Podcasts about Suzie Q

-It's a Bugaboo Tuesday…what's bothering Bill today?-Also, SONG OF THE DAY (sponsored by Sartor Hamann Jewelers): "Suzie Q" - CCR (1968)Show sponsored by SANDHILLS GLOBALOur Sponsors:* Check out BetterHelp and use my code EARLYBREAK for a great deal: www.betterhelp.com* Check out Cigars International and use my code EARLYBREAK for a great deal: www.cigarsinternational.comAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This week on Classic Vinyl Podcast, Justin and Tyler review CCR and their first single release Suzie Q. An 8 minute long jam song that the band split in half for the A and B side of their debut single. How does this song rank with you, and how does it still hold up today?

This is an UNLOCKED episode. For access to premium episodes, upcoming installments of DEMON FORCES, live call-in specials, and the Grotto of Truth Discord, become a subscriber at patreon.com/subliminaljihad. In Part 4 of CONTRA VII, Dimitri and Khalid begin exploring the musical origins and Shakespearean career arc of the East San Francisco Bay's most legendary quirked up white boys (and eventual Castle Bank victims) Creedence Clearwater Revival, including: the murky and arguably Islamic roots of blues music in the Mississippi Delta, growing up in the sleepy post-war SF suburb of El Cerrito, Tom and John Fogerty getting blues-pilled by the local black radio stations in Oakland, John getting constantly hit on by Christian Brothers at Catholic school, joining forces with schoolmates Stu Cook and Doug Clifford, becoming Tommy Fogerty and the Blue Velvets, signing with the offbeat dirtbag cawmedy jazz label Fantasy Records in 1963, being forcibly named “The Golliwogs” to ride the Bri'ish Invasion wave, John's unfortunate stint in the US Army Reserves from 1966-68, rebooting as Creedence Clearwater Revival during San Francisco's Summer of Love, John's deep hatred of the MK Silk Topper Grateful Dead scene, his even deeper hatred of LSD, Timothy Leary, and stoner culture, his insistence that they always play sober despite CCR's tactical appeal to the psychedelic crowd on “Suzie Q” and “I Put a Spell on You”, John's assumption of full Stalinist leadership over the band, his growing anxiety that there's “somethin' missing” in Doug's shuffle beat, and the construction of Fogerty's mythical bayou from the violent fever dream swamp of the Vietnam War, the political assassinations of 1968, San Francisco MK culture, and President Richard Nixon.

LILLIAN ARMSTRONG – AND HER SWING BAND Chicago, IL, October 27, 1936Love me or leave me alone, My hi-de-ho man, Brown gal, Doin' the Suzie-Q, Just for a thrillJoe Thomas (tp) Buster Bailey (cl) Chu Berry (ts) Teddy Cole (p) Huey Long (g) John Frazier (b) Lil Armstrong (vcl) ART HODES – CHICAGOANS New York, March 18, 1944Maple leaf rag, She's crying for me, Yellow dog blues, Slow 'em down blues Max Kaminsky (tp) Ray Conniff (tb) Rod Cless (cl) Art Hodes (p) Jack Bland (g) Bob Haggart (b) Danny Alvin (d) New York, March 22, 1944Doctor Jazz, Shoe shiner's drag, There'll be some changes made, Clark and RandolphSid Jacobs (b) replaces Bob Haggart OSCAR ALEMAN – SWING GUITAR MASTERPIECES Copenhagen, December 5, 1938 Sweet Sue, just you, Limehouse blues Oscar Aleman (g) Svend Asmussen (vln) Henry Hagemann (cl,ts) Helge Jacobsen (g) Alfred Rasmussen (b) Bibi Miranda (d) Paris, May 12, 1939Russian lullaby (ewm vcl), Just a little swingOscar Aleman, John Mitchell (g) Ernest Wilson Myers (b,vcl Buenos Aires, May 2, 1944I never knewManuel Gavinovich (vln) Rogelio Robledo (p) Oscar Aleman (g,vcl) Guillermo Barbieri (g) Luis Gavinovich (b) Ramon Caravaca (d) Continue reading Puro Jazz 26 diciembre 2023 – Copy at PuroJazz.

É uma cover, popularizada pelos Credence Clearwater Revival, chama-se Suzie Q.Talvez por causa da banda sonora de algum filme, associo esta música à guerra do Vietname. Credence Clearwater Revival | Chronicle (LP) | Suzie Q | 1968/1976

Singles Going Around- Back To Mono Volume 4Mono records-recorded in mono, transferred in mono. Play LOUD.The Byrds- "Mr Spaceman"Pink Floyd- "Astronomy Domine"Chris Kenner- "Something You Got"Cream- "I Feel Free"The Rolling Stones- "Sympathy For The Devil"Bob Dylan- "Leopard Skin Pill Box Hat"The Beatles- "Norwegian Wood"Paul Revere & The Raiders- "The Great Airplane Strike"The Beach Boys- "Here Comes The Night"The Doors- "Break On Through"The Byrds- "The World Turns All Around Her"Chris Kenner- "Land Of 1000 Dances"The Rolling Stones- "Street Fighting Man"Pink Floyd- "Lucifer Sam"Bob Dylan- "Absolutely Sweet Marie"Dale Hawkins- "Suzie Q"Jerry Lee Lewis- "Great Balls Of Fire"Link Wray- "Rumble"Barret Strong- "Money"*All selections from the original records.

