Podcasts about sugar pie desanto

Bobby Young and Nick Young of The Bobby Young Project join us in the studio today. For over 50 years Bobby has had a love affair with music, and the guitar. Strongly influenced by the likes of Hendrix, Clapton, Alvin Lee, Leslie West, Sly Stone and Freddie Stone, he has played and recorded with a long list of people including; The Natural Four, Sugar Pie DeSanto, Richard "Dimples" Fields, John Lee Hooker, Maria Muldaur, Jimmy McCracklin, Craig Horton, Snooky Flowers, Cool Papa, Archie Lee Hooker, Zakiya Hooker, and Alabama Mike.

Lisa complains about useless work meetings where nothing gets done. Pat has an astonishing number of BarcaLoungers in his house. Lisa is digging Sugar Pie DeSanto’s music. Pat and Lisa get into a discussion about “female” vs “woman”. Pat notices a very slow woman in his neighborhood. The “Trump Dance” …

durée : 00:54:47 - Et je remets le son - par : Matthieu Conquet - Oui le monde brûle ou sombre encore mais plusieurs voix dans cette rentrée pour aller mieux : Bad Bunny, Celeste, Dalí, Bosh, Greentea Peng... On parle aussi de Richard Russell et son projet Everything is Recorded et de l'inimitable Sugar Pie DeSanto.

Happy New Year from Work Your Soul! Join DJ Gail Smith for the first set of the year from the vinyl vaults Down Under with an across-the-board selection of top notch 45s. It's a whole hour filled with early R&B, northern soul bangers, mid-tempo cuts and sister funk with a nice little tribute to the late Sugar Pie DeSanto in there too.For more info and tracklisting, visit: https://thefaceradio.com/work-your-soul/Tune into new broadcasts of Work Your Soul, every 1st Sunday from 7 - 8 PM EST / Midnight - 1 AM GMT (Archives All Other Sunday).//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Sammy & Anita open the batting on a new year of Blow Up with 2 hours of music from The Specials, Paul Weller, The Verve and The Stone Roses.There are plenty more listener requests this week and a tribute to the legendary Sugar Pie DeSanto.For more info and tracklisting, visit: https://thefaceradio.com/blow-up/Tune into new broadcasts of Blow-Up! Sundays from 8 - 10 AM EST / 1 PM - 3 PM GMT, in association with Brisbane's 4ZZZ.//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

The Queens of the Blues podcast celebrates the prolific female blues music from the early 1920's to present times. This show, entitled “Strange Feeling” is entirely about Sugar Pie DeSanto.#sugarpiedesanto

durée : 00:59:02 - Le rossignol - par : Nathalie Piolé - Installez-vous confortablement, et tendez l'oreille: ce soir, un rossignol se cache parmi les notes...

Proceed with caution episode may contain ska and ska residue. May be inappropriate for some listeners. Pikidup. Sugar Pie DeSanto | In The Basement: The Chess Recordings | Slip-In Mules(Geffen)2017 The Slackers | Redlight | Married Girl(Pirates Pr...

Aujourd'hui gros dossier :  "Papa's Got a Brand New Bag" de James Brown, et sur la façon dont Brown est passé du statut d'artiste doo-wop mineur à celui de pionnier du funk. INTRO APPOLO James Brown, "Night Train" (version Live at the Apollo). The Ravens, "Rock Me All Night Long" The Fabulous Flames, "Do You Remember ?" Nat Kendrick and the Swans, "(Do the)" Mashed Potatoes". James Brown, "Hold It" James Brown and the Famous Flames, "Think !" Les "5" Royales, "Think" James Brown and the Famous Flames, "Think" Sugar Pie DeSanto, "Soulful Dress" James Brown et Bea Ford, "You Got the Power" Joe Tex, "You Keep Her" Yvonne Fair, "I Found You" James Brown, "Night Flying" The Valentinos, "Lookin' For a Love" Yvonne Fair, "You Can Make it if You Try" Freddie King, "I'm on My Way to Atlanta" Solomon Burke, "Cry to Me" James Brown and the Famous Flames, "Night Train" (version Live at the Apollo) James Brown & his orchestra, "Out of Sight" James Brown et son orchestre, "Caldonia" James Brown, "Out of Sight (TAMI show live)" The Barbarians, "Are You a Boy or Are You a Girl ?" Jan & Dean, "Here They Come From All Over The World" Chuck Berry & Gerry and the Pacemakers : "Maybellene" James Brown, "Out of Sight" (TAMI Show) The Rolling Stones, "Around and Around" Jimmy Wilson, "Tin Pan Alley" Monte Easter, "Blues in the Evening" Jimmy Nolen, "After Hours" Jimmy Nolen, "Jimmy's Jive" Johnny Otis, "Casting My Spell" Johnny Otis, "Willie and the Hand Jive" Bobby Gentry, "Ode to Billie Joe" James Brown, "Papa's Got a Brand New Bag" James Brown "Papa's Got a Brand New Bag (parts 1, 2, and 3)" James Brown, "Papa's Got a Brand New Bag"

Theme time and I'm going to break it to you slow…it's all about the negative and those that refuse. If there's something that's more prevalent in our lives than saying that we ‘want to'…it's when we don't want to. The ‘desire not to' seems to be winning over the ‘desire to' in our show today. We've got a collection of songs that all begin with the phrase “I Don't Want” in some form or another. We'll bring you the early sounds of The Blue Sky Boys and some country sounds of Jimmy Wakely from the hayloft, blues and soul from Magic Sam and that firecracker Sugar Pie DeSanto, and plenty of Americana from The Blasters, Wanda Jackson and Doug Sahm in our show today. It's going to be a romp because there's a lot of fodder to choose from when stubbornness is the theme. Tune into community radio for Sonoma County to find out. I don't want to spoil the theme…but not ‘wanting to' isn't always a bad thing…

As broadcast September 20, 2023 with plenty of independent-leaning and foreward-thinking vibes throughout.  Tonight we headed for Hamburg for a sampling of the audioscape of one of Germany's most interesting and industrial areas.  Traditionally the port of greater Germany, the city is notable for its exposure to cultures, products, and sounds that you won't find in other places around this European powerhouse of democracy.  Shouts to all the Hamburgers!#feelthegravityRound Trip to HamburgPart 1 (00:00)Sugar Pie DeSanto – The Woo-PeeRoisin Murphy & DJ Koze - CooCoolLANNÉ - One In A MillionUdo Lindenberg - Sonderzug nach PankowChris Evans & David Hanselman – Salisbury Plain Part 2 (30:03)Lotto King Karl - Hamburg, meine Perle Rhonda - CameraTocotronic - Mein RuinTocotronic – Hi FreaksAgajon – so simpleSamy Deluxe – ASD Track Part 3 (59:47)BOY - We Were HereNeonschwarz - Das goldene TicketKante – ZombiHerrenmagazin – Fruher war ich meistens traurigJan Delay - Liebe Part 4 (99:50)Hundreds - Our Past Olli Schulz – Wenn es gut istTonbandgerät - Lass die Dioden leuchtenLE SSERAFIM (르세라핌) 'UNFORGIVEN (feat. Nile Rodgers)Peggy Gou – I Go (DJ Koze Remix)

1. Van Morrison 2. Aldous Harding 3. Wilco 4. Graham Parker 5. Cowsills 6. Michael Chapman 7. Allison Russell 8. The Coral 9. Lucinda Williams 10. Los Lobos 11. Sugar Pie Desanto 12. Pleazers 13. Uncle Tupelo 14. Cowboy Junkies 15. Stiff Little Fingers

19. Little Feat / Sailin' Shoes (Demo) 20. Black Crowes / It's So Easy to Slip21. Red Wanting Blue / Hey 8422. Lyle Lovett / June 12th 23. Ally Venable w/ Buddy Guy / Texas, Louisiana 24. Nick Schnebelen / Ten Years After, 50 Years Later25. North Mississippi All Stars / See the Moon26. Screaming Cheetah Wheelies / Let the Child Ride 27. Joanne Shaw Taylor / Runaway  28. Melissa Etheridge / I've Been Loving You Too Long 29. Los Lonely Boys / She Came in Through the Bathroom Window (The Beatles) 30. Matt Whipkey / Word (Then Beatles) 31. Marcus King Band / One Day She's Here 32. Bernard Allison / Its a Man Down There33. Charley Crockett / I'm Just a Clown34. Lucinda Williams w/ Bruce Springsteen / New York Comeback Upcoming Shows & Events of InterestJune6 Cure, Fiddler's Green, Denver8 BSO's Biergarten Blues w/Blue House and the Rent to Own Horns: RATHSKELLER BIER HAUS & RESTAURANT, 4524 Farnam St!8 Chicago Blues Festival / Jay Pritzker Pavilion w/ Wayne Baker Brooks, Blind Boys of Alabama with Bobby Rush, Centennial Tribute to Albert King featuring Donald Kinsey, Larry McCray, Rico McFarland, Carl Weathersby and Tony Llorens9 The Bel Airs, The Jewell 9 Chicago Blues Festival  - Jay Pritzker Pavilion w/ 70th Anniversary of Delmark Records, Delmark All-Star Band including Dave Specter, Johnny Burgin, Larry Williams, Roosevelt Purifoy, Johnny Iguana, Steve Bell, and Big Ray        Featured performances by Bob Stroger, Sharon Lewis, Willie Buck, Dave Weld & Monica Myhre, Linsey Alexander & Nick Alexander, Shirley Johnson, and Willie Hayes        and Nora Jean Wallace, Jontavious Willis, Jimmy Burns Band, John Primer and the Real Deal Blues Band- Visit Mississippi Juke Joint Stage (South Promenade) w/ Mzz Reese, Lightnin' Malcolm, Eddie Cotton, Vasti Jackson- Rosa's Lounge (North Promenade) 12-6pm, Daily showcase of Chicago Blues legends and emerging artists that have called Rosa's Lounge home over the last 39 year        Stephen Hull, Big Mike and the R&B Kings featuring Sierra Green, Melody Angel, Eddie Taylor - 100th Birthday with the Taylor Family "the Taylor Family, Rico McFarland10 Chicago Blues Festival - Jay Pritzker Pavilion w/ Women in Blues - Deitra Farr, Katherine Davis and Sugar Pie DeSanto, Joe Pratt & The Source One Band, Sugaray Rayford, Demetria Taylor with The Mike Wheeler Band, Mud Morganfield- Visit Mississippi Juke Joint Stage (South Promenade) Chris Gill & The Sole Shakers, Rising Stars Fife & Drum Band, John Primer with Steve Bell, Super Chikan- Rosa's Lounge (North Promenade) 12-6pm w/ Dave Herrero and Friends, Matthew Skoller and Chicago Wind featuring: Precious Taylor, Milwaukee Slim with the Billy Flynn Band, Lynne Jordan and the Shivers, Rosa's Lounge Jam Session with Mary Lane, Lil Ed, Willie Buck, and Billy Branch11 Chicago Blues Festival- Jay Pritzker Pavilion w/ The Anthony Paule Soul Orchestra featuring Terrie Odabi, Stephen Hull, Sheryl Youngblood, Lil' Ed & The Blues Imperials, Los Lobos- Visit Mississippi Juke Joint Stage (South Promenade) Duwayne Burnside, Terry “Harmonica” Bean, Zac Harmon, O.B. Buchana- Rosa's Lounge (North Promenade) Wendy and DB with Blues Friends, The Ivy Ford Band, The Bear Williams Band, Gerald McClendon, Melvin Taylor & The Slack Band9-11 Summer Arts Festival13 Jackson Browne, Omaha 13 Counting Crowes, Steelhouse15 BSO's Biergarten Blues w/Bernard Allison: RATHSKELLER BIER HAUS & RESTAURANT, 4524 Farnam St!16 Pam Tillis, Barnato (Village Pointe, Omaha)16 Flaming Lips, Steel18 Father's Day 21 Elvis Costello and Nick Lowe, Steelhouse21 Marcia Ball & Ray Wylie Hubbard, Eureka Springs Auditorium (Arkansas)22 Charlie Crocket, Sokol22 BSO's Biergarten Blues w/Lil' Ed and the Blues Imperials: RATHSKELLER BIER HAUS & RESTAURANT, 4524 Farnam St!29 BSO's Biergarten Blues w/Selwyn Birchwood: RATHSKELLER BIER HAUS & RESTAURANT, 4524 Farnam St!30 Melissa Etheridge & Hermans Hermits, Memorial Park (free show) 

In this episode, we visit Richmond and hear about its rich music legacy. And we'll meet some dedicated locals who are remembering those golden years. And, they're also determined to keep the Blues in town and its history alive. Then, we meet a local rhythm and blues legend — Sugar Pie DeSanto — and learn how she got her start in the Fillmore District.

PLAYLIST Pacific St Blues & AmericanaMay 14, 2023“Don't be the best in town. Just be the best until the best comes around.” Buddy GuyRevisit today's show, and our archives at www.podomatic.com/podcasts/KIWRblues.com 1. Eric Clapton, Robert Cray, Hubert Sumlin / Killing Floor2. Trombone Shorty / Do to Me 3. Taj Mahal / One for My Baby (and One for the Road) 4. Charles Brown / Trouble Blues5. Ray Charles /  The Long and Winding Road 6. Dr. John / I Ate Up the Apple Tree7. Screaming Cheetah Wheelies / Right Place, Wrong Time 8. Keb Mo / Big Yellow Taxi9. Joni Mitchell w/ James Taylor / You Can Close Your Eyes10. Crystal Shawanda / Evil 11. Albert Cummings / Alive and Breathing12. Josh White / Freedom Road 13. Phil Ochs / I Ain't Marching Anymore 14. Staple Singers / We'll Get Over 15. Donny Hathaway / Someday, We'll All Be Free16. Cash Box Kings / Trying So Hard 17. Curtis Salgado / I'd Rather Be Blind 18. Ana Popovic / Strong Taste 19. Ally Venable w/ Joe Bonamassa / Broken and BlueUpcoming Shows & Events of InterestMay15 Beatles Tribute, Orpheum18 Travis, MAY 18 Thursday night at Gene Leahy Mall Ampitheater18 Big Al & The Heavyweights, Philly20 Kris Lager's Conduit, Bourbon Theatre, Lincoln20 Josh Hoyer, The Jewell20 Southern Culture on the Skids, Waiting Room25 Curtis Salgado, Waiting Room 26 Blue Venue @ B. Bar30 Seal and The Buggles, DenverJune1 BSO's Biergarten Blues w/ Rustry Wright and Laurie Morvan: RATHSKELLER BIER HAUS & RESTAURANT, 4524 Farnam St!2 Swampboy @ Soaring Wings Vineyard, Springfield, Nebraska2 Marcia Ball, Eureka Springs, Arkansas3 Soaring Wings Vineyard Blues, Booze & Balloons feat Vaness Collier6 Cure, Fiddler's Green, Denver8 BSO's Biergarten Blues w/Blue House and the Rent to Own Horns: RATHSKELLER BIER HAUS & RESTAURANT, 4524 Farnam St!8 Chicago Blues Festival / Jay Pritzker Pavilion w/ Wayne Baker Brooks, Blind Boys of Alabama with Bobby Rush, Centennial Tribute to Albert King featuring Donald Kinsey, Larry McCray, Rico McFarland, Carl Weathersby and Tony Llorens9 Chicago Blues Festival  - Jay Pritzker Pavilion w/ 70th Anniversary of Delmark Records, Delmark All-Star Band including Dave Specter, Johnny Burgin, Larry Williams, Roosevelt Purifoy, Johnny Iguana, Steve Bell, and Big Ray        Featured performances by Bob Stroger, Sharon Lewis, Willie Buck, Dave Weld & Monica Myhre, Linsey Alexander & Nick Alexander, Shirley Johnson, and Willie Hayes        and Nora Jean Wallace, Jontavious Willis, Jimmy Burns Band, John Primer and the Real Deal Blues Band- Visit Mississippi Juke Joint Stage (South Promenade) w/ Mzz Reese, Lightnin' Malcolm, Eddie Cotton, Vasti Jackson- Rosa's Lounge (North Promenade) 12-6pm, Daily showcase of Chicago Blues legends and emerging artists that have called Rosa's Lounge home over the last 39 year        Stephen Hull, Big Mike and the R&B Kings featuring Sierra Green, Melody Angel, Eddie Taylor - 100th Birthday with the Taylor Family "the Taylor Family, Rico McFarland10 Chicago Blues Festival - Jay Pritzker Pavilion w/ Women in Blues - Deitra Farr, Katherine Davis and Sugar Pie DeSanto, Joe Pratt & The Source One Band, Sugaray Rayford, Demetria Taylor with The Mike Wheeler Band, Mud Morganfield- Visit Mississippi Juke Joint Stage (South Promenade) Chris Gill & The Sole Shakers, Rising Stars Fife & Drum Band, John Primer with Steve Bell, Super Chikan- Rosa's Lounge (North Promenade) 12-6pm w/ Dave Herrero and Friends, Matthew Skoller and Chicago Wind featuring: Precious Taylor, Milwaukee Slim with the Billy Flynn Band, Lynne Jordan and the Shivers, Rosa's Lounge Jam Session with Mary Lane, Lil Ed, Willie Buck, and Billy Branch11 Chicago Blues Festival- Jay Pritzker Pavilion w/ The Anthony Paule Soul Orchestra featuring Terrie Odabi, Stephen Hull, Sheryl Youngblood, Lil' Ed & The Blues Imperials, Los Lobos- Visit Mississippi Juke Joint Stage (South Promenade) Duwayne Burnside, Terry “Harmonica” Bean, Zac Harmon, O.B. Buchana- Rosa's Lounge (North Promenade) Wendy and DB with Blues Friends, The Ivy Ford Band, The Bear Williams Band, Gerald McClendon, Melvin Taylor & The Slack Band9-11 Summer Arts Festival13 Jackson Browne, Omaha 15 BSO's Biergarten Blues w/Bernard Allison: RATHSKELLER BIER HAUS & RESTAURANT, 4524 Farnam St!16 Flaming Lips, Steel21 Elvis Costello and Nick Lowe, Omaha21 Marcia Ball & Ray Wylie Hubbard, Eureka Springs Auditorium (Arkansas)22 BSO's Biergarten Blues w/Lil' Ed and the Blues Imperials: RATHSKELLER BIER HAUS & RESTAURANT, 4524 Farnam St!29 BSO's Biergarten Blues w/Slewyn Birchwood: RATHSKELLER BIER HAUS & RESTAURANT, 4524 Farnam St!30 Melissa Etheridge & Hermans Hermits, Memorial Park (free show) July 1 Saturday in the Park, Sioux City 6 Larry McCray, Jazz on the Green, Turner Park, Midtown6-8 Zoo Fest, Zoo Bar8 Orchestra plays music of Dr. Dre13 Xperience, Jazz on the Green, Turner Park, Midtown14 Sugaray Rayford & Eddie V, (Playing With Fire)15 Twelve Bar Blues Band, Dom Martin Band, Justin Saladino, Blues Ed (Playing With Fire)15 Tori Amos @ Orpheum19 Little Feat & Leftover Salmon, Orpheum20 Ron Artis II, Jazz on the Green, Turner Park, Midtown25 Tedeshi Trucks Band @ Pinewood Bowl (Lincoln)25 Madonna, Ball Arena, Denver27 Bobby Watson, Jazz on the Green, Turner Park, Midtown28 Diana Krall @ Holland28 Fargo Blues Fest Day #1 w/ Tommy Castro, Sugaray Rayford, Hector Anchondo28 Maha Music Festival29 Boz Scaggs & Keb Mo / Orpheum 29 Fargo Blues Fest Day #2 w/ GA 20, Blood Brothers (Mike Zito & Albert Castiglia) 29 Diana Krall @ Hoyt Sherman, Des Moines30 Keb Mo, Hoyt Sherman (Des Moines) August 1 Rod Stewart, Mission Ballroom, Denver3 Chad Stoner, Jazz on the Green, Turner Park, Midtown4 New American Arts Festival, Benson area5 Gov't Mule / Stir Cove 5 In the Market for Blues (Toronzo Cannon, Hector Anchondo)10 Ana Popovic, Jazz on the Green, Turner Park, Midtown11 A.J. Croce / Admiral 11 Trombone Shorty, Mavis Staples, Robert Randolph & the Family Band, Ziggy Marley @ Pinewood Bowl (Lincoln) 11 Thorbjorn Risager & Black Tornado, Samatha Martin & Delta Sugar (Playing With Fire)12 Bywater Call, Joanne Shaw Taylor, Josh Hoyer & Soul Colossal, Blues Ed (Playing With Fire)14 Blues Traveler, Pinewood Bowl 20 Doobie Brothers, Pinewood Bowl27 Black Keys, Pinewood Bowl31 - 9/4 Kris Lager's Ozark Festival, ArkansasSeptember15-17 Telluride Blues Festival (Bonnie Raitt) October16 Peter Gabriel, Ball Arena, DenverNovember 10 Aerosmith w/ Black CrowesIn the Mood for a Getaway? (Regional Shows: Des Moines, KC, & Iowa City)Upcoming shows at the Starlight Theatre, Kansas City...May 26th, Chicago, May 10th, Steve Miller w/Cheap Trick, June 11, Barenaked Ladies, June 14, Doobie Brothers, June 15, Tyler ChildersJune 19, Matchbox 20June 30, Revivalist w/ Head and the HeartJuly 1, Young the Giant w/ Milky ChanceJuly 18, Foreigner w/ LoverboyRain - A Tribute to the BeatlesAugust 1,2,3,4,5,6'Jagged Little Pill' (Morisette play) August 25, The Black Keys, September 6. 3 Doors Down, Upcoming shows at Kansas City's Knuckleheads SaloonMay 18th, Hamilton LoomisMay 19th, Southern Culture on the Skids,May 25, 26, 27, The Mavericks,May 31st, Ally VenableJune 9th, Black Joe Lewis & the HoneybearsJune 10th, Robbie FulksJune 10th, Shawn PhillipsJune 15th, Pam TillisJune 15th, Bernard AllisonJune 30th, Tab BenoitJuly 5th, Larry McCrayJuly 7th James HunterJuly 29th Chubby CarrierAugust 4th, Hadden SayersUpcoming shows at the Hoyt Sherman in Des Moines include...May 16th, Martin SextonJuly 6th, Bela FleckJuly 19th, Ann WilsonJuly 29th, Diana KrallJuly 30th, Keb MoAug 4th, KansasAug 15th, The WallflowersAug 31st, Happy Together Tour Sept 8th, Herbie HancockSept 15th, MavericksSept 26th, Kenny Wayne ShepherdNov 5th, Steve Hackett (Genesis)Nov 15th, A.J. CroceThe Englert Theater in Iowa City has some good shows coming up this year.May 17th, The WailersMay 21st, Rickie Lee JonesJune 14th, James McMurtyJuly 11th, Bela FleckAugust 16th, The WallflowersAugust 28th, Devon Allman & Donovan FrankenreitherSept 10th, Ani DiFrancoSept 13th, The MavericksSept 20th, Herb AlpertOct 18th Tommy EmmanuelRed Rocks AmphitheatreJune 2nd, Michael FrantiJune 5th, Yeah Yeah YeahsJune 10th Big Head Todd & the MonstersJune 11th, Rodrigo y GabrielaJuly 12th, Al Green with Colorado SymphonyJune 23, 24, 25, Widespread PanicJune 28th Lyle LovettJune 29th The Head and the HeartJuly 1st, 311July 4th, Blues TravelersJuly 7, 8, 9, The Avett BrotehrsJuly 14,15,17, String Cheese IncidentJuly 17th, Tori AmosJuly 19, 29, CaampJuly 28, 29th, Tedeschi Trucks BandJuly 31st, Lucinda Willams and Big ThiefAug 6th, Joe BonamassaAug 7th, Govt MuleAug 15, 16, Beck and PhoenixAug 22, 23, Nathaniel Rateliff and the Night SweatsAug 25, 26, My Morning JacketAug 28, 29, Duran DuranSept 8,9, Brandi CarlileSept 11th, Steve Miller BandSept 14th, Revivalists and Band of HorsesSept 20, 21, StingSept 25th, Counting CrowsSept 27, 28, Tyler ChildersOct 16th, Ryan AdamsDenver's Blue Bird TheatreMay 16th, The Hoodoo GurusJune 12th, Del AmitriJune 21st, Melissa Etheridge, acoustic solo Aug 1st, Better Than Ezra

