelon Slim. Escuchar audio

“Having A Rave Up With The Yardbirds” is the second album by Yardbirds which was released on November 15, 1965. The live tracks of this album were recorded in March 1964, and studio tracks were recorded between April and September 1965. At the time of releasing the album, Jeff Beck was the lead guitarist of the band, as Eric Clapton had left a few months prior to that. The live recordings had Eric Clapton and the studio recordings had Jeff Beck on guitar. Most of the songs in the album... you can read the whole article here : https://bluesrockhistory.com/f/“having-a-rave-up-with-the-yardbirds”-by-yardbirds Track List : Side 1 1. You're A Better Man Than I 2. Evil Hearted You 3. I'm A Man 4. Still I'm Sad 5. Heart Full Of Soul 6. The Train Kept A-Rollin' Side 2 1. Smokestack Lightning 2. Respectable 3. I'm A Man 4. Here 'Tis --- Support this podcast: https://podcasters.spotify.com/pod/show/bluesrockhistory/support

Featured Songs: 1. 00:38 - Goose - Me and My Uncle - 09-16-20 - South Farms - Morris, CT 2. 06:48 - Warren Haynes and Danny Louis - Turn On Your Lovelight > Smokestack Lightning > Turn On Your Lovelight - 09-13-20 - South Farms - Morris, CT 3. 23:33 - Pigeons Playing Ping Pong - Abracadbra - 09-18-20 - Champlain Valley Expo - Essex Junction, VT 4. 27:31 - Billy Strings - Sénor - 09-12-20 - Mohegan Sun Arena - Wilkes Barre, PA 5. 32:16 - Steve Kimock Band - Merle’s Boogie - 12-10-2004 - Private Party - Redwood City, California See omnystudio.com/listener for privacy information.

El programa de esta semana está dedicado al excelente nuevo álbum de blues acústico del veterano bluesman Bobby Rush, que a sus 86 años acaba de editar "Rawer Than Raw" (Deep Rush Records). Playlist: Snatch It Back and Hold It – Junior Wells; Down In Mississippi, Porcupine Meat, Hard Times, Let Me In Your House, Smokestack Lightning, Shake It For Me, Sometimes I Wonder, Don't Start Me Talkin', Let's Make Love Again, Honey Bee Sail On, Garbage Man, Dust My Broom – Bobby Rush; Don't Start Me Talking – Luther Allison. Escuchar audio

Playlist: Snatch It Back and Hold It - Junior Wells; Work With Me, Too Close Together, Let Your Conscience Be Your Guide - Sonny Boy Williamson II; Trust No Man, Oh Papa Blues - Ma Rainey; Texas Blues, Louise, Blues In The Bottle - Mance Lipscomb; Smokestack Lightning, Independent Blues - Valerie Wellington; Too Many Cooks, Natcha Bone Lover - Terry Evans; In A Dark Place, Let It Go! - Deitra Farr. Escuchar audio

Making a Scene Presents the PODCAST of LIVE from the Midnight Circus Indie Blues Double Shot Show!This is the Voice of Indie Blues, the future of the blues. An Indie Blues double shot of artists who embrace the diversity of the blues that always has and still is being created from it's roots. These artists understand the blues is a living art form that is driven by innovation and creativity. These are the Indie Blues Artists!The Claudettes,Most Accidents Happen,The Claudettes,"Bad Babe, Losin' Touch",Mike Zito,QUARANTINE BLUES,Quarantine BluesMike Zito,DONT LET THE WORLD GET YOU DOWN,Quarantine BluesCrystal Shawanda,Evil Memory,Church House BluesCrystal Shawanda,New Orleans Is Sinking,Church House BluesVictor Wainwright & The Train,Recovery,Memphis LoudVictor Wainwright & The Train,America,Memphis LoudJim Diamond Revue,15 Below,Friends & FamilyJim Diamond Revue,Rock And Roll All Over You,Friends & FamilyPeter Karp,Sitting On The Edge Of The World,Magnificent HeartPeter Karp,This World,Magnificent HeartLiz Mandeville,Online Love Affair,Playing With FireLiz Mandeville,Everybody Got Wings,Playing With FireTas Cru,Save Me,Drive OnTas Cru,Drive On,Drive OnRyan Perry,Evil Is Going On,"High Risk, Low Reward"Ryan Perry,"High Risk, Low Reward","High Risk, Low Reward"John Primer And Bob Corritore,Walked So Long,The Gypsy Woman Told MeJohn Primer And Bob Corritore,Let's Get Together,The Gypsy Woman Told MeEliza Neals,Black Crow Moan (feat. Joe Louis Walker),Black Crow MoanEliza Neals,The Devil Don't Love You (feat. Joe Louis Walker),Black Crow MoanThe Proven Ones,Already Gone,You Ain't DoneThe Proven Ones,Fallen,You Ain't DoneLisa Mills,02 Tell Mama,The TriangleLisa Mills,07 Same Time Same Place,The TriangleReverend Freakchild,And We Bid You Goodnight,The Bodhisattva BluesReverend Freakchild,Yer Blues (w/ Melvin Seals),The Bodhisattva BluesThe Reverend Shawn Amos & The Brotherhood,Albion Blues (feat. Kenya Hathaway),Blue SkyThe Reverend Shawn Amos & The Brotherhood,"Keep the Faith, Have Some Fun (feat. Mudbug Brass Band)",Blue SkySass Jordon,08_Still Got The Blues,Sass Jordon,01_Leaving Trunk,John Pagano Band,Ain't Gonna Lose You,One More RoundJohn Pagano Band,Misbehavin,SingleRory Block,Its Red Hot,Prove It On MeRory Block,Milk Man Blues,Prove It On MeAlbert Cummings,Do What Mama Says,BelieveAlbert Cummings,Crazy Love,BelieveStephen Cooper and The Nobody Famous,Welcome Home,Stephen Cooper and The Nobody FamousStephen Cooper and The Nobody Famous,Deeper Kind of Love,Stephen Cooper and The Nobody FamousBen Rice and RB Stone,Hey Politician,Out of the BoxBen Rice and RB Stone,Meet Your Maker,Out of the BoxMichael Mills Band,My New Woman,Stand UpMichael Mills Band,You Can't Hide,Stand UpTomas Docker,Smokestack Lightning,Tyler Morris,Young Man's Blues (feat. Ronnie Earl),Living In The ShadowsTyler Morris,Temptation,Living In The ShadowsALBERT CASTIGLIA,GET YOUR ASS IN THE VAN,WILD AND FREEALBERT CASTIGLIA,BIG DOG,WILD AND FREEJim Gustin & Truth Jones,I Hate To See You Go,Lessons LearnedJim Gustin & Truth Jones,All You Ever Bring Me Is The Blues,Lessons LearnedMike Mattison,All You Can Do Is Mean It,AfterglowMike Mattison,Word's Comin' Down,AfterglowAna Cristina Cash,Outlaw Blues,ShineAna Cristina Cash,Southern Roots,ShineChanda Rule & Swee Emma Band,Another Man Done Gone,Hold OnChanda Rule & Sweet Emma Band,Come Sunday,Hold OnMakingascene.org,Outro 2020,makingascene.org 

Making a Scene Presents the PODCAST of LIVE from the Midnight Circus Featuring The Reverend Shawn AmosThis is the Voice of Indie Blues, the future of the blues. Artists who embrace the diversity of the blues that always has and still is being created from it's roots. These artists understand the blues is a living art form that is driven by innovation and creativity. These are the Indie Blues Artists!The Claudettes,Most Accidents Happen,The Claudettes,"Bad Babe, Losin' Touch",Mike Zito,QUARANTINE BLUES,Quarantine BluesMike Zito,DONT LET THE WORLD GET YOU DOWN,Quarantine BluesCrystal Shawanda,Evil Memory,Church House BluesVictor Wainwright & The Train,America,Memphis LoudJim Diamond Revue,15 Below,Friends & FamilyPeter Karp,Sitting On The Edge Of The World,Magnificent HeartLiz Mandeville,Online Love Affair,Playing With FireTas Cru,Drive On,Drive OnMakingascene.org,Intro Rev Amous,makingascene.orgThe Reverend Shawn Amos & The Brotherhood,Hold Back,Blue SkyThe Reverend Shawn Amos & The Brotherhood,The Job Is Never Done,Blue Skywww.makingascene.org,Rev Shawn Amos,The Reverend Shawn Amos & The Brotherhood,Albion Blues (feat. Kenya Hathaway),Blue SkyThe Reverend Shawn Amos & The Brotherhood,"Keep the Faith, Have Some Fun (feat. Mudbug Brass Band)",Blue SkyRyan Perry,Evil Is Going On,"High Risk, Low Reward"Ryan Perry,"High Risk, Low Reward","High Risk, Low Reward"John Primer And Bob Corritore,Let's Get Together,The Gypsy Woman Told MeEliza Neals,Black Crow Moan (feat. Joe Louis Walker),Black Crow MoanThe Proven Ones,Already Gone,You Ain't DoneLisa Mills,02 Tell Mama,The TriangleReverend Freakchild,I know You Rider,The Bodhisattva BluesSass Jordon,08_Still Got The Blues,Sass Jordon,01_Leaving Trunk,John Pagano Band,Misbehavin,SingleRory Block,Its Red Hot,Prove It On MeAlbert Cummings,Do What Mama Says,BelieveStephen Cooper and The Nobody Famous,Welcome Home,Stephen Cooper and The Nobody FamousBen Rice and RB Stone,Hey Politician,Out of the BoxMichael Mills Band,My New Woman,Stand UpTomas Docker,Smokestack Lightning,Tyler Morris,Young Man's Blues (feat. Ronnie Earl),Living In The ShadowsALBERT CASTIGLIA,GET YOUR ASS IN THE VAN,WILD AND FREEJim Gustin & Truth Jones,All You Ever Bring Me Is The Blues,Lessons LearnedMike Mattison,Word's Comin' Down,AfterglowAna Cristina Cash,Southern Roots,ShineChanda Rule & Sweet Emma Band,Come Sunday,Hold On 

