Podcasts about Tampa Red

Blues From The Ouse with Paul Winn & Ben Darwin

Play Episode Listen Later Jan 29, 2026 2:00

Today's show features music performed by Tampa Red and Sarasota Slim

tampa red blues history

Blues From The Ouse #309 – New UK Blues, Classic Chicago Blues & Modern Roots

Play Episode Listen Later Jan 22, 2026 108:00

Blues From The Ouse explores the past, present and future of the blues.Episode #309 features brand new blues releases, essential UK and international artists, and the kind of tracks you won't find on a generic playlist. The show opens with new music from Elles Bailey, Marcus King, Brandon Isaak and Mississippi Heat, before turning the spotlight on the blues harmonica — the legendary “misery whistle” — with classic performances from Big Walter Horton, Kim Wilson and the late Paul deLay.There's also a masterclass in slide guitar, featuring pioneers and innovators including Tampa Red, Earl Hooker, Kelly Joe Phelps and Sonny Landreth, exploring the techniques and stories behind the sounds.In the second hour, listener requests take centre stage, with a hand-picked mix spanning Chicago blues, British blues rock and modern roots, including The Rolling Stones, Magic Sam, Bernie Marsden, Randy Newman, Muddy Waters, Fantastic Negrito and more.As always, the episode wraps up with the Blues From The Ouse Gig Round-Up, highlighting upcoming UK blues gigs and festivals, before winding down with timeless tracks from Junior Wells, Slim Harpo, J.B. Lenoir and Little Walter.Real blues. New discoveries. Proper context.Broadcast live on 21 January 2026, now available as a podcast.Blues From The Ouse #309 Playlist:Elles Bailey - Can't Take My Story Away - 00:02:54Dr Ben - Cure Your Blues - 00:09:01Marcus King - No Room For Blue - 00:11:57Brandon Isaak - Walkin' With The Blues - 00:15:31Mississippi Heat - Stepped Out Of Line - 00:19:49Paul DeLay Band - Fourteen Dollars In The Bank - 00:24:38Big Walter Horton - Back Home To Mama - 00:31:20Kim Wilson - Take Me Back - 00:34:27Tampa Red - Things 'Bout Comin' My Way - 00:37:16Earl Hooker - You Got To Lose - 00:40:23Kelly Joe Phelps - The Black Crow Keeps On Flying - 00:46:05Sonny Landreth - Native Stepson - 00:50:52The Rolling Stones - Little Red Rooster - 00:55:27Magic Sam - I Just Want Just A Little Bit - 00:59:56Bernie Marsden - I'll Play The Blues For You - 01:02:55Marcus King Band - Rita Is Gone - 01:08:41Randy Newman - You Can Leave Your Hat On - 01:13:04Muddy Waters - Got My Mojo Working - 01:19:47Fantastic Negrito - An Honest Man - 01:23:55Chris "Hammer" Smith - You and I - 01:29:19Michael Messer & Chaz Jankel - Runaway Train - 01:33:54Junior Wells - Early In The Morning - 01:38:09Slim Harpo - Rainin' In My Heart - 01:42:45Little Walter - Blue Midnight - 01:45:11Blues From The Ouse is a weekly UK blues podcast and blues radio show, featuring modern blues, soul, blues rock, and grassroots music.From blues legends to the finest British blues artists, available worldwide.Links:

chicago uk real british modern roots rolling stones acast proper broadcast muddy waters randy newman my way lenoir new uk marcus king ouse fantastic negrito chicago blues kim wilson little walter junior wells sonny landreth in my heart magic sam slim harpo tampa red elles bailey kelly joe phelps mississippi heat big walter horton

Junkshop Jukebox #132: It was Christmas Night in the Junkshop (23/12/2025)

Ship Full of Bombs

Play Episode Listen Later Dec 24, 2025 122:22

Intro: One More Night – Can Christmas Day – Detroit Junior (2:16) Christmas Coming – Alton Ellis (2:22) Christmas Day Pt.1 – Les Kilimanbogo (4:16) Christmas Wrapping – The Waitresses (4:31) Christmas Man Blues – Chippie Hill & Tampa Red (2:51) Sleigh Ride – The Ronettes (3:02) River – Joni Mitchell (3:58) 2000 Miles – Nancy Wallace (3:25) I Want To Spend Christmas With Elvis – Debbie Dabney (2:11) On A Christmas Day – C.W. Stoneking (2:43) White Christmas – Charlie Parker (4:55) I Want My Baby For Christmas – Jimmy Liggins & his Drops of Joy (2:39) Santa Claus – Sonny Boy Williamson (2:43) Merry Christmas Baby – Johnny Moore's Three Blazers (2:55) Party For Santa Claus – Lord Nelson, acc. Frankie Francis Orchestra (2:51) We Free Kings – Roland Kirk (4:43) Christmas On The Bayou – Vin Bruce (2:13) That Was The Worst Christmas Ever – Sufjan Stevens (3:13) Christmas Eve – Andy Irvine (1:45) Psallite, Unigenito – Michael Praetorius, Ensemble D.E.U.M. (1:43) God Rest You Merry Gentlemen (Variation No.1) – Modern Jazz Quartet (4:46) The Cherry Tree Carol – Shirley & Dolly Collins (2:43) O Come, O Come Emanuel – John Fahey (2:00) Long Way Around The Sea – Low (4:38) On Christmas Day It Happened So – Waterson-Carthy (4:41) Lully Lulla, Thou Little Tiny Child (The Coventry Carol) Pt.1 – Tallis Scholars (0:56) Lully Lulla, Thou Little Tiny Child (The Coventry Carol) Pt.2 – Tallis Scholars (0:51) Lully Lulla, Thou Little Tiny Child (The Coventry Carol) Pt.3 – Tallis Scholars (0:56) England In Ribbons – Chris Wood (13:00) Fiesta de Navidad – La Sonora Matancera, con Celia Cruz (2:50) Frosty the Snowman – Leon Redbone, with Dr John (1:53) It's Christmas Time – Clifton Chenier (4:07) Santa Claus Dub – The Aggrovators (2:47) Santa Claus Is Ska-ing To Town – Granville Williams & his Orchestra (2:32) Outro: Pogles Walk – Vernon Elliott Ensemble

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We Never Wanna Call It a Night

Podcasts from www.sablues.org

Play Episode Listen Later Dec 5, 2025 4:39

At a good rehearsal — and, heck, that's just about every rehearsal nowadays — none of us really wants it to end. Oh, sure, we get tired — two hours of hard picking take a toll — but as Gladys Knight used to say, none of us wants to be the first to say goodbye.In fact, as you hear at the conclusion of this week's podcast, which features the final tune of a recent rehearsal, we often even keep extending the ending, jockeying to be the one to play the last note.The moment is always really fun if that last tune of the night is an especially goofy one, and you can't get much goofier than “Yas Yas Duck.”About the SongThis late 1920s hokum song came into The Flood's life more than 40 years ago. In fact, it had its public debut at what turned out to the last of those semiannual music parties that birthed the band, as seen in this excerpt from the “Bowen Bash Legacy Films” series:In those days — the above audio is from September 1981 — chasing down the history of these quirky little tunes was challenging. The World Wide Wide was still more than a decade away, so to suss out songs' back stories, we had to rely on often sketchy liner notes on rare albums and on even rarer books covering esoteric genres.We learned our version of the song from a 1973 Yazoo Records compilation called Tampa Red, Bottleneck Guitar (1928-1937), the same record we studied so we could cop other Tampa tunes like “What's That Taste Last Gravy?” “Black Eyed Blues” and “No Matter How She Done It.”Mastered by Nick Peris, the LP featured liner notes by Seattle bluesman John Miller who gave us no hint of the song's colorful evolution. For years, we just assumed that it was another of Red's collaboration with Georgia Tom Dorsey.Only recently were we able to use web resources to determine that the song traces back to what Wikipedia characterizes as “a ‘whorehouse tune,' a popular St. Louis party song,” first recorded in January 1929 by a great St. Louis piano pounder named James “Stump” Johnson. It would be four months later before Tampa Red and Georgia Tom recorded their version in Chicago.For more about “Yas Yas Duck” (and all its various alternate names), check out our earlier Flood Watch article by clicking here.Latest Floodification of The DuckAs you'll hear on this track, this hokum classic, whether it comes at the beginning of an evening of music or at the end, is always good for a few laughs.As noted above, it was 1981 when The Flood first publicly played the tune. But the song was still very much in Flood Consciousness 20 years later when the band made its first studio album. Click the button below to hear the album track from 2001: This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