PLAYLIST Pacific St Blues & AmericanaApril 30, 202313. The Who / Please, Please, Please (James Brown)14. The Who / I'm a Man (Bo Diddley via' Muddy Waters)15. Slim Harpo / I Got Love if You Want It16. The High Numbers / I'm the Face 17. Sonny Boy Williamson / Eyesight to the Blind18. Eric Clapton / Eyesight to the Blind (Tommy OST) 19. Elton John / Pinball Wizard 20. The Who / Saturday Night's Alright for Fighting21. Mose Allison / Young Man Blues 22. The Who / Young Man Blues 23. Pete Townshend / On the Road Again (Tommy Johnson via' Floyd Jones, Canned Heat) 24. Pete Townshend / Corrina, Corrina (Bob Dylan, Taj Majal) 25. Keb Mo & Taj Mahal / Squeeze Box26. Richie Havens / Won't Get Fooled Again27. Betty LaVette / Love Reigh O'Er Me 28. Tina Turner / Acid Queen29. The Blasters / Daddy Rollin' Stone (Otis Blackwell)30. David Bowie / Anyway, Anyhow, Anywhere (Pinups: I Can't Explain) 31. The Who / Under My Thumb (Last Time) 32. Bruce Springsteen / Summertime Blues Upcoming Shows & Events of InterestMay2 Jason Isbell & Amythyst Kian, Orpheum4 Harper, B.Bar6 Built to Spill, Waiting Room6 Blues Society Annual Meeting (5 p.m.), B. Bar10 Big Al & The Heavyweights, Philly Sports Bar, LaVista 10 Pixies, Mission Ballroom, Denver11 Buddy Guy @ The Holland 12 The Killer, Steel Shed (Holland) 13 Matt Whipkey, Album Release (Beatles), Jewell15 Beatles Tribute, Orpheum18 Travis, MAY 18 Thursday night at Gene Leahy Mall Ampitheater18 Big Al & The Heavyweights, Philly20 Kris Lager's Conduit, Bourbon Theatre, Lincoln20 Josh Hoyer, The Jewell20 Southern Culture on the Skids, Waiting Room25 Curtis Salgado, Waiting Room 26 Blue Venue @ B. Bar30 Seal and The Buggles, DenverJune1 BSO's Biergarten Blues w/ Rustry Wright and Laurie Morvan: RATHSKELLER BIER HAUS & RESTAURANT, 4524 Farnam St!2 Swampboy @ Soaring Wings Vineyard, Springfield, Nebraska2 Marcia Ball, Eureka Springs, Arkansas3 Soaring Wings Vineyard Blues, Booze & Balloons feat Vaness Collier6 Cure, Fiddler's Green, Denver8 BSO's Biergarten Blues w/Blue House and the Rent to Own Horns: RATHSKELLER BIER HAUS & RESTAURANT, 4524 Farnam St!8 Chicago Blues Festival / Jay Pritzker Pavilion w/ Wayne Baker Brooks, Blind Boys of Alabama with Bobby Rush, Centennial Tribute to Albert King featuring Donald Kinsey, Larry McCray, Rico McFarland, Carl Weathersby and Tony Llorens9 Chicago Blues Festival  - Jay Pritzker Pavilion w/ 70th Anniversary of Delmark Records, Delmark All-Star Band including Dave Specter, Johnny Burgin, Larry Williams, Roosevelt Purifoy, Johnny Iguana, Steve Bell, and Big Ray        Featured performances by Bob Stroger, Sharon Lewis, Willie Buck, Dave Weld & Monica Myhre, Linsey Alexander & Nick Alexander, Shirley Johnson, and Willie Hayes        and Nora Jean Wallace, Jontavious Willis, Jimmy Burns Band, John Primer and the Real Deal Blues Band- Visit Mississippi Juke Joint Stage (South Promenade) w/ Mzz Reese, Lightnin' Malcolm, Eddie Cotton, Vasti Jackson- Rosa's Lounge (North Promenade) 12-6pm, Daily showcase of Chicago Blues legends and emerging artists that have called Rosa's Lounge home over the last 39 year        Stephen Hull, Big Mike and the R&B Kings featuring Sierra Green, Melody Angel, Eddie Taylor - 100th Birthday with the Taylor Family "the Taylor Family, Rico McFarland10 Chicago Blues Festival - Jay Pritzker Pavilion w/ Women in Blues - Deitra Farr, Katherine Davis and Sugar Pie DeSanto, Joe Pratt & The Source One Band, Sugaray Rayford, Demetria Taylor with The Mike Wheeler Band, Mud Morganfield- Visit Mississippi Juke Joint Stage (South Promenade) Chris Gill & The Sole Shakers, Rising Stars Fife & Drum Band, John Primer with Steve Bell, Super Chikan- Rosa's Lounge (North Promenade) 12-6pm w/ Dave Herrero and Friends, Matthew Skoller and Chicago Wind featuring: Precious Taylor, Milwaukee Slim with the Billy Flynn Band, Lynne Jordan and the Shivers, Rosa's Lounge Jam Session with Mary Lane, Lil Ed, Willie Buck, and Billy Branch11 Chicago Blues Festival- Jay Pritzker Pavilion w/ The Anthony Paule Soul Orchestra featuring Terrie Odabi, Stephen Hull, Sheryl Youngblood, Lil' Ed & The Blues Imperials, Los Lobos- Visit Mississippi Juke Joint Stage (South Promenade) Duwayne Burnside, Terry “Harmonica” Bean, Zac Harmon, O.B. Buchana- Rosa's Lounge (North Promenade) Wendy and DB with Blues Friends, The Ivy Ford Band, The Bear Williams Band, Gerald McClendon, Melvin Taylor & The Slack Band9-11 Summer Arts Festival13 Jackson Browne, Omaha 15 BSO's Biergarten Blues w/Bernard Allison: RATHSKELLER BIER HAUS & RESTAURANT, 4524 Farnam St!16 Flaming Lips, Steel21 Elvis Costello and Nick Lowe, Omaha21 Marcia Ball & Ray Wylie Hubbard, Eureka Springs Auditorium (Arkansas)22 BSO's Biergarten Blues w/Lil' Ed and the Blues Imperials: RATHSKELLER BIER HAUS & RESTAURANT, 4524 Farnam St!29 BSO's Biergarten Blues w/Slewyn Birchwood: RATHSKELLER BIER HAUS & RESTAURANT, 4524 Farnam St!30 Melissa Etheridge & Hermans Hermits, Memorial Park (free show) July 1 Saturday in the Park, Sioux City 6-8 Zoo Fest, Zoo Bar8 Orchestra plays music of Dr. Dre14 Sugaray Rayford & Eddie V, (Playing With Fire)15 Twelve Bar Blues Band, Dom Martin Band, Justin Saladino, Blues Ed (Playing With Fire)15 Tori Amos @ Orpheum19 Little Feat & Leftover Salmon, Orpheum25 Tedeshi Trucks Band @ Pinewood Bowl (Lincoln)25 Madonna, Ball Arena, Denver28 Diana Krall @ Holland28 Fargo Blues Fest Day #1 w/ Tommy Castro, Sugaray Rayford, Hector Anchondo28 Maha Music Festival29 28 Fargo Blues Fest Day #2 w/ GA 20, Blood Brothers (Mike Zito & Albert Castiglia) 29 Diana Krall @ Hoyt Sherman, Des MoinesAugust 1 Rod Stewart, Mission Ballroom, Denver4 New American Arts Festival, Benson area5 Gov't Mule / Stir Cove 5 In the Market for Blues (Toronzo Cannon, Hector Anchondo)11 A.J. Croce / Admiral 11 Trombone Shorty, Mavis Staples, Robert Randolph & the Family Band, Ziggy Marley @ Pinewood Bowl (Lincoln) 11 Thorbjorn Risager & Black Tornado, Samatha Martin & Delta Sugar (Playing With Fire)12 Bywater Call, Joanne Shaw Taylor, Josh Hoyer & Soul Colossal, Blues Ed (Playing With Fire)14 Blues Traveler, Pinewood Bowl 20 Doobie Brothers, Pinewood Bowl27 Black Keys, Pinewood Bowl31 - 9/4 Kris Lager's Ozark Festival, ArkansasSeptember15-17 Telluride Blues Festival (Bonnie Raitt) October16 Peter Gabriel, Ball Arena, DenverIn the Mood for a Getaway? (Regional Shows: Des Moines, KC, & Iowa City)Upcoming shows at the Starlight Theatre, Kansas City...May 5th, Robert Plant(Led Zeppelin) & Alison Krauss, May 26th, Chicago, May 10th, Steve Miller w/Cheap Trick, June 11, Barenaked Ladies, June 14, Doobie Brothers, June 15, Tyler ChildersJune 19, Matchbox 20June 30, Revivalist w/ Head and the HeartJuly 1, Young the Giant w/ Milky ChanceJuly 18, Foreigner w/ LoverboyRain - A Tribute to the BeatlesAugust 1,2,3,4,5,6'Jagged Little Pill' (Morisette play) August 25, The Black Keys, September 6. 3 Doors Down, Upcoming shows at Kansas City's Knuckleheads SaloonMay 11th, Brandon Santini,May 18th, Hamilton LoomisMay 19th, Southern Culture on the Skids,May 25, 26, 27, The Mavericks,May 31st, Ally VenableJune 9th, Black Joe Lewis & the HoneybearsJune 10th, Robbie FulksJune 10th, Shawn PhillipsJune 15th, Pam TillisJune 15th, Bernard AllisonJune 30th, Tab BenoitJuly 5th, Larry McCrayJuly 7th James HunterJuly 29th Chubby CarrierAugust 4th, Hadden SayersUpcoming shows at the Hoyt Sherman in Des Moines include...May 16th, Martin SextonJuly 6th, Bela FleckJuly 29th, Diana KrallAug 4th, KansasAug 15th, The WallflowersSept 8th, Herbie HancockSept 15th, MavericksSept 26th, Kenny Wayne ShepherdNov 5th, Steve Hackett (Genesis)The Englert Theater in Iowa City has some good shows coming up this year.May 17th, The WailersMay 21st, Rickie Lee JonesJune 14th, James McMurtyJuly 11th, Bela FleckAugust 16th, The WallflowersAugust 28th, Devon Allman & Donovan FrankenreitherSept 10th, Ani DiFrancoSept 13th, The MavericksSept 20th, Herb AlpertOct 18th Tommy EmmanuelRed Rocks AmphitheatreMay 13th, Gary Clark Jr. June 2nd, Michael FrantiJune 5th, Yeah Yeah YeahsJune 10th Big Head Todd & the MonstersJune 11th, Rodrigo y GabrielaJuly 12th, Al Green with Colorado SymphonyJune 23, 24, 25, Widespread PanicJune 28th Lyle LovettJune 29th The Head and the HeartJuly 1st, 311July 4th, Blues TravelersJuly 7, 8, 9, The Avett BrotehrsJuly 14,15,17, String Cheese IncidentJuly 17th, Tori AmosJuly 19, 29, CaampJuly 28, 29th, Tedeschi Trucks BandJuly 31st, Lucinda Willams and Big ThiefAug 6th, Joe BonamassaAug 7th, Govt MuleAug 15, 16, Beck and PhoenixAug 22, 23, Nathaniel Rateliff and the Night SweatsAug 25, 26, My Morning JacketAug 28, 29, Duran DuranSept 8,9, Brandi CarlileSept 11th, Steve Miller BandSept 14th, Revivalists and Band of HorsesSept 20, 21, StingSept 25th, Counting CrowsSept 27, 28, Tyler ChildersOct 16th, Ryan AdamsDenver's Blue Bird TheatreMay 16th, The Hoodoo GurusJune 12th, Del AmitriJune 21st, Melissa Etheridge, acoustic solo Aug 1st, Better Than Ezra

PLAYLIST Pacific St Blues & AmericanaApril 23, 2023 (part 2) 20. Blue House & the Rent to Own Horns / Mean Old Lady 21. Bonerama / Misty Mountain Hop  22. Matt Whipkey / It's Only Love 23. Ally Venable (feat Joe Bonamassa) /   Broken and Blue24. Anna Popovic / Doin' This 25. Tedeschi Trucks Band / Soul Sweet Song 26. Joann Shaw Taylor / I Won't Get Fooled Again 27. Bonnie Raitt / Living for the Ones28. Sue Foley / Boogie Real Low 29. Lucinda Williams w/ Bruce Springsteen / My New York Come Back30. Bruce Springsteen / Ghosts 31. Cash Box Kings / Oscars Hotel 32. Danielle Nicole / Burning for You 33. Joe Bonamassa / Never Make Your Move Too Soon 34. Nick Shenebelen / Ten Years After, Fifty Years LaterJune Chicago Blues Fest 8 Chicago Blues Festival / Jay Pritzker Pavilion w/ Wayne Baker Brooks, Blind Boys of Alabama with Bobby Rush, Centennial Tribute to Albert King featuring Donald Kinsey, Larry McCray, Rico McFarland, Carl Weathersby and Tony Llorens9 Chicago Blues Festival  - Jay Pritzker Pavilion w/ 70th Anniversary of Delmark Records, Delmark All-Star Band including Dave Specter, Johnny Burgin, Larry Williams, Roosevelt Purifoy, Johnny Iguana, Steve Bell, and Big Ray        Featured performances by Bob Stroger, Sharon Lewis, Willie Buck, Dave Weld & Monica Myhre, Linsey Alexander & Nick Alexander, Shirley Johnson, and Willie Hayes        and Nora Jean Wallace, Jontavious Willis, Jimmy Burns Band, John Primer and the Real Deal Blues Band- Visit Mississippi Juke Joint Stage (South Promenade) w/ Mzz Reese, Lightnin' Malcolm, Eddie Cotton, Vasti Jackson- Rosa's Lounge (North Promenade) 12-6pm, Daily showcase of Chicago Blues legends and emerging artists that have called Rosa's Lounge home over the last 39 year        Stephen Hull, Big Mike and the R&B Kings featuring Sierra Green, Melody Angel, Eddie Taylor - 100th Birthday with the Taylor Family "the Taylor Family, Rico McFarland10 Chicago Blues Festival - Jay Pritzker Pavilion w/ Women in Blues - Deitra Farr, Katherine Davis and Sugar Pie DeSanto, Joe Pratt & The Source One Band, Sugaray Rayford, Demetria Taylor with The Mike Wheeler Band, Mud Morganfield- Visit Mississippi Juke Joint Stage (South Promenade) Chris Gill & The Sole Shakers, Rising Stars Fife & Drum Band, John Primer with Steve Bell, Super Chikan- Rosa's Lounge (North Promenade) 12-6pm w/ Dave Herrero and Friends, Matthew Skoller and Chicago Wind featuring: Precious Taylor, Milwaukee Slim with the Billy Flynn Band, Lynne Jordan and the Shivers, Rosa's Lounge Jam Session with Mary Lane, Lil Ed, Willie Buck, and Billy Branch11 Chicago Blues Festival- Jay Pritzker Pavilion w/ The Anthony Paule Soul Orchestra featuring Terrie Odabi, Stephen Hull, Sheryl Youngblood, Lil' Ed & The Blues Imperials, Los Lobos- Visit Mississippi Juke Joint Stage (South Promenade) Duwayne Burnside, Terry “Harmonica” Bean, Zac Harmon, O.B. Buchana- Rosa's Lounge (North Promenade) Wendy and DB with Blues Friends, The Ivy Ford Band, The Bear Williams Band, Gerald McClendon, Melvin Taylor & The Slack Band

PLAYLIST Pacific St Blues & AmericanaApril 23, 2023“Don't be the best in town. Just be the best until the best comes around.” Buddy GuyRevisit today's show, and our archives at www.podomatic.com/podcasts/KIWRblues.com 1. Bobby Blue Bland / Ain't That Loving You2. Ray Charles w/ BB King / Sinners Prayer3. Johnny Adams / One Foot in the Blues4. Jimmy Smith (feat Keb Mo) / Over & Over 5. Kansas City Jay McShann / Confessin' the Blues6. Bob Stroger / Why Do Things Happen7. Nina Simone / I Think It's Gonna Rain8. Sharon Jones & the Dap Kings / Humble Me9. Boz Scaggs / I'll Be Long Gone 10. Chuck Levell / Mean Mistreater11. AJ Croce / So Much Fun 12. Curtis Salgado / The Harder They Come 13. The Nighthawks / Johnny Too Bad 14. Desmond Dekker / Isralites 15. Bonnie Raitt w/ Toots & the Maytall / True Love is Hard to Find 16. The Fabulous Thunderbirds / Wrap It Up 17. Paul Rodgers / I Thank You 18. Melissa Etheridge / Hold On, I'm Coming 19. Sam & Dave / I Can't Stand Up Upcoming Shows & Events of InterestApril28 The New Pornographers, Waiting Room (Neko Case) 29 Boo Boo Davis, The JewellMay2 Jason Isbell & Amythyst Kian, Orpheum4 Harper, B.Bar6 Built to Spill, Waiting Room6 Blues Society Annual Meeting (5 p.m.), B. Bar10 Big Al & The Heavyweights, Philly Sports Bar, LaVista 10 Pixies, Mission Ballroom, Denver11 Buddy Guy @ The Holland 12 The Killer, Steel Shed (Holland) 13 Matt Whipkey, Album Release (Beatles), Jewell15 Beatles Tribute, Orpheum18 Big Al & The Heavyweights, Philly20 Kris Lager's Conduit, Bourbon Theatre, Lincoln20 Southern Culture on the Skids, Waiting Room25 Curtis Salgado, Waiting Room 26 Blue Venue @ B. Bar30 Seal and The Buggles, DenverJune2 Marcia Ball, Eureka Springs, Arkansas3 Soaring Wings Vineyard Blues, Booze & Balloons6 Cure, Fiddler's Green, Denver8 Chicago Blues Festival / Jay Pritzker Pavilion w/ Wayne Baker Brooks, Blind Boys of Alabama with Bobby Rush, Centennial Tribute to Albert King featuring Donald Kinsey, Larry McCray, Rico McFarland, Carl Weathersby and Tony Llorens9 Chicago Blues Festival  - Jay Pritzker Pavilion w/ 70th Anniversary of Delmark Records, Delmark All-Star Band including Dave Specter, Johnny Burgin, Larry Williams, Roosevelt Purifoy, Johnny Iguana, Steve Bell, and Big Ray        Featured performances by Bob Stroger, Sharon Lewis, Willie Buck, Dave Weld & Monica Myhre, Linsey Alexander & Nick Alexander, Shirley Johnson, and Willie Hayes        and Nora Jean Wallace, Jontavious Willis, Jimmy Burns Band, John Primer and the Real Deal Blues Band- Visit Mississippi Juke Joint Stage (South Promenade) w/ Mzz Reese, Lightnin' Malcolm, Eddie Cotton, Vasti Jackson- Rosa's Lounge (North Promenade) 12-6pm, Daily showcase of Chicago Blues legends and emerging artists that have called Rosa's Lounge home over the last 39 year        Stephen Hull, Big Mike and the R&B Kings featuring Sierra Green, Melody Angel, Eddie Taylor - 100th Birthday with the Taylor Family "the Taylor Family, Rico McFarland10 Chicago Blues Festival - Jay Pritzker Pavilion w/ Women in Blues - Deitra Farr, Katherine Davis and Sugar Pie DeSanto, Joe Pratt & The Source One Band, Sugaray Rayford, Demetria Taylor with The Mike Wheeler Band, Mud Morganfield- Visit Mississippi Juke Joint Stage (South Promenade) Chris Gill & The Sole Shakers, Rising Stars Fife & Drum Band, John Primer with Steve Bell, Super Chikan- Rosa's Lounge (North Promenade) 12-6pm w/ Dave Herrero and Friends, Matthew Skoller and Chicago Wind featuring: Precious Taylor, Milwaukee Slim with the Billy Flynn Band, Lynne Jordan and the Shivers, Rosa's Lounge Jam Session with Mary Lane, Lil Ed, Willie Buck, and Billy Branch11 Chicago Blues Festival- Jay Pritzker Pavilion w/ The Anthony Paule Soul Orchestra featuring Terrie Odabi, Stephen Hull, Sheryl Youngblood, Lil' Ed & The Blues Imperials, Los Lobos- Visit Mississippi Juke Joint Stage (South Promenade) Duwayne Burnside, Terry “Harmonica” Bean, Zac Harmon, O.B. Buchana- Rosa's Lounge (North Promenade) Wendy and DB with Blues Friends, The Ivy Ford Band, The Bear Williams Band, Gerald McClendon, Melvin Taylor & The Slack Band9-11 Summer Arts Festival13 Jackson Browne, Omaha 16 Flaming Lips, Steel21 Elvis Costello and Nick Lowe, Omaha21 Marcia Ball & Ray Wylie Hubbard, Eureka Springs Auditorium (Arkansas)30 Melissa Etheridge & Hermans Hermits, Memorial Park (free show) July 1st Saturday in the Park, Sioux City 6-8 Zoo Fest, Zoo Bar8 Orchestra plays music of Dr. Dre14 Sugaray Rayford & Eddie V, (Playing With Fire)15 Twelve Bar Blues Band, Dom Martin Band, Justin Saladino, Blues Ed (Playing With Fire)15 Tori Amos @ Orpheum19 Little Feat & Leftover Salmon, Orpheum25 Tedeshi Trucks Band @ Pinewood Bowl (Lincoln)25 Madonna, Ball Arena, Denver28 Diana Krall @ Holland28 Fargo Blues Fest Day #1 w/ Tommy Castro, Sugaray Rayford, Hector Anchondo28 Maha Music Festival29 28 Fargo Blues Fest Day #2 w/ GA 20, Blood Brothers (Mike Zito & Albert Castiglia) 29 Diana Krall @ Hoyt Sherman, Des MoinesAugust 1 Rod Stewart, Mission Ballroom, Denver4 New American Arts Festival, Benson area5 Gov't Mule / Stir Cove 5 In the Market for Blues11 A.J. Croce / Admiral 11 Trombone Shorty, Mavis Staples, Robert Randolph & the Family Band, Ziggy Marley @ Pinewood Bowl (Lincoln) 11 Thorbjorn Risager & Black Tornado, Samatha Martin & Delta Sugar (Playing With Fire)12 Bywater Call, Joanne Shaw Taylor, Josh Hoyer & Soul Colossal, Blues Ed (Playing With Fire)14 Blues Traveler, Pinewood Bowl 20 Doobie Brothers, Pinewood Bowl27 Black Keys, Pinewood Bowl31 - 9/4 Kris Lager's Ozark Festival, ArkansasSeptember15-17 Telluride Blues Festival (Bonnie Raitt) October16 Peter Gabriel, Ball Arena, DenverIn the Mood for a Getaway? (Regional Shows: Des Moines, KC, & Iowa City)Upcoming shows at the Starlight Theatre, Kansas City...May 5th, Robert Plant(Led Zeppelin) & Alison Krauss, May 26th, Chicago, May 10th, Steve Miller w/Cheap Trick, June 11, Barenaked Ladies, June 14, Doobie Brothers, June 15, Tyler ChildersJune 19, Matchbox 20June 30, Revivalist w/ Head and the HeartJuly 1, Young the Giant w/ Milky ChanceJuly 18, Foreigner w/ LoverboyRain - A Tribute to the BeatlesAugust 1,2,3,4,5,6'Jagged Little Pill' (Morisette play) August 25, The Black Keys, September 6. 3 Doors Down, Upcoming shows at Kansas City's Knuckleheads SaloonApril 30th, The SadiesMay 11th, Brandon Santini,May 18th, Hamilton LoomisMay 19th, Southern Culture on the Skids,May 25, 26, 27, The Mavericks,May 31st, Ally VenableJune 9th, Black Joe Lewis & the HoneybearsJune 10th, Robbie FulksJune 10th, Shawn PhillipsJune 15th, Pam TillisJune 15th, Bernard AllisonJune 30th, Tab BenoitJuly 5th, Larry McCrayJuly 7th James HunterJuly 29th Chubby CarrierAugust 4th, Hadden SayersUpcoming shows at the Hoyt Sherman in Des Moines include...May 16th, Martin SextonJuly 6th, Bela FleckJuly 29th, Diana KrallAug 4th, KansasAug 15th, The WallflowersSept 8th, Herbie HancockSept 15th, MavericksSept 26th, Kenny Wayne ShepherdNov 5th, Steve Hackett (Genesis)The Englert Theater in Iowa City has some good shows coming up this year.April 21 & 22, David SedarisMay 17th, The WailersMay 21st, Rickie Lee JonesJune 14th, James McMurtyJuly 11th, Bela FleckAugust 16th, The WallflowersAugust 28th, Devon Allman & Donovan FrankenreitherSept 10th, Ani DiFrancoSept 13th, The MavericksSept 20th, Herb AlpertOct 18th Tommy EmmanuelRed Rocks AmphitheatreMay 13th, Gary Clark Jr. June 2nd, Michael FrantiJune 5th, Yeah Yeah YeahsJune 10th Big Head Todd & the MonstersJune 11th, Rodrigo y GabrielaJuly 12th, Al Green with Colorado SymphonyJune 23, 24, 25, Widespread PanicJune 28th Lyle LovettJune 29th The Head and the HeartJuly 1st, 311July 4th, Blues TravelersJuly 7, 8, 9, The Avett BrotehrsJuly 14,15,17, String Cheese IncidentJuly 17th, Tori AmosJuly 19, 29, CaampJuly 28, 29th, Tedeschi Trucks BandJuly 31st, Lucinda Willams and Big ThiefAug 6th, Joe BonamassaAug 7th, Govt MuleAug 15, 16, Beck and PhoenixAug 22, 23, Nathaniel Rateliff and the Night SweatsAug 25, 26, My Morning JacketAug 28, 29, Duran DuranSept 8,9, Brandi CarlileSept 11th, Steve Miller BandSept 14th, Revivalists and Band of HorsesSept 20, 21, StingSept 25th, Counting CrowsSept 27, 28, Tyler ChildersOct 16th, Ryan AdamsDenver's Blue Bird TheatreMay 16th, The Hoodoo GurusJune 12th, Del AmitriJune 21st, Melissa Etheridge, acoustic solo Aug 1st, Better Than Ezra