Episode one hundred and sixty-seven of A History of Rock Music in Five Hundred Songs looks at “The Weight" by the Band, the Basement Tapes, and the continuing controversy over Dylan going electric. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "S.F. Sorrow is Born" by the Pretty Things. 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/ Also, a one-time request here -- Shawn Taylor, who runs the Facebook group for the podcast and is an old and dear friend of mine, has stage-three lung cancer. I will be hugely grateful to anyone who donates to the GoFundMe for her treatment. Errata At one point I say "when Robertson and Helm travelled to the Brill Building". I meant "when Hawkins and Helm". This is fixed in the transcript but not the recording. Resources There are three Mixcloud mixes this time. As there are so many songs by Bob Dylan and the Band excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two, three. I've used these books for all the episodes involving Dylan: Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald, which is recommended, as all Wald's books are. Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. Information on Tiny Tim comes from Eternal Troubadour: The Improbable Life of Tiny Tim by Justin Martell. Information on John Cage comes from The Roaring Silence by David Revill Information on Woodstock comes from Small Town Talk by Barney Hoskyns. For material on the Basement Tapes, I've used Million Dollar Bash by Sid Griffin. And for the Band, I've used This Wheel's on Fire by Levon Helm with Stephen Davis, Testimony by Robbie Robertson, The Band by Craig Harris and Levon by Sandra B Tooze. I've also referred to the documentaries No Direction Home and Once Were Brothers. The complete Basement Tapes can be found on this multi-disc box set, while this double-CD version has the best material from the sessions. All the surviving live recordings by Dylan and the Hawks from 1966 are on this box set. There are various deluxe versions of Music From Big Pink, but still the best way to get the original album is in this twofer CD with the Band's second album. Transcript Just a brief note before I start – literally while I was in the middle of recording this episode, it was announced that Robbie Robertson had died today, aged eighty. Obviously I've not had time to alter the rest of the episode – half of which had already been edited – with that in mind, though I don't believe I say anything disrespectful to his memory. My condolences to those who loved him – he was a huge talent and will be missed. There are people in the world who question the function of criticism. Those people argue that criticism is in many ways parasitic. If critics knew what they were talking about, so the argument goes, they would create themselves, rather than talk about other people's creation. It's a variant of the "those who can't, teach" cliche. And to an extent it's true. Certainly in the world of rock music, which we're talking about in this podcast, most critics are quite staggeringly ignorant of the things they're talking about. Most criticism is ephemeral, published in newspapers, magazines, blogs and podcasts, and forgotten as soon as it has been consumed -- and consumed is the word . But sometimes, just sometimes, a critic will have an effect on the world that is at least as important as that of any of the artists they criticise. One such critic was John Ruskin. Ruskin was one of the preeminent critics of visual art in the Victorian era, particularly specialising in painting and architecture, and he passionately advocated for a form of art that would be truthful, plain, and honest. To Ruskin's mind, many artists of the past, and of his time, drew and painted, not what they saw with their own eyes, but what other people expected them to paint. They replaced true observation of nature with the regurgitation of ever-more-mannered and formalised cliches. His attacks on many great artists were, in essence, the same critiques that are currently brought against AI art apps -- they're just recycling and plagiarising what other people had already done, not seeing with their own eyes and creating from their own vision. Ruskin was an artist himself, but never received much acclaim for his own work. Rather, he advocated for the works of others, like Turner and the pre-Raphaelite school -- the latter of whom were influenced by Ruskin, even as he admired them for seeing with their own vision rather than just repeating influences from others. But those weren't the only people Ruskin influenced. Because any critical project, properly understood, becomes about more than just the art -- as if art is just anything. Ruskin, for example, studied geology, because if you're going to talk about how people should paint landscapes and what those landscapes look like, you need to understand what landscapes really do look like, which means understanding their formation. He understood that art of the kind he wanted could only be produced by certain types of people, and so society had to be organised in a way to produce such people. Some types of societal organisation lead to some kinds of thinking and creation, and to properly, honestly, understand one branch of human thought means at least to attempt to understand all of them. Opinions about art have moral consequences, and morality has political and economic consequences. The inevitable endpoint of any theory of art is, ultimately, a theory of society. And Ruskin had a theory of society, and social organisation. Ruskin's views are too complex to summarise here, but they were a kind of anarcho-primitivist collectivism. He believed that wealth was evil, and that the classical liberal economics of people like Mill was fundamentally anti-human, that the division of labour alienated people from their work. In Ruskin's ideal world, people would gather in communities no bigger than villages, and work as craftspeople, working with nature rather than trying to bend nature to their will. They would be collectives, with none richer or poorer than any other, and working the land without modern technology. in the first half of the twentieth century, in particular, Ruskin's influence was *everywhere*. His writings on art inspired the Impressionist movement, but his political and economic ideas were the most influential, right across the political spectrum. Ruskin's ideas were closest to Christian socialism, and he did indeed inspire many socialist parties -- most of the founders of Britain's Labour Party were admirers of Ruskin and influenced by his ideas, particularly his opposition to the free market. But he inspired many other people -- Gandhi talked about the profound influence that Ruskin had on him, saying in his autobiography that he got three lessons from Ruskin's Unto This Last: "That 1) the good of the individual is contained in the good of all. 2) a lawyer's work has the same value as the barber's in as much as all have the same right of earning their livelihood from their work. 3) a life of labour, i.e., the life of the tiller of the soil and the handicraftsman is the life worth living. The first of these I knew. The second I had dimly realized. The third had never occurred to me. Unto This Last made it clear as daylight for me that the second and third were contained in the first. I arose with the dawn, ready to reduce these principles to practice" Gandhi translated and paraphrased Unto this Last into Gujurati and called the resulting book Sarvodaya (meaning "uplifting all" or "the welfare of all") which he later took as the name of his own political philosophy. But Ruskin also had a more pernicious influence -- it was said in 1930s Germany that he and his friend Thomas Carlyle were "the first National Socialists" -- there's no evidence I know of that Hitler ever read Ruskin, but a *lot* of Nazi rhetoric is implicit in Ruskin's writing, particularly in his opposition to progress (he even opposed the bicycle as being too much inhuman interference with nature), just as much as more admirable philosophies, and he was so widely read in the late nineteenth and early twentieth centuries that there's barely a political movement anywhere that didn't bear his fingerprints. But of course, our focus here is on music. And Ruskin had an influence on that, too. We've talked in several episodes, most recently the one on the Velvet Underground, about John Cage's piece 4'33. What I didn't mention in any of the discussions of that piece -- because I was saving it for here -- is that that piece was premiered at a small concert hall in upstate New York. The hall, the Maverick Concert Hall, was owned and run by the Maverick arts and crafts collective -- a collective that were so called because they were the *second* Ruskinite arts colony in the area, having split off from the Byrdcliffe colony after a dispute between its three founders, all of whom were disciples of Ruskin, and all of whom disagreed violently about how to implement Ruskin's ideas of pacifist all-for-one and one-for-all community. These arts colonies, and others that grew up around them like the Arts Students League were the thriving centre of a Bohemian community -- close enough to New York that you could get there if you needed to, far enough away that you could live out your pastoral fantasies, and artists of all types flocked there -- Pete Seeger met his wife there, and his father-in-law had been one of the stonemasons who helped build the Maverick concert hall. Dozens of artists in all sorts of areas, from Aaron Copland to Edward G Robinson, spent time in these communities, as did Cage. Of course, while these arts and crafts communities had a reputation for Bohemianism and artistic extremism, even radical utopian artists have their limits, and legend has it that the premiere of 4'33 was met with horror and derision, and eventually led to one artist in the audience standing up and calling on the residents of the town around which these artistic colonies had agglomerated: “Good people of Woodstock, let's drive these people out of town.” [Excerpt: The Band, "The Weight"] Ronnie Hawkins was almost born to make music. We heard back in the episode on "Suzie Q" in 2019 about his family and their ties to music. Ronnie's uncle Del was, according to most of the sources on the family, a member of the Sons of the Pioneers -- though as I point out in that episode, his name isn't on any of the official lists of group members, but he might well have performed with them at some point in the early years of the group. And he was definitely a country music bass player, even if he *wasn't* in the most popular country and western group of the thirties and forties. And Del had had two sons, Jerry, who made some minor rockabilly records: [Excerpt: Jerry Hawkins, "Swing, Daddy, Swing"] And Del junior, who as we heard in the "Susie Q" episode became known as Dale Hawkins and made one of the most important rock records of the fifties: [Excerpt: Dale Hawkins, "Susie Q"] Ronnie Hawkins was around the same age as his cousins, and was in awe of his country-music star uncle. Hawkins later remembered that after his uncle moved to Califormia to become a star “He'd come home for a week or two, driving a brand new Cadillac and wearing brand new clothes and I knew that's what I wanted to be." Though he also remembered “He spent every penny he made on whiskey, and he was divorced because he was running around with all sorts of women. His wife left Arkansas and went to Louisiana.” Hawkins knew that he wanted to be a music star like his uncle, and he started performing at local fairs and other events from the age of eleven, including one performance where he substituted for Hank Williams -- Williams was so drunk that day he couldn't perform, and so his backing band asked volunteers from the audience to get up and sing with them, and Hawkins sang Burl Ives and minstrel-show songs with the band. He said later “Even back then I knew that every important white cat—Al Jolson, Stephen Foster—they all did it by copying blacks. Even Hank Williams learned all the stuff he had from those black cats in Alabama. Elvis Presley copied black music; that's all that Elvis did.” As well as being a performer from an early age, though, Hawkins was also an entrepreneur with an eye for how to make money. From the age of fourteen he started running liquor -- not moonshine, he would always point out, but something far safer. He lived only a few miles from the border between Missouri and Arkansas, and alcohol and tobacco were about half the price in Missouri that they were in Arkansas, so he'd drive across the border, load up on whisky and cigarettes, and drive back and sell them at a profit, which he then used to buy shares in several nightclubs, which he and his bands would perform in in later years. Like every man of his generation, Hawkins had to do six months in the Army, and it was there that he joined his first ever full-time band, the Blackhawks -- so called because his name was Hawkins, and the rest of the group were Black, though Hawkins was white. They got together when the other four members were performing at a club in the area where Hawkins was stationed, and he was so impressed with their music that he jumped on stage and started singing with them. He said later “It sounded like something between the blues and rockabilly. It sort of leaned in both directions at the same time, me being a hayseed and those guys playing a lot funkier." As he put it "I wanted to sound like Bobby ‘Blue' Bland but it came out sounding like Ernest Tubb.” Word got around about the Blackhawks, both that they were a great-sounding rock and roll band and that they were an integrated band at a time when that was extremely unpopular in the southern states, and when Hawkins was discharged from the Army he got a call from Sam Phillips at Sun Records. According to Hawkins a group of the regular Sun session musicians were planning on forming a band, and he was asked to front the band for a hundred dollars a week, but by the time he got there the band had fallen apart. This doesn't precisely line up with anything else I know about Sun, though it perhaps makes sense if Hawkins was being asked to front the band who had variously backed Billy Lee Riley and Jerry Lee Lewis after one of Riley's occasional threats to leave the label. More likely though, he told everyone he knew that he had a deal with Sun but Phillips was unimpressed with the demos he cut there, and Hawkins made up the story to stop himself losing face. One of the session players for Sun, though, Luke Paulman, who played in Conway Twitty's band among others, *was* impressed with Hawkins though, and suggested that they form a band together with Paulman's bass player brother George and piano-playing cousin Pop Jones. The Paulman brothers and Jones also came from Arkansas, but they specifically came from Helena, Arkansas, the town from which King Biscuit Time was broadcast. King Biscuit Time was the most important blues radio show in the US at that time -- a short lunchtime programme which featured live performances from a house band which varied over the years, but which in the 1940s had been led by Sonny Boy Williamson II, and featured Robert Jr. Lockwood, Robert Johnson's stepson, on guiitar: [Excerpt: Sonny Boy Williamson II "Eyesight to the Blind (King Biscuit Time)"] The band also included a drummer, "Peck" Curtis, and that drummer was the biggest inspiration for a young white man from the town named Levon Helm. Helm had first been inspired to make music after seeing Bill Monroe and his Blue Grass Boys play live when Helm was eight, and he had soon taken up first the harmonica, then the guitar, then the drums, becoming excellent at all of them. Even as a child he knew that he didn't want to be a farmer like his family, and that music was, as he put it, "the only way to get off that stinking tractor  and out of that one hundred and five degree heat.” Sonny Boy Williamson and the King Biscuit Boys would perform in the open air in Marvell, Arkansas, where Helm was growing up, on Saturdays, and Helm watched them regularly as a small child, and became particularly interested in the drumming. “As good as the band sounded,” he said later “it seemed that [Peck] was definitely having the most fun. I locked into the drums at that point. Later, I heard Jack Nance, Conway Twitty's drummer, and all the great drummers in Memphis—Jimmy Van Eaton, Al Jackson, and Willie Hall—the Chicago boys (Fred Belew and Clifton James) and the people at Sun Records and Vee-Jay, but most of my style was based on Peck and Sonny Boy—the Delta blues style with the shuffle. Through the years, I've quickened the pace to a more rock-and-roll meter and time frame, but it still bases itself back to Peck, Sonny Boy Williamson, and the King Biscuit Boys.” Helm had played with another band that George Paulman had played in, and he was invited to join the fledgling band Hawkins was putting together, called for the moment the Sun Records Quartet. The group played some of the clubs Hawkins had business connections in, but they had other plans -- Conway Twitty had recently played Toronto, and had told Luke Paulman about how desperate the Canadians were for American rock and roll music. Twitty's agent Harold Kudlets booked the group in to a Toronto club, Le Coq D'Or, and soon the group were alternating between residencies in clubs in the Deep South, where they were just another rockabilly band, albeit one of the better ones, and in Canada, where they became the most popular band in Ontario, and became the nucleus of an entire musical scene -- the same scene from which, a few years later, people like Neil Young would emerge. George Paulman didn't remain long in the group -- he was apparently getting drunk, and also he was a double-bass player, at a time when the electric bass was becoming the in thing. And this is the best place to mention this, but there are several discrepancies in the various accounts of which band members were in Hawkins' band at which times, and who played on what session. They all *broadly* follow the same lines, but none of them are fully reconcilable with each other, and nobody was paying enough attention to lineup shifts in a bar band between 1957 and 1964 to be absolutely certain who was right. I've tried to reconcile the various accounts as far as possible and make a coherent narrative, but some of the details of what follows may be wrong, though the broad strokes are correct. For much of their first period in Ontario, the group had no bass player at all, relying on Jones' piano to fill in the bass parts, and on their first recording, a version of "Bo Diddley", they actually got the club's manager to play bass with them: [Excerpt: Ronnie Hawkins, "Hey Bo Diddley"] That is claimed to be the first rock and roll record made in Canada, though as everyone who has listened to this podcast knows, there's no first anything. It wasn't released as by the Sun Records Quartet though -- the band had presumably realised that that name would make them much less attractive to other labels, and so by this point the Sun Records Quartet had become Ronnie Hawkins and the Hawks. "Hey Bo Diddley" was released on a small Canadian label and didn't have any success, but the group carried on performing live, travelling back down to Arkansas for a while and getting a new bass player, Lefty Evans, who had been playing in the same pool of musicians as them, having been another Sun session player who had been in Conway Twitty's band, and had written Twitty's "Why Can't I Get Through to You": [Excerpt: Conway Twitty, "Why Can't I Get Through to You"] The band were now popular enough in Canada that they were starting to get heard of in America, and through Kudlets they got a contract with Joe Glaser, a Mafia-connected booking agent who booked them into gigs on the Jersey Shore. As Helm said “Ronnie Hawkins had molded us into the wildest, fiercest, speed-driven bar band in America," and the group were apparently getting larger audiences in New Jersey than Sammy Davis Jr was, even though they hadn't released any records in the US. Or at least, they hadn't released any records in their own name in the US. There's a record on End Records by Rockin' Ronald and the Rebels which is very strongly rumoured to have been the Hawks under another name, though Hawkins always denied that. Have a listen for yourself and see what you think: [Excerpt: Rockin' Ronald and the Rebels, "Kansas City"] End Records, the label that was on, was one of the many record labels set up by George Goldner and distributed by Morris Levy, and when the group did release a record in their home country under their own name, it was on Levy's Roulette Records. An audition for Levy had been set up by Glaser's booking company, and Levy decided that given that Elvis was in the Army, there was a vacancy to be filled and Ronnie Hawkins might just fit the bill. Hawkins signed a contract with Levy, and it doesn't sound like he had much choice in the matter. Helm asked him “How long did you have to sign for?” and Hawkins replied "Life with an option" That said, unlike almost every other artist who interacted with Levy, Hawkins never had a bad word to say about him, at least in public, saying later “I don't care what Morris was supposed to have done, he looked after me and he believed in me. I even lived with him in his million-dollar apartment on the Upper East Side." The first single the group recorded for Roulette, a remake of Chuck Berry's "Thirty Days" retitled "Forty Days", didn't chart, but the follow-up, a version of Young Jessie's "Mary Lou", made number twenty-six on the charts: [Excerpt: Ronnie Hawkins and the Hawks, "Mary Lou"] While that was a cover of a Young Jessie record, the songwriting credits read Hawkins and Magill -- Magill was a pseudonym used by Morris Levy. Levy hoped to make Ronnie Hawkins into a really big star, but hit a snag. This was just the point where the payola scandal had hit and record companies were under criminal investigation for bribing DJs to play their records. This was the main method of promotion that Levy used, and this was so well known that Levy was, for a time, under more scrutiny than anyone. He couldn't risk paying anyone off, and so Hawkins' records didn't get the expected airplay. The group went through some lineup changes, too, bringing in guitarist Fred Carter (with Luke Paulman moving to rhythm and soon leaving altogether)  from Hawkins' cousin Dale's band, and bass player Jimmy Evans. Some sources say that Jones quit around this time, too, though others say he was in the band for  a while longer, and they had two keyboards (the other keyboard being supplied by Stan Szelest. As well as recording Ronnie Hawkins singles, the new lineup of the group also recorded one single with Carter on lead vocals, "My Heart Cries": [Excerpt: Fred Carter, "My Heart Cries"] While the group were now playing more shows in the USA, they were still playing regularly in Canada, and they had developed a huge fanbase there. One of these was a teenage guitarist called Robbie Robertson, who had become fascinated with the band after playing a support slot for them, and had started hanging round, trying to ingratiate himself with the band in the hope of being allowed to join. As he was a teenager, Hawkins thought he might have his finger on the pulse of the youth market, and when Hawkins and Helm travelled to the Brill Building to hear new songs for consideration for their next album, they brought Robertson along to listen to them and give his opinion. Robertson himself ended up contributing two songs to the album, titled Mr. Dynamo. According to Hawkins "we had a little time after the session, so I thought, Well, I'm just gonna put 'em down and see what happens. And they were released. Robbie was the songwriter for words, and Levon was good for arranging, making things fit in and all that stuff. He knew what to do, but he didn't write anything." The two songs in question were "Someone Like You" and "Hey Boba Lou": [Excerpt: Ronnie Hawkins and the Hawks, "Hey Boba Lou"] While Robertson was the sole writer of the songs, they were credited to Robertson, Hawkins, and Magill -- Morris Levy. As Robertson told the story later, “It's funny, when those songs came out and I got a copy of the album, it had another name on there besides my name for some writer like Morris Levy. So, I said to Ronnie, “There was nobody there writing these songs when I wrote these songs. Who is Morris Levy?” Ronnie just kinda tapped me on the head and said, “There are certain things about this business that you just let go and you don't question.” That was one of my early music industry lessons right there" Robertson desperately wanted to join the Hawks, but initially it was Robertson's bandmate Scott Cushnie who became the first Canadian to join the Hawks. But then when they were in Arkansas, Jimmy Evans decided he wasn't going to go back to Canada. So Hawkins called Robbie Robertson up and made him an offer. Robertson had to come down to Arkansas and get a couple of quick bass lessons from Helm (who could play pretty much every instrument to an acceptable standard, and so was by this point acting as the group's musical director, working out arrangements and leading them in rehearsals). Then Hawkins and Helm had to be elsewhere for a few weeks. If, when they got back, Robertson was good enough on bass, he had the job. If not, he didn't. Robertson accepted, but he nearly didn't get the gig after all. The place Hawkins and Helm had to be was Britain, where they were going to be promoting their latest single on Boy Meets Girls, the Jack Good TV series with Marty Wilde, which featured guitarist Joe Brown in the backing band: [Excerpt: Joe Brown, “Savage”] This was the same series that Eddie Cochran and Gene Vincent were regularly appearing on, and while they didn't appear on the episodes that Hawkins and Helm appeared on, they did appear on the episodes immediately before Hawkins and Helm's two appearances, and again a couple of weeks after, and were friendly with the musicians who did play with Hawkins and Helm, and apparently they all jammed together a few times. Hawkins was impressed enough with Joe Brown -- who at the time was considered the best guitarist on the British scene -- that he invited Brown to become a Hawk. Presumably if Brown had taken him up on the offer, he would have taken the spot that ended up being Robertson's, but Brown turned him down -- a decision he apparently later regretted. Robbie Robertson was now a Hawk, and he and Helm formed an immediate bond. As Helm much later put it, "It was me and Robbie against the world. Our mission, as we saw it, was to put together the best band in history". As rockabilly was by this point passe, Levy tried converting Hawkins into a folk artist, to see if he could get some of the Kingston Trio's audience. He recorded a protest song, "The Ballad of Caryl Chessman", protesting the then-forthcoming execution of Chessman (one of only a handful of people to be executed in the US in recent decades for non-lethal offences), and he made an album of folk tunes, The Folk Ballads of Ronnie Hawkins, which largely consisted of solo acoustic recordings, plus a handful of left-over Hawks recordings from a year or so earlier. That wasn't a success, but they also tried a follow-up, having Hawkins go country and do an album of Hank Williams songs, recorded in Nashville at Owen Bradley's Quonset hut. While many of the musicians on the album were Nashville A-Team players, Hawkins also insisted on having his own band members perform, much to the disgust of the producer, and so it's likely (not certain, because there seem to be various disagreements about what was recorded when) that that album features the first studio recordings with Levon Helm and Robbie Robertson playing together: [Excerpt: Ronnie Hawkins and the Hawks, "Your Cheatin' Heart"] Other sources claim that the only Hawk allowed to play on the album sessions was Helm, and that the rest of the musicians on the album were Harold Bradley and Hank Garland on guitar, Owen Bradley and Floyd Cramer on piano, Bob Moore on bass, and the Anita Kerr singers. I tend to trust Helm's recollection that the Hawks played at least some of the instruments though, because the source claiming that also seems to confuse the Hank Williams and Folk Ballads albums, and because I don't hear two pianos on the album. On the other hand, that *does* sound like Floyd Cramer on piano, and the tik-tok bass sound you'd get from having Harold Bradley play a baritone guitar while Bob Moore played a bass. So my best guess is that these sessions were like the Elvis sessions around the same time and with several of the same musicians, where Elvis' own backing musicians played rhythm parts but left the prominent instruments to the A-team players. Helm was singularly unimpressed with the experience of recording in Nashville. His strongest memory of the sessions was of another session going on in the same studio complex at the time -- Bobby "Blue" Bland was recording his classic single "Turn On Your Love Light", with the great drummer Jabo Starks on drums, and Helm was more interested in listening to that than he was in the music they were playing: [Excerpt: Bobby "Blue" Bland, "Turn On Your Love Light"] Incidentally, Helm talks about that recording being made "downstairs" from where the Hawks were recording, but also says that they were recording in Bradley's Quonset hut.  Now, my understanding here *could* be very wrong -- I've been unable to find a plan or schematic anywhere -- but my understanding is that the Quonset hut was a single-level structure, not a multi-level structure. BUT the original recording facilities run by the Bradley brothers were in Owen Bradley's basement, before they moved into the larger Quonset hut facility in the back, so it's possible that Bland was recording that in the old basement studio. If so, that won't be the last recording made in a basement we hear this episode... Fred Carter decided during the Nashville sessions that he was going to leave the Hawks. As his son told the story: "Dad had discovered the session musicians there. He had no idea that you could play and make a living playing in studios and sleep in your own bed every night. By that point in his life, he'd already been gone from home and constantly on the road and in the service playing music for ten years so that appealed to him greatly. And Levon asked him, he said, “If you're gonna leave, Fred, I'd like you to get young Robbie over here up to speed on guitar”…[Robbie] got kind of aggravated with him—and Dad didn't say this with any malice—but by the end of that week, or whatever it was, Robbie made some kind of comment about “One day I'm gonna cut you.” And Dad said, “Well, if that's how you think about it, the lessons are over.” " (For those who don't know, a musician "cutting" another one is playing better than them, so much better that the worse musician has to concede defeat. For the remainder of Carter's notice in the Hawks, he played with his back to Robertson, refusing to look at him. Carter leaving the group caused some more shuffling of roles. For a while, Levon Helm -- who Hawkins always said was the best lead guitar player he ever worked with as well as the best drummer -- tried playing lead guitar while Robertson played rhythm and another member, Rebel Payne, played bass, but they couldn't find a drummer to replace Helm, who moved back onto the drums. Then they brought in Roy Buchanan, another guitarist who had been playing with Dale Hawkins, having started out playing with Johnny Otis' band. But Buchanan didn't fit with Hawkins' personality, and he quit after a few months, going off to record his own first solo record: [Excerpt: Roy Buchanan, "Mule Train Stomp"] Eventually they solved the lineup problem by having Robertson -- by this point an accomplished lead player --- move to lead guitar and bringing in a new rhythm player, another Canadian teenager named Rick Danko, who had originally been a lead player (and who also played mandolin and fiddle). Danko wasn't expected to stay on rhythm long though -- Rebel Payne was drinking a lot and missing being at home when he was out on the road, so Danko was brought in on the understanding that he was to learn Payne's bass parts and switch to bass when Payne quit. Helm and Robertson were unsure about Danko, and Robertson expressed that doubt, saying "He only knows four chords," to which Hawkins replied, "That's all right son. You can teach him four more the way we had to teach you." He proved himself by sheer hard work. As Hawkins put it “He practiced so much that his arms swoll up. He was hurting.” By the time Danko switched to bass, the group also had a baritone sax player, Jerry Penfound, which allowed the group to play more of the soul and R&B material that Helm and Robertson favoured, though Hawkins wasn't keen. This new lineup of the group (which also had Stan Szelest on piano) recorded Hawkins' next album. This one was produced by Henry Glover, the great record producer, songwriter, and trumpet player who had played with Lucky Millinder, produced Wynonie Harris, Hank Ballard, and Moon Mullican, and wrote "Drowning in My Own Tears", "The Peppermint Twist", and "California Sun". Glover was massively impressed with the band, especially Helm (with whom he would remain friends for the rest of his life) and set aside some studio time for them to cut some tracks without Hawkins, to be used as album filler, including a version of the Bobby "Blue" Bland song "Farther On Up the Road" with Helm on lead vocals: [Excerpt: Levon Helm and the Hawks, "Farther On Up the Road"] There were more changes on the way though. Stan Szelest was about to leave the band, and Jones had already left, so the group had no keyboard player. Hawkins had just the replacement for Szelest -- yet another Canadian teenager. This one was Richard Manuel, who played piano and sang in a band called The Rockin' Revols. Manuel was not the greatest piano player around -- he was an adequate player for simple rockabilly and R&B stuff, but hardly a virtuoso -- but he was an incredible singer, able to do a version of "Georgia on My Mind" which rivalled Ray Charles, and Hawkins had booked the Revols into his own small circuit of clubs around Arkanasas after being impressed with them on the same bill as the Hawks a couple of times. Hawkins wanted someone with a good voice because he was increasingly taking a back seat in performances. Hawkins was the bandleader and frontman, but he'd often given Helm a song or two to sing in the show, and as they were often playing for several hours a night, the more singers the band had the better. Soon, with Helm, Danko, and Manuel all in the group and able to take lead vocals, Hawkins would start missing entire shows, though he still got more money than any of his backing group. Hawkins was also a hard taskmaster, and wanted to have the best band around. He already had great musicians, but he wanted them to be *the best*. And all the musicians in his band were now much younger than him, with tons of natural talent, but untrained. What he needed was someone with proper training, someone who knew theory and technique. He'd been trying for a long time to get someone like that, but Garth Hudson had kept turning him down. Hudson was older than any of the Hawks, though younger than Hawkins, and he was a multi-instrumentalist who was far better than any other musician on the circuit, having trained in a conservatory and learned how to play Bach and Chopin before switching to rock and roll. He thought the Hawks were too loud sounding and played too hard for him, but Helm kept on at Hawkins to meet any demands Hudson had, and Hawkins eventually agreed to give Hudson a higher wage than any of the other band members, buy him a new Lowry organ, and give him an extra ten dollars a week to give the rest of the band music lessons. Hudson agreed, and the Hawks now had a lineup of Helm on drums, Robertson on guitar, Manuel on piano, Danko on bass, Hudson on organ and alto sax, and Penfound on baritone sax. But these new young musicians were beginning to wonder why they actually needed a frontman who didn't turn up to many of the gigs, kept most of the money, and fined them whenever they broke one of his increasingly stringent set of rules. Indeed, they wondered why they needed a frontman at all. They already had three singers -- and sometimes a fourth, a singer called Bruce Bruno who would sometimes sit in with them when Penfound was unable to make a gig. They went to see Harold Kudlets, who Hawkins had recently sacked as his manager, and asked him if he could get them gigs for the same amount of money as they'd been getting with Hawkins. Kudlets was astonished to find how little Hawkins had been paying them, and told them that would be no problem at all. They had no frontman any more -- and made it a rule in all their contracts that the word "sideman" would never be used -- but Helm had been the leader for contractual purposes, as the musical director and longest-serving member (Hawkins, as a non-playing singer, had never joined the Musicians' Union so couldn't be the leader on contracts). So the band that had been Ronnie Hawkins and the Hawks became the Levon Helm Sextet briefly -- but Penfound soon quit, and they became Levon and the Hawks. The Hawks really started to find their identity as their own band in 1964. They were already far more interested in playing soul than Hawkins had been, but they were also starting to get into playing soul *jazz*, especially after seeing the Cannonball Adderley Sextet play live: [Excerpt: Cannonball Adderley, "This Here"] What the group admired about the Adderley group more than anything else was a sense of restraint. Helm was particularly impressed with their drummer, Louie Hayes, and said of him "I got to see some great musicians over the years, and you see somebody like that play and you can tell, y' know, that the thing not to do is to just get it down on the floor and stomp the hell out of it!" The other influence they had, and one which would shape their sound even more, was a negative one. The two biggest bands on the charts at the time were the Beatles and the Beach Boys, and as Helm described it in his autobiography, the Hawks thought both bands' harmonies were "a blend of pale, homogenised, voices". He said "We felt we were better than the Beatles and the Beach Boys. We considered them our rivals, even though they'd never heard of us", and they decided to make their own harmonies sound as different as possible as a result. Where those groups emphasised a vocal blend, the Hawks were going to emphasise the *difference* in their voices in their own harmonies. The group were playing prestigious venues like the Peppermint Lounge, and while playing there they met up with John Hammond Jr, who they'd met previously in Canada. As you might remember from the first episode on Bob Dylan, Hammond Jr was the son of the John Hammond who we've talked about in many episodes, and was a blues musician in his own right. He invited Helm, Robertson, and Hudson to join the musicians, including Michael Bloomfield, who were playing on his new album, So Many Roads: [Excerpt: John P. Hammond, "Who Do You Love?"] That album was one of the inspirations that led Bob Dylan to start making electric rock music and to hire Bloomfield as his guitarist, decisions that would have profound implications for the Hawks. The first single the Hawks recorded for themselves after leaving Hawkins was produced by Henry Glover, and both sides were written by Robbie Robertson. "uh Uh Uh" shows the influence of the R&B bands they were listening to. What it reminds me most of is the material Ike and Tina Turner were playing at the time, but at points I think I can also hear the influence of Curtis Mayfield and Steve Cropper, who were rapidly becoming Robertson's favourite songwriters: [Excerpt: The Canadian Squires, "Uh Uh Uh"] None of the band were happy with that record, though. They'd played in the studio the same way they played live, trying to get a strong bass presence, but it just sounded bottom-heavy to them when they heard the record on a jukebox. That record was released as by The Canadian Squires -- according to Robertson, that was a name that the label imposed on them for the record, while according to Helm it was an alternative name they used so they could get bookings in places they'd only recently played, which didn't want the same band to play too often. One wonders if there was any confusion with the band Neil Young played in a year or so before that single... Around this time, the group also met up with Helm's old musical inspiration Sonny Boy Williamson II, who was impressed enough with them that there was some talk of them being his backing band (and it was in this meeting that Williamson apparently told Robertson "those English boys want to play the blues so bad, and they play the blues *so bad*", speaking of the bands who'd backed him in the UK, like the Yardbirds and the Animals). But sadly, Williamson died in May 1965 before any of these plans had time to come to fruition. Every opportunity for the group seemed to be closing up, even as they knew they were as good as any band around them. They had an offer from Aaron Schroeder, who ran Musicor Records but was more importantly a songwriter and publisher who  had written for Elvis Presley and published Gene Pitney. Schroeder wanted to sign the Hawks as a band and Robertson as a songwriter, but Henry Glover looked over the contracts for them, and told them "If you sign this you'd better be able to pay each other, because nobody else is going to be paying you". What happened next is the subject of some controversy, because as these things tend to go, several people became aware of the Hawks at the same time, but it's generally considered that nothing would have happened the same way were it not for Mary Martin. Martin is a pivotal figure in music business history -- among other things she discovered Leonard Cohen and Gordon Lightfoot, managed Van Morrison, and signed Emmylou Harris to Warner Brothers records -- but a somewhat unknown one who doesn't even have a Wikipedia page. Martin was from Toronto, but had moved to New York, where she was working in Albert Grossman's office, but she still had many connections to Canadian musicians and kept an eye out for them. The group had sent demo tapes to Grossman's offices, and Grossman had had no interest in them, but Martin was a fan and kept pushing the group on Grossman and his associates. One of those associates, of course, was Grossman's client Bob Dylan. As we heard in the episode on "Like a Rolling Stone", Dylan had started making records with electric backing, with musicians who included Mike Bloomfield, who had played with several of the Hawks on the Hammond album, and Al Kooper, who was a friend of the band. Martin gave Richard Manuel a copy of Dylan's new electric album Highway 61 Revisited, and he enjoyed it, though the rest of the group were less impressed: [Excerpt: Bob Dylan, "Highway 61 Revisited"] Dylan had played the Newport Folk Festival with some of the same musicians as played on his records, but Bloomfield in particular was more interested in continuing to play with the Paul Butterfield Blues Band than continuing with Dylan long-term. Mary Martin kept telling Dylan about this Canadian band she knew who would be perfect for him, and various people associated with the Grossman organisation, including Hammond, have claimed to have been sent down to New Jersey where the Hawks were playing to check them out in their live setting. The group have also mentioned that someone who looked a lot like Dylan was seen at some of their shows. Eventually, Dylan phoned Helm up and made an offer. He didn't need a full band at the moment -- he had Harvey Brooks on bass and Al Kooper on keyboards -- but he did need a lead guitar player and drummer for a couple of gigs he'd already booked, one in Forest Hills, New York, and a bigger gig at the Hollywood Bowl. Helm, unfamiliar with Dylan's work, actually asked Howard Kudlets if Dylan was capable of filling the Hollywood Bowl. The musicians rehearsed together and got a set together for the shows. Robertson and Helm thought the band sounded terrible, but Dylan liked the sound they were getting a lot. The audience in Forest Hills agreed with the Hawks, rather than Dylan, or so it would appear. As we heard in the "Like a Rolling Stone" episode, Dylan's turn towards rock music was *hated* by the folk purists who saw him as some sort of traitor to the movement, a movement whose figurehead he had become without wanting to. There were fifteen thousand people in the audience, and they listened politely enough to the first set, which Dylan played acoustically, But before the second set -- his first ever full electric set, rather than the very abridged one at Newport -- he told the musicians “I don't know what it will be like out there It's going to be some kind of  carnival and I want you to all know that up front. So go out there and keep playing no matter how weird it gets!” There's a terrible-quality audience recording of that show in circulation, and you can hear the crowd's reaction to the band and to the new material: [Excerpt: Bob Dylan, "Ballad of a Thin Man" (live Forest Hills 1965, audience noise only)] The audience also threw things  at the musicians, knocking Al Kooper off his organ stool at one point. While Robertson remembered the Hollywood Bowl show as being an equally bad reaction, Helm remembered the audience there as being much more friendly, and the better-quality recording of that show seems to side with Helm: [Excerpt: Bob Dylan, "Maggie's Farm (live at the Hollywood Bowl 1965)"] After those two shows, Helm and Robertson went back to their regular gig. and in September they made another record. This one, again produced by Glover, was for Atlantic's Atco subsidiary, and was released as by Levon and the Hawks. Manuel took lead, and again both songs were written by Robertson: [Excerpt: Levon and the Hawks, "He Don't Love You (And He'll Break Your Heart)"] But again that record did nothing. Dylan was about to start his first full electric tour, and while Helm and Robertson had not thought the shows they'd played sounded particularly good, Dylan had, and he wanted the two of them to continue with him. But Robertson and, especially, Helm, were not interested in being someone's sidemen. They explained to Dylan that they already had a band -- Levon and the Hawks -- and he would take all of them or he would take none of them. Helm in particular had not been impressed with Dylan's music -- Helm was fundamentally an R&B fan, while Dylan's music was rooted in genres he had little time for -- but he was OK with doing it, so long as the entire band got to. As Mary Martin put it “I think that the wonderful and the splendid heart of the band, if you will, was Levon, and I think he really sort of said, ‘If it's just myself as drummer and Robbie…we're out. We don't want that. It's either us, the band, or nothing.' And you know what? Good for him.” Rather amazingly, Dylan agreed. When the band's residency in New Jersey finished, they headed back to Toronto to play some shows there, and Dylan flew up and rehearsed with them after each show. When the tour started, the billing was "Bob Dylan with Levon and the Hawks". That billing wasn't to last long. Dylan had been booked in for nine months of touring, and was also starting work on what would become widely considered the first double album in rock music history, Blonde on Blonde, and the original plan was that Levon and the Hawks would play with him throughout that time.  The initial recording sessions for the album produced nothing suitable for release -- the closest was "I Wanna Be Your Lover", a semi-parody of the Beatles' "I Want to be Your Man": [Excerpt: Bob Dylan with Levon and the Hawks, "I Wanna Be Your Lover"] But shortly into the tour, Helm quit. The booing had continued, and had even got worse, and Helm simply wasn't in the business to be booed at every night. Also, his whole conception of music was that you dance to it, and nobody was dancing to any of this. Helm quit the band, only telling Robertson of his plans, and first went off to LA, where he met up with some musicians from Oklahoma who had enjoyed seeing the Hawks when they'd played that state and had since moved out West -- people like Leon Russell, J.J. Cale (not John Cale of the Velvet Underground, but the one who wrote "Cocaine" which Eric Clapton later had a hit with), and John Ware (who would later go on to join the West Coast Pop Art Experimental Band). They started loosely jamming with each other, sometimes also involving a young singer named Linda Ronstadt, but Helm eventually decided to give up music and go and work on an oil rig in New Orleans. Levon and the Hawks were now just the Hawks. The rest of the group soldiered on, replacing Helm with session drummer Bobby Gregg (who had played on Dylan's previous couple of albums, and had previously played with Sun Ra), and played on the initial sessions for Blonde on Blonde. But of those sessions, Dylan said a few weeks later "Oh, I was really down. I mean, in ten recording sessions, man, we didn't get one song ... It was the band. But you see, I didn't know that. I didn't want to think that" One track from the sessions did get released -- the non-album single "Can You Please Crawl Out Your Window?" [Excerpt: Bob Dylan, "Can You Please Crawl Out Your Window?"] There's some debate as to exactly who's playing drums on that -- Helm says in his autobiography that it's him, while the credits in the official CD releases tend to say it's Gregg. Either way, the track was an unexpected flop, not making the top forty in the US, though it made the top twenty in the UK. But the rest of the recordings with the now Helmless Hawks were less successful. Dylan was trying to get his new songs across, but this was a band who were used to playing raucous music for dancing, and so the attempts at more subtle songs didn't come off the way he wanted: [Excerpt: Bob Dylan and the Hawks, "Visions of Johanna (take 5, 11-30-1965)"] Only one track from those initial New York sessions made the album -- "One Of Us Must Know (Sooner or Later)" -- but even that only featured Robertson and Danko of the Hawks, with the rest of the instruments being played by session players: [Excerpt: Bob Dylan (One of Us Must Know (Sooner or Later)"] The Hawks were a great live band, but great live bands are not necessarily the same thing as a great studio band. And that's especially the case with someone like Dylan. Dylan was someone who was used to recording entirely on his own, and to making records *quickly*. In total, for his fifteen studio albums up to 1974's Blood on the Tracks, Dylan spent a total of eighty-six days in the studio -- by comparison, the Beatles spent over a hundred days in the studio just on the Sgt Pepper album. It's not that the Hawks weren't a good band -- very far from it -- but that studio recording requires a different type of discipline, and that's doubly the case when you're playing with an idiosyncratic player like Dylan. The Hawks would remain Dylan's live backing band, but he wouldn't put out a studio recording with them backing him until 1974. Instead, Bob Johnston, the producer Dylan was working with, suggested a different plan. On his previous album, the Nashville session player Charlie McCoy had guested on "Desolation Row" and Dylan had found him easy to work with. Johnston lived in Nashville, and suggested that they could get the album completed more quickly and to Dylan's liking by using Nashville A-Team musicians. Dylan agreed to try it, and for the rest of the album he had Robertson on lead guitar and Al Kooper on keyboards, but every other musician was a Nashville session player, and they managed to get Dylan's songs recorded quickly and the way he heard them in his head: [Excerpt: Bob Dylan, "Most Likely You Go Your Way and I'll Go Mine"] Though Dylan being Dylan he did try to introduce an element of randomness to the recordings by having the Nashville musicians swap their instruments around and play each other's parts on "Rainy Day Women #12 & 35", though the Nashville players were still competent enough that they managed to get a usable, if shambolic, track recorded that way in a single take: [Excerpt: Bob Dylan, "Rainy Day Women #12 & 35"] Dylan said later of the album "The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up." The album was released in late June 1966, a week before Freak Out! by the Mothers of Invention, another double album, produced by Dylan's old producer Tom Wilson, and a few weeks after Pet Sounds by the Beach Boys. Dylan was at the forefront of a new progressive movement in rock music, a movement that was tying thoughtful, intelligent lyrics to studio experimentation and yet somehow managing to have commercial success. And a month after Blonde on Blonde came out, he stepped away from that position, and would never fully return to it. The first half of 1966 was taken up with near-constant touring, with Dylan backed by the Hawks and a succession of fill-in drummers -- first Bobby Gregg, then Sandy Konikoff, then Mickey Jones. This tour started in the US and Canada, with breaks for recording the album, and then moved on to Australia and Europe. The shows always followed the same pattern. First Dylan would perform an acoustic set, solo, with just an acoustic guitar and harmonica, which would generally go down well with the audience -- though sometimes they would get restless, prompting a certain amount of resistance from the performer: [Excerpt: Bob Dylan, "Just Like a Woman (live Paris 1966)"] But the second half of each show was electric, and that was where the problems would arise. The Hawks were playing at the top of their game -- some truly stunning performances: [Excerpt: Bob Dylan and the Hawks, "Just Like Tom Thumb's Blues (live in Liverpool 1966)"] But while the majority of the audience was happy to hear the music, there was a vocal portion that were utterly furious at the change in Dylan's musical style. Most notoriously, there was the performance at Manchester Free Trade Hall where this happened: [Excerpt: Bob Dylan, "Like a Rolling Stone (live Manchester 1966)"] That kind of aggression from the audience had the effect of pushing the band on to greater heights a lot of the time -- and a bootleg of that show, mislabelled as the Royal Albert Hall, became one of the most legendary bootlegs in rock music history. Jimmy Page would apparently buy a copy of the bootleg every time he saw one, thinking it was the best album ever made. But while Dylan and the Hawks played defiantly, that kind of audience reaction gets wearing. As Dylan later said, “Judas, the most hated name in human history, and for what—for playing an electric guitar. As if that is in some kind of way equitable to betraying our Lord, and delivering him up to be crucified; all those evil mothers can rot in hell.” And this wasn't the only stress Dylan, in particular, was under. D.A. Pennebaker was making a documentary of the tour -- a follow-up to his documentary of the 1965 tour, which had not yet come out. Dylan talked about the 1965 documentary, Don't Look Back, as being Pennebaker's film of Dylan, but this was going to be Dylan's film, with him directing the director. That footage shows Dylan as nervy and anxious, and covering for the anxiety with a veneer of flippancy. Some of Dylan's behaviour on both tours is unpleasant in ways that can't easily be justified (and which he has later publicly regretted), but there's also a seeming cruelty to some of his interactions with the press and public that actually reads more as frustration. Over and over again he's asked questions -- about being the voice of a generation or the leader of a protest movement -- which are simply based on incorrect premises. When someone asks you a question like this, there are only a few options you can take, none of them good. You can dissect the question, revealing the incorrect premises, and then answer a different question that isn't what they asked, which isn't really an option at all given the kind of rapid-fire situation Dylan was in. You can answer the question as asked, which ends up being dishonest. Or you can be flip and dismissive, which is the tactic Dylan chose. Dylan wasn't the only one -- this is basically what the Beatles did at press conferences. But where the Beatles were a gang and so came off as being fun, Dylan doing the same thing came off as arrogant and aggressive. One of the most famous artifacts of the whole tour is a long piece of footage recorded for the documentary, with Dylan and John Lennon riding in the back of a taxi, both clearly deeply uncomfortable, trying to be funny and impress the other, but neither actually wanting to be there: [Excerpt Dylan and Lennon conversation] 33) Part of the reason Dylan wanted to go home was that he had a whole new lifestyle. Up until 1964 he had been very much a city person, but as he had grown more famous, he'd found New York stifling. Peter Yarrow of Peter, Paul, and Mary had a cabin in Woodstock, where he'd grown up, and after Dylan had spent a month there in summer 1964, he'd fallen in love with the area. Albert Grossman had also bought a home there, on Yarrow's advice, and had given Dylan free run of the place, and Dylan had decided he wanted to move there permanently and bought his own home there. He had also married, to Sara Lowndes (whose name is, as far as I can tell, pronounced "Sarah" even though it's spelled "Sara"), and she had given birth to his first child (and he had adopted her child from her previous marriage). Very little is actually known about Sara, who unlike many other partners of rock stars at this point seemed positively to detest the limelight, and whose privacy Dylan has continued to respect even after the end of their marriage in the late seventies, but it's apparent that the two were very much in love, and that Dylan wanted to be back with his wife and kids, in the country, not going from one strange city to another being asked insipid questions and having abuse screamed at him. He was also tired of the pressure to produce work constantly. He'd signed a contract for a novel, called Tarantula, which he'd written a draft of but was unhappy with, and he'd put out two single albums and a double-album in a little over a year -- all of them considered among the greatest albums ever made. He could only keep up this rate of production and performance with a large intake of speed, and he was sometimes staying up for four days straight to do so. After the European leg of the tour, Dylan was meant to take some time to finish overdubs on Blonde on Blonde, edit the film of the tour for a TV special, with his friend Howard Alk, and proof the galleys for Tarantula, before going on a second world tour in the autumn. That world tour never happened. Dylan was in a motorcycle accident near his home, and had to take time out to recover. There has been a lot of discussion as to how serious the accident actually was, because Dylan's manager Albert Grossman was known to threaten to break contracts by claiming his performers were sick, and because Dylan essentially disappeared from public view for the next eighteen months. Every possible interpretation of the events has been put about by someone, from Dylan having been close to death, to the entire story being put up as a fake. As Dylan is someone who is far more protective of his privacy than most rock stars, it's doubtful we'll ever know the precise truth, but putting together the various accounts Dylan's injuries were bad but not life-threatening, but they acted as a wake-up call -- if he carried on living like he had been, how much longer could he continue? in his sort-of autobiography, Chronicles, Dylan described this period, saying "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race. Having children changed my life and segregated me from just about everybody and everything that was going on. Outside of my family, nothing held any real interest for me and I was seeing everything through different glasses." All his forthcoming studio and tour dates were cancelled, and Dylan took the time out to recover, and to work on his film, Eat the Document. But it's clear that nobody was sure at first exactly how long Dylan's hiatus from touring was going to last. As it turned out, he wouldn't do another tour until the mid-seventies, and would barely even play any one-off gigs in the intervening time. But nobody knew that at the time, and so to be on the safe side the Hawks were being kept on a retainer. They'd always intended to work on their own music anyway -- they didn't just want to be anyone's backing band -- so they took this time to kick a few ideas around, but they were hamstrung by the fact that it was difficult to find rehearsal space in New York City, and they didn't have any gigs. Their main musical work in the few months between summer 1966 and spring 1967 was some recordings for the soundtrack of a film Peter Yarrow was making. You Are What You Eat is a bizarre hippie collage of a film, documenting the counterculture between 1966 when Yarrow started making it and 1968 when it came out. Carl Franzoni, one of the leaders of the LA freak movement that we've talked about in episodes on the Byrds, Love, and the Mothers of Invention, said of the film “If you ever see this movie you'll understand what ‘freaks' are. It'll let you see the L.A. freaks, the San Francisco freaks, and the New York freaks. It was like a documentary and it was about the makings of what freaks were about. And it had a philosophy, a very definite philosophy: that you are free-spirited, artistic." It's now most known for introducing the song "My Name is Jack" by John Simon, the film's music supervisor: [Excerpt: John Simon, "My Name is Jack"] That song would go on to be a top ten hit in the UK for Manfred Mann: [Excerpt: Manfred Mann, "My Name is Jack"] The Hawks contributed backing music for several songs for the film, in which they acted as backing band for another old Greenwich Village folkie who had been friends with Yarrow and Dylan but who was not yet the star he would soon become, Tiny Tim: [Excerpt: Tiny Tim, "Sonny Boy"] This was their first time playing together properly since the end of the European tour, and Sid Griffin has noted that these Tiny Tim sessions are the first time you can really hear the sound that the group would develop over the next year, and which would characterise them for their whole career. Robertson, Danko, and Manuel also did a session, not for the film with another of Grossman's discoveries, Carly Simon, playing a version of "Baby Let Me Follow You Down", a song they'd played a lot with Dylan on the tour that spring. That recording has never been released, and I've only managed to track down a brief clip of it from a BBC documentary, with Simon and an interviewer talking over most of the clip (so this won't be in the Mixcloud I put together of songs): [Excerpt: Carly Simon, "Baby Let Me Follow You Down"] That recording is notable though because as well as Robertson, Danko, and Manuel, and Dylan's regular studio keyboard players Al Kooper and Paul Griffin, it also features Levon Helm on drums, even though Helm had still not rejoined the band and was at the time mostly working in New Orleans. But his name's on the session log, so he must have m