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November in rock, roots and blues history. (www.sablues.org)

Play Episode Listen Later Nov 4, 2025 56:58

Jerome presents historical rock, roots and blues events that occurred in the month of November in years gone by. Podcast includes, in order of appearance, tracks by Jerry Lee Lewis, Slim Harpo, Fats Domino, Johnnie Ray, John Lennon, The Who, Rolling Stones, The Band, Milli Vanilli, Link Ray, Robert Johnson, Kokomo Arnold, Mississippi John Hurt, Big Joe Turner, Sharon Jones, Billie Forrester, Carl Perkins, Tampa Red, Bill Haley, Johnny Horton, Eva Cassidy , Sonny Boy Williamson, John Lee Hooker, Carey Bell, Joe Hill Louis, Sylvester Weaver, Howlin Wolf, Nick Drake, Jimi Hendrix Experience, Cream, Pink Floyd. Size: 130 MB (136,790,330 bytes) Duration: 1:11:19

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"Any Way (No Matter How) She Done It"

Southern Appalachian Herbs

Play Episode Listen Later Oct 17, 2025 3:33

When Thomas A. Dorsey (a.k.a. “Georgia Tom”) walked out of a New York City recording studio in the winter of 1932, he ended a highly successful music partnership with Tampa Red (a.k.a. Hudson Whittaker).Over four years, Red and Tom garnered a happy following for their infectious, highly danceable brand of blues tunes.In 1928, the two young men had teamed up and recorded for the Paramount label the hit “Tight Like That.” The success of that number — based on Blind Blake's “Too Tight” and on Papa Charlie Jackson's “Shake That Thing” — inspired imitators and launched the blues genre known as “hokum,” as reported here earlier, Whittaker and Dorsey recorded more than 60 sides together, often under the name “The Famous Hokum Boy.” Some of these rollicking tunes have been covered by The Flood over the years, songs like “Somebody's Been Using That Thing,” “Yas Yas Duck” and “You Can't Get That Stuff No More.”And add to that list the last tune that Tom and Red ever recorded together. The composition they called “No Matter How She Done” was waxed on Feb. 3, 1932, and released that spring on Brunswick's Vocalion label.Nothing in Red's sassy lyrics hinted at an end to this lucrative collaboration: The copper brought her in, she didn't need no bail She shook it for the judge, they put the cop in jail! As we noted in an earlier Flood Watch report, when Dorsey left the blues field in 1932 to take up a career as gospel songwriter and choir director, Whittaker continued as a solo blues artist well into the 1940s.Floodifying ItFlash forward seven decades. When The Flood started doing this song in the early 2000s, we committed what some folk purists consider a sacrilege: We altered both its title and its hook, removing one entire syllable. Instead of Tampa Red's original “No matter how she done it” lyric, The Flood opted to sing “Any way she done it.”We're still doing it that way, in fact, as you hear in this track from a recent rehearsal. And, no, we have no excuse, not really, except an aesthetic one. We felt the revision simply allowed the line to flow more easily off the tongue. (Call your neighborhood linguist and ask about the joys of removing “alveolar taps.”)One thing for sure: now, as then, the new phrasing does facilitate group singing, as you can hear on the band's lively original rendering 20 years ago on our Plays Up a Storm album. Click the button below to hear it:That track, recorded on the evening of Nov. 16, 2002, featured Sam St. Clair, Joe Dobbs, Doug Chaffin, Chuck Romine, David Peyton and Charlie Bowen.The Bob Wills ConnectionWhile the tune (any way we sing it) has always had a happy hokum vibe, “No Matter How She Done” took a curious turn four years after Tampa Red and Georgia Tom's inaugural recording.In September 1936 in Chicago, the song got a cool country treatment by no less a luminary than Bob Wills and his Texas Playboys.This was just three years after Wills organized the band in Waco, Texas, and set about defining the style of music that's come to be known as “Texas swing.”Released as a single in May 1937, “No Matter How She Done It (She's Just a Dirty Dame)” was recorded in Wills and the Playboys' second major recording sessions for the American Record Corporation.The session is particularly important for Wills collectors, because it features the lineup that would define the Texas Playboys sound for years to come, including vocalist Tommy Duncan, pianist Al Stricklin, steel guitarist Leon McAuliffe and drummer Smoky Dacus.More Hokum, You Say?Meanwhile, if more hokum music is what you need to make your Flood Friday complete, remember that we've got a whole channel waiting for you on the free Radio Floodango music steaming service.Just drop in and click the “Hokum” button or, better yet, just use this link to jump to it directly. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

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Music of the Mountains: Hundred Pound Housecat (The Lost Episode)

The Mountain-Ear Podcast

Play Episode Listen Later Aug 15, 2025 24:24

Send us a textJust before the pandemic started, Bevin Foley of Trout Steak Revival invited Melly Frances and Keenan Leigh to her house to share music and original songs. Both of the latter two had recently left their previous bands and had songs with the same obscure pre-World War II blues sound.Neither of them had ever met anyone else, let alone another female, interested in the same style of music, and the two clicked immediately.Frances plays bass, washboard, and percussion and she sings, and Leigh plays various forms of guitar. Leigh is primarily an instrumentalist and Frances is primarily known for her singing, so the two combined can complement each other perfectly.The two both knew and loved musicians such as Tampa Red, Memphis Minnie, Robert Johnson, Jessie May Hemphill, and Bessie Smith who heavily influenced their individual (and now collective) sound. Thank you for listening to The Mountain-Ear Podcast, featuring news and culture from peak to peak! Additional pages are linked below!If you want to be involved in the podcast or paper, contact our editor at info@themountainear.com and/or our podcast host at media@themountainear.com! Head to our website for all of the latest news from peak to peak! SUBSCRIBE ONLINE and use the coupon code PODCAST for A 10% DISCOUNT for ALL NEW SUBSCRIBERS! Submit local events to promote them in the paper and on our website! Find us on Facebook @mtnear and Instagram @mtn.ear! Listen and watch on YouTube today! Share this podcast around by scrolling to the bottom of our website home page or by heading to our main hub on Buzzsprout!Thank you for listening!