PLAYLIST Pacific St Blues & AmericanaApril 16, 2023“Don't be the best in town. Just be the best until the best comes around.” Buddy GuyRevisit today's show, and our archives at www.podomatic.com/podcasts/KIWRblues.com 1. Eric Bibb / Family2. Stephen Monroe / Storm3. A.J Croce / So Much Fun 4. Bob Malone (Oh Well, Fleetwood Mac) 5. Lucinda Williams feat Bruce Springsteen6. Bruce Springsteen / Jungleland 7. Diana Krall / Simple Twist of Fate 8. Joanna Shaw Taylor / Nobody's Fool9. Gov't Mule w/ Ruthie Foster & Ivan Neville / Dreaming Out Loud 10. Tedeschi Trucks Band / Last Night in the Rain 11. Little Feat / All That You Dream 12. Buddy Guy w/ Billy Gibbons / I'm Gonna Wear You Out13. Billy Gibbons w/ Larkin Poe / Stacking Bones 14. Christone Kingfish Ingram / Another Life Goes By 15. North Mississippi All Stars / See the Moon 16. Danielle Nicole / Cry No More 17. Bonnie Raitt / Blame It On Me 18. Rory Block / I'd Rather Go Blind (Etta James) 19. Etta James / Never My Love Upcoming Shows & Events of InterestApril22 Earth Day 22 Record Store Day28 The New Pornographers, Waiting Room (Neko Case) 29 Boo Boo Davis, The JewellMay2 Jason Isbell & Amythyst Kian, Orpheum4 Harper, B.Bar5 Gov't Mule, Orpheum 6 Built to Spill, Waiting Room6 Blues Society Annual Meeting (5 p.m.), B. Bar10 Big Al & The Heavyweights, Philly Sports Bar, LaVista 11 Buddy Guy @ The Holland 12 The Killer, Steel Shed (Holland) 15 Beatles Tribute, Orpheum18 Big Al & The Heavyweights, Philly20 Southern Culture on the Skids, Waiting Room25 Curtis Salgado, Waiting Room 26 Blue Venue @ B. BarJune2 Marcia Ball, Arkansas3 Soaring Wings Vineyard Blues, Booze & Balloons8 Chicago Blues Festival / Jay Pritzker Pavilion w/ Wayne Baker Brooks, Blind Boys of Alabama with Bobby Rush, Centennial Tribute to Albert King featuring Donald Kinsey, Larry McCray, Rico McFarland, Carl Weathersby and Tony Llorens9 Chicago Blues Festival  - Jay Pritzker Pavilion w/ 70th Anniversary of Delmark Records, Delmark All-Star Band including Dave Specter, Johnny Burgin, Larry Williams, Roosevelt Purifoy, Johnny Iguana, Steve Bell, and Big Ray        Featured performances by Bob Stroger, Sharon Lewis, Willie Buck, Dave Weld & Monica Myhre, Linsey Alexander & Nick Alexander, Shirley Johnson, and Willie Hayes        and Nora Jean Wallace, Jontavious Willis, Jimmy Burns Band, John Primer and the Real Deal Blues Band- Visit Mississippi Juke Joint Stage (South Promenade) w/ Mzz Reese, Lightnin' Malcolm, Eddie Cotton, Vasti Jackson- Rosa's Lounge (North Promenade) 12-6pm, Daily showcase of Chicago Blues legends and emerging artists that have called Rosa's Lounge home over the last 39 year        Stephen Hull, Big Mike and the R&B Kings featuring Sierra Green, Melody Angel, Eddie Taylor - 100th Birthday with the Taylor Family "the Taylor Family, Rico McFarland10 Chicago Blues Festival - Jay Pritzker Pavilion w/ Women in Blues - Deitra Farr, Katherine Davis and Sugar Pie DeSanto, Joe Pratt & The Source One Band, Sugaray Rayford, Demetria Taylor with The Mike Wheeler Band, Mud Morganfield- Visit Mississippi Juke Joint Stage (South Promenade) Chris Gill & The Sole Shakers, Rising Stars Fife & Drum Band, John Primer with Steve Bell, Super Chikan- Rosa's Lounge (North Promenade) 12-6pm w/ Dave Herrero and Friends, Matthew Skoller and Chicago Wind featuring: Precious Taylor, Milwaukee Slim with the Billy Flynn Band, Lynne Jordan and the Shivers, Rosa's Lounge Jam Session with Mary Lane, Lil Ed, Willie Buck, and Billy Branch11 Chicago Blues Festival- Jay Pritzker Pavilion w/ The Anthony Paule Soul Orchestra featuring Terrie Odabi, Stephen Hull, Sheryl Youngblood, Lil' Ed & The Blues Imperials, Los Lobos- Visit Mississippi Juke Joint Stage (South Promenade) Duwayne Burnside, Terry “Harmonica” Bean, Zac Harmon, O.B. Buchana- Rosa's Lounge (North Promenade) Wendy and DB with Blues Friends, The Ivy Ford Band, The Bear Williams Band, Gerald McClendon, Melvin Taylor & The Slack Band9-11 Summer Arts Festival13 Jackson Browne, Omaha 16 Flaming Lips, Steel21 Marcia Ball & Ray Wylie Hubbard, Eureka Springs Auditorium (Arkansas)July 1st Saturday in the Park, Sioux City 6-8 Zoo Fest, Zoo Bar8 Orchestra plays music of Dr. Dre14 Sugaray Rayford & Eddie V, (Playing With Fire)15 Twelve Bar Blues Band, Dom Martin Band, Justin Saladino, Blues Ed (Playing With Fire)15 Tori Amos @ Orpheum19 Little Feat & Leftover Salmon, Orpheum25 Tedeshi Trucks Band @ Pinewood Bowl (Lincoln)28 Diana Krall @ Holland28 Fargo Blues Fest Day #1 w/ Tommy Castro, Sugaray Rayford, Hector Anchondo28 Maha Music Festival29 28 Fargo Blues Fest Day #2 w/ GA 20, Blood Brothers (Mike Zito & Albert Castiglia) 29 Diana Krall @ Hoyt Sherman, Des MoinesAugust 4 New American Arts Festival, Benson area5 In the Market for Blues11 A,J, Croce, Admiral 11 Trombone Shorty, Mavis Staples, Robert Randolph & the Family Band, Ziggy Marley @ Pinewood Bowl (Lincoln) 11 Thorbjorn Risager & Black Tornado, Samatha Martin & Delta Sugar (Playing With Fire)12 Bywater Call, Joanne Shaw Taylor, Josh Hoyer & Soul Colossal, Blues Ed (Playing With Fire)14 Blues Traveler, Pinewood Bowl 20 Doobie Brothers, Pinewood Bowl27 Black Keys, Pinewood Bowl31 - 9/4 Kris Lager's Ozark Festival, ArkansasSeptember15-17 Telluride Blues Festival (Bonnie Raitt) In the Mood for a Getaway? (Regional Shows: Des Moines, KC, & Iowa City)Upcoming shows at the Starlight Theatre, Kansas City...May 5th, Robert Plant(Led Zeppelin) & Alison Krauss, May 26th, Chicago, May 10th, Steve Miller w/Cheap Trick, June 11, Barenaked Ladies, June 14, Doobie Brothers, June 15, Tyler ChildersJune 19, Matchbox 20June 30, Revivalist w/ Head and the HeartJuly 1, Young the Giant w/ Milky ChanceJuly 18, Foreigner w/ LoverboyRain - A Tribute to the BeatlesAugust 1,2,3,4,5,6'Jagged Little Pill' (Morisette play) August 25, The Black Keys, September 6. 3 Doors Down, Upcoming shows at Kansas City's Knuckleheads SaloonApril 19th, Rev Peyton's Big Damn BandMay 11th, Brandon Santini,May 20th, Southern Culture on the Skids,May 25, 26, 27, The Mavericks,Upcoming shows at the Hoyt Sherman in Des Moines include...July 29th, Diana KrallThe Englert Theater in Iowa City has some good shows coming up this year.April 21 & 22, David Sedaris

Two Cow Garage "Let the Boys Be Girls"Ramones "I Don't Wanna Go Down to the Basement"John Hammond "Shake For Me"Etta James "Something's Got a Hold on Me"Joel Paterson "After You've Gone"Eilen Jewell "Shakin' All Over"Nina Nastasia "Just Stay in Bed"Bob Dylan "I' LL Be Your Baby Tonight"Sonny Rollins Quintet "I've Grown Accustomed to Your Face"Tom Waits "Filipino Box Spring Hog"Drag the River "Calloused Heart"Kitty Wells "Forever Young"Elvis Costello "Sugar Won't Work"Big Mama Thornton "Everything Gonna Be Alright"John R. Miller "Lookin' Over My Shoulder"Superchunk "Me & You & Jackie Mittoo"Valerie June "Look At Miss Ohio"James Luther Dickinson "Dixie Fried"Andrew Bird "Faithless Ghost"Joan Shelley "Amberlit Morning (feat. Bill Callahan)"Garth Brooks "Friends in Low Places"Billy Joe Shaver "Played the Game Too Long"Craig Finn "Jester & June"Blondie "X Offender"Precious Bryant "Someday Baby"Guy Clark "My Favorite Picture of You"The Both "Milwaukee"Blue Mountain "Jimmy Carter"Muddy Waters "Champagne & Reefer"James McMurtry "Deaver's Crossing"Elvis Costello "Less Than zero"Spencer Dickinson "Cryin'"Sugar Pie DeSanto "I Don't Feel Sorry"Jerry Garcia "I'll Take a Melody"Langhorn Slim "House Of My Soul"Shannon Wright "St. Pete"Steve Earle "Lungs"Sweet Emma & Her Preservation Hall Jazz Band "Ice Cream"Peter Case "Ain't Gonna Worry No More"Lucero "Macon If We Make It"Dr. John "Right Place Wrong Time"The Black Crowes "Good Morning Captain"Tuba Skinny "Wee Midnight Hours"

Dave Bartholomew "That's How You Got Killed Before"Aimee Mann "Robert Lowell and Sylvia Plath"Slobberbone "Barrel Chested"Centro-Matic "Salty Disciple"Widespread Panic "Christmas Katie"R.E.M. "Losing My Religion"Betty Harris "There's A Break In The Road"Nicole Atkins "Brokedown Luck"Billy Joe Shaver "Georgia On a Fast Train"Professor Longhair "Mardi Gras In New Orleans"The Band "Rag Mama Rag"Gillian Welch "Hard Times"Hank Williams "Jambalaya (On The Bayou)"Tommy Ridgley "Looped"Chisel "Citizen Of Venus"Lightnin' Hopkins "Breakfast Time"The Dixie Cups "Iko Iko"The Deslondes "Muddy Water"Bonnie 'Prince' Billy "New Memory Box"Wilco "Falling Apart (Right Now)"Amanda Shires "Box Cutters"Willy Tea Taylor "Lost in a Song"Vic Chesnutt "Society Sue"Dolly Parton "Jolene"Iron &  Wine "Southern Anthem"Big Thief "Simulation Swarm"Drive-By Truckers "Mercy Buckets"Jelly Roll Morton "Mamie's Blues"Bob Dylan "Blind Willie McTell"MC5 "The American Ruse"Blind Willie McTell, Curley Weaver "Wee Midnight Hours"Cory Branan & Jon Snodgrass "The Corner"Memphis Minnie "Night Watchman Blues (Take 2)"Sugar Pie DeSanto "I Want To Know"Irvin Mayfield "New Second Line"Blue Lu Barker "Don't You Feel My Leg"Oscar "Papa" Celestin "Marie Laveau"Clifton Chenier "Black Snake Blues"Lucinda Williams "Crescent City"79rs Gang "Indian Red"Danny Barker & His Creole Cats "My Indian Red"Cousin Joe "A.B.C.'s Part 1"Cousin Joe "A.B.C.'s Part 2"James Booker "Junco Partner"Louis Armstrong "Back O' Town Blues"Dr. John "Big Chief"

Originally broadcast January 8, 2023Uwe went digging and found a record by one of James's favorite performers! Here's 2 more hours of our Mod and Soul dance party radio! Sugar Pie Desanto, Bobby Freeman, Jackie Lee, Fontella Bass, Billy Joe Royal, Chuck Jackson, some Louisville groups, and a whole lot more!Willie Mitchell / That Driving BeatThe Platters / Fear of Losing YouTed Taylor / The Loving PhysicianJoe Simon / Power of LoveThe Tams / How Long LoveJohnny Moore / A Dollar Ninety EightLittle Jerry Williams / Just What Do You Plan to Do About ItBobby Bland / Keep On Loving Me (You'll See The Change)The Soul Twins / She's The OneHerman's Hermits / For LoveClaude François / Si tu veux être heureuxMouse and The Traps / Cryin' InsideDon Covay & The Goodtimers / You Got Me On The Critical ListSharon Jones & The Dap-Kings / CalamityCarter Brothers / (She's So Fine) So Glad She's MineBobby Freeman / C'mon and SwimJackie Lee / The Shotgun and the DuckEarl Gains / It's Worth AnythingMark Valentino / Do It!Charlie Rich / Lonely WeekendsThe Blendtones / Come On HomeThe Chateaus / Moanin'Tommy Youngblood / Tremble WalkThe Mauds / Forever GoneLee Rogers / Love For A LoveFontella Bass / I Can't RestGeorge Freeman / Why Are You Doing This To MeTimmy Shaw / I'm A Lonely GuySugar Pie DeSanto / Soulful DressJackie Wilson / I'm So LonelyThe Dovells / You Can't Sit DownThe Emperors / KarateChuck Jackson / Beg MeBilly Joe Royal / Heart's DesireBarbara & Brenda / Hurtin' InsideSam Baker / I Can't Stand ItThe Ethics / I Want My Baby BackDora Hall / Pretty BoyMike Williams / If This Isn't LoveBrother Jack McDuff / Do It Now Hosted on Acast. See acast.com/privacy for more information.

Nos zambullimos en las valijas años 60 del legendario sello Chess de Chicago en busca de cartuchos de Rhythm n’ Soul y aderezando la sesión con jazz y otros sonidos de club. Playlist; ETTA JAMES “Mellow fellow” MITTY COLLIER “Get out” MARLENA SHAW “Let’s wade in the water” KOKO TAYLOR “Fire” KIP ANDERSON “A knife and a fork” BROTHER JACK McDUFF “Ain’t it” BOBBY MOORE AND THE RHYTHM ACES “Hey Mr DJ” LITTLE MILTON “Grits ain’t groceries” MUDDY WATERS “Messin’ with the man” BO DIDDLEY “Ooh baby” TOMMY TUCKER “Hi heel sneakers” JAMO THOMAS “Must I holler” RAMSEY LEWIS “Function and the junction” BILLY STEWART “Summertime” LOU DONALDSON “Musty rusty” SUGAR PIE DESANTO “I don’t wanna fuss” Escuchar audio

Billy Joe Shaver "If I Give My Soul"Big Mama Thornton "Wade In The Water"Drag the River "Here's to the Losers"Craig Finn "Ninety Bucks"Jenny Lewis With The Watson Twins "Rise Up with Fists!!"Bettye LaVette "I Hold No Grudge"Jack Logan "Metropolis"Slim Dunlap "From the Git Go"The Jesters "Jim Dandy And Sweet Sixteen"Nikki Lane "Right Time"Johnny Cash "The Walls of a Prison"Johnny Cash "Going to Memphis"Sugar Pie Desanto "I Want To Know"Tom Petty & The Heartbreakers "Walls (Circus)"Patti Smith, Thurston Moore and Lenny Kaye "The Last Hotel"Kevn Kinney "Kerouac"Michael Stipe "My Gang"R.E.M. "Near Wild Heaven"Better Oblivion Community Center "My City"Vic Chesnutt "Sleeping Man"Langhorne Slim & The Law "The Way We Move"Jay Farrar, Will Johnson, Yim Yames "Chorine My Sheba Queen"Ron Miles "Custodian Of The New"Dr. John "Little Liza Jane"The Como Mamas "Out of the Wilderness"Brittany Howard "He Loves Me"John Hammond, Jr. "Can't Beat the Kid"Allen Toussaint "Southern Nights"Bob Dylan "Going, Going, Gone"Bonnie Raitt "What Is Success"Steve Earle "Guitar Town"The Bottle Rockets "Indianapolis"Gillian Welch "White Freightliner Blues"Guy Clark "Old Friends"Jerry Garcia "I Saw Her Standing There"The Hold Steady "The Weekenders"Curtis Harding "Cruel World"Saun & Starr "Your Face Before My Eyes"Cedric Burnside "Get Down"Naomi Shelton "Humble Me"Valerie June "If And"Townes Van Zandt "Come Tomorrow"Have Gun, Will Travel "True Believers"

Patterson Hood "She's A Little Randy"The Bellrays "Love and Hard Times"JD McPherson "Just Around The Corner"Aretha Franklin "Do Right Woman Do Right Man"Marah "The Hustle"New Moon Jelly Roll Freedom Rockers "Come On Down To My House"Don Nix "Mary Louise"Don Nix "My Train's Done Come and Gone"Doris Duke "Feet Start Walking"Billy Bragg and Wilco "At My Window Sad and Lonely"Alabama Shakes "Hold On"Matt Woods "Lucero Song"Todd Farrell Jr. "Liner Notes"Esther Phillips "No Headstone on My Grave"Charlie Parr "817 Oakland Avenue"Col. Bruce Hampton & The Aquarium Rescue Unit "Yield Not To Temptation"Run The Jewels "JU$T"Miles Davis Quintet "Trane's Blues"Curtis Harding "I Won't Let You Down"Jolie Holland "Old Fashioned Morphine"Swamp Dogg "I Need a Job"Arrested Development "Never Had Your Back"Adia Victoria "Magnolia Blues"JD McPherson "Lust For Life / Sixteen"R.E.M. "Driver 8"Liz Phair "6'1""Big Star "O, My Soul"The Band "Smoke Signal"Nicole Atkins "Darkness Falls so Quiet"The Replacements "Achin' to Be"Two Cow Garage "Soundtrack to My Summer"Two Cow Garage "Lost On Youth"Old 97's "The One"Jason Isbell and the 400 Unit "Save It for Sunday"Marlena Shaw "California Soul"Art Blakey "Now's The Time"Sugar Pie DeSanto "Going Back Where I Belong"Precious Bryant "Broke And Ain't Got A Dime"John Moreland "East October"Jenny Lewis "Red Bull & Hennessy"

Playlist: Snatch It Back and Hold It – Junior Wells; Golden Girl Blues, If Your Phone Don't Ring, Live With Yourself, Heartache Is A One Way Street – Trudy Lynn; Life Goes On, Trouble With Love – Trudy Lynn, feat. Anson Funderburgh, gtr.; Trouble So Hard – Vera Ward Hall; Hello, San Francisco (Part I) – Sugar Pie Desanto; I Found the Lions – Carolyn Wonderland; The Devil Is An Angel, Too – Janiva Magness; Hound Dog – Big Mama Thornton; Eyes On the Prize – Mavis Staples, feat. Ry Cooder, gtr.; God's Mighty Hand – Sister Rosetta Tharpe; Fine and Mellow – Nellie Lutcher; Voodoo Chile – Trudy Lynn, feat. Eric Gales, gtr. Escuchar audio

Just in time for Christmas, singer-songwriter Aireene Espiritu is our featured guest. She shares her origin story and the motivation that drives to her help heel our world through music. She was born in the Philippines and moved to the United States at 10 years old, growing up in the third culture: the old country, the new country and a blend of both worlds. Mainly influenced by listening to Alan Lomax's field recordings from the South and growing up listening to her uncles' Filipino folk guitar fingerpicking, her music is reminiscent of front porch storytelling, of ghosts and the living, times of laughter and tears. She tours solo as well as with her band as Aireene & The Itch. Her fifth album, Back Where I Belong (2016), pays tribute to the great rhythm and blues artist Sugar Pie DeSanto along with favorite American and Filipino folk songs produced produced by Little Village Foundation, a non-profit label founded by venerable blues keyboardist Jim Pugh. The album has received positive recognition and reviews from KQED's The California Report, San Francisco Chronicle, Living Blues and No Depression magazines. 4.5 out of 5 stars review All About Jazz.A Color-Coded Symphony is her latest project which premiered at the San Francisco Asian Art Museum in 2017. This performance piece is a musical experience connecting the audience's ethnic origins to rhythms of the world and whose aim is to nurture curiosity and openness towards other cultures through music.We also hear from Tom Smyth, the co-host of St. Nick of Niles, an annual music event that he, along with singer-songwriter Michael McNevin, have created for the last 12 years to benefit the City of Fremont's "Giving Hope" program.