Making a Scene Presents the PODCAST of LIVE from the Midnight Circus Featuring Sass JordanThis is the Voice of Indie Blues, the future of the blues. Artists who embrace the diversity of the blues that always has and still is being created from it's roots. These artists understand the blues is a living art form that is driven by innovation and creativity. These are the Indie Blues Artists!The Claudettes,Most Accidents Happen,The Claudettes,"Bad Babe, Losin' Touch",Mike Zito,QUARANTINE BLUES,Quarantine BluesMike Zito,DONT LET THE WORLD GET YOU DOWN,Quarantine BluesCrystal Shawanda,Evil Memory,Church House BluesVictor Wainwright & The Train,America,Memphis LoudJim Diamond Revue,15 Below,Friends & FamilyPeter Karp,Sitting On The Edge Of The World,Magnificent HeartLiz Mandeville,Online Love Affair,Playing With FireTas Cru,Drive On,Drive OnMakingascene.org,Intro Sass Jordon,makingascene.orgSass Jordan,Am I Wrong,Sassy Blues and the Champagne HookersSass Jordan,My Babe,Sassy Blues and the Champagne Hookerswww.makingascene.org,Sass Jordon,Sass Jordon,01_Leaving Trunk,Sass Jordon,08_Still Got The Blues,Ryan Perry,"High Risk, Low Reward","High Risk, Low Reward"John Primer And Bob Corritore,Let's Get Together,The Gypsy Woman Told MeEliza Neals,Black Crow Moan (feat. Joe Louis Walker),Black Crow MoanThe Proven Ones,Already Gone,You Ain't DoneLisa Mills,02 Tell Mama,The TriangleReverend Freakchild,I know You Rider,The Bodhisattva BluesThe Reverend Shawn Amos & The Brotherhood,Albion Blues (feat. Kenya Hathaway),Blue SkyThe Reverend Shawn Amos & The Brotherhood,"Keep the Faith, Have Some Fun (feat. Mudbug Brass Band)",Blue SkyJohn Pagano Band,Misbehavin,SingleRory Block,Its Red Hot,Prove It On MeAlbert Cummings,Do What Mama Says,BelieveStephen Cooper and The Nobody Famous,Welcome Home,Stephen Cooper and The Nobody FamousBen Rice and RB Stone,Hey Politician,Out of the BoxMichael Mills Band,My New Woman,Stand UpTomas Docker,Smokestack Lightning,Tyler Morris,Young Man's Blues (feat. Ronnie Earl),Living In The ShadowsALBERT CASTIGLIA,GET YOUR ASS IN THE VAN,WILD AND FREEJim Gustin & Truth Jones,All You Ever Bring Me Is The Blues,Lessons LearnedMike Mattison,Word's Comin' Down,AfterglowAna Cristina Cash,Southern Roots,ShineChanda Rule & Sweet Emma Band,Come Sunday,Hold On 

Making a Scene Presents the PODCAST of LIVE from the Midnight Circus Indie Blues Double Shot Show!This is the Voice of Indie Blues, the future of the blues. An Indie Blues double shot of artists who embrace the diversity of the blues that always has and still is being created from it's roots. These artists understand the blues is a living art form that is driven by innovation and creativity. These are the Indie Blues Artists!Jo Harman,Say That You Want Me,Jo Harman,Keep You Guessing,Mike Mattison,I Really Miss You,AfterglowMike Mattison,Charlie Idaho,AfterglowThe Reverend Shawn Amos & The Brotherhood,Troubled Man,Blue SkyThe Reverend Shawn Amos & The Brotherhood,"Keep The Faith, Have Some Fun",Blue SkyChanda Rule & Sweet Emma Band,Sinnerman,Hold OnChanda Rule & Swee Emma Band,Another Man Done Gone,Hold OnBacktrack Blues Band,Times is Hard,Your Baby has LeftBacktrack Blues Band,Natural Born Lover,Your Baby has LeftCasey Hensley,Love Will Break Your Heart,Casey Hensley,If I Pray,Dave Keller,Every Soul's a Star,Live At The Killer Guitar ThrillerDave Keller,Steppin' Out,Live At The Killer Guitar ThrillerAvey Grouws Band,Two Days Off (And A Little Bit Of Liquor),The Devil May CareAvey Grouws Band,Rise Up,The Devil May CareAlbert Cummings,Call Me Crazy,BelieveAlbert Cummings,Going My Way,BelieveDon Ender,05 - Bad Boy,SouthwardsDon Ender,07 - Nick Of Time,SouthwardsLucky Peterson & Aelpeacha,Takin Care Of Mine,50 Years-Just Warming UpLucky Peterson,50 Years,50 Years-Just Warming UpTomas Doncker,Moanin' at Midnight (Ras Jah Ames),Moanin at MidnightTomas Docker,Smokestack Lightning,Bear Williams,05 Pretty Lil' Thang,Blues RebelBear Williams,03 Don't Say Goodbye,Blues RebelHarper and Midwest Kind,Heavy Horses,Rise UpHarper and Midwest Kind,Rise Up,Rise UpGeorgia Randall,Anticipation Blues,Help WantedGeorgia Randall,Born To Die,Help WantedTas Cru,Money Talks,Drive OnTas Cru,Cry No More,Drive OnThe Jimmys,Always A Woman,Gotta Have ItThe Jimmys,Started Up Again,Gotta Have ItThe Mary Jo Curry Band,We All Had a Real Good Time,Front PorchThe Mary Jo Curry Band,House is Lonely,Front PorchBen Poole Trio,Take It No More,Trio - Live 19' - CD 1Ben Poole Trio,Don't Cry For Me,Trio - Live 19' - CD 1Whitney Shay,Getting In My Way,Stand Up!Whitney Shay,Boy Sit Down,Stand Up!Jeremiah Johnson,Ecstasy,Heavens To BetsyJeremiah Johnson,Long Way Home,Heavens To BetsyDave Goddess,Chinatown,Dave Goddess,Lightning,Tomas Docker,Back Door Man,Tomas Doncker,Moanin' at Midnight (Ras Jah Ames),Moanin at MidnightBlack Cat Bones,Led To Believe,Tattered And TornBlack Cat Bones,Lowdown,Tattered And TornThorbjoern Risager & The Black Tornado,Last Train,Come On InThorbjoern Risager & The Black Tornado,I'll Be Gone,Come On InCW Ayon,Well I Know,What They SayCW Ayon,I Need You Now,What They Say

Making a Scene Presents the PODCAST of LIVE from the Midnight Circus Featuring Tomas DonckerThis is the Voice of Indie Blues, the future of the blues. Artists who embrace the diversity of the blues that always has and still is being created from it's roots. These artists understand the blues is a living art form that is driven by innovation and creativity. These are the Indie Blues Artists!The Reverend Shawn Amos & The Brotherhood,"Keep The Faith, Have Some Fun",Blue SkyAlbert Cummings,Going My Way,BelieveWhitney Shay,Someone You Never Got To Know,Stand Up!Mike Mattison,Charlie Idaho,AfterglowCW Ayon,I Need You Now,What They SayJames Thomas Band,Meet Me In The Corner,The Loves Of My LifeGeorgia Randall,Drive-in Fantasy,Help WantedGarrett Collins,Love Machine,Wide Mouth Mason,8 Modern Love,S/THarper and Midwest Kind,Heavy Horses,Rise UpDon Ender,05 - Bad Boy,SouthwardsAvey Grouws Band,Two Days Off (And A Little Bit Of Liquor),The Devil May CareBill Blue,The King Of Crazy Town,The King Of Crazy TownTomas Doncker,Evil,Moanin at MidnightTomas Docker,Smokestack Lightning,www.makingascene.org,Tomas Doncker,Tomas Docker,Back Door Man,Tomas Doncker,Moanin' at Midnight (Ras Jah Ames),Moanin at MidnightMakingascene.org,Makingascene.org Promo,makingascene.orgJeremiah Johnson,American Steel,Heavens To BetsyJeremiah Johnson,Castles In The Air,Heavens To BetsyTas Cru,Cry No More,Drive OnThe Mary Jo Curry Band,We All Had a Real Good Time,Front PorchBetty Fox Band,Shattered Dreams & Broken Toes,Peace In PiecesThe Jimmys,When You Got Love,Gotta Have ItThe Jimmys,Write A Hit,Gotta Have ItBlack Cat Bones,The Race,Tattered And TornBen Poole Trio,Take It No More,Trio - Live 19' - CD 1LIVE from the Midnight Circus-,Blues Scale,LMC-****Tomislav Goluban,Memphis Light,Memphis Light2. Marcus King,The Well,Bill Sibley,Sweet Rain,Sweet RainSUGAR BLUE,GOOD OLD DAYS,COLORSDave Goddess,gift shop_18 _MASTER_01_Less B,Thorbjoern Risager & The Black Tornado,I'll Be Gone,Come On InJohn Blues Boyd,Why Did You Take That Shot,What My Eyes Have SeenSayed Sabrina,Home is in Your Head,Thou Art ThatWatermelon Slim,Truck Driving Songs,Traveling Man 

Making a Scene Presents the PODCAST of LIVE from the Midnight Circus Featuring The JimmysThis is the Voice of Indie Blues, the future of the blues. Artists who embrace the diversity of the blues that always has and still is being created from it's roots. These artists understand the blues is a living art form that is driven by innovation and creativity. These are the Indie Blues Artists!The Reverend Shawn Amos & The Brotherhood,"Keep The Faith, Have Some Fun",Blue SkyAlbert Cummings,Going My Way,BelieveWhitney Shay,Someone You Never Got To Know,Stand Up!Mike Mattison,Charlie Idaho,AfterglowCW Ayon,I Need You Now,What They SayJames Thomas Band,Meet Me In The Corner,The Loves Of My LifeGeorgia Randall,Drive-in Fantasy,Help WantedGarrett Collins,Love Machine,Wide Mouth Mason,8 Modern Love,S/THarper and Midwest Kind,Heavy Horses,Rise UpDon Ender,05 - Bad Boy,SouthwardsAvey Grouws Band,Two Days Off (And A Little Bit Of Liquor),The Devil May CareBill Blue,The King Of Crazy Town,The King Of Crazy TownTomas Doncker,Evil,Moanin at MidnightTomas Docker,Smokestack Lightning,www.makingascene.org,Tomas Doncker,Tomas Docker,Back Door Man,Tomas Doncker,Moanin' at Midnight (Ras Jah Ames),Moanin at MidnightMakingascene.org,Makingascene.org Promo,makingascene.orgJeremiah Johnson,American Steel,Heavens To BetsyJeremiah Johnson,Castles In The Air,Heavens To BetsyTas Cru,Cry No More,Drive OnThe Mary Jo Curry Band,We All Had a Real Good Time,Front PorchBetty Fox Band,Shattered Dreams & Broken Toes,Peace In PiecesThe Jimmys,When You Got Love,Gotta Have ItThe Jimmys,Write A Hit,Gotta Have ItBlack Cat Bones,The Race,Tattered And TornBen Poole Trio,Take It No More,Trio - Live 19' - CD 1LIVE from the Midnight Circus-,Blues Scale,LMC-****Tomislav Goluban,Memphis Light,Memphis Light2. Marcus King,The Well,Bill Sibley,Sweet Rain,Sweet RainSUGAR BLUE,GOOD OLD DAYS,COLORSDave Goddess,gift shop_18 _MASTER_01_Less B,Thorbjoern Risager & The Black Tornado,I'll Be Gone,Come On InJohn Blues Boyd,Why Did You Take That Shot,What My Eyes Have SeenSayed Sabrina,Home is in Your Head,Thou Art ThatWatermelon Slim,Truck Driving Songs,Traveling Man 