Hey, friends, we'll keep it short for this special presentation. I'm so excited to have Xe Sands's production of my audiobooks. I don't have a limit to the number of free audiobooks I'll give away, but I do have a hard rule on who will get the book(s) free.* You must commit to leave me a fair and honest review on Amazon, which means you need to have an Amazon account and have spent at least $50.00 on Amazon within the past 12 months. Amazon won't permit people who've spent less than $50 in a year to review products. I don't make the rules; I'm just aware of them.* You must accept a reading deadline of 14 days. Time is money, and I need to get these reviews live on Amazon as soon as possible.* Your review must begin, verbatim, “I received a free audiobook copy of [INSERT APPLICABLE TITLE] in exchange for a fair and honest review.” From there, say anything you want. Reviews can be as simple as I liked this book! or This book was out of genre for me, and I learned that I am not a fan of speculative mystery. In fact, brief reviews tend to be voted more helpful. Don't pressure yourself to say something elegant.* I deliver the book through BookFunnel, and you'll need the app to listen. To listen, you need to consent to sharing your email address. I'm not out to spam you, and I will send weekly reminders to request reviews as well as try to bring added value to your experience, but feel free to unsubscribe after leaving a review if you feel spammed by lists.If my four requirements don't scare you off, email me at support@jodyjsperling.com and I'll provide you a link for the free book. Let me know if you want book 1, The 9 Lives of Marva DeLonghi, or book 2, The 8 Ball Magic of Suzie Q.And that's all, folk. Lotsa love. Get full access to TRBM at jodyjsperling.substack.com/subscribe

2 Be Blunt Podcast! Brought To You By 2 Be Blunt Productions and PodConX!Powered by Say Treees and Agro LightingOn this episode joining me from @agrolighting.ig is their Senior Technical Consultant, Matt Kosinski, to dive deep into the ganja game

If you want to sell lots of books, own your audience, live the life of a full-time author and you have between 2 and 99 books published to the highest standards (professional editing, professional cover design, professional layout), and if you are okay getting your hands dirty learning to advertise, AMMO (Author Marketing Mastery Through Optimization) is for you!Click this link to learn more, or if you're on my Substack, use the button.My guest on today's show is A.R. Kaufer. She's author of Courting Fate and Courting Destiny. If you enjoy fantasy with an element of romance, her books are an ideal fit for you, and they're included on KU, so give them a try.Without a presale or a big lead up, but two weeks ahead of schedule, my novel, The 8 Ball Magic of Suzie Q. landed on the scene this Friday. Grab a copy of Amazon, or if you want a great deal of the first four Luke In Time Mysteries use this link. You can also preorder the first two audiobooks here.TRBM is, in part, a listener-supported publication. To receive every posts and support my work, consider becoming a free or paid subscriber. Get full access to TRBM at jodyjsperling.substack.com/subscribe

Happy Monday. I'm bringing you a short episode today following the special presentation with Martha Carr. If you haven't listened to Martha's interview, it's a must. Martha has so much real-world, bestselling novelist magic to offer.As I mention in the show, I'm now affiliated with AMMO (Author Marketing Mastery through Optimization) and as such, if you use the links in my show and show notes, I will receive an affiliate commission.Also, as mentioned in the show notes, my books are here. The paperback can be purchased using this link. You can grab my first four Luke In Time Mysteries right here for just $13. And for a limited time, you can grab Xe's performance of The 9 Lives of Marva DeLonghi and The 8 Ball Magic of Suzie Q. for just $10 using this link. Get full access to TRBM at jodyjsperling.substack.com/subscribe

It's the return of the Riffs N Rants Players, with new cast-member Suzie Q! From the same maniacs who brought you Rumpelstiltskin and The Gift of the Magi. A modern twist on a classic tale of the Haves, Have Nots, and Gonna Gets. PLUS....a timely visit from Professor Snuff and his enchanting daughter Sigmunda! With musical selections by the Beatles, Urge Overkill, and Edwin Collins (presented for historical and critical purposes)

Grab copies of the audiobooks here for only $10, or feel free to become a paid subscriber if you want to hear me read the whole thing. The remaining chapters will live behind the dreaded paywall.1.Since Lyle left, I hated breakfast, hated food, which couldn't explain why I spent the first two hours of every morning at Leo's Diner, down the block from my office, staring at the perfect egg, sunny side up, yolk so yellow it popped like a bullet to the brain. I think I always meant to eat, but I just couldn't get around to it. Nicotine and bourbon seemed to be my only companions as I pieced together what some would call a workaholic's existence and others would call an endless bender.            I recently wrapped a case for a gynecologist who lost––of all things––her cockatiel. As she was cutting the final check for services rendered, she told me if I didn't plan to ixnay the cancer sticks at least, breakfast was all that stood between me and an early grave. I didn't have the heart to tell her I've died ten times already, not that anyone believes me anyway.            Just as I was spiking my coffee with the last Magdalene from my flask, the bell jingled over the front door, and the neighborhood psychic walked in. If Janis Joplin and a 1950s Pan Am flight attendant had fallen into a taffy puller, the rope of candy that shot out the ass end would've looked nearly about how the woman who approached my table did. Her eyes popped behind glasses like librarians in a Tarantino flick might wear, and she had the sort of looks newly pubescent boys learn to avert their eyes from, lest they discover the meaning of blue balls.            Listen to me, getting all poetic. I beg your pardon. Perhaps I'd hit the bourbon too enthusiastically for eight in the morning. She caught me off guard when she––the psychic that is—helped herself the empty chair opposite me at the table. “Let's pretend we don't know each other.” She smelled like strawberry jam and hemp––the kind you smoke.            I flicked my lighter, not like I needed the practice. “That shouldn't be hard.” Other than the occasional unsolved case where a client fired me and tried her hand at prognostication to learn if her husband was the cheating b*****d she knew he was, the psychic and I had no reason to associate. She paid her rent, mine got paid too, when the landlord cornered me. Okay, that's not entirely true. Lyle paid up through the end of the year after he took the new job, as if that excused his betrayal. I twitched my hand in the general direction of her aura. “Crystal ball stopped working?”            The only thing more annoying than pious religious people are woo-woo peddlers, the ones who believe their b******t and sell a future so vague it could apply to anyone. And in case you're curious, that includes politicians. Campaign promises can go f**k themselves.            Ms. Fortune Teller reached into her coat pocket and came out with two shooters of Magdalene. Would've cost her all of three bucks at Big Bear across the road. “For you.”            No one ever butters you up for nothing. I sipped my coffee and made a point of not touching the offered liquor. “I don't break laws, and I don't give friends-and-family-discounts.” You might think I was behaving presumptuously, assuming the lady meant to engage me for an investigation, but what kind of detective would I be if I couldn't smell desperation? “And I don't accept bribes.” On second thought, I made like Houdini and disappeared the bourbon because thirst is elusive, and I'm a hunter.            “Suzie Q.” She offered her hand. It was soft and white the way swans are supposed to be but never are. I held her grip a beat too long. When we broke she reached again into her pea coat, and I thought if she offered any more bourbon, I'd stick her with my breakfast ticket and make tracks, because that much booze would be a stand-in for guilt. Instead, she produced a Magic 8 Ball. It had the heft of an antique. “This Eight Ball says you're the one for the case.”            These days, toys are made to break: flimsy plastic components, hasty designs, half-assed stickers. When I was a kid, you could shake the Magic 8 Ball, ask it if the sucker across the table from you ever had a concussion and brain her on the temple hard enough to make her see whole constellations before the thing said, Chances are good. Her 8 Ball was that kind––three pounds I'd bet. “Did it tell you my rate's four hundred a day, plus expenses?”            “I'll give you six hundred for exclusive rights.”            Sandra came by with the coffee pot, asked Suzie if she needed a cup. Suzie shook her head. Sandra crossed her arms and narrowed her eyes. I told Sandra Suzie was picking up the tab so I'd take one of those fancy hot cocoas with the whipped topping and Hershey's chocolate syrup. That earned me a wink, and Sandra's winks are something I covet. If I haven't mentioned, Sandra's one of the few people I think of as a friend these days, and she may be the only person in this planet that can outsmoke me. She can squeeze a pack into an eight-hour shift and still serve twenty tables without anyone having to wait for refills. It's more magic than a stupid 8 Ball, that's for sure.            When she left to get my drink, I shot a sidelong glance at Suzie so she understood who was boss. “I've already got contracts with clients I can't break just to go exclusive, but I'll shelve the cold cases for seven-fifty.” It was an egregious overreach, but Suzie'd done it to herself. Never offer someone more money before you start the negotiation.            My jaw almost came unhinged when she agreed to the fee. No haggling? Who has that kind of money? I needed a moment to collect myself. “It's a deal.”            She stared at her hands for a moment so I thought my easy acceptance had given her a case of buyer's remorse. Was she having second thoughts? I knew she wasn't when she flicked her eyes back up. Desperation's more unmistakable than a smile. “Don't you wanna know what I'm hiring you for?”            The urge for one of those shooters began to crowd my thinking. At least that's what I'll blame it on. “Lady, for that kind of fee, you could ask me to quit smoking and I'd give it my best effort.”            I was aiming for a chuckle, but her eyes held that bitter sadness. She fished a locket out of her purse. I wondered how some women carried such big bags all around. Probably it was a trend started by the chiropractic lobby. She slid the locket across the table. I took it between thumb and forefinger. With gentle pressure, I popped it open. Inside a picture of a firepoint Siamese stared cross-eyed into the middle distance. “His name's Boaze Kitty, but everyone calls him just Boaze.”            Seven hundred and fifty big ones a day to find a cat? I didn't know whether to be insulted or flattered. Either my reputation proceeded me, or this was a new low––probably both. I didn't want to say something I'd regret, somewhat more challenging when your vocal cords are constantly lubricated with bourbon. “Excuse me for asking, but what makes Just Boaze so valuable to you?”            She swept her hair with the back of her hand the way people will at customer service employees to show impatience. “I guess you've never loved anyone?”            Suzie was sneaky good to look at, those soft angled features, sharp cat eyes, hair that teased a curl with shots of gray and gave her a distinguished air. I thought of Princess Buttercup, You mock my pain, but played it casual. “Loving animals never made sense to me, I guess. With them, you never have to earn it. Now, people on the other hand.”            “The only thing that separates humans from animals is your state of mind.”            I broke the egg yolk on my plate. It spread like so much blood. “Hannibal Lecter might agree.” Something felt tangled to me. I swiped a wedge of toast through the yolk and took a big bite. Sometimes regret tastes like butter and egg. My stomach had all but given up on solids. “There's gotta be a better reason than some toy telling you to hire me to find your cat.”            Suzie examined the 8 Ball. I swear it was respect I saw in her eyes. “For everything it is, it isn't a toy. Farthest thing from it.” She shook it and told me to ask it a question.            It was the kind of thing you'd argue against longer than just giving in and playing along. “Why did my partner leave me for the governor's office?”            Suzie stopped shaking. She waited for the answer to appear. When it did, she smiled. “You must love her.”            Before I could temper a reply my anger lashed out. “Him. Why does everyone always assume––”            “I'm sorry. You said partner, and I associate that word with same sex-relationships.”            “We ran the agency together.”            “Did he have feelings for you too?”            I'd spent the better part of the last months denying my feelings to anyone who came within throwing distance of such an observation, and maybe I was tired of lying. “Maybe. Once. On the second Tuesday of every month. I don't know. I think I thought he did. F**k it. Your stupid toy.” The little white triangle read Reply hazy, try again. “Why don't we cut the b******t and talk business? I'm perfectly happy being miserable all by myself in the mornings, and I don't need you to remind me what I lost.”            Suzie reached across the table, plucked up my coffee cup and drained it. It had to have been equal parts Magdalene and coffee. She drew her lips back and sucked air through her teeth. “Paint thinner.” She replaced the cup. “The Eight Ball doesn't answer questions about love, and it won't give you winning lotto numbers. Whether it knows the picks is a whole other question.”            I weighed my options. Tease the psychic and risk losing the easiest money of my career, play along and know I'm the fool, or buy myself some time to get a little drunker so the answer would be more apparent. “I need a smoke.”            Before I could move to stand, Suzie shot her hand across the table and took my wrist. “I need your help, detective Mia.”            It should be universally obvious that touching me is an act of aggression, comes with the profession, but her hand vibrated at some primal level that made me feel sympathy for her. “A, call me Luke, and B, why do you need me if you've got that Eight Ball you swear ain't a toy?”            Suzie released her grip. “Might be tough for a person like you to understand, but I love my cat. He's been with me over ten years.”            I thought about the logo over Suzie's shop, had always thought it was a cat staring into a crystal ball, but zooming in on my memory of the silhouette, I spotted the upright glint of infinity––a cat and a Magic 8 Ball. “A person like me.” I wanted to tell her I knew more about love than the Romance Poets, and don't act all surprised that I know a thing or two about poetry. Anyways, I snagged a smoke and plucked it between my fingers for comfort, and perhaps a sense of urgency. “All right. Let's step outside. My lungs are burning.”            You never hear anyone talk about the dying breath of winter the way they do about summer. There's no Indian winter, but whatever it was, the air had a crisp bite to it for being a leg and hip into spring. Smoke alerted my brain to the situation at hand. “So you feel too good for lost cat flyers or what?”            Suzie stood far enough away I knew she hated cigarettes. Too bad for her. She glanced down the street like she feared being watched. “He was abducted. Flyers won't help.”            I flicked ash. “Someone break into your office? Forced entry?”            “Nothing like that.”            “Family members got a grudge?”            “They don't know where I am.”            “Fat chance.” I rolled my eyes because people always think they can hide. Be me for a day, and you'll get why nobody is invisible. “If you had to pick, who'd wanna hurt you this way?”            “It's not my family.”            She pushed the bridge of her glasses square to her nose. “Yeah, look, I'm an only child, my mom has emphysema so bad she's tied to a built-in oxygen line, and my dad is legally blind.”            Where defenses are concerned, hers was pretty decent. “Maybe they hired someone?”            “I legally changed my last name to Q. twelve years ago, on my eighteenth birthday. Pardon me, but I just don't think they'd look that hard.”            You can hang on to a pet theory just so long––pardon the pun––and it's time to move on. I finished my smoke and waved Suzie on. “Boyfriend?”            Suzie smiled. It was the unmistakable smile of sexual bliss. Right, right, significant others are more than a tingling in the G-spot, I get it, but I'm just the messenger. That smile said she was nesting with a patient Casanova type. She even twirled a lock of hair behind her ear. “He's run himself ragged helping me look for Boaze.”            And case closed. He was guilty as a priest at a bar mitzvah. I'd explain how I knew, but you'll want the drawn-out story regardless, so let's cut to the chase. Just remember, guilty people work the hardest.            We stepped inside the entrance to our building, rounded the lobby to the stairs, and climbed to the second floor all while Suzie gushed about the man who finally appreciated her for who she was. I wanted to tell her she was missing the marquee for the back alley.            I stopped in front of my office door. It was time to scrape the glass pane and rename the agency. There was no more K in the M&K Detective Agency, but I couldn't bring myself to accept it. Love and denial must be bedmates in every life. “Hey, if that Eight Ball is everything you say it is, let me ask it a question.”            Suzie lit up like a penny slot, and I wondered if I'd regret asking. She thrust the thing at me. It was every bit as I'd guessed. I shook it and wondered at the smooth action. You couldn't feel liquid sloshing at all. “Did Ransom DeLonghi stop by my office two weeks ago?”            I held the 8 Ball out before my face and waited for the plastic cube to report My sources say no, but the thing surprised me. Maybe Suzie had a special button she could press that caused the 8 Ball to give a more personalized reply as a digital readout, because the response was not given on the white die floating in purple liquid. Instead, letters in the shape of an old-fashioned alarm clock printed across the display window, and as unnerving as the manner of the display was what it said: With a sharp tool and pep in his step no less. Haha.TRBM is a listener-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to TRBM at jodyjsperling.substack.com/subscribe

I am looking for a collaborator. The Luke In Time Mysteries keeps insisting I adapt it as a series of graphic novels. If you are an artist, or know an artist who would be interested in discussing this, I'd like to offer a 70/30 split. 70% going to the artist, and 30% coming back to me.Also, as quick reminder, my book, The 8Ball Magic of Suzie Q. second in the series and sequel to The 9Lives of Marva DeLonghi will be coming in a little under two months from now.I'm going to try a bit of a prerelease campaign blast on Amazon to see if we can get more traction there. For one week only, I'll discount the ebook to $1.99. I typically ask that you buy direct as it helps me retain more profits, but if you've been on the fence about picking up your copy, this brief sale may be the perfect opportunity to dive in. The story stands alone, so you won't have had to read 9Lives, though if you have read 9Lives, the continuity and continuation is undeniable.My Guest on Today's Episode is Kirk Ross, Hostof A Talk In the Attic podcast. He's built a clear, compelling brand, and his vulnerability around creative process has drawn an active and loving audience to his work.You'll want to dive into his work. Find him on YouTube, Instagram, Facebook, or all other audio platforms.As always, I want to encourage you to grab a copy of my novels in any format you enjoy. I have a screaming deal on 4 ebooks, a signed paperback, and even forthcoming audiobooks.TRBM is a listener-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to TRBM at jodyjsperling.substack.com/subscribe

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

You want to connect with Haldane? Do it here.Goats and tomatoes, and writing books that please us! That's at the heart of this show.If you want the best deal you'll ever get on my novels, grab it here. I'm selling the ebook for The 9Lives of Marva DeLonghi, The 8Ball Magic of Suzie Q. and The 24/7 of A Russian Named Ruskov.We love you.Thanks for listening to TRBM! Subscribe to receive brain candy on the regular. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit jodyjsperling.substack.com

On this episode of the Music Jones Podcast Jones is joined by B Eazy(The DJ Blaze Radio Show Podcast) and they get into Ye and his latest antics… They talk New Music from a Griselda favorite and his collab with DJ Drama… Suzie Q is back with another brain teasing Email… Then we get into the anniversary of a classic hip hop movie and a few classic albums from 20 to 25 years ago… Email: themusicjonespodcast@gmail.com IG: @themusicjonespodcast @doogiedarapper @preacher_bp

For access to full-length premium episodes and the SJ Grotto of Truth Discord, subscribe to the Al-Wara' Frequency at patreon.com/subliminaljihad. In Part 4 of CONTRA VII, Dimitri and Khalid begin exploring the musical origins and Shakespearean career arc of the East San Francisco Bay's most legendary quirked up white boys (and eventual Castle Bank victims) Creedence Clearwater Revival, including: the murky and arguably Islamic roots of blues music in the Mississippi Delta, growing up in the sleepy post-war SF suburb of El Cerrito, Tom and John Fogerty getting blues-pilled by the local black radio stations in Oakland, John getting constantly hit on by Christian Brothers at Catholic school, joining forces with schoolmates Stu Cook and Doug Clifford, becoming Tommy Fogerty and the Blue Velvets, signing with the offbeat dirtbag cawmedy jazz label Fantasy Records in 1963, being forcibly named “The Golliwogs” to ride the Bri'ish Invasion wave, John's unfortunate stint in the US Army Reserves from 1966-68, rebooting as Creedence Clearwater Revival during San Francisco's Summer of Love, John's deep hatred of the MK Silk Topper Grateful Dead scene, his even deeper hatred of LSD, Timothy Leary, and stoner culture, his insistence that they always play sober despite CCR's tactical appeal to the psychedelic crowd on “Suzie Q” and “I Put a Spell on You”, John's assumption of full Stalinist leadership over the band, his growing anxiety that there's “somethin' missing” in Doug's shuffle beat, and the construction of Fogerty's mythical bayou from the violent fever dream swamp of the Vietnam War, the political assassinations of 1968, San Francisco MK culture, and President Richard Nixon.

