1978 studio album by KC and the Sunshine Band
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Dennis Weinreich has had outstanding careers in film and music. In film he won two Academy Awards and worked with Orson Wells. In music he's been the Musical Director, engineer or in production for a Who's Who including Michael Jackson, Duran Duran, Procol Harum, Jeff Beck, Queen, Supertramp and Jack Bruce of Cream.My featured song is my reimagined version of “I'm So Glad”, which became a hit for Cream in the 1960s. This is the live version of the song which was recorded by my band, Project Grand Slam, at the Nisville Jazz Festival in Serbia. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------ROBERT'S RECENT SINGLES:“DAY AT THE RACES” is Robert's newest single.It captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com
This is an Encore Presentation of my July 2023 interview with Jeremy Swift, who shot to worldwide fame as Leslie Higgins - the Communications Director for the AFC Richmond football club - in the hit series “Ted Lasso”. He was nominated for an Emmy Award. Before Lasso he was in films such as “Mary Poppins Returns” along with Dick Van Dyke, “Oliver Twist” directed by Roman Polanski, and “Gosford Park” directed by Robert Altman. He's also worked with the National Theater and in the West End. And he was in “Downton Abbey”. My featured song is my reimagined version of “I'm So Glad” by Cream from the album “IT'S ALIVE!”. Spotify link.—--------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------ROBERT'S RECENT SINGLES:“MOON SHOT” is Robert's latest single, reflecting his Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com
Spoiler alert! Ya'll probably know that I LOVE a good TV show. A comfy blanket and a cozy watch is a reliable happy place for me. So when my family recommended the Netflix thriller, “Adolescence,” I have to say I was a little resistant. But eventually they convinced me, and I am SO GLAD they did!“Adolescence” is a short 4-episode drama series about a teenage boy accused of murdering a girl in his class. But unlike most murder mysteries, this show really digs down into how a seemingly normal kid could become capable of committing such an awful crime. Critics and audiences are giving it rave reviews, and Avery and I want to tell you why. We talk about Avery's experience growing up in the digital age, and how you can talk to your own kids about what awaits them online.MAJOR SPOILERS in this one gang, so watch the show first, then enjoy our discussion. You'll be glad you did!As always, thanks for listening. Head over to Facebook, where you can join my free group Mastermind Parenting Community. We post tips and tools and do pop-up Live conversations where I do extra teaching and coaching to support you in helping your strong-willed children so that they can FEEL better and DO better. If you enjoyed this episode and think that others could benefit from listening, please share it!Get all the links, resources, and transcripts here: https://mastermindparenting.com/podcast-321About Randi RubensteinRandi Rubenstein coaches parents raising strong-willed kids. Randi searched endlessly to find the magical resource that would help her own highly sensitive, strong-willed child. (He's now 26, healthy and happy-ish:). She's been passionate about helping other “cycle-breaker” parents like herself for almost two decades.Randi's Web and Social LinksWebsite: https://mastermindparenting.com/Facebook: https://www.facebook.com/mastermindparentingInstagram: https://www.instagram.com/mastermind_parenting/Resources Discussed/Links“Adolescence” on Netflix: https://www.netflix.com/title/81756069 Our 12-week Basics Bootcamp program is now available as a 100% online self-study course! https://mastermindparenting.com/minimasters/Live assessment: https://mastermindparenting.com/live-assessment/
Silver Quintette - "Sinner's Crossroads" [0:00:00] Jewel Gospel Singers - "Forty Days" - Jewel Gospel Singers [0:04:09] Caravans - "Nearer To Thee" - Help Is On The Way [0:08:40] Psalms of David Hamonizers - "Somewhere to Lay My Head" [0:16:22] Williams Sisters - "When I Was Lost and Troubled" [0:18:33] King Sisters - "Keep On Pushing" [0:21:45] Spiritualites - "You Better Stop" [0:25:02] Singing Corinthians - "The Cross" [0:27:01] Raymond Raspberry Singers - "Until He Comes for Me" - My Road Won't Be Rough & Rocky [0:31:46] Avent Singers - "Jesus of Mine" [0:34:16] True Gospel Singers - "If You Are Burdened" [0:37:40] Spiritual Harmonizers - "We Got To Have Prayer" [0:41:27] Blind Boys of Mississippi - "Thank The Lord I'm Singing Again" - The Tide of Life [0:45:05] Fantastic Family Aires - "I'm So Glad" [0:47:37] Curtis Sider and the Gospel Travel-aires - "You'll Never Know" - Wait Until Jesus Comes [0:52:10] https://www.wfmu.org/playlists/shows/150964
Song List:1- I'm So Glad, Jesus Lifted Me2- Something Beautiful3- The Lily of the Valley4- 'Tis So Sweet to Trust in Jesus5- How Firm a Foundation6- In His Presence7- He Is Here8- Bro. Chris, Bro. Wayne, Bro. Royce, Sis. Vanessa, Sis. Marilyn- I Am on the Winning SideMessage: Bro. Steve LeCroyScripture: Psalm 40:1-17, Psalm 40:10; "Don't hide what He's done."Invitation- Because He Lives
Song List:1- Surely Goodness and Mercy2- I'm So Glad, Jesus Lifted Me3- A New Name in Glory4- A Beautiful Life5- Living By Faith6- The Old Rugged CrossMessage: Bro. Steve LeCroyScripture: Luke 22:23-32
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As Rebecca and Tara close out 2024 and a great year of reading, they share their Top Ten list of books! Rebecca (@canadareadsamericanstyle): Ginny Ross Series by Heather Stemp: Amelia & Me; Under Amelia's Wing; Beyond Amelia The Street by Ann Petry My Brilliant Career by Miles Franklin Ethan Frome by Edith Wharton Sisters of the Spruce by Leslie Shimotakahara Bird Suit by Sydney Hegele Making Up the Gods by Marion Agnew Eleanor Courtown by Lucy E.M. Black James by Percival Everett Outsider: An Old Man, a Mountain, and the Search for a Hidden Past Tara (@onabranchreads): Fire Weather: The Making of a Beast by John Vaillant Better Living Through Birding by Christian Cooper; The Backyard Bird Chronicles by Amy Tan; Field Notes from an Unintentional Birder by Julia Zarankin I'm So Glad we Had This Time Together by Maurice Vellekoop My Body is Distant by Paige Maylott The Knowing by Tanya Talaga Coexistence by Billy-Ray Belcourt James by Percival Everett Followed by the Lark by Helen Humphreys All the Colours of the Dark by Chris Whittaker Same As It Ever Was by Claire Lombardo Rebecca and Tara want to thank all of you for listening to and supporting the podcast this past year or longer. They look forward to creating more fun and interesting content in 2025!
31 Days of Halloween 2024 continues with Hooper going full de Sade in 1993's Night Terrors. ENDING MUSIC: Babylon A.D. (So Glad for the Madness) by Cradle of Filth Support TWoRP Contact Us talkwithoutrhythm@gmail.com
Augusta Palmer is a documentary filmmaker and scholar. Her newest film is “The Blues Society”, about the 1960s Memphis Country Blues Festival and the blues revival in Americal. The film won Best Feature Documentary at the Oxford Film Festival. She also directed the short film “Order My Steps” about an incarcerated woman reaching out to her estranged daughter. The film debuted in Rwanda at the Women Deliver Film & Culture Festival. And she's a professor at St. Francis College in NYC.My featured song is my reimagined version of the Skip James classic “I'm So Glad” by my band Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here .To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“THE GIFT” is Robert's new single featuring his song arranged by Grammy winning arranger Michael Abene. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES” is Robert's recent single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with Augusta at:Website - www.thebluessocietyfilm.comInstagram - www.instagram.com/thebluessocietyfilm/Facebook - www.facebook.com/thebluessocietyfilm/ Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com
We at The Padel School are SO GLAD to land our FIRST EVER ACADEMY in Boynton Beach, Florida at the Rally Club!Over the last year, we've been working HARD to bring The Padel School to the USA for the first time in this way - and NOW we're finally here!We KNOW that our ACADEMY will unlock the potential of SO MANY MORE Padel players in the USA and across the globe!Rally Sports and Social is home to 10 state of the art indoor courts with air conditioning so you can still enjoy a great game even on the hottest of days in the SUNSHINE STATE.We offer a *7-DAY FREE TRIAL* on our online platform with a bunch of exclusive content! *SIGN UP NOW* and don't miss out on an opportunity to IMPROVE YOUR GAME!SIGN UP: thepadelschool.com
Selección musical de Santiago Bustamante, director de Fallo de sistema. Between Two Points - David & Romania GilmourLuck and Strange - David GilmourDark and Velvet nights - David Gilmour5 A.M. - David GilmourSo Glad to See you Here - WingsNo more Lonely Nights - Paul McCartneyRun Devil Run- Paul McCartneyIs Your Love Strong Enough - Brian FerrySong to the Siren - Brian FerryCryin' Won't Help You Anymore - B.B. King, Paul Carrack & David GilmourJerusalem (Live Albert Hall 2009) - Jeff Beck & David GilmourEscuchar audio
(S3-#29) Cream- Fresh Cream (Reaction) Released December 9, 1966. Recorded July-November 1966 Cream, formed in 1966, was one of the first supergroups. It consisted of three highly regarded musicians from the British blues and rock scenes: Eric Clapton (guitar, vocals), Jack Bruce (bass, lead vocals), and Ginger Baker (drums). Their debut album, Fresh Cream, released on December 9, 1966, blends blues covers and original compositions, showcasing the band's blues roots and groundbreaking sound. Fresh Cream includes a mix of original songs and blues standards like "Spoonful," "Rollin' and Tumblin," and "I'm So Glad." The album succeeded commercially, reaching number 6 on the UK charts and 39 in the US. Notable tracks include "I Feel Free," featuring strong vocal harmonies, and "Toad," one of the earliest rock tracks to feature a drum solo. Following the album's release, Cream quickly became one of the most influential bands of the late 1960s, known for their virtuosic performances and innovative blend of blues, rock, and psychedelic music. Despite their success, internal tensions led to the band's breakup in 1968, after which each member pursued a successful solo career. Cream's legacy endures as a pioneering force in rock music history. Curated Spotify Playlist https://open.spotify.com/playlist/7I6dzYc5UJfko8unziRMWf?si=0b46147790924bfb Album on Spotify https://open.spotify.com/album/6iyKqDoL9pRSHUsDBYemlB?si=w0brXwJpR7SYxs1uN2-NkA Album on YouTube https://youtu.be/tsrmxWcodd0?si=iFbTG0RAwPPcQ6d1
Send us a Text Message.Singles Going Around- Alive Volume OneCream- "I'm So Glad" (from Goodbye)Jimi Hendrix- "The Queen/Sergeant Peppers Lonely Heart Club Band" (from Hendrix In The West)Otis Redding- "Satisfaction" (from Live In Europe)Creedence Clearwater Revival- "The Night Time Is The Right Time" (from Live At Woodstock)Rolling Stones- "Midnight Rambler" ( from Get Yer Ya-Ya's Out)The Band- "The Shape I'm In" (from Rock Of Ages)The Byrds- "Lover Of The Bayou" (from Untitled)The Beach Boys- "Wouldn't It Be Nice" (from Beach Boys '69)The Doors- "Rock Me Baby" (from Paris Blues)Led Zeppelin- "Celebration Day" (from The Song Remains The Same)Chuck Berry- "Guitar Boogie/Let It Rock" (from Live In Detroit)Cream- "Crossroads" (from Wheels Of Fire)
01. Cream - What A Bringdown 02. Cream - I'm So Glad 03. Cream - Badge 04. Cream - Lawdy Mama 05. Blind Faith - Cant Find My Way Home 06. Blind Faith - Presence Of The Lord 07. Eric Clapton - Bad Boy 08. Eric Clapton - Easy Now 09. Eric Clapton - Let It Rain 10. Eric Clapton - Don't Know Why
Song List:1- I'm So Glad, Jesus Lifted Me2- Because He Lives3- All That Thrills My Soul4- I Worship You, Almighty God5- How Great Thou Art6- Victory in Jesus7- Special- What Will I Leave Behind8- Amazing Grace9- In the GardenMessage: Bro. Steve LeCroyScripture: 2 Chronicles 33:1-20Invitation- Cleanse Me
Chris Spedding is a Superstar British Guitarist. He's played and/or recorded with Paul McCartney, Elton John, Jack Bruce, Roger Daltrey, Harry Nilsson, Art Garfunkel, on the Jesus Christ Superstar album, and many others. He also produced the Sex Pistols.My featured song is my reimagined version of Cream's version of “I'm So Glad”. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“LOU'S BLUES” is Robert's new single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Intro/Outro Voiceovers courtesy of:Jodi Krangle - Professional Voiceover Artisthttps://voiceoversandvocals.com Audio production:Jimmy RavenscroftKymera Films Connect with Chris at:www.chrisspedding.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com
We've got some changes coming at First Name Basis! I started the First Name Basis Podcast back in 2019 when I looked at my tiny daughter and wanted to make the world a better place for her — a place that would be more inclusive, kind and anti-racist. In the past almost 5 years, we've created this beautiful community where we've had so many hard but productive conversations both on social media and through the podcast. As I prepare to welcome our third little one into our family, it feels like time to change how a few things are done here at First Name Basis, including: Putting the podcast on hold so I can focus on my consulting clients. Transitioning all of our paid resources to only be available for purchase by schools and community organizations for now. Changing the way we deliver our paid resources to those who have already invested in them. Running a sale with the biggest discounts we've ever offered! Listen in to hear all of the details! Thank you for being here with me in this work. These last 5 years have been a dream come true, and I'm excited to continue the work in this new way. And don't worry — I don't think I'll be able to stay away from my podcast microphone forever. As always, I am SO GLAD that you are here. You are what has made First Name Basis what it is. Don't miss our big sale! If you have been waiting to purchase any of our paid resources, now is your final chance to do so before they're put to bed for the next few years. We're offering BIG discounts, and the sooner you buy, the bigger the discount you get! From now until July 1, you can use the code FNB50 for 50% off any of our products. **This is the biggest discount we will offer during the sale, so don't wait to snag what you've had your eye on!** From July 2 until July 8, use the code FNB40 for 40% off! And from July 9 until July 15, use the code FNB30 for 30% off! So don't wait to snag those products you've been keeping your eye on! Head over to firstnamebasis.org/resources to learn more. Invite Jasmine to work with your school! Are you a parent or teacher who wants to help your school turn good intentions into positive action by making anti-racist education a priority? First Name Basis is here to help! Jasmine Bradshaw is an anti-racist educator and former second-grade teacher who has a passion for helping schools make real change. From providing professional development for teachers to curriculum consulting to implementing her unique anti-racist resources to parent education events, Jasmine is your go-to anti-bias and anti-racist education resource. Email hello@firstnamebasis.org or visit firstnamebasis.org/workwithme for more information. Song credit: “Clapping Music” by BrightestAvenue and “Sunshine” by lemonmusicstudio
Jeremy Swift shot to worldwide fame as Leslie Higgins - the Communications Director for the AFC Richmond football club - in the hit series “Ted Lasso”. He was nominated for an Emmy Award. Before Lasso he was in films such as “Mary Poppins Returns” along with Dick Van Dyke, “Oliver Twist” directed by Roman Polanski, and “Gosford Park” directed by Robert Altman. He's also worked with the National Theater and in the West End. And he was in “Downton Abbey”. My featured song is my reimagined version of “I'm So Glad” by Cream from the album “IT'S ALIVE!”. Spotify link.—--------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“LOU'S BLUES” is Robert's new single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with Jeremy:https://www.instagram.com/jeremy.swift.68/?hl=en Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com
Singles Going Around- Saturday Comes In Colors The Beatles- "Drive My Car"Van Morrison- "Jackie Wilson Said"The Standells-"Sometimes Good Guys Don't Wear White"The Grateful Dead- "Cumberland Blues"The Monkees- "Let's Dance On"The Sex Pistols- "C'mon Everybody"Otis Redding- "Love Man"Plastic Ono Band- "Remember"Simon & Garfunkel- "The Big Bright Green Pleasure Machine"Lightnin' Slim- "Rooster Blues"The Yardirds- "Heart Full Of Soul"Nirvana- "Molly's Lips"Led Zeppelin- "Hey, Hey What Can I Do"Love- "Hey Joe"Captain Beefheart & The Magic Band- "Lick My Decals Off Baby"The White Stripes- "Lafayette Blues"The Doors- "Roadhouse Blues"13th Floor Elevators- "You Gonna Miss Me"Cream- "I'm So Glad"*all selections taken from the original records.