Episode forty-one of A History of Rock Music in Five Hundred Songs looks at "Be-Bop-A-Lula" by Gene Vincent and the Blue Caps, and how Vincent defined for many what a rock and roll star was. 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 "Smokestack Lightning" by Howlin' Wolf. ----more---- Resources There are far, far more books on Gene Vincent than one would expect from his short chart history -- a testament to how much he influenced a generation. The two that I used most are Race With the Devil by Susan VanHecke, and Gene Vincent and Eddie Cochran: Rock and Roll Revolutionaries by John Collis. Of the two, I'd recommend the latter more. There are many compilations of Gene Vincent's early rock and roll work. This one contains everything he recorded up until 1962. And as always there's a Mixcloud with the full versions of all the songs featured in today's episode. Patreon   This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Ian Dury and the Blockheads, "Sweet Gene Vincent"] So sang Ian Dury, one of the greats of the rock and roll generation that came up in the seventies, a generation that grew up on listening to Gene Vincent. In the USA, Vincent was more or less regarded as a one-hit wonder, though that one hit was one of the most memorable of the 1950s, but in the UK, he was to become one of the biggest influences on everyone who sang or played a guitar.   Gene Vincent was born Vincent Eugene Craddock, and he would have been perfectly happy in his original career as a sailor, until 1955. Then, something happened that changed his life forever. He re-enlisted in the Navy, and got a nine-hundred dollar bonus – a huge sum of money for a sailor in those days – which he used to buy himself a new Triumph racing motorbike.   The bike didn't last long, and nor did Gene's Navy career. There are two stories about the accident. The one which he told most often, and which was the official story, was that he was not at fault – a woman driving a Chrysler ran a red light and ran into him, and the only reason he didn't get compensation was that he signed some papers while he was sedated in hospital.   The other story, which he told at least one friend, was that he'd been out drinking and was late getting back to the Naval base. There was a security barrier at the base, and he tried to ride under the barrier. He'd failed, and the bike had come down hard on his left leg, crushing it.   Whatever the truth, his left leg was smashed up, and looked for a long time like it was going to be amputated, but he refused to allow this. He had it put into a cast for more than a year, after which it was put into a metal brace instead. His leg never really properly healed, and it would leave him in pain for the rest of his life. His leg developed chronic osteomyelitis, he had a permanent open sore on his shin, his leg muscles withered, and his bones would break regularly.   Then in September 1955, finally discharged from the naval hospital, Gene Vincent went to see a country music show. The headliner was Hank Snow, and the Louvin Brothers were also on the bill, but the act that changed Gene's life was lower down the bill – a young singer named Elvis Presley.   [Excerpt: Elvis Presley, “Mystery Train”]   The story seems to be the same for almost every one of the early rockabilly artists, but this is the first time we've seen it happen with someone who didn't go on to sign with Sun – a young man in the Southern US has been playing his guitar for a while, making music that's a little bit country, a little bit blues, and then one day he goes to see a show featuring Elvis Presley, and he immediately decides that he wants to do that, that Elvis is doing something that's like what the young man has already started doing, but he's proved that you can do it on stage, for people.   It's as if at every single show Elvis played in 1954 and 1955 there was a future rockabilly star in the audience -- and by playing those shows, Elvis permanently defined what we mean when we say "rock and roll star". The first thing Gene did was to get himself noticed by the radio station that had promoted the show, and in particular by Sheriff Tex Davis, who was actually a DJ from Connecticut whose birth name was William Doucette, but had changed his name to sound more country. Davis was a DJ and show promoter, and he was the one who had promoted the gig that Elvis had appeared at. Gene Craddock came into his office a few days after that show, and told him that he was a singer. Davis listened to him sing a couple of songs, and thought that he would do a decent job as a regular on his Country Showtime radio show.   Soon afterwards, Carl Perkins came to town to do a show with Craddock as the opening act. It would, in fact, be his last show for a while – it was right after this show, as he travelled to get to New York for the TV appearance he was booked on, that he got into the car crash that derailed his career. But Tex Davis asked Carl to watch the opening act and tell him what he thought. Carl watched, and he said that the boy had potential, especially one particular song, "Be-Bop-A-Lula", which sounded to Carl quite like some of his own stuff.   That was good enough for Tex Davis, who signed Craddock up to a management contract, and who almost immediately recorded some of his performances to send to Ken Nelson at Capitol Records.   Capitol at the time was the home of crooners like Frank Sinatra and Nat "King" Cole, and other than its small country music division had little connection to the new forms of music that were starting to dominate the culture. Capitol had been founded in the early 1940s by the songwriter Johnny Mercer, who wrote many standards for Sinatra, Bing Crosby, Tony Bennett and others, and also recorded his own material, like this:   [Excerpt: Johnny Mercer, "Ac-Cent-Tchu-Ate the Positive"]   Mercer was a great songwriter, but you can imagine that a record label headed up by Mercer might not have been one that was most attuned to rock and roll. However, in 1955 Capitol had been bought up by the big conglomerate EMI, and things were changing at the label.   Ken Nelson was the head of country music for Capitol Records, and is someone who has a very mixed reputation among lovers of both country music and rockabilly, as someone who had impeccable taste in artists – he also signed Buck Owens and the Louvin Brothers among many other classic country artists – but also as someone who would impose a style on those artists that didn't necessarily suit them.   Nelson didn't really understand rockabilly at all, but he knew that Capitol needed its own equivalent of Elvis Presley. So he put a call out for people to recommend him country singers who could sound a bit like Elvis. On hearing the tape that Tex Davis sent him of Gene Craddock, he decided to call in this kid for a session in Nashville.   By this point, Craddock had formed his own backing band, who became known as the Blue Caps. This consisted of guitarist Cliff Gallup, the oldest of the group and a plumber by trade, drummer Dickie Harrell, a teenager who was enthusiastic but a good decade younger than Gallup, rhythm guitarist Willie Williams, and bass player Jack Neal. They took the name "Blue Caps" from the hats they all wore on stage, which were allegedly inspired by the golf caps that President Eisenhower used to wear while playing golf. Not the most rebellious of inspirations for the group that would, more than any other rock and roll group of the fifties, inspire juvenile delinquency and youthful rebelliousness.   The session was at a studio run by Owen Bradley, who had just recently recorded some early tracks by a singer from Texas named Buddy Holly. The song chosen for the first single was a track called "Woman Love", which everyone was convinced could be a hit. They were convinced, that is, until they heard Gene singing it in the studio, at which point they wondered if perhaps some of what he was singing was not quite as wholesome as they had initially been led to believe:   [Excerpt: Gene Vincent and the Blue Caps, "Woman Love"]   Ken Nelson asked to look at the lyric sheet, and satisfied that Gene *could* have been singing "hugging" rather than what Nelson had worried he had been singing, agreed that the song should go out on the A-side of Gene's first single, which was to be released under the name Gene Vincent – a name Nelson created from Gene's forenames.   It turned out that the lyric sheet didn't completely convince everyone. Most radio stations refused to play “Woman Love” at all, saying that even if the lyrics weren't obscene – and plenty of people were convinced that they were – the record itself still was.   Or, at least, the A-side was.   The B-side, a song called "Be-Bop-A-Lula", was a different matter:   [Excerpt: Gene Vincent and the Blue Caps: "Be-Bop-A-Lula"]   There are three stories about how the song came to have the title "Be-Bop-A-Lula". Donald Graves, a fellow patient in the naval hospital who was widely considered to have co-written the song with Gene, always claimed the song was inspired by the 1920s vaudeville song "Don't Bring Lulu".   [Excerpt: "Don't Bring Lulu", Billy Murray]   As Tex Davis told the story, it was inspired by a Little Lulu comic book Davis showed Vincent, to which Vincent said, "Hey, it's be-bop a lulu!"   Davis is credited as co-writer of the song along with Gene, but it's fairly widely acknowledged that he had no part in the song's writing. Almost every source now says that Davis paid Donald Graves twenty-five dollars for his half of the songwriting rights.   Far more likely is that it was inspired by the Helen Humes song "Be Baba Leba":   [Excerpt: Helen Humes, "Be Baba Leba"]   That song had been rerecorded by Lionel Hampton as "Hey Baba Reba!", which had been a massive R&B hit, and the song is also generally considered one of the inspirations behind the term "be bop" being applied to the style of music.   And that's something we should probably at least talk about briefly here, because it shows how much culture changes, and how fast we lose context for things that seemed obvious at the time. The term "bebop", as it was originally used, was used in the same way we use it now -- for a type of jazz music that originated in New York in the mid-1940s, which prized harmonic complexity, instrumental virtuosity, and individual self-expression. The music made by people like Charlie Parker, Oscar Peterson, Dexter Gordon, Dizzy Gillespie, and so on, and which pretty much defined what was thought of as jazz in the postwar era.   But while that was what the term originally meant, and is what the term means now, it wasn't what the term meant in 1956, at least to most of the people who used the term. Colloquially, bebop meant "that noisy music I don't understand that the young people like, and most of the people making it are black". So it covered bebop itself, but it was also used for rhythm and blues, rock and roll, even rockabilly -- you would often find interviewers talking with Elvis in his early years referring to his music as "Hillbilly Bop" or "a mixture of country music and bebop".   So even though “Be-Bop-A-Lula” had about as much to do with bebop as it did with Stravinsky, the name still fit.   At that initial session, Ken Nelson brought in a few of the top session players in Nashville, but when he heard the Blue Caps play, he was satisfied that they were good enough to play on the records, and sent the session musicians home. In truth, the Blue Caps were probably best described as a mixed-ability group. Some of them were rudimentary musicians at best -- though as we've seen, rockabilly, more than most genres, was comfortable with enthusiastic amateurs anyway.   But Cliff Gallup, the lead guitarist, was quite probably the most technically accomplished guitarist in the world of rockabilly. Gallup's guitar style, which involved fast-picked triplets and the use of multiple steel fingerpicks, was an inspiration for almost every rock and roll guitarist of the 1960s, and any group which had him in would sound at least decent.   During the recording of “Be-Bop-A-Lula”, the young drummer Dickie Harrell decided to let out a giant scream right in the middle of the song -- he later said that this was so that his mother would know he was on the record. Cliff Gallup was not impressed, and wanted to do a second take, but the first take was what was used.   [Excerpt: Gene Vincent, “Be Bop A Lula”, scream section]   "Be-Bop-A-Lula" is by any standards a quite astonishing record. The lyric is, of course, absolute nonsense -- it's a gibberish song with no real lyrical content at all -- but that doesn't matter at all. What matters is the *sound*. What we have here, fundamentally, is the sound of "Heartbreak Hotel" applied to a much, much, less depressive lyric. It still has that strange morbidity that the Elvis track had, but combined with carefree gibberish lyrics in the style of Little Richard. It's the precise midpoint between "Heartbreak Hotel" and "Tutti Frutti", and is probably the record which, more than any other, epitomises 1956.   A lot of people commented on the similarity between Vincent's record and the music of Elvis Presley. There are various stories that went round at the time, including that Scotty and Bill got annoyed at Elvis for recording it without them, that Elvis' mother had told him she liked that new single of his, "Be-Bop-A-Lula", and even that Elvis himself, on hearing it, had been confused and wondered if he'd forgotten recording it. In truth, none of these stories seem likely. The record is, sonically and stylistically, like an Elvis one, but Vincent's voice has none of the same qualities as Elvis'. While Elvis is fully in control at all times, playful and exuberant, Gene Vincent is tense and twitchy. Vincent's voice is thinner than Elvis', and his performance is more mannered than Elvis' singing at that time was.   But none of this stopped Vincent from worrying the one time he did meet Elvis, who came over and asked him if he was the one who'd recorded "Be-Bop-A-Lula". Vincent was apologetic, and explained that he'd not been intending to copy Elvis, the record had just come out like that. But Elvis reassured him that he understood, and that that was just how Gene sang.   What fewer people commented on was the song's similarity to “Money Honey”:   [Excerpt: The Drifters, “Money Honey”]   The two songs have near-identical melodies. The only real difference is that in “Be-Bop-A-Lula” Vincent bookends the song with a slight variation, turning the opening and closing choruses into twelve-bar blueses, rather than the eight-bar blues used in the rest of the song and in “Money Honey”. Luckily for Vincent, at this time the culture in R&B was relaxed enough about borrowings that Jesse Stone seems not to have even considered suing.   The follow-up to "Be-Bop-A-Lula" did much less well. "Race With the Devil" -- not the same song as the one later made famous by Judas Priest -- was one of the all-time great rockabilly records, but the lyrics, about a hot-rod race with the actual Devil, were, like "Woman Love", considered unbroadcastable, and this time there was no massive hit record hidden away on the B-side to salvage things:   [Excerpt: Gene Vincent and the Blue Caps, "Race With The Devil"]   The single after that, "Blue Jean Bop", did a little better, reaching the lower reaches of the top fifty, rather than the lower reaches of the top hundred as "Race With the Devil" had, and making the top twenty in the UK:   [Excerpt: Gene Vincent, "Blue Jean Bop"]   But there were three major problems that were preventing Vincent and the Blue Caps from having the success that it seemed they deserved.   The first was Ken Nelson. He was in charge of the material that the group were recording, and he would suggest songs like "Up a Lazy River", "Ain't She Sweet", and "Those Wedding Bells are Breaking up That Old Gang of Mine". Vincent enjoyed those old standards as much as anyone, but they weren't actually suited to the rockabilly treatment – especially not to the kind of rough and ready performances that the original lineup of the Blue Caps were suited to.   And that brings us to the second problem. There was a huge age gap, as well as disparity in ability, in the band, and Cliff Gallup, in particular, felt that he was too old to be touring in a rock and roll band, and quit the group. Gallup was actually offered a regular gig as a session guitarist by Ken Nelson, which would have meant that he didn't have to travel, but he turned it down and got a job as a high school janitor and maintenance man, just playing the occasional extra gig for pin money. When he was contacted by fans, he would get embarrassed, and he didn't like to talk about his brief time as a rock and roll star. He never signed a single autograph, and when he died in 1989 his widow made sure the obituaries never mentioned his time with Gene Vincent.   But Gallup was just the first to leave. In the first two and a half years of the Blue Caps' existence, twenty different people were members of the band. Vincent could never keep a stable lineup of the band together for more than a few weeks or months at a time.   And the third major problem... that was Vincent himself. Even before his accident, he had been an impetuous, hot-headed man, who didn't think very carefully about the possible consequences of his actions. Now he was in chronic pain from the accident, he was a rock and roll star, and he was drinking heavily to deal with the pain. This is not a combination that makes people less inclined to rash behaviour.   So, for example, he'd started breaking contracts. Vincent and the Blue Caps were booked to play a residency in Las Vegas, where they were making three thousand dollars a week – for 1956 a staggering sum of money. But Tex Davis told Vincent that the owner of the casino wanted him to tone down some aspects of his act, and he didn't like that at all. It wasn't even enough to convince him when it was pointed out that the man doing the asking was big in the Mafia. Instead, Gene went on stage, sang one song, found Tex Davis in the crowd, caught his eye, flipped him off, and walked off stage, leaving the band to do the rest of the show without him. Unsurprisingly, the residency didn't last very long. Equally unsurprisingly, Tex Davis decided he was no longer going to manage Gene Vincent. Legal problems around the fallout from losing his management caused Vincent to be unable to work for several months.   While both "Race With the Devil" and "Blue Jean Bop" were big hits in the UK, the closest they came to having another hit in the USA was a song called "Lotta Lovin'":   [Excerpt: Gene Vincent, "Lotta Lovin'"]   That was written by a songwriter named Bernice Bedwell, who is otherwise unknown -- she wrote a handful of other rockabilly songs, including another song that Vincent would record, but nothing else that was particularly successful, and there seems to be no biographical information about her anywhere. She sold the publishing rights to the song to a Texas oilman, Tom Fleeger, who does seem to have had a fairly colourful life -- he wrote a memoir called "Fidel and the Fleeg", which I sadly haven't read, but in which he claims that Fidel Castro tried to frame him for murder in the 1940s after a dispute over a beautiful woman.   Fleeger was soon to start his own record label, Jan Records, but for now he thought that the song would be suitable for Gene Vincent, and got in touch with him. "Lotta Lovin'" was quickly recorded at Gene's first session at Capitol's new studio at the Capitol Tower in Hollywood.   The B-side was a ballad called "Wear My Ring" by Warren Cassoto, the future Bobby Darin, and Don Kirshner.   [Excerpt: Gene Vincent, "Wear My Ring"]   "Lotta Lovin'" went to number thirteen on the pop charts, and number seven on the R&B charts, and it looked like it would revitalise Gene's career. But it was not to be. Vincent's increasingly erratic behaviour -- including pulling a gun on band members on multiple occasions -- and Capitol and Ken Nelson's lack of understanding of rock and roll music, meant that he quickly became a forgotten figure in the US.   But he had a huge impact on the UK, thanks to a TV producer named Jack Good.   Jack Good was the person who, more than anyone else, had brought rock and roll to British TV. He'd been the producer of Six-Five Special, a BBC TV show that was devoted to rock and roll and skiffle, before moving to ITV, producing its first two rock and roll shows, "Oh Boy", and "Boy Meets Girls". And it was Good who suggested that Vincent switch from his normal polite-looking stagewear into black leather, and that he accentuate the postural problems his disability caused him.   Vincent's appearances on “Boy Meets Girls”, dressed in black leather, hunched over, in pain because of his leg, defined for British teenagers of the 1950s what a rock and roller was meant to look like. At a time when few American rock and roll stars were visiting the UK, and even fewer were getting any exposure on the very small number of TV shows that were actually broadcast -- this was when there were only two TV channels in the UK, and they broadcast for only a few hours -- Gene Vincent being *here*, and on British TV, meant the world. And on a show like Boy Meets Girls, where the rest of the acts were people like Cliff RIchard or Adam Faith, having a mean, moody, leather-clad rock and roller on screen was instantly captivating. For a generation of British rockers, Gene Vincent epitomised American rock and roll.   Until in 1960 he was on a tour of the UK that ended in tragedy. But that's a story for another time...