Singles Going Around- Old Matches, Milkcows and Rowboats.Myles & Dupont- "Loud Mouth Annie"Elvis Presley- "Milkcow Boogie"The Muffs- "You And Your Parrot"The Beach Boys- "Back Home"Rod Bernard & Clifton Chenier- "Rockin' Pneumonia & Boogie Woogie Flu"Ramones- "Today Your Love, Tommorow The World"Leadbelly- "Matchbox Blues"Nirvina- "Molly's Lips"Jimi Hendrix- "Jam 292"Shelton Dunaway - "Mary Lou Doin The Pop Eye"Rolling Stones- "2000 Light Years From Home"Dale Hawkins- "Suzie Q"Fats Domino- "Before I Grow Too Old"Beastie Boys- "Shadrock"Jack White- "A Tip From You To Me"Johnny Cash- "Rowboat"Blind Willie Johnson- "Dark Was The Night, Cold Was The Ground"Staple Singers- "Let Me Ride"Sister Roseta Tharpe- "Up Above My Head"White Stripes- "Ball and Biscuit"*All selections taken vinyl.

Volvemos a adentrarnos en el contenido de "Confessing the blues", un doble álbum compilado por los integrantes de The Rolling Stones que recoge sus canciones favoritas del blues reivindicando a los artistas que les marcaron el camino en sus primeros pasos. Playlist; BILLY BOY ARNOLD “Don’t stay out all night” LITTLE WALTER “I got to go” AMOS MILBURN “Down the road apiece” MUDDY WATERS “Mannish boy” BO DIDDLEY “Craw dad” HOWLIN WOLF “Commit a crime (a.k.a. What a woman)” DALE HAWKINS “Suzie Q” EDDIE TAYLOR “Bad boy” OTIS RUSH “I can’t quit you baby” LIGHTNING SLIM “Hoo doo blues” B.B. KING “Rock me baby” MAGIC SAM “All your love” ROBERT JOHNSON “Stop breakin’ down blues” REVEREND ROBERT WILKINS “The prodigal son” Escuchar audio

In a life of adversities and challenges, Suzie managed to stay resilient and open-minded on her journey of self-discovery, and she is sharing that story here with our listeners. She is Australia's boxing golden girl that staked her claim as one of the nation's greatest ever female boxers and solidified her Legacy through strength and resilience.

Hola, hola, yo soy Antonio Giménez y esto es… NADA MÁS QUE MÚSICA. Muy buenas tardes Señoras y Señores, sean uds. bienvenidos a su programa favorito NADA MÁS QUE MÚSICA. Y aunque en este momento hablo solo por mí, y creo que muchos de vosotros estaréis conmigo, hoy vamos a recordar a la que posiblemente fuera la mejor banda de rock norteamericana de la historia. Y por si no la habéis reconocido todavía, estamos hablando de Creedence Clearwater Revival. Con esta contundencia… empezamos. Creedence Clearwater Revival, o la Creedence o CCR, que de todas formas se les ha llamado, fue un grupo estadounidense de Rock, Blues y Soul que fue muy popular en las decadas de 1960 1970. Hohn Fogerty, Doug Clifford y Stu Cook, todos ellos nacidos en 1945, se conocieron en la escuela de secundaria en El Cerrito, un condado de Contra Costa, en California, y comenzaron a tocar con el nombre de The Blue Velvets. Al trío se unió Tom Fogerty, hermano mayor de John como refuerzo en algunas grabaciones y directos. Durante este primer periodo de la banda se definieron los roles de cada uno de sus componentes. Stu Cook cambió en piano por el bajo, Tom pasó a ser guitarra rítmica y Doug siguió con la batería. Por su parte, John Fogerty comenzó a componer nuevo material y pasó a ser la voz principal y guitarra solista. Como recordarían más tarde, “Todos podíamos cantar pero John tenía un toque especial”. Y es verdad, su voz es marca Creedence. Escuchamos Bad Moon Rising Como pasa siempre, todo o casi todo se fue al traste cuando John Fogerty y Doug Cliford tuvieron que incorporarse al servicio militar. Pero bueno, todo se acaba y en 1967, a su vuelta un productor avispado les ofreció grabar un disco con la única condición de que el grupo debería cambiar de nombre. Acordaron volver al día siguiente con diez propuestas cada uno y Creedence Clearwater Revival fue la que se llevó el gato al agua. Creedence por el apodo de una amigo de Tom, Clear Water (agua limpia) sacado de un spot publicitario de cerveza y Revival del renovado compromiso de los cuatro miembros de la banda. Con este renovado entusiasmo y con buenas perspectivas de futuro los cuatro miembros dejaron sus trabajos y confeccionaron un duro calendario de ensayos y bolos por los clubs de la zona. El álbum en cuestión fue Creedence Clearwater Revival y realmente tuvo una gran acogida de crítica y público. La promoción del álbum fue también bien recibida, con el lanzamiento del sencillo Suzie Q (un éxito de finales de los años 50, original de Dale Hawkins) en numerosas cadenas de radio del área de la bahía de San Francisco, así como la cadena WLS de Chicago. Los aficionados al blues valoraron muy positivamente la versión y la hicieron llegar a lo más alto. De esta forma, Suzie Q se convirtió en el primer sencillo del grupo en entrar en el Top 40, alcanzando el puesto 11 y convirtiéndose en el único éxito del grupo no compuesto por John Fogerty. Suzie Q. Mientras seguían con la promoción del álbum con conciertos en directo, el grupo ya estaba trabajando en su segundo álbum, Bayou County, en los estudios RCA de Los Angeles. Se publicó en enero de 1969 y fue el primero de una larga lista de éxitos que se prolongó durante tres años. Las canciones de este disco eran básicamente el repertorio de sus conciertos y mostraba una evolución hacia sonidos más simples y directos. El sencillo Proud Mary, que ya hemos escuchado, se convirtió en una de las canciones más versionadas del grupo, con más de 100 grabaciones entre las que se incluye el éxito de 1941 de Ike y Tina Turner. La cara B del sencillo es Born on the bayou. Sobre la canción, su autor John Fogerty, decía: “Va sobre un infancia mítica y sobre un tiempo lleno de calor. La visualice en el pantano donde, por supuesto, nunca había vivido. Era tarde cuando escribía, tratando de ser un escritor puro, sin la guitarra en la mano, visualizando y mirando las paredes desnudas de mi apartamento. Los apartamentos pequeños tienen unas estupendas paredes desnudas, especialmente cuando no puedes permitirte poner nada en ellas.” Born on the bayou. El tercer álbum de Creedence Clearwater Revival, Green River, fue publicado en agosto y rápidamente certificado como disco de oro junto al sencillo Green River, que también llegó al puesto nº 2. Pero es que la cara B del sencillo, Commotion, no se quedó atrás y fue otro éxito de la banda. Creedence continuó ofreciendo conciertos, entre los que se incluyeron el Atlanta Pop Festival y el Festival de Woodstock. Que, por cierto, su participación en éste último fue bastante accidentada. Su actuación no fue incluido finalmente en el video del festival ni en su banda sonora debido a que el propio Fogerty consideró que el concierto no fue medianamente decente. La banda se quejaba de que tuvieron que salir al escenario a las tres y media de la madrugada. El grupo anterior se había extralimitado en su tiempo realizando varias jams y cuando la Creedence llegó al escenario, gran parte del público ya había abandonado el recinto. Vamos a escuchar este sencillo Green River, esta es su cara A Y esta es su cara B, Conmotion. A pesar del chasco de Woodstock, la Creedence siguieron ocupados grabando su cuarto álbum, Wily and the Poor Boys, que finalmente fue publicado en noviembre de 1969. Dos de sus cortes, Down on the Corner y Fortunate Son llegaron a los puestos 3 y 4 respectivamente a finales de año. También en este disco incluyeron alguna versión como Cotton Fields. Pero el éxito de Down on the Corner fue el detonante que consolidó finalmente a la Creedence a finales de 1969. En menos de un año había grabado tres discos y cuatro singles de éxito. Down on the Corner. Travellin’Band es un sencillo que la banda publicó en 1970. Las semejanzas entre Travellin’Band y el tema de Little Richard, “Good Golly, Miss Molly”, provocaron una demanda que finalmente fue desestimada. Pero…, durante el pleito, el sencillo había alcanzado el segundo puesto en las listas de Billboard. También es año, concretamente el 31 de enero de 1970, el grupo grabó el concierto ofrecido en el Coliseum de Oakland, California, posteriormente emitido como especial de televisión y publicado como álbum. En abril de 1970, Creedence estaba preparada para comenzar una gira europea. Para estrenar en los conciertos, Fogerty escribió varios temas relacionados con los problemas de violencia que sufría Estados Unidos en la época. El sencillo, compuesto, grabado y publicado en apenas una semana, alcanzó el puesto 4, asegurando una respuesta entusiasta para la gira por parte del público europeo y un éxito comercial tanto en Estados Unidos como en el resto del mundo. Travellin’Band, la canción de la discordia. Cuando terminó su gira por Europa, la banda volvió a los estudios de grabación en San Francisco para grabar el álbum Cosmo’s Factory. El título surgió como una broma sobre las comodidades del local de ensayo y su estilo de trabajo a lo largo de los años. Además, el apodo del batería Doug Clifford era Cosmo, debido a su afición a los temas ecologistas y astronómicos. En el disco se incluían, entre otras, Travelin’Band, que acabamos de oir y Up Around the Bend, una canción que comienza con un tremendo riff de guitarra agudo tocado por John Fogerty. En la letra de la canción, Fogerty nos habla de una reunión "alrededor una curva" en la carretera y nos invita a reunirnos con él. Otra canción que armó cierto revuelo fue Ramble Tamble. En ella describía una semblanza de la vida en Estados Unidos, un país lleno de policías en las esquinas y actores en la Casa Blanca. Este disco, Cosmo’s Factory fue publicado en julio de 1970. Por esos días, las inquietudes musicales de John Fogerty se habían refinado y empezó a utilizar instrumentos con más tesitura que su planteamiento de guitarra, bajo y batería. Así que en este trabajo podemos reconocer teclados diversos, saxos, armonías vocales sofisticadas, y como no, el folclórico dobro. Cosmo's Factor es el álbum más vendido de Creedence Clearwater. Nada más llegar a la calle su aupó al primer puesto dela Billboard 200. No está mal. Las sesiones de grabación de Cosmo's Factory fueron el inicio de las tensiones entre los cuatro miembros del grupo, debido a la tensión de las giras y al calendario de grabaciones que se intercalaba entre los conciertos. John había tomado literalmente el control del grupo en los asuntos comerciales y artísticos. La situación comenzó a exasperar al resto, que, como no, querían tener una mayor representación en el trabajo del grupo. John se resistió, porque pensaba que un régimen democrático dentro del grupo acabaría con el éxito de Creedence Clearwater Revival. Otras interpretaciones aluden a la decisión de John en un concierto en Nebraska de no interpretar bises en los conciertos. En fin, fuera como fuese, esto es otra historia. Historia con la seguiremos la próxima semana. Nos despedimos de la Creedence, por el momento, hasta la próxima entrega con otro de su éxitos. Lodi y la Creedence Clearwater Revival Por hoy nada más, nos vemos, nos oímos nuevamente aquí dentro de quince días, en Sienteloconoido.caster.fm. Hasta entonces… ¡¡¡Buenas Vibraciones”.

The Rolling Stones, Creedence Clearwater Revival, Suzie Q, Led Zeppelin, The Stylistics, Whitney Houston y Depeche Mode....

The Rolling Stones, Creedence Clearwater Revival, Suzie Q, Led Zeppelin, The Stylistics, Whitney Houston y Depeche Mode....

Phil Norby is an Award winning Singer/Songwriter & Cover artist from Milwaukee, WI. Phil has been performing his own music, as well as the music of others that he admires for nearly 15 years. His musical influences include Neil Young, Bob Dylan, to modern singer/songwriters like Ryan Adams, Jason Isbell and Elvis Costello. When I walked into the Boot Barn store at one of their openings, I heard him playing Suzie Q by CCR, and wow! I knew I had to have him come on the show! He was so fun to talk with, and it was so interesting to learn how he goes from the writing process into making a song, and creating an album. His new album, Pollywog, is out now. Please check it out, it's well worth your time.Learn more about Phil at philnorbymusic.comIf your feeling lead, you can Buy Me A Coffee on http://www.ajuicypearpodcast.comSupport the show (https://www.buymeacoffee.com/ajuicypear)

We were frightened, we also drink ze cognac. We are here with iconic actor and producer, Colleen Camp. You Might Know Her From Clue, American Hustle, Election, Police Academy 2 and 4, Die Hard with a Vengeance, Wayne's World, Valley Girl, Sliver, Wicked Stepmother, Smile, They All Laughed, and Apocalypse Now. We got to grill Colleen about all things Clue including going up against Jennifer Jason Leigh, Madonna, and Demi Moore for the role of sexy maid Yvette. Colleen regaled us with stories of cutting her teeth in films like Apocalypse Now, adding “producer” to her list of talents, and how the tragic murder of Hollywood starlet Dorothy Stratten cast a cloud on one of her meatiest roles in Peter Bogdanovich's They All Laughed. It was all of that, plus how her hair color changed the kinds of roles she went in for, working with Bette Davis on the legend's final film, and how she would rewrite the ending of sexual thriller Sliver if she had her druthers. Do we think you'll enjoy this romp of an interview? Oui oui, Madame!  Follow us on social media @damianbellino || @rodemanne  Discussed this week:  The Wicked Friendship Garden in NYC (150th street, not 155th) Woman got hit with hammer. Man got hit with hammer. “Omarion” Yellowjackets! Insecure! And Just Like That!  Anne watched: School of Chocolate, Pen15, The White Lotus Damian watched: Sex Lives of College Girls, Harlem, Emily in Paris Season 2, The Lost Daughter, Don't Look Up, Being the Ricardos We love Melanie Lynskey, Tawny Cypress, Juliette Scientologist Lewis The famous “Great Herring War” scene from The Golden Girls (not improvised it turns out) Che Diaz fucks Miranda on AJLT Colleen Camp has worked with multiple directors multiple times, Herbert Ross (Funny Lady, My Blue Heaven), Peter Bogdanovich (They All Laughed, She's Funny That Way), Eli Roth (Knock, Knock),  David O. Russell (American Hustle), Alexander Payne (Election), Jonathan Lynn (Clue, Greedy) Martha Coolidge (Valley Girl), Adam McKay (helped with The Big Short) Jonathan Lynn screened His Girl Friday (1940) for the cast of Clue to capture the tone he wanted Colleen went in for Yvette in a French maid's costume  Starred opposite Walk Like a Man with Christopher Lloyd Played buxom “foxy” broads in Clue, Police Academy, Swinging Cheerleaders, Apocalypse Now Sliver (1993) is the sexual thriller (produced by Robert Evans, screenplay by Joe Ezterhaus, directed by Phillip Noyce) “I certainly have. I'm getting a plastic yeast infection.” Sang so many songs in the Bogdanovich film, They All Laughed opposite Ben Gazarra and Audrey Hepburn. The movie featured the late Dorothy Stratten (Playboy Playmate turned actress. She was dating Bogdanovich at the time, was murdered by her ex boyfriend, Paul Snider shortly after the film wrapped. Bogdanovich later married her sister, Louise Stratten). Bogdanovich took the movie into his own hands and tried to independently distribute They All Laughed with his own funds. The movie tanked, but is now hailed as a classic.  Bob Fosse made a movie about Dorothy Stratten's murder called Star 80 (in 1983, just three years after her murder).  Wicked Stepmother opposite Bette Davis, who left the film after a week or two. Starred opposite Barbra Streisand in one funny scene in Funny Lady (1975) Dancing to “Suzie Q” in Apocalypse Now as a playmate Was a champion for Dean Tavoularis Colleen was one of the only women in Die Hard with a Vengeance  Starred opposite a dead Bruce Lee in Game of Death (movie was made after he died so she just starred opposite a bunch of Bruce Lee stand-ins) Ang Lee cast Colleen in The Ice Storm based on Game of Death, but she doesn't really appear

The Standells "Dirty Water"Lucero "The Devil And Maggie Chascarillo"Ted Hawley and Weldon Bonner "Trying To Keep It Together"The Lostines "Playing the Fool"Billy Bragg "The Saturday Boy"Langhorne Slim & The Law "The Way We Move"Margo Price "Sweet Revenge"Slim Harpo "Rainin' in My Heart"Fleetwood Mac "Oh Well"Fats Domino "The Big Beat"The White Stripes "Dead Leaves And The Dirty Ground"Warren Zevon "Carmelita"Two Cow Garage "Movies"fIREHOSE "In Memory of Elizabeth Cotton"John Prine "Yes I Guess They Oughta Name a Drink After You"Eilen Jewell "Boundary County"Billie Holiday "Sugar"Guitar Slim "The Things That I Used to Do"Elizabeth Cotten & Brenda Evans "Shake Sugaree"Bonnie Raitt "You Got To Know How (Remastered Version)"Slim Harbert & His Boys "Brown Bottle Blues"John R. Miller "Motor's Fried"Tommy Tucker "High Heel Sneakers"The Jam "Life from a Window"Oscar Brown, Jr. "But I Was Cool"Make Up "International Airport"Oscar 'Papa' Celestin And His New Orleans Band "Lil' Liza Jane"Madonna Martin "Rattlesnakin' Daddy"Thelonious Monk & John Coltrane "Blue Monk"Shovels & Rope "Pretty Polly"Jessie Mae Hemphill "Run Get My Shotgun"Bob Dylan "Delia"Lefty Frizzell "No One to Talk To (But the Blues)"Merle Travis "Blue Smoke"Tyler Childers "Play Me A Hank Song"John Prine "Killing the Blues"Lucero "Darken My Door"Buddy Guy "I Smell A Rat"Nina Simone "Blues for Mama"Dale Hawkins "Suzie Q"The Replacements "Here Comes a Regular"Bonnie "Prince" Billy "Death In the Sea"Hank Williams "Men With Broken Hearts"Valerie June "Summer's End"Louis Armstrong "Do You Know What It Means to Miss New Orleans?"

In mid-1968 a band of four dedicated musicians from El Cerrito, California skyrocketed to fame with their debut single “Suzie Q.” It took 10 years of gigging to get there, but by the time “Suzie Q” peaked at #11 on Billboard's Hot 100 chart Creedence Clearwater Revival (CCR) was an unstoppable force in rock'n'roll. Over the next 2 years they released 11 million-selling hit singles and 5 studio albums, they toured the world as headliners, including an appearance at Woodstock in 1969, and were ultimately inducted into the Rock and Roll Hall Of Fame in 1993. In the decades that followed CCR's 2 year reign as the #1 band in the world, Creedence drummer Doug “Cosmo” Clifford focused his creative energy on producing album projects. His concept was to assemble a top shelf mix of players, write an album's worth of original songs, then record, mix and master each album. When a project was completed, the masters were archived and safely stored in Cosmo's Vault until the time was right to release them. Fast forward to 2021 and Cosmo has retrieved those masters and will be releasing them one album at a time on his own label, Cliffsong Records. The first release will be For All The Money In The World by Clifford / Wright. As was the case with Creedence, the core members of Clifford / Wright are from El Cerrito, California, each having earned Gold records over the years for playing on million-selling hits. Cosmo's original idea was to build the band around a solid rhythm section, and his first choice for a bass player was his old pal Steve Wright from the Greg Kihn Band. Cosmo and Steve not only had great chemistry as a rhythm section, they also clicked as a songwriting team, crafting well over a dozen original songs for the album. Completing the Clifford / Wright lineup were featured guitarists Greg Douglass (Steve Miller Band), Jimmy Lyon (Eddie Money) and Joe Satriani, plus keyboard players Tim Gorman (The Who) and Pat Mosca (Greg Kihn Band). After holding auditions for a lead vocalist, Keith England was selected as a perfect fit for the Clifford / Wright songs. With the band in place, recording sessions were booked in various studios in the San Francisco Bay area. The final result is the 11-song album For All The Money In The World by Clifford / Wright, direct from Cosmo's Vault.

In mid-1968 a band of four dedicated musicians from El Cerrito, California skyrocketed to fame with their debut single “Suzie Q.” It took 10 years of gigging to get there, but by the time “Suzie Q” peaked at #11 on Billboard's Hot 100 chart Creedence Clearwater Revival (CCR) was an unstoppable force in rock'n'roll. Over the next 2 years they released 11 million-selling hit singles and 5 studio albums, they toured the world as headliners, including an appearance at Woodstock in 1969, and were ultimately inducted into the Rock and Roll Hall Of Fame in 1993. In the decades that followed CCR's 2 year reign as the #1 band in the world, Creedence drummer Doug “Cosmo” Clifford focused his creative energy on producing album projects. His concept was to assemble a top shelf mix of players, write an album's worth of original songs, then record, mix and master each album. When a project was completed, the masters were archived and safely stored in Cosmo's Vault until the time was right to release them. Fast forward to 2021 and Cosmo has retrieved those masters and will be releasing them one album at a time on his own label, Cliffsong Records. The first release will be For All The Money In The World by Clifford / Wright. As was the case with Creedence, the core members of Clifford / Wright are from El Cerrito, California, each having earned Gold records over the years for playing on million-selling hits. Cosmo's original idea was to build the band around a solid rhythm section, and his first choice for a bass player was his old pal Steve Wright from the Greg Kihn Band. Cosmo and Steve not only had great chemistry as a rhythm section, they also clicked as a songwriting team, crafting well over a dozen original songs for the album. Completing the Clifford / Wright lineup were featured guitarists Greg Douglass (Steve Miller Band), Jimmy Lyon (Eddie Money) and Joe Satriani, plus keyboard players Tim Gorman (The Who) and Pat Mosca (Greg Kihn Band). After holding auditions for a lead vocalist, Keith England was selected as a perfect fit for the Clifford / Wright songs. With the band in place, recording sessions were booked in various studios in the San Francisco Bay area. The final result is the 11-song album For All The Money In The World by Clifford / Wright, direct from Cosmo's Vault.