Episode one hundred and thirty-seven of A History of Rock Music in Five Hundred Songs looks at “Papa's Got a Brand New Bag” by James Brown, and at how Brown went from a minor doo-wop artist to the pioneer of funk. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "I'm a Fool" by Dino, Desi, and Billy. 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/ NB an early version of this was uploaded, in which I said "episode 136" rather than 137 and "flattened ninth" at one point rather than "ninth". I've fixed that in a new upload, which is otherwise unchanged. Resources As usual, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. I relied mostly on fur books for this episode. James Brown: The Godfather of Soul, by James Brown with Bruce Tucker, is a celebrity autobiography with all that that entails, but a more interesting read than many. Kill ‘Em and Leave: Searching for the Real James Brown, by James McBride is a more discursive, gonzo journalism piece, and well worth a read. Black and Proud: The Life of James Brown by Geoff Brown is a more traditional objective biography. And Douglas Wolk's 33 1/3 book on Live at the Apollo is a fascinating, detailed, look at that album. This box set is the best collection of Brown's work there is, but is out of print. This two-CD set has all the essential hits. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Introduction, the opening of Live at the Apollo. "So now, ladies and gentlemen, it is star time. Are you ready for star time? [Audience cheers, and gives out another cheer with each musical sting sting] Thank you, and thank you very kindly. It is indeed a great pleasure to present to you in this particular time, national and international known as the hardest working man in showbusiness, Man that sing "I'll Go Crazy"! [sting] "Try Me" [sting] "You've Got the Power" [sting] "Think" [sting], "If You Want Me" [sting] "I Don't Mind" [sting] "Bewildered" [sting] million-dollar seller "Lost Someone" [sting], the very latest release, "Night Train" [sting] Let's everybody "Shout and Shimmy" [sting] Mr. Dynamite, the amazing Mr. Please Please himself, the star of the show, James Brown and the Famous Flames"] In 1951, the composer John Cage entered an anechoic chamber at Harvard University. An anechoic chamber is a room that's been completely soundproofed, so no sound can get in from the outside world, and in which the walls, floor, and ceiling are designed to absorb any sounds that are made. It's as close as a human being can get to experiencing total silence. When Cage entered it, he expected that to be what he heard -- just total silence. Instead, he heard two noises, a high-pitched one and a low one. Cage was confused by this -- why hadn't he heard the silence? The engineer in charge of the chamber explained to him that what he was hearing was himself -- the high-pitched noise was Cage's nervous system, and the low-pitched one was his circulatory system. Cage later said about this, "Until I die there will be sounds. And they will continue following my death. One need not fear about the future of music." The experience inspired him to write his most famous piece, 4'33, in which a performer attempts not to make any sound for four minutes and thirty-three seconds. The piece is usually described as being four minutes and thirty-three seconds of silence, but it actually isn't -- the whole point is that there is no silence, and that the audience is meant to listen to the ambient noise and appreciate that noise as music. Here is where I would normally excerpt the piece, but of course for 4'33 to have its full effect, one has to listen to the whole thing. But I can excerpt another piece Cage wrote. Because on October the twenty-fourth 1962 he wrote a sequel to 4'33, a piece he titled 0'00, but which is sometimes credited as "4'33 no. 2". He later reworked the piece, but the original score, which is dedicated to two avant-garde Japanese composers, Toshi Ichiyanagi and his estranged wife Yoko Ono, reads as follows: "In a situation provided with maximum amplification (no feedback), perform a disciplined action." Now, as it happens, we have a recording of someone else performing Cage's piece, as written, on the day it was written, though neither performer nor composer were aware that that was what was happening. But I'm sure everyone can agree that this recording from October the 24th, 1962, is a disciplined action performed with maximum amplification and no feedback: [Excerpt: James Brown, "Night Train" (Live at the Apollo version)] When we left James Brown, almost a hundred episodes ago, he had just had his first R&B number one, with "Try Me", and had performed for the first time at the venue with which he would become most associated, the Harlem Apollo, and had reconnected with the mother he hadn't seen since he was a small child. But at that point, in 1958, he was still just the lead singer of a doo-wop group, one of many, and there was nothing in his shows or his records to indicate that he was going to become anything more than that, nothing to distinguish him from King Records labelmates like Hank Ballard, who made great records, put on a great live show, and are still remembered more than sixty years later, but mostly as a footnote. Today we're going to look at the process that led James Brown from being a peer of Ballard or Little Willie John to being arguably the single most influential musician of the second half of the twentieth century. Much of that influence is outside rock music, narrowly defined, but the records we're going to look at this time and in the next episode on Brown are records without which the entire sonic landscape of the late twentieth and early twenty-first centuries would be unimaginably different. And that process started in 1958, shortly after the release of "Try Me" in October that year, with two big changes to Brown's organisation. The first was that this was -- at least according to Brown -- when he first started working with Universal Attractions, a booking agency run by a man named Ben Bart, who before starting his own company had spent much of the 1940s working for Moe Gale, the owner of the Savoy Ballroom and manager of the Ink Spots, Louis Jordan, and many of the other acts we looked at in the very first episodes of this podcast. Bart had started his own agency in 1945, and had taken the Ink Spots with him, though they'd returned to Gale a few years later, and he'd been responsible for managing the career of the Ravens, one of the first bird groups: [Excerpt: The Ravens, "Rock Me All Night Long"] In the fifties, Bart had become closely associated with King Records, the label to which Brown and the Famous Flames were signed. A quick aside here -- Brown's early records were released on Federal Records, and later they switched to being released on King, but Federal was a subsidiary label for King, and in the same way that I don't distinguish between Checker and Chess, Tamla and Motown, or Phillips and Sun, I'll just refer to King throughout. Bart and Universal Attractions handled bookings for almost every big R&B act signed by King, including Tiny Bradshaw, Little Willie John, the "5" Royales, and Hank Ballard and the Midnighters. According to some sources, the Famous Flames signed with Universal Attractions at the same time they signed with King Records, and Bart's family even say it was Bart who discovered them and got them signed to King in the first place. Other sources say they didn't sign with Universal until after they'd proved themselves on the charts. But everyone seems agreed that 1958 was when Bart started making Brown a priority and taking an active interest in his career. Within a few years, Bart would have left Universal, handing the company over to his son and a business partner, to devote himself full-time to managing Brown, with whom he developed an almost father-son relationship. With Bart behind them, the Famous Flames started getting better gigs, and a much higher profile on the chitlin circuit. But around this time there was another change that would have an even more profound effect. Up to this point, the Famous Flames had been like almost every other vocal group playing the chitlin' circuit, in that they hadn't had their own backing musicians. There were exceptions, but in general vocal groups would perform with the same backing band as every other act on a bill -- either a single backing band playing for a whole package tour, or a house band at the venue they were playing at who would perform with every act that played that venue. There would often be a single instrumentalist with the group, usually a guitarist or piano player, who would act as musical director to make sure that the random assortment of musicians they were going to perform with knew the material. This was, for the most part, how the Famous Flames had always performed, though they had on occasion also performed their own backing in the early days. But now they got their own backing band, centred on J.C. Davis as sax player and bandleader, Bobby Roach on guitar, Nat Kendrick on drums, and Bernard Odum on bass. Musicians would come and go, but this was the core original lineup of what became the James Brown Band. Other musicians who played with them in the late fifties were horn players Alfred Corley and Roscoe Patrick, guitarist Les Buie, and bass player Hubert Perry, while keyboard duties would be taken on by Fats Gonder, although James Brown and Bobby Byrd would both sometimes play keyboards on stage. At this point, as well, the lineup of the Famous Flames became more or less stable. As we discussed in the previous episode on Brown, the original lineup of the Famous Flames had left en masse when it became clear that they were going to be promoted as James Brown and the Famous Flames, with Brown getting more money, rather than as a group. Brown had taken on another vocal group, who had previously been Little Richard's backing vocalists, but shortly after "Try Me" had come out, but before they'd seen any money from it, that group had got into an argument with Brown over money he owed them. He dropped them, and they went off to record unsuccessfully as the Fabulous Flames on a tiny label, though the records they made, like "Do You Remember", are quite good examples of their type: [Excerpt: The Fabulous Flames, "Do You Remember?"] Brown pulled together a new lineup of Famous Flames, featuring two of the originals. Johnny Terry had already returned to the group earlier, and stayed when Brown sacked the rest of the second lineup of Flames, and they added Lloyd Bennett and Bobby Stallworth. And making his second return to the group was Bobby Byrd, who had left with the other original members, joined again briefly, and then left again. Oddly, the first commercial success that Brown had after these lineup changes was not with the Famous Flames, or even under his own name. Rather, it was under the name of his drummer, Nat Kendrick. Brown had always seen himself, not primarily as a singer, but as a band leader and arranger. He was always a jazz fan first and foremost, and he'd grown up in the era of the big bands, and musicians he'd admired growing up like Lionel Hampton and Louis Jordan had always recorded instrumentals as well as vocal selections, and Brown saw himself very much in that tradition. Even though he couldn't read music, he could play several instruments, and he could communicate his arrangement ideas, and he wanted to show off the fact that he was one of the few R&B musicians with his own tight band. The story goes that Syd Nathan, the owner of King Records, didn't like the idea, because he thought that the R&B audience at this point only wanted vocal tracks, and also because Brown's band had previously released an instrumental which hadn't sold. Now, this is a definite pattern in the story of James Brown -- it seems that at every point in Brown's career for the first decade, Brown would come up with an idea that would have immense commercial value, Nathan would say it was the most ridiculous thing he'd ever heard, Brown would do it anyway, and Nathan would later admit that he was wrong. This is such a pattern -- it apparently happened with "Please Please Please", Brown's first hit, *and* "Try Me", Brown's first R&B number one, and we'll see it happen again later in this episode -- that one tends to suspect that maybe these stories were sometimes made up after the fact, especially since Syd Nathan somehow managed to run a successful record label for over twenty years, putting out some of the best R&B and country records from everyone from Moon Mullican to Wynonie Harris, the Stanley Brothers to Little Willie John, while if these stories are to be believed he was consistently making the most boneheaded, egregious, uncommercial decisions imaginable. But in this case, it seems to be at least mostly true, as rather than being released on King Records as by James Brown, "(Do the) Mashed Potatoes" was released on Dade Records as by Nat Kendrick and the Swans, with the DJ Carlton Coleman shouting vocals over Brown's so it wouldn't be obvious Brown was breaking his contract: [Excerpt: Nat Kendrick and the Swans, "(Do the)" Mashed Potatoes"] That made the R&B top ten,  and I've seen reports that Brown and his band even toured briefly as Nat Kendrick and the Swans, before Syd Nathan realised his mistake, and started allowing instrumentals to be released under the name "James Brown presents HIS BAND", starting with a cover of Bill Doggett's "Hold It": [Excerpt: James Brown Presents HIS BAND, "Hold It"] After the Nat Kendrick record gave Brown's band an instrumental success, the Famous Flames also came back from another mini dry spell for hits, with the first top twenty R&B hit for the new lineup, "I'll Go Crazy", which was followed shortly afterwards by their first pop top forty hit, "Think!": [Excerpt: James Brown and the Famous Flames, "Think!"] The success of "Think!" is at least in part down to Bobby Byrd, who would from this point on be Brown's major collaborator and (often uncredited) co-writer and co-producer until the mid-seventies. After leaving the Flames, and before rejoining them, Byrd had toured for a while with his own group, but had then gone to work for King Records at the request of Brown. King Records' pressing plant had equipment that sometimes produced less-than-ideal pressings of records, and Brown had asked Byrd to take a job there performing quality control, making sure that Brown's records didn't skip. While working there, Byrd also worked as a song doctor. His job was to take songs that had been sent in as demos, and rework them in the style of some of the label's popular artists, to make them more suitable, changing a song so it might fit the style of the "5" Royales or Little Willie John or whoever, and Byrd had done this for "Think", which had originally been recorded by the "5" Royales, whose leader, Lowman Pauling, had written it: [Excerpt: The "5" Royales, "Think"] Byrd had reworked the song to fit Brown's style and persona. It's notable for example that the Royales sing "How much of all your happiness have I really claimed?/How many tears have you cried for which I was to blame?/Darlin', I can't remember which was my fault/I tried so hard to please you—at least that's what I thought.” But in Brown's version this becomes “How much of your happiness can I really claim?/How many tears have you shed for which you was to blame?/Darlin', I can't remember just what is wrong/I tried so hard to please you—at least that's what I thought.” [Excerpt: James Brown and the Famous Flames, "Think"] In Brown's version, nothing is his fault, he's trying to persuade an unreasonable woman who has some problem he doesn't even understand, but she needs to think about it and she'll see that he's right, while in the Royales' version they're acknowledging that they're at fault, that they've done wrong, but they didn't *only* do wrong and maybe she should think about that too. It's only a couple of words' difference, but it changes the whole tenor of the song. "Think" would become the Famous Flames' first top forty hit on the pop charts, reaching number thirty-three. It went top ten on the R&B charts, and between 1959 and 1963 Brown and the Flames would have fifteen top-thirty R&B hits, going from being a minor doo-wop group that had had a few big hits to being consistent hit-makers, who were not yet household names, but who had a consistent sound that could be guaranteed to make the R&B charts, and who put on what was regarded as the best live show of any R&B band in the world. This was partly down to the type of discipline that Brown imposed on his band. Many band-leaders in the R&B world would impose fines on their band members, and Johnny Terry suggested that Brown do the same thing. As Bobby Byrd put it, "Many band leaders do it but it was Johnny's idea to start it with us and we were all for it ‘cos we didn't want to miss nothing. We wanted to be immaculate, clothes-wise, routine-wise and everything. Originally, the fines was only between James and us, The Famous Flames, but then James carried it over into the whole troupe. It was still a good idea because anybody joining The James Brown Revue had to know that they couldn't be messing up, and anyway, all the fines went into a pot for the parties we had." But Brown went much further with these fines than any other band leader, and would also impose them arbitrarily, and it became part of his reputation that he was the strictest disciplinarian in rhythm and blues music. One thing that became legendary among musicians was the way that he would impose fines while on stage. If a band member missed a note, or a dance step, or missed a cue, or had improperly polished shoes, Brown would, while looking at them, briefly make a flashing gesture with his hand, spreading his fingers out for a fraction of a second. To the audience, it looked like just part of Brown's dance routine, but the musician knew he had just been fined five dollars. Multiple flashes meant multiples of five dollars fined. Brown also developed a whole series of other signals to the band, which they had to learn, To quote Bobby Byrd again: "James didn't want anybody else to know what we was doing, so he had numbers and certain screams and spins. There was a certain spin he'd do and if he didn't do the complete spin you'd know it was time to go over here. Certain screams would instigate chord changes, but mostly it was numbers. James would call out football numbers, that's where we got that from. Thirty-nine — Sixteen —Fourteen — Two — Five — Three — Ninety-eight, that kind of thing. Number thirty-nine was always the change into ‘Please, Please, Please'. Sixteen is into a scream and an immediate change, not bam-bam but straight into something else. If he spins around and calls thirty-six, that means we're going back to the top again. And the forty-two, OK, we're going to do this verse and then bow out, we're leaving now. It was amazing." This, or something like this, is a fairly standard technique among more autocratic band leaders, a way of allowing the band as a whole to become a live compositional or improvisational tool for their leader, and Frank Zappa, for example, had a similar system. It requires the players to subordinate themselves utterly to the whim of the band leader, but also requires a band leader who knows the precise strengths and weaknesses of every band member and how they are likely to respond to a cue. When it works well, it can be devastatingly effective, and it was for Brown's live show. The Famous Flames shows soon became a full-on revue, with other artists joining the bill and performing with Brown's band. From the late 1950s on, Brown would always include a female singer. The first of these was Sugar Pie DeSanto, a blues singer who had been discovered (and given her stage name) by Johnny Otis, but DeSanto soon left Brown's band and went on to solo success on Chess records, with hits like "Soulful Dress": [Excerpt: Sugar Pie DeSanto, "Soulful Dress"] After DeSanto left, she was replaced by  Bea Ford, the former wife of the soul singer Joe Tex, with whom Brown had an aggressive rivalry and mutual loathing. Ford and Brown recorded together, cutting tracks like "You Got the Power": [Excerpt: James Brown and Bea Ford, "You Got the Power"] However, Brown and Ford soon fell out, and Brown actually wrote to Tex asking if he wanted his wife back. Tex's response was to record this: [Excerpt: Joe Tex, "You Keep Her"] Ford's replacement was Yvonne Fair, who had briefly replaced Jackie Landry in the Chantels for touring purposes when Landry had quit touring to have a baby. Fair would stay with Brown for a couple of years, and would release a number of singles written and produced for her by Brown, including one which Brown would later rerecord himself with some success: [Excerpt: Yvonne Fair, "I Found You"] Fair would eventually leave the band after getting pregnant with a child by Brown, who tended to sleep with the female singers in his band. The last shows she played with him were the shows that would catapult Brown into the next level of stardom. Brown had been convinced for a long time that his live shows had an energy that his records didn't, and that people would buy a record of one of them. Syd Nathan, as usual, disagreed. In his view the market for R&B albums was small, and only consisted of people who wanted collections of hit singles they could play in one place. Nobody would buy a James Brown live album. So Brown decided to take matters into his own hands. He decided to book a run of shows at the Apollo Theatre, and record them, paying for the recordings with his own money. This was a week-long engagement, with shows running all day every day -- Brown and his band would play five shows a day, and Brown would wear a different suit for every show. This was in October 1962, the month that we've already established as the month the sixties started -- the month the Beatles released their first single, the Beach Boys released their first record outside the US, and the first Bond film came out, all on the same day at the beginning of the month. By the end of October, when Brown appeared at the Apollo, the Cuban Missile Crisis was at its height, and there were several points during the run where it looked like the world itself might not last until November 62. Douglas Wolk has written an entire book on the live album that resulted, which claims to be a recording of the midnight performance from October the twenty-fourth, though it seems like it was actually compiled from multiple performances. The album only records the headline performance, but Wolk describes what a full show by the James Brown Revue at the Apollo was like in October 1962, and the following description is indebted to his book, which I'll link in the show notes. The show would start with the "James Brown Orchestra" -- the backing band. They would play a set of instrumentals, and a group of dancers called the Brownies would join them: [Excerpt: James Brown Presents His Band, "Night Flying"] At various points during the set, Brown himself would join the band for a song or two, playing keyboards or drums. After the band's instrumental set, the Valentinos would take the stage for a few songs. This was before they'd been taken on by Sam Cooke, who would take them under his wing very soon after these shows, but the Valentinos were already recording artists in their own right, and had recently released "Lookin' For a Love": [Excerpt: The Valentinos, "Lookin' For a Love"] Next up would be Yvonne Fair, now visibly pregnant with her boss' child, to sing her few numbers: [Excerpt: Yvonne Fair, "You Can Make it if You Try"] Freddie King was on next, another artist for the King family of labels who'd had a run of R&B hits the previous year, promoting his new single "I'm On My Way to Atlanta": [Excerpt: Freddie King, "I'm on My Way to Atlanta"] After King came Solomon Burke, who had been signed to Atlantic earlier that year and just started having hits, and was the new hot thing on the scene, but not yet the massive star he became: [Excerpt: Solomon Burke, "Cry to Me"] After Burke came a change of pace -- the vaudeville comedian Pigmeat Markham would take the stage and perform a couple of comedy sketches. We actually know exactly how these went, as Brown wasn't the only one recording a live album there that week, and Markham's album "The World's Greatest Clown" was a result of these shows and released on Chess Records: [Excerpt: Pigmeat Markham, "Go Ahead and Sing"] And after Markham would come the main event. Fats Gonder, the band's organist, would give the introduction we heard at the beginning of the episode -- and backstage, Danny Ray, who had been taken on as James Brown's valet that very week (according to Wolk -- I've seen other sources saying he'd joined Brown's organisation in 1960), was listening closely. He would soon go on to take over the role of MC, and would introduce Brown in much the same way as Gonder had at every show until Brown's death forty-four years later. The live album is an astonishing tour de force, showing Brown and his band generating a level of excitement that few bands then or now could hope to equal. It's even more astonishing when you realise two things. The first is that this was *before* any of the hits that most people now associate with the name James Brown -- before "Papa's Got a Brand New Bag" or "Sex Machine", or "It's a Man's Man's Man's World" or "Say it Loud I'm Black and I'm Proud" or "Funky Drummer" or "Get Up Offa That Thing". It's still an *unformed* James Brown, only six years into a fifty-year career, and still without most of what made him famous. The other thing is, as Wolk notes, if you listen to any live bootleg recordings from this time, the microphone distorts all the time, because Brown is singing so loud. Here, the vocal tone is clean, because Brown knew he was being recorded. This is the sound of James Brown restraining himself: [Excerpt: James Brown and the Famous Flames, "Night Train" (Live at the Apollo version)] The album was released a few months later, and proved Syd Nathan's judgement utterly, utterly, wrong. It became the thirty-second biggest selling album of 1963 -- an amazing achievement given that it was released on a small independent label that dealt almost exclusively in singles, and which had no real presence in the pop market. The album spent sixty-six weeks on the album charts, making number two on the charts -- the pop album charts, not R&B charts. There wasn't an R&B albums chart until 1965, and Live at the Apollo basically forced Billboard to create one, and more or less single-handedly created the R&B albums market. It was such a popular album in 1963 that DJs took to playing the whole album -- breaking for commercials as they turned the side over, but otherwise not interrupting it. It turned Brown from merely a relatively big R&B star into a megastar. But oddly, given this astonishing level of success, Brown's singles in 1963 were slightly less successful than they had been in the previous few years -- possibly partly because he decided to record a few versions of old standards, changing direction as he had for much of his career. Johnny Terry quit the Famous Flames, to join the Drifters, becoming part of the lineup that recorded "Under the Boardwalk" and "Saturday Night at the Movies". Brown also recorded a second live album, Pure Dynamite!, which is generally considered a little lacklustre in comparison to the Apollo album. There were other changes to the lineup as well as Terry leaving. Brown wanted to hire a new drummer, Melvin Parker, who agreed to join the band, but only if Brown took on his sax-playing brother, Maceo, along with him. Maceo soon became one of the most prominent musicians in Brown's band, and his distinctive saxophone playing is all over many of Brown's biggest hits. The first big hit that the Parkers played on was released as by James Brown and his Orchestra, rather than James Brown and the Famous Flames, and was a landmark in Brown's evolution as a musician: [Excerpt: James Brown and his Orchestra, "Out of Sight"] The Famous Flames did sing on the B-side of that, a song called "Maybe the Last Time", which was ripped off from the same Pops Staples song that the Rolling Stones later ripped off for their own hit single. But that would be the last time Brown would use them in the studio -- from that point on, the Famous Flames were purely a live act, although Bobby Byrd, but not the other members, would continue to sing on the records. The reason it was credited to James Brown, rather than to James Brown and the Famous Flames, is that "Out of Sight" was released on Smash Records, to which Brown -- but not the Flames -- had signed a little while earlier. Brown had become sick of what he saw as King Records' incompetence, and had found what he and his advisors thought was a loophole in his contract. Brown had been signed to King Records under a personal services contract as a singer, not under a musician contract as a musician, and so they believed that he could sign to Smash, a subsidiary of Mercury, as a musician. He did, and he made what he thought of as a fresh start on his new label by recording "Caldonia", a cover of a song by his idol Louis Jordan: [Excerpt: James Brown and his Orchestra, "Caldonia"] Understandably, King Records sued on the reasonable grounds that Brown was signed to them as a singer, and they got an injunction to stop him recording for Smash -- but by the time the injunction came through, Brown had already released two albums and three singles for the label. The injunction prevented Brown from recording any new material for the rest of 1964, though both labels continued to release stockpiled material during that time. While he was unable to record new material, October 1964 saw Brown's biggest opportunity to cross over to a white audience -- the TAMI Show: [Excerpt: James Brown, "Out of Sight (TAMI show live)"] We've mentioned the TAMI show a couple of times in previous episodes, but didn't go into it in much detail. It was a filmed concert which featured Jan and Dean, the Barbarians, Lesley Gore, Chuck Berry, the Beach Boys, Gerry and the Pacemakers, Billy J Kramer and the Dakotas, Marvin Gaye, the Miracles, the Supremes, and, as the two top acts, James Brown and the Rolling Stones. Rather oddly, the point of the TAMI Show wasn't the music as such. Rather it was intended as a demonstration of a technical process. Before videotape became cheap and a standard, it was difficult to record TV shows for later broadcast, for distribution to other countries, or for archive. The way they used to be recorded was a process known as telerecording in the UK and kinescoping in the US, and that was about as crude as it's possible to get -- you'd get a film camera, point it at a TV showing the programme you wanted to record, and film the TV screen. There was specialist equipment to do this, but that was all it actually did. Almost all surviving TV from the fifties and sixties -- and even some from the seventies -- was preserved by this method rather than by videotape. Even after videotape started being used to make the programmes, there were differing standards and tapes were expensive, so if you were making a programme in the UK and wanted a copy for US broadcast, or vice versa, you'd make a telerecording. But what if you wanted to make a TV show that you could also show on cinema screens? If you're filming a TV screen, and then you project that film onto a big screen, you get a blurry, low-resolution, mess -- or at least you did with the 525-line TV screens that were used in the US at the time. So a company named Electronovision came into the picture, for those rare times when you wanted to do something using video cameras that would be shown at the cinema. Rather than shoot in 525-line resolution, their cameras shot in 819-line resolution -- super high definition for the time, but capable of being recorded onto standard videotape with appropriate modifications for the equipment. But that meant that when you kinescoped the production, it was nearly twice the resolution that a standard US TV broadcast would be, and so it didn't look terrible when shown in a cinema. The owner of the Electronovision process had had a hit with a cinema release of a performance by Richard Burton as Hamlet, and he needed a follow-up, and decided that another filmed live performance would be the best way to make use of his process -- TV cameras were much more useful for capturing live performances than film cameras, for a variety of dull technical reasons, and so this was one of the few areas where Electronovision might actually be useful. And so Bill Roden, one of the heads of Electronovision, turned to a TV director named Steve Binder, who was working at the time on the Steve Allen show, one of the big variety shows, second only to Ed Sullivan, and who would soon go on to direct Hullaballoo. Roden asked Binder to make a concert film, shot on video, which would be released on the big screen by American International Pictures (the same organisation with which David Crosby's father worked so often). Binder had contacts with West Coast record labels, and particularly with Lou Adler's organisation, which managed Jan and Dean. He also had been in touch with a promoter who was putting on a package tour of British musicians. So they decided that their next demonstration of the capabilities of the equipment would be a show featuring performers from "all over the world", as the theme song put it -- by which they meant all over the continental United States plus two major British cities. For those acts who didn't have their own bands -- or whose bands needed augmenting -- there was an orchestra, centred around members of the Wrecking Crew, conducted by Jack Nitzsche, and the Blossoms were on hand to provide backing vocals where required. Jan and Dean would host the show and sing the theme song. James Brown had had less pop success than any of the other artists on the show except for the Barbarians, who are now best-known for their appearances on the Nuggets collection of relatively obscure garage rock singles, and whose biggest hit, "Are You a Boy or Are You a Girl?" only went to number fifty-five on the charts: [Excerpt: The Barbarians, "Are You a Boy or Are You a Girl?"] The Barbarians were being touted as the American equivalent of the Rolling Stones, but the general cultural moment of the time can be summed up by that line "You're either a girl or you come from Liverpool" -- which was where the Rolling Stones came from. Or at least, it was where Americans seemed to think they came from given both that song, and the theme song of the TAMI show, written by P.F. Sloan and Steve Barri, which sang about “the Rolling Stones from Liverpool”, and also referred to Brown as "the king of the blues": [Excerpt: Jan and Dean, "Here They Come From All Over The World"] But other than the Barbarians, the TAMI show was one of the few places in which all the major pop music movements of the late fifties and early sixties could be found in one place -- there was the Merseybeat of Gerry and the Pacemakers and the Dakotas, already past their commercial peak but not yet realising it, the fifties rock of Chuck Berry, who actually ended up performing one song with Gerry and the Pacemakers: [Excerpt: Chuck Berry and Gerry and the Pacemakers: "Maybellene"] And there was the Brill Building pop of Lesley Gore, the British R&B of the Rolling Stones right at the point of their breakthrough, the vocal surf music of the Beach Boys and Jan and Dean, and three of the most important Motown acts, with Brown the other representative of soul on the bill. But the billing was a sore point. James Brown's manager insisted that he should be the headliner of the show, and indeed by some accounts the Rolling Stones also thought that they should probably not try to follow him -- though other accounts say that the Stones were equally insistent that they *must* be the headliners. It was a difficult decision, because Brown was much less well known, but it was eventually decided that the Rolling Stones would go on last. Most people talking about the event, including most of those involved with the production, have since stated that this was a mistake, because nobody could follow James Brown, though in interviews Mick Jagger has always insisted that the Stones didn't have to follow Brown, as there was a recording break between acts and they weren't even playing to the same audience -- though others have disputed that quite vigorously. But what absolutely everyone has agreed is that Brown gave the performance of a lifetime, and that it was miraculously captured by the cameras. I say its capture was miraculous because every other act had done a full rehearsal for the TV cameras, and had had a full shot-by-shot plan worked out by Binder beforehand. But according to Steve Binder -- though all the accounts of the show are contradictory -- Brown refused to do a rehearsal -- so even though he had by far the most complex and choreographed performance of the event, Binder and his camera crew had to make decisions by pure instinct, rather than by having an actual plan they'd worked out in advance of what shots to use. This is one of the rare times when I wish this was a video series rather than a podcast, because the visuals are a huge part of this performance -- Brown is a whirlwind of activity, moving all over the stage in a similar way to Jackie Wilson, one of his big influences, and doing an astonishing gliding dance step in which he stands on one leg and moves sideways almost as if on wheels. The full performance is easily findable online, and is well worth seeking out. But still, just hearing the music and the audience's reaction can give some insight: [Excerpt: James Brown, "Out of Sight" (TAMI Show)] The Rolling Stones apparently watched the show in horror, unable to imagine following that -- though when they did, the audience response was fine: [Excerpt: The Rolling Stones, "Around and Around"] Incidentally, Chuck Berry must have been quite pleased with his payday from the TAMI Show, given that as well as his own performance the Stones did one of his songs, as did Gerry and the Pacemakers, as we heard earlier, and the Beach Boys did "Surfin' USA" for which he had won sole songwriting credit. After the TAMI Show, Mick Jagger would completely change his attitude to performing, and would spend the rest of his career trying to imitate Brown's performing style. He was unsuccessful in this, but still came close enough that he's still regarded as one of the great frontmen, nearly sixty years later. Brown kept performing, and his labels kept releasing material, but he was still not allowed to record, until in early 1965 a court reached a ruling -- yes, Brown wasn't signed as a musician to King Records, so he was perfectly within his rights to record with Smash Records. As an instrumentalist. But Brown *was* signed to King Records as a singer, so he was obliged to record vocal tracks for them, and only for them. So until his contract with Smash lapsed, he had to record twice as much material -- he had to keep recording instrumentals, playing piano or organ, for Smash, while recording vocal tracks for King Records. His first new record, released as by "James Brown" rather than the earlier billings of "James Brown and his Orchestra" or "James Brown and the Famous Flames", was for King, and was almost a remake of "Out of Sight", his hit for Smash Records. But even so, "Papa's Got a Brand New Bag" was a major step forward, and is often cited as the first true funk record. This is largely because of the presence of a new guitarist in Brown's band. Jimmy Nolen had started out as a violin player, but like many musicians in the 1950s he had been massively influenced by T-Bone Walker, and had switched to playing guitar. He was discovered as a guitarist by the bluesman Jimmy Wilson, who had had a minor hit with "Tin Pan Alley": [Excerpt: Jimmy Wilson, "Tin Pan Alley"] Wilson had brought Nolen to LA, where he'd soon parted from Wilson and started working with a whole variety of bandleaders. His first recording came with Monte Easter on Aladdin Records: [Excerpt: Monte Easter, "Blues in the Evening"] After working with Easter, he started recording with Chuck Higgins, and also started recording by himself. At this point, Nolen was just one of many West Coast blues guitarists with a similar style, influenced by T-Bone Walker -- he was competing with Pete "Guitar" Lewis, Johnny "Guitar" Watson, and Guitar Slim, and wasn't yet quite as good as any of them. But he was still making some influential records. His version of "After Hours", for example, released under his own name on Federal Records, was a big influence on Roy Buchanan, who would record several versions of the standard based on Nolen's arrangement: [Excerpt: Jimmy Nolen, "After Hours"] Nolen had released records on many labels, but his most important early association came from records he made but didn't release. In the mid-fifties, Johnny Otis produced a couple of tracks by Nolen, for Otis' Dig Records label, but they weren't released until decades later: [Excerpt: Jimmy Nolen, "Jimmy's Jive"] But when Otis had a falling out with his longtime guitar player Pete "Guitar" Lewis, who was one of the best players in LA but who was increasingly becoming unreliable due to his alcoholism, Otis hired Nolen to replace him. It's Nolen who's playing on most of the best-known recordings Otis made in the late fifties, like "Casting My Spell": [Excerpt: Johnny Otis, "Casting My Spell"] And of course Otis' biggest hit "Willie and the Hand Jive": [Excerpt: Johnny Otis, "Willie and the Hand Jive"] Nolen left Otis after a few years, and spent the early sixties mostly playing in scratch bands backing blues singers, and not recording. It was during this time that Nolen developed the style that would revolutionise music. The style he developed was unique in several different ways. The first was in Nolen's choice of chords. We talked last week about how Pete Townshend's guitar playing became based on simplifying chords and only playing power chords. Nolen went the other way -- while his voicings often only included two or three notes, he was also often using very complex chords with *more* notes than a standard chord. As we discussed last week, in most popular music, the chords are based around either major or minor triads -- the first, third, and fifth notes of a scale, so you have an E major chord, which is the notes E, G sharp, and B: [Excerpt: E major chord] It's also fairly common to have what are called seventh chords, which are actually a triad with an added flattened seventh, so an E7 chord would be the notes E, G sharp, B, and D: [Excerpt: E7 chord] But Nolen built his style around dominant ninth chords, often just called ninth chords. Dominant ninth chords are mostly thought of as jazz chords because they're mildly dissonant. They consist of the first, third, fifth, flattened seventh, *and* ninth of a scale, so an E9 would be the notes E, G sharp, B, D, and F sharp: [Excerpt: E9 chord] Another way of looking at that is that you're playing both a major chord *and* at the same time a minor chord that starts on the fifth note, so an E major and B minor chord at the same time: [Demonstrates Emajor, B minor, E9] It's not completely unknown for pop songs to use ninth chords, but it's very rare. Probably the most prominent example came from a couple of years after the period we're talking about, when in mid-1967 Bobby Gentry basically built the whole song "Ode to Billie Joe" around a D9 chord, barely ever moving off it: [Excerpt: Bobby Gentry, "Ode to Billie Joe"] That shows the kind of thing that ninth chords are useful for -- because they have so many notes in them, you can just keep hammering on the same chord for a long time, and the melody can go wherever it wants and will fit over it. The record we're looking at, "Papa's Got a Brand New Bag", actually has three chords in it -- it's basically a twelve-bar blues, like "Out of Sight" was, just with these ninth chords sometimes used instead of more conventional chords -- but as Brown's style got more experimental in future years, he would often build songs with no chord changes at all, just with Nolen playing a single ninth chord throughout. There's a possibly-apocryphal story, told in a few different ways, but the gist of which is that when auditioning Nolen's replacement many years later, Brown asked "Can you play an E ninth chord?" "Yes, of course" came the reply. "But can you play an E ninth chord *all night*?" The reason Brown asked this, if he did, is that playing like Nolen is *extremely* physically demanding. Because the other thing about Nolen's style is that he was an extremely percussive player. In his years backing blues musicians, he'd had to play with many different drummers, and knew they weren't always reliable timekeepers. So he'd started playing like a drummer himself, developing a technique called chicken-scratching, based on the Bo Diddley style he'd played with Otis, where he'd often play rapid, consistent, semiquaver chords, keeping the time himself so the drummer didn't have to. Other times he'd just play single, jagged-sounding, chords to accentuate the beat. He used guitars with single-coil pickups and turned the treble up and got rid of all the midrange, so the sound would cut through no matter what. As well as playing full-voiced chords, he'd also sometimes mute all the strings while he strummed, giving a percussive scratching sound rather than letting the strings ring. In short, the sound he got was this: [Excerpt: James Brown, "Papa's Got a Brand New Bag"] And that is the sound that became funk guitar. If you listen to Jimmy Nolen's playing on "Papa's Got a Brand New Bag", that guitar sound -- chicken scratched ninth chords -- is what every funk guitarist after him based their style on. It's not Nolen's guitar playing in its actual final form -- that wouldn't come until he started using wah wah pedals, which weren't mass produced until early 1967 -- but it's very clear when listening to the track that this is the birth of funk. The original studio recording of "Papa's Got a Brand New Bag" actually sounds odd if you listen to it now -- it's slower than the single, and lasts almost seven minutes: [Excerpt: James Brown "Papa's Got a Brand New Bag (parts 1, 2, and 3)"] But for release as a single, it was sped up a semitone, a ton of reverb was added, and it was edited down to just a few seconds over two minutes. The result was an obvious hit single: [Excerpt: James Brown, "Papa's Got a Brand New Bag"] Or at least, it was an obvious hit single to everyone except Syd Nathan, who as you'll have already predicted by now didn't like the song. Indeed according to Brown, he was so disgusted with the record that he threw his acetate copy of it onto the floor. But Brown got his way, and the single came out, and it became the biggest hit of Brown's career up to that point, not only giving him his first R&B number one since "Try Me" seven years earlier, but also crossing over to the pop charts in a way he hadn't before. He'd had the odd top thirty or even top twenty pop single in the past, but now he was in the top ten, and getting noticed by the music business establishment in a way he hadn't earlier. Brown's audience went from being medium-sized crowds of almost exclusively Black people with the occasional white face, to a much larger, more integrated, audience. Indeed, at the Grammys the next year, while the Beatles, the Beach Boys, the Rolling Stones, Bob Dylan, Phil Spector and the whole Motown stable were overlooked in favour of the big winners for that year Roger Miller, Herb Alpert, and the Anita Kerr Singers, even an organisation with its finger so notoriously off the pulse of the music industry as the National Academy of Recording Arts and Sciences, which presents the Grammys, couldn't fail to find the pulse of "Papa's Got a Brand New Bag", and gave Brown the Grammy for Best Rhythm and Blues record, beating out the other nominees "In the Midnight Hour", "My Girl", "Shotgun" by Junior Walker, and "Shake" by Sam Cooke. From this point on, Syd Nathan would no longer argue with James Brown as to which of his records would be released. After nine years of being the hardest working man in showbusiness, James Brown had now become the Godfather of Soul, and his real career had just begun.