And I'm So Glad...
I'm pausing from traditional business tips today for the most important message there is. What's the point of growing our businesses and increasing our influence if weren't not also leading more people to Christ? The GOOD NEWS of the Gospel is meant to be shared, but it isn't as easy as it sounds sometimes. Tune in as I follow a nudging in my heart to help YOU walk you through various versus to show how our God can direct us and comfort us through any situation as well a guide to help you lead others to Christ. My college professor MADE US write these our in our bible and I'm SO GLAD he did, I still have it today! You'll want the print out to follow a long and keep a few handy to hand out or utilize, you'll never know when the time will arise. Download your free "Good News - How to share the Gospel." here We'll get back to tactical business tips next week! Our businesses are for a purpose SO MUCH BIGGER THAN US! If you are ready to harness the power to be a leader that leads with grace and peace rather than worry and stress you NEED to reserve your spot in my Prosperity with Purpose Mentorship. This 12 week interactive coaching program was designed to make your leadership more effective and productive while keeping in step with God's word. Click or go to www.jessicahefley.com/grow Connect with me: Instagram: https://www.instagram.com/jessicahefley_/ Facebook: https://www.facebook.com/jessicahef YouTube: https://youtube.com/@JessicaHefley Website: https://www.jessicahefley.com/
Tommy James is one of the most iconic artists of the rock era. Here's all you need to know: 23 Gold singles, 9 Platinum albums, and over 100 million records sold. In this episode Tommy tells stories and talks about his hits, his career, his relationship with Morris Levy of Roulette Records and the Mob, and much more. My featured song is my reimagined version of Cream's “I'm So Glad” from The PGS Experience album by my band, Project Grand Slam. Spotify link here.—--------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“MILES BEHIND”, Robert's first album, was recorded in 1994 but was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------‘THE SINGLES PROJECT” is Robert's new EP, featuring five of his new songs. The songs speak to the ups and downs of life. From the blissful, joyous “Saturday Morning” to the darker commentary of “Like Never Before” and “The Ship”. “This is Robert at his most vulnerable” (Pop Icon Magazine)Reviews: “Amazing!” (Top Buzz Magazine)“Magical…A Sonic Tour De Force!” (IndiePulse Music)“Fabulously Enticing!” (Pop Icon Magazine)“A Home Run!” (Hollywood Digest)Listener Reviews:Saturday Morning:”A neat and simply happy song!””It's so cute and fun. It's describing a world I wish I lived in every day!”Like Never Before:”Great message!””Great song, very perceptive lyrics!”Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with Tommy at:www.tommyjames.comConnect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comPGS Store - www.thePGSstore.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com
Malcolm Bruce is the son of Jack Bruce of Cream, the world's first Supergroup consisting of Jack together with Eric Clapton and Ginger Baker. They changed the face of rock music completely when they exploded onto the scene in 1966. Jack was one of the greatest singers, songwriters, bassists and cellists of the rock era. Malcolm - a great musician in his own right - is now behind the release of “Heavenly Cream: An Acoustic Tribute To Cream”. It's a new album with new versions of so many of the iconic songs by Jack and that great band. It was put together over a period of years and features among others Pete Brown, the lyricist who co-wrote so many hits with Jack, Ginger Baker of Cream, Paul Rodgers of Free and guitarist Joe Bonamassa.My featured song is my live reimagined version of “I'm So Glad” from the album "It's Alive" by my band, Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------‘THE SINGLES PROJECT” is Robert's new EP, featuring five of his new songs. The songs speak to the ups and downs of life. From the blissful, joyous “Saturday Morning” to the darker commentary of “Like Never Before” and “The Ship”. “This is Robert at his most vulnerable” (Pop Icon Magazine)Reviews: “Amazing!” (Top Buzz Magazine)“Magical…A Sonic Tour De Force!” (IndiePulse Music)“Fabulously Enticing!” (Pop Icon Magazine)“A Home Run!” (Hollywood Digest)Listener Reviews:Saturday Morning:”A neat and simply happy song!””It's so cute and fun. It's describing a world I wish I lived in every day!”Like Never Before:”Great message!””Great song, very perceptive lyrics!”Click here for all links. “IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with Malcolm:www.malcolmbrucemusic.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comPGS Store - www.thePGSstore.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com
Lexa Hill & The Young Punx - Simply Falling Griffin Hanekamp with RAW - Nightlife Oden & Fatzo & THEOS feat. Queen Rose - Set You Free Dennis Quin feat. Zoe Philips - Keep Your Head Up Spencer Parker - Gotta Love Kinetic Minds - Hope & Pray DAN:ROS - Like This Mark Knight, Green Velvet & James Hurr - The Greatest Thing Alive Saffron Stone - Caliente Tita Lau - Trust Issues Truth x Lies - Think About It Matt Guy - Every Little Time Alex Adair - I'm So Glad
This podcast features the songs “I'm So Glad for a Place Called Heaven"(The Primitive Quartet) and "Now I Am Free"(The Primitive Quartet) as well as the message called "What's So Special about Israel?" given by Pastor Stephen Pope from the pulpit of Calvary Baptist Church(Union Grove, NC)
We had a STACKED lineup for this past series of Foster Carolinas. We heard from so many powerhouses in the world of foster care. If you can believe it, this next series is going to be EVEN BETTER! Tune in today to see who and how we are about to finish out this year here on Foster Carolinas. We are SO GLAD you are listening! This upcoming season is also going to be exciting because we are now video recording the podcast and will have that uploaded to YouTube! You can find us and this episode on YouTube at Least of These Carolinas - @leastofthesecarolinas257424 THANKS FOR LISTENING! Follow along with us on: YOUTUBE: @leastofthesecarolinas257424 Instagram: @lotcarolinas Facebook: Least of These Carolinas AND visit our website: www.lotcarolinas.com
Pacific St Blues & AmericanaAugust 20, 20231. Albert King / I'll Play the Blues for You 2. D.K. Harrell / Get These Blues Out of Me 3. Shaun Murphy / I'm Not Made that Way 4. Janis Joplin / Down on Me 5. Johnny Winter / Life is Hard 6. Robin Trower / Find Me 7. Monster Mike Welch / I Me Mine8. Aretha Franklin / Let It Be 9. Allman Brothers / Rain 10. Matt Whipkey / The Word11. Rory Block / Love Had No Pride 12. Bonnie Raitt / When We Say Goodnight 13. Eric Clapton / Layla (Orchestral version)14. Buddy Guy / Strange Brew15. Robert Johnson / Crossroads Blues 16. Skip James / I'm So Glad 17. Willie Nelson & BB King / The Night Life18. Peter Frampton / The Thrill is Gone 19. BB King / Bad Case of Loving You 20. Joe Bonamassa / You Upset Me Baby Upcoming Shows & Events of InterestAugust 20 Doobie Brothers, Pinewood Bowl21 Devon Allman & Donovan Frankenreiter, Waiting Room, Benson27 Black Keys, Pinewood Bowl28 Bastard Sons of Johnny Cash, Barnato (Village Pointe, Omaha)31 - 9/4 Kris Lager's Ozark Festival, ArkansasSeptember7 Taj Mahal, Los Lobos, North Mississippi All Stars, Hoyt Sherman, Des Moines13 Rhiannon Giddens, Iowa City13 Diana Ross, Orpheum15-17 Telluride Blues Festival (Bonnie Raitt) 16 Beth Hart, The Astro (LaVista, Nebraska)20 Yo La Tengo, Waiting Room, Benson27 Damon Fowler, Waiting Room, Benson30 Stewart Copeland (Police) w/OrchestraOctober3 Cheap Trick / Orpheum6 Tower of Power, Omaha7 REO, Orpheum12 Martin Sexton, Waiting Room, Benson16 Peter Gabriel, Ball Arena, Denver31-Nov 5th TINA, The Tina Turner Story, OrpheumNovember 8 "The Late" John Cleese (Monty Python)10 Aerosmith w/ Black Crowes14 Lake Street Dive, Orpheum 18 The Iguanas, Waiting Room, Benson
So Glad to be back with YOU!! If you would like to chat with me or do a discovery call, then email me at emily@emilyjanzenmcgrath.com. I would love to share with you! If you would like to work with me or need a business coach, please email me at emily@emilyjanzenmcgrath.com I'd love to hear from you! If you like listening with us, then leave us a review! By leaving us a review, you help us get out there. This boosts our ratings, gets us seen and be sure to share this podcast with a friend. You can also join our social community on Face Bookor Instagram Also, if you'd like to be part of our email group then click the link and sign up to receive weekly letters from ME! Sign Up for our Mailing List Here! All my love, Emily
This week on The Gospel Jubilee Chip and Denny will be sharing their top 10 picks of the most popular southern Gospel songs for the month of July. Here are all of the ways you can listen to the Gospel Jubilee On your Echo device say, Alexa, play the Gospel Jubilee on Apple podcast. For a direct download go to: https://api.spreaker.com/v2/episodes/56249627/download.mp3 Ocean Waves Radio ... every Wednesday at 12 noon Eastern time., www.OceanWavesRadio.com Thursday afternoons at 4:00 PM and Sunday mornings at 9:30 AM EST on Southern Branch Bluegrass Radio, www.sbbradio.org Saturday evenings at 7:00 and Wednesday afternoons at 4:00 CST on Radio For Life, www.RadioForLife.org Legend Oldies Radio. Our broadcast will be aired every Sunday morning at 9:00 AM CDT. https://www.legendoldies.com Playlist: Artists |Song Title | Album 01. Zane & Donna King - Hard time - "Hard Times - Single" 02. Jim & Melissa Brady - Great God of my joy - "Ever Faithful" 03. The Browders - Because He said so - "Authentic" 04. The Guardians - Come on in medley - "Come On In" 05. The Browns - Brighten the corner where you are - "Oh, My Iowa" 06. TrueSong - child of the King - "Tell someone" 07. The Taylors - Only passing through - "Love Is the Voice" 08. The Williamsons - The King eternal - "Above Everything" 09. Victory Trio - I can almost see the lights of home - "So Glad" 10. Hillary Scott and The Scott Family - Sheltered in the arms of God - "Love Remains" 11. Endless Highway - Love carried the cross - "This Is The Moment" 12. Ernie Haase & Signature Sound - I know my Savior cares - "Keeping On" 13. The Hoskins Family - Land of endless tomorrows - "A Gathering (Hits Of Then & Now)" 14. The Old Paths (Anthem Edition) - This is amazing grace - "What Love does" 15. Jeff & Sheri Easter & the Sound - One name - "Treasure" 16. Southbound - Lost & found - "Lost & Found" 17. High Road - Nothing at all - "High Road" 18. Tim Lovelace - Look for the shade - “Moments That Motivate” 19. The Old Time Preachers Quartet - Everybody will be happy over there - "Long Live Old Time Religion" 20. Darin & Brooke Aldridge and Ricky Skaggs and Moe Pitney - Jordan - "Jordan - Single" 21. The Inspirations - I'm not ashamed - "Ageless Treasures" 22. The Down East Boys - Celebration at the empty grave - "There's A Song For That EP" 23. Tribute Quartet - Halfway up the mountain - "Always Grace" Outro – Singin & Marchin – Kim Collingsworth
I'M BACCKK!!! So Glad to be back after a few weeks off for vaca! This Episode I share 3 powerful tools to use to explore what might be holding you back from the next version of you!Get your Becoming More Me Workbook hereConnect with Kaitlynn on IGLearn more about coaching with KaitlynnThank you for leaving a rating or review here
Jeremy Swift has shot to worldwide fame as Leslie Higgins - the Communications Director for the AFC Richmond football club - in the hit series “Ted Lasso” for which he was nominated for an Emmy Award. Before Lasso he was in films such as “Mary Poppins Returns” along with Dick Van Dyke, “Oliver Twist” directed by Roman Polanski, and “Gosford Park” directed by Robert Altman. He's also worked with the National Theater and in the West End. And he was in “Downton Abbey”. Plus he's a musician with a new album and single.My featured song is my reimagined version of “I'm So Glad” by Cream from my new album “IT'S ALIVE!”. Spotify link.—--------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------Jeremy and Robert discuss the following:- Cream- Ted Lasso Downton Abbey Surprised by Lasso's success Seinfeld took a long time to hit Higgins is the adult in the room Spin off in the works? 3rd season of Lasso Getting his wife hired as his screen wife- Career highlights- Auditions vs straight offers now- Musical background ”Can't Stop Doin' It”- What's next?- Mary Poppins Returns Dick Van Dyke- Diamond Dogs—-------------------------------------“IT'S ALIVE!” is Robert's new Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at SteelStacks in Pennsylvania and The Nisville Jazz Festival in Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with Jeremy at:https://www.instagram.com/jeremy.swift.68/?hl=en Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comPGS Store - www.thePGSstore.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com
Singles Going Around- Back To Mono Volume TwoEpisode Two of Mono records, recorded and transferred in mono. Play Loud..Cream- "I'm So Glad"The Doors- "Soul Kitchen"Howlin Wolf- "Spoonful"The Rolling Stones- "Route 66"The Beach Boys- "Surf's Up"Pink Floyd- "Jug Band Blues"The Beatles- "No Reply"Chuck Berry- "Thirty Days"The Coasters-"Charlie Brown" (78 version)The Everly Brothers- "All I Have To Do Is Dream" (78 version)Fats Domino- "I'm Walkin" (78 version)Dave Clark Five- "Bits and Pieces"The Mama's and The Papa's- "Straight Shooter"The Beach Boys- "Hushabye"Cream- "Rollin and Tumblin"Robert Johnson- "From Four Until Late"Howlin Wolf- "Shake For Me"The Doors- "Back Door Man"The Rolling Stones- "I'm A King Bee"