Episode forty-one of A History of Rock Music in Five Hundred Songs looks at “Be-Bop-A-Lula” by Gene Vincent and the Blue Caps, and how Vincent defined for many what a rock and roll star was. 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 “Smokestack Lightning” by Howlin’ Wolf. —-more—- Resources There are far, far more books on Gene Vincent than one would expect from his short chart history — a testament to how much he influenced a generation. The two that I used most are Race With the Devil by Susan VanHecke, and Gene Vincent and Eddie Cochran: Rock and Roll Revolutionaries by John Collis. Of the two, I’d recommend the latter more. There are many compilations of Gene Vincent’s early rock and roll work. This one contains everything he recorded up until 1962. And as always there’s a Mixcloud with the full versions of all the songs featured in today’s episode. Patreon   This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Ian Dury and the Blockheads, “Sweet Gene Vincent”] So sang Ian Dury, one of the greats of the rock and roll generation that came up in the seventies, a generation that grew up on listening to Gene Vincent. In the USA, Vincent was more or less regarded as a one-hit wonder, though that one hit was one of the most memorable of the 1950s, but in the UK, he was to become one of the biggest influences on everyone who sang or played a guitar.   Gene Vincent was born Vincent Eugene Craddock, and he would have been perfectly happy in his original career as a sailor, until 1955. Then, something happened that changed his life forever. He re-enlisted in the Navy, and got a nine-hundred dollar bonus – a huge sum of money for a sailor in those days – which he used to buy himself a new Triumph racing motorbike.   The bike didn’t last long, and nor did Gene’s Navy career. There are two stories about the accident. The one which he told most often, and which was the official story, was that he was not at fault – a woman driving a Chrysler ran a red light and ran into him, and the only reason he didn’t get compensation was that he signed some papers while he was sedated in hospital.   The other story, which he told at least one friend, was that he’d been out drinking and was late getting back to the Naval base. There was a security barrier at the base, and he tried to ride under the barrier. He’d failed, and the bike had come down hard on his left leg, crushing it.   Whatever the truth, his left leg was smashed up, and looked for a long time like it was going to be amputated, but he refused to allow this. He had it put into a cast for more than a year, after which it was put into a metal brace instead. His leg never really properly healed, and it would leave him in pain for the rest of his life. His leg developed chronic osteomyelitis, he had a permanent open sore on his shin, his leg muscles withered, and his bones would break regularly.   Then in September 1955, finally discharged from the naval hospital, Gene Vincent went to see a country music show. The headliner was Hank Snow, and the Louvin Brothers were also on the bill, but the act that changed Gene’s life was lower down the bill – a young singer named Elvis Presley.   [Excerpt: Elvis Presley, “Mystery Train”]   The story seems to be the same for almost every one of the early rockabilly artists, but this is the first time we’ve seen it happen with someone who didn’t go on to sign with Sun – a young man in the Southern US has been playing his guitar for a while, making music that’s a little bit country, a little bit blues, and then one day he goes to see a show featuring Elvis Presley, and he immediately decides that he wants to do that, that Elvis is doing something that’s like what the young man has already started doing, but he’s proved that you can do it on stage, for people.   It’s as if at every single show Elvis played in 1954 and 1955 there was a future rockabilly star in the audience — and by playing those shows, Elvis permanently defined what we mean when we say “rock and roll star”. The first thing Gene did was to get himself noticed by the radio station that had promoted the show, and in particular by Sheriff Tex Davis, who was actually a DJ from Connecticut whose birth name was William Doucette, but had changed his name to sound more country. Davis was a DJ and show promoter, and he was the one who had promoted the gig that Elvis had appeared at. Gene Craddock came into his office a few days after that show, and told him that he was a singer. Davis listened to him sing a couple of songs, and thought that he would do a decent job as a regular on his Country Showtime radio show.   Soon afterwards, Carl Perkins came to town to do a show with Craddock as the opening act. It would, in fact, be his last show for a while – it was right after this show, as he travelled to get to New York for the TV appearance he was booked on, that he got into the car crash that derailed his career. But Tex Davis asked Carl to watch the opening act and tell him what he thought. Carl watched, and he said that the boy had potential, especially one particular song, “Be-Bop-A-Lula”, which sounded to Carl quite like some of his own stuff.   That was good enough for Tex Davis, who signed Craddock up to a management contract, and who almost immediately recorded some of his performances to send to Ken Nelson at Capitol Records.   Capitol at the time was the home of crooners like Frank Sinatra and Nat “King” Cole, and other than its small country music division had little connection to the new forms of music that were starting to dominate the culture. Capitol had been founded in the early 1940s by the songwriter Johnny Mercer, who wrote many standards for Sinatra, Bing Crosby, Tony Bennett and others, and also recorded his own material, like this:   [Excerpt: Johnny Mercer, “Ac-Cent-Tchu-Ate the Positive”]   Mercer was a great songwriter, but you can imagine that a record label headed up by Mercer might not have been one that was most attuned to rock and roll. However, in 1955 Capitol had been bought up by the big conglomerate EMI, and things were changing at the label.   Ken Nelson was the head of country music for Capitol Records, and is someone who has a very mixed reputation among lovers of both country music and rockabilly, as someone who had impeccable taste in artists – he also signed Buck Owens and the Louvin Brothers among many other classic country artists – but also as someone who would impose a style on those artists that didn’t necessarily suit them.   Nelson didn’t really understand rockabilly at all, but he knew that Capitol needed its own equivalent of Elvis Presley. So he put a call out for people to recommend him country singers who could sound a bit like Elvis. On hearing the tape that Tex Davis sent him of Gene Craddock, he decided to call in this kid for a session in Nashville.   By this point, Craddock had formed his own backing band, who became known as the Blue Caps. This consisted of guitarist Cliff Gallup, the oldest of the group and a plumber by trade, drummer Dickie Harrell, a teenager who was enthusiastic but a good decade younger than Gallup, rhythm guitarist Willie Williams, and bass player Jack Neal. They took the name “Blue Caps” from the hats they all wore on stage, which were allegedly inspired by the golf caps that President Eisenhower used to wear while playing golf. Not the most rebellious of inspirations for the group that would, more than any other rock and roll group of the fifties, inspire juvenile delinquency and youthful rebelliousness.   The session was at a studio run by Owen Bradley, who had just recently recorded some early tracks by a singer from Texas named Buddy Holly. The song chosen for the first single was a track called “Woman Love”, which everyone was convinced could be a hit. They were convinced, that is, until they heard Gene singing it in the studio, at which point they wondered if perhaps some of what he was singing was not quite as wholesome as they had initially been led to believe:   [Excerpt: Gene Vincent and the Blue Caps, “Woman Love”]   Ken Nelson asked to look at the lyric sheet, and satisfied that Gene *could* have been singing “hugging” rather than what Nelson had worried he had been singing, agreed that the song should go out on the A-side of Gene’s first single, which was to be released under the name Gene Vincent – a name Nelson created from Gene’s forenames.   It turned out that the lyric sheet didn’t completely convince everyone. Most radio stations refused to play “Woman Love” at all, saying that even if the lyrics weren’t obscene – and plenty of people were convinced that they were – the record itself still was.   Or, at least, the A-side was.   The B-side, a song called “Be-Bop-A-Lula”, was a different matter:   [Excerpt: Gene Vincent and the Blue Caps: “Be-Bop-A-Lula”]   There are three stories about how the song came to have the title “Be-Bop-A-Lula”. Donald Graves, a fellow patient in the naval hospital who was widely considered to have co-written the song with Gene, always claimed the song was inspired by the 1920s vaudeville song “Don’t Bring Lulu”.   [Excerpt: “Don’t Bring Lulu”, Billy Murray]   As Tex Davis told the story, it was inspired by a Little Lulu comic book Davis showed Vincent, to which Vincent said, “Hey, it’s be-bop a lulu!”   Davis is credited as co-writer of the song along with Gene, but it’s fairly widely acknowledged that he had no part in the song’s writing. Almost every source now says that Davis paid Donald Graves twenty-five dollars for his half of the songwriting rights.   Far more likely is that it was inspired by the Helen Humes song “Be Baba Leba”:   [Excerpt: Helen Humes, “Be Baba Leba”]   That song had been rerecorded by Lionel Hampton as “Hey Baba Reba!”, which had been a massive R&B hit, and the song is also generally considered one of the inspirations behind the term “be bop” being applied to the style of music.   And that’s something we should probably at least talk about briefly here, because it shows how much culture changes, and how fast we lose context for things that seemed obvious at the time. The term “bebop”, as it was originally used, was used in the same way we use it now — for a type of jazz music that originated in New York in the mid-1940s, which prized harmonic complexity, instrumental virtuosity, and individual self-expression. The music made by people like Charlie Parker, Oscar Peterson, Dexter Gordon, Dizzy Gillespie, and so on, and which pretty much defined what was thought of as jazz in the postwar era.   But while that was what the term originally meant, and is what the term means now, it wasn’t what the term meant in 1956, at least to most of the people who used the term. Colloquially, bebop meant “that noisy music I don’t understand that the young people like, and most of the people making it are black”. So it covered bebop itself, but it was also used for rhythm and blues, rock and roll, even rockabilly — you would often find interviewers talking with Elvis in his early years referring to his music as “Hillbilly Bop” or “a mixture of country music and bebop”.   So even though “Be-Bop-A-Lula” had about as much to do with bebop as it did with Stravinsky, the name still fit.   At that initial session, Ken Nelson brought in a few of the top session players in Nashville, but when he heard the Blue Caps play, he was satisfied that they were good enough to play on the records, and sent the session musicians home. In truth, the Blue Caps were probably best described as a mixed-ability group. Some of them were rudimentary musicians at best — though as we’ve seen, rockabilly, more than most genres, was comfortable with enthusiastic amateurs anyway.   But Cliff Gallup, the lead guitarist, was quite probably the most technically accomplished guitarist in the world of rockabilly. Gallup’s guitar style, which involved fast-picked triplets and the use of multiple steel fingerpicks, was an inspiration for almost every rock and roll guitarist of the 1960s, and any group which had him in would sound at least decent.   During the recording of “Be-Bop-A-Lula”, the young drummer Dickie Harrell decided to let out a giant scream right in the middle of the song — he later said that this was so that his mother would know he was on the record. Cliff Gallup was not impressed, and wanted to do a second take, but the first take was what was used.   [Excerpt: Gene Vincent, “Be Bop A Lula”, scream section]   “Be-Bop-A-Lula” is by any standards a quite astonishing record. The lyric is, of course, absolute nonsense — it’s a gibberish song with no real lyrical content at all — but that doesn’t matter at all. What matters is the *sound*. What we have here, fundamentally, is the sound of “Heartbreak Hotel” applied to a much, much, less depressive lyric. It still has that strange morbidity that the Elvis track had, but combined with carefree gibberish lyrics in the style of Little Richard. It’s the precise midpoint between “Heartbreak Hotel” and “Tutti Frutti”, and is probably the record which, more than any other, epitomises 1956.   A lot of people commented on the similarity between Vincent’s record and the music of Elvis Presley. There are various stories that went round at the time, including that Scotty and Bill got annoyed at Elvis for recording it without them, that Elvis’ mother had told him she liked that new single of his, “Be-Bop-A-Lula”, and even that Elvis himself, on hearing it, had been confused and wondered if he’d forgotten recording it. In truth, none of these stories seem likely. The record is, sonically and stylistically, like an Elvis one, but Vincent’s voice has none of the same qualities as Elvis’. While Elvis is fully in control at all times, playful and exuberant, Gene Vincent is tense and twitchy. Vincent’s voice is thinner than Elvis’, and his performance is more mannered than Elvis’ singing at that time was.   But none of this stopped Vincent from worrying the one time he did meet Elvis, who came over and asked him if he was the one who’d recorded “Be-Bop-A-Lula”. Vincent was apologetic, and explained that he’d not been intending to copy Elvis, the record had just come out like that. But Elvis reassured him that he understood, and that that was just how Gene sang.   What fewer people commented on was the song’s similarity to “Money Honey”:   [Excerpt: The Drifters, “Money Honey”]   The two songs have near-identical melodies. The only real difference is that in “Be-Bop-A-Lula” Vincent bookends the song with a slight variation, turning the opening and closing choruses into twelve-bar blueses, rather than the eight-bar blues used in the rest of the song and in “Money Honey”. Luckily for Vincent, at this time the culture in R&B was relaxed enough about borrowings that Jesse Stone seems not to have even considered suing.   The follow-up to “Be-Bop-A-Lula” did much less well. “Race With the Devil” — not the same song as the one later made famous by Judas Priest — was one of the all-time great rockabilly records, but the lyrics, about a hot-rod race with the actual Devil, were, like “Woman Love”, considered unbroadcastable, and this time there was no massive hit record hidden away on the B-side to salvage things:   [Excerpt: Gene Vincent and the Blue Caps, “Race With The Devil”]   The single after that, “Blue Jean Bop”, did a little better, reaching the lower reaches of the top fifty, rather than the lower reaches of the top hundred as “Race With the Devil” had, and making the top twenty in the UK:   [Excerpt: Gene Vincent, “Blue Jean Bop”]   But there were three major problems that were preventing Vincent and the Blue Caps from having the success that it seemed they deserved.   The first was Ken Nelson. He was in charge of the material that the group were recording, and he would suggest songs like “Up a Lazy River”, “Ain’t She Sweet”, and “Those Wedding Bells are Breaking up That Old Gang of Mine”. Vincent enjoyed those old standards as much as anyone, but they weren’t actually suited to the rockabilly treatment – especially not to the kind of rough and ready performances that the original lineup of the Blue Caps were suited to.   And that brings us to the second problem. There was a huge age gap, as well as disparity in ability, in the band, and Cliff Gallup, in particular, felt that he was too old to be touring in a rock and roll band, and quit the group. Gallup was actually offered a regular gig as a session guitarist by Ken Nelson, which would have meant that he didn’t have to travel, but he turned it down and got a job as a high school janitor and maintenance man, just playing the occasional extra gig for pin money. When he was contacted by fans, he would get embarrassed, and he didn’t like to talk about his brief time as a rock and roll star. He never signed a single autograph, and when he died in 1989 his widow made sure the obituaries never mentioned his time with Gene Vincent.   But Gallup was just the first to leave. In the first two and a half years of the Blue Caps’ existence, twenty different people were members of the band. Vincent could never keep a stable lineup of the band together for more than a few weeks or months at a time.   And the third major problem… that was Vincent himself. Even before his accident, he had been an impetuous, hot-headed man, who didn’t think very carefully about the possible consequences of his actions. Now he was in chronic pain from the accident, he was a rock and roll star, and he was drinking heavily to deal with the pain. This is not a combination that makes people less inclined to rash behaviour.   So, for example, he’d started breaking contracts. Vincent and the Blue Caps were booked to play a residency in Las Vegas, where they were making three thousand dollars a week – for 1956 a staggering sum of money. But Tex Davis told Vincent that the owner of the casino wanted him to tone down some aspects of his act, and he didn’t like that at all. It wasn’t even enough to convince him when it was pointed out that the man doing the asking was big in the Mafia. Instead, Gene went on stage, sang one song, found Tex Davis in the crowd, caught his eye, flipped him off, and walked off stage, leaving the band to do the rest of the show without him. Unsurprisingly, the residency didn’t last very long. Equally unsurprisingly, Tex Davis decided he was no longer going to manage Gene Vincent. Legal problems around the fallout from losing his management caused Vincent to be unable to work for several months.   While both “Race With the Devil” and “Blue Jean Bop” were big hits in the UK, the closest they came to having another hit in the USA was a song called “Lotta Lovin'”:   [Excerpt: Gene Vincent, “Lotta Lovin'”]   That was written by a songwriter named Bernice Bedwell, who is otherwise unknown — she wrote a handful of other rockabilly songs, including another song that Vincent would record, but nothing else that was particularly successful, and there seems to be no biographical information about her anywhere. She sold the publishing rights to the song to a Texas oilman, Tom Fleeger, who does seem to have had a fairly colourful life — he wrote a memoir called “Fidel and the Fleeg”, which I sadly haven’t read, but in which he claims that Fidel Castro tried to frame him for murder in the 1940s after a dispute over a beautiful woman.   Fleeger was soon to start his own record label, Jan Records, but for now he thought that the song would be suitable for Gene Vincent, and got in touch with him. “Lotta Lovin'” was quickly recorded at Gene’s first session at Capitol’s new studio at the Capitol Tower in Hollywood.   The B-side was a ballad called “Wear My Ring” by Warren Cassoto, the future Bobby Darin, and Don Kirshner.   [Excerpt: Gene Vincent, “Wear My Ring”]   “Lotta Lovin'” went to number thirteen on the pop charts, and number seven on the R&B charts, and it looked like it would revitalise Gene’s career. But it was not to be. Vincent’s increasingly erratic behaviour — including pulling a gun on band members on multiple occasions — and Capitol and Ken Nelson’s lack of understanding of rock and roll music, meant that he quickly became a forgotten figure in the US.   But he had a huge impact on the UK, thanks to a TV producer named Jack Good.   Jack Good was the person who, more than anyone else, had brought rock and roll to British TV. He’d been the producer of Six-Five Special, a BBC TV show that was devoted to rock and roll and skiffle, before moving to ITV, producing its first two rock and roll shows, “Oh Boy”, and “Boy Meets Girls”. And it was Good who suggested that Vincent switch from his normal polite-looking stagewear into black leather, and that he accentuate the postural problems his disability caused him.   Vincent’s appearances on “Boy Meets Girls”, dressed in black leather, hunched over, in pain because of his leg, defined for British teenagers of the 1950s what a rock and roller was meant to look like. At a time when few American rock and roll stars were visiting the UK, and even fewer were getting any exposure on the very small number of TV shows that were actually broadcast — this was when there were only two TV channels in the UK, and they broadcast for only a few hours — Gene Vincent being *here*, and on British TV, meant the world. And on a show like Boy Meets Girls, where the rest of the acts were people like Cliff RIchard or Adam Faith, having a mean, moody, leather-clad rock and roller on screen was instantly captivating. For a generation of British rockers, Gene Vincent epitomised American rock and roll.   Until in 1960 he was on a tour of the UK that ended in tragedy. But that’s a story for another time…