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Bob Dylan's iPod (with Tim Swaddling)

Definitely Dylan

Play Episode Listen Later Jun 21, 2025 95:01

Legend has it that Bob Dylan once left his iPod behind and someone copied the contents. With Canadian musician and songwriter (and future Bob Dylan podcaster) Tim Swaddling). Find the Spotify playlist “Bob Dylan's iPod” here.Get your Definitely Dylan baseball cap here.You can support Definitely Dylan on Patreon or with a one-off donation at buymeacoffee.com/definitelydylan.Fred Bals' blog on MediumSongs in this episode:“Let Me Play With Your Poodle” - Hank Penny (Theme Time Radio Hour ep. Thanksgiving Leftovers. CORRECTION: Bob actually played the version by Tampa Red & Big Maceo, but he played several other songs by Hank Penny on the show)“Smoking in the Boys Room” - Brownsville Station (Theme Time Radio Hour ep. Smoking)“Mansion on the Hill” - Vernon Oxford“You Hit Me Like an Atomic Bomb” - Fay Simmons“Jumping at the Record Shop” - Slim Gaillard“Whatcha Gonna Do” - George Jones“It's a Great, Great Pleasure” - Louis Jordan“Dragnet For Jesus” - Sister Wynona Carr“When I Stop Dreaming” - Louvin Brothers“Killer Joe” - Toots Thielman

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El sótano - La metamorfosis de The Rolling Stones - 06/06/25

El sótano

Play Episode Listen Later Jun 6, 2025 59:26

Lanzado el 6 de junio de 1975 "Metamorphosis" se convertiría en el único recopilatorio oficial de rarezas y descartes de los Rolling Stones.Un álbum que trajo su polémica. Fue compilado por Allen Klein, manager de los Stones en EEUU, uno de los tipos más poderosos y turbios que existían en el negocio musical de aquellos días, y que apostó por incluir numerosas demos de piezas que llevaban la firma de Jagger y Richards aunque hubiesen sido grabadas por otros músicos de sesión. En cualquier caso el disco nos permite saborear otras facetas y curiosidades de una de las bandas más importantes de todos los tiempos.Playlist;THE ROLLING STONES “Downtown Suzie”THE ROLLING STONES “Out of time”THE ROLLING STONES “Heart of stone”THE ROLLING STONES “Each and everyday of the year”THE ROLLING STONES “I'd much rather be with the boys”THE ROLLING STONES “If you let me”THE ROLLING STONES “Don’t lie to me”Versión y Original; TAMPA RED “Don’t you lie to me”THE ROLLING STONES “(Walkin' Thru The) Sleepy City”THE ROLLING STONES “Try a little harder”THE ROLLING STONES “I don’t know why”THE ROLLING STONES “Some things just stick in your mind”THE ROLLING STONES “Jiving sister fanny”THE ROLLING STONES “Family”THE ROLLING STONES “Memo from turner”Escuchar audio

235: Water Lily, Wild Geranium, Leatherwood and Autumn Olive

Play Episode Listen Later May 4, 2025 48:18

In this episode I tell you about four interesting plants. The first two are edible and medicinal. The second two are medicinal... but one is very poisonous! Also, I am back on Youtube Please subscribe to my channel: @judsoncarroll5902 Judson Carroll - YouTubeTune of the week: Stranger BluesThis is my version of "Stranger Blues", also known as "New Stranger Blues" or "Poor Stranger Blues". I believe the song was originally done by Tampa Red. I do it in somewhat of a Brownie McGhee style, with an alternating boogie baseline.https://youtu.be/Mw6Pu4T22tgNew today in my Woodcraft shop:Toasted Holly Cooking Spoonhttps://judsoncarrollwoodcraft.substack.com/p/toasted-holly-cooking-spoonEmail: judson@judsoncarroll.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/southern-appalachian-herbs--4697544/supportRead about The Spring Foraging Cookbook: https://southernappalachianherbs.blogspot.com/2024/01/the-spring-foraging-cookbook.htmlAvailable for purchase on Amazon: https://www.amazon.com/dp/B0CRP63R54Medicinal Weeds and Grasses of the American Southeast, an Herbalist's Guidehttps://southernappalachianherbs.blogspot.com/2023/05/medicinal-weeds-and-grasses-of-american.htmlAvailable in paperback on Amazon:https://www.amazon.com/dp/B0C47LHTTHandConfirmation, an Autobiography of Faithhttps://southernappalachianherbs.blogspot.com/2023/05/confirmation-autobiography-of-faith.htmlAvailable in paperback on Amazon:https://www.amazon.com/dp/B0C47Q1JNKVisit my Substack and sign up for my free newsletter:https://judsoncarroll.substack.com/Read about my new other books:Medicinal Ferns and Fern Allies, an Herbalist's Guide https://southernappalachianherbs.blogspot.com/2022/11/medicinal-ferns-and-fern-allies.htmlAvailable for purchase on Amazon: https://www.amazon.com/dp/B0BMSZSJPSThe Omnivore's Guide to Home Cooking for Preppers, Homesteaders, Permaculture People and Everyone Else: https://southernappalachianherbs.blogspot.com/2022/10/the-omnivores-guide-to-home-cooking-for.htmlAvailable for purchase on Amazon: https://www.amazon.com/dp/B0BGKX37Q2Medicinal Shrubs and Woody Vines of The American Southeast an Herbalist's Guidehttps://southernappalachianherbs.blogspot.com/2022/06/medicinal-shrubs-and-woody-vines-of.htmlAvailable for purchase on Amazon https://www.amazon.com/dp/B0B2T4Y5L6andGrowing Your Survival Herb Garden for Preppers, Homesteaders and Everyone Elsehttps://southernappalachianherbs.blogspot.com/2022/04/growing-your-survival-herb-garden-for.htmlhttps://www.amazon.com/dp/B09X4LYV9RThe Encyclopedia of Medicinal Bitter Herbs: https://southernappalachianherbs.blogspot.com/2022/03/the-encyclopedia-of-bitter-medicina.htmlAvailable for purchase on Amazon: https://www.amazon.com/dp/B0B5MYJ35RandChristian Medicine, History and Practice: https://southernappalachianherbs.blogspot.com/2022/01/christian-herbal-medicine-history-and.htmlAvailable for purchase on Amazon: www.amazon.com/dp/B09P7RNCTBHerbal Medicine for Preppers, Homesteaders and Permaculture People: https://southernappalachianherbs.blogspot.com/2021/10/herbal-medicine-for-preppers.htmlAlso available on Amazon: www.amazon.com/dp/B09HMWXL25Podcast: https://www.spreaker.com/show/southern-appalachian-herbsBlog: https://southernappalachianherbs.blogspot.com/Free Video Lessons: https://rumble.com/c/c-618325 Become a supporter of this podcast: https://www.spreaker.com/podcast/southern-appalachian-herbs--4697544/support.