Khoảng giữa bộ phim Apocalypse Now có một cảnh nổi tiếng là khi con tàu chạy sông của Martin Sheen đến được một trạm cung ứng nằm sâu trong rừng rậm, trong lúc thủy thủ đoàn mua dầu diesel, nhân viên cung ứng đã cho họ những tấm vé miễn phí để xem một chương trình – “Các anh biết đấy,” anh ta nói, “những cô thỏ.” Không lâu sau, họ ngồi ở một sân khấu tạm bợ dựng quanh một bãi đáp, xem ba cô người mẫu Playboy nhảy xuống từ trực thăng và nhảy theo bài “Suzie Q.” Xem thêm: http://nghiencuuquocte.org/2017/04/18/playboy-va-linh-my-chien-tranh-viet-nam/

Most people don't think it's even possible to escape the cycle of debt in their lives.  Not to mention the herd mentality of banking that they don't even know they've been brainwashed to follow. Suzie Q and her father (who was a banker) broke free. In a little more than 5 years, Suzie Q had … Continue reading Episode 9 – Waking Up to the Glory of Private Banking Strategies: Susie Q Part 2 →

Suzie "Q's" parents come through for her from the other side.

This Pfriday, we kick off our miniseries Michelle: The Scrapbook Years, where we're covering Michelle's first three films in consecutive order. That means this week we're talking about La Pfeiffer's debut film role: Suzie Q in The Hollywood Knights. We dive into the familiar faces (Michelle, Fran Drescher, Tony Danza), the odd similarities this movies has to other much more remembered titles of the time and, of course, what kicked off Michelle's film career and the possible paths it might have had. If you enjoy what you hear, please rate and subscribe on whatever your preferred podcast channel is. You can also follow us on Twitter @pfeifferpfriday or on Instagram @pfeifferpfridays.

Suzie Q. chats with Peruvian guitarrista Miguel Gistau about the antiquated idea of genres, and how the lockdown finally got him to sit down and record his debut album.

Icelandic-Siberian duo Pale Moon bring the heat in episode 20 of Music On Repeat. Suzie Q sits down with Arni and Nata to talk about their new single ‘Stranger', the complicated task of filming a one-shot music video, and the multi-faceted meaning of the name ‘Pale Moon'.

Spooktober has arrived on Wasteland! Nathaniel discusses the horror anime Mononoke, and recommends a few of his favorite Junji Ito short stories. While Dom starts watching Death Note for the first time ever, giving us his thoughts on the first five episodes. We also discuss the new JoJo Portal Website and event for next April called JOESTAR the Inherited Soul, and what this could mean for the anime and for part 6! On JoJo episodes, the boys may have hit their first Battle Tendency road bump, as Dom isn't too impressed with episodes 16-18, despite meeting characters like Lisa Lisa and Suzie Q for the first time. Join us now and for a full month of cursed anime and manga watching/reading to get all of our horror fill this Halloween. Follow us on Twitter @WastelandTv Timestamps: Spooky Intro: 0:00 Death Note: 5:15 Department of the Truth: 14:50 Mononoke: 19:20 Junji Ito Short Stories: 23:00 JoJo Portal Website/Live Show News: 32:00 JoJo Episodes: 44:55 • • • Hosts Dom Esclovon & Nathaniel Garofalo explore anime (and sometimes manga) together with determination and the power of friendship. In the show's first season, we will be watching the anime/manga JoJo's Bizarre Adventure in its entirety. One of us a JoJo expert and the other a JoJo virgin.

We noticed at 5 foot 2 inch, it would be hard to put her full last name on a baseball jersey, thankfully she chose drag racing instead. It is always a pleasure to welcome back the woman that any speed past 150mph is a walk in the park for, Sue Christophersen of the Suzie Q nostalgia funny car. We had to get her back as last time she was on "The 5:15", we just got done with her first half of her racing career and today Sue talks about racing her rear engine dragster, how she got started in nostalgia funny cars, how they picked the '57 Chevy body style, the wild ride piloting a funny car, how it is like to be racing with others in the nostalgia funny car circle, interacting with her fans, the importance of putting on a good show, all this and so much more! Sue is really a delight to have on with us and is welcomed back any time she wants...

NOTE: THIS IS A RE-VOICED RE-PRODUCED VERSION OF THE (SINCE DELETED) ORIGINAL, FEATURING A MUCH BETTER MICROPHONEBorn in 1914, Ruth Lowe spent the first few years of her life in Toronto before moving with Mom, Dad and little sister to California. The family had been struggling, but Dad – an American – had a couple brothers in Glendale… so he opened a butcher shop there. One problem. You’ve probably heard of it. It’s called the Great Depression and it eventually put an end to Dad’s business. So the Lowes uprooted again and returned to Canada with little more than the piano Ruth and her sister Mickey had trained on. THEME MUSICFull Bloom, by Emily Klassen - http://cfccreates.com/alumni/2180FEATURED MUSICDoin' The Suzie Q, by Ina Ray Hutton and the MelodearsI'll Never Smile Again, by The Percy Faith Orchestra, composed by Ruth LoweI'll Never Smile Again, by Glenn Miller, composed by Ruth LoweI'll Never Smile Again, by The Tommy Dorsey Orchestra, composed by Ruth LowePut Your Dreams Away, by Frank Sinatra, composed by Ruth Lowe, Paul Mann, and Stephan WeissBACKGROUND MUSICStrangeViola.WAV by martysonic - https://freesound.org/people/martysonic/Unreal Piano | tictac9 by tictac9 - https://freesound.org/people/tictac9/

CHECK OUT SUZIE Q & SOULITA ON ROADIUM RADIO EPISODE 71 HOSTED BY TONY A. DA WIZARD. SEE THE LIVE STREAM ON THE TONY VISION YOUTUBE CHANNEL AT http://www.youtube.com/tonyvision DON'T FORGET TO HIT THE BELL ICON TO BE NOTIFIED FOR ALL THE LATEST VIDEOS! CHECK OUT THE CHICANO RAP DOCUMENTARY GOFUNDME PAGE http://www.gofundme.com/chicanorapdocumentary CHECK OUT THE ROADIUM MIXTAPE DOCUMIXERY http://www.vimeo.com/ondemand/documixery LEAVE US A VOICE MESSAGE HERE https://anchor.fm/roadiumradio/message BECOME A SUPPORTER https://anchor.fm/roadiumradio/support FOLLOW TONY A. DA WIZARD ON INSTAGRAM AT http://instagram.com/_tony_a_da_wizard CHECK OUT OUR OFFICIAL WEBSITE AT http://www.documixery.com THANK YOU TO ALL OUR SUPPORTERS! WE COULDN'T DO IT WITHOUT YOU! For Bookings, Music Submissions, Comments, Questions or Suggestions Email us at roadiumradio@gmail.com TUNE IN TO ROADIUM RADIO EVERY WEDNESDAY NIGHT 7PM (PST) AND EVERY SUNDAY NIGHT 7PM (PST) EXCLUSIVELY ON THE TONY VISION YOUTUBE CHANNEL LIKE US ON FACEBOOK! http://www.facebook.com/documixery FOLLOW US ON TWITTER! http://www.twitter.com/documixery ROADIUM RADIO SHOW PRODUCED BY: TONY A. DA WIZARD (TONY VISION) IG @_tony_a_da_wizard AND JOHN ELKINS IG @jevisualstudios ALL PHOTOGRAPHY BY DANIEL “DG” JONES (DG MEDIA CLIPS) IG @dgmediaclips #RoadiumRadio #Roadium #Radio #Host #TonyA #JohnMuthafuckinElkins #DGMediaClips #LiveStream #Podcast #HipHop #Rap #DJ #MC #History #TonyVision #WestCoast #Clips #Videos #YouTube #DJ #Director #Producer #Podcaster #Host #HiC #ImNotYourPuppet #SittingInThePark #LeaveMyCurlsAlone #Skanless #Records #SkanlessRecords #Wilmington #HarborArea #LA #LosAngeles #Cali #California #HarborArea #TonyADaWizard #DaWizard #SteveYano #Mixtapes #RoadiumMixtapes #Legends #Legendary #Music #Chicano #Latin #Latino #Hispanic #Mexican #Raza #ChicanoRap #Compton #DrDre #IceCube #EazyE #MCRen #DJYella #NWA #StraightOuttaCompton #HiC #DJQuik #2ndIINone #AMG #Mixtapes #Gold #Platiinum #RecordingArtists #Recording #Artist #HipHopPodcast #Documixery #theroadiummixtapedocumixery #theroadiummixtapedocumentary #documentary #WeHaveAVoice #Raza #SuzieQ #Soulita #SoulSpinners THE ROADIUM MIXTAPE DOCUMIXERY - A WEST COAST HIP HOP DOCUMENTARY - IN MEMORY OF STEVE YANO NOW AVAILABLE AT WWW.DOCUMIXERY.COM YOUR NOT GONNA WANT TO MISS IT! --- Send in a voice message: https://anchor.fm/roadiumradio/message

Autor: Albrecht, Jörg Sendung: Corso Hören bis: 19.01.2038 04:14

Steve Cooper talks with Doug Clifford. Doug, nicknamed Cosmo, is best known for being drummer and one of the founding members of the Rock & Roll Hall of Fame band, Creedence Clearwater Revival. CCR has sold 28 million albums and their numerous hits include Suzie Q, Bad Moon Rising, Who'll Stop the Rain, Proud Mary, Fortunate Son, Born on the Bayou, Have You Ever Seen the Rain and Down on the Corner. The band broke up in 1972. In 1995 he formed Creedence Clearwater Revisited with original CCR bassist Stu Cook and they just recently stopped touring. He also just released a new solo album, Magic Window, that was originally recorded in 1985.

  Episode sixty-three of A History of Rock Music in Five Hundred Songs looks at “Susie Q” by Dale Hawkins, and at the difference between rockabilly and electric blues. 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 “Shake a Hand” by Faye Adams.  —-more—- Errata I pronounce presage incorrectly in the episode, and the song “Do it Again a Little Bit Slower” doesn’t have the word “just” in the title. Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. This time, for reasons to do with Mixcloud’s terms of service, it’s broken into two parts. Part one, part two. There are no books that I know of on Hawkins, but I relied heavily on three books with chapters on him — Hepcats and Rockabilly Boys by Robert Reynolds, Dig That Beat! Interviews with Musicians at the Root of Rock and Roll by Sheree Homer,  and Shreveport Sounds in Black and White edited by Kip Lornell and Tracy E.W. Laird. This compilation of Hawkins’ early singles is as good a set as any to start with, though the liner notes are perfunctory at best.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We’re pretty much at the end of the true rockabilly era already — all the major figures to come out of Sun studios have done so, and while 1957 saw several country-influenced white rock and rollers show up, like Buddy Holly and the Everly Brothers, and those singers will often get referred to as “rockabilly”, they don’t tend to get counted by aficionados of the subgenre, who think they don’t sound enough like the music from Sun to count. But there are still a few exceptions. And one of those is Dale Hawkins, the man whose recordings were to spark a whole new subgenre, the style of music that would later become known as “swamp rock”. [Excerpt: Dale Hawkins, “Susie Q”] Dale Hawkins never liked being called a rockabilly, though that’s the description that most people now use of him. We’ll look later in the episode at how accurate that description actually is, but for the moment the important thing is that he thought of himself as a bluesman. When he was living in Shreveport, Louisiana, he lived in a shack in the black part of town, and inside the shack there was only a folding camp bed, a record player, and thousands of 78RPM blues records. Nothing else at all. It’s not that he didn’t like country music, of course — as a kid, he and his brother hitch-hiked to a nearby town to go to a Flatt and Scruggs gig, and he also loved Hank Williams and Jimmie Rodgers — but it was the blues that called to him more, and so he never thought of himself as having the country elements that would normally be necessary for someone to call themselves a rockabilly. While he didn’t have much direct country influence, he did come from a country music family. His father, Delmar Hawkins senior, was a country musician who was according to some sources one of the original members of the Sons of the Pioneers, the group that launched the career of Roy Rogers: [Excerpt: Sons of the Pioneers, “Tumbling Tumbleweeds”] While Hawkins Sr.’s name isn’t in any of the official lists of group members, he might well have performed with them at some point in the early years of the group. And whether he did or didn’t, he was definitely a bass player in many other hillbilly bands. However, it’s unlikely that Delmar Hawkins Sr. had much influence on his son, as he left the family when Delmar Jr was three, and didn’t reconnect until after “Susie Q” became a hit. Delmar Sr. wasn’t the only family member to be a musician, either — Dale’s younger brother Jerry was a rockabilly who made a few singles in the fifties: [Excerpt: Jerry Hawkins, “Swing Daddy Swing”] Another family member, Ronnie Hawkins, would later have his own musical career, which would intersect with several of the artists we’re going to be looking at later in this series. Del Hawkins, as he was originally called, did a variety of jobs, including a short stint as a sailor, after dropping out of school, but he soon got the idea of becoming a musician, and started performing with Sonny Jones, a local guitarist whose sister was Hank Williams’ widow. Jones had a lot of contacts in the local music industry, and helped Hawkins pull together the first lineup of his band, when he was nineteen. While Hawkins thought of himself as a blues musician, for a white singer in Shreveport, there was only one option open if you wanted to be a star, and that was performing on the Louisiana Hayride, the country show where Elvis, among many others, had made his name. And Jones had many contacts on the show, and performed on it himself. But Hawkins’ first job at the Louisiana Hayride wasn’t as a performer, but working in the car park. He and his brother would go up to drivers heading into the car park for the show, and charge them fifty cents to park their cars for them — when the car park filled up, they’d just park the cars on the street outside. What they didn’t tell the drivers was that the car park was actually free to the public. At the same time he was starting out as a musician, Del was working in a record shop, Stan’s Record Shop, run by a man named Stan Lewis. Hawkins had been a regular customer for several years before working up the courage to ask for a job there, and by the time he got the job, he was familiar with almost every blues or R&B record that was available at the time. Customers would come into the shop, sing a snatch of a song they’d heard, and young Del would be able to tell them the title and the artist. It was through doing this job that Hawkins became friendly with customers like B.B. King, who would remain a lifelong friend. It was also while working at Stan’s Record Shop that Hawkins became better acquainted with its owner. Stan Lewis was, among other things, both a talent scout for Chess records and one of the biggest customers of the label — if he got behind a record, Chess knew it would sell, at least in Louisiana, and so they would listen to him. Indeed, Lewis was one of the biggest record distributors, as well as a record shop owner, and he distributed records all across the region, to many other stores. Lewis also worked as a record producer — the first record he ever produced was one of the biggest blues hits of all time, Lowell Fulson’s “Reconsider Baby”, which was released on the Chess subsidiary Checker: [Excerpt: Lowell Fulson, “Reconsider Baby”] Lewis took an interest in his young employee’s music career, and introduced Hawkins to his cousin, D.J. Fontana, another musician who played on the Louisiana Hayride. Fontana played with Hawkins for a while before taking on a better-paid job with Elvis Presley. At Lewis’ instigation, Hawkins went into the studio in 1956 with engineer Merle Kilgore (who would later become famous in his own right as a country songwriter, co-writing songs like “Ring of Fire”), his new guitarist James Burton, and several other musicians, to record a demo of what would become Hawkins’ most famous song, “Susie Q”: [Excerpt: Dale Hawkins, “Susie Q”, demo version] Listening to that, it’s clear that they already had all the elements of the finished record nearly in place — the main difference between that and the finished version that they cut later is that the demo has a saxophone solo, and that James Burton hasn’t fully worked out his guitar part, although it’s close to the final version. At the time he cut that track, Hawkins intended it as a potential first single, but Stan Lewis had other ideas. While Chess records put out almost solely tracks by black artists, their subsidiary Checker *had* recently released a single by a white artist — a song by Bobby Charles called “Later, Alligator”, which a short while later had become a hit for Bill Haley, under the longer title “See You Later, Alligator”: [Excerpt: Bobby Charles, “Later Alligator”] Lewis thought that given that precedent, Checker might be willing to put out another record by a white act, if that record was an answer record to Bobby Charles’. So he persuaded Hawkins to write a soundalike song, which Hawkins and his band quickly demoed — “See You Soon, Baboon”: [Excerpt: Dale Hawkins, “See You Soon, Baboon”] Lewis sent that off to Checker, who released Hawkins’ demo, although they did make three small changes. The first was to add a Tarzan-style yodelling call at the beginning and end of the record: [Excerpt: Dale Hawkins, “See You Soon, Baboon”] The second, which would have long-lasting consequences, was that they misspelled Hawkins’ first name — Leonard Chess misheard “Del Hawkins” over the phone, and the record came out as by “Dale Hawkins”, which would be his name from that point on. The last change was to remove Hawkins’ songwriting credit, and give it instead to Stan Lewis and Eleanor Broadwater. Broadwater was the wife of Gene Nobles, a DJ to whom the Chess brothers owed money. Nobles is also the one who supplied the Tarzan cry. Both Lewis and Broadwater would also get credited for Hawkins’ follow-up single, a new version of “Susie Q”: [Excerpt: Dale Hawkins, “Susie Q”] On that, at least, Hawkins was credited as one of the writers along with Lewis and Broadwater. But according to Hawkins, not only did the credit get split with the wrong people, but he didn’t receive any of the royalties to which he was entitled until as late as 1985. And crucially, the other people who did cowrite the song — notably James Burton — didn’t get any credit at all. In general, there seems to be a great deal of disagreement about who contributed what to the song — I’ve seen various other putative co-authors listed — but everyone seems agreed that Hawkins came up with the lyrics, while Burton came up with the guitar riff. Presumably the song evolved from a jam session by the musicians — it’s the kind of song that musicians come up with when they’re jamming together, and that would explain the discrepancies in the stories as to who wrote it. Well, that and the record company ripping the writers off. The song came from a myriad musical sources. The most obvious influence for its overall sound — both the melody and the way the melody interacts with the guitar riff — is “Baby Please Don’t Go” by Muddy Waters: [Excerpt: Muddy Waters, “Baby Please Don’t Go”] But the principal influence on the melody was, rather than Waters’ song, a record by the Clovers which had a very similar melody — “I’ve Got My Eyes on You”: [Excerpt: The Clovers, “I’ve Got My Eyes On You”] Hawkins and Burton took those melodic and arrangement ideas and coupled them with a riff inspired by Howlin’ Wolf — I’ve seen some people claim that the song was “ripped off” from Wolf. I don’t believe, myself, that that is the case. Wolf certainly had several records with similar riffs, like “Smokestack Lightnin'”: [Excerpt: Howlin’ Wolf, “Smokestack Lightnin'”] And “Spoonful”: [Excerpt: Howlin’ Wolf, “Spoonful”] But nothing with the exact same riff, and certainly nothing with the same melody. Some have also claimed that Wolf provided lyrical inspiration — that Hawkins was inspired by seeing Wolf drop to his knees on stage yelling something about “Suzy”. There are also claims that the song was named after Stan Lewis’ daughter Suzie — and notably Stan Lewis himself bolstered his claim to a co-writing credit for the song by pointing out that not only did he have a daughter named Susan, so did Leonard Chess. He claimed that he had mentioned this to Hawkins and suggested that the two of them write a song together with the name in it, because it would appeal to Chess. Both of those tales of the song’s lyrical inspiration may well be true, but I suspect that a more likely explanation is that the song is named after a dance move. We talked way back in episode four about the Lindy Hop, the popular dance from the late 1930s and forties. That dance was never a formalised dance, and one of its major characteristics was that it would incorporate dance moves from any other dance around. And one of the dances it incorporated into itself was one called the Suzie Q, which at the height of its popularity was promoted by a song performed by the pianist Lilian Hardin, who is now best known for having been the wife of Louis Armstrong, whose career she managed in its early years, but who at the time was a respected jazz musician in her own right: [Excerpt: Lil Hardin Armstrong, “Doin’ the Suzie Q”] The dance that that song was about was a simple dance step, involving crossing one’s feet, swivelling. and stepping to one side. It got incorporated into the more complex Lindy Hop, but was still remembered as a step in itself. So, it’s likely that Hawkins was at least as inspired by that as he was by any of the other alleged inspirations for the song. Certainly at least one other Checker records artist thought so — Jimmy McCracklin, in his song “The Walk”, released the next year, starts his list of dances by singing “I know you’ve heard of the Susie Q”: [Excerpt: Jimmy McCracklin, “The Walk”] According to the engineer on the session, Bob Sullivan, who was more used to recording Jim Reeves and Slim Whitman than raw rock and roll music, “Susie Q” was recorded in four takes, and Hawkins had the final choice of which take to use, but in Sullivan’s opinion he chose the wrong one. The take chosen for release was an early take of the song, when Sullivan was still trying to get a balance, and he didn’t notice at first that Hawkins was starting to sing, and had to quickly raise the volume on Hawkins’ vocal just as he started. You can hear this if you listen to the finished recording: [Excerpt: Dale Hawkins, “Susie Q”] This new version of “Susie Q” was stripped right down — it was just guitar, bass, and drums — none of the saxophone that was present on the early version. But it kept the crucial ingredients of the earlier version — that biting guitar riff played by James Burton, and the drum part, with its ear-catching cowbell. That drum part was played by Stan Lewis’ fifteen-year-old brother Ronnie on the new version, but he’s closely copying the part that A.J. Tuminello played on the demo — Tuminello couldn’t make the session, so Lewis just copied the part, which came about when Hawkins had heard Tuminello playing his drum and cowbell simultaneously during a soundcheck. Now that we’ve put the song in context, there’s an interesting point we can make. As we discussed in the beginning, people usually refer to “Susie Q” as a rockabilly song. But there are a few criteria that generally apply to rockabilly but not to “Susie Q”. And one of the most important of these ties back to something we were talking about last week — the electric bass. The demo version of “Susie Q” had, like almost all rock and roll records of the time, featured a double bass, played in the slapback style, and as we talked about back in the episodes on Bill Haley several months back, slapback bass is one of the defining features of the rockabilly genre. For this new recording, though, Sonny Trammell, a country player who played with Jim Reeves, played electric bass, as he was the only person in Shreveport who owned one. This was a deliberate choice by Hawkins, who wanted to imitate the sound of electric blues records, rather than using the double bass, which he associated with country music — though as it turns out, he would probably have been better off using a double bass if he wanted that sound, as Willie Dixon, who played bass on all the Chess blues records, actually didn’t play an electric bass. Rather, he got a sound similar to an electric bass by actually placing the microphone inside the bottom of the bass’ tailpiece. But that points to something that “Susie Q” was doing that we’ve not seen before. One of the things people have asked me a few times is why I’ve not looked very much at the music that we now think of as “the blues”, though at the time it was only a small part of the blues — the guitar playing male solo artists who made up the Chicago sound, and the Delta bluesmen who inspired them. And that’s because the common narrative, that rock and roll came from that kind of blues, is false — as I hope the last year and a bit of podcasts have shown. Rock and roll came from a lot of different musics — primarily Western swing, jump bands, and vocal group R&B — and had relatively little influence in its early years from that branch of blues. But over the next few years we will see a lot of musicians, primarily but not exclusively white British men, inspired by the first wave of rock and rollers to pick up a guitar, but rejecting the country music that inspired those early rock and rollers, and turning instead to Muddy Waters, Little Walter, and Howlin’ Wolf. There’s never a first anything, and that’s especially the case here where we’re talking about musical ideas crossing racial lines, but one can make an argument that Dale Hawkins was the first white rock and roller to be inspired by people like Waters and Wolf, and for “Susie Q” as the record, more than any other, that presaged the white rock acts of the sixties, with its electric bass, Chess-style guitar riffs, and country-inflected vocals. Acts like the Rolling Stones or the Animals or Canned Heat were all following in Hawkins’ footsteps, as you can hear in, for example, the Stones’ own version of the song: [Excerpt: the Rolling Stones, “Susie Q”] What’s surprising is how reluctant Chess were to release the single. The master was sent to Chess for release, but they kept hold of it for ten months without getting round to releasing it. Eventually, Hawkins became so frustrated that he sent a copy of the recording to Jerry Wexler at Atlantic Records. Wexler got excited, and told Leonard Chess that if Chess weren’t going to put out the single, Atlantic would release it instead. At that point, Chess realised that he might have something commercial on his hands, and decided to put the record out on Checker as it was originally intended. The song went to number seven on the R&B charts, and number twenty-seven on the pop charts. Between the recording and release of the single, James Burton quit the band. He moved on first to work with another Louisiana musician, Bob Luman: [Excerpt: Bob Luman, “All Night Long”] Burton then went on to work first with Ricky Nelson and then as a session player with everyone from the Monkees to Elvis. Hawkins had an ear for good guitarists, and after Burton went on to be one of the most important guitarists in rock music, Hawkins would continue to play with many other superb players, such as Roy Buchanan, who played on Hawkins’ cover version of Little Walter’s “My Babe”: [Excerpt: Dale Hawkins, “My Babe”] And then there was the guitarist on the closest he came to a follow-up hit, “La-Do-Dada”: [Excerpt: Dale Hawkins, “Lo-Do-Dada”] That guitarist was another young player, Joe Osborn, who would soon follow James Burton to LA and to the pool of session players that became known as the Wrecking Crew, though Osborn would switch his guitar for bass. However, none of Hawkins’ follow-ups had anything more than very minor commercial success, and he would increasingly find himself chasing trends and trying to catch up with other people’s styles, rather than continuing with the raw rock and roll sound he had found on “Susie Q”. By the early sixties he was recording novelty live albums of twist songs, to try to cash in on the twist fad: [Excerpt: Dale Hawkins, “Do the Twist”] After his brief run of hits dried up, he used his connection with Dick Clark, the TV presenter whose American Bandstand had helped to break “Susie Q” on the national market, to get his own TV show, The Dale Hawkins Show, which ran for eighteen months and was a similar format to Bandstand. Once that show was over, he turned to record production. There he once again worked for Stan Lewis, who by that point had started his own record labels. There seems to be some dispute as to which records Hawkins produced in his second career. I’ve seen claims, for example, that he produced “Hey Baby” by Bruce Channel: [Excerpt: Bruce Channel, “Hey Baby”] But Hawkins is not the credited producer on that, or on “Judy In Disguise With Glasses” by John Fred and the Playboy Band, another record he’s often credited with. On the other hand, he *is* the credited producer on the big hit “Do it Again Just a Little Bit Slower” by Jon and Robin: [Excerpt: Jon and Robin, “Do it Again A Little Bit Slower”] Towards the end of the sixties, he had a brief second attempt at a recording career for himself. Creedence Clearwater Revival had a hit in 1968 with their version of “Susie Q”: [Excerpt: Creedence Clearwater Revival, “Susie Q”] And that was enough to draw Hawkins back into the studio, working once again with James Burton on guitar and Joe Osborn on bass, along with a few newer blues musicians like Taj Mahal and Ry Cooder, on an album full of the swamp-rock style he had created in the fifties, “LA, Memphis, and Tyler, Texas”: [Excerpt: Dale Hawkins: “LA, Memphis, Tyler, Texas”] When that wasn’t a success, he moved on to RCA Records to become head of A&R for their West Coast rock department — a job he was apparently put forward for by Joe Osborn. But after a successful few years, he spent much of the seventies suffering from an amphetamine addiction, having started taking speed back in the fifties. He finally got clean in the early eighties, and started touring the rockabilly revival circuit — as well as finally getting his master’s degree, which for a high school dropout was a major achievement, and something to be as proud of as any hit. In 1998, he recorded his first album in thirty years, Wildcat Tamer: [Excerpt: Dale Hawkins, “Wildcat Tamer”] That got some of the best reviews of his career, but his next album took nearly a decade to come out, and by that time he had been diagnosed with the colon cancer that eventually killed him in 2010. Hawkins is in many ways a paradoxical figure — he was someone who pointed the way to the future of rock and roll, but the future he pointed to was one of white men taking the ideas of black blues musicians and only slightly altering them. He was a byword for untutored, raw, instinctive rock and roll, and yet his biggest hit is carefully constructed out of bits of other people’s records, melded together with a great deal of thought. At the end of it all, what survives is that one glorious hit record — a guitar, a bass, drums, a cowbell, and a teenage boy singing of how he loves Susie Q.