Mission of Burma "Secrets"Jelly Roll Morton "Doctor Jazz Stomp"Memphis Minnie "Night Watchman Blues (Take 2)"Wanda Jackson "Hot Dog! That Mad Him Mad"The Replacements "Kiss Me On The Bus"The Jon Spencer Blues Explosion "Wail"Big Joe Williams "49 Highway Blues"Jimmy Page & The Black Crowes "Sloppy Drunk"Tom Rush "Baby Please Don't Go"Big Joe Williams "Sitting On Top Of The World"Kathleen Edwards "Empty Threat"Broken Social Scene "Anthems For A Seventeen Year-Old Girl"The Mountain Goats "The Best Ever Death Metal Band in Denton"Palace Music "New Partner"Uncle Tupelo "Still Be Around"Eilen Jewell "I'm Gonna Dress in Black"Adam Faucett "Day Drinker"Fugazi "Strangelight"Jason Isbell And The 400 Unit "Sometimes Salvation"Jimi Hendrix "Gypsy Eyes"Loretta Lynn "Have Mercy"Sugar Pie DeSanto "It's Done And Forgotten"Dave Van Ronk "Sunday Street"X "In This House That I Call Come"Andrew Bird "Plasticites"Brandi Carlile "The Eye"Tom Waits "I Hope That I Don't Fall in Love with You"Jelly Roll Morton "Don t you leave me here"Excuse 17 "Watchmaker"The Stooges "1969"Minutemen "Corona"Robert Petway "Catfish Blues"Sweet Emma & Her Dixieland Boys "I Ain't Gonna Give Nobody None of My Jelly Roll"John Lee Hooker "Seven Days And Seven Nights"Billie Holiday "God Bless the Child"Shannon Mcnally;Neal Casal "Pale Moon"Hank Williams "Blue Eyes Crying in the Rain"Mississippi John Hurt "Louis Collins"Sister O.M. Terrell "I'm Going to That City (To Die No More)"Sister O.M. Terrell "I'm Going to That City"Jelly Roll Morton "Smoke House Blues"Hüsker Dü "Divide And Conquer"Sebadoh "Drama Mine"Joni Mitchell "The Dawntreader - Live at Le Hibou Coffee House, Ottawa, Ontario, 3/19/1968"Jelly Roll Morton "Slow Swing and "Sweet Jazz Music""

Today's show features music performed by Little Milton and Sugar Pie DeSanto

September is waning as we share our last show of the month. Join Dave Stroud live at 9 Pacific from the KOWS studios in downtown Santa Rosa for a free form stream of sounds as we make our way across to visit an eclectic collection of sounds. This week we'll share a little bit of soul with Sugar Pie DeSanto and The Four Tops, some throwback sixties sounds from The Marvelettes and Sam The Sham, seventies deep cuts from Steve Miller, Jesse Colin Young and John Prine, and a host of your favorites from under that great Americana sideshow tent including Ry Cooder, Willie Nelson, and Los Lobos. Yes, it's a free form show once again as we celebrate recent improvements to our streaming presence as we have signed on for Live365 hosting. Big things come in little, community bound packages. Tune in, unwrap and unwind on a Friday morning.

Lorsqu’on évoque les chanteuses de soul music, on pense immédiatement à Aretha Franklin et Diana Ross. On pense moins à Etta James, Gladis Knight ou Roberta Flack. Et puis plus rien, quel dommage ! Oubliées les Sugar Pie DeSanto, Timi Yuro, Shirley Ellis… Qu’elles sont nombreuses toutes ces chanteuses aux voix exceptionnelles comme celle de Tami Lynn ! ---''Save My Soul'' avec Jean-Yves Louis, le vendredi à 11h45 sur Classic 21 dans Tempo, en podcasting via classic21.be et les plateformes de téléchargement. On vous replonge dans cette période bénie, entre sixties et seventies, une époque où les 45 tours se vendaient par millions, et parmi ces quantités astronomiques de galettes, des disques tantôt rares, tantôt introuvables, que les DJ’s de l’époque faisaient tourner dans les clubs branchés et spécialisés en soul music.

Todd Snider "Conservative Christian, Right-Wing Republican, Straight, White, American Males"Candi Staton "How Do I Get over You?"Slobberbone "Springfield, IL."Alejandro Escovedo "Always A Friend"Nancy Sinatra "Get While The Gettin's Good"Tom Waits "I Wish I Was In New Orleans [in The Ninth Ward]"Lucinda Williams "Real Live Bleeding Fingers And Broken Guitar Strings"Tina Turner "You Took a Trip"Wilco "Impossible Germany"Son Volt "Tear Stained Eye(2015 Remastered)"Yola "Ride Out In The Country"Fiona Apple "Please Please Please (Album Version)"Bruce Springsteen "Streets of Philadelphia"Gillian Welch "Dark Turn Of Mind"Nina Simone "Break Down And Let It All Out"The Mynabirds "What We Gained In The Fire"Townes Van Zandt "At My Window"Billy Joe Shaver "Old Chunk Of Coal"Shannon McNally "My Heroes Have Always Been Cowboys"Dale Watson "Honky Tonkers Don't Cry"Elizabeth Cotten "Freight Train"Jessie Mae Hemphill "Shame on You"Willie Nelson "Yesterday's Wine"Nirvana "Where Did You Sleep Last Night"The Highwomen "Redesigning Women"North Mississippi Allstars featuring Jason Isbell and Duane Betts "Mean Old World (feat. Jason Isbell & Duane Betts)  feat. Jason Isbell,Duane Betts"Tom VandenAvond "Meet Me at Weber's Deck"Cedric Burnside "Step In"John Coltrane "Salt Peanuts"Al Green "Let's Stay Together"Bob Dylan(밥 딜런) "Shelter From The Storm"Patti Smith "Dancing Barefoot"Jerry Garcia & David Grisman "Louis Collins"Mavis Staples "This Little Light"The Dirty Dozen Brass Band "Duff"R.L. Burnside "Nothin' Man"Etta James "That Man Belongs Back Here With Me"Eddie Hinton "Sad Song"Sugar Pie DeSanto "Do I Make Myself Clear?"Johnny Cash "I Walk The Line"Bedouine "Thirteen"

Sugar Pie DeSanto (born Peylia Marsema Balinton) was a ton of dynamite in a tiny 4' 11" frame... and still is, at the time of this recording. Let's have a listen to this super-fun classic track, recorded with the great Etta James in 1966."In The Basement (Part 1)" (Billy Davis, Raynard Miner & Carl Smith) Copyright 1966 Chevis Music Inc BMIHere's a few more episodes I think you'll enjoy:https://lovethatsongpodcast.com/merry-clayton-country-roadhttps://lovethatsongpodcast.com/the-temptations-i-cant-get-next-to-youhttps://lovethatsongpodcast.com/aretha-franklin-a-change-is-gonna-come— This show is one of many great music-related podcasts on the Pantheon network. You should check them out! And remember to subscribe to this show, so you never miss an episode.

Sugar Pie DeSanto (born Peylia Marsema Balinton) was a ton of dynamite in a tiny 4' 11" frame... and still is, at the time of this recording. Let's have a listen to this super-fun classic track, recorded with the great Etta James in 1966. "In The Basement (Part 1)" (Billy Davis, Raynard Miner & Carl Smith) Copyright 1966 Chevis Music Inc BMI Here's a few more episodes I think you'll enjoy: https://lovethatsongpodcast.com/merry-clayton-country-road https://lovethatsongpodcast.com/the-temptations-i-cant-get-next-to-you https://lovethatsongpodcast.com/aretha-franklin-a-change-is-gonna-come — This show is one of many great music-related podcasts on the Pantheon network. You should check them out! And remember to subscribe to this show, so you never miss an episode.