The Original Music of the Streets

Cigar Coop Prime Time Show

Play Episode Listen Later Mar 28, 2025 4:33

Hokum bands of the 1920s and '30s created a brand of urban folk tunes called “jug band music” that famously blended the sounds of the plantation and the church with those of the swing, swerve and sway of nascent jazz.And no one did it better than those Flood heroes The Memphis Jug Band, formed in 1927 by Beale Street guitar/harmonica player Will Shade. Shade was also known as Son Brimmer, a nickname given to him by his grandmother Annie Brimmer (“son” being short for grandson). The name stuck when other members of the band noticed how the sun bothered him and he used the brim of a hat to shade his eyes.The Ohio Valley InfluenceIncidentally, Will Shade first heard jug band music in our part of the country, on the 1925 recordings by Louisville's Dixieland Jug Blowers, and he wanted to take that sound south.“He was excited by what he heard,” Wikipedia notes, “and felt that bringing this style of music to his hometown of Memphis could be promising. He persuaded a few local musicians, though still reluctant, to join him in creating one of the first jug bands in Memphis.”While Shade was the constant, the rest of his band's personnel varied from day to day, as he booked gigs and arranging recording sessions.Some players remained a long time. For instance, Charlie Burse (nicknamed "Laughing Charlie," "Uke Kid Burse" and "The Ukulele Kid”) recorded some 60 sides with the MJB. Others — like Memphis Minnie and Hattie Hart — used the band as a training ground before going on to make careers of their own.Street MusicThe Memphis Jug Band's venues, as The Corner Jug Store web site noted, included “street corners, juke joints, city nightclubs, political rallies, private parties, hotel ballrooms, medicine shows and riverboats,” and it cut many styles and repertoires to suit its varied audiences.Most of all, the MJB's sound was the music of the street, as demonstrated in the open lines of their wonderful “4th Street Mess Around,” recorded in May 1930 for Victor by Ralph Peer: Go down Fourth until you get to Vance, Ask anybody about that brand new dance. The girls all say, “You're going my way, It's right here for you, here's your only chance.”And what was that “brand new dance?” Shoot, take your pick! The Eagle Rock, the turkey trot and fox trot, camel walk and Castle Walk, the Charleston and the Lindy Hop were all stirring the feet and wiggling the hips of listeners and players in the ‘20 and ‘30s.But Mess Around?But what's a “mess around?” Well, as we reported here earlier, New Orleans jazzman Wingy Manone in his wonderful autobiography called Trumpet on the Wing, talked about watching people dance the mess-around at the fish fries of his youth in the Crescent City at the beginning of the 20th century.“The mess-around,” said Wingy, “was a kind of dance where you just messed around with your feet in one place, letting your body do most of the work, while keeping time by snapping fingers with one hand and holding a slab of fish in the other!” Now, that's an image.Our Take on the TuneThe Flood first started messing around jug band tunes nearly 50 Springs ago, when the band was still a youngster. Before their juncture with juggery, the guys played mainly old folk songs and some Bob Dylan and John Prine and a smattering of radio tunes from folks like James Taylor and The Eagles. But then they discovered some fine old recordings by Tampa Red and Georgia Tom, by groups like The Mississippi Sheiks and Gus Cannon's Jug Stompers, and most especially the great Memphis Jug Band. Ever since then, The Flood's musical buffet table has been a lot bigger, with tunes like this one from the warmup at last week's rehearsal.More Jugginess?Of course, The Flood's jug band music mission has continued. If today's song and story have you ready to join the campaign, check out The Hokum channel on the free Radio Floodango music streaming service which has dozens of jug band tunes ready to rock you. Click here to tune it in and you'll be ready to sing along at the next Flood fest. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

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The Smoking Syndicate: West Tampa Red Lancero

Play Episode Listen Later Mar 21, 2025 6:22

Rick Rodriguez and and Gus Martinez (formerly of General Cigar Company), founded West Tampa Tobacco Company in 2022. They debuted the White and Black series in 2022 at the PCA trade show in Las Vegas. In 2023, West Tampa released a limited edition cigar using a Mexican San Andres wrapper along with Nicaraguan tobacco. The Red series is an offshoot of that cigar using the same wrapper, but different binder and filler. This is what West Tampa says about the Red: Like its predecessors, White & Black, Red delivers a flavor bomb with enhanced body that is a perfect addition to the West Tampa line-up. From mild to full bodied, creamy to spicey, West Tampa now offers something foreveryone. Rick Rodriguez, master blender and co-owner, is especially excited about this release. “West Tampa Red gave me the opportunity to sit down with the factory and really focus on creating a blend that I enjoy.” “Normally when I blend cigars, I don't blend for what I like, I blend cigars for what my fans enjoy. Red will be a reflection of what I believe is the next piece to lay in the West Tampa puzzle, a full-bodied cigar that delivers the full flavor consumers have come to enjoy from West Tampa.” Last year, West Tampa released a lancero in the Black, White, and Red. The lanceros come in a 7 x 40 size with an MSRP of $10.99. Specifications Wrapper: San Andres Mexican Binder: Nicaraguan Condega Filler: Nicaraguan Condega Viso, Esteli Viso, Esteli Ligero Country of Origin: Nicaragua Factory: Garmendia Cigars Vitola: lancero Size: 7 x 40 MSRP: $10.99 Let's Get Pairing reviewed the Red here Cigar Coop reviewed the Red Toro here Final Score: 85

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The Smoking Syndicate: West Tampa Red Lancero (Audio)

Cigar Coop Prime Time Show

Play Episode Listen Later Mar 21, 2025 6:22

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Dave Peyton's 'Happy Birthday' Song

Play Episode Listen Later Mar 11, 2025 5:07

For many decades, whenever anyone at a Flood gathering was celebrating a birthday, the guys turned to David Peyton to lead them in a rousing rendition of … no, oh, hell no, not THAT song… (Does this bunch really look like “Happy Birthday to You” people?) No, Br'er Peyton suggested a much more appropriate nativity-observing song for the Flood flock. Not only that, Dave enhanced the tune with his own special touch, the addition of a juicy reference to a sex scandal that was rocking West Virginia politics. More on that little tidbit in a moment.For now, you can hear Dave's birthday tune — a sassy 1930s hokum number — by scrolling back to the top of this article and click the Play button on the video that Flood Manager Pamela Bowen shot 14 years ago this week. The occasion for Pamela's footage was a housewarming at the clubhouse at the Wyngate retirement village where devoted Flood fans Norman and Shirley Davis had just moved. For the fun evening, about 30 of the Davises' new neighbors were in the audience. Among them were guitarist Jacob Scarr's grandparents who were also new residents. The senior Scarrs had been regulars at Flood gigs ever since their grandson's joined the band several years earlier.The SongA highlight of the evening was Peyton's performance of the birthday song; The Flood's version of “You Can't Get That Stuff No More” with Charlie Bowen and Michelle Hoge's harmonies and solos by Dave, Jacob, Joe Dobbs and Doug Chaffin.Back in 2003, when a take on the tune was included on the I'd Rather Be Flooded album, the band described it as a 1932 Tampa Red/Georgia Tom song. That was correct as far as it went, but a little deeper research would have taught the guys that the song actually was written and recorded a year or two earlier by a remarkable young singer/actor/comedian named Sam Theard.Performing well into the 1970s under assorted stage names — including Lovin' Sam and Spo-Dee-O-Dee — Theard was born in New Orleans in 1904. Before he was 20, he was performing with a circus, then working in theaters and nightclubs.Meeting up with Flood heroes Tampa Red and Cow Cow Davenport, Theard recorded one of his best known songs — "(I'll Be Glad When You're Dead) You Rascal You” — for Brunswick in 1929. Over the years that song was covered by everyone from Louis Armstrong, Cab Calloway and The Mills Brothers to Fats Domino, Dr. John and Taj Mahal.In the 1930s and '40s, using the name Spo-Dee-O-Dee, Theard was a regular as a comedian at New York's Apollo Theater.It was during this period that he co-wrote his next famous song, “Let the Good Times Roll,” with Louis Jordan, who recorded it with his Tympany Five in 1946. In 1961 at the 3rd Annual Grammy Awards ceremony, Ray Charles won a Grammy for his version of that tune.In the 1950s, Theard wrote for a number of jazz greats, including Hot Lips Page, Count Basie, Eddie “Cleanhead” Vinson and Roy Eldridge.Then in the last decade of his life, Theard was discovered by television, appearing in episodes of a variety of shows, including “Sanford and Son” and “Little House of Prairie.”The Ickie Frye InfusionBut you're still thinking about that political sex scandal, aren't you? The one that Peyton worked into The Flood's version of “You Can't Get That Stuff No More”? Okay, here's that story:The original song, as recorded in 1932 by Tampa Red and Georgia Tom, included this verse: There goes Joe with a great big knife Somebody been messin' round with his wife.However, when The Flood recorded it in a marathon studio session in Charleston in November 2003, Dave sang the verse as: There's Ickie Frye with a great long knife. Somebody been a-messin' round with his wife…Uh, Ickie who? Sure, that's not a well-known name today, but if you were a news-reading West Virginian in 2003, you certainly would have known about Phillip “Ickie” Frye, a bass-playing TV/computer repairman who had just blown up Gov. Bob Wise's political career. Newspapers across the state trumpeted the news of how Frye revealed that his wife — state employee Angela Mascia, in charge of European projects for the state development office — was having an extramarital affair with the governor.Red-faced, Wise admitted his infidelity. “I apologize deeply,” Wise said, “to the people of our state for my actions. In my private life, I have let many people down." The following year, Frye even filed to run for governor to "dog Wise," he said, over the affair, but he dropped out when Wise himself announced he would not seek re-election. Soon after The Flood's album was released, Ickie Frye emailed Peyton to thank him for the shout-out on the tune. The ex-governor had no comment. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