Episode 166 of A History of Rock Music in Five Hundred Songs looks at “Crossroads", Cream, the myth of Robert Johnson, and whether white men can sing the blues. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-eight-minute bonus episode available, on “Tip-Toe Thru' the Tulips" by Tiny Tim. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I talk about an interview with Clapton from 1967, I meant 1968. I mention a Graham Bond live recording from 1953, and of course meant 1963. I say Paul Jones was on vocals in the Powerhouse sessions. Steve Winwood was on vocals, and Jones was on harmonica. Resources As I say at the end, the main resource you need to get if you enjoyed this episode is Brother Robert by Annye Anderson, Robert Johnson's stepsister. There are three Mixcloud mixes this time. As there are so many songs by Cream, Robert Johnson, John Mayall, and Graham Bond excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here -- one, two, three. This article on Mack McCormick gives a fuller explanation of the problems with his research and behaviour. The other books I used for the Robert Johnson sections were McCormick's Biography of a Phantom; Up Jumped the Devil: The Real Life of Robert Johnson, by Bruce Conforth and Gayle Dean Wardlow; Searching for Robert Johnson by Peter Guralnick; and Escaping the Delta by Elijah Wald. I can recommend all of these subject to the caveats at the end of the episode. The information on the history and prehistory of the Delta blues mostly comes from Before Elvis by Larry Birnbaum, with some coming from Charley Patton by John Fahey. The information on Cream comes mostly from Cream: How Eric Clapton Took the World by Storm by Dave Thompson. I also used Ginger Baker: Hellraiser by Ginger Baker and Ginette Baker, Mr Showbiz by Stephen Dando-Collins, Motherless Child by Paul Scott, and Alexis Korner: The Biography by Harry Shapiro. The best collection of Cream's work is the four-CD set Those Were the Days, which contains every track the group ever released while they were together (though only the stereo mixes of the albums, and a couple of tracks are in slightly different edits from the originals). You can get Johnson's music on many budget compilation records, as it's in the public domain in the EU, but the double CD collection produced by Steve LaVere for Sony in 2011 is, despite the problems that come from it being associated with LaVere, far and away the best option -- the remasters have a clarity that's worlds ahead of even the 1990s CD version it replaced. And for a good single-CD introduction to the Delta blues musicians and songsters who were Johnson's peers and inspirations, Back to the Crossroads: The Roots of Robert Johnson, compiled by Elijah Wald as a companion to his book on Johnson, can't be beaten, and contains many of the tracks excerpted in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick note that this episode contains discussion of racism, drug addiction, and early death. There's also a brief mention of death in childbirth and infant mortality. It's been a while since we looked at the British blues movement, and at the blues in general, so some of you may find some of what follows familiar, as we're going to look at some things we've talked about previously, but from a different angle. In 1968, the Bonzo Dog Band, a comedy musical band that have been described as the missing link between the Beatles and the Monty Python team, released a track called "Can Blue Men Sing the Whites?": [Excerpt: The Bonzo Dog Band, "Can Blue Men Sing the Whites?"] That track was mocking a discussion that was very prominent in Britain's music magazines around that time. 1968 saw the rise of a *lot* of British bands who started out as blues bands, though many of them went on to different styles of music -- Fleetwood Mac, Ten Years After, Jethro Tull, Chicken Shack and others were all becoming popular among the kind of people who read the music magazines, and so the question was being asked -- can white men sing the blues? Of course, the answer to that question was obvious. After all, white men *invented* the blues. Before we get any further at all, I have to make clear that I do *not* mean that white people created blues music. But "the blues" as a category, and particularly the idea of it as a music made largely by solo male performers playing guitar... that was created and shaped by the actions of white male record executives. There is no consensus as to when or how the blues as a genre started -- as we often say in this podcast "there is no first anything", but like every genre it seems to have come from multiple sources. In the case of the blues, there's probably some influence from African music by way of field chants sung by enslaved people, possibly some influence from Arabic music as well, definitely some influence from the Irish and British folk songs that by the late nineteenth century were developing into what we now call country music, a lot from ragtime, and a lot of influence from vaudeville and minstrel songs -- which in turn themselves were all very influenced by all those other things. Probably the first published composition to show any real influence of the blues is from 1904, a ragtime piano piece by James Chapman and Leroy Smith, "One O' Them Things": [Excerpt: "One O' Them Things"] That's not very recognisable as a blues piece yet, but it is more-or-less a twelve-bar blues. But the blues developed, and it developed as a result of a series of commercial waves. The first of these came in 1914, with the success of W.C. Handy's "Memphis Blues", which when it was recorded by the Victor Military Band for a phonograph cylinder became what is generally considered the first blues record proper: [Excerpt: The Victor Military Band, "Memphis Blues"] The famous dancers Vernon and Irene Castle came up with a dance, the foxtrot -- which Vernon Castle later admitted was largely inspired by Black dancers -- to be danced to the "Memphis Blues", and the foxtrot soon overtook the tango, which the Castles had introduced to the US the previous year, to become the most popular dance in America for the best part of three decades. And with that came an explosion in blues in the Handy style, cranked out by every music publisher. While the blues was a style largely created by Black performers and writers, the segregated nature of the American music industry at the time meant that most vocal performances of these early blues that were captured on record were by white performers, Black vocalists at this time only rarely getting the chance to record. The first blues record with a Black vocalist is also technically the first British blues record. A group of Black musicians, apparently mostly American but led by a Jamaican pianist, played at Ciro's Club in London, and recorded many tracks in Britain, under a name which I'm not going to say in full -- it started with Ciro's Club, and continued alliteratively with another word starting with C, a slur for Black people. In 1917 they recorded a vocal version of "St. Louis Blues", another W.C. Handy composition: [Excerpt: Ciro's Club C**n Orchestra, "St. Louis Blues"] The first American Black blues vocal didn't come until two years later, when Bert Williams, a Black minstrel-show performer who like many Black performers of his era performed in blackface even though he was Black, recorded “I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,” [Excerpt: Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,”] But it wasn't until 1920 that the second, bigger, wave of popularity started for the blues, and this time it started with the first record of a Black *woman* singing the blues -- Mamie Smith's "Crazy Blues": [Excerpt: Mamie Smith, "Crazy Blues"] You can hear the difference between that and anything we've heard up to that point -- that's the first record that anyone from our perspective, a hundred and three years later, would listen to and say that it bore any resemblance to what we think of as the blues -- so much so that many places still credit it as the first ever blues record. And there's a reason for that. "Crazy Blues" was one of those records that separates the music industry into before and after, like "Rock Around the Clock", "I Want to Hold Your Hand", Sgt Pepper, or "Rapper's Delight". It sold seventy-five thousand copies in its first month -- a massive number by the standards of 1920 -- and purportedly went on to sell over a million copies. Sales figures and market analysis weren't really a thing in the same way in 1920, but even so it became very obvious that "Crazy Blues" was a big hit, and that unlike pretty much any other previous records, it was a big hit among Black listeners, which meant that there was a market for music aimed at Black people that was going untapped. Soon all the major record labels were setting up subsidiaries devoted to what they called "race music", music made by and for Black people. And this sees the birth of what is now known as "classic blues", but at the time (and for decades after) was just what people thought of when they thought of "the blues" as a genre. This was music primarily sung by female vaudeville artists backed by jazz bands, people like Ma Rainey (whose earliest recordings featured Louis Armstrong in her backing band): [Excerpt: Ma Rainey, "See See Rider Blues"] And Bessie Smith, the "Empress of the Blues", who had a massive career in the 1920s before the Great Depression caused many of these "race record" labels to fold, but who carried on performing well into the 1930s -- her last recording was in 1933, produced by John Hammond, with a backing band including Benny Goodman and Jack Teagarden: [Excerpt: Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer"] It wouldn't be until several years after the boom started by Mamie Smith that any record companies turned to recording Black men singing the blues accompanied by guitar or banjo. The first record of this type is probably "Norfolk Blues" by Reese DuPree from 1924: [Excerpt: Reese DuPree, "Norfolk Blues"] And there were occasional other records of this type, like "Airy Man Blues" by Papa Charlie Jackson, who was advertised as the “only man living who sings, self-accompanied, for Blues records.” [Excerpt: Papa Charlie Jackson, "Airy Man Blues"] But contrary to the way these are seen today, at the time they weren't seen as being in some way "authentic", or "folk music". Indeed, there are many quotes from folk-music collectors of the time (sadly all of them using so many slurs that it's impossible for me to accurately quote them) saying that when people sang the blues, that wasn't authentic Black folk music at all but an adulteration from commercial music -- they'd clearly, according to these folk-music scholars, learned the blues style from records and sheet music rather than as part of an oral tradition. Most of these performers were people who recorded blues as part of a wider range of material, like Blind Blake, who recorded some blues music but whose best work was his ragtime guitar instrumentals: [Excerpt: Blind Blake, "Southern Rag"] But it was when Blind Lemon Jefferson started recording for Paramount records in 1926 that the image of the blues as we now think of it took shape. His first record, "Got the Blues", was a massive success: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] And this resulted in many labels, especially Paramount, signing up pretty much every Black man with a guitar they could find in the hopes of finding another Blind Lemon Jefferson. But the thing is, this generation of people making blues records, and the generation that followed them, didn't think of themselves as "blues singers" or "bluesmen". They were songsters. Songsters were entertainers, and their job was to sing and play whatever the audiences would want to hear. That included the blues, of course, but it also included... well, every song anyone would want to hear. They'd perform old folk songs, vaudeville songs, songs that they'd heard on the radio or the jukebox -- whatever the audience wanted. Robert Johnson, for example, was known to particularly love playing polka music, and also adored the records of Jimmie Rodgers, the first country music superstar. In 1941, when Alan Lomax first recorded Muddy Waters, he asked Waters what kind of songs he normally played in performances, and he was given a list that included "Home on the Range", Gene Autry's "I've Got Spurs That Jingle Jangle Jingle", and Glenn Miller's "Chattanooga Choo-Choo". We have few recordings of these people performing this kind of song though. One of the few we have is Big Bill Broonzy, who was just about the only artist of this type not to get pigeonholed as just a blues singer, even though blues is what made him famous, and who later in his career managed to record songs like the Tin Pan Alley standard "The Glory of Love": [Excerpt: Big Bill Broonzy, "The Glory of Love"] But for the most part, the image we have of the blues comes down to one man, Arthur Laibley, a sales manager for the Wisconsin Chair Company. The Wisconsin Chair Company was, as the name would suggest, a company that started out making wooden chairs, but it had branched out into other forms of wooden furniture -- including, for a brief time, large wooden phonographs. And, like several other manufacturers, like the Radio Corporation of America -- RCA -- and the Gramophone Company, which became EMI, they realised that if they were going to sell the hardware it made sense to sell the software as well, and had started up Paramount Records, which bought up a small label, Black Swan, and soon became the biggest manufacturer of records for the Black market, putting out roughly a quarter of all "race records" released between 1922 and 1932. At first, most of these were produced by a Black talent scout, J. Mayo Williams, who had been the first person to record Ma Rainey, Papa Charlie Jackson, and Blind Lemon Jefferson, but in 1927 Williams left Paramount, and the job of supervising sessions went to Arthur Laibley, though according to some sources a lot of the actual production work was done by Aletha Dickerson, Williams' former assistant, who was almost certainly the first Black woman to be what we would now think of as a record producer. Williams had been interested in recording all kinds of music by Black performers, but when Laibley got a solo Black man into the studio, what he wanted more than anything was for him to record the blues, ideally in a style as close as possible to that of Blind Lemon Jefferson. Laibley didn't have a very hands-on approach to recording -- indeed Paramount had very little concern about the quality of their product anyway, and Paramount's records are notorious for having been put out on poor-quality shellac and recorded badly -- and he only occasionally made actual suggestions as to what kind of songs his performers should write -- for example he asked Son House to write something that sounded like Blind Lemon Jefferson, which led to House writing and recording "Mississippi County Farm Blues", which steals the tune of Jefferson's "See That My Grave is Kept Clean": [Excerpt: Son House, "Mississippi County Farm Blues"] When Skip James wanted to record a cover of James Wiggins' "Forty-Four Blues", Laibley suggested that instead he should do a