Episode forty-one of A History of Rock Music in Five Hundred Songs looks at “Be-Bop-A-Lula” by Gene Vincent and the Blue Caps, and how Vincent defined for many what a rock and roll star was. 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 “Smokestack Lightning” by Howlin’ Wolf. —-more—- Resources There are far, far more books on Gene Vincent than one would expect from his short chart history — a testament to how much he influenced a generation. The two that I used most are Race With the Devil by Susan VanHecke, and Gene Vincent and Eddie Cochran: Rock and Roll Revolutionaries by John Collis. Of the two, I’d recommend the latter more. There are many compilations of Gene Vincent’s early rock and roll work. This one contains everything he recorded up until 1962. And as always there’s a Mixcloud with the full versions of all the songs featured in today’s episode. Patreon   This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Ian Dury and the Blockheads, “Sweet Gene Vincent”] So sang Ian Dury, one of the greats of the rock and roll generation that came up in the seventies, a generation that grew up on listening to Gene Vincent. In the USA, Vincent was more or less regarded as a one-hit wonder, though that one hit was one of the most memorable of the 1950s, but in the UK, he was to become one of the biggest influences on everyone who sang or played a guitar.   Gene Vincent was born Vincent Eugene Craddock, and he would have been perfectly happy in his original career as a sailor, until 1955. Then, something happened that changed his life forever. He re-enlisted in the Navy, and got a nine-hundred dollar bonus – a huge sum of money for a sailor in those days – which he used to buy himself a new Triumph racing motorbike.   The bike didn’t last long, and nor did Gene’s Navy career. There are two stories about the accident. The one which he told most often, and which was the official story, was that he was not at fault – a woman driving a Chrysler ran a red light and ran into him, and the only reason he didn’t get compensation was that he signed some papers while he was sedated in hospital.   The other story, which he told at least one friend, was that he’d been out drinking and was late getting back to the Naval base. There was a security barrier at the base, and he tried to ride under the barrier. He’d failed, and the bike had come down hard on his left leg, crushing it.   Whatever the truth, his left leg was smashed up, and looked for a long time like it was going to be amputated, but he refused to allow this. He had it put into a cast for more than a year, after which it was put into a metal brace instead. His leg never really properly healed, and it would leave him in pain for the rest of his life. His leg developed chronic osteomyelitis, he had a permanent open sore on his shin, his leg muscles withered, and his bones would break regularly.   Then in September 1955, finally discharged from the naval hospital, Gene Vincent went to see a country music show. The headliner was Hank Snow, and the Louvin Brothers were also on the bill, but the act that changed Gene’s life was lower down the bill – a young singer named Elvis Presley.   [Excerpt: Elvis Presley, “Mystery Train”]   The story seems to be the same for almost every one of the early rockabilly artists, but this is the first time we’ve seen it happen with someone who didn’t go on to sign with Sun – a young man in the Southern US has been playing his guitar for a while, making music that’s a little bit country, a little bit blues, and then one day he goes to see a show featuring Elvis Presley, and he immediately decides that he wants to do that, that Elvis is doing something that’s like what the young man has already started doing, but he’s proved that you can do it on stage, for people.   It’s as if at every single show Elvis played in 1954 and 1955 there was a future rockabilly star in the audience — and by playing those shows, Elvis permanently defined what we mean when we say “rock and roll star”. The first thing Gene did was to get himself noticed by the radio station that had promoted the show, and in particular by Sheriff Tex Davis, who was actually a DJ from Connecticut whose birth name was William Doucette, but had changed his name to sound more country. Davis was a DJ and show promoter, and he was the one who had promoted the gig that Elvis had appeared at. Gene Craddock came into his office a few days after that show, and told him that he was a singer. Davis listened to him sing a couple of songs, and thought that he would do a decent job as a regular on his Country Showtime radio show.   Soon afterwards, Carl Perkins came to town to do a show with Craddock as the opening act. It would, in fact, be his last show for a while – it was right after this show, as he travelled to get to New York for the TV appearance he was booked on, that he got into the car crash that derailed his career. But Tex Davis asked Carl to watch the opening act and tell him what he thought. Carl watched, and he said that the boy had potential, especially one particular song, “Be-Bop-A-Lula”, which sounded to Carl quite like some of his own stuff.   That was good enough for Tex Davis, who signed Craddock up to a management contract, and who almost immediately recorded some of his performances to send to Ken Nelson at Capitol Records.   Capitol at the time was the home of crooners like Frank Sinatra and Nat “King” Cole, and other than its small country music division had little connection to the new forms of music that were starting to dominate the culture. Capitol had been founded in the early 1940s by the songwriter Johnny Mercer, who wrote many standards for Sinatra, Bing Crosby, Tony Bennett and others, and also recorded his own material, like this:   [Excerpt: Johnny Mercer, “Ac-Cent-Tchu-Ate the Positive”]   Mercer was a great songwriter, but you can imagine that a record label headed up by Mercer might not have been one that was most attuned to rock and roll. However, in 1955 Capitol had been bought up by the big conglomerate EMI, and things were changing at the label.   Ken Nelson was the head of country music for Capitol Records, and is someone who has a very mixed reputation among lovers of both country music and rockabilly, as someone who had impeccable taste in artists – he also signed Buck Owens and the Louvin Brothers among many other classic country artists – but also as someone who would impose a style on those artists that didn’t necessarily suit them.   Nelson didn’t really understand rockabilly at all, but he knew that Capitol needed its own equivalent of Elvis Presley. So he put a call out for people to recommend him country singers who could sound a bit like Elvis. On hearing the tape that Tex Davis sent him of Gene Craddock, he decided to call in this kid for a session in Nashville.   By this point, Craddock had formed his own backing band, who became known as the Blue Caps. This consisted of guitarist Cliff Gallup, the oldest of the group and a plumber by trade, drummer Dickie Harrell, a teenager who was enthusiastic but a good decade younger than Gallup, rhythm guitarist Willie Williams, and bass player Jack Neal. They took the name “Blue Caps” from the hats they all wore on stage, which were allegedly inspired by the golf caps that President Eisenhower used to wear while playing golf. Not the most rebellious of inspirations for the group that would, more than any other rock and roll group of the fifties, inspire juvenile delinquency and youthful rebelliousness.   The session was at a studio run by Owen Bradley, who had just recently recorded some early tracks by a singer from Texas named Buddy Holly. The song chosen for the first single was a track called “Woman Love”, which everyone was convinced could be a hit. They were convinced, that is, until they heard Gene singing it in the studio, at which point they wondered if perhaps some of what he was singing was not quite as wholesome as they had initially been led to believe:   [Excerpt: Gene Vincent and the Blue Caps, “Woman Love”]   Ken Nelson asked to look at the lyric sheet, and satisfied that Gene *could* have been singing “hugging” rather than what Nelson had worried he had been singing, agreed that the song should go out on the A-side of Gene’s first single, which was to be released under the name Gene Vincent – a name Nelson created from Gene’s forenames.   It turned out that the lyric sheet didn’t completely convince everyone. Most radio stations refused to play “Woman Love” at all, saying that even if the lyrics weren’t obscene – and plenty of people were convinced that they were – the record itself still was.   Or, at least, the A-side was.   The B-side, a song called “Be-Bop-A-Lula”, was a different matter:   [Excerpt: Gene Vincent and the Blue Caps: “Be-Bop-A-Lula”]   There are three stories about how the song came to have the title “Be-Bop-A-Lula”. Donald Graves, a fellow patient in the naval hospital who was widely considered to have co-written the song with Gene, always claimed the song was inspired by the 1920s vaudeville song “Don’t Bring Lulu”.   [Excerpt: “Don’t Bring Lulu”, Billy Murray]   As Tex Davis told the story, it was inspired by a Little Lulu comic book Davis showed Vincent, to which Vincent said, “Hey, it’s be-bop a lulu!”   Davis is credited as co-writer of the song along with Gene, but it’s fairly widely acknowledged that he had no part in the song’s writing. Almost every source now says that Davis paid Donald Graves twenty-five dollars for his half of the songwriting rights.   Far more likely is that it was inspired by the Helen Humes song “Be Baba Leba”:   [Excerpt: Helen Humes, “Be Baba Leba”]   That song had been rerecorded by Lionel Hampton as “Hey Baba Reba!”, which had been a massive R&B hit, and the song is also generally considered one of the inspirations behind the term “be bop” being applied to the style of music.   And that’s something we should probably at least talk about briefly here, because it shows how much culture changes, and how fast we lose context for things that seemed obvious at the time. The term “bebop”, as it was originally used, was used in the same way we use it now — for a type of jazz music that originated in New York in the mid-1940s, which prized harmonic complexity, instrumental virtuosity, and individual self-expression. The music made by people like Charlie Parker, Oscar Peterson, Dexter Gordon, Dizzy Gillespie, and so on, and which pretty much defined what was thought of as jazz in the postwar era.   But while that was what the term originally meant, and is what the term means now, it wasn’t what the term meant in 1956, at least to most of the people who used the term. Colloquially, bebop meant “that noisy music I don’t understand that the young people like, and most of the people making it are black”. So it covered bebop itself, but it was also used for rhythm and blues, rock and roll, even rockabilly — you would often find interviewers talking with Elvis in his early years referring to his music as “Hillbilly Bop” or “a mixture of country music and bebop”.   