On this day in Blues history for January 29th

Play Episode Listen Later Jan 29, 2025 2:00

Today's show features music performed by Tampa Red and Sarasota Slim

tampa red blues history

"Black Eye Blues"

Play Episode Listen Later Jan 3, 2025 4:57

One of the most curious and complicated characters on the great American musical landscape is Thomas A. Dorsey.A deeply religious man, Dorsey often is called “the father of gospel music,” because he inspired a movement that popularized bluesy gospel songs in churches across America starting in the mid-20th century.Some 3,000 songs — a third of them gospel — were written by Dorsey in his 90 years, including “Take My Hand, Precious Lord” and “Peace in the Valley.” Now, then, about those other 2,000 songs ….Recording as “Georgia Tom,” Dorsey also was instrumental in the early days of secular blues. With his partner “Tampa Red,” he helped popularize the sexy, happy hokum music of the 1920s and ‘30s with tunes like “Somebody's Been Using That Thing,” “Dead Cat on the Line.” and “The Duck — Yas, Yas, Yas.”In the Beginning….Born in the rural Georgia town of Villa Rica, Dorsey grew up in a religious family, but gained most of his musical experience playing blues piano at barrelhouses and rowdy parties in and around Atlanta, where the family moved when Thomas was eight years old. As a young man, Dorsey began attending vaudeville theater shows that featured blues musicians, with whom he informally studied. Despite being meagerly compensated for his efforts, Thomas played at rent parties, house parties and brothels.Seeking a greater challenge, in 1919 Dorsey moved to Chicago, where he discovered that his brand of playing was unfashionable compared to jazz's newer uptempo styles. Faced with more competition for jobs, Dorsey turned to composing. In 1920 he published his first piece, called "If You Don't Believe I'm Leaving, You Can Count the Days I'm Gone,” making him one of the first musicians to copyright blues music.Dorsey also copyrighted his first religious piece in 1922 (a song called “If I Don't Get There"), but he quickly found that sacred music could not financially sustain him, at least not in the Roarin' Twenties, so he continued working the dives and playing the blues.Enter Ma RaineyDorsey's big break came in 1923 when he was hired as the pianist and leader of The Wild Cats Jazz Band accompanying Ma Rainey, a charismatic and bawdy blues shouter who by then had been performing professionally for 20 years.When Rainey and The Wild Cats opened at Chicago's largest black theater, Dorsey remembered the night as "the most exciting moment in my life,” according to his biographer Michael W. Harris.Dorsey worked with Rainey and her band for two years, composing and arranging her music in the blues style as well as vaudeville and jazz to please audiences' tastes. Often at his side was a new member of the band, Hudson “Tampa Red” Whitaker, a blues guitarist who in 1928 would become Dorsey's recording partner for five years.Rainey enjoyed enormous popularity touring with her hectic schedule, singing about lost loves and hard times. She interacted with her audiences, who were often so enthralled they stood up and shouted back at her while she sang.But Dorsey increasingly had misgivings about the suggestive lyrics of the songs he and Red were writing. Finally, Thomas left the tour and tried to market his new sacred music. He printed thousands of copies of his songs to sell directly to churches and publishers, even going door to door, but he still couldn't make it work.About This SongDorsey returned to the blues in 1928, but this time in the recording studios in the persona of “Georgia Tom.” The first Paramount sessions for him and Tampa Red were the last ones for Ma Rainey. In fact, one of the last things the great blues singer ever recorded was this new Thomas Dorsey composition.Nowadays for vinyl collectors, Rainey's “Black Eye Blues” is a rare find. That's because Ma's September 1928 recording of the song wasn't released until July 1930. By then, the Great Depression was raging. Rainey had left the business (retiring to her Columbus, Ga., home). Paramount was ending too; the studio ceased operation in 1932.While audio of the record was later preserved on blues compilation albums (and now on YouTube), the song itself has had a sketchy history. Over the years, the controversial subject matter — domestic violence — has made it uncomfortable for many singers to tackle, especially when dealing with Dorsey's no-compromise lyrics: You low-down alligator, you watch and sooner or later I'm gonna catch you with your britches down!When folkie Judy Henske recorded it in 1964, for instance, her producers at Elektra changed the title to "Low Down Alligator.” Similarly, when Odetta recorded the song two years earlier, she also found the title a bit too much for early 1960s sensibilities. On the Riverside label, instead of “Black Eye Blues,” the song was listed as “Hogan's Alley,” based on Dorsey's opening line (Down in Hogan's Alley lived Miss Nancy Ann….)Hogan's AlleyWhich raises a question. Where is “Hogan's Alley,” anyway?Many cities (from Vancouver to Virginia) have one, but historian Robert Lewis Miesen writes, “Rather than being the name of a person, ‘Hogan's Alley' was a derogatory 19th century label, much as one might use ‘skid row,' ‘ghetto' or ‘hood' today.”He noted that in the same spirit back in 1895, artist Richard F. Outcault — father of the modern comic strip — placed his “Yellow Kid” character in his “Hogan's Alley” cartoons, which appeared weekly in The New York World, starring rambunctious slum kids in the streets.Our Take on the TuneMeanwhile in Floodlandia, when the whole band can't get together — like last week, when it was just Danny, Randy and Charlie — it's an opportunity to lay back and explore tunes not usually on the practice list.In Flood years, this song dates back nearly a half century, to when the fellows were first starting to fool with the hokum tunes of the 1920s and ‘30s.Here's “Black Eye Blues” from last week's gathering. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

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Episode 668: WEDNESDAY'S EVEN WORSE #687, JANUARY 01, 2025. (NEW YEAR SPECIAL)

Play Episode Listen Later Jan 1, 2025 59:00

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Arlen Roth

Zig at the gig podcasts

Play Episode Listen Later Nov 13, 2024 95:25

Interview with Arlen Roth 2024 Arlen Roth is a true guitar legend; part of the list of who he's recorded and toured with contains folks like Simon & Garfunkel (together and individually), John Prine, Phoebe Snow, Bob Dylan, Bee Gees, Don McLean, Levon Helm, Ry Cooder, Duane Eddy, Danny Gatton, Janis Ian, Dusty Springfield, John Sebastian, Johnny Winter and countless more. He also appeared with Ramblin' Jack Elliot and Patti Smith in the Martin Scorcese Rolling Thunder film, created the guitar parts and was consultant and teacher to Ralph Macchio for the legendary blues film, Crossroads. In 2016, he wrote and performed an acoustic guitar piece with Daveed Diggs and Leslie Odom, Jr. of Hamilton for ESPN. Arlen was voted in the Top 100 most Influential guitarists of all time by Vintage Guitar Magazine and top 50 all-time acoustic guitarists by Gibson.com. Now, on Arlen Roth's 20th solo album and his fifth all-acoustic offering, he's bringing rootsy acoustic music to new heights on Playing Out the String, set for release September 27 and distributed by MVD. The new album was recorded, mixed and mastered by Alex Salzman, who also contributes keyboards to the mix. Arlen's previous album, Super Soul Session, with bass legend Jerry Jemmott, sat atop the Blues and Soul charts for 22 straight weeks, and was in the Top 5 for 55 straight weeks this past year. Arlen has also been at the forefront of guitar and music education, with 10 best-selling books, and he was the first-ever to offer video instruction with the giants of the music industry through his “Hot Licks” company, which he started in 1979, and has had millions of students worldwide. His column for Guitar Player magazine was voted #1 by the largest margin of readers from 1982 to 1992, and was also turned into a best-selling book, Hot Guitar. On Playing Out the String, this all-acoustic, mostly solo album is very personal to Arlen and is really like getting an up-close "at home" concert in your living room. On it, he paints with broad strokes across several genres of music he loves. From "Old Timey" Norman Blake material to country blues from Sonny Terry and Brownie McGhee and Tampa Red; he even makes you feel at home with Nilsson's "Everybody's Talkin'" and gives his 12-string guitar a workout on the archetypical, "Walk Right In." https://www.arlenroth.com