song about a different gun, and so James recorded "Twenty-Two Twenty Blues": [Excerpt: Skip James, "Twenty-Two Twenty Blues"] And Laibley also suggested that James write a song about the Depression, which led to one of the greatest blues records ever, "Hard Time Killing Floor Blues": [Excerpt: Skip James, "Hard Time Killing Floor Blues"] These musicians knew that they were getting paid only for issued sides, and that Laibley wanted only blues from them, and so that's what they gave him. Even when it was a performer like Charlie Patton. (Incidentally, for those reading this as a transcript rather than listening to it, Patton's name is more usually spelled ending in ey, but as far as I can tell ie was his preferred spelling and that's what I'm using). Charlie Patton was best known as an entertainer, first and foremost -- someone who would do song-and-dance routines, joke around, play guitar behind his head. He was a clown on stage, so much so that when Son House finally heard some of Patton's records, in the mid-sixties, decades after the fact, he was astonished that Patton could actually play well. Even though House had been in the room when some of the records were made, his memory of Patton was of someone who acted the fool on stage. That's definitely not the impression you get from the Charlie Patton on record: [Excerpt: Charlie Patton, "Poor Me"] Patton is, as far as can be discerned, the person who was most influential in creating the music that became called the "Delta blues". Not a lot is known about Patton's life, but he was almost certainly the half-brother of the Chatmon brothers, who made hundreds of records, most notably as members of the Mississippi Sheiks: [Excerpt: The Mississippi Sheiks, "Sitting on Top of the World"] In the 1890s, Patton's family moved to Sunflower County, Mississippi, and he lived in and around that county until his death in 1934. Patton learned to play guitar from a musician called Henry Sloan, and then Patton became a mentor figure to a *lot* of other musicians in and around the plantation on which his family lived. Some of the musicians who grew up in the immediate area around Patton included Tommy Johnson: [Excerpt: Tommy Johnson, "Big Road Blues"] Pops Staples: [Excerpt: The Staple Singers, "Will The Circle Be Unbroken"] Robert Johnson: [Excerpt: Robert Johnson, "Crossroads"] Willie Brown, a musician who didn't record much, but who played a lot with Patton, Son House, and Robert Johnson and who we just heard Johnson sing about: [Excerpt: Willie Brown, "M&O Blues"] And Chester Burnett, who went on to become known as Howlin' Wolf, and whose vocal style was equally inspired by Patton and by the country star Jimmie Rodgers: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] Once Patton started his own recording career for Paramount, he also started working as a talent scout for them, and it was him who brought Son House to Paramount. Soon after the Depression hit, Paramount stopped recording, and so from 1930 through 1934 Patton didn't make any records. He was tracked down by an A&R man in January 1934 and recorded one final session: [Excerpt, Charlie Patton, "34 Blues"] But he died of heart failure two months later. But his influence spread through his proteges, and they themselves influenced other musicians from the area who came along a little after, like Robert Lockwood and Muddy Waters. This music -- or that portion of it that was considered worth recording by white record producers, only a tiny, unrepresentative, portion of their vast performing repertoires -- became known as the Delta Blues, and when some of these musicians moved to Chicago and started performing with electric instruments, it became Chicago Blues. And as far as people like John Mayall in Britain were concerned, Delta and Chicago Blues *were* the blues: [Excerpt: John Mayall and the Bluesbreakers, "It Ain't Right"] John Mayall was one of the first of the British blues obsessives, and for a long time thought of himself as the only one. While we've looked before at the growth of the London blues scene, Mayall wasn't from London -- he was born in Macclesfield and grew up in Cheadle Hulme, both relatively well-off suburbs of Manchester, and after being conscripted and doing two years in the Army, he had become an art student at Manchester College of Art, what is now Manchester Metropolitan University. Mayall had been a blues fan from the late 1940s, writing off to the US to order records that hadn't been released in the UK, and by most accounts by the late fifties he'd put together the biggest blues collection in Britain by quite some way. Not only that, but he had one of the earliest home tape recorders, and every night he would record radio stations from Continental Europe which were broadcasting for American service personnel, so he'd amassed mountains of recordings, often unlabelled, of obscure blues records that nobody else in the UK knew about. He was also an accomplished pianist and guitar player, and in 1956 he and his drummer friend Peter Ward had put together a band called the Powerhouse Four (the other two members rotated on a regular basis) mostly to play lunchtime jazz sessions at the art college. Mayall also started putting on jam sessions at a youth club in Wythenshawe, where he met another drummer named Hughie Flint. Over the late fifties and into the early sixties, Mayall more or less by himself built up a small blues scene in Manchester. The Manchester blues scene was so enthusiastic, in fact, that when the American Folk Blues Festival, an annual European tour which initially featured Willie Dixon, Memhis Slim, T-Bone Walker, Sonny Terry & Brownie McGhee, and John Lee Hooker, first toured Europe, the only UK date it played was at the Manchester Free Trade Hall, and people like Mick Jagger, Keith Richards, Brian Jones and Jimmy Page had to travel up from London to see it. But still, the number of blues fans in Manchester, while proportionally large, was objectively small enough that Mayall was captivated by an article in Melody Maker which talked about Alexis Korner and Cyril Davies' new band Blues Incorporated and how it was playing electric blues, the same music he was making in Manchester. He later talked about how the article had made him think that maybe now people would know what he was talking about. He started travelling down to London to play gigs for the London blues scene, and inviting Korner up to Manchester to play shows there. Soon Mayall had moved down to London. Korner introduced Mayall to Davey Graham, the great folk guitarist, with whom Korner had recently recorded as a duo: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] Mayall and Graham performed together as a duo for a while, but Graham was a natural solo artist if ever there was one. Slowly Mayall put a band together in London. On drums was his old friend Peter Ward, who'd moved down from Manchester with him. On bass was John McVie, who at the time knew nothing about blues -- he'd been playing in a Shadows-style instrumental group -- but Mayall gave him a stack of blues records to listen to to get the feeling. And on guitar was Bernie Watson, who had previously played with Screaming Lord Sutch and the Savages. In late 1963, Mike Vernon, a blues fan who had previously published a Yardbirds fanzine, got a job working for Decca records, and immediately started signing his favourite acts from the London blues circuit. The first act he signed was John Mayall and the Bluesbreakers, and they recorded a single, "Crawling up a Hill": [Excerpt: John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)"] Mayall later called that a "clumsy, half-witted attempt at autobiographical comment", and it sold only five hundred copies. It would be the only record the Bluesbreakers would make with Watson, who soon left the band to be replaced by Roger Dean (not the same Roger Dean who later went on to design prog rock album covers). The second group to be signed by Mike Vernon to Decca was the Graham Bond Organisation. We've talked about the Graham Bond Organisation in passing several times, but not for a while and not in any great detail, so it's worth pulling everything we've said about them so far together and going through it in a little more detail. The Graham Bond Organisation, like the Rolling Stones, grew out of Alexis Korner's Blues Incorporated. As we heard in the episode on "I Wanna Be Your Man" a couple of years ago, Blues Incorporated had been started by Alexis Korner and Cyril Davies, and at the time we're joining them in 1962 featured a drummer called Charlie Watts, a pianist called Dave Stevens, and saxophone player Dick Heckstall-Smith, as well as frequent guest performers like a singer who called himself Mike Jagger, and another one, Roderick Stewart. That group finally found themselves the perfect bass player when Dick Heckstall-Smith put together a one-off group of jazz players to play an event at Cambridge University. At the gig, a little Scottish man came up to the group and told them he played bass and asked if he could sit in. They told him to bring along his instrument to their second set, that night, and he did actually bring along a double bass. Their bluff having been called, they decided to play the most complicated, difficult, piece they knew in order to throw the kid off -- the drummer, a trad jazz player named Ginger Baker, didn't like performing with random sit-in guests -- but astonishingly he turned out to be really good. Heckstall-Smith took down the bass player's name and phone number and invited him to a jam session with Blues Incorporated. After that jam session, Jack Bruce quickly became the group's full-time bass player. Bruce had started out as a classical cellist, but had switched to the double bass inspired by Bach, who he referred to as "the guv'nor of all bass players". His playing up to this point had mostly been in trad jazz bands, and he knew nothing of the blues, but he quickly got the hang of the genre. Bruce's first show with Blues Incorporated was a BBC recording: [Excerpt: Blues Incorporated, "Hoochie Coochie Man (BBC session)"] According to at least one source it was not being asked to take part in that session that made young Mike Jagger decide there was no future for him with Blues Incorporated and to spend more time with his other group, the Rollin' Stones. Soon after, Charlie Watts would join him, for almost the opposite reason -- Watts didn't want to be in a band that was getting as big as Blues Incorporated were. They were starting to do more BBC sessions and get more gigs, and having to join the Musicians' Union. That seemed like a lot of work. Far better to join a band like the Rollin' Stones that wasn't going anywhere. Because of Watts' decision to give up on potential stardom to become a Rollin' Stone, they needed a new drummer, and luckily the best drummer on the scene was available. But then the best drummer on the scene was *always* available. Ginger Baker had first played with Dick Heckstall-Smith several years earlier, in a trad group called the Storyville Jazzmen. There Baker had become obsessed with the New Orleans jazz drummer Baby Dodds, who had played with Louis Armstrong in the 1920s. Sadly because of 1920s recording technology, he hadn't been able to play a full kit on the recordings with Armstrong, being limited to percussion on just a woodblock, but you can hear his drumming style much better in this version of "At the Jazz Band Ball" from 1947, with Mugsy Spanier, Jack Teagarden, Cyrus St. Clair and Hank Duncan: [Excerpt: "At the Jazz Band Ball"] Baker had taken Dobbs' style and run with it, and had quickly become known as the single best player, bar none, on the London jazz scene -- he'd become an accomplished player in multiple styles, and was also fluent in reading music and arranging. He'd also, though, become known as the single person on the entire scene who was most difficult to get along with. He resigned from his first band onstage, shouting "You can stick your band up your arse", after the band's leader had had enough of him incorporating bebop influences into their trad style. Another time, when touring with Diz Disley's band, he was dumped in Germany with no money and no way to get home, because the band were so sick of him. Sometimes this was because of his temper and his unwillingness to suffer fools -- and he saw everyone else he ever met as a fool -- and sometimes it was because of his own rigorous musical ideas. He wanted to play music *his* way, and wouldn't listen to anyone who told him different. Both of these things got worse after he fell under the influence of a man named Phil Seaman, one of the only drummers that Baker respected at all. Seaman introduced Baker to African drumming, and Baker started incorporating complex polyrhythms into his playing as a result. Seaman also though introduced Baker to heroin, and while being a heroin addict in the UK in the 1960s was not as difficult as it later became -- both heroin and cocaine were available on prescription to registered addicts, and Baker got both, which meant that many of the problems that come from criminalisation of these drugs didn't affect addicts in the same way -- but it still did not, by all accounts, make him an easier person to get along with. But he *was* a fantastic drummer. As Dick Heckstall-Smith said "With the advent of Ginger, the classic Blues Incorporated line-up, one which I think could not be bettered, was set" But Alexis Korner decided that the group could be bettered, and he had some backers within the band. One of the other bands on the scene was the Don Rendell Quintet, a group that played soul jazz -- that style of jazz that bridged modern jazz and R&B, the kind of music that Ray Charles and Herbie Hancock played: [Excerpt: The Don Rendell Quintet, "Manumission"] The Don Rendell Quintet included a fantastic multi-instrumentalist, Graham Bond, who doubled on keyboards and saxophone, and Bond had been playing occasional experimental gigs with the Johnny Burch Octet -- a group led by another member of the Rendell Quartet featuring Heckstall-Smith, Bruce, Baker, and a few other musicians, doing wholly-improvised music. Heckstall-Smith, Bruce, and Baker all enjoyed playing with Bond, and when Korner decided to bring him into the band, they were all very keen. But Cyril Davies, the co-leader of the band with Korner, was furious at the idea. Davies wanted to play strict Chicago and Delta blues, and had no truck with other forms of music like R&B and jazz. To his mind it was bad enough