Sugar Pie DeSanto (born Peylia Marsema Balinton) was a ton of dynamite in a tiny 4' 11" frame... and still is, at the time of this recording. Let's have a listen to this super-fun classic track, recorded with the great Etta James in 1966. "In The Basement (Part 1)" (Billy Davis, Raynard Miner & Carl Smith) Copyright 1966 Chevis Music Inc BMI Here's a few more episodes I think you'll enjoy:https://lovethatsongpodcast.com/merry-clayton-country-roadhttps://lovethatsongpodcast.com/the-temptations-i-cant-get-next-to-youhttps://lovethatsongpodcast.com/aretha-franklin-a-change-is-gonna-come— This show is one of many great music-related podcasts on the Pantheon network. You should check them out! And remember to subscribe to this show, so you never miss an episode.

Sugar Pie DeSanto (born Peylia Marsema Balinton) was a ton of dynamite in a tiny 4' 11" frame... and still is, at the time of this recording. Let's have a listen to this super-fun classic track, recorded with the great Etta James in 1966. "In The Basement (Part 1)" (Billy Davis, Raynard Miner & Carl Smith) Copyright 1966 Chevis Music Inc BMI Here's a few more episodes I think you'll enjoy: https://lovethatsongpodcast.com/merry-clayton-country-road https://lovethatsongpodcast.com/the-temptations-i-cant-get-next-to-you https://lovethatsongpodcast.com/aretha-franklin-a-change-is-gonna-come — This show is one of many great music-related podcasts on the Pantheon network. You should check them out! And remember to subscribe to this show, so you never miss an episode. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kitty Wells "It Wasn’t God Who Made Honky Tonk Angels"Slobberbone "Pinball Song"Sugar Pie DeSanto "Slip - In Mules"Neil Young "On The Beach"Magnolia Electric Company "O! Grace"Julien Baker "Ringside"John Lee Hooker "You're Wrong"Neil Young "Don't Be Denied"Magnolia Electric Company "Night Shift Lullaby"Will Johnson "Just to Know What You've Been Dreaming"Mattiel "Send It on Over"Patti Smith Group "Ask The Angels"Sugar Pie DeSanto "Do I Make Myself Clear?"James Booker "Junco Partner"Booker T. & The M.G.'s "Mo' Onions"Widespread Panic "Ain't Life Grand"Jason Isbell "The Life You Chose"Little Richard "Going Home Tomorrow"Cat Clyde "Mama Said"William Bell "I've Been Loving You Too Long (to Stop Now)"Brown Bird "Thunder & Lightning"Alejandro Escovedo "Castanets"Fred McDowell "When I Lay My Burden Down"Lucero "Banks Of The Arkansas"Valerie June "Colors"John Moreland "Nobody Gives a Damn About Songs Anymore"Bessie Jones "You Better Mind"Ted Hawkins "Don't Make Me Explain It"R.E.M. "Nightswimming"Art Blakey & The Jazz Messengers "The Drum Thunder Suite"Al Green "Call Me (Come Back Home)"Wolfmoon "Proud Mary"Lee Morgan "Cornbread"Aimee Mann "Nothing is Good Enough"Clem Snide "Ice Cube"Counting Crows "A Murder Of One"Fiona Apple "Better Version Of Me"Bob Dylan "Mississippi"Emmylou Harris "C'est La Vie"Ry Cooder "Hey Porter"Willie Nelson/Wynton Marsalis "My Bucket's Got A Hole In It"Tom Petty & The Heartbreakers "Rebels"

Willie Nelson "Time of the Preacher"The Low Anthem "This God Damn House"Blossom Dearie "I Hear Music"John Prine "You Can Never Tell"Brandi Carlile "I Remember Everything"John Prine "Souvenirs"Sugar Pie DeSanto "Soulful Dress"Muddy Waters "Standing Around Crying"Esther Phillips "Alone Again (Naturally)"Jeannie C. Riley "The Generation Gap"Eilen Jewell "79 Cents (The Meow Song)"Margo Price "Pay Gap"Tom Petty "Wildflowers"Jason Isbell & The 400 Unit "Into The Mystic"Mavis Staples "Have a Little Faith"JD McPherson "Dimes for Nickles"Drive-By Truckers "The Righteous Path"Otis Gibbs "Where Only the Graves Are Real"Valerie June "Smile"Bob Dylan & The Band "Lay, Lady, Lay (Live)"Wilco "A Shot in the Arm"Warren Zevon "Werewolves of London"Otis Redding "These Arms Of Mine"Bonnie Raitt "Give It Up Or Let Me Go (Remastered Version)"Guy Clark "Stuff That Works"Big Mama Thornton "Big Mama's Bumble Bee"Charlie Musselwhite "Hello, Stranger"Shannon McNally "Black Rose feat. Buddy Miller"Kris Kristofferson "Sunday Mornin' Comin' Down"Aretha Franklin "Night Time Is The Right Time"The Marvelettes "Please Mr. Postman"The Hold Steady "Spices"Golden Smog "Until You Came Along"Nadalands "I Will Show You Fear in a Handful of Dust"Julien Baker "Hardline"Jackie Wilson "Higher and Higher"Richard Swift "Song For Milton Feher"Lilly Hiatt "Records"Old 97's "Just Like California"JD McPHERSON "It's All Over But The Shouting"Waxahatchee "Witches"Songs: Ohia "Farewell Transmission"Iron & Wine "Teeth in the Grass"Alabama Shakes "Killer Diller Blues"The Hold Steady "Beer on the Bedstand"The Ronettes "Be My Baby"Nina Simone "Gin House Blues"

1 Hip hug her Mongo Santamaria 02:53 2 Troubles of the World The Christian Harmonizers 03:02 Greg Belson's Divine Funk: Rare American Gospel Funk and Soul 3 If I Could Reach Out Otis Clay 02:55 Royal Memphis Soul 4 Loop de Loop Happy Junior/I.Q.S 02:57 Muzik City: The Story of Trojan Disc 3 5 Love Power Dusty Springfield 02:11 6 That's The Way It Is Al Green 03:45 Full Of Fire 7 Don't Let Go Tony Borders 02:10 Cheaters Never Win 8 In The Basement Etta James & Sugar Pie DeSanto 02:25 The Chess Story 1947-1975 (1965-1966) (Disc 11) 9 What You Got (Is Good For Me) Soul Brothers Six 02:42 Blues & Soul Power 10 Lean Lanky Annie Little Annie 02:08 Raw Soul 11 I Don't Need No Doctor Ray Charles 02:30 Singular Genius: The Complete ABC Singles CD3 12 Sunrise Revolution ROBIN TROWER, MAXI PRIEST, LIVINGSTONE BROWN 05:28 United State of Mind 13 Inner City Blues (Live at The Stage - Miami, Florida, 1981) Marvin Gaye 05:01 The Prince of Soul (Live) 14 My People Cha Wa 03:51 My People 15 Crazy Water Was (Not Was) 04:49 Boo! 16 Synthetic World Jimmy Cliff 03:38 Goodbye Yesterday (Limited Edition) 17 Lonely Swamp Dogg 02:39 Love, Loss, and Auto-Tune 18 Write a Letter DeRobert & The Half-Truths 03:45 I'm Tryin' 19 We The People Who Are Darker Than Blue Curtis Mayfield 06:01 Curtis 20 Perfect Harmony El Michels Affair 02:13 Yeti Season 21 Ulterior Motives (feat. Brinsley Forde, Bongo Herman & Don Camel) Roots Radics & Sly & Robbie 03:51 The Final Battle: Sly & Robbie vs. Roots Radics 22 Sympathy for the Devil Bernard Fowler 05:42 Inside Out 23 Facing Death Afrikän Protoköl 06:22 Beyond the Grid 24 Love Will Tear Us Apart Hot 8 Brass Band 03:37 Love Will Tear Us Apart 25 Sucker Punch Connie Price and The Keystones 04:32 Wildflowers 26 I need a man prince 05:34 27 Chitlin' Strut The Backyard Heavies 02:50 Crescent City Funk and More... 28 Your Mama Wants You Back Mahalia Barnes & The Soul Mates 04:29 Ooh Yea!: The Betty Davis Songbook 29 Hold On Tight (Feat Alice Russell) The Quantic Soul Orchestra 04:22 Pushin' On 30 Yesterday I Had the Blues Harold Melvin & The Blue Notes 07:34 Harold Melvin & the Blue Notes

Sintonía: "All Night Long" - Joe Houston Recopilación/Sesión del germano Tobias Kirmayer para su sello "Tramp Records", publicada en el 2007, en la que combina rompepistas de hace 40,50 o 60 años, con novedades discográficas de cualquier latitud geográfica. La pinchamos en su totalidad; o sea, los 11 cortes de los que se compone: "Get Clean" - The Nitesounds; "Skins Funk" - Skin Williams and His Dominoes; "Nothin´ But A Party" (Edit) - The Blenders; "Bubbles (Edit) - The Boogoos; "Violet" - The Hi-Fly Orchestra; "Get High" - Dr. Sonnenschein; "Rhythmo" - Dusty (feat. Carla Vallet); "Barbados Stew" - Caldonia; "First Time Around" - Sägaflex & Rudy Tee; "Trip to Africa" - Baccarola Bonus tracks (de otra recopilación): "You Ain´t Such a Much" - Blanche Thomas; "Love Bandit" - Cadets; "Soulful Dress" - Sugar Pie DeSanto Escuchar audio

Het eerste weekend van de tweede lockdown benutten Frits en Vic met een opruiming in hun platenkast. Tevens komen er nummers voorbij die eerdere uitzendingen niet gehaald hebben. Een vrolijke mix van one-hit-wonders en vergeten provincialen, met muziek van o.a. Normaal, The Discoveries, Herman Finkers, Sugar Pie Desanto en Daniël Lohues & The Louisiana BluesClub.

Fuego en la Pista de Baile, los éxitos y las novedades más underground en www.ipopfm.com, cada miércoles de 20 a 21 horas. Tracklist: 1. Sugar Pie Desanto – Soulful Dress 2. Connie Clark – My sugar baby 3. The Limboos – Big Shot 4. Emilio Elegante y Felipe Correa – Todo lo que quiero 5. Jackie Edwards – Sea Cruise 6. La familia Torelli – Crimson Beat 7. Fleur – La reine des abeilles 8. Agentes secretos – Start 9. Precious few – I don’t mind 10. The Kinks – Too Much Monkey Business 11. Perry Dear and the deerstalkers - Bouncing glass 12. Brioles - Lejos de la ciudad 13. Ghost Bastards –Burn the witch 14. Señor No – My pal 15. Deadyard – The Escapist Song 16. Sham 69 - Angels with dirty faces 17. The Movement – Sound of the youth 18. Accidente – Colze a colze 19. The Baboon Show – I never say goodnight 20. Joy Division – Leaders of men 21. Semana Santa – Estado inicial 22. Cariño – Te brillan

Fuego en la Pista de Baile, los éxitos y las novedades más underground en www.ipopfm.com, cada miércoles de 20 a 21 horas. Tracklist: 1. Sugar Pie Desanto – Soulful Dress 2. Connie Clark – My sugar baby 3. The Limboos – Big Shot 4. Emilio Elegante y Felipe Correa – Todo lo que quiero 5. Jackie Edwards – Sea Cruise 6. La familia Torelli – Crimson Beat 7. Fleur – La reine des abeilles 8. Agentes secretos – Start 9. Precious few – I don’t mind 10. The Kinks – Too Much Monkey Business 11. Perry Dear and the deerstalkers - Bouncing glass 12. Brioles - Lejos de la ciudad 13. Ghost Bastards –Burn the witch 14. Señor No – My pal 15. Deadyard – The Escapist Song 16. Sham 69 - Angels with dirty faces 17. The Movement – Sound of the youth 18. Accidente – Colze a colze 19. The Baboon Show – I never say goodnight 20. Joy Division – Leaders of men 21. Semana Santa – Estado inicial 22. Cariño – Te brillan

Radio show first broadcast on The Face Radio, Brooklyn at midday ET on 13 September 2020. Also online at https://thefaceradio.com/ Track List: T Rex – Baby Boomerang Taj Mahal – She Caught The Katy And Left Me A Mule To Ride Jacques Renault – Just Wanna Play Junior Wells – The Train I Ride The Cure – Hot! Hot! Hot! (extended mix) Sugar Pie DeSanto – Soulful Dress Lee Dresser – El Camino Real Nadia Rose – Tight Up Donald Banks – Status Quo Status Quo – Down The Dustpipe The Real Thing – Children Of The Ghetto James Brown – I’m A Greedy Man Lee Morgan Quintet – The Sidewinder

Entertainers with No First NamesFroggy Landers, Sugar Pie Desanto,Swamp Dogg, Red Simpson, Louisiana Red,Boots Barnes, The Gamma Goochee, Big Black,Junior and The Classics, Mouse, Tex Williams, Utah Phillips,and lots more! As Broadcast live via 5130kc sw 8-1-2020

Join me, Noel McIntyre, on a rhythmic journey with a melting pot that includes Soul, Funk, Disco, R&B, Old School, Motown and Reggae spanning many generations and discover the many connections on the musical family tree. Artists included on this show: Syreeta Wright, Minnie Riperton, The Joubert Singers, Izo Fitzroy, Donald Fagen, Robert Cray, The Skints, The Roots/Jeff Bradshaw and Brass Heaven, Tom Misch ft. De La Soul, The Creatures, Mario Biondi, Sugar Pie DeSanto, Billy Ocean and Sammy Davis Jr.

Compelling! Relevant! Exciting and entertaining. The music of the 50s, 60s and 70s directly from the very grooves they were carved into. Join us for the 250th hour of On Target where it truly IS what's in the grooves that counts. Please like us on Facebook: facebook.com/ontargetpodcast ----------------------------------------------- The Playlist Is: "Who Do You Love" Jo Ann & Troy - Atlantic "Look At Me" The Three Dimensions with The Thing - RCA Victor "Scram" Tony Mason - RCA Victor "Do I Make Myself Clear" Sugar Pie Desanto & Etta James - Chess "Everything's Wrong" Chubby Checker - Parkway "The Happy Song (dum dum)" Otis Redding - Stax "Brain Washed" David Clayton Thomas & The Bossmen - Roman "Low Man" Don Norman & The Other Four - Sir John A. "Fight Fire" The Golliwogs - Scorpio "Hit & Run" Rose Batiste - Revilot "I'm A Practical Guy" Don Gardner - Verve "How Much Pressure ( Do You Think I Can Stand)" Roscoe Robinson - Wand "Just Ain't No Love" Barbara Acklin - Brunswick "Love Me One More Time" Jimmy Holiday - Diplomacy "I Can't Hear You" Betty Everett - Vee-Jay "Hey Ho What You Do To Me" Chad Allan & The Expressions - Quality "Yesterday's Gone" Chad & Jeremy - World Artists "When You Dance" Jay & The Americans - United Artists "The Real Thing (pt.1)" The Electric Express - Linco "Puttin' Game Down" Luther Ingram - KoKo "Twenty-Five Miles" Mongo Santamaria - Columbia

"It's the most wonderful time of the year". A chance to exorcise some demons. You might also like this episode from last year and another one from 2017. Snappy Helloween! 2018 https://www.podomatic.com/podcasts/tantricdex/episodes/2018-10-31T11_17_53-07_00 2017 https://www.podomatic.com/podcasts/tantricdex/episodes/2017-11-04T13_41_35-07_00 00:00 Ramin Djawadi- a song of ice and fire 02:00 Billie Eilish- you should see me in a crown 04:58 Taylor Swift- ...ready for it 08:18 Katy Perry/Kanye West- E.T. 12:04 ESG- UFO 14:30 Massive Attack/Shara Nelson- safe from harm 19:45 The Cure- lullaby 23:35 Phantogram- mister impossible 26:38 Billie Eilish- bury a friend (Neil Corcoran edit) 30:30 Eminem/Rihanna- the monster 34:35 Maggie Rogers- back in my body 38:44 Katy Perry- wide awake 42:20 Heart- these dreams 46:14 Lorde- royals 49:40 Gorillaz/Del the Funky Homosapien- clint eastwood 54:39 Sampa the Great- final form 58:00 Stevie Wonder- superstition (Todd Terje edit) 01:06:49 Jamiroquai- virtual insanity 01:10:13 Nightmares On Wax- les nuits 01:15:55 The 1975/ Greta Thunberg- The 1975 01:20:48 Grimes/i o- violence 01:24:24 The Chemical Brothers/Aurora - eve of destruction 01:28:43 Leftfield/ Afrika Bambaataa- Afrika shox 01:33:15 Smoove- the revolution will be televised 01:38:42 DJ Shadow- urgent, important, please read 01:43:39 RZA- Wu-Tang an American Saga theme 01:44:35 Taylor Swift/Kendrick Lamar- bad blood (Neil Corcoran edit) 01:48:18 Tomoyasu Hotei- battle without honor or humanity 01:50:40 The White Stripes- seven nation army 01:54:29 Yeah Yeah Yeahs- heads will roll 01:58:06 Beastie Boys- sabotage (Alex Metric re-edit) 02:01:38 Ian Brown- stellify 02:04:58 Harry Nilsson- jump into the fire 02:11:44 Sault- up all night 02:15:50 Beck- up all night 02:18:44 U2- hold me, thrill me, kiss me, kill me 02:23:23 Madonna- frozen 02:28:30 Adele- skyfall 02:33:07 Stevie Wonder- evil 02:36:36 Echo & The Bunnymen- the killing moon 02:42:05 Hozier- take me to church 02:45:53 She Drew The Gun- trouble everyday 02:49:10 Declan McKenna- british bombs 02:53:57 The Divine Comedy- infernal machines 02:56:54 Foals- the runner 03:01:07 The Specials- ghost town 03:06:54 Burial- claustro 03:12:17 Lana Del Ray- hope is a dangerous thing... 03:20:12 St. Vincent- slow disco (EOD remix) 03:23:05 Little Dragon- tongue kissing 03:27:12 Nina Simone- I put a spell on you 03:29:44 The Fugees- ready or not 03:33:19 Bob Marley- iron lion zion 03:40:12 Sugar Pie DeSanto- witch for a night 03:42:51 Backstreet Boys- everybody (Backstreet's back) 03:48:52 Queen- a kind of magic (extended version) 03:55:07 Bobby "Boris" Pickett- the monster mash

Another action packed two hours of rocknroll greatness. More of the good stuff from Al Foul, Ray Condo, Telekrimen, Mojo Nixon, Slopy Seconds, The Saints, Sugar Pie DeSanto, Kings Of Nuthin' As Diabatz, Moonshine Stalkers, and more. Git it. Al Foul | The One, The Only | Dropping Quarters For Jane(Rock N Roll Purgatory)2005 JD McPherson | Let the Good Times Roll | Mother of Lies(Rounder Records)2015 Ray Condo & The Ricochets | High & Wild | Fort Worth Stomp(Joaquin Records)2000 G.Davy Crockett | Ultra Rare Rockabilly's Vol. 03 | Look Out Mable(Chief)1992 Guana Batz | Held Down.... At Last! | Please Give Me Something(Radiation Reissues)1985 Torment | Psyclops Carnival | Slow Down(Nervous Records)1986 Tabaltix | Sex, Pugs and Rock n' Roll | Jerkin Back And 4th(Crazy Love Records)2007 Telekrimen | Culto A Lo Imbecil | El Ultimo Dia(Slovenly Records)2019 The Treblemakers | Flippin' The Bird With Treblemakers | Dark Eyes(Gee-Dee Music)1998 Thunderball 3 | Thunderball 3 | Li'l Demon(Self Release)2012 Mojo Nixon | Gadzooks!!! The Homemade Bootleg | Richard Petty(Needletime)1997 Scum Rats | Demon Of The Dark | Guilty Till I'm 21(Rumble Records)1993 Gorilla | Genetic Joke | Escape From Hell(Crazy Love Records)2000 The Peacocks | It's Time For The Peacocks | This Time(Crazy Love Records)2004 Sloppy Seconds | More Trouble Than They're Worth | Killing Myself(Nitro Records)1998 Lonesome Kings | Killing The Record Industry II | Brand New Gun(Real Punk Radio)2011 The Saints | Eternally Yours | Private Affair(Harvest)1978 The Briefs | Platinum Rats | Dumb City(Damaged Goods)2019 King Kurt | Ooh Wallah Wallah | Destination Zululand(Stiff Records)1983 King Salami & The Cumberland 3 | Back To Wurstville | Camel Hop(Dirty Water Records)2017 The Cramps | A Date With Elvis | Can Your Pussy Do The Dog?(Big Beat Records)1986 Sugar Pie DeSanto | In The Basement: The Chess Recordings | Going Back To Where I Belong(Geffen)2017 The Del Moroccos | Blue Black Hair | Baby Doll(Hi-Style Records)2008 LaVern Baker | Real Gone Gal | Bumble Bee(Charly R&B)1984 Lee Mitchell | Nasty Rockabilly | Rootie Tootie Baby(B-Sharp)2011 Kings Of Nuthin' | Get Wrecked With... Demo Tape '99 | Had Enough(Crazy Love Records)2018 The KDV Deviators | Lost Contact | Under Attack(Drunkabilly Records)2012 The Spastiks | Sewer Surfing | Hatchet(Crazy Love Records)2016 As Diabatz | Nightmares In Red | Cabin In The Woods(Drunkabilly Records)2018 Es-Feiv | Cows In Motion | Be My Baby Tonight(Kix 4 U Records)1989 Batmobile | Bambooland | Night Without Sleep(Count Orlok Music)1987 Memphis Morticians | Play Primitive Trashman and 13 Other Lovesongs | Primitive Trashman(Kaiser Records)2006 Lonesome Kings | Sweet Little Succubus | Let's Take A Ride(Rockin' Raven Records)2005 Los Gatos Locos | Even Sociopaths Get The Blues | Stark Raving Normal(Zodiac Killer)2011 Gutter Demons | Room 209 | Run Away Loco(Pirates Records)2005 The Moonshine Stalkers | Buzzed Out Split | 100 Maniacs(Self Release)2018 Al Foul | Attack Of The One-Man Bands | I Know I'm Gonna Die Tonight (But I Don't Care)(Rock N Roll Purgatory)2007

Sydney crate digger & Selector & Soul, Funk Brother DJ PACTMAN dropped this killer SOUL & FUNK 45's mix back in the days featuring stone cold classics by the likes of Edwin Starr, Lynn Williams, Etta James & Sugar Pie DeSanto, The Honey Drippers, Dusty Springfield just to name a few. The mix was recorded on the fly back in April 2016. Run Time: 61 Minutes Style: Soul & Funk 45's Vinyl. Track Listing Edwin Starr - Easin' In Lynn Williams - It Takes Two Etta James & Sugar Pie DeSanto - In The Basement The Honey Drippers - Impeach The President Dusty Springfield - Spooky Ann Sexton - You're Gonna Miss Me The Fatback Band - Put Your Love (In My Tender Care) Billy Garner - I Got Some (Part 1) Harvey - Any Way You Wanta Fred Williams - The Dance Got Old Little Eva - Dynamite Freedom Now Brothers - Sissy Walk Raphael Munnings - Takin' You Higher The Tomangoe's - I Really Love You Bileo - You Can Win Freekwency feat. Sarah Bates - Do What's On Ya Mind Carolyn Franklin - Deal With It Ekambi Brillant - Aboki Gaz - Sing Sing Painel de Controle - Relax The Tibbs - Footsteps In The Sand Listen to more of his mixes and live recordings https://soundcloud.com/djpactman http://www.mixcloud.com/djpactman/