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"Somebody's Been Using That Thing"

Play Episode Listen Later Nov 8, 2024 5:02

The word hokum originated in vaudeville to mean a risqué performance laced with wordplay, euphemisms and double entendre.When it appeared on the label of a 1928 hit for Vocalion Records by a new group called Tampa Red's Hokum Jug Band, the term rapidly entered the jazzy lexicon of The Roarin' Twenties.When the group moved on to Paramount Records as The Famous Hokum Boys, it quickly picked up imitators at other studios, often using variations on the same word in their own names. Eventually “hokum” came to describe an entire species of novelty tunes, all those sexy, silly blues of the 1920s and '30s.About Tampa RedHokum's first star, Tampa Red, was one of the most prolific blues artists of his era, recording some 335 songs, 75 percent between 1928 and 1942. Tampa Red was born Hudson Woodbridge in Smithville, Georgia, near Albany in the first decade of the 20th century. When their parents died, he and his older brother Eddie moved to Tampa, Florida, to be reared by their aunt and their grandmother. There he also adopted their surname, Whittaker.Emulating Eddie, Hudson Whittaker played guitar around the Tampa area, especially inspired by an old street musician called Piccolo Pete, who taught the youngster his first blues licks.After perfecting a slide guitar technique, he moved to Chicago in 1925 and began working as a street musician himself. He took the name "Tampa Red" to celebrate to his childhood home.Enter TomRed's big break came when he was hired to accompany established blues star Ma Rainey. There he also met pianist/composer Thomas A. Dorsey, who as working as “Georgia Tom.” Red and Tom became fast friends and music partners.Tom introduced Red to records exec J. Mayo Williams, who arranged a studio session in 1928. Their first effort was a dud, but their next song — the cheeky “It's Tight Like That” — became a national sensation, selling a million copies. Red later recalled seeing people standing outside of record stores just waiting to buy the disc. Since the song was composed by both Red and Tom, they shared $4,000 in royalties from that single song. (That would be about $75,000 today.)While his partnership with Dorsey ended in 1932, Red remained much in demand in recording studios throughout the ‘30s and ‘40s. He was later "rediscovered" in the blues revival of the late 1950s, along with other early blues artists, like Son House and Skip James. Red made his last recordings in 1960.About the SongTampa Red recorded “Somebody's Been Using That Thing” in 1934, but unlike so many of the tunes he waxxed, he didn't write this one.Instead, the song was composed and recorded five years earlier by a curious genre-blending mandolinist named Al Miller.Starting in 1927, Miller played and sang in a style that combined elements of country, blues and jazz on sides for Black Patti records. His eclectic mix of sounds and material gave way to a heavy concentration on bawdry once he arrived at Brunswick for a series of recordings with his Market Street Boys. Miller recorded his “Somebody's Been Using That Thing” on March 8, 1929. It was his big seller. Five years later, after Tampa Red also scored with it, the song even started attracting the attention of artists in the fledgling country and western genre. In 1937, for instance, Milton Brown, called by some “the father of Western swing,” did a rendition for Decca. The following year, The Callahan Brothers (Walter and Homer) of Madison County, Ky., recorded it on the Conqueror label.Our Take on the TuneIf there's such a thing as a "standard" in jug band music, ”Somebody's Been Using That Thing” is certainly one of them. While The Flood's heroes recorded it 90 years ago, the band didn't get around to doing it until back in 2009 when Joe Dobbs recommended it. That was right after he received a recording of it by our old buddy, Ed Light, and his DC-area band with one great name: The All New Genetically Altered Jug Band. We've been Floodifying the tune ever since, as this track from a recent rehearsal demonstrates. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

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Sateli 3 - Songs of Dope & Glory (1/2) Reefer Songs from the 30s/40s - 21/08/24

Sateli 3

Play Episode Listen Later Aug 21, 2024 60:05

Sintonía: "Save The Roach For Me" - Buck Washington"Sendin´ the Vipers" - Mezz Mezzrow & His Orchestra; "I´m Gonna Get High" - Tampa Red & The Chicago Five; "Spinach Song (I Didn´t Like It The First Time)" - Julia Lee & Her Boy Friends; "Do You Dig My Jive" - Sam Price & His Texas Bluesicians; "Knockin Myself Out" - Yack Taylor; "Reefer Man" - Harlan Lattimore & His Connie´s Inn Orchestra; "The Man From Harlem" - Cab Calloway Orchestra; "If You´re A Viper" - Bob Howard & His Boys; "Light Up" - Buster Balley´s Rhythm Busters; "Viper Mad" - Sidney Bechet with Noble Sissle´s Swingers; "Weed Smokers Dream" - The Harlem Hamfats; "The ´G´ Man Got The ´T´ Man" - Cee Pee Johnson & Band; "All The Jive Is Gone" - Andy Kirk & His Twelve Clouds Of Joy; "Suff Is Here" - Georgia White; "Weed" - Bea Foote; "Knockin´ Myself Out" - Lil Green; "If You´re a Viper" - Lorrain Walton Todas las músicas extraídas del primer CD de la recopilación (2xCD) "Dope & Glory - Reefer Songs from the 30s & 40s" (Trikont, 2002)Escuchar audio

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Chris and Adam take a cigar they both love and try to find the perfect pairing for it...and they may have struck gold! --- Send in a voice message: https://podcasters.spotify.com/pod/show/perfectpairingpodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/perfectpairingpodcast/support

west perfect pairings tampa red

Episode 598: ACOUSTIC BLUES CLUB #583, APRIL 10, 2024

Play Episode Listen Later Apr 10, 2024 59:00

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Perfect Pairing Podcast Ep. 6 - West Tampa Red

Dreamer Cigars Podcast

Play Episode Listen Later Apr 9, 2024 43:08

west perfect pairings tampa red

"I Wonder Where My Easy Rider's Gone"

Play Episode Listen Later Apr 5, 2024 6:00

In blues parlance, the term “easy rider” is code for … oh, well, for many things. Maybe a rovin' gambler or a lover, maybe a pimp … (Y'all just talk among yourselves and let your imagination gallop away with ya.)Easy riders started appearing in blues songs more than a century ago. W.C. Handy famously featured an easy rider in his great “Yellow Dog Blues” back in 1915. But, as we noted in an earlier Flood Watch article, that great old blues — which Bessie Smith would memorialize with her classic 1925 Columbia recording of it — was written in answer to an earlier ragtimey blues called “I Wonder Where My Easy Rider's Gone,” released in 1913 by its composer, Shelton Brooks.Meet Shelton BrooksShelton Brooks was one of the most successful Black songwriters of the era before jazz. An African-Canadian, he had a recording career as an OKeh Records artist in the 1920s, but today he is better remembered for his songwriting chops.His most successful songs were "Some of These Days" (1911), "All Night Long" (1912), "Walkin' the Dog" (1916) and especially "Darktown Strutters' Ball" (1917), which sold more than 3 million copies as sheet music.About This SongBrooks' “I Wonder Where My Easy Rider's Gone” was first popularized on the vaudeville stage by Sophie Tucker.We base our version of the song on a July 9, 1929, recording by our hokum band heroes Tampa Red on guitar and Georgia Tom on piano, with jazz singer Frankie “Half Pint” Jaxon doing the vocals.But perhaps the best known version of Brooks' tune came four years after that, when film siren Mae West delivered a sultry performance of it in her 1933 movie She Done Him Wrong.By the way, a legacy of Brooks' song and Handy's “Yellow Dog Blues” answer is that lines and melody from both songs started showing up in the 1920s and ‘30s in such songs as "E. Z. Rider," "See See Rider," "C. C. Rider" and "Easy Rider Blues.”Our Take on the TuneThis is the kind of song that The Flood likes the start the evening with, as we did at last week's rehearsal, because it has plenty of room for everyone to just stretch out and wail.Listen as the solos pass from Danny Cox to Sam St. Clair to Randy Hamilton. And when it's Jack Nuckols' turn, he reaches for those wooden spoons he keeps near his drum kit. See if it doesn't sound like a jazzy tap dancer has just shim-sham-shimmied into the room. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