that they had a sax player. But the idea that they would bring in Bond, who played sax and... *Hammond* organ? Well, that was practically blasphemy. Davies quit the group at the mere suggestion. Bond was soon in the band, and he, Bruce, and Baker were playing together a *lot*. As well as performing with Blues Incorporated, they continued playing in the Johnny Burch Octet, and they also started performing as the Graham Bond Trio. Sometimes the Graham Bond Trio would be Blues Incorporated's opening act, and on more than one occasion the Graham Bond Trio, Blues Incorporated, and the Johnny Burch Octet all had gigs in different parts of London on the same night and they'd have to frantically get from one to the other. The Graham Bond Trio also had fans in Manchester, thanks to the local blues scene there and their connection with Blues Incorporated, and one night in February 1963 the trio played a gig there. They realised afterwards that by playing as a trio they'd made £70, when they were lucky to make £20 from a gig with Blues Incorporated or the Octet, because there were so many members in those bands. Bond wanted to make real money, and at the next rehearsal of Blues Incorporated he announced to Korner that he, Bruce, and Baker were quitting the band -- which was news to Bruce and Baker, who he hadn't bothered consulting. Baker, indeed, was in the toilet when the announcement was made and came out to find it a done deal. He was going to kick up a fuss and say he hadn't been consulted, but Korner's reaction sealed the deal. As Baker later said "‘he said “it's really good you're doing this thing with Graham, and I wish you the best of luck” and all that. And it was a bit difficult to turn round and say, “Well, I don't really want to leave the band, you know.”'" The Graham Bond Trio struggled at first to get the gigs they were expecting, but that started to change when in April 1963 they became the Graham Bond Quartet, with the addition of virtuoso guitarist John McLaughlin. The Quartet soon became one of the hottest bands on the London R&B scene, and when Duffy Power, a Larry Parnes teen idol who wanted to move into R&B, asked his record label to get him a good R&B band to back him on a Beatles cover, it was the Graham Bond Quartet who obliged: [Excerpt: Duffy Power, "I Saw Her Standing There"] The Quartet also backed Power on a package tour with other Parnes acts, but they were also still performing their own blend of hard jazz and blues, as can be heard in this recording of the group live in June 1953: [Excerpt: The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)"] But that lineup of the group didn't last very long. According to the way Baker told the story, he fired McLaughlin from the group, after being irritated by McLaughlin complaining about something on a day when Baker was out of cocaine and in no mood to hear anyone else's complaints. As Baker said "We lost a great guitar player and I lost a good friend." But the Trio soon became a Quartet again, as Dick Heckstall-Smith, who Baker had wanted in the band from the start, joined on saxophone to replace McLaughlin's guitar. But they were no longer called the Graham Bond Quartet. Partly because Heckstall-Smith joining allowed Bond to concentrate just on his keyboard playing, but one suspects partly to protect against any future lineup changes, the group were now The Graham Bond ORGANisation -- emphasis on the organ. The new lineup of the group got signed to Decca by Vernon, and were soon recording their first single, "Long Tall Shorty": [Excerpt: The Graham Bond Organisation, "Long Tall Shorty"] They recorded a few other songs which made their way onto an EP and an R&B compilation, and toured intensively in early 1964, as well as backing up Power on his follow-up to "I Saw Her Standing There", his version of "Parchman Farm": [Excerpt: Duffy Power, "Parchman Farm"] They also appeared in a film, just like the Beatles, though it was possibly not quite as artistically successful as "A Hard Day's Night": [Excerpt: Gonks Go Beat trailer] Gonks Go Beat is one of the most bizarre films of the sixties. It's a far-future remake of Romeo and Juliet. where the two star-crossed lovers are from opposing countries -- Beatland and Ballad Isle -- who only communicate once a year in an annual song contest which acts as their version of a war, and is overseen by "Mr. A&R", played by Frank Thornton, who would later star in Are You Being Served? Carry On star Kenneth Connor is sent by aliens to try to bring peace to the two warring countries, on pain of exile to Planet Gonk, a planet inhabited solely by Gonks (a kind of novelty toy for which there was a short-lived craze then). Along the way Connor encounters such luminaries of British light entertainment as Terry Scott and Arthur Mullard, as well as musical performances by Lulu, the Nashville Teens, and of course the Graham Bond Organisation, whose performance gets them a telling-off from a teacher: [Excerpt: Gonks Go Beat!] The group as a group only performed one song in this cinematic masterpiece, but Baker also made an appearance in a "drum battle" sequence where eight drummers played together: [Excerpt: Gonks Go Beat drum battle] The other drummers in that scene included, as well as some lesser-known players, Andy White who had played on the single version of "Love Me Do", Bobby Graham, who played on hits by the Kinks and the Dave Clark Five, and Ronnie Verrell, who did the drumming for Animal in the Muppet Show. Also in summer 1964, the group performed at the Fourth National Jazz & Blues Festival in Richmond -- the festival co-founded by Chris Barber that would evolve into the Reading Festival. The Yardbirds were on the bill, and at the end of their set they invited Bond, Baker, Bruce, Georgie Fame, and Mike Vernon onto the stage with them, making that the first time that Eric Clapton, Ginger Baker, and Jack Bruce were all on stage together. Soon after that, the Graham Bond Organisation got a new manager, Robert Stigwood. Things hadn't been working out for them at Decca, and Stigwood soon got the group signed to EMI, and became their producer as well. Their first single under Stigwood's management was a cover version of the theme tune to the Debbie Reynolds film "Tammy". While that film had given Tamla records its name, the song was hardly an R&B classic: [Excerpt: The Graham Bond Organisation, "Tammy"] That record didn't chart, but Stigwood put the group out on the road as part of the disastrous Chuck Berry tour we heard about in the episode on "All You Need is Love", which led to the bankruptcy of Robert Stigwood Associates. The Organisation moved over to Stigwood's new company, the Robert Stigwood Organisation, and Stigwood continued to be the credited producer of their records, though after the "Tammy" disaster they decided they were going to take charge themselves of the actual music. Their first album, The Sound of 65, was recorded in a single three-hour session, and they mostly ran through their standard set -- a mixture of the same songs everyone else on the circuit was playing, like "Hoochie Coochie Man", "Got My Mojo Working", and "Wade in the Water", and originals like Bruce's "Train Time": [Excerpt: The Graham Bond Organisation, "Train Time"] Through 1965 they kept working. They released a non-album single, "Lease on Love", which is generally considered to be the first pop record to feature a Mellotron: [Excerpt: The Graham Bond Organisation, "Lease on Love"] and Bond and Baker also backed another Stigwood act, Winston G, on his debut single: [Excerpt: Winston G, "Please Don't Say"] But the group were developing severe tensions. Bruce and Baker had started out friendly, but by this time they hated each other. Bruce said he couldn't hear his own playing over Baker's loud drumming, Baker thought that Bruce was far too fussy a player and should try to play simpler lines. They'd both try to throw each other during performances, altering arrangements on the fly and playing things that would trip the other player up. And *neither* of them were particularly keen on Bond's new love of the Mellotron, which was all over their second album, giving it a distinctly proto-prog feel at times: [Excerpt: The Graham Bond Organisation, "Baby Can it Be True?"] Eventually at a gig in Golders Green, Baker started throwing drumsticks at Bruce's head while Bruce was trying to play a bass solo. Bruce retaliated by throwing his bass at Baker, and then jumping on him and starting a fistfight which had to be broken up by the venue security. Baker fired Bruce from the band, but Bruce kept turning up to gigs anyway, arguing that Baker had no right to sack him as it was a democracy. Baker always claimed that in fact Bond had wanted to sack Bruce but hadn't wanted to get his hands dirty, and insisted that Baker do it, but neither Bond nor Heckstall-Smith objected when Bruce turned up for the next couple of gigs. So Baker took matters into his own hands, He pulled out a knife and told Bruce "If you show up at one more gig, this is going in you." Within days, Bruce was playing with John Mayall, whose Bluesbreakers had gone through some lineup changes by this point. Roger Dean had only played with the Bluesbreakers for a short time before Mayall had replaced him. Mayall had not been impressed with Eric Clapton's playing with the Yardbirds at first -- even though graffiti saying "Clapton is God" was already starting to appear around London -- but he had been *very* impressed with Clapton's playing on "Got to Hurry", the B-side to "For Your Love": [Excerpt: The Yardbirds, "Got to Hurry"] When he discovered that Clapton had quit the band, he sprang into action and quickly recruited him to replace Dean. Clapton knew he had made the right choice when a month after he'd joined, the group got the word that Bob Dylan had been so impressed with Mayall's single "Crawling up a Hill" -- the one that nobody liked, not even Mayall himself -- that he wanted to jam with Mayall and his band in the studio. Clapton of course went along: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] That was, of course, the session we've talked about in the Velvet Underground episode and elsewhere of which little other than that survives, and which Nico attended. At this point, Mayall didn't have a record contract, his experience recording with Mike Vernon having been no more successful than the Bond group's had been. But soon he got a one-off deal -- as a solo artist, not with the Bluesbreakers -- with Immediate Records. Clapton was the only member of the group to play on the single, which was produced by Immediate's house producer Jimmy Page: [Excerpt: John Mayall, "I'm Your Witchdoctor"] Page was impressed enough with Clapton's playing that he invited him round to Page's house to jam together. But what Clapton didn't know was that Page was taping their jam sessions, and that he handed those tapes over to Immediate Records -- whether he was forced to by his contract with the label or whether that had been his plan all along depends on whose story you believe, but Clapton never truly forgave him. Page and Clapton's guitar-only jams had overdubs by Bill Wyman, Ian Stewart, and drummer Chris Winter, and have been endlessly repackaged on blues compilations ever since: [Excerpt: Jimmy Page and Eric Clapton, "Draggin' My Tail"] But Mayall was having problems with John McVie, who had started to drink too much, and as soon as he found out that Jack Bruce was sacked by the Graham Bond Organisation, Mayall got in touch with Bruce and got him to join the band in McVie's place. Everyone was agreed that this lineup of the band -- Mayall, Clapton, Bruce, and Hughie Flint -- was going places: [Excerpt: John Mayall's Bluesbreakers with Jack Bruce, "Hoochie Coochie Man"] Unfortunately, it wasn't going to last long. Clapton, while he thought that Bruce was the greatest bass player he'd ever worked with, had other plans. He was going to leave the country and travel the world as a peripatetic busker. He was off on his travels, never to return. Luckily, Mayall had someone even better waiting in the wings. A young man had, according to Mayall, "kept coming down to all the gigs and saying, “Hey, what are you doing with him?” – referring to whichever guitarist was onstage that night – “I'm much better than he is. Why don't you let me play guitar for you?” He got really quite nasty about it, so finally, I let him sit in. And he was brilliant." Peter Green was probably the best blues guitarist in London at that time, but this lineup of the Bluesbreakers only lasted a handful of gigs -- Clapton discovered that busking in Greece wasn't as much fun as being called God in London, and came back very soon after he'd left. Mayall had told him that he could have his old job back when he got back, and so Green was out and Clapton was back in. And soon the Bluesbreakers' revolving door revolved again. Manfred Mann had just had a big hit with "If You Gotta Go, Go Now", the same song we heard Dylan playing earlier: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] But their guitarist, Mike Vickers, had quit. Tom McGuinness, their bass player, had taken the opportunity to switch back to guitar -- the instrument he'd played in his first band with his friend Eric Clapton -- but that left them short a bass player. Manfred Mann were essentially the same kind of band as the Graham Bond Organisation -- a Hammond-led group of virtuoso multi-instrumentalists who played everything from hardcore Delta blues to complex modern jazz -- but unlike the Bond group they also had a string of massive pop hits, and so made a lot more money. The combination was irresistible to Bruce, and he joined the band just before they recorded an EP of jazz instrumental versions of recent hits: [Excerpt: Manfred Mann, "(I Can't Get No) Satisfaction"] Bruce had also been encouraged by Robert Stigwood to do a solo project, and so at the same time as he joined Manfred Mann, he also put out a solo single, "Drinkin' and Gamblin'" [Excerpt: Jack Bruce, "Drinkin' and Gamblin'"] But of course, the reason Bruce had joined Manfred Mann was that they were having pop hits as well as playing jazz, and soon they did just that, with Bruce playing on their number one hit "Pretty Flamingo": [Excerpt: Manfred Mann, "Pretty Flamingo"] So John McVie was back in the Bluesbreakers, promising to keep his drinking under control. Mike Vernon still thought that Mayall had potential, but the people at Decca didn't agree, so Vernon got Mayall and Clapton -- but not the other band members -- to record a single for a small indie label he ran as a side project: [Excerpt: John Mayall and Eric Clapton, "Bernard Jenkins"] That label normally only released records in print runs of ninety-nine copies, because once you hit a hundred copies you had to pay tax on them, but there was so much demand for that single that they ended up pressing up five hundred copies, making it the label's biggest seller ever. Vernon eventually convinced the heads at Decca that the Bluesbreakers could be truly big, and so he got the OK to record the album that would generally be considered the greatest British blues album of all time -- Blues Breakers, also known as the Beano album because of Clapton reading a copy of the British kids' comic The Beano in the group photo on the front. [Excerpt: John Mayall with Eric Clapton, "Ramblin' On My Mind"] The album was a mixture of originals by Mayall and the standard repertoire of every blues or R&B band on the circuit -- songs like "Parchman Farm" and "What'd I Say" -- but what made the album unique was Clapton's guitar tone. Much to the chagrin of Vernon, and of engineer Gus Dudgeon, Clapton insisted on playing at the same volume that he would on stage. Vernon later said of Dudgeon "I can remember seeing his face the very first time Clapton plugged into the Marshall stack and turned it up and started playing at the sort of volume he was going to play. You could almost see Gus's eyes meet over the middle of his nose, and it was almost like he was just going to fall over from the sheer power of it all. But after an enormous amount of fiddling around and moving amps around, we got a sound that worked." [Excerpt: John Mayall with Eric Clapton, "Hideaway"] But by the time the album cane out. Clapton was no longer with the Bluesbreakers. The Graham Bond Organisation had struggled on for a while after Bruce's departure. They brought in a trumpet player, Mike Falana, and even had a hit record -- or at least, the B-side of a hit record. The Who had just put out a hit single, "Substitute", on Robert Stigwood's record label, Reaction: [Excerpt: The Who, "Substitute"] But, as you'll hear in episode 183, they had moved to Reaction Records after a falling out with their previous label, and with Shel Talmy their previous producer. The problem was, when "Substitute" was released, it had as its B-side a song called "Circles" (also known as "Instant Party -- it's been released under both names). They'd recorded an earlier version of the song for Talmy, and just as "Substitute" was starting to chart, Talmy got an injunction against the record and it had to be pulled. Reaction couldn't afford to lose the big hit record they'd spent money promoting, so they needed to put it out with a new B-side. But the Who hadn't got any unreleased recordings. But the Graham Bond Organisation had, and indeed they had an unreleased *instrumental*. So "Waltz For a Pig" became the B-side to a top-five single, credited to The Who Orchestra: [Excerpt: The Who Orchestra, "Waltz For a Pig"] That record provided the catalyst for the formation of Cream, because Ginger Baker had written the song, and got £1,350 for it, which he used to buy a new car. Baker had, for some time, been wanting to get out of the Graham Bond Organisation. He was trying to get off heroin -- though he would make many efforts to get clean over the decades, with little success -- while Bond was starting to use it far more heavily, and was also using acid and getting heavily into mysticism, which Baker despised. Baker may have had the idea for what he did next from an article in one of the music papers. John Entwistle of the Who would often tell a story about an article in Melody Maker -- though I've not been able to track down the article itself to get the full details -- in which musicians were asked to name which of their peers they'd put into a "super-group". He didn't remember the full details, but he did remember that the consensus choice had had Eric Clapton on lead guitar, himself on bass, and Ginger Baker on drums. As he said later "I don't remember who else was voted in, but a few months later, the Cream came along, and I did wonder if somebody was maybe believing too much of their own press". Incidentally, like The Buffalo Springfield and The Pink Floyd, Cream, the band we are about to meet, had releases both with and without the definite article, and Eric Clapton at least seems always to talk about them as "the Cream" even decades later, but they're primarily known as just Cream these days. Baker, having had enough of the Bond group, decided to drive up to Oxford to see Clapton playing with the Bluesbreakers. Clapton invited him to sit in for a couple of songs, and by all accounts the band sounded far better than they had previously. Clapton and Baker could obviously play well together, and Baker offered Clapton a lift back to London in his new car, and on the drive back asked Clapton if he wanted to form a new band. Clapton was as impressed by Baker's financial skills as he was by his musicianship. He said later "Musicians didn't have cars. You all got in a van." Clearly a musician who was *actually driving a new car he owned* was going places. He agreed to Baker's plan. But of course they needed a bass player, and Clapton thought he had the perfect solution -- "What about Jack?" Clapton knew that Bruce had been a member of the Graham Bond Organisation, but didn't know why he'd left the band -- he wasn't particularly clued in to what the wider music scene was doing, and all he knew was that Bruce had played with both him and Baker, and that he was the best bass player he'd ever played with. And Bruce *was* arguably the best bass player in London at that point, and he was starting to pick up session work as well as his work with Manfred Mann. For example it's him playing on the theme tune to "After The Fox" with Peter Sellers, the Hollies, and the song's composer Burt Bacharach: [Excerpt: The Hollies with Peter Sellers, "After the Fox"] Clapton was insistent. Baker's idea was that the band should be the best musicians around. That meant they needed the *best* musicians around, not the second best. If Jack Bruce wasn't joining, Eric Clapton wasn't joining either. Baker very reluctantly agreed, and went round to see Bruce the next day -- according to Baker it was in a spirit of generosity and giving Bruce one more chance, while according to Bruce he came round to eat humble pie and beg for forgiveness. Either way, Bruce agreed to join the band. The three met up for a rehearsal at Baker's home, and immediately Bruce and Baker started fighting, but also immediately they realised that they were great at playing together -- so great that they named themselves the Cream, as they were the cream of musicians on the scene. They knew they had something, but they didn't know what. At first they considered making their performances into Dada projects, inspired by the early-twentieth-century art movement. They liked a band that had just started to make waves, the Bonzo Dog Doo-Dah Band -- who had originally been called the Bonzo Dog Dada Band -- and they bought some props with the vague idea of using them on stage in the same way the Bonzos did. But as they played together they realised that they needed to do something different from that. At first, they thought they needed a fourth member -- a keyboard player. Graham Bond's name was brought up, but Clapton vetoed him. Clapton wanted Steve Winwood, the keyboard player and vocalist with the Spencer Davis Group. Indeed, Winwood was present at what was originally intended to be the first recording session the trio would play. Joe Boyd had asked Eric Clapton to round up a bunch of players to record some filler tracks for an Elektra blues compilation, and Clapton had asked Bruce and Baker to join him, Paul Jones on vocals, Winwood on Hammond and Clapton's friend Ben Palmer on piano for the session. Indeed, given that none of the original trio were keen on singing, that Paul Jones was just about to leave Manfred Mann, and that we know Clapton wanted Winwood in the band, one has to wonder if Clapton at least half-intended for this to be the eventual lineup of the band. If he did, that plan was foiled by Baker's refusal to take part in the session. Instead, this one-off band, named The Powerhouse, featured Pete York, the drummer from the Spencer Davis Group, on the session, which produced the first recording of Clapton playing on the Robert Johnson song originally titled "Cross Road Blues" but now generally better known just as "Crossroads": [Excerpt: The Powerhouse, "Crossroads"] We talked about Robert Johnson a little back in episode ninety-seven, but other than Bob Dylan, who was inspired by his lyrics, we had seen very little influence from Johnson up to this point, but he's going to be a major influence on rock guitar for the next few years, so we should talk about him a little here. It's often said that nobody knew anything about Robert Johnson, that he was almost a phantom other than his records which existed outside of any context as artefacts of their own. That's... not really the case. Johnson had died a little less than thirty years earlier, at only twenty-seven years old. Most of his half-siblings and step-siblings were alive, as were his son, his stepson, and dozens of musicians he'd played with over the years, women he'd had affairs with, and other assorted friends and relatives. What people mean is that information about Johnson's life was not yet known by people they consider important -- which is to say white blues scholars and musicians. Indeed, almost everything people like that -- people like *me* -- know of the facts of Johnson's life has only become known to us in the last four years. If, as some people had expected, I'd started this series with an episode on Johnson, I'd have had to redo the whole thing because of the information that's made its way to the public since then. But here's what was known -- or thought -- by white blues scholars in 1966. Johnson was, according to them, a field hand from somewhere in Mississippi, who played the guitar in between working on the cotton fields. He had done two recording sessions, in 1936 and 1937. One song from his first session, "Terraplane Blues", had been a very minor hit by blues standards: [Excerpt: Robert Johnson, "Terraplane Blues"] That had sold well -- nobody knows how well, but maybe as many as ten thousand copies, and it was certainly a record people knew in 1937 if they liked the Delta blues, but ten thousand copies total is nowhere near the sales of really successful records, and none of the follow-ups had sold anything like that much -- many of them had sold in the hundreds rather than the thousands. As Elijah Wald, one of Johnson's biographers put it "knowing about Johnson and Muddy Waters but not about Leroy Carr or Dinah Washington was like knowing about, say, the Sir Douglas Quintet but not knowing about the Beatles" -- though *I* would add that the Sir Douglas Quintet were much bigger during the sixties than Johnson was during his lifetime. One of the few white people who had noticed Johnson's existence at all was John Hammond, and he'd written a brief review of Johnson's first two singles under a pseudonym in a Communist newspaper. I'm going to quote it here, but the word he used to talk about Black people was considered correct then but isn't now, so I'll substitute Black for that word: "Before closing we cannot help but call your attention to the greatest [Black] blues singer who has cropped up in recent years, Robert Johnson. Recording them in deepest Mississippi, Vocalion has certainly done right by us and by the tunes "Last Fair Deal Gone Down" and "Terraplane Blues", to name only two of the four sides already released, sung to his own guitar accompaniment. Johnson makes Leadbelly sound like an accomplished poseur" Hammond had tried to get Johnson to perform at the Spirituals to Swing concerts we talked about in the very first episodes of the podcast, but he'd discovered that he'd died shortly before. He got Big Bill Broonzy instead, and played a couple of Johnson's records from a record player on the stage. Hammond introduced those recordings with a speech: "It is tragic that an American audience could not have been found seven or eight years ago for a concert of this kind. Bessie Smith was still at the height of her career and Joe Smith, probably the greatest trumpet player America ever knew, would still have been around to play obbligatos for her...dozens of other artists could have been there in the flesh. But that audience as well as this one would not have been able to hear Robert Johnson sing and play the blues on his guitar, for at that time Johnson was just an unknown hand on a Robinsonville, Mississippi plantation. Robert Johnson was going to be the big surprise of the evening for this audience at Carnegie Hall. I know him only from his Vocalion blues records and from the tall, exciting tales the recording engineers and supervisors used to bring about him from the improvised studios in Dallas and San Antonio. I don't believe Johnson had ever worked as a professional musician anywhere, and it still knocks me over when I think of how lucky it is that a talent like his ever found its way onto phonograph records. We will have to be content with playing two of his records, the old "Walkin' Blues" and the new, unreleased, "Preachin' Blues", because Robert Johnson died last week at the precise moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall on December 23. He was in his middle twenties and nobody seems to know what caused his death." And that was, for the most part, the end of Robert Johnson's impact on the culture for a generation. The Lomaxes went down to Clarksdale, Mississippi a couple of years later -- reports vary as to whether this was to see if they could find Johnson, who they were unaware was dead, or to find information out about him, and they did end up recording a young singer named Muddy Waters for the Library of Congress, including Waters' rendition of "32-20 Blues", Johnson's reworking of Skip James' "Twenty-Two Twenty Blues": [Excerpt: Muddy Waters, "32-20 Blues"] But Johnson's records remained unavailable after their initial release until 1959, when the blues scholar Samuel Charters published the book The Country Blues, which was the first book-length treatment ever of Delta blues. Sixteen years later Charters said "I shouldn't have written The Country Blues when I did; since I really didn't know enough, but I felt I couldn't