  Episode sixty-three of A History of Rock Music in Five Hundred Songs looks at “Susie Q” by Dale Hawkins, and at the difference between rockabilly and electric blues. 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 “Shake a Hand” by Faye Adams.  —-more—- Errata I pronounce presage incorrectly in the episode, and the song “Do it Again a Little Bit Slower” doesn’t have the word “just” in the title. Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. This time, for reasons to do with Mixcloud’s terms of service, it’s broken into two parts. Part one, part two. There are no books that I know of on Hawkins, but I relied heavily on three books with chapters on him — Hepcats and Rockabilly Boys by Robert Reynolds, Dig That Beat! Interviews with Musicians at the Root of Rock and Roll by Sheree Homer,  and Shreveport Sounds in Black and White edited by Kip Lornell and Tracy E.W. Laird. This compilation of Hawkins’ early singles is as good a set as any to start with, though the liner notes are perfunctory at best.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We’re pretty much at the end of the true rockabilly era already — all the major figures to come out of Sun studios have done so, and while 1957 saw several country-influenced white rock and rollers show up, like Buddy Holly and the Everly Brothers, and those singers will often get referred to as “rockabilly”, they don’t tend to get counted by aficionados of the subgenre, who think they don’t sound enough like the music from Sun to count. But there are still a few exceptions. And one of those is Dale Hawkins, the man whose recordings were to spark a whole new subgenre, the style of music that would later become known as “swamp rock”. [Excerpt: Dale Hawkins, “Susie Q”] Dale Hawkins never liked being called a rockabilly, though that’s the description that most people now use of him. We’ll look later in the episode at how accurate that description actually is, but for the moment the important thing is that he thought of himself as a bluesman. When he was living in Shreveport, Louisiana, he lived in a shack in the black part of town, and inside the shack there was only a folding camp bed, a record player, and thousands of 78RPM blues records. Nothing else at all. It’s not that he didn’t like country music, of course — as a kid, he and his brother hitch-hiked to a nearby town to go to a Flatt and Scruggs gig, and he also loved Hank Williams and Jimmie Rodgers — but it was the blues that called to him more, and so he never thought of himself as having the country elements that would normally be necessary for someone to call themselves a rockabilly. While he didn’t have much direct country influence, he did come from a country music family. His father, Delmar Hawkins senior, was a country musician who was according to some sources one of the original members of the Sons of the Pioneers, the group that launched the career of Roy Rogers: [Excerpt: Sons of the Pioneers, “Tumbling Tumbleweeds”] While Hawkins Sr.’s name isn’t in any of the official lists of group members, he might well have performed with them at some point in the early years of the group. And whether he did or didn’t, he was definitely a bass player in many other hillbilly bands. However, it’s unlikely that Delmar Hawkins Sr. had much influence on his son, as he left the family when Delmar Jr was three, and didn’t reconnect until after “Susie Q” became a hit. Delmar Sr. wasn’t the only family member to be a musician, either — Dale’s younger brother Jerry was a rockabilly who made a few singles in the fifties: [Excerpt: Jerry Hawkins, “Swing Daddy Swing”] Another family member, Ronnie Hawkins, would later have his own musical career, which would intersect with several of the artists we’re going to be looking at later in this series. Del Hawkins, as he was originally called, did a variety of jobs, including a short stint as a sailor, after dropping out of school, but he soon got the idea of becoming a musician, and started performing with Sonny Jones, a local guitarist whose sister was Hank Williams’ widow. Jones had a lot of contacts in the local music industry, and helped Hawkins pull together the first lineup of his band, when he was nineteen. While Hawkins thought of himself as a blues musician, for a white singer in Shreveport, there was only one option open if you wanted to be a star, and that was performing on the Louisiana Hayride, the country show where Elvis, among many others, had made his name. And Jones had many contacts on the show, and performed on it himself. But Hawkins’ first job at the Louisiana Hayride wasn’t as a performer, but working in the car park. He and his brother would go up to drivers heading into the car park for the show, and charge them fifty cents to park their cars for them — when the car park filled up, they’d just park the cars on the street outside. What they didn’t tell the drivers was that the car park was actually free to the public. At the same time he was starting out as a musician, Del was working in a record shop, Stan’s Record Shop, run by a man named Stan Lewis. Hawkins had been a regular customer for several years before working up the courage to ask for a job there, and by the time he got the job, he was familiar with almost every blues or R&B record that was available at the time. Customers would come into the shop, sing a snatch of a song they’d heard, and young Del would be able to tell them the title and the artist. It was through doing this job that Hawkins became friendly with customers like B.B. King, who would remain a lifelong friend. It was also while working at Stan’s Record Shop that Hawkins became better acquainted with its owner. Stan Lewis was, among other things, both a talent scout for Chess records and one of the biggest customers of the label — if he got behind a record, Chess knew it would sell, at least in Louisiana, and so they would listen to him. Indeed, Lewis was one of the biggest record distributors, as well as a record shop owner, and he distributed records all across the region, to many other stores. Lewis also worked as a record producer — the first record he ever produced was one of the biggest blues hits of all time, Lowell Fulson’s “Reconsider Baby”, which was released on the Chess subsidiary Checker: [Excerpt: Lowell Fulson, “Reconsider Baby”] Lewis took an interest in his young employee’s music career, and introduced Hawkins to his cousin, D.J. Fontana, another musician who played on the Louisiana Hayride. Fontana played with Hawkins for a while before taking on a better-paid job with Elvis Presley. At Lewis’ instigation, Hawkins went into the studio in 1956 with engineer Merle Kilgore (who would later become famous in his own right as a country songwriter, co-writing songs like “Ring of Fire”), his new guitarist James Burton, and several other musicians, to record a demo of what would become Hawkins’ most famous song, “Susie Q”: [Excerpt: Dale Hawkins, “Susie Q”, demo version] Listening to that, it’s clear that they already had all the elements of the finished record nearly in place — the main difference between that and the finished version that they cut later is that the demo has a saxophone solo, and that James Burton hasn’t fully worked out his guitar part, although it’s close to the final version. At the time he cut that track, Hawkins intended it as a potential first single, but Stan Lewis had other ideas. While Chess records put out almost solely tracks by black artists, their subsidiary Checker *had* recently released a single by a white artist — a song by Bobby Charles called “Later, Alligator”, which a short while later had become a hit for Bill Haley, under the longer title “See You Later, Alligator”: [Excerpt: Bobby Charles, “Later Alligator”] Lewis thought that given that precedent, Checker might be willing to put out another record by a white act, if that record was an answer record to Bobby Charles’. So he persuaded Hawkins to write a soundalike song, which Hawkins and his band quickly demoed — “See You Soon, Baboon”: [Excerpt: Dale Hawkins, “See You Soon, Baboon”] Lewis sent that off to Checker, who released Hawkins’ demo, although they did make three small changes. The first was to add a Tarzan-style yodelling call at the beginning and end of the record: [Excerpt: Dale Hawkins, “See You Soon, Baboon”] The second, which would have long-lasting consequences, was that they misspelled Hawkins’ first name — Leonard Chess misheard “Del Hawkins” over the phone, and the record came out as by “Dale Hawkins”, which would be his name from that point on. The last change was to remove Hawkins’ songwriting credit, and give it instead to Stan Lewis and Eleanor Broadwater. Broadwater was the wife of Gene Nobles, a DJ to whom the Chess brothers owed money. Nobles is also the one who supplied the Tarzan cry. Both Lewis and Broadwater would also get credited for Hawkins’ follow-up single, a new version of “Susie Q”: [Excerpt: Dale Hawkins, “Susie Q”] On that, at least, Hawkins was credited as one of the writers along with Lewis and Broadwater. But according to Hawkins, not only did the credit get split with the wrong people, but he didn’t receive any of the royalties to which he was entitled until as late as 1985. And crucially, the other people who did cowrite the song — notably James Burton — didn’t get any credit at all. In general, there seems to be a great deal of disagreement about who contributed what to the song — I’ve seen various other putative co-authors listed — but everyone seems agreed that Hawkins came up with the lyrics, while Burton came up with the guitar riff. Presumably the song evolved from a jam session by the musicians — it’s the kind of song that musicians come up with when they’re jamming together, and that would explain the discrepancies in the stories as to who wrote it. Well, that and the record company ripping the writers off. The song came from a myriad musical sources. The most obvious influence for its overall sound — both the melody and the way the melody interacts with the guitar riff — is “Baby Please Don’t Go” by Muddy Waters: [Excerpt: Muddy Waters, “Baby Please Don’t Go”] But the principal influence on the melody was, rather than Waters’ song, a record by the Clovers which had a very similar melody — “I’ve Got My Eyes on You”: [Excerpt: The Clovers, “I’ve Got My Eyes On You”] Hawkins and Burton took those melodic and arrangement ideas and coupled them with a riff inspired by Howlin’ Wolf — I’ve seen some people claim that the song was “ripped off” from Wolf. I don’t believe, myself, that that is the case. Wolf certainly had several records with similar riffs, like “Smokestack Lightnin'”: [Excerpt: Howlin’ Wolf, “Smokestack Lightnin'”] And “Spoonful”: [Excerpt: Howlin’ Wolf, “Spoonful”] But nothing with the exact same riff, and certainly nothing with the same melody. Some have also claimed that Wolf provided lyrical inspiration — that Hawkins was inspired by seeing Wolf drop to his knees on stage yelling something about “Suzy”. There are also claims that the song was named after Stan Lewis’ daughter Suzie — and notably Stan Lewis himself bolstered his claim to a co-writing credit for the song by pointing out that not only did he have a daughter named Susan, so did Leonard Chess. He claimed that he had mentioned this to Hawkins and suggested that the two of them write a song together with the name in it, because it would appeal to Chess. Both of those tales of the song’s lyrical inspiration may well be true, but I suspect that a more likely explanation is that the song is named after a dance move. We talked way back in episode four about the Lindy Hop, the popular dance from the late 1930s and forties. That dance was never a formalised dance, and one of its major characteristics was that it would incorporate dance moves from any other dance around. And one of the dances it incorporated into itself was one called the Suzie Q, which at the height of its popularity was promoted by a song performed by the pianist Lilian Hardin, who is now best known for having been the wife of Louis Armstrong, whose career she managed in its early years, but who at the time was a respected jazz musician in her own right: [Excerpt: Lil Hardin Armstrong, “Doin’ the Suzie Q”] The dance that that song was about was a simple dance step, involving crossing one’s feet, swivelling. and stepping to one side. It got incorporated into the more complex Lindy Hop, but was still remembered as a step in itself. So, it’s likely that Hawkins was at least as inspired by that as he was by any of the other alleged inspirations for the song. Certainly at least one other Checker records artist thought so — Jimmy McCracklin, in his song “The Walk”, released the next year, starts his list of dances by singing “I know you’ve heard of the Susie Q”: [Excerpt: Jimmy McCracklin, “The Walk”] According to the engineer on the session, Bob Sullivan, who was more used to recording Jim Reeves and Slim Whitman than raw rock and roll music, “Susie Q” was recorded in four takes, and Hawkins had the final choice of which take to use, but in Sullivan’s opinion he chose the wrong one. The take chosen for release was an early take of the song, when Sullivan was still trying to get a balance, and he didn’t notice at first that Hawkins was starting to sing, and had to quickly raise the volume on Hawkins’ vocal just as he started. You can hear this if you listen to the finished recording: [Excerpt: Dale Hawkins, “Susie Q”] This new version of “Susie Q” was stripped right down — it was just guitar, bass, and drums — none of the saxophone that was present on the early version. But it kept the crucial ingredients of the earlier version — that biting guitar riff played by James Burton, and the drum part, with its ear-catching cowbell. That drum part was played by Stan Lewis’ fifteen-year-old brother Ronnie on the new version, but he’s closely copying the part that A.J. Tuminello played on the demo — Tuminello couldn’t make the session, so Lewis just copied the part, which came about when Hawkins had heard Tuminello playing his drum and cowbell simultaneously during a soundcheck. Now that we’ve put the song in context, there’s an interesting point we can make. As we discussed in the beginning, people usually refer to “Susie Q” as a rockabilly song. But there are a few criteria that generally apply to rockabilly but not to “Susie Q”. And one of the most important of these ties back to something we were talking about last week — the electric bass. The demo version of “Susie Q” had, like almost all rock and roll records of the time, featured a double bass, played in the slapback style, and as we talked about back in the episodes on Bill Haley several months back, slapback bass is one of the defining features of the rockabilly genre. For this new recording, though, Sonny Trammell, a country player who played with Jim Reeves, played electric bass, as he was the only person in Shreveport who owned one. This was a deliberate choice by Hawkins, who wanted to imitate the sound of electric blues records, rather than using the double bass, which he associated with country music — though as it turns out, he would probably have been better off using a double bass if he wanted that sound, as Willie Dixon, who played bass on all the Chess blues records, actually didn’t play an electric bass. Rather, he got a sound similar to an electric bass by actually placing the microphone inside the bottom of the bass’ tailpiece. But that points to something that “Susie Q” was doing that we’ve not seen before. One of the things people have asked me a few times is why I’ve not looked very much at the music that we now think of as “the blues”, though at the time it was only a small part of the blues — the guitar playing male solo artists who made up the Chicago sound, and the Delta bluesmen who inspired them. And that’s because the common narrative, that rock and roll came from that kind of blues, is false — as I hope the last year and a bit of podcasts have shown. Rock and roll came from a lot of different musics — primarily Western swing, jump bands, and vocal group R&B — and had relatively little influence in its early years from that branch of blues. But over the next few years we will see a lot of musicians, primarily but not exclusively white British men, inspired by the first wave of rock and rollers to pick up a guitar, but rejecting the country music that inspired those early rock and rollers, and turning instead to Muddy Waters, Little Walter, and Howlin’ Wolf. There’s never a first anything, and that’s especially the case here where we’re talking about musical ideas crossing racial lines, but one can make an argument that Dale Hawkins was the first white rock and roller to be inspired by people like Waters and Wolf, and for “Susie Q” as the record, more than any other, that presaged the white rock acts of the sixties, with its electric bass, Chess-style guitar riffs, and country-inflected vocals. Acts like the Rolling Stones or the Animals or Canned Heat were all following in Hawkins’ footsteps, as you can hear in, for example, the Stones’ own version of the song: [Excerpt: the Rolling Stones, “Susie Q”] What’s surprising is how reluctant Chess were to release the single. The master was sent to Chess for release, but they kept hold of it for ten months without getting round to releasing it. Eventually, Hawkins became so frustrated that he sent a copy of the recording to Jerry Wexler at Atlantic Records. Wexler got excited, and told Leonard Chess that if Chess weren’t going to put out the single, Atlantic would release it instead. At that point, Chess realised that he might have something commercial on his hands, and decided to put the record out on Checker as it was originally intended. The song went to number seven on the R&B charts, and number twenty-seven on the pop charts. Between the recording and release of the single, James Burton quit the band. He moved on first to work with another Louisiana musician, Bob Luman: [Excerpt: Bob Luman, “All Night Long”] Burton then went on to work first with Ricky Nelson and then as a session player with everyone from the Monkees to Elvis. Hawkins had an ear for good guitarists, and after Burton went on to be one of the most important guitarists in rock music, Hawkins would continue to play with many other superb players, such as Roy Buchanan, who played on Hawkins’ cover version of Little Walter’s “My Babe”: [Excerpt: Dale Hawkins, “My Babe”] And then there was the guitarist on the closest he came to a follow-up hit, “La-Do-Dada”: [Excerpt: Dale Hawkins, “Lo-Do-Dada”] That guitarist was another young player, Joe Osborn, who would soon follow James Burton to LA and to the pool of session players that became known as the Wrecking Crew, though Osborn would switch his guitar for bass. However, none of Hawkins’ follow-ups had anything more than very minor commercial success, and he would increasingly find himself chasing trends and trying to catch up with other people’s styles, rather than continuing with the raw rock and roll sound he had found on “Susie Q”. By the early sixties he was recording novelty live albums of twist songs, to try to cash in on the twist fad: [Excerpt: Dale Hawkins, “Do the Twist”] After his brief run of hits dried up, he used his connection with Dick Clark, the TV presenter whose American Bandstand had helped to break “Susie Q” on the national market, to get his own TV show, The Dale Hawkins Show, which ran for eighteen months and was a similar format to Bandstand. Once that show was over, he turned to record production. There he once again worked for Stan Lewis, who by that point had started his own record labels. There seems to be some dispute as to which records Hawkins produced in his second career. I’ve seen claims, for example, that he produced “Hey Baby” by Bruce Channel: [Excerpt: Bruce Channel, “Hey Baby”] But Hawkins is not the credited producer on that, or on “Judy In Disguise With Glasses” by John Fred and the Playboy Band, another record he’s often credited with. On the other hand, he *is* the credited producer on the big hit “Do it Again Just a Little Bit Slower” by Jon and Robin: [Excerpt: Jon and Robin, “Do it Again A Little Bit Slower”] Towards the end of the sixties, he had a brief second attempt at a recording career for himself. Creedence Clearwater Revival had a hit in 1968 with their version of “Susie Q”: [Excerpt: Creedence Clearwater Revival, “Susie Q”] And that was enough to draw Hawkins back into the studio, working once again with James Burton on guitar and Joe Osborn on bass, along with a few newer blues musicians like Taj Mahal and Ry Cooder, on an album full of the swamp-rock style he had created in the fifties, “LA, Memphis, and Tyler, Texas”: [Excerpt: Dale Hawkins: “LA, Memphis, Tyler, Texas”] When that wasn’t a success, he moved on to RCA Records to become head of A&R for their West Coast rock department — a job he was apparently put forward for by Joe Osborn. But after a successful few years, he spent much of the seventies suffering from an amphetamine addiction, having started taking speed back in the fifties. He finally got clean in the early eighties, and started touring the rockabilly revival circuit — as well as finally getting his master’s degree, which for a high school dropout was a major achievement, and something to be as proud of as any hit. In 1998, he recorded his first album in thirty years, Wildcat Tamer: [Excerpt: Dale Hawkins, “Wildcat Tamer”] That got some of the best reviews of his career, but his next album took nearly a decade to come out, and by that time he had been diagnosed with the colon cancer that eventually killed him in 2010. Hawkins is in many ways a paradoxical figure — he was someone who pointed the way to the future of rock and roll, but the future he pointed to was one of white men taking the ideas of black blues musicians and only slightly altering them. He was a byword for untutored, raw, instinctive rock and roll, and yet his biggest hit is carefully constructed out of bits of other people’s records, melded together with a great deal of thought. At the end of it all, what survives is that one glorious hit record — a guitar, a bass, drums, a cowbell, and a teenage boy singing of how he loves Susie Q.