So even though “Be-Bop-A-Lula” had about as much to do with bebop as it did with Stravinsky, the name still fit.   At that initial session, Ken Nelson brought in a few of the top session players in Nashville, but when he heard the Blue Caps play, he was satisfied that they were good enough to play on the records, and sent the session musicians home. In truth, the Blue Caps were probably best described as a mixed-ability group. Some of them were rudimentary musicians at best — though as we’ve seen, rockabilly, more than most genres, was comfortable with enthusiastic amateurs anyway.   But Cliff Gallup, the lead guitarist, was quite probably the most technically accomplished guitarist in the world of rockabilly. Gallup’s guitar style, which involved fast-picked triplets and the use of multiple steel fingerpicks, was an inspiration for almost every rock and roll guitarist of the 1960s, and any group which had him in would sound at least decent.   During the recording of “Be-Bop-A-Lula”, the young drummer Dickie Harrell decided to let out a giant scream right in the middle of the song — he later said that this was so that his mother would know he was on the record. Cliff Gallup was not impressed, and wanted to do a second take, but the first take was what was used.   [Excerpt: Gene Vincent, “Be Bop A Lula”, scream section]   “Be-Bop-A-Lula” is by any standards a quite astonishing record. The lyric is, of course, absolute nonsense — it’s a gibberish song with no real lyrical content at all — but that doesn’t matter at all. What matters is the *sound*. What we have here, fundamentally, is the sound of “Heartbreak Hotel” applied to a much, much, less depressive lyric. It still has that strange morbidity that the Elvis track had, but combined with carefree gibberish lyrics in the style of Little Richard. It’s the precise midpoint between “Heartbreak Hotel” and “Tutti Frutti”, and is probably the record which, more than any other, epitomises 1956.   A lot of people commented on the similarity between Vincent’s record and the music of Elvis Presley. There are various stories that went round at the time, including that Scotty and Bill got annoyed at Elvis for recording it without them, that Elvis’ mother had told him she liked that new single of his, “Be-Bop-A-Lula”, and even that Elvis himself, on hearing it, had been confused and wondered if he’d forgotten recording it. In truth, none of these stories seem likely. The record is, sonically and stylistically, like an Elvis one, but Vincent’s voice has none of the same qualities as Elvis’. While Elvis is fully in control at all times, playful and exuberant, Gene Vincent is tense and twitchy. Vincent’s voice is thinner than Elvis’, and his performance is more mannered than Elvis’ singing at that time was.   But none of this stopped Vincent from worrying the one time he did meet Elvis, who came over and asked him if he was the one who’d recorded “Be-Bop-A-Lula”. Vincent was apologetic, and explained that he’d not been intending to copy Elvis, the record had just come out like that. But Elvis reassured him that he understood, and that that was just how Gene sang.   What fewer people commented on was the song’s similarity to “Money Honey”:   [Excerpt: The Drifters, “Money Honey”]   The two songs have near-identical melodies. The only real difference is that in “Be-Bop-A-Lula” Vincent bookends the song with a slight variation, turning the opening and closing choruses into twelve-bar blueses, rather than the eight-bar blues used in the rest of the song and in “Money Honey”. Luckily for Vincent, at this time the culture in R&B was relaxed enough about borrowings that Jesse Stone seems not to have even considered suing.   The follow-up to “Be-Bop-A-Lula” did much less well. “Race With the Devil” — not the same song as the one later made famous by Judas Priest — was one of the all-time great rockabilly records, but the lyrics, about a hot-rod race with the actual Devil, were, like “Woman Love”, considered unbroadcastable, and this time there was no massive hit record hidden away on the B-side to salvage things:   [Excerpt: Gene Vincent and the Blue Caps, “Race With The Devil”]   The single after that, “Blue Jean Bop”, did a little better, reaching the lower reaches of the top fifty, rather than the lower reaches of the top hundred as “Race With the Devil” had, and making the top twenty in the UK:   [Excerpt: Gene Vincent, “Blue Jean Bop”]   But there were three major problems that were preventing Vincent and the Blue Caps from having the success that it seemed they deserved.   The first was Ken Nelson. He was in charge of the material that the group were recording, and he would suggest songs like “Up a Lazy River”, “Ain’t She Sweet”, and “Those Wedding Bells are Breaking up That Old Gang of Mine”. Vincent enjoyed those old standards as much as anyone, but they weren’t actually suited to the rockabilly treatment – especially not to the kind of rough and ready performances that the original lineup of the Blue Caps were suited to.   And that brings us to the second problem. There was a huge age gap, as well as disparity in ability, in the band, and Cliff Gallup, in particular, felt that he was too old to be touring in a rock and roll band, and quit the group. Gallup was actually offered a regular gig as a session guitarist by Ken Nelson, which would have meant that he didn’t have to travel, but he turned it down and got a job as a high school janitor and maintenance man, just playing the occasional extra gig for pin money. When he was contacted by fans, he would get embarrassed, and he didn’t like to talk about his brief time as a rock and roll star. He never signed a single autograph, and when he died in 1989 his widow made sure the obituaries never mentioned his time with Gene Vincent.   But Gallup was just the first to leave. In the first two and a half years of the Blue Caps’ existence, twenty different people were members of the band. Vincent could never keep a stable lineup of the band together for more than a few weeks or months at a time.   And the third major problem… that was Vincent himself. Even before his accident, he had been an impetuous, hot-headed man, who didn’t think very carefully about the possible consequences of his actions. Now he was in chronic pain from the accident, he was a rock and roll star, and he was drinking heavily to deal with the pain. This is not a combination that makes people less inclined to rash behaviour.   So, for example, he’d started breaking contracts. Vincent and the Blue Caps were booked to play a residency in Las Vegas, where they were making three thousand dollars a week – for 1956 a staggering sum of money. But Tex Davis told Vincent that the owner of the casino wanted him to tone down some aspects of his act, and he didn’t like that at all. It wasn’t even enough to convince him when it was pointed out that the man doing the asking was big in the Mafia. Instead, Gene went on stage, sang one song, found Tex Davis in the crowd, caught his eye, flipped him off, and walked off stage, leaving the band to do the rest of the show without him. Unsurprisingly, the residency didn’t last very long. Equally unsurprisingly, Tex Davis decided he was no longer going to manage Gene Vincent. Legal problems around the fallout from losing his management caused Vincent to be unable to work for several months.   While both “Race With the Devil” and “Blue Jean Bop” were big hits in the UK, the closest they came to having another hit in the USA was a song called “Lotta Lovin'”:   [Excerpt: Gene Vincent, “Lotta Lovin'”]   That was written by a songwriter named Bernice Bedwell, who is otherwise unknown — she wrote a handful of other rockabilly songs, including another song that Vincent would record, but nothing else that was particularly successful, and there seems to be no biographical information about her anywhere. She sold the publishing rights to the song to a Texas oilman, Tom Fleeger, who does seem to have had a fairly colourful life — he wrote a memoir called “Fidel and the Fleeg”, which I sadly haven’t read, but in which he claims that Fidel Castro tried to frame him for murder in the 1940s after a dispute over a beautiful woman.   Fleeger was soon to start his own record label, Jan Records, but for now he thought that the song would be suitable for Gene Vincent, and got in touch with him. “Lotta Lovin'” was quickly recorded at Gene’s first session at Capitol’s new studio at the Capitol Tower in Hollywood.   The B-side was a ballad called “Wear My Ring” by Warren Cassoto, the future Bobby Darin, and Don Kirshner.   [Excerpt: Gene Vincent, “Wear My Ring”]   “Lotta Lovin'” went to number thirteen on the pop charts, and number seven on the R&B charts, and it looked like it would revitalise Gene’s career. But it was not to be. Vincent’s increasingly erratic behaviour — including pulling a gun on band members on multiple occasions — and Capitol and Ken Nelson’s lack of understanding of rock and roll music, meant that he quickly became a forgotten figure in the US.   But he had a huge impact on the UK, thanks to a TV producer named Jack Good.   Jack Good was the person who, more than anyone else, had brought rock and roll to British TV. He’d been the producer of Six-Five Special, a BBC TV show that was devoted to rock and roll and skiffle, before moving to ITV, producing its first two rock and roll shows, “Oh Boy”, and “Boy Meets Girls”. And it was Good who suggested that Vincent switch from his normal polite-looking stagewear into black leather, and that he accentuate the postural problems his disability caused him.   Vincent’s appearances on “Boy Meets Girls”, dressed in black leather, hunched over, in pain because of his leg, defined for British teenagers of the 1950s what a rock and roller was meant to look like. At a time when few American rock and roll stars were visiting the UK, and even fewer were getting any exposure on the very small number of TV shows that were actually broadcast — this was when there were only two TV channels in the UK, and they broadcast for only a few hours — Gene Vincent being *here*, and on British TV, meant the world. And on a show like Boy Meets Girls, where the rest of the acts were people like Cliff RIchard or Adam Faith, having a mean, moody, leather-clad rock and roller on screen was instantly captivating. For a generation of British rockers, Gene Vincent epitomised American rock and roll.   Until in 1960 he was on a tour of the UK that ended in tragedy. But that’s a story for another time…