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On this day in Blues history for March 7th

Play Episode Listen Later Mar 7, 2024 2:00

Today's show features music performed by Tampa Red

tampa red blues history

Back to The Capitol Theater in 1971 For More Breakouts; First show without Mickey, Pig Does His Thing, Lots of LSD. More states break records for total annual and monthly marijuana sales.

Deadhead Cannabis Show

Play Episode Listen Later Feb 19, 2024 67:27

"Reflecting on the Grateful Dead's Capitol Theatre Shows and Toby Keith smoking with Willie Nelson"Larry Michigan discusses the Grateful Dead's historic show at the Capitol Theatre on February 19, 1971. Larry reminisces about the atmosphere of the venue and the significance of the performance, highlighting the debut of several iconic Dead songs. The discussion delves into the band's evolving musical style, particularly the transition from psychedelic blues to Americana influences. He explores the historical context surrounding the show, including Mickey Hart's departure from the band and the impact of manager Lenny Hart's embezzlement. He also touches upon the significance of the show's release in the "From the Vault" series and discuss other notable releases in the Dead's catalog. Additionally, Larry provides updates on Bob Weir and Wolf Brothers' postponed performances with the National Symphony Orchestra and share news about upcoming music releases. Grateful DeadFebruary 19, 1971 (53 years ago)Capitol TheatrePort Chester, NYGrateful Dead Live at Capitol Theatre on 1971-02-19 : Free Borrow & Streaming : Internet Archive The second of the legendary six night run at the Capitol Theatre in late February, 1971:Feb. 18, 19, 20, 21, 23, and 24 INTRO: Loser Track #3 2:55 – 4:24 Hunter/Garcia tune that was released on “Garcia”, Jerry's first solo album, in January, 1972, the last song on side one of the album. It was a standard first set tune, part of a rotating number of Jerry first set ballads including Candyman, It Must Have Been The Roses, High Time, Row Jimmy, To Lay Me Down and others. A very sweet melodic tune that tells a great story by way of a beautiful piece of music. SECOND time playedPlayed a total of 353 timesFirst time: “Last”night 2.18.71Last: June 28, 1995, The Palace of Auburn Hills, outside Detroit THIS SHOW: Last year we covered the Feb. 18th show famous as the debut for Bertha, Greatest Story, Loser, Wharf Rat and Playin In The Band and the Beautiful Jam out of Wharf Rat and back into Dark Star. It was also Mickey's last show before his almost three year hiatus before he returned for the final 1974 show before the band's 1975 year off February 19th show is just as historical: The band's first show without Mickey since he joined the band in 1967. Many people theorize that this was Mickey's response to his father, Lenny Hart who was the band's manager stealing almost $155,000 of the band's assets before disappearing. Although he was eventually located by a private detective hired by the band and arrested in San Diego on July 26, 1971, convicted and spent six months in jail, the money was never returned. The song, “He's Gone” is based on Lenny Hart's embezzlement and disappearance. Ashamed by his father's actions, Mickey left the band after the 2.18.71 Capitol Theater show returning full time in 1975. Lenny died of natural causes on Feb. 2, 1975. According to Dennis McNally, "Mickey went to the funeral home, cleared the room, took out the snakewood sticks that had been his inheritance, played a traditional rudimental drum piece, "The Downfall of Paris" on Lenny's coffin, and split." Starting with this show, the band became a very lean mean fighting machine with just five members (Jerry, Bobby, Phil, Bill and Pig) until Keith jointed the band seven months later in September. On this night, the band played the five songs debuted the night before and debuted Deal and Birdsong. Pig also has a strong showing this night leading the band through four standouts: Hurts Me Too Smokestack Lightning: the third to last time it would be played with Pig in the band Easy Wind: the second to last time it would be played without Pig in the band Good Lovin This really marked the beginning of the band's hard shift away from psychedelic blues (Primal Dead) to the more Americana style music that began with Workingman's and American Beauty. Within a year, Pig would be very ill with just enough energy left for the Europe '72 tour. But this night, he was rocking the house like only he could do. Here is the first of his four featured songs: SHOW No. 1: Hurts Me Too Track # 5 2:08 – 3:42 Great showcase number for Pig featuring his singing and harp playing. We got just a bit of Jerry's lead but all this great music is too long to fit into one clip – don't want Dan getting mad at me! "It Hurts Me Too" is a blues standard that is "one of the most interpreted blues [songs]".[1] First recorded in 1940 by Tampa Red in Chicago, the song is a mid-tempo eight-bar blues that features slide guitar. It borrows from earlier blues songs and has been recorded by many artists. Release on May 10th with Tired of Your Reckless Ways on the B-side. In 1949, Tampa Red recorded a variation of "It Hurts Me Too", titled "When Things Go Wrong with You".[9] It was recast in the style of a Chicago blues, with electric guitar and a more up to date backing arrangement. The song was a hit and reached number nine on Billboard'sRhythm & Blues Records chart in 1949.[10] (The original "It Hurts Me Too" was released before Billboard or a similar reliable service began tracking such releases, so it is difficult to gauge which version was more popular, although the former's title won out over the latter's.) Although the song retained the refrain "When things go wrong, so wrong with you, it hurts me too", Tampa Red varied the rest of the lyrics somewhat. This would become the pattern for future versions, in which succeeding artists would interpret the song with some of their own lyrics. Noted covers: Elmore James Junior Wells Grateful Dead – with Pig singing the vocals. Was first released by the Dead on Europe '72 album. After Pig left the band, the song was retired. The Dead played the song a total of 59 times First: May 19, 1966 at the Avalon Ballroom, San Francisco Last: May 24, 1972 at the Lyceum Ballroom in London (last show of Europe '72 tour “FROM THE VAULT”: This entire show was released by the Dead as “Three From The Vault” in 2007. The “From The Vault” series, launched by the Band in 1991 with One From The Vault – August 13, 1975 at The Great American Music Hall, with first live performance of the songs from Blues For Allah. In 1992 the Dead released “Two From The Vault” – August 23 and 24, 1968 at the Shrine Auditorium in Los Angeles. Then, along came Dick Latvala and his Dead scene changing Dick's Picks series which was wildly popular, so much so that the In The Vault Series was put on hold. For 15 years. Until 2007 when they circled back to the original series of live releasees with Three From The Vault which features the same show we are talking about today from the Capitol Theatre. That was it for In The Vault releases. The Dead did have several other “Vault” like releases – multi-track recordings including Hundred Year Haul, Dozin' At The Knick, Fallout From the Phil Zone, Terrapin Station, Live At the Fillmore East 2.11.69, Ladies and Gentlemen, the Grateful Dead, Nightfall of Diamonds, Trucking Up To Buffalo and so many more. They just stopped calling them “From The Vault”. Dick's Picks, of course would go on to have a total of 36 releases, the last few releases coming after Dick's death in 1999. Which led into the still wildly popular Dave's Picks from David Lemieux who took over for Dick and now has 49 releases and still going strong. And “short” lived, but generally popular “Roadtrips” series. And all of the box sets that are all amazing but too numerous to name except for the Complete Recordings, the four-night run at the Fillmore West from Feb. 27 to March 2, 1969 – four shows with the band at the peak of Primal Dead, and Europe '72 which consists of the live recordings for all of the shows on that tour. Another milestone for the Dead in terms of their ever expanding reputation for Jam Band, psychedelic, and amazing song catalogue, even at that “early” stage of the band's existence. SHOW No. 2: Playin In The Band Track # 7 2:23 – 4:05 By: Weir and Hunter "Playing in the Band" is a song by the Grateful Dead. The lyrics were written by Robert Hunter and rhythm guitaristBob Weir composed the music, with some assistance from percussionist Mickey Hart.[1] The song first emerged in embryonic form on the self-titled 1971 live albumGrateful Dead. It then appeared in a more polished form on Ace, Bob Weir's first solo album (which included every Grateful Dead member except Ron "Pigpen" McKernan).The instrumental break of "Playing in the Band" was introduced as early as the February 19, 1969 "Celestial Synapse" show at the Fillmore West, in which it appears somewhat indistinct from the preceding and following jams.[5] The completed song was also included on Mickey Hart's 1972 solo album Rolling Thunder within "The Main Ten", making reference to the song's time signature of 10/4. "The Main Ten" appears on Dick's Picks Volume 16, from their performance at the Fillmore West on November 8, 1969. On that set, it appears in the middle of "Caution (Do Not Stop On Tracks)".During a Bob Weir and Wolf Bros concert livestream on February 12, 2021, Weir credited David Crosby with the composition of the main riff. Weir stated, "David Crosby came up with the seminal lick... and then he left. We were out at Mickey's barn. So Mickey said, 'Make a song out of that'. Next day, I had it" It has since become one of the best-known Grateful Dead numbers and a standard part of their repertoire, usually as a second set pre-drums jumping off point for jams to who knows where. According to Deadbase X, it ranks fourth on the list of songs played most often in concert by the band with over 600 performances. If you download this show from Archive.org, and play this track, at the 3:20 mark during the mid-song jam, they get to the point where they would normally dive back in but instead, Bobby plays on for an almost additional 30 seconds and then just dives back in to the song. He is clearly still working it out. Over the course of the Europe '72 tour, it was played almost every night as Bobby finally worked it outThis is all really good stuff. SECOND time ever played 661 times (No. 1) First – “last: night's show, Feb. 18, 1971 Capitol Theatre Last: July 5, 1995 at Riverport Amphitheater, Maryland Heights, MO outside of St. Louis. SHOW No. 3: Greatest Story Ever Told (The Pump Song) Track #13 Start – 1:41 By Weir, Hart and Robert Hunter (some give credit to Rev. Gary Davis) Reverend Gary Davis, also Blind Gary Davis (born Gary D. Davis, April 30, 1896 – May 5, 1972),[1] was a blues and gospel singer who was also proficient on the banjo, guitar and harmonica. Born in Laurens, South Carolina and blind since infancy, Davis first performed professionally in the Piedmont blues scene of Durham, North Carolina in the 1930s, then converted to Christianity and became a minister. After moving to New York in the 1940s, Davis experienced a career rebirth as part of the American folk music revival that peaked during the 1960s. Davis' most notable recordings include "Samson and Delilah"[2] and "Death Don't Have No Mercy" Released on:AceRolling Thunder, as "The Pump Song"Dead SetDick's Pick's, vol. 6Europe '72 box setLots of other releases Per Hunter: "Also known as "Pumpman" and "Moses"--I wrote this to the rhythm of the pump in Mickey Hart's well." Released on Ace on May 1, 1972 First song on the album with Bobby setting a rocking tone Another tune that was played almost every night of and refined during the Europe '72 tour 283 times First: “last night” 2.18.71 Last: June 27, 1995 at the Palace at Auburn Hills outside Detroit SHOW No. 4: Bird Song Track #15 :42 – 2:15 By Garcia and Hunter Second song on Garcia Robert Hunter originally wrote the song as a tribute for Janis Joplin. Phil Lesh now sings "All I know is something like a bird within him sang", transfering it Jerry Garcia instead A regular for the Dead, and still played by Dead and Co., Bobby and Phil and Friends. Beautiful song, even for the fist time you know it's going to be special. Played 301 tines First: This is it! Last: June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA OUTRO: Deal Track #17 Start – 1:33 May 16, 2023 by Chris Huber of Chill One of the Grateful Dead's live staples, and many gambling songs is the Robert Hunter and Jerry Garcia collaboration, “Deal”. First performed on February 19th, 1971, the song was in regular rotation until the end, both for the Dead and the Jerry Garcia Band.“Deal” saw studio release as the opening track to Jerry Garcia's 1972 debut solo album, Garcia, which also contained several other classic Grateful Dead live songs including “Sugaree”, “Bird Song”, “Loser”, and “The Wheel. Although it would move around a bit in the set list early on, this debut version is consistent with the ultimate tradition of the song closing out the first set. Even in JGB sets it was a first set closer. And would always leave you waiting through the break to see how they were going to kick off the second set and keep the show moving along. For a first time played, this version stays true to the version we all know and love from a few years later. Played 428 times First: This is IT Last: June 18, 1995, Giants Stadium in East Rutherford, NJ Thank you. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