  Episode sixty-three of A History of Rock Music in Five Hundred Songs looks at "Susie Q" by Dale Hawkins, and at the difference between rockabilly and electric blues. 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 "Shake a Hand" by Faye Adams.  ----more---- Errata I pronounce presage incorrectly in the episode, and the song "Do it Again a Little Bit Slower" doesn't have the word "just" in the title. Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. This time, for reasons to do with Mixcloud's terms of service, it's broken into two parts. Part one, part two. There are no books that I know of on Hawkins, but I relied heavily on three books with chapters on him -- Hepcats and Rockabilly Boys by Robert Reynolds, Dig That Beat! Interviews with Musicians at the Root of Rock and Roll by Sheree Homer,  and Shreveport Sounds in Black and White edited by Kip Lornell and Tracy E.W. Laird. This compilation of Hawkins' early singles is as good a set as any to start with, though the liner notes are perfunctory at best.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We're pretty much at the end of the true rockabilly era already -- all the major figures to come out of Sun studios have done so, and while 1957 saw several country-influenced white rock and rollers show up, like Buddy Holly and the Everly Brothers, and those singers will often get referred to as "rockabilly", they don't tend to get counted by aficionados of the subgenre, who think they don't sound enough like the music from Sun to count. But there are still a few exceptions. And one of those is Dale Hawkins, the man whose recordings were to spark a whole new subgenre, the style of music that would later become known as "swamp rock". [Excerpt: Dale Hawkins, "Susie Q"] Dale Hawkins never liked being called a rockabilly, though that's the description that most people now use of him. We'll look later in the episode at how accurate that description actually is, but for the moment the important thing is that he thought of himself as a bluesman. When he was living in Shreveport, Louisiana, he lived in a shack in the black part of town, and inside the shack there was only a folding camp bed, a record player, and thousands of 78RPM blues records. Nothing else at all. It's not that he didn't like country music, of course -- as a kid, he and his brother hitch-hiked to a nearby town to go to a Flatt and Scruggs gig, and he also loved Hank Williams and Jimmie Rodgers -- but it was the blues that called to him more, and so he never thought of himself as having the country elements that would normally be necessary for someone to call themselves a rockabilly. While he didn't have much direct country influence, he did come from a country music family. His father, Delmar Hawkins senior, was a country musician who was according to some sources one of the original members of the Sons of the Pioneers, the group that launched the career of Roy Rogers: [Excerpt: Sons of the Pioneers, "Tumbling Tumbleweeds"] While Hawkins Sr.'s name isn't in any of the official lists of group members, he might well have performed with them at some point in the early years of the group. And whether he did or didn't, he was definitely a bass player in many other hillbilly bands. However, it's unlikely that Delmar Hawkins Sr. had much influence on his son, as he left the family when Delmar Jr was three, and didn't reconnect until after “Susie Q” became a hit. Delmar Sr. wasn't the only family member to be a musician, either -- Dale's younger brother Jerry was a rockabilly who made a few singles in the fifties: [Excerpt: Jerry Hawkins, "Swing Daddy Swing"] Another family member, Ronnie Hawkins, would later have his own musical career, which would intersect with several of the artists we're going to be looking at later in this series. Del Hawkins, as he was originally called, did a variety of jobs, including a short stint as a sailor, after dropping out of school, but he soon got the idea of becoming a musician, and started performing with Sonny Jones, a local guitarist whose sister was Hank Williams' widow. Jones had a lot of contacts in the local music industry, and helped Hawkins pull together the first lineup of his band, when he was nineteen. While Hawkins thought of himself as a blues musician, for a white singer in Shreveport, there was only one option open if you wanted to be a star, and that was performing on the Louisiana Hayride, the country show where Elvis, among many others, had made his name. And Jones had many contacts on the show, and performed on it himself. But Hawkins' first job at the Louisiana Hayride wasn't as a performer, but working in the car park. He and his brother would go up to drivers heading into the car park for the show, and charge them fifty cents to park their cars for them -- when the car park filled up, they'd just park the cars on the street outside. What they didn't tell the drivers was that the car park was actually free to the public. At the same time he was starting out as a musician, Del was working in a record shop, Stan's Record Shop, run by a man named Stan Lewis. Hawkins had been a regular customer for several years before working up the courage to ask for a job there, and by the time he got the job, he was familiar with almost every blues or R&B record that was available at the time. Customers would come into the shop, sing a snatch of a song they'd heard, and young Del would be able to tell them the title and the artist. It was through doing this job that Hawkins became friendly with customers like B.B. King, who would remain a lifelong friend. It was also while working at Stan's Record Shop that Hawkins became better acquainted with its owner. Stan Lewis was, among other things, both a talent scout for Chess records and one of the biggest customers of the label -- if he got behind a record, Chess knew it would sell, at least in Louisiana, and so they would listen to him. Indeed, Lewis was one of the biggest record distributors, as well as a record shop owner, and he distributed records all across the region, to many other stores. Lewis also worked as a record producer -- the first record he ever produced was one of the biggest blues hits of all time, Lowell Fulson's "Reconsider Baby", which was released on the Chess subsidiary Checker: [Excerpt: Lowell Fulson, "Reconsider Baby"] Lewis took an interest in his young employee's music career, and introduced Hawkins to his cousin, D.J. Fontana, another musician who played on the Louisiana Hayride. Fontana played with Hawkins for a while before taking on a better-paid job with Elvis Presley. At Lewis' instigation, Hawkins went into the studio in 1956 with engineer Merle Kilgore (who would later become famous in his own right as a country songwriter, co-writing songs like "Ring of Fire"), his new guitarist James Burton, and several other musicians, to record a demo of what would become Hawkins' most famous song, "Susie Q": [Excerpt: Dale Hawkins, "Susie Q", demo version] Listening to that, it's clear that they already had all the elements of the finished record nearly in place -- the main difference between that and the finished version that they cut later is that the demo has a saxophone solo, and that James Burton hasn't fully worked out his guitar part, although it's close to the final version. At the time he cut that track, Hawkins intended it as a potential first single, but Stan Lewis had other ideas. While Chess records put out almost solely tracks by black artists, their subsidiary Checker *had* recently released a single by a white artist -- a song by Bobby Charles called "Later, Alligator", which a short while later had become a hit for Bill Haley, under the longer title "See You Later, Alligator": [Excerpt: Bobby Charles, "Later Alligator"] Lewis thought that given that precedent, Checker might be willing to put out another record by a white act, if that record was an answer record to Bobby Charles'. So he persuaded Hawkins to write a soundalike song, which Hawkins and his band quickly demoed -- "See You Soon, Baboon": [Excerpt: Dale Hawkins, "See You Soon, Baboon"] Lewis sent that off to Checker, who released Hawkins' demo, although they did make three small changes. The first was to add a Tarzan-style yodelling call at the beginning and end of the record: [Excerpt: Dale Hawkins, "See You Soon, Baboon"] The second, which would have long-lasting consequences, was that they misspelled Hawkins' first name -- Leonard Chess misheard "Del Hawkins" over the phone, and the record came out as by "Dale Hawkins", which would be his name from that point on. The last change was to remove Hawkins' songwriting credit, and give it instead to Stan Lewis and Eleanor Broadwater. Broadwater was the wife of Gene Nobles, a DJ to whom the Chess brothers owed money. Nobles is also the one who supplied the Tarzan cry. Both Lewis and Broadwater would also get credited for Hawkins' follow-up single, a new version of "Susie Q": [Excerpt: Dale Hawkins, "Susie Q"] On that, at least, Hawkins was credited as one of the writers along with Lewis and Broadwater. But according to Hawkins, not only did the credit get split with the wrong people, but he didn't receive any of the royalties to which he was entitled until as late as 1985. And crucially, the other people who did cowrite the song -- notably James Burton -- didn't get any credit at all. In general, there seems to be a great deal of disagreement about who contributed what to the song -- I've seen various other putative co-authors listed -- but everyone seems agreed that Hawkins came up with the lyrics, while Burton came up with the guitar riff. Presumably the song evolved from a jam session by the musicians -- it's the kind of song that musicians come up with when they're jamming together, and that would explain the discrepancies in the stories as to who wrote it. Well, that and the record company ripping the writers off. The song came from a myriad musical sources. The most obvious influence for its overall sound -- both the melody and the way the melody interacts with the guitar riff -- is "Baby Please Don't Go" by Muddy Waters: [Excerpt: Muddy Waters, "Baby Please Don't Go"] But the principal influence on the melody was, rather than Waters' song, a record by the Clovers which had a very similar melody -- "I've Got My Eyes on You": [Excerpt: The Clovers, "I've Got My Eyes On You"] Hawkins and Burton took those melodic and arrangement ideas and coupled them with a riff inspired by Howlin' Wolf -- I've seen some people claim that the song was "ripped off" from Wolf. I don't believe, myself, that that is the case. Wolf certainly had several records with similar riffs, like "Smokestack Lightnin'": [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] And "Spoonful": [Excerpt: Howlin' Wolf, "Spoonful"] But nothing with the exact same riff, and certainly nothing with the same melody. Some have also claimed that Wolf provided lyrical inspiration -- that Hawkins was inspired by seeing Wolf drop to his knees on stage yelling something about "Suzy". There are also claims that the song was named after Stan Lewis' daughter Suzie -- and notably Stan Lewis himself bolstered his claim to a co-writing credit for the song by pointing out that not only did he have a daughter named Susan, so did Leonard Chess. He claimed that he had mentioned this to Hawkins and suggested that the two of them write a song together with the name in it, because it would appeal to Chess. Both of those tales of the song's lyrical inspiration may well be true, but I suspect that a more likely explanation is that the song is named after a dance move. We talked way back in episode four about the Lindy Hop, the popular dance from the late 1930s and forties. That dance was never a formalised dance, and one of its major characteristics was that it would incorporate dance moves from any other dance around. And one of the dances it incorporated into itself was one called the Suzie Q, which at the height of its popularity was promoted by a song performed by the pianist Lilian Hardin, who is now best known for having been the wife of Louis Armstrong, whose career she managed in its early years, but who at the time was a respected jazz musician in her own right: [Excerpt: Lil Hardin Armstrong, "Doin' the Suzie Q"] The dance that that song was about was a simple dance step, involving crossing one's feet, swivelling. and stepping to one side. It got incorporated into the more complex Lindy Hop, but was still remembered as a step in itself. So, it's likely that Hawkins was at least as inspired by that as he was by any of the other alleged inspirations for the song. Certainly at least one other Checker records artist thought so -- Jimmy McCracklin, in his song "The Walk", released the next year, starts his list of dances by singing "I know you've heard of the Susie Q": [Excerpt: Jimmy McCracklin, "The Walk"] According to the engineer on the session, Bob Sullivan, who was more used to recording Jim Reeves and Slim Whitman than raw rock and roll music, "Susie Q" was recorded in four takes, and Hawkins had the final choice of which take to use, but in Sullivan's opinion he chose the wrong one. The take chosen for release was an early take of the song, when Sullivan was still trying to get a balance, and he didn't notice at first that Hawkins was starting to sing, and had to quickly raise the volume on Hawkins' vocal just as he started. You can hear this if you listen to the finished recording: [Excerpt: Dale Hawkins, "Susie Q"] This new version of "Susie Q" was stripped right down -- it was just guitar, bass, and drums -- none of the saxophone that was present on the early version. But it kept the crucial ingredients of the earlier version -- that biting guitar riff played by James Burton, and the drum part, with its ear-catching cowbell. That drum part was played by Stan Lewis' fifteen-year-old brother Ronnie on the new version, but he's closely copying the part that A.J. Tuminello played on the demo -- Tuminello couldn't make the session, so Lewis just copied the part, which came about when Hawkins had heard Tuminello playing his drum and cowbell simultaneously during a soundcheck. Now that we've put the song in context, there's an interesting point we can make. As we discussed in the beginning, people usually refer to "Susie Q" as a rockabilly song. But there are a few criteria that generally apply to rockabilly but not to "Susie Q". And one of the most important of these ties back to something we were talking about last week -- the electric bass. The demo version of "Susie Q" had, like almost all rock and roll records of the time, featured a double bass, played in the slapback style, and as we talked about back in the episodes on Bill Haley several months back, slapback bass is one of the defining features of the rockabilly genre. For this new recording, though, Sonny Trammell, a country player who played with Jim Reeves, played electric bass, as he was the only person in Shreveport who owned one. This was a deliberate choice by Hawkins, who wanted to imitate the sound of electric blues records, rather than using the double bass, which he associated with country music -- though as it turns out, he would probably have been better off using a double bass if he wanted that sound, as Willie Dixon, who played bass on all the Chess blues records, actually didn't play an electric bass. Rather, he got a sound similar to an electric bass by actually placing the microphone inside the bottom of the bass' tailpiece. But that points to something that "Susie Q" was doing that we've not seen before. One of the things people have asked me a few times is why I've not looked very much at the music that we now think of as "the blues", though at the time it was only a small part of the blues -- the guitar playing male solo artists who made up the Chicago sound, and the Delta bluesmen who inspired them. And that's because the common narrative, that rock and roll came from that kind of blues, is false -- as I hope the last year and a bit of podcasts have shown. Rock and roll came from a lot of different musics -- primarily Western swing, jump bands, and vocal group R&B -- and had relatively little influence in its early years from that branch of blues. But over the next few years we will see a lot of musicians, primarily but not exclusively white British men, inspired by the first wave of rock and rollers to pick up a guitar, but rejecting the country music that inspired those early rock and rollers, and turning instead to Muddy Waters, Little Walter, and Howlin' Wolf. There's never a first anything, and that's especially the case here where we're talking about musical ideas crossing racial lines, but one can make an argument that Dale Hawkins was the first white rock and roller to be inspired by people like Waters and Wolf, and for "Susie Q" as the record, more than any other, that presaged the white rock acts of the sixties, with its electric bass, Chess-style guitar riffs, and country-inflected vocals. Acts like the Rolling Stones or the Animals or Canned Heat were all following in Hawkins' footsteps, as you can hear in, for example, the Stones' own version of the song: [Excerpt: the Rolling Stones, “Susie Q”] What's surprising is how reluctant Chess were to release the single. The master was sent to Chess for release, but they kept hold of it for ten months without getting round to releasing it. Eventually, Hawkins became so frustrated that he sent a copy of the recording to Jerry Wexler at Atlantic Records. Wexler got excited, and told Leonard Chess that if Chess weren't going to put out the single, Atlantic would release it instead. At that point, Chess realised that he might have something commercial on his hands, and decided to put the record out on Checker as it was originally intended. The song went to number seven on the R&B charts, and number twenty-seven on the pop charts. Between the recording and release of the single, James Burton quit the band. He moved on first to work with another Louisiana musician, Bob Luman: [Excerpt: Bob Luman, "All Night Long"] Burton then went on to work first with Ricky Nelson and then as a session player with everyone from the Monkees to Elvis. Hawkins had an ear for good guitarists, and after Burton went on to be one of the most important guitarists in rock music, Hawkins would continue to play with many other superb players, such as Roy Buchanan, who played on Hawkins' cover version of Little Walter's "My Babe": [Excerpt: Dale Hawkins, "My Babe"] And then there was the guitarist on the closest he came to a follow-up hit, “La-Do-Dada”: [Excerpt: Dale Hawkins, "Lo-Do-Dada"] That guitarist was another young player, Joe Osborn, who would soon follow James Burton to LA and to the pool of session players that became known as the Wrecking Crew, though Osborn would switch his guitar for bass. However, none of Hawkins' follow-ups had anything more than very minor commercial success, and he would increasingly find himself chasing trends and trying to catch up with other people's styles, rather than continuing with the raw rock and roll sound he had found on "Susie Q". By the early sixties he was recording novelty live albums of twist songs, to try to cash in on the twist fad: [Excerpt: Dale Hawkins, "Do the Twist"] After his brief run of hits dried up, he used his connection with Dick Clark, the TV presenter whose American Bandstand had helped to break "Susie Q" on the national market, to get his own TV show, The Dale Hawkins Show, which ran for eighteen months and was a similar format to Bandstand. Once that show was over, he turned to record production. There he once again worked for Stan Lewis, who by that point had started his own record labels. There seems to be some dispute as to which records Hawkins produced in his second career. I've seen claims, for example, that he produced "Hey Baby" by Bruce Channel: [Excerpt: Bruce Channel, "Hey Baby"] But Hawkins is not the credited producer on that, or on "Judy In Disguise With Glasses" by John Fred and the Playboy Band, another record he's often credited with. On the other hand, he *is* the credited producer on the big hit "Do it Again Just a Little Bit Slower" by Jon and Robin: [Excerpt: Jon and Robin, "Do it Again A Little Bit Slower"] Towards the end of the sixties, he had a brief second attempt at a recording career for himself. Creedence Clearwater Revival had a hit in 1968 with their version of "Susie Q": [Excerpt: Creedence Clearwater Revival, "Susie Q"] And that was enough to draw Hawkins back into the studio, working once again with James Burton on guitar and Joe Osborn on bass, along with a few newer blues musicians like Taj Mahal and Ry Cooder, on an album full of the swamp-rock style he had created in the fifties, "LA, Memphis, and Tyler, Texas": [Excerpt: Dale Hawkins: "LA, Memphis, Tyler, Texas"] When that wasn't a success, he moved on to RCA Records to become head of A&R for their West Coast rock department -- a job he was apparently put forward for by Joe Osborn. But after a successful few years, he spent much of the seventies suffering from an amphetamine addiction, having started taking speed back in the fifties. He finally got clean in the early eighties, and started touring the rockabilly revival circuit -- as well as finally getting his master's degree, which for a high school dropout was a major achievement, and something to be as proud of as any hit. In 1998, he recorded his first album in thirty years, Wildcat Tamer: [Excerpt: Dale Hawkins, "Wildcat Tamer"] That got some of the best reviews of his career, but his next album took nearly a decade to come out, and by that time he had been diagnosed with the colon cancer that eventually killed him in 2010. Hawkins is in many ways a paradoxical figure -- he was someone who pointed the way to the future of rock and roll, but the future he pointed to was one of white men taking the ideas of black blues musicians and only slightly altering them. He was a byword for untutored, raw, instinctive rock and roll, and yet his biggest hit is carefully constructed out of bits of other people's records, melded together with a great deal of thought. At the end of it all, what survives is that one glorious hit record -- a guitar, a bass, drums, a cowbell, and a teenage boy singing of how he loves Susie Q.

Prêt·e·s à se remémorer le best et le worst de cette année 2019 avec toute l’équipe au complet ? C’est parti !Références entendues dans l’épisode : Kiyémis, A nos humanités révoltées, Métagraphe, 2018Retrouvez tous les épisodes de Du Côté de chez Sam iciLa revue érotique L’imparfaiteLes Journalopes est un collectif de journalistes indépendantesStarhawk est une figure altermondialiste et féministeL’article de Clémentine Gallot sur Slate.frMaman, j’ai raté l’avion (1990) est un film de Chris ColumbusKate Tempest est une rappeuse, poétesse et écrivaine britanniqueEmma Becker, La Maison, Flammarion, 2019 Ronan Farrow, Les faire taire, Calmann-Lévy, 2019SCH est un rappeur françaisDinos est un rappeur français“Pookie”de Aya Nakamura Un violador en tu camino du collectif LasTesisAngèle est une autrice compositrice et interprète belge Pomme est une autrice compositrice et interprète françaiseYseult est une autrice compositrice et interprète française"Can't Hold Me" de Emily KingNousToutes est un collectif féministeAdèle Haenel est une actrice françaiseWork in Progress (2019) est une série de Abby McEnany et Tim MasonPatrick Balkany est un homme politique françaisPortrait de la jeune fille en feu est un film de Céline Sciamma (2019)Le Festival des Merveilles est un festival trans et intersexeOcéan est un comédien et réalisateur françaisGreta Thunberg est une militante écologiste suédoise Phoebe Waller Bridge est une actrice réalisatrice et scénariste anglaiseValentine Monnier est une photographe française Roman Polanski est un réalisateur, scénariste et producteur franco-polonais. Il fait l’objet de plusieurs accusations de viols et de violences sexuellesChristophe Ruggia est un réalisateur français récemment accusé de harcèlement sexuel par Adèle Haenel lors du tournage du film Les Diables (2002)Denis Baupin est un ancien député faisant l’objet d’accusations d’agression et de harcèlement sexuels Unbelievable (2019) est une série de Susannah Grant, vous pouvez retrouver l’épisode Quoi De Meuf consacré à la série iciGrâce à Dieu (2018) est un film de François Ozon Les Misérables (2019) est un film de Ladj LyFleabag (2016) est une série créée par Phoebe Waller BridgeLizzo est une artiste américaine Atlantique (2019) est un film de Mati DiopAssa Traoré a fondé le collectif La Vérité Pour Adama Boris Johnson est le chef du Parti conservateur britanniqueZineb Redouane est morte des violences policières en décembre 2018Sihame Assbague est une militante antiraciste françaiseGrégory est une série documentaire disponible sur NetflixPaye Ta Shneck était un projet luttant contre le harcèlement dans l’espace publicMadame Tounkara est une syndicaliste CGTDelphine Bauer est la fondatrice du collectif Ras la PlumeBad Bitches Only est un jeu de société féministeOlga Tokarczuk est une écrivaine polonaise, Prix Nobel de littérature 2018 Edna O’Brien, Girl, Sabine Wespieser Editions, 2019Christophe Nicolas et Anouk Ricard, Princesse Caca, Les fourmis rouges, 2017 Nastassja Martin, Croire aux fauves, Gallimard, coll. Verticales, 2019Joann Sfar, Hawaï ! , Gallimard-loisirs, 2019Ingrid Seyman, La petite conformiste, Philippe Rey, 2019 “Traum und Existenz” de KompromatChristiane Taubira, Nuit d’épine, Editions Plon, 2019Clit Revolution, manuel d’activisme féministeJustine Brabant et Leila Minano, Mauvaise troupe, Les Arènes, 2019Marie Laguerre et Laurène Daycard, Rebellez-vous !, L’Iconoclaste, 2019Clarence Edgar-Rosa et Suzie Q, Connais-toi toi-même, La Musardine, 2019Victoire Tuaillon, Les Couilles sur la table, 2019Adrienne Maree Brown, Pleasure Activism, 2019James Baldwin, L’homme qui meurtL’Association des Journalistes LGBTIL’imposture, seule en scène marionnettique de LuluknetNkali est une agence d’empowerment fondée par Marie DasylvaQuoi de Meuf est une émission de Nouvelles Écoutes. Cet épisode est conçu par Clémentine Gallot et présenté avec Kiyémis, Kaoutar Harchi, Pauline Verduzier, Anne-Laure Pineau. Monté et mixé par Laurie Galligani. Générique réalisé par Aurore Meyer Mahieu. Prise de son Studio Pennylane. Coordination Ashley Tola.

CARLO DRIGGS VOO DOO DANCE PARTY 13 1) SUZIE Q - live Last Blast @ Parkers Oct 1993 2) CANDY 3) SOMEHOW SOMEWHERE 4) BOMBA (SPANISH) 5) SOME WHERE IN TIME 6) GIRL CAN'T HELP IT 7) I AM I SAID - soundboard live career mix, never before featured 8) Mi Amor Es Eterno (Spanish)  FOLLOW US ON OUR INSTAGRAM ACCOUNT USERNAME: SHINYSQUIRRELPODCAST .. AND INSTAGRAM ACCOUNT USERNAME: SECRETPLACESLASVEGAS

Director Liam Firmager gives us an insight into his new film on the life of rock'n'roll pioneer Suzie Quarto.

November 21, 1937 - In this episode they spoof the 1937 Ronald Colman movie "Lost Horizon" directed by Frank Capra. Plus they mention the swing dance called The Suzie-Q, adventurer Frank Buck, Eddie Canton (and his 5 daughters), and the Elk's Lodge.

Special guest Charles Baty joins us on this week’s Truth About Vintage Amps podcast! Twice a month, guitar amp guru Skip Simmons fields your questions on vintage tube amp buying, restoration and repair. Co-hosted by the Fretboard Journal’s Jason Verlinde. Submit your guitar amp questions to Skip here: podcast@fretboardjournal.com or by leaving us a voicemail or text at 509-557-0848. Some of the topics discussed on this episode: 1:37 Charles Baty (Little Charlie & The Nightcats! Little Charlie & Organ Grinder Swing!) joins in: Termites, Spanish rice and amp tips from the road 43:09 Movie recommendations: Wattstax; Theremin: An Electronic Odyssey 44:16 Skip plays a gig 46:30 This week’s sponsor: Grez Guitars 46:55 Robert Keeley (!) calls in on Dean's Echoplex woes (from TAVA 21) 50:24 A '68 Fender Vibrolux reissue with a wonky footswitch 54:16 Replace a two-prong cord with a three-prong cord 57:29 "Getting to 'no' you;" "Suzie Q," the Instant Pot, mashed potatoes and hot dogs 1:04:10 An amp with a noisy front plate 1:06:27 Instrumental music picks (Leo Kottke, Nels Cline), Skip's early music influences 1:12:19 Future TAVA interviews plans 1:14:25 "Why we don’t replace all vintage electrolytic capacitors" video (link: https://youtu.be/GMNQDoFpYQY) 1:18:00 Robben Ford's Dumble-modified Fender Super Reverbs 1:24:29 Why don't amps have no-speaker protection? 1:31:53 AC568 Bassman amps, Fender grounding plates, sources of hiss, the 500 pF Baffler 1:37:55 Music picks: Erkin Koray's 'Elektronik Turkular' (YouTube link) and Bloodstone's "Natural High" (YouTube link) 1:39:07 Bogen PA heads and Harvey Mandel's fuzz tone 1:43:43 Replacing drop capacitors in Victoria amps 1:49:47 Canada, part one: a Traynor YGL-3, Mark III with no input signal 1:53:14 Canada, part two: Sleeper Canadian amps (Garnet, Traynor, Johnson); check out the Corry Boys 1:57:00 An (almost) free vintage speaker (act fast) 1:58:15 Coffee in a can updates  

Many of us grew up with rock legend Suzi Quatro. Suzie has sold over 55 million records worldwide. The iconic American female bass playing vocalist is also a recognised actor playing Leather Tuscadero with Henry Winkler and Ron Howard on Happy Days. She has a new album, and this fascinating conversation uncovers Suzie's alter ego, the longevity to her music career, being on the road, her resilience and total belief in who she is and isn't.   Mike Chapman said there is a bit of Suzie in all female performers. What does that mean? Suzie said, “I'm staying exactly me.” When did Suzie first become aware of who she was at her core? When did Suzie realise that Suzie Q had become a brand? At the age of 5, Suzie discovered Elvis. Why was Suzie drawn to the image of Elvis? There's Suzie from Detroit and Suzie Quatro. Which Suzie does interviews like this? The first single features the message “Don`t let go of yourself for anyone." Suzie's mantra. The lyric "I've gotta hold on to me.” Was there a time when she felt like she was letting go of herself? How did Suzie handle the naysayers, those who tried to derail Suzie as an artist? A view on the ageing process? Does Suzie have an alter ego, persona or identity when walking into the spotlight as Suzie Quatro? Suzie can feel an audience. When recording a lyric, does Suzie hear a melody, see the riff, or feel it? Is Suzie an emotional person? Is it very different from the leather rocker we love on stage? Coming from Detroit, does Suzie embrace challenge and struggle? Suzie was on the cover of Rolling Stone. Was that ever a dream? What's the ego room, and why an ego room for Suzie? If Suzie can hand us one item that best represents her career, what would she give us? Where does Suzie draw creative inspiration from?  Suzie's writing rituals Suzie likes her own company. Where does she put that in her day/week? Suzie tours on the road a lot, so off the road is Suzie a ritual or routine type of person? DR Quatro, never even graduated high school. What's the message for kids and their parents? Ron Howard said, "don't take acting lessons." How did that comment impact Suzie and her beliefs? The song Suzie is most proud of off the new album.   LINKS   Suzie Quatro website http://www.suziquatro.com   Get experimental Bohemian Rhapsody https://www.youtube.com/watch?v=KajJ6TOydfQ   The Mojo Radio Show http://www.themojoradioshow.com   The Mojo Radio Show on Facebook https://www.facebook.com/TheMojoRadioShowPodcast/   The Mojo Radio Show on Twitter https://twitter.com/tmrspod   The Mojo Radio Show Answering Machine 08 7200 6656 08 7200 MOJO   The Mojo Radio Show copyright Gary Bertwistle & Darren Robertson   Products or companies we discuss are not paid endorsements. They are not sponsored by, nor do we have any professional or affiliate relationship of any kind with any of the companies or products highlighted in the show.... sadly! It's just stuff we like, think is cool and maybe of interest to you our listeners.   “Life should not be a journey to the grave with the intention of arriving safely in a pretty and well preserved body, but rather to skid in broadside in a cloud of smoke, thoroughly used up, totally worn out, and loudly proclaiming "Wow! What a Ride!”  See acast.com/privacy for privacy and opt-out information.