my guest this episode is devon from the heavyweight chumps podcast. be sure to check out their show music dr hook and the medicine show- millionaire t pain- bangbang pow pow use promo code poboys for 10% off at biobidet.com and clean your bootyhole like a gentleperson. NSFW Podcast Network

This week's Deadpod features a fine second set from the band's show in Oakland California on December 4, 1990. They open with a nice 'Eyes of the World' - Bruce's piano here really shines. 'Saint of Circumstance' follows then a strong Jerry vocal performance on 'Ship of Fools'. 'Truckin' is where things really get going though with a great Jerry jam especially into the 'Smokestack Lightning' which has some nice interplay between Jerry, Vince and Bruce. The band doesn't slow down, post-drums, with a strong 'Other One' (sans the Phil bombs) and a good Wharf Rat. Lovelight closes the set, but Jerry returns for a sweet 'Baby Blue' encore.     Grateful Dead Oakland-Alameda County Coliseum Arena Oakland, CA 12/4/90 - Tuesday Two  [1:47:57]   Eyes Of The World [13:02] > Saint Of Circumstance [7:16] Ship Of Fools [7:31] ; Truckin [8:55] > Smokestack Lightning [6:00] > Drums [15:10] > Space [11:13] > The Other One [10:56] > Wharf Rat [10:10] > Turn On Your Love Light [6:55] Encore It's All Over Now, Baby Blue [6:35]   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod121418.mp3   Special thanks to those of you who have kindly made year-end contributions to the Deadpod. Thanks to everyone who  helps us continue to roll.  