afford to wait. So The Country Blues was two things. It was a romanticization of certain aspects of black life in an effort to force the white society to reconsider some of its racial attitudes, and on the other hand it was a cry for help. I wanted hundreds of people to go out and interview the surviving blues artists. I wanted people to record them and document their lives, their environment, and their music, not only so that their story would be preserved but also so they'd get a little money and a little recognition in their last years." Charters talked about Johnson in the book, as one of the performers who played "minor roles in the story of the blues", and said that almost nothing was known about his life. He talked about how he had been poisoned by his common-law wife, about how his records were recorded in a pool hall, and said "The finest of Robert Johnson's blues have a brooding sense of torment and despair. The blues has become a personified figure of despondency." Along with Charters' book came a compilation album of the same name, and that included the first ever reissue of one of Johnson's tracks, "Preaching Blues": [Excerpt: Robert Johnson, "Preaching Blues"] Two years later, John Hammond, who had remained an ardent fan of Johnson, had Columbia put out the King of the Delta Blues Singers album. At the time no white blues scholars knew what Johnson looked like and they had no photos of him, so a generic painting of a poor-looking Black man with a guitar was used for the cover. The liner note to King of the Delta Blues Singers talked about how Johnson was seventeen or eighteen when he made his recordings, how he was "dead before he reached his twenty-first birthday, poisoned by a jealous girlfriend", how he had "seldom, if ever, been away from the plantation in Robinsville, Mississippi, where he was born and raised", and how he had had such stage fright that when he was asked to play in front of other musicians, he'd turned to face a wall so he couldn't see them. And that would be all that any of the members of the Powerhouse would know about Johnson. Maybe they'd also heard the rumours that were starting to spread that Johnson had got his guitar-playing skills by selling his soul to the devil at a crossroads at midnight, but that would have been all they knew when they recorded their filler track for Elektra: [Excerpt: The Powerhouse, "Crossroads"] Either way, the Powerhouse lineup only lasted for that one session -- the group eventually decided that a simple trio would be best for the music they wanted to play. Clapton had seen Buddy Guy touring with just a bass player and drummer a year earlier, and had liked the idea of the freedom that gave him as a guitarist. The group soon took on Robert Stigwood as a manager, which caused more arguments between Bruce and Baker. Bruce was convinced that if they were doing an all-for-one one-for-all thing they should also manage themselves, but Baker pointed out that that was a daft idea when they could get one of the biggest managers in the country to look after them. A bigger argument, which almost killed the group before it started, happened when Baker told journalist Chris Welch of the Melody Maker about their plans. In an echo of the way that he and Bruce had been resigned from Blues Incorporated without being consulted, now with no discussion Manfred Mann and John Mayall were reading in the papers that their band members were quitting before those members had bothered to mention it. Mayall was furious, especially since the album Clapton had played on hadn't yet come out. Clapton was supposed to work a month's notice while Mayall found another guitarist, but Mayall spent two weeks begging Peter Green to rejoin the band. Green was less than eager -- after all, he'd been fired pretty much straight away earlier -- but Mayall eventually persuaded him. The second he did, Mayall turned round to Clapton and told him he didn't have to work the rest of his notice -- he'd found another guitar player and Clapton was fired: [Excerpt: John Mayall's Bluesbreakers, "Dust My Blues"] Manfred Mann meanwhile took on the Beatles' friend Klaus Voorman to replace Bruce. Voorman would remain with the band until the end, and like Green was for Mayall, Voorman was in some ways a better fit for Manfred Mann than Bruce was. In particular he could double on flute, as he did for example on their hit version of Bob Dylan's "The Mighty Quinn": [Excerpt: Manfred Mann "The Mighty Quinn"] The new group, The Cream, were of course signed in the UK to Stigwood's Reaction label. Other than the Who, who only stuck around for one album, Reaction was not a very successful label. Its biggest signing was a former keyboard player for Screaming Lord Sutch, who recorded for them under the names Paul Dean and Oscar, but who later became known as Paul Nicholas and had a successful career in musical theatre and sitcom. Nicholas never had any hits for Reaction, but he did release one interesting record, in 1967: [Excerpt: Oscar, "Over the Wall We Go"] That was one of the earliest songwriting attempts by a young man who had recently named himself David Bowie. Now the group were public, they started inviting journalists to their rehearsals, which were mostly spent trying to combine their disparate musical influences --
Larry Hulst is the “Accidental” Rock Photographer. After returning from Vietnam in 1969 he started attending rock concerts in San Francisco as a fan and began photographing artists in performance. He spent 18 years selling his photos in front of Tower Records in Sacramento, CA. He's photographed a Who's Who of rock stars including Jimi Hendrix, Janis Joplin, Eric Clapton, George Harrison and Led Zeppelin. His works have been featured in album covers and reissues. 75 of Larry's photos currently are part of a traveling museum exhibition that has been featured in 45 museums. And he spent 33 years as a military photographer!My featured song is my reimagined live version of “I'm So Glad” from my new album “IT'S ALIVE!”. Spotify link.—--------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------Larry and Robert talk about the following:- His tour in Vietnam- Photographing at the Fillmore in S.F. in 1969- Selling his photos in front of Tower Records for 18 years- His work on album covers and reissues for Zeppelin, AC/DC, Springsteen- Meeting Robert Plant- Museum exhibition tour- Meeting George Harrison- 33 year military photography career—-------------------------------------“IT'S ALIVE!” is Robert's new Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at SteelStacks in Pennsylvania and The Nisville Jazz Festival in Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with Larry:www.larryhulst.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comPGS Store - www.thePGSstore.comYouTubeFacebook - www.facebook.com/projectgrandslamSpotify MusicApple MusicEmail - pgs@projectgrandslam.com
96-year-old, Major George Whittingham talks to Matthew Frost about a different era of Salvation Army music-making, recounting stories from life in the 1940s. Renowned composer, Sam Creamer, then discusses ‘So Glad!' with Matthew – a piece that paved the way for jazz and swing music becoming part of standard SA repertoire.In this episode we have a surprise ‘Bandmastermind'!‘Band Manager' and ‘Sparsely Scored' complete another jam-packed episode.Hosted by Matthew FrostProduced by Simon Gash Published by Music Editorial Audio extracts used with permission of SP&S Hosted on Acast. See acast.com/privacy for more information.
The One with Single People // In this series, we'll do a deep dive into topics that often get overlooked and under-discussed in the church, as part of the So Glad you Asked series. In this episode, we'll talk about where the church misses in serving singles, how we as a community can do better, and how I may be part of the problem. Thanks to our guests, Tamra, Ashlyn, and Jonathan. Mentions: Six-minute Seminars | Dialogue about issues that are traditionally not spoken of freely within the church.They Were Single Too: 8 Biblical Role Models Follow us Instagram | YouTube | Facebook Join us each Sunday | www.summitconnect.org/locations Reach Out | We'd love to connect with you!
| Welcome to the launch of the Muslim Moms' Favorite Things Series this month! Zaiba & Uzma are introducing the audience to products they use and love, and how to win some yourself in time for Eid. Fellas, this is where you want to shop this year because “happy wife, happy life,” right? If you're a business that was contacted to be featured on this series, get back to us already! Uzma is exhausted from all the stalking. If you weren't contacted and think you should be, email salam@mommyinghilemuslim.com. #podcastwork #sharekhayr Sorry we were late to the show tonight, but are SO GLAD you are tuning in to listen on Apple podcasts, Stitcher, Amazon Music or head to our website to listen to the episode.1. Web: www.mommyingwhilemuslim.com 2. Email: salam@mommyingwhilemuslim.com 3. FB: Mommying While Muslim page and Mommyingwhilemuslim group 4. River of Silver by S.A. Chakraborty 5. The Lean Startup by Eric Ries 6. IG: @mommyingwhilemuslimpodcast 7. YouTube: https://www.youtube.com/channel/UCrrdKxpBdBO4ZLwB1kTmz1wSupport the showWeb: www.mommyingwhilemuslim.comEmail: salam@mommyingwhilemuslim.comFB: Mommying While Muslim page and Mommyingwhilemuslim groupIG: @mommyingwhilemuslimpodcastYouTube: https://www.youtube.com/channel/UCrrdKxpBdBO4ZLwB1kTmz1w
Gang’s All Here: A NY Jets Football Podcast from New York Post Sports
On a new episode of the “Gang's All Here” podcast with Jake Brown and Brian Costello, the guys open the show talking about the Jets being very much alive for a playoff spot. They discuss Coz breaking the news that Mike White will return this week, the Zach Wilson era likely being over and the Jets new playoff scenario. They preview the big Jets must-win game against the Seahawks and make their predictions. (19:45) Former WFAN radio personality, “Oh The Pain” podcast host and rabid Jets fan Joe Benigno then joins the show. Benigno talks about his excitement that White is back at QB, what to do at QB next season, the potential of making the playoffs, evaluating Robert Saleh and the thrilling Mets offseason. Joe also shows off his voice with a singing performance of “I'm So Glad.” Learn more about your ad choices. Visit megaphone.fm/adchoices
Tommy James is one of the most iconic artists of the rock era. Here's all you need to know: 23 Gold singles, 9 Platinum albums, and over 100 million records sold. "Hanky Panky", "Mony Mony", "Crimson And Clover", "I Think We're Alone Now". In this episode Tommy tells stories and talks about his hits, his career, his relationship with Morris Levy of Roulette Records and the Mob, and much more. My featured song is my reimagined version of Cream's “I'm So Glad” from The PGS Experience album by my band, Project Grand Slam. Spotify link here.“Dream With Robert Miller”. Click here.---------------------------------------------If you enjoyed the show, please Subscribe, Rate, and Review. Just Click Here.Tommy and I discuss the following:The 1960sThree generations of fansElvis Presley“Hanky Panky”Roulette Records and Morris Levy“Mony Mony”Woodstock“Crimson and Clover”Sirius/XM showMusical of his autobiography “Live At SteelStacks” is the new 5-song EP by Robert and his band, Project Grand Slam. The release captures the band at the top of their game and shows off the breadth, scope and sound of the band. The EP has been highly praised by musicians and reviewers alike. Elliott Randall, of Steely Dan fame, the guitarist who recorded the unforgettable solos in ‘Reelin' In The Years', calls Live At SteelStacks “Captivating!”. Tony Carey, the incredible multi-talented artist who has produced Joe Cocker, Eric Burden and John Mayall, says “PGS burns down the house!”. Alan Hewitt of the Moody Blues says “Full of life!” Melody Maker says simply “Virtuoso musicians!”, and Hollywood Digest says “Such a great band!”. “Live At SteelStacks” can be streamed on Spotify, Amazon, Apple and all the other streaming platforms, and can be downloaded at The PGS Store.“All Of The Time” is Robert's most recent single by his band Project Grand Slam. It's a playful, whimsical love song. It's light and airy and exudes the happiness and joy of being in love. The reviewers agree. Melody Maker gives it 5 Stars and calls it “Pure bliss…An intimate sound with abundant melodic riches!”. Pop Icon also gives it 5 Stars and calls it “Ecstasy…One of the best all-around bands working today!”. And Mob York City says simply “Excellence…A band in full command of their powers!” Watch the video here. You can stream “All Of The Time” on Spotify, Apple or any of the other streaming platforms. And you can download it here.“The Shakespeare Concert” is the latest album by Robert's band, Project Grand Slam. It's been praised by famous musicians including Mark Farner of Grand Funk Railroad, Jim Peterik of the Ides Of March, Joey Dee of Peppermint Twist fame, legendary guitarist Elliott Randall, and celebrated British composer Sarah Class. The music reviewers have called it “Perfection!”, “5 Stars!”, “Thrilling!”, and “A Masterpiece!”. The album can be streamed on Spotify, Apple and all the other streaming services. You can watch the Highlight Reel HERE. And you can purchase a digital download or autographed CD of the album HERE. “The Fall Of Winter” is Robert's single in collaboration with legendary rocker Jim Peterik of the Ides Of March and formerly with Survivor. Also featuring renowned guitarist Elliott Randall (Steely Dan/Doobie Brothers) and keyboard ace Tony Carey (Joe Cocker/Eric Burden). “A triumph!” (The Indie Source). “Flexes Real Rock Muscle!” (Celebrity Zone). Stream it on Spotify or Apple. Watch the lyric video here. Download it here.Robert's “Follow Your Dream Handbook” is an Amazon #1 Bestseller. It's a combination memoir of his unique musical journey and a step by step how-to follow and succeed at your dream. Available on Amazon and wherever books are sold. Audio production:Jimmy Ravenscroft Connect with Tommy at:www.tommyjames.com Connect with the Follow Your Dream Podcast:WebsiteFacebookLinkedInEmail RobertYouTube Listen to the Follow Your Dream Podcast on these podcast platforms:CastBoxSpotifyApple Follow Robert's band, Project Grand Slam, and his music:WebsiteInstagramPGS StoreYouTubeFacebookSpotify MusicApple MusicEmail