Steve Cooper talks with musician Stu Cook. Stu is best known for being bassist and one of the founding members of the Rock & Roll Hall of Fame band, Creedence Clearwater Revival. CCR has sold 28 million albums and their numerous hits include Suzie Q, Bad Moon Rising, Who'll Stop the Rain, Proud Mary, Fortunate Son, Born on the Bayou, Have You Ever Seen the Rain and Down on the Corner. The band broke up in 1972. In 1995 Stu formed Creedence Clearwater Revisited with original CCR drummer Doug Clifford and they have been touring ever since.

"We can't assume that because somebody looks happy, that they are, or that because somebody seems well rounded that they've got nothing going on." TRIBE OF DELINQUENTS In this episode of The Hope Initiative, I speak to my first "stranger", written as such in quotations due to the fact that whilst my guest and I have technically never met, we have spent the past 4 months helping each other learn all aspects of how to build a podcast via The Podcast Fellowship (mentioned in Episode 1) Suzanne Jones - or Suzie Q as she is affectionately known - was someone I got along with immediately. A single mother of 3 from Canada, Suzie's podcast, Happy Healthy Whole Adoptive Parenting, was borne from the experience of a person who was an adopted child herself. In this episode, we discuss her life, being sent back from her initial adopted family, what potential parents looking to adopt should and shouldn't do and how to stay positive when the world is doing its utmost to force you down. It is slightly longer than anything I've done thus far, but after an initial 2 hour video conversation via the internet, I couldn't cut anymore. Suzie was so generous with her time - as she has been since the day we met - so I hope you enjoy this intriguing conversation and may it help give you some hope in your life, if you ever need it. Links for Suzie; Website - https://suzieqsolutions.com/adoption-coaching-programs/ Podcast - https://itunes.apple.com/ca/podcast/healthy-happy-whole-adoptive-parenting/id1451279285?mt=2 Music by Jess Fairlie - https://www.jessfairlie.com/ The Podcast Fellowship - https://www.alexandradipalma.com/the-podcast-fellowship-with-seth-godin/

This is the first of multiple episodes coming out of Southern Whiskey Society Batch 2. Joining us on this episode are Chris Thomas, Suzie Q from Buffalo Trace, and our buddy Tim Gunderman.  More shows to come, but this is a great taste of early in the evening.  

Behind the scenes at an American resort, workers reveal why their disperate lives have come together in the Catskills in a place called Suzie Q.  Here’s this week’s Nasha Kasha.

"Suzie Q," by Jacqueline Carey -- published in Apex Magazine, issue 109, June 2018. CONTENT WARNING: graphic sexual situations and self-harm. Read it here: http://www.apex-magazine.com New York Times bestseller Jacqueline Carey is the author of the critically acclaimed and award-winning Kushiel's Legacy series of historical fantasy novels, The Sundering epic fantasy duology, postmodern fables Santa Olivia and Saints Astray, the Agent of Hel contemporary fantasy series, and the forthcoming standalone, Starless. Jacqueline enjoys doing research on a wide variety of arcane topics, and an affinity for travel has taken her from Iceland to China to date. She currently lives in West Michigan. Further information is available at www.jacquelinecarey.com. Join her on Facebook at www.facebook.com/jacquelinecarey.author, or follow her on Twitter at @JCareyAuthor. This Apex Magazine podcast was produced by KT Bryski. Music in this podcast included "Virtutes Vocis" and "Shadowlands 5: Antechamber," by Kevin MacLeod and licensed under the Creative Commons Attribution license. For more information, visit him at www.incompetech.com. Our narrator for this episode is Lauren Harris. Lauren is a narrator, editor, and author of new urban fantasy release, UNMAKE, book two in the Spellhounds series. More on her narration and writing can be found at www.laurenbharris.com. Apex Magazine podcast, copyright Apex Publications. Apex Magazine is a monthly short fiction zine focused on dark science fiction, fantasy, and horror. Find us at http://www.apex-magazine.com.    

We all know what comparison is – in fact, I’m pretty much betting you have compared yourself to another person at some point in your life. It almost seems to be human nature to compare and the fact that we are our harshest critics doesn’t help. I’ve been SO guilty of comparing myself to others and the worst thing is that although I compare myself, I’m never doing it consciously – what seems to be a harmless Instagram scroll or Pinterest search soon turns into a comparison binge of criticizing every part of my life and wondering why I can’t be like Suzie Q. Sound familiar? In this episode i wanted to share why comparisons are not serving us and why it's so important to let them go - PLUS i wanted to share how to find true sources of inspiration that DO serve you in the best way possible: 'If you find that your mind starts to lead you to comparing yourself to your ‘sources’ of inspiration then they’re not actually inspiring you! ' This is the biggest 'take away' I want you to gain from this podcast and I wanted to write it down for you: 'Inspire yourself to be the best version of yourself. The more self-belief you have, the more your source of inspiration will come from within you; when that happens comparing yourself to others will disappear. Until then, make sure your sources of inspiration lift you up, add purpose to your life and most importantly serve you. Notice when something no longer serves you so that you can continue being your beautiful self without any distractions. '

Celebrating Black Women In Jazz Month with: Mary Lou Williams, Lovie Austin, Lil Hardin Armstrong, The International Sweethearts of Rhythm, Blanche Calloway, Billie Holiday, Hazel Scott, Terry Pollard & Valaida Snow. Songs include: I Wish That I Were Twins, Seven Come Eleven, Heebie Jebbies, Doing the Suzie Q, Capricorn, Embraceable You, My Last Dollar and Tuxedo Junction.

Edición 137 de La Gran Evasión, 16/5/2017, Apocalypse Now, una obra maestra absoluta, de un autor, de un director absoluto, Francis Ford Coppola. En 1979 exhibió su versión del relato de Conrad, El Corazón de las Tinieblas, una Epifanía visual y auditiva, un profundo viaje al infierno, al corazón mismo de las tinieblas, porque es un viaje interior, al corazón humano, al alma del hombre civilizado en una situación extrema, se ponen a prueba los cimientos que nos conforman, el bien y el mal, la moral, la supervivencia, los métodos socialmente aceptados...todo ello trasladado al Vietnam...a un conflicto que conmocionó el mundo. La Película fue un pulso de Coppola, consigo mismo, arriesgó todo su dinero, sus bienes, su carrera, su posición, su prestigio, su propia cordura, porque en ese proceso lleno de vicisitudes y contratiempos, completó el mismo viaje que Willard, se convirtió en Kurtz, a pesar de la complejidad del rodaje en Filipinas, los costes de producción con los helicópteros del gobierno local, el clima adverso, un tifón arrasó los decorados, el cambió de protagonista (Harvey Keitel ) el infarto de Sheen, los abusos de drogas y alcohol del resto del reparto, las pasadas de Hopper, la aparición de Brando....la historia sin final, que rodaba escribiendo por las noche las escenas del día siguiente, adaptándose al momento, incorporando vivencias personales...hasta que después de dos años y un sacrificio enorme, una fuerza de voluntad inmensa...Coppola nos regala una obra maestra, consigue cerrar un círculo, una adaptación maldita, que Wells no pudo nunca terminar y que a él casi le cuesta su carrera...pero que dio como resultado la obra definitiva sobre la guerra el Vietnam. Para la historia del cine quedan la locura y el despropósito, la carga de helicópteros al son de la cabalgata de las Walkyrias de Wagner que masacra una aldea vietnamita, podemos ver en Kilgore (magnífico Robert Duvall) al militar americano, un Patton actualizado, duro, valiente y fascinado por la guerra, temerario, obsesionado y fuera de sí con unos métodos comprables a los de Kurtz, su discurso sobre el Napalm es la prueba. La interpretación de Martín Sheen en el hotel de Saigón, una auténtica catarsis, los tripulantes de esa barcaza que remonta el río, Clean, Laurence Fishburne, ese adolescente de raza negra que representa a todos esos jóvenes americanos que fueron sacrificados en esa selva, Chief, Albert Hall, el jefe de la barcaza, que llora con una bandera raída en las manos, Chef, Frederic Forrest, vaya reacción al encontrarse al tigre, una crisis de un tipo desubicado en una selva, en una guerra, perdida, Lance, Sam Bottoms, totalmente colgado de un ácido para huir de esa realidad que acribilla a tiros a unos pobres desgraciados vietnamitas, que solo ocultaban un cachorro....y la presencia más absorbente y siniestra, fascinante, Kurtz, Brando, sus métodos van más allá de lo soportable para la sociedad, él tiene el poder absoluto de decidir, no ha sido empujado a cometer actos indeseables, él ha decidido cometerlos...ha traspasado los bordes de la locura, “¡El horror!” que cita Kurtz, es la condición humana, terrible, tenebrosa, que no está en lo más hondo de la selva, en los salvajes, el autor nos dice que la génesis del mal está en el ser humano, eso insinúa Conrad, el verdadero origen del horror es el hombre blanco, Coppola señala a los responsables de esa guerra injustificable, y deja un resquicio de esperanza, aunque sea débil, un poco de fe en la bondad del ser humano, con la reflexión final al arrojar las armas y la fusión del ídolo de piedra con el hombre. Una odisea, un viaje por el río infernal hasta el templo de Kurtz, una obra inabarcable con una Banda Sonora magnifica, compuesta por el padre de Coppola, Carmine Coppola y el propio Francis Ford Coppola, apoyado con temas míticos como el The End de The Doors, la Creeadence y Suzie Q, el extracto de Wagner y las Valkyries, The Rolling Stones y su Satisfaction. Una fotografía de Vittorio Storaro que quedará para la historia, las tinieblas y la luz se dan la mano....acérquense también al montaje de 2002, "Apocalypse Now Redux", la versión total del director, me parece una maravilla, la vuelta de tuerca definitiva, esos 49 minutos extra, desarrollan un poco más, si cabe, el descenso por el Aqueronte a través del tiempo, con el episodio de la plantación francesa, las Playmates en ese vertedero, un caos sin mando...........una apuesta impensable hoy en día, con un talento excepcional, que analiza el horror de la guerra, la desintegración del hombre, una búsqueda nihilista....tan fascinante y ambiciosa que te deja impactado....sobrecogido. En ese reino de locura y sombras donde Kurtz es el amo y señor, ahí, cohabitamos todos.....porque ese tipo forma parte de todos nosotros...porque podemos matarlo..... pero no tenemos derecho a juzgarlo... Bailamos una danza sórdida con las playmates de Radiopolis, José Miguel Moreno, Raúl Gallego y Gervi Navio, mientras, en lo más profundo de la sala, nuestro crítico Cesar Bardes, a machetazos de cine....desentraña el horror. Un último regalo, unos versos de T. S. Eliot: “No cesaremos en la exploración Y el fin de todas nuestras búsquedas Será llegar adonde comenzamos, Conocer el lugar por vez primera. A través de la puerta desconocida y recordada Cuando lo último por descubrir en la tierra Sea lo que fue nuestro comienzo: En la fuente del río más largo La voz de la oculta cascada La voz no conocida porque nadie la busca, Pero escuchada, aquí, ahora, siempre— Una condición de sencillez absoluta” Gervasio Navío Flores.

Jordan Deck is a soulful DJ and owner of the super cool café and record bar, Suzie Q.

This week Andy has to suffer through even more body horror as our boys Joey and Caesar figure out how to get ACDC out of Suzie Q's body while over in DiU Rohan faces off against his greatest foe yet.

L'été 2016 est en marche, et avant de s'attarder plus en détails sur quelques blockbusters, 24FPS passe d'abord en revue la majorité des films vus depuis le mois de juin dans un épisode comprenant 17 films évoqués sans spoilers.Voici la liste des films évoqués dans l'émission : Café Society de Woody Allen (à partir de 00h03m05) Un Traitre Idéal de Susanna White (à partir de 00h08m15) Alice - De L'Autre Côté Du Miroir de James Bobin (à partir de 00h11m04) High-Rise de Ben Wheatley (à partir de 00h22m05) Agents Presque Secrets de Rawson Marshall Thurber (à partir de 00h31m40) Le Monde De Dory de Andrew Stanton (à partir de 00h35m07) The Witch de Robert Eggers (à partir de 01h02m34) L'Économie Du Couple de Joachim Lafosse (à partir de 01h18m23) American Hero de Nick Love (à partir de 01h23m07) L'Outsider de Christophe Barratier (à partir de 01h33m35) Tarzan de David Yates (à partir de 01h38m37) American Nightmare 3 : Elections de James DeMonaco (à partir de 02h06m45) The Man Who Knew Infinity de Matt Brown (à partir de 02h15m27) Elvis & Nixon de Liza Johnson (à partir de 02h20m05) Ninja Turtles 2 de Dave Green (à partir de 02h37m45) Insaisissables 2 de John M. Chu (à partir de 02h43m37) Independence Day : Resurgence de Roland Emmerich (à partir de 02h55m16)Bonne écoute, et n'hésitez pas à partager vos avis sur les films évoqués !Crédits musicaux : ID4 Reprise de David Arnold, issu de l'album Independence Day: Resurgence - Original Motion Picture Soundtrack de Thomas Wanker et Harald Kloser (2016, mais il s'agit en fait du thème principal issu de la bande-originale du premier film sorti en 1996), et Suzie Q de Creedence Clearwater Revival, issu de l'album Creedence Clearwater Revival (1968)

Flera av låtarna som det dansades till under swing-eran (och som det dansas till även idag) handlar just om dansen i sig. Begrepp som Suzie Q och swingout droppas litet här och var. Utöver att några av de allra bästa danslåtarna spelas, nämns även vissa eventuella svårigheter med att dejta just en dansare, i detta avsnitt. Det kan ju så klart också hända att det, så smått, börjar rycka litet i benen!

Jazz bands led by women from the 1920s to the 1940s.  Performers include: Lovie Austin, Ina May Hutton, Mary Lou Williams, Blanche Calloway, Valida Snow, Ivy Benson and Ana Mae Winburn. Songs include; Tuxedo Junction, I Gotta Swing, Some of These Days, Doing the Suzie Q, Lover and Scratching the Gravel.

Сегодня мы на концерте Creedence Clearwater Revisited 1998 года, который лег в основу концертного альбома Recollection. Звучит лучшее из Creedence Clearwater Revival. На сцене: Doug „Cosmo” Clifford, Stu Cook , а так же Kurt Griffey , Steve Gunner и вокалист John „Bulldog” Tristao . Трэклист: 01. Born on the Bayou — 5:19 02. Green River — 3:23 03. Lodi — 3:19 04. Commotion — 2:41 05. Wholl Stop the Rain — 2:39 06. Suzie Q — 10:10 07. Hey Tonight — 2:36 08. Long as I Can Seen the Light — 3:40 09. Down on the Corner — 3:03 10. Looking Out My Backdoor — 2:44 11. Cotton Fields — 2:53 12. Tombstone Shadow — 4:52 01. Heard It Through the Grapevine — 15:44 02. Midnight Special — 4:14 03. Bad Moon Rising — 2:18 04. Proud Mary — 3:24 05. I Put a Spell on You — 4:36 06. Fortunate Son — 2:48 07. Have You Ever Seen the Rain? — 2:41 08. Travelin Band — 3:29 09. Run Through the Jungle — 8:07 10. Up Around the Bend — 3:52

 Fifty episodes of Garage/Soul '66! Hard to believe we're still going strong, and still have lots more vintage psych, rock, soul and pop to share with you.To celebrate, we're marking another important occasion -- the release of Lost Souls, Vol. 3 by Psych of the South. This compilation digs even deeper into the Arkansas music scene of the late 1960's, unearthing rare acetates, rehearsal recordings, reel-to-reel tapes, as well as some tunes that actually made it to vinyl.We start with the first track on the CD. Richard Vanover and Bob Ralph perform their original 1968 composition, "I Can See Your Ways." We then move to a classic. The Culls (like many other bands before and after them) performed "Suzie Q." This recording, though, doesn't come from a studio, but rather a rehearsal held in the drummers basement! (We may have to rethink that term "garage band"...)And we also have a movie-related track from Billy Cole and the Fouke Monsters. Their release "The Fouke Monster" was written to promote The Legend of Boggy Creek.The Fouke Monster was sort of a Big Foot-style creature sighted around Fouke, Arkansas. Really.Barbara Stants takes the Soul Spotlight with a song about sisters doing it.. to their men. "I'm Gonna Outfit You Baby" tells it exactly as it is. A welcome dose of sassy funk from Miss Stants.Remember, you don't need an iPod (or even an iPhone) to enjoy this podcast. Just click on the link below and start listening.Garage/Soul '66 Podcast #050 -  Lost Souls, Vol. 3The Radio StarThis program we play:Richard Vanover and Bob Ralph - I Can See Your WaysLost Souls, Volume 3The Culls - Suzie QLost Souls, Volume 3Barbara Stant - I'm Gonna Outfit You, BabyOl' Virginia Soul, Encore!  Billy Cole and the Fouke Monsters - The Fouke MonsterLost Souls, Volume 3

This week's episode has been sponsored by: Want to be part of a great adventure in 2010? Become a member of Crown Mountain Farms fiber or yarn clubs. The clubs have free shipping worldwide. The "Fiber Of The Month" club and the "Knitting For Fun" club both offer different colorways you can play with and you may choose different yarns or fibers. Discounts of 5% or 10% are available on purchases during 2010 on our website depending on the duration of your subscription. If you love sock hop yarn and were used to buy it through our website this option will no longer be available. We created the "Sock Hop Yarn" club and only members of this club will be able to purchase the sock hop yarn in 2010. Go to our homepage, click on the CLUBS button and take the journey from there.   Happy Holidays from Purlescence Yarns! Have you been extra good this year? Whether its knitting, spinning, or weaving, make sure you mark them down on your wish list and let your loved ones know that we’re here to help. Sock yarn and notions make great stocking stuffers, and every spinner can always use extra bobbins! We have a great selection of books, ranging from patterns to techniques to new skills, so if you want it, there’s a good chance we’ve got it. If you can’t think if what you want, we also offer gift certificates- the perfect one-size-fits-all gift. Wishing you a warm and fiber-filled holiday season from Purlescence yarns. On the needles: (00:31) Gigi is continuing to work on the dishcloth baby blanket. Jasmin is working on the Tweedy Pie coat for Boo. Gigi is working on a stocking cap for Sam to match the alien scarf she knit a few years ago. Jasmin has finished her first Suzie Q sock. You can see the sock template here. Mother Knows Best: (12:13) Customizing knits, part 3: Converting sweaters and steeking. We talk about the folks from Philosopher's Wool, and the Color Your Own sweater. When Knitting Attacks! (21:54) Jasmin invents the wrong way of executing attached iCord. We discuss the merits of blanket stitch. Holidays with the Knitmores: (28:20) This week we encourage full family participation during holiday prep. This includes decoration, cooking, and gift wrapping. Straw into Gold: (36:20) Jasmin talks about the Emperor's New Silk, and the merits of filling bobbins the same way every time.

This week's episode has been sponsored by: Want to be part of a great adventure in 2010? Become a member of Crown Mountain Farms fiber or yarn clubs. Registration is now in it's second week. The clubs have free shipping worldwide. The "Fiber Of The Month" club and the "Knitting For Fun" club both offer different colorways you can play with and you may choose different yarns or fibers. Discounts of 5% or 10% are available on purchases during 2010 on our website depending on the duration of your membership. If you love sock hop yarn and were used to buy it through our website this option will no longer be available. We created the "Sock Hop Yarn" club and only members of this club will be able to purchase the sock hop yarn in 2010. One good reason to join the "Sock Hop Yarn" club! Click the logo above to go to our homepage, click on the CLUBS button, and begin your journey there. Happy holidays from Purlescence Yarns! We're in full-blown holiday mode, knitting and weaving gifts for our loved ones. Are you set with yours? Our new favorite yarn is Cascade's 128 Superwash, a chunky Merino that knits up into beautiful gifts in no time at all. We've got a gorgeous color selection in the shop with more set to arrive this week! On the Needles: (00:31) Jasmin has finished the Albatross socks for Andrew, and cast on socks out of her Aqualung handspun and her Suzie Q handspun (both out of the Crown Mountain Farms superwash merino). Gigi is working on a dishcloth baby blanket. They discuss the Pajama Jammie Jam, and enabling. We discuss the Ravelympics, Team Knitmore and Team Sasquatch. Contest! (17:01) We talk about our Do Some Good contest (running through 1/6/2010), and some of our favorites from last year. Mother Knows Best: ( 19:03) This week, we discuss the first part of modifying patterns to suit your personal style, specifically, adding elements. When Knitting Attacks! (26:30) Gigi suffers from not practicing what she preaches! She has neglected to label her lace projects. Straw into Gold: (28:11) We discuss troubleshooting wheels.

This week's episode has been sponsored by: Special this week: Cat Bordhi's specially designed stitch markers, just for sock knitters and her book, New Pathways in Sock Knitting Subscribe using code: KNITMG Admin: (00:36) Knitting Rose Knit's UP Yarn Thing Go listen to The Scarlet Letter over at CraftLit On the needles: (2:42) Gigi talks about Carli - her sweater for the Knit(more)-A-Long. Jasmin talks about her new closet from the Container Store (the Elfa storage stuff). Jasmin talks about not planning out her knitting sufficiently, and the construction of the Cocoknits hoodie (Katje). Jasmin talks about some of the issues regarding Katarina. She used Steamy to block the sweater. Gigi has worked a little bit on her "On the Vine" scarf. Jasmin talks about knitting her CoachellaTess Ribbon top out of.Contest: (19:28) We announce the winners for the "What do YOU want to hear?" contest. The "name the listener segment" contest will close at the end of April. Mother Knows Best: (25:20) Gigi and Jasmin discuss color theory. Jasmin likes to buy her blouses at New York and Company. Jasmin suggests using Crayola Crayons for color reference. Gigi's sewing teacher used magenta and orange fabric as coloring calibrators. Gigi discusses blue undertones vs. yellow undertones. Quilters use a color wheel for selecting complimentary colors. Gigi picked up paint chips at a decorating store to use as complimentary color ideas, and then bought yarn in those colors. Jasmin theorizes that we are drawn to colors that look good on us. Jasmin advises against painting your skin. Color wheels are available at art stores, quilting stores, and your LYS. When Knitting Attacks: (37:04) Gigi didn't notice that her Malabrigo (out of Jasmin's stash) was from different dye lots, so she had to frog a ball's worth of knitting, which was especially hard, since she had done a marvelous job splicing both ends of that ball. Also, she sometimes can't count up to four and ended up with two stitches too many in her cardigan. Jasmin's managed to misread and miscound on her Coachella top. On the third try, she finally manages to get it right. She is enjoying the bust shortrowing. Straw into Gold: (45:24) Jasmin has bought more plastic bobbins. The "romney thing" is made up of one ply of each of the following: burgundy romney (from Morro Fleece Works), light silver Lincoln/Corriedale, gunmetal grey Lincoln/Corriedale, and a strand of natural black romney that Gigi is coveting. Jasmin is planning to full this four colored yarn to make it bloom. There is a video of her doing it on YouTube. She is planning to spin this more lofty so it will be softer with a soft haze. CORRECTION: Jasmin misspoke. Worsted spun yarn is durable and long wearing, not woolen. She is spinning Tallulah (a merino fleece) worsted so that it can be knitted into the Mariah cardigan. Also, she is spinning Suzie Q from Crown Mountain Farms. Jasmin's fleeces from Boonville and the Monterey Fleece Auction are arriving. Shearing season is rapidly approaching, and Jasmin will be talking about how to pick a good fleece in future episodes. Also, next week, listen for a special "Easter Egg" for our listeners: an interview with Galina Khmeleva, author of Gossamer Webs: The History and Techniques of Orenburg Lace Shawls.