Deux franchises à aborder dans un même Debrief mensuel, c'est le pari fou que s'est lancé 24FPS, le podcast ciné avec ou sans spoiler, en ce mois d'octobre 2018 !Voici les films abordés sans spoiler par Jérôme et Julien :Les Frères Sisters de Jacques Audiard (à partir de 0:03:36)The House That Built de Lars von Trier (à partir de 0:18:11)Aucun Homme Ni Dieu (Hold The Dark) de Jeremy Saulnier (à partir de 0:38:08)Upgrade de Leigh Whannell (à partir de 1:04:15)Un 22 Juillet de Paul Greengrass (à partir de 1:16:35)Operation Finale de Chris Weitz (à partir de 1:30:55)Le Bon Apôtre (Apostle) de Gareth Evans (à partir de 1:49:53)Venom de Ruben Fleischer (à partir de 2:09:42)The Predator de Shane Black (à partir de 3:06:19)Puis, après le signal sonore, ils reviennent sur les scènes post-générique de Venom à partir de 4:28:39 et sur les nombreux changements apportés à The Predator à partir de 4:32:26 d'émission.Bonne écoute, et n'hésitez pas à nous dire ce que vous pensez de Red Dead Redemption 2 !Crédits musicaux : Smokestack Lightning de Howlin' Wolf (1956), et Get To The Choppa de Austrian Death Machine, issu de l'album Total Brutal (2008)

Hi, I am Mijaelle and in this Heart-Beats interview series we chat to Adrian ( Smokestack Lightning ) Ziller, who I had the joy of meeting at a medieval fayre of all places lol! He is a musician, operatically trained singer (having done opera for many years), producer, solo artist (was signed to Sony) as well as band member (After Elizabeth). He has a passion for folk, rock and blues as well as having released numerous world albums. Most of all he is charismatic and a great storyteller who has loads of advice and funny tales to share! Topics discussed in Part 4: 1. Funny gigging story 2. Memorable musical moments 3. Acoustic Rhythm Machine - touring with a band and becoming like family 4. Focusing on writing your own material versus singing cover versions 5. Havig a steady gig - Adrian plays at TJ's regularly 6. Adrian's Heart-Beats Message www.facebook.com/adriansmokestacklightningziller Connect via www.facebook.com/HeartBeatsSA www.facebook.com/MusicalMuseDevelopment Or via twitter - @HeartBeatsSA soundcloud.com/heartbeatssa iTunes - Heart-Beats SA Music Industry podcast Visit www.musicalmuse.co.za www.instagram.com/mijaelle

Hi, I am Mijaelle and in this Heart-Beats interview series www.youtube.com/HeartBeatsSA we chat to Adrian ( Smokestack Lightning ) Ziller, who I had the joy of meeting at a medieval fayre of all places lol! He is a musician, operatically trained singer (having done opera for many years), producer, solo artist (was signed to Sony) as well as band member (After Elizabeth). He has a passion for folk, rock and blues as well as having released numerous world albums. Most of all he is charismatic and a great storyteller who has loads of advice and funny tales to share! Topics discussed in Part 3: 1. Performance of 'Just For a Week' and how Adrian Ziller wrote it 2. The process of songwriting 3. Writing his world album - The Skylarks Requiem and the song Everything That Can't Be Sold 4. Adrian's Book Book - in which he writes his music 5. Greatest advice he was given 6. What Adrian appreciates about his musical journey and the ability to say no www.facebook.com/adriansmokestacklightningziller Connect via www.facebook.com/HeartBeatsSA www.facebook.com/MusicalMuseDevelopment Or via twitter - @HeartBeatsSA soundcloud.com/heartbeatssa iTunes - Heart-Beats SA Music Industry podcast Visit www.musicalmuse.co.za www.instagram.com/mijaelle

Hi, I am Mijaelle and in this Heart-Beats interview series we chat to Adrian ( Smokestack Lightning ) Ziller, who I had the joy of meeting at a medieval fayre of all places lol! He is a musician, operatically trained singer (having done opera for many years), producer, solo artist (was signed to Sony) as well as band member (After Elizabeth). He has a passion for folk, rock and blues as well as having released numerous world albums. Most of all he is charismatic and a great storyteller who has loads of advice and funny tales to share! Topics discussed in Part 2: 1. What Adrian would change about the music industry in order to improve it 2. The power an audience has in the music industry 3. Curation in the music business (where to see/hear great music) 4. Travelling to Cambodia and Bangkok to buy unusual and/or world instruments. Adding to your musical collection 5. Composing world music and commercial music - being inspired and challenged musically 6. A performance of a song he wrote when he was about to break up with someone www.facebook.com/adriansmokestacklightningziller Connect via www.facebook.com/HeartBeatsSA www.facebook.com/MusicalMuseDevelopment Or via twitter - @HeartBeatsSA soundcloud.com/heartbeatssa iTunes - Heart-Beats SA Music Industry podcast Visit www.musicalmuse.co.za www.instagram.com/mijaelle

Hi, I am Mijaelle and in this Heart-Beats interview series we chat to Adrian ( Smokestack Lightning ) Ziller, who I had the joy of meeting at a medieval fayre of all places lol! He is a musician, operatically trained singer (having done opera for many years), producer, solo artist (was signed to Sony) as well as band member (After Elizabeth). He has a passion for folk, rock and blues as well as having released numerous world albums. Most of all he is charismatic and a great storyteller who has loads of advice and funny tales to share! Topics discussed in Part 1: 1. When Adrian started having fun with music and bought his first instrument 2. His first band (youth to rock band) 3. His journey of learning to sing and appreciating his unique voice 4. Doing a tour like the Janis Joplin Festival Express - perhaps the Trans-karoo 5. Being signed to Sony Music - Highs and Lows of the music industry and lessons learnt 6. Writing a great song and being able to work consistently in the music industry www.facebook.com/adriansmokestacklightningziller Connect via www.facebook.com/HeartBeatsSA www.facebook.com/MusicalMuseDevelopment Or via twitter - @HeartBeatsSA soundcloud.com/heartbeatssa iTunes - Heart-Beats SA Music Industry podcast Visit www.musicalmuse.co.za www.instagram.com/mijaelle

Episode 036 - May 2016 Set 1Cold Rain and Snow (1971-02-21)Greatest Story Ever Told -> Johnny B. Goode (1971-02-18)Smokestack Lightning (1971-02-19)Hard To Handle[1] (1971-02-24)Bertha (1971-02-24)Loser (1971-02-23)Next Time You See Me[1] (1971-02-23)Cumberland Blues (1971-02-24)Candyman (1971-02-18)Easy Wind[1] (1971-02-19)I'm A King Bee (0197-02-21)Dark Star -> Wharf Rat -> Dark Star -> Me and My Uncle (1971-02-18)Truckin' -> Not Fade Away -> Goin' Down The Road Feelin' Bad -> Not Fade Away -> Turn On Your Love Light (1971-02-24)Morning Dew (1971-02-23)[1] Dead Fantasy Debut

Episode 027 - January 2016 Set 1Cold Rain and Snow (1976-12-26)One More Saturday Night -> Jack Straw (1991-12-28)Promised Land (1978-12-30)Dupree's Diamond Blues (1985-12-31)Big Boss Man[1] (1989-12-31)When Push Comes To Shove[1] (1986-12-27)Mama Tried[1] (1976-12-31)Mexicali Blues[1] (1972-12-31)Me & My Uncle -> Big River (1978-12-31)Foolish Heart -> Man Smart (Woman Smarter) (1991-12-28)Casey Jones (1972-12-31)Smokestack Lightning[1] (1970-12-28)Big Railroad Blues[1] (1984-12-29)Alabama Getaway-> Greatest Story Ever Told (1979-12-28)Throwing Stones-> One More Saturday Night (1991-12-28)[1] Dead Fantasy Debut

An interview with Israel Campos, award-winning pitmaster and owner of Pody's BBQ. Recorded in June 2015. > Transcript > MARFA MONDAYS PODCASTING PROJECT > World Waiting for a Dream: A Turn in Far West Texas > C.M. Mayo's home page (books, articles, and more) Mentioned on this podcast: Pody's BBQ on Facebook Pody's BBQ on TripAdvisor Texas Monthly on Pody's BBQ Smokestack Lightning by Lolis Eric Elie   The 100 Best Barbecue Restaurants in America by Johnny Fugitt The Prophets of Smoked Meat by Daniel Vaughn  Legends of Texas Barbecue Cookbook by Robb Walsh Chimney (Weber Chimney) Charcoal Starter Hatch New Mexico Chiles

Tea for One/孤品兆赫-52，英国布鲁斯/Smokestack Lightning微信订阅号：【孤品兆赫】微博（新浪/腾讯）：【孤品兆赫】本期继续一期英国布鲁斯，欢迎收听。Tracklist1. < Talking About You > -- The Yardbirds, 1963 2. < Key to Love > -- John Mayall & Bluesbreakers, 1965 3. < Smokestack Lightning > -- The Yardbirds, 1964 4. < Smokestack Lightning > -- Howlin' Wolf, 1956 5. < Highway 49 > -- Howlin' Wolf, 1971 6. < Little Red Rooster > -- Howlin' Wolf, 1971 7. < Steeled Blues > -- The Yardbirds, 1966 8. < You Shook Me > -- Jeff Beck Group, 1968 9. < Stroll On > -- The Yardbirds, 1966 10. < I Can't Quit You Baby > -- Led Zeppelin, 1968

Mature Audience warning on this one as I use the "N" word as it was used in a document about Dr. Ossian Sweet in Detroit, Raisin in the Sun, history of the train and blues connection, Kenn sings- "Smokestack Lightning" , interview with Skip Coryell of the Second Amendment March.