Ted Nugent - the Motor City Madman - has had an extraordinary rock and roll career, first with the Amboy Dukes and then as a solo performer. In this incredible Encore Episode from February 2022 Ted talks all about his career and performs a mini-concert. Robert--------------------------Ted Nugent is a Rock 'n Roll force of nature!! The "Motor City Madman" has had one of the most remarkable careers in Rock n' Roll from the Amboy Dukes to his stellar solo career. He's sold over 40 million records. His guitar playing and stage act are legendary. From 1977-79 he was the highest grossing touring act in the world! This episode is a combination Rock n' Roll History Lesson, MasterClass and Concert, as Ted talks, yells, screams, plays guitar, sings and riffs on the greatness of Detroit Music! Plus a Songfest! My featured song in this episode is the live version of “I'm So Glad”, my reimagined take on Cream's hit song which my band, Project Grand Slam, recorded at the Nisville Jazz Festival in Serbia. Spotify link: https://open.spotify.com/track/0fLJ77SwdYy73DmhznTmdw?si=d_Uh3HD1TKi-iBShr9WKNg&dl_branch=1--------------------------------------------- In this episode Ted and I discuss:The spirit, energy and influence of all the great Detroit musicMitch Ryder and the Detroit WheelsJim McCarty's solo guitar work with Mitch RyderThe Vanilla Fudge and The RascalsTed's disdain for so much current musicThe Amboy DukesThe importance of the great Black musiciansThe Hitsville USA studio and soundSpectator sportsBow and Arrow hunting In the Songfest portion of the episode we listen to and discuss the following:“Journey To The Center Of The Mind” (Amboy Dukes)“Fred Bear”“The Great White Buffalo” If you enjoyed the show, please Subscribe, Rate, and Review. Just Click Here. “Live At SteelStacks” is the new 5-song EP by Robert and his band, Project Grand Slam. The release captures the band at the top of their game and shows off the breadth, scope and sound of the band. The EP has been highly praised by musicians and reviewers alike. Elliott Randall, of Steely Dan fame, the guitarist who recorded the unforgettable solos in ‘Reelin' In The Years', calls Live At SteelStacks “Captivating!”. Tony Carey, the incredible multi-talented artist who has produced Joe Cocker, Eric Burden and John Mayall, says “PGS burns down the house!”. Alan Hewitt of the Moody Blues says “Full of life!” Melody Maker says simply “Virtuoso musicians!”, and Hollywood Digest says “Such a great band!”. “Live At SteelStacks” can be streamed on Spotify, Amazon, Apple and all the other streaming platforms, and can be downloaded at The PGS Store. “All Of The Time” is Robert's most recent single by his band Project Grand Slam. It's a playful, whimsical love song. It's light and airy and exudes the happiness and joy of being in love. The reviewers agree. Melody Maker gives it 5 Stars and calls it “Pure bliss…An intimate sound with abundant melodic riches!”. Pop Icon also gives it 5 Stars and calls it “Ecstasy…One of the best all-around bands working today!”. And Mob York City says simply “Excellence…A band in full command of their powers!” Watch the video here. You can stream “All Of The Time” on Spotify, Apple or any of the other streaming platforms. And you can download it here. “The Shakespeare Concert” is the latest album by Robert's band, Project Grand Slam. It's been praised by famous musicians including Mark Farner of Grand Funk Railroad, Jim Peterik of the Ides Of March, Joey Dee of Peppermint Twist fame, legendary guitarist Elliott Randall, and celebrated British composer Sarah Class. The music reviewers have called it “Perfection!”, “5 Stars!”, “Thrilling!”, and “A Masterpiece!”. The album can be streamed on Spotify, Apple and all the other streaming services. You can watch the Highlight Reel HERE. And you can purchase a digital download or autographed CD of the album HERE. “The Fall Of Winter” is Robert's single in collaboration with legendary rocker Jim Peterik of the Ides Of March and formerly with Survivor. Also featuring renowned guitarist Elliott Randall (Steely Dan/Doobie Brothers) and keyboard ace Tony Carey (Joe Cocker/Eric Burden). “A triumph!” (The Indie Source). “Flexes Real Rock Muscle!” (Celebrity Zone). Stream it on Spotify or Apple. Watch the lyric video here. Download it here. Robert's “Follow Your Dream Handbook” is an Amazon #1 Bestseller. It's a combination memoir of his unique musical journey and a step by step how-to follow and succeed at your dream. Available on Amazon and wherever books are sold. Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:WebsiteFacebookLinkedInEmail RobertYouTube Listen to the Follow Your Dream Podcast on these podcast platforms:CastBoxSpotifyApple Follow Robert's band, Project Grand Slam, and his music:WebsiteInstagramPGS StoreYouTubeFacebookSpotify MusicApple MusicEmail
1876 Sports and Culture Podcast welcomes y'all back for another new episode. Locker Room Talk touches on the University's need to have leadership that connects with Prairie Views cultural values. The crew weighs in on a tough loss against Southern University on the field. Shaunetta highlights her take on the 5th Quarter between the Marching Storm and Human Jukebox. We were able to connect with Brian Barefield, CEO of Big Sarge Sports during I'm So Glad. Lastly, We Ready Shout Outs! We're talking culture, sports, and band in Pantherland. We'll keep you up to date on all the latest news at The HBCU of Texas. #wedoitfortheculture Follow us on all social media platforms @1876scp. Stream new shows every Tuesday!! Till next time, PPPVVV YOUU-KNOOWW!
We are SO GLAD our Chicago shows are back in action! We are breaking down all three for you on our night of Peacock TV. Med first, then Fire then PD as is only appropriate. What did you think of the premiere?? Give it a listen and share your thoughts with us, and don't forget to share and subscribe! #Chicago #OneChicago #ChicagoMed #Med #ChicagoFire #Fire #ChicagoPD #PD #Premiere #NBC #Peacock Intro song: It's Time for Change from MelodyLoops Facebook Group: One Chicago - Chicago Family Fan Club Email: familyfanclub2021@gmail.com Website: FamilyFanClub Twitter: @FamilyFanClubs Instagram: @familyfanclubs YouTube: Fandom Family Chats Facebook Page: Fandom Family Chats TikTok: FandomFamilyChats
It's another Tuesday, and the crew has yet again covered the hottest updates on The Hill. You know we'll warm you up with some Locker Room Talk, and discuss Prairie View's UPD parking enforcement. Next, we will take it to the field where Joe and Dr. Kenyatta recap on critical gameplay against Alabama State University. Shaunetta looks straight into the eye of the storm, and gives her forcast for the band. Gaati Werma will guide us through I'm So Glad with our guest, Head Volleyball Coach, TaCho Tyler. Lastly, we will close up with We Ready Shout Outs! We're talking culture, sports, and band in Pantherland. We'll keep you up to date on all the latest news at The HBCU of Texas. #wedoitfortheculture Follow us on all social media platforms @1876scp. Stream new shows every Tuesday!! Till next time, PPPVVV YOUU-KNOOWW!!
Kristi is an expert in Human Design, a speaker and author. I had never known what Human Design was all about and I am SO GLAD she was on to tell me all about it! You can find her website: www.kristihsullivan.com She's also on Facebook, Instagram and LinkedIn under her name! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/dawn9792/message
In This Episode, We Talk About: Life updates from home remodels to books and shows we're loving! What Melissa's daily routine looks like working from home with her 4-year-old twins! Things we think are overrated that everybody loves. Melissa's split second decision! Resources + Links: Check out these books mentioned in today's episode: Verity by Colleen Hoover City of Likes by Jenny Mollen Stephanie is loving Benefit Gimme Brow Follow Melissa on Instagram | Connect with Moms in Real Life on Instagram | @momsinreallifepodcast Follow Stephanie and Katie on Instagram! Stephanie Nguyen | @modernmilk Katie Kunz | @kunzandcrew and @newbornlifecoach WANT TO HAVE YOUR MOM STORY FEATURED ON THE PODCAST? Sent us an email at info@momsinreallife.com Find out more on our websites https://www.modernmilk.com/ www.katiekunz.com Show Notes: We're back with another mom friend!! Twin mom, Melissa Thompson is chatting with us all about juggling mom life, working from home, snack hacks, and the darndest things her 4-year-olds say and do! Along with getting to know today's guest, we're sharing our most recent favorites from books, to meals, and thoughts on keeping things simple or going ALL OUT when celebrating holidays! Whether you're joining us for the first time, or we go way back, we are SO GLAD to have you here! We'd love to hear a question you'd like us to answer! Shoot us a DM on Instagram! 02:00 Life updates: house remodels, Father's Day, and summertime! 06:20 Meet twin mama and Child Life Specialist turned Fragile Infant Specialist, Melissa Thompson. 09:40 How old are your twins now? 10:30 What does your daily routine look like working from home? 14:00 How our kids' routines and activities have changed as kids get older. 18:15 What is your family currently eating? 21:40 A Charcuterie board party. 26:15 What are you reading, watching, and listening to lately?35:00 What are you loving right now? 41:30 Something I hate/think is overrated that everybody else loves. 46:20 Do you keep it simple for holiday's or go over the top? 53:50 The time Melissa had to make a split decision. 58:00 How do you choose which kid needs your focus as a twin mom?01:03:00 The body part shaped Cheeto.
It may seem like feeling energized and ready to take on the day is a luxury but since we've had our little ball of energy Tom, I'm glad I put great habits in place years ago so I can love and serve at my highest level. Nourishing routines are how we stay READY to do what we want and need to do! I'm hosting a 5 Day Challenge called ELEVATE YOUR LIFE, our most popular challenge of the year, where I'lll teach and coach on how to build sustaining, nourishing habits that give you a life you love. It's JUNE 20-24 at noon eastern and you get lifetime access to the teaching and coaching replays and the bonuses when you purchase the class for only $37. DO NOT MISS THIS ONE! The value in this challenge/course is exponentially more than the investment you'll make and you'll be SO GLAD you set yourself up for this kind of life success. AND? We have so much good stuff planned! ******************************************** Everyone I know says they want to change their life. So few people I know actually do. The reason? They find change to be way harder than they anticipated and it's so easy to give up on yourself. You've probably been there too many times to count. You know something needs to change and you've really tried. But as soon as you get on track, life throws a curve ball at you. It feels like giving up on your goal is inevitable. Something HAS TO GIVE. I know, I've been there and I know the frustration. I also know the toll it took on me physically and on my emotional and mental health. I created my program just for YOU. FOR US. Join us in Life Mentoring School today!! ******************************************* ★ SUBSCRIBE ♡ TO THE YOUTUBE CHANNEL (https://youtube.com/c/EdieWadsworthlifementoring) ★ SUBSCRIBE ♡ TO THE PODCAST (https://podcasts.apple.com/us/podcast/the-life-mentoring-school-podcast/id1472947590) Also follow me at: ►http://instagram.com/ediewadsworth ►http://facebook.com/Dr.EdieWadsworth ►http://lifeingraceblog.com
It's been a journey, but here we are!! We are re-introducing ourselves in this quick 10-minute episode and chatting about season 4! We are so excited to keep this journey going!! If you're new or have been with us all along, thank you, we are SO GLAD to have you!! We'll see you for a new, full-length interview episode in two weeks. So much love!!xox Cody & Melissa-You can follow us @_wearethestigma on Instagram and Facebook-You can find Cody on Tiktok @codywkreutz and Instagram @codykreutz-Find Melissa on Instagram @_thepetitecactus and TikTok @melskreutz**The best way to support We Are The Stigma is by leaving us a five-star review on iTunes! Take a screenshot of your written review, and we'll send you any book our past guests wrote! It's a way we can support them and you!***As always, share with others, and reach out if you'd like to share your story https://wearethestigma.com/be-a-guest-on-our-show/
The Deep Purple Podcast Show Notes Episode #161 The Maze (M.I. Five) May 16, 2022 Subscribe at Apple Podcasts, Stitcher, Google Podcasts, Overcast, Pocket Casts, Anchor.fm, Breaker, PodBean, RadioPublic, Amazon Music, or search in your favorite podcatcher! How To Support Our Show: Leave us a 5-Star Review on Apple Podcasts Buy Merch at Our Etsy Store! Become a Patron on Patreon Donate on Paypal (Donate one time or click “make this a monthly donation” box) Donate to $DPPOD Using Cash App Brendan Ashbrook - Logo Designer Welcome Our Newest Patron(s): Karl Hellberg - NEW PATRON ALERT Patron Upgrade – JJ Stanard! Thanks to Our Executive Level Patrons: Apple Podcasts Reviews: Karl Hellberg - Sweden 5 Stars! Interesting and entertaining Deep Dive Podcast Network: Deep Dive Podcast Network http://deepdivepodcastnetwork.com/ Twitter: https://twitter.com/deepdivepodnet History of The Maze, Rod Evans, and Ian Paice • Rod Evans - vocals • Chris Banham - organ • Eric 'Jack' Keene - bass • Roger Lewis - guitar • Ian Paice – drums The Singles: M.I. FIVE 1. You'll Never Stop Me Loving You 00:00 2. Only Time Will Tell 03:32 THE MAZE 3. Hello Stranger 05:46 4. Telephone 08:30 5. Aria Del Sud 11:04 6. Non Fatemio Odiar 14:53 Thanks to Our Core Level Patrons: 7. Harlem Shuffle 18:59 8. What Now 22:10 9. The Trap 25:25 10. I'm So Glad 29:10 11. Catari Catari 32:41 12. Easy Street 35:16 Thanks To Our Foundation Level Patrons: For Further Information: https://bdeeppurplefanforum.runboard.com/t9625 https://garagehangover.com/maze-gigs-1966-1968/ http://www.deep-purple.net/tree/the-maze/deep-purple-the-maze.html http://60-70rock.blogspot.com/2015/06/the-maze-in66-67uk-feat-rod-evans-ian.html http://bandtoband.com/band/mi-five https://www.facebook.com/roderic.evans https://www.dpac.at/The_Maze_Lyrics1.html Pre Purple People liner notes by Simon Robinson Listen, Learn, Read On liner notes by Simon Robinson Listener Mail/Comments Comments about the show? Things you'd like us to cover? We'd love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.
Alright PV family.. the time has come. Our last episode of the season.
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