Here are the links mentioned in the show:Sugar Pie crowdfunding pitchIn the Basement article by Apryl Berney

Instead of the usual narrative format, this episode is a one-on-one interview with Cheryl Fabio, the director of “Evolutionary Blues: West Oakland’s Music Legacy.” I interviewed Cheryl for my KPFA radio show this week and I enjoyed the interview so much, I've decided to share it as a podcast. Also, I wanted to spread the word about Cheryl’s upcoming film & artist talk series “Resistance, Resilience & Anticipation: A fresh look at the Black Arts Movement in Oakland.” For more about those events, check out: https://www.swfcenter4sj.org/ For info & upcoming screenings of “Evolutionary Blues,” check out: https://evolutionarybluesfilm.com/ If you enjoy the episode, please support East Bay Yesterday: https://www.patreon.com/eastbayyesterday Since this interview is about the history of West Oakland blues, I also wanted to re-share one of my favorite episodes from 2017. Here is the original description of that program, which follows the Q&A with Cheryl Fabio… “The queen of the West Coast blues”: Sugar Pie DeSanto serves up sweet & spicy stories From jumping off pianos with James Brown to running the streets with Etta James, Sugar Pie DeSanto has led a wild life. In this episode, the soul singer shares memories of performing in Oakland’s legendary 1950s blues clubs, stunning global audiences with her risqué moves, and making grown men cry. As Sugar Pie puts it, “I’m one of the roughest women you could ever know. I ain’t to be played with!” Listen now to find out what happened when one aggressive fan learned this lesson the hard way. Special thanks to Mr. Jim Moore and Jasman Records. Support Sugar Pie DeSanto by purchasing her music at: sugarpiedesanto.com/

  Welcome to episode fifteen of A History of Rock Music in Five Hundred Songs. Today we're looking at "Hound Dog" by Big Mama Thornton. Click the full post to read liner notes, links to more information, and a transcript of the episode. ----more----    Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode (along with one, "Shake, Rattle, and Roll", that got cut out of the eventual episode) I used three main resources for this podcast.  Big Mama Thornton: Her Life and Music by Michael Spörke  is the only biography of Thornton. It's very well researched, but suffers somewhat from English not being its author's first language. Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz, is an invaluable book on the most important songwriting team of their generation. And Midnight at the Barrelhouse: The Johnny Otis Story by George Lipsitz is the definitive biography of Otis. This collection has most of Big Mama Thornton's fifties recordings on it.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   One of the things that is easy to miss when talking about early rock and roll is that much of the development of the genre is about the liminal spaces in race in America. (Before I start talking about this, a disclaimer I have to make -- I'm a white person, from a different country, born decades after the events I'm talking about. I'm trying to be as accurate as I can here, and as sensitive as I can, but I apologise if I mess up, and nothing I say here should be taken as more accurate or authoritative than the words of the people who were actually affected). "Black" and "white" are two categories imposed by culture, and like all culturally-imposed binaries, they're essentially arbitrary and don't really map very well onto really existing people. There have always been people who don't fit neatly into the boxes that a racist society insists everyone fits into -- and part of the reason that rock and roll happened when it did was that in the 1950s America was in the process of redefining those boxes, and moving some people who would have previously fit into one category into the other. The lines were being redrawn, and that led to some interesting art happening at the borders. (That sounds like I'm doing the "at least some good art came from this terrible event" thing. I'm really, really, not. Racism in all its forms is nothing but negative, and its distortions of culture are all negative too. But they do exist, and need noting when talking about culture subject to those distortions). There were a lot of groups who would now be regarded as white in the USA but which back in the 1940s and 1950s weren't, quite. Jewish people, for example, were still legally discriminated against in a lot of places (unlike now, when they're merely *illegally* discriminated against). They weren't black, but they weren't quite white either. The same went for several other ethnic minorities, like Greek people. So it's perhaps not all that surprising that one of the most successful blues records of all time, which later inspired an even more successful rock and roll record, was the result of a collaboration between a black singer, a Greek-American producer who said "As a kid I decided that if our society dictated that one had to be black or white, I would be black", and two Jewish songwriters. Willie Mae Thornton was big in every sense -- she weighed three hundred and fifty pounds, or about twenty-five stone, and she had a voice to match it -- she would often claim that she didn't need a microphone, because she was louder than any microphone anyway. We've talked in this series about blues shouters, and how they were mostly men, but she was at least the equal of any man as a shouter. She became a blues singer when she was fourteen, thanks to her mentor, a singer called "Diamond Teeth Mary". [excerpt: "Keep Your Hands Off Of Him" · Diamond Teeth Mary] That's a recording of Diamond Teeth Mary from the 1990s -- when she was *in* her nineties. She performed constantly until her death aged ninety-seven, but she only made her first record when she was ninety-two. "Diamond Teeth Mary" was the half-sister of the great blues singer Bessie Smith -- Mary had four stepmothers, one of whom was Smith's mother -- and she was a powerful singer herself, singing with the Hot Harlem Revue around Alabama. She was called "Diamond Teeth Mary" because she had diamonds embedded in her front teeth, so she'd be more imposing on stage. Diamond Teeth Mary heard the young Willie Mae Thornton singing while she was working on a garbage truck, got her to get off the garbage truck, and got her a job with the revue. Mary probably felt a kinship with the fourteen-year-old Willie Mae, a girl who only wore boy's clothes -- Mary had, herself, become a performer when she was only thirteen, having run away from her abusive family, dressed in boy's clothes, and joined the circus. Willie Mae Thornton stayed with that revue for most of the next decade, playing with musicians like Richard Penniman, who would later become known as Little Richard, playing to audiences that were mostly black and also (according to Little Richard) exclusively gay. The Hot Harlem Revue was not exactly respectable -- Sammy Green, who managed it, made most of his money from owning several brothels -- but it was somewhere that a young singer could very quickly learn how to be an entertainer. You had to be impressive as a female blues singer in the 1940s, especially if, as with Willie Mae Thornton, you were also not conventionally attractive and not of a societally-approved sexuality or gender identity. I've seen suggestions from people who would know that Thornton was bisexual, but from others like Johnny Otis that she showed no interest in men or women (though she did have a child in her teens), and I've also seen suggestions that she may have been trans (though I'm going to refer to her using she and her pronouns here as that's what she used throughout her life). She was a remarkable figure in many ways. One of her favourite drinks was embalming fluid and grape juice (just in case anyone was considering doing this, please don't. It's really not a good idea, at all, even a little bit. Don't drink embalming fluid.) According to Jerry Leiber she had razor scars all over her face. She was a very, very, intimidating person. At the very least, she didn't fit into neat boxes. But you see, all that stuff I just said... *that* is putting her into a box -- the caricature angry, aggressive, black woman. And that was a box she never liked to be put in either, but which she was put in by other people. What I just said, you'll notice, is all about what other people thought of her, and that's not always what she thought of herself. She would get very upset that people would say she used to fight promoters, saying "I never did fight the promoters. All I ever did was ask them for my money. Pay me and there won’t be no hard feelings." And while she is uniformly described as "masculine-looking" (whatever *that* means), she put it rather differently, saying "I don’t go out on stage trying to look pretty. I was born pretty." Thornton is someone who didn't get to tell her own story much -- much of what we know about her is from other people's impressions of her, and usually the impressions of men. People who knew her well described her as intelligent, kind, charming, funny, and hugely talented, while people who only spent a brief time around her tend to have talked about the razor scars on her face or how aggressive she seemed. Depending on which narrative you choose, you can make a very good case for her being either a loud, swaggering, vulgar, aggressive stereotype of unfeminine black femininity, or a rather sweet, vulnerable, person who intimidated men simply by her physical size, her race, and her loud voice, and who may have played up to their expectations at times, but who never liked that, and who used alcohol and other substances to cope with what wasn't a very happy life, while remaining outwardly happy. But because we as a society value black women so little, most of this story is filtered through the white men who told it, so be aware that in what follows, you may find yourself picturing a caricature figure, seeing Big Mama as the angry sassy black woman you've seen in a million films. She was a real person, and I wish we had more of her own words to set against this. While the Hot Harlem Revue was a good place to learn to be an entertainer, it wasn't necessarily the best place to work if you actually wanted to earn a living, and Willie Mae had to supplement her income by shining shoes. She often had to sleep in all-night restaurants and bars, because she couldn't afford to pay rent, and go begging door to door for food. But she would pretend to everyone she knew that everything was all right, and smile for everyone. She became pregnant in her teens, and tried to be a good mother to the child, but she was deemed an unfit mother due to poverty and the child was taken away from her. After several years with the Harlem Revue, she quit them because she was being cheated out of money, and decided to stay in Houston, Texas, which is where she really started to build an audience. Around this time she recorded her first single, "All Right Baby", credited to "the Harlem Stars" -- it's a song she wrote herself, and it's a boogie track very much in the vein of Big Joe Turner: [excerpt "All Right Baby", the Harlem Stars] Shortly after moving to Houston, she began working for Don Robey, who ran Peacock Records and the Bronze Peacock Club. Robey had a mixed reputation -- most singers and musicians he worked with thought highly of him, but most songwriters he worked with were less enamoured of his penchant for stealing their money and credit. Robey had a reputation as a thug, too, but according to Little Richard he was too scared of Thornton to beat her up like he would his other acts. She recorded several singles for Peacock, starting with "I'm All Fed Up", but her talents weren't really suited to the slick Texas blues backing she was given: [excerpt "I'm All Fed Up", Willie Mae Thornton] The kind of music Peacock put out was in the smoother style that was becoming prominent in the southwestern US -- the kind of music that people like Lightnin' Hopkins made -- and that wasn't really suited to Thornton's louder, more emotional style. But after a run of unsuccessful singles, things started to change. Peacock Records was in the process of expanding. Don Robey acquired another label, Duke Records of Memphis, and merged them, and he got distributors working with him in different areas of the country. And he started working with Johnny Otis. Otis came to Texas, and he and Robey made a deal -- Otis would audition several of the acts that were on Duke and Peacock records, people like Thornton who had not had much success but clearly had talent, and he would incorporate them into his Johnny Otis Revue. Otis would take charge of producing their records, which would be cut in Los Angeles with Otis' band, and he would let Robey release the results. Some of the artists still couldn't find their commercial potential even with Otis producing. For example, Little Richard's recordings with Otis, while interesting, are an artistic dead-end for him: [excerpt: "Little Richard Boogie", Little Richard] Of course, Little Richard went on to do quite well for himself later... But in the case of Willie Mae Thornton, something clicked. The two became lifelong friends, and also began a remarkable collaboration, with Otis being the first person to encourage Thornton to play harmonica as well as sing. On her first show with the Johnny Otis Revue, Willie Mae Thornton sang "Have Mercy Baby", the then-current hit by Billy Ward and the Dominoes, and the audience went so wild that they had to stop the show. After that point, they had to put Thornton at the top of the bill, after even Little Esther, so the audience would allow the other performers to come on. And with the top billing came a change of name. Johnny Otis had a knack for giving artists new names -- as well as Little Esther, he also gave Etta James and Sugar Pie DeSanto their stage names -- and in the case of Willie Mae Thornton, for the rest of her career she was known as "Big Mama" Thornton. At the time we're talking about, Otis was, as much as a musician, a fixer, a wheeler-dealer, a person who brought people together. And this was a role that those people on the margins of whiteness – like Otis, a son of Greek immigrants who chose to live among black culture – excelled in. The people who were on the borderline between the two different conceptions of race often ended up as backroom facilitators, bringing white money to black artists -- people like Milt Gabler or Ahmet Ertegun or Cosimo Matassa, people of ethnicities that didn't quite fit into the black/white binary, people who were white enough to use white privilege to get financing, but not so white they identified with the majority culture. And in 1952, the people Otis brought together were Big Mama Thornton and two young songwriters who would change the world of music. Jerry Leiber and Mike Stoller were Jewish teenagers, both of whom had moved to California from elsewhere -- Stoller from New York and Leiber from Maryland. Mike Stoller was a musician, who was into modern jazz and modern art music -- he loved Bartok and Thelonius Monk -- but he also had a background in stride and boogie woogie. After he found normal piano lessons uncongenial, he'd been offered lessons by the great James P Johnson, who had taught him how to play boogie. James P Johnson was essentially the inventor of jazz piano -- he'd started out playing ragtime, and had invented the stride piano style that Johnson had taught to Fats Waller. He'd been one of the performers at the Spirituals to Swing concerts, and was also a major composer of serious music, but what he taught young Mike Stoller was how to play a boogie bassline, how to understand twelve-bar blues structure and other rudiments of the blues pianist's art. As Stoller later put it, "it was as if Beethoven were about to give me a lesson—except that, unlike James P. Johnson, Beethoven had never given a piano lesson to Fats Waller". After moving to LA, Stoller started studying with Arthur Lange, a composer of film soundtracks, and playing piano for jazz bands, jamming with people like Chet Baker. Meanwhile, Jerry Leiber was a blues fanatic, who had had a minor epiphany after hearing Jimmy Witherspoon's "Ain't Nobody's Business if I Do": [excerpt: Jimmy Witherspoon "Ain't Nobody's Business"] Leiber had heard Witherspoon's song, and realised that he could do that, and he decided he was going to. He was going to become a songwriter, and he started working on song lyrics immediately, although he had no idea how to go about getting anyone to perform them. The first song he wrote was called "Real Ugly Woman". The lyrics went "She’s a real ugly woman, don’t see how she got that way/Every time she comes ’round, she runs all my friends away". He didn't have much knowledge of the music business, but luckily that knowledge walked right through the door. Leiber was working at a small record store, and one day Lester Sill, who was the national sales manager for Modern Records, walked into the shop. Modern Records was one of the dozens of tiny blues labels that were springing up across the country, usually run by Jewish and Italian entrepreneurs who could see the potential in black music even if the owners of the major labels couldn't, and Sill was a real enthusiast for the music he was selling. He started pitching records to Jerry Leiber, telling him he'd love them, acting as if Leiber was the most important person in the world, even though Leiber kept explaining he didn't make the buying decisions for the shop, he was only a shop assistant. Eventually, after playing a record called "Boogie Chillen", by a new artist called John Lee Hooker, which excited Leiber enormously, Sill asked Leiber what he was going to do when he grew up. Leiber replied that he was already grown up, but he planned to become a songwriter. Sill asked to hear one of the songs, and Leiber sang "Real Ugly Woman" to him. Sill liked it, and asked for copies of his songs. When Leiber explained that he didn't know how to write music, Sill told him to find a partner who did. Leiber found Stoller through a mutual friend, who told Leiber that Stoller knew about music. Leiber phoned Stoller, who was unimpressed by the idea of writing songs together, because to his mind "songs" were the kind of thing that was dominating the pop charts at the time, the kind of thing that Patti Page or someone would record, not something someone who was into hard bop music would like. But Leiber eventually persuaded him to at least take a look at the lyrics he'd been writing. Stoller looked at the lyrics to "Real Ugly Woman", and said "These are blues! You didn’t tell me you were writing blues. I love the blues.” They started collaborating together that day, in 1950, and worked together for the rest of their lives. Soon Jimmy Witherspoon himself was singing "Real Ugly Woman", just like Leiber had hoped when he'd started writing: [Excerpt: Jimmy Witherspoon "Real Ugly Woman"] Soon after, Ralph Bass moved to LA from New York. He'd got to know Leiber and Stoller on their trips East and when he moved west he introduced them to Johnny Otis, who Bass had kept in touch with after leaving Savoy Records. Through the connection with Otis and Bass, they wrote many songs for Little Esther, and they also started a partnership with Little Esther's former backing vocalists The Robins, who put out the very first single with a Leiber and Stoller writing credit: "That's What the Good Book Says". [Excerpt: The Robins "That's What the Good Book Says"] The partnership between the Leiber and Stoller team and the Robins would end up defining all their careers. But right now, Leiber and Stoller were a couple of teenagers who were working with their heroes. And at least one of those heroes was not very impressed. Johnny Otis had introduced them to Big Mama Thornton and asked if they had a song for her. They said "we don't, but we will have in a few minutes", ran back to Stoller's house, and quickly knocked out "Hound Dog" in a style that they thought would suit Thornton. "Hound dog" was, at the time, black slang for a gigolo, and what Leiber and Stoller wanted to do was have a song that was as aggressive as possible, with their singer demeaning the man she was singing to, while also including sexual undertones. (Those undertones were strengthened in the follow-up Thornton recorded, "Tom Cat", where she told a "tom cat" "I ain't going to feed you fish no more"). Leiber and Stoller had very strong ideas about how their new song should be performed, and they made the mistake of telling her about them. Big Mama Thornton was not about to let two white teenagers teach her how to sing the blues. In truth, Big Mama Thornton was only a few years older than those kids -- they were in their late teens, and she was in her mid twenties -- but that kind of gap can seem like a big difference, and it might well also be that Thornton was offended by the fact that these white men were telling her, a black woman, how to do her job. So when Jerry Leiber insisted that rather than croon the song as she had been doing, she should "attack it", her response was to point to her crotch and say "attack this!" Johnny Otis didn't help by playing a rimshot right after Thornton said that. But he then suggested that Leiber sing it for Thornton, and she did listen, and agreed to try it that way. Once the communication problem had been sorted, Thornton turned in the definitive performance of the song. [excerpt: Big Mama Thornton, "Hound Dog"] "Hound Dog" is also notable as being one of the last times Johnny Otis played drums on a record. While he could still play the vibraphone, he could no longer hold his drumsticks properly, and so he'd largely given up drumming. But when they were working out the arrangement for the recording session, Otis played the drums in the rehearsals, playing with a style of his own -- turning the snare off on his snare drum so it sounded more like a tom-tom. When it came to the actual recording, though, Otis was in the control room, while a session drummer was playing in the studio. But Leiber and Stoller both agreed that he simply wasn't playing the part properly, and enticed Otis into the studio and got him to play the part as he'd been playing it in rehearsal. What happened next is a subject of much debate. What everyone is agreed on is that Otis was credited as a co-writer early on, but that he wasn't credited later. The story as Otis told it is that he did actually help Leiber and Stoller pull the song together, rewriting it with them, as well as doing the arrangement in the studio (which no-one disputes him doing). He claimed specifically that he'd come up with the lines "You made me feel so blue, you make me weep and moan/You ain't looking for a woman, you're just looking for a home", because Leiber and Stoller had had, quote, "some derogatory crap" in there, that he'd had to remove references to chicken and watermelon, and that he constantly had to edit their songs. He said that Leiber and Stoller acknowledged he was a co-writer right up until the point where Elvis Presley wanted to record the song a few years later. Leiber and Stoller, on the other hand, claimed that Otis had no involvement with the songwriting, and that he'd misrepresented himself to Don Robey. They claimed that Otis had falsely claimed he had power of attorney for them, as well as falsely claiming to have co-written the song, and deliberately defrauded them. On the other hand, it's only because of Otis that Leiber and Stoller got credit at all -- Don Robey, who as I've mentioned was a notorious thief of writing credits, originally put himself and Thornton down as the writers, and it was Otis who got the credits amended. Either way, Leiber and Stoller have, for more than sixty years, had the sole songwriting credits for the track, and Otis never bothered to dispute their claim in court. Indeed, they don't appear to have had any particular animosity -- they all repeatedly praised the others' abilities. Although as Otis put it "I could have sent my kids to college, like they sent theirs. But, oh well, if I dwell on that I get quite unhappy, so we try to move on." What's most ridiculous about the whole credit mess is that Elvis' version bore almost no resemblance to the song Leiber and Stoller wrote. Elvis' version was a cover of a version by the white Vegas lounge band Freddie Bell and the Bellboys, which was more or less a parody of the original. [excerpt: Freddie Bell and the Bellboys - “Hound Dog”] But still, Elvis came later, as did the money. In 1953, all Leiber and Stoller got for a record that sold over a million copies was a cheque for one thousand two hundred dollars. A cheque which bounced. As a result of their experience getting ripped off by Robey, Leiber and Stoller formed their own record label with Lester Sill, and we'll be hearing more about that later... Big Mama Thornton did actually get paid for her million-seller -- a whole five hundred dollars -- but she never had the success she deserved. She later wrote the song "Ball and Chain": [excerpt: Big Mama Thornton, "Ball and Chain"] Janis Joplin later had a hit with that, and you can hear from Thornton's version just how much Joplin took from Thornton's vocal style. But due to a bad contract Thornton never made a penny in royalties from the song she wrote (which is a far more egregious injustice than the one people complain about, that Elvis had a hit with "Hound Dog" -- she didn't write that one, and Elvis did pay the writers). She continued performing until a few days before she died, in July 1984, despite getting so sick and losing so much weight (she was under a hundred pounds at the end) that she was almost unrecognisable. She died two weeks before Little Esther, and like Esther, she had asked Johnny Otis, now the Reverend Johnny Otis, to give her eulogy. Otis said, in part “Mama always told me that the blues were more important than having money. She told me: Artists are artists and businessmen are businessmen. But the trouble is the artist’s money stays in the businessmen’s hands. [...] Don’t waste your sorrow on Big Mama. She’s free. Don’t feel sorry for Big Mama. There’s no more pain. No more suffering in a society where the color of skin was more important than the quality of your talent."

  Welcome to episode fifteen of A History of Rock Music in Five Hundred Songs. Today we’re looking at “Hound Dog” by Big Mama Thornton. Click the full post to read liner notes, links to more information, and a transcript of the episode. —-more—-    Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode (along with one, “Shake, Rattle, and Roll”, that got cut out of the eventual episode) I used three main resources for this podcast.  Big Mama Thornton: Her Life and Music by Michael Spörke  is the only biography of Thornton. It’s very well researched, but suffers somewhat from English not being its author’s first language. Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz, is an invaluable book on the most important songwriting team of their generation. And Midnight at the Barrelhouse: The Johnny Otis Story by George Lipsitz is the definitive biography of Otis. This collection has most of Big Mama Thornton’s fifties recordings on it.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   One of the things that is easy to miss when talking about early rock and roll is that much of the development of the genre is about the liminal spaces in race in America. (Before I start talking about this, a disclaimer I have to make — I’m a white person, from a different country, born decades after the events I’m talking about. I’m trying to be as accurate as I can here, and as sensitive as I can, but I apologise if I mess up, and nothing I say here should be taken as more accurate or authoritative than the words of the people who were actually affected). “Black” and “white” are two categories imposed by culture, and like all culturally-imposed binaries, they’re essentially arbitrary and don’t really map very well onto really existing people. There have always been people who don’t fit neatly into the boxes that a racist society insists everyone fits into — and part of the reason that rock and roll happened when it did was that in the 1950s America was in the process of redefining those boxes, and moving some people who would have previously fit into one category into the other. The lines were being redrawn, and that led to some interesting art happening at the borders. (That sounds like I’m doing the “at least some good art came from this terrible event” thing. I’m really, really, not. Racism in all its forms is nothing but negative, and its distortions of culture are all negative too. But they do exist, and need noting when talking about culture subject to those distortions). There were a lot of groups who would now be regarded as white in the USA but which back in the 1940s and 1950s weren’t, quite. Jewish people, for example, were still legally discriminated against in a lot of places (unlike now, when they’re merely *illegally* discriminated against). They weren’t black, but they weren’t quite white either. The same went for several other ethnic minorities, like Greek people. So it’s perhaps not all that surprising that one of the most successful blues records of all time, which later inspired an even more successful rock and roll record, was the result of a collaboration between a black singer, a Greek-American producer who said “As a kid I decided that if our society dictated that one had to be black or white, I would be black”, and two Jewish songwriters. Willie Mae Thornton was big in every sense — she weighed three hundred and fifty pounds, or about twenty-five stone, and she had a voice to match it — she would often claim that she didn’t need a microphone, because she was louder than any microphone anyway. We’ve talked in this series about blues shouters, and how they were mostly men, but she was at least the equal of any man as a shouter. She became a blues singer when she was fourteen, thanks to her mentor, a singer called “Diamond Teeth Mary”. [excerpt: “Keep Your Hands Off Of Him” · Diamond Teeth Mary] That’s a recording of Diamond Teeth Mary from the 1990s — when she was *in* her nineties. She performed constantly until her death aged ninety-seven, but she only made her first record when she was ninety-two. “Diamond Teeth Mary” was the half-sister of the great blues singer Bessie Smith — Mary had four stepmothers, one of whom was Smith’s mother — and she was a powerful singer herself, singing with the Hot Harlem Revue around Alabama. She was called “Diamond Teeth Mary” because she had diamonds embedded in her front teeth, so she’d be more imposing on stage. Diamond Teeth Mary heard the young Willie Mae Thornton singing while she was working on a garbage truck, got her to get off the garbage truck, and got her a job with the revue. Mary probably felt a kinship with the fourteen-year-old Willie Mae, a girl who only wore boy’s clothes — Mary had, herself, become a performer when she was only thirteen, having run away from her abusive family, dressed in boy’s clothes, and joined the circus. Willie Mae Thornton stayed with that revue for most of the next decade, playing with musicians like Richard Penniman, who would later become known as Little Richard, playing to audiences that were mostly black and also (according to Little Richard) exclusively gay. The Hot Harlem Revue was not exactly respectable — Sammy Green, who managed it, made most of his money from owning several brothels — but it was somewhere that a young singer could very quickly learn how to be an entertainer. You had to be impressive as a female blues singer in the 1940s, especially if, as with Willie Mae Thornton, you were also not conventionally attractive and not of a societally-approved sexuality or gender identity. I’ve seen suggestions from people who would know that Thornton was bisexual, but from others like Johnny Otis that she showed no interest in men or women (though she did have a child in her teens), and I’ve also seen suggestions that she may have been trans (though I’m going to refer to her using she and her pronouns here as that’s what she used throughout her life). She was a remarkable figure in many ways. One of her favourite drinks was embalming fluid and grape juice (just in case anyone was considering doing this, please don’t. It’s really not a good idea, at all, even a little bit. Don’t drink embalming fluid.) According to Jerry Leiber she had razor scars all over her face. She was a very, very, intimidating person. At the very least, she didn’t fit into neat boxes. But you see, all that stuff I just said… *that* is putting her into a box — the caricature angry, aggressive, black woman. And that was a box she never liked to be put in either, but which she was put in by other people. What I just said, you’ll notice, is all about what other people thought of her, and that’s not always what she thought of herself. She would get very upset that people would say she used to fight promoters, saying “I never did fight the promoters. All I ever did was ask them for my money. Pay me and there won’t be no hard feelings.” And while she is uniformly described as “masculine-looking” (whatever *that* means), she put it rather differently, saying “I don’t go out on stage trying to look pretty. I was born pretty.” Thornton is someone who didn’t get to tell her own story much — much of what we know about her is from other people’s impressions of her, and usually the impressions of men. People who knew her well described her as intelligent, kind, charming, funny, and hugely talented, while people who only spent a brief time around her tend to have talked about the razor scars on her face or how aggressive she seemed. Depending on which narrative you choose, you can make a very good case for her being either a loud, swaggering, vulgar, aggressive stereotype of unfeminine black femininity, or a rather sweet, vulnerable, person who intimidated men simply by her physical size, her race, and her loud voice, and who may have played up to their expectations at times, but who never liked that, and who used alcohol and other substances to cope with what wasn’t a very happy life, while remaining outwardly happy. But because we as a society value black women so little, most of this story is filtered through the white men who told it, so be aware that in what follows, you may find yourself picturing a caricature figure, seeing Big Mama as the angry sassy black woman you’ve seen in a million films. She was a real person, and I wish we had more of her own words to set against this. While the Hot Harlem Revue was a good place to learn to be an entertainer, it wasn’t necessarily the best place to work if you actually wanted to earn a living, and Willie Mae had to supplement her income by shining shoes. She often had to sleep in all-night restaurants and bars, because she couldn’t afford to pay rent, and go begging door to door for food. But she would pretend to everyone she knew that everything was all right, and smile for everyone. She became pregnant in her teens, and tried to be a good mother to the child, but she was deemed an unfit mother due to poverty and the child was taken away from her. After several years with the Harlem Revue, she quit them because she was being cheated out of money, and decided to stay in Houston, Texas, which is where she really started to build an audience. Around this time she recorded her first single, “All Right Baby”, credited to “the Harlem Stars” — it’s a song she wrote herself, and it’s a boogie track very much in the vein of Big Joe Turner: [excerpt “All Right Baby”, the Harlem Stars] Shortly after moving to Houston, she began working for Don Robey, who ran Peacock Records and the Bronze Peacock Club. Robey had a mixed reputation — most singers and musicians he worked with thought highly of him, but most songwriters he worked with were less enamoured of his penchant for stealing their money and credit. Robey had a reputation as a thug, too, but according to Little Richard he was too scared of Thornton to beat her up like he would his other acts. She recorded several singles for Peacock, starting with “I’m All Fed Up”, but her talents weren’t really suited to the slick Texas blues backing she was given: [excerpt “I’m All Fed Up”, Willie Mae Thornton] The kind of music Peacock put out was in the smoother style that was becoming prominent in the southwestern US — the kind of music that people like Lightnin’ Hopkins made — and that wasn’t really suited to Thornton’s louder, more emotional style. But after a run of unsuccessful singles, things started to change. Peacock Records was in the process of expanding. Don Robey acquired another label, Duke Records of Memphis, and merged them, and he got distributors working with him in different areas of the country. And he started working with Johnny Otis. Otis came to Texas, and he and Robey made a deal — Otis would audition several of the acts that were on Duke and Peacock records, people like Thornton who had not had much success but clearly had talent, and he would incorporate them into his Johnny Otis Revue. Otis would take charge of producing their records, which would be cut in Los Angeles with Otis’ band, and he would let Robey release the results. Some of the artists still couldn’t find their commercial potential even with Otis producing. For example, Little Richard’s recordings with Otis, while interesting, are an artistic dead-end for him: [excerpt: “Little Richard Boogie”, Little Richard] Of course, Little Richard went on to do quite well for himself later… But in the case of Willie Mae Thornton, something clicked. The two became lifelong friends, and also began a remarkable collaboration, with Otis being the first person to encourage Thornton to play harmonica as well as sing. On her first show with the Johnny Otis Revue, Willie Mae Thornton sang “Have Mercy Baby”, the then-current hit by Billy Ward and the Dominoes, and the audience went so wild that they had to stop the show. After that point, they had to put Thornton at the top of the bill, after even Little Esther, so the audience would allow the other performers to come on. And with the top billing came a change of name. Johnny Otis had a knack for giving artists new names — as well as Little Esther, he also gave Etta James and Sugar Pie DeSanto their stage names — and in the case of Willie Mae Thornton, for the rest of her career she was known as “Big Mama” Thornton. At the time we’re talking about, Otis was, as much as a musician, a fixer, a wheeler-dealer, a person who brought people together. And this was a role that those people on the margins of whiteness – like Otis, a son of Greek immigrants who chose to live among black culture – excelled in. The people who were on the borderline between the two different conceptions of race often ended up as backroom facilitators, bringing white money to black artists — people like Milt Gabler or Ahmet Ertegun or Cosimo Matassa, people of ethnicities that didn’t quite fit into the black/white binary, people who were white enough to use white privilege to get financing, but not so white they identified with the majority culture. And in 1952, the people Otis brought together were Big Mama Thornton and two young songwriters who would change the world of music. Jerry Leiber and Mike Stoller were Jewish teenagers, both of whom had moved to California from elsewhere — Stoller from New York and Leiber from Maryland. Mike Stoller was a musician, who was into modern jazz and modern art music — he loved Bartok and Thelonius Monk — but he also had a background in stride and boogie woogie. After he found normal piano lessons uncongenial, he’d been offered lessons by the great James P Johnson, who had taught him how to play boogie. James P Johnson was essentially the inventor of jazz piano — he’d started out playing ragtime, and had invented the stride piano style that Johnson had taught to Fats Waller. He’d been one of the performers at the Spirituals to Swing concerts, and was also a major composer of serious music, but what he taught young Mike Stoller was how to play a boogie bassline, how to understand twelve-bar blues structure and other rudiments of the blues pianist’s art. As Stoller later put it, “it was as if Beethoven were about to give me a lesson—except that, unlike James P. Johnson, Beethoven had never given a piano lesson to Fats Waller”. After moving to LA, Stoller started studying with Arthur Lange, a composer of film soundtracks, and playing piano for jazz bands, jamming with people like Chet Baker. Meanwhile, Jerry Leiber was a blues fanatic, who had had a minor epiphany after hearing Jimmy Witherspoon’s “Ain’t Nobody’s Business if I Do”: [excerpt: Jimmy Witherspoon “Ain’t Nobody’s Business”] Leiber had heard Witherspoon’s song, and realised that he could do that, and he decided he was going to. He was going to become a songwriter, and he started working on song lyrics immediately, although he had no idea how to go about getting anyone to perform them. The first song he wrote was called “Real Ugly Woman”. The lyrics went “She’s a real ugly woman, don’t see how she got that way/Every time she comes ’round, she runs all my friends away”. He didn’t have much knowledge of the music business, but luckily that knowledge walked right through the door. Leiber was working at a small record store, and one day Lester Sill, who was the national sales manager for Modern Records, walked into the shop. Modern Records was one of the dozens of tiny blues labels that were springing up across the country, usually run by Jewish and Italian entrepreneurs who could see the potential in black music even if the owners of the major labels couldn’t, and Sill was a real enthusiast for the music he was selling. He started pitching records to Jerry Leiber, telling him he’d love them, acting as if Leiber was the most important person in the world, even though Leiber kept explaining he didn’t make the buying decisions for the shop, he was only a shop assistant. Eventually, after playing a record called “Boogie Chillen”, by a new artist called John Lee Hooker, which excited Leiber enormously, Sill asked Leiber what he was going to do when he grew up. Leiber replied that he was already grown up, but he planned to become a songwriter. Sill asked to hear one of the songs, and Leiber sang “Real Ugly Woman” to him. Sill liked it, and asked for copies of his songs. When Leiber explained that he didn’t know how to write music, Sill told him to find a partner who did. Leiber found Stoller through a mutual friend, who told Leiber that Stoller knew about music. Leiber phoned Stoller, who was unimpressed by the idea of writing songs together, because to his mind “songs” were the kind of thing that was dominating the pop charts at the time, the kind of thing that Patti Page or someone would record, not something someone who was into hard bop music would like. But Leiber eventually persuaded him to at least take a look at the lyrics he’d been writing. Stoller looked at the lyrics to “Real Ugly Woman”, and said “These are blues! You didn’t tell me you were writing blues. I love the blues.” They started collaborating together that day, in 1950, and worked together for the rest of their lives. Soon Jimmy Witherspoon himself was singing “Real Ugly Woman”, just like Leiber had hoped when he’d started writing: [Excerpt: Jimmy Witherspoon “Real Ugly Woman”] Soon after, Ralph Bass moved to LA from New York. He’d got to know Leiber and Stoller on their trips East and when he moved west he introduced them to Johnny Otis, who Bass had kept in touch with after leaving Savoy Records. Through the connection with Otis and Bass, they wrote many songs for Little Esther, and they also started a partnership with Little Esther’s former backing vocalists The Robins, who put out the very first single with a Leiber and Stoller writing credit: “That’s What the Good Book Says”. [Excerpt: The Robins “That’s What the Good Book Says”] The partnership between the Leiber and Stoller team and the Robins would end up defining all their careers. But right now, Leiber and Stoller were a couple of teenagers who were working with their heroes. And at least one of those heroes was not very impressed. Johnny Otis had introduced them to Big Mama Thornton and asked if they had a song for her. They said “we don’t, but we will have in a few minutes”, ran back to Stoller’s house, and quickly knocked out “Hound Dog” in a style that they thought would suit Thornton. “Hound dog” was, at the time, black slang for a gigolo, and what Leiber and Stoller wanted to do was have a song that was as aggressive as possible, with their singer demeaning the man she was singing to, while also including sexual undertones. (Those undertones were strengthened in the follow-up Thornton recorded, “Tom Cat”, where she told a “tom cat” “I ain’t going to feed you fish no more”). Leiber and Stoller had very strong ideas about how their new song should be performed, and they made the mistake of telling her about them. Big Mama Thornton was not about to let two white teenagers teach her how to sing the blues. In truth, Big Mama Thornton was only a few years older than those kids — they were in their late teens, and she was in her mid twenties — but that kind of gap can seem like a big difference, and it might well also be that Thornton was offended by the fact that these white men were telling her, a black woman, how to do her job. So when Jerry Leiber insisted that rather than croon the song as she had been doing, she should “attack it”, her response was to point to her crotch and say “attack this!” Johnny Otis didn’t help by playing a rimshot right after Thornton said that. But he then suggested that Leiber sing it for Thornton, and she did listen, and agreed to try it that way. Once the communication problem had been sorted, Thornton turned in the definitive performance of the song. [excerpt: Big Mama Thornton, “Hound Dog”] “Hound Dog” is also notable as being one of the last times Johnny Otis played drums on a record. While he could still play the vibraphone, he could no longer hold his drumsticks properly, and so he’d largely given up drumming. But when they were working out the arrangement for the recording session, Otis played the drums in the rehearsals, playing with a style of his own — turning the snare off on his snare drum so it sounded more like a tom-tom. When it came to the actual recording, though, Otis was in the control room, while a session drummer was playing in the studio. But Leiber and Stoller both agreed that he simply wasn’t playing the part properly, and enticed Otis into the studio and got him to play the part as he’d been playing it in rehearsal. What happened next is a subject of much debate. What everyone is agreed on is that Otis was credited as a co-writer early on, but that he wasn’t credited later. The story as Otis told it is that he did actually help Leiber and Stoller pull the song together, rewriting it with them, as well as doing the arrangement in the studio (which no-one disputes him doing). He claimed specifically that he’d come up with the lines “You made me feel so blue, you make me weep and moan/You ain’t looking for a woman, you’re just looking for a home”, because Leiber and Stoller had had, quote, “some derogatory crap” in there, that he’d had to remove references to chicken and watermelon, and that he constantly had to edit their songs. He said that Leiber and Stoller acknowledged he was a co-writer right up until the point where Elvis Presley wanted to record the song a few years later. Leiber and Stoller, on the other hand, claimed that Otis had no involvement with the songwriting, and that he’d misrepresented himself to Don Robey. They claimed that Otis had falsely claimed he had power of attorney for them, as well as falsely claiming to have co-written the song, and deliberately defrauded them. On the other hand, it’s only because of Otis that Leiber and Stoller got credit at all — Don Robey, who as I’ve mentioned was a notorious thief of writing credits, originally put himself and Thornton down as the writers, and it was Otis who got the credits amended. Either way, Leiber and Stoller have, for more than sixty years, had the sole songwriting credits for the track, and Otis never bothered to dispute their claim in court. Indeed, they don’t appear to have had any particular animosity — they all repeatedly praised the others’ abilities. Although as Otis put it “I could have sent my kids to college, like they sent theirs. But, oh well, if I dwell on that I get quite unhappy, so we try to move on.” What’s most ridiculous about the whole credit mess is that Elvis’ version bore almost no resemblance to the song Leiber and Stoller wrote. Elvis’ version was a cover of a version by the white Vegas lounge band Freddie Bell and the Bellboys, which was more or less a parody of the original. [excerpt: Freddie Bell and the Bellboys – “Hound Dog”] But still, Elvis came later, as did the money. In 1953, all Leiber and Stoller got for a record that sold over a million copies was a cheque for one thousand two hundred dollars. A cheque which bounced. As a result of their experience getting ripped off by Robey, Leiber and Stoller formed their own record label with Lester Sill, and we’ll be hearing more about that later… Big Mama Thornton did actually get paid for her million-seller — a whole five hundred dollars — but she never had the success she deserved. She later wrote the song “Ball and Chain”: [excerpt: Big Mama Thornton, “Ball and Chain”] Janis Joplin later had a hit with that, and you can hear from Thornton’s version just how much Joplin took from Thornton’s vocal style. But due to a bad contract Thornton never made a penny in royalties from the song she wrote (which is a far more egregious injustice than the one people complain about, that Elvis had a hit with “Hound Dog” — she didn’t write that one, and Elvis did pay the writers). She continued performing until a few days before she died, in July 1984, despite getting so sick and losing so much weight (she was under a hundred pounds at the end) that she was almost unrecognisable. She died two weeks before Little Esther, and like Esther, she had asked Johnny Otis, now the Reverend Johnny Otis, to give her eulogy. Otis said, in part “Mama always told me that the blues were more important than having money. She told me: Artists are artists and businessmen are businessmen. But the trouble is the artist’s money stays in the businessmen’s hands. […] Don’t waste your sorrow on Big Mama. She’s free. Don’t feel sorry for Big Mama. There’s no more pain. No more suffering in a society where the color of skin was more important than the quality of your talent.”

Vandaag muziek van Eddie Bo, Ry Cooder, Bobby Womack, Sugar Pie DeSanto, NRBQ en Charley Crockett.

Vandaag muziek van Eddie Bo, Ry Cooder, Bobby Womack, Sugar Pie DeSanto, NRBQ en Charley Crockett.

Back with a vengeance Mod Marty is dropping the needle on an hour of vinyl spinning at 45 revolutions a minute. This show will make your head spin and leave you daydreaming of it for days to come. Please like the Facebook page here: facebook.com/ontargetpodcast/ ------------------------------------------------- The Playlist Is: The Flick (pt. 1) Earl Van Dyke & The Soul Brothers - Soul "Keep On Keeping On" The Vibrations - Okeh "I Was Made To Love Her" Jackie Wilson & Count Basie - Brunswick "In The Basement (pt. 1)" Sugar Pie Desanto & Etta James - Cadet "To Busy Thinking About My Baby" Marvin Gaye - Tamla-Motown "Skate (pt. 1)" Dean Parrish - Boom "Shop Around" The Butlers - Cameo-Parkway "Rosalyn" The Pretty Things - Fontana "I'm Going To Change The World" The Animals - Columbia "Baby You're Mine" Little Ben & The Cheers - Bell "Just A Little Mixed Up" The Furys - Jay Boy "Come Back Girl" Jackie Edwards - Veep "Have Some Boogaloo" Timmy Thomas - Goldwax "Drowning In My Own Tears" Queenie Lyons - De-Luxe "Sally's Sayin' Something" Billy Harner - Kama Sutra "My Dues Have Been Paid" The Enemys - MGM "Taking The Time" East Side Kids - Capitol "Not You Girl" The Witness Inc. - Apex "Simmer Down" The Wailers - Coxone "A Live Injection" The Upsetters - Upsetter "Keep On" Dueces Wild - Corby

Check out Rahn Anthoni as he interviews Jesse James (Mr. I Can Do Bad By Myself) Jesse James is a legend Most sources state that he was born in El Dorado, Arkansas,[1][2][3] but in one interview he gave his home state as nearby Louisiana.[4] He moved to the Bay Area in California as a young child. In his late teens, while working in a chemical factory, he began singing in nightclubs in Richmond, and was given his stage name by a compere who struggled to announce his real name.[2]Initially credited as Jessie James, he recorded several singles in the early 1960s on the Shirley label before moving to the Hit label where some of his recordings featured guitar by Sly Stewart (later Sly Stone). His first commercial success came in 1967 when one of his recordings for Hit, "Believe In Me Baby", was reissued by 20th Century Fox Records, and reached #42 on the Billboard R&B chart and #92 on the pop chart.[3] The song was credited to Jesse James & the Dynamic Four, was produced by Jesse Mason Jr., and was co-written by James with Sugar Pie DeSanto, Shena Demell, and Jesse Anderson.[1][5]Later recordings for 20th Century Fox, to which he was signed by Hosea Wilson,[4] failed to chart, but he released a self-titled LP on the label in 1968, also produced by Mason.[1][6] After one single on Uni, he set up his own label, Zea, distributed by Roulette Records. His first single for the new label, the self-penned "Don't Nobody Want To Get Married", reached #18 on the R&B chart in 1970, and its follow-up, "I Need You Baby", reached #47 R&B.[3] After Zea's distribution deal ended, he re-launched the label as Zay, and had another R&B hit (#25) with his version of "At Last", arranged and produced by Willie Hoskins and previously a hit for Etta James.[3][1] In 1974, he returned to the 20th Century label,[2] and the following year had a minor R&B hit (#73) with "If You Want a Love Affair".[3]He continued to record for various labels through the 1970s and 1980s, and his final chart success came in 1987, when "I Can Do Bad By Myself", on the TTED label, reached #61 on the R&B chart.[3] He released one album on TTED, It Takes One To Know One (credited to Mr. Jessie James), followed by several on Gunsmoke, for whom he signed in 1988.[4] His first album on Gunsmoke, I Can Do Bad By Myself (1988), included a collaboration with Harvey Scales, and was followed by Looking Back (1990). He has continued to release albums on Gunsmoke, including Operator Please Put Me Through (1993), It Just Don't Feel The Same (1997), Versatility (1998), It's Not So Bad After All (2006), Get In Touch With Me (2009), Do Not Disturb (2012), and I Lost My Baby On Facebook (2014).[2][1]

Morgan Nagler and Jake Bellows, the core of dream LA indie outfit Whispertown, on the inspiration of early 60s R'n'B pioneer Sugar Pie DeSanto. My Favorite Album is a podcast on the impact great music has on our lives. Each episode features a guest on their favorite album of all time - why they love it, their history with the album and how it's influenced them. Jeremy Dylan is a filmmaker, journalist and photographer. He directed the the feature music documentary Jim Lauderdale: The King of Broken Hearts (out now!) and the film Benjamin Sniddlegrass and the Cauldron of Penguins. If you've got any feedback or suggestions, drop us a line at myfavoritealbumpodcast@gmail.com.

From jumping off pianos with James Brown to running the streets with Etta James, Sugar Pie DeSanto has led a wild life. In this episode, the soul singer shares memories of performing in Oakland’s legendary 1950s blues clubs, stunning global audiences with her risqué moves, and making grown men cry. As Sugar Pie puts it, “I’m one of the roughest women you could ever know. I ain’t to be played with!” Listen now to find out what happened when one aggressive fan learned this lesson the hard way. Special thanks to Mr. Jim Moore and Jasman Records. Support Sugar Pie DeSanto by purchasing her music at: http://sugarpiedesanto.com/ Also, check out my article about Sugar Pie in this week’s issue of East Bay Express: https://www.eastbayexpress.com/

As we move into the spring new release cycle, I've got five artists in this edition making their debut in The Roadhouse. Evelyn Rubio with The Calvin Owens Blues Orchestra, Too Slim & The Taildraggers, Jeff Healey, Mavis Staples, and Sugar Pie DeSanto propel us along for the hour. New music, new artists and a new season out my window. Couldn't ask for a better set of conditions to put together another hour of the finest blues you've never heard - the 578th Roadhouse.