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"Yas Yas Duck"

Play Episode Listen Later Oct 20, 2023 5:22

When The Flood first started doing this song some 40 years ago, Charlie's sweet mother asked where such an odd little tune came from. We didn't want to tell her the truth.“Mom, it was a popular party song in the late 1920s.” Well, that wasn't a complete lie. It's just that the “parties” where this song was born started very late at night and were in a part of town where nice girls generally didn't go. Stump's SongThe song we've always called “Yas Yas Duck” is an old hokum jazz tune that has been recorded under a lot of different names for nearly a century now.The first recording was made in St. Louis by the great piano pounder James “Stump” Johnson who released it in January 1929 as “The Duck Yas-Yas-Yas.” He recorded his song at least three times during his career, which ended with his death at 67 in 1969.Also in 1929, new versions started cropping up. Flood heroes Tampa Red and Georgia Tom recorded a version on May 13, 1929. That's where we learned it.But a particularly popular rendition also was done by Oliver Cobb and his Rhythm Kings on Aug. 16, 1929, about a year before his untimely death. In most versions, the song is perhaps best known for its opening lyrics: Mama bought a rooster, Thought it was a duck. Brought it to the table with its legs straight up …And, Uh, About That “Party”…Wikipedia just tells it like it is (or was). “The song,” it reports, “is a ‘whorehouse tune,' a popular St. Louis party song." (See there, mom? It says it right there! “Party song …”) The title, Wikipedia goes on, is explained by the verse that goes, Shake your shoulders, shake 'em fast, if you can't shake your shoulders, shake your yas-yas-yas.The Duck in the ‘60sFolkies learned the song in 1961 when the legendary Dave Van Ronk released it as "Yas Yas Yas" on his Van Ronk Sings album (though Dave's source was a variant recorded in the Bahamas by Blind Blake & his Royal Victoria Hotel Calypso Band, released as "Yes! Yes! Yes!" in 1951).Meanwhile, in 1967 cartoonist R. Crumb used the song in his comic strip album Zap Comix, No. 0, quoting it in the first panel of a story called "Ducks Yas Yas." Crumb also later recorded the tune with his band, The Good Tone Banjo Boys, on a transparent red vinyl 78 rpm stereo record in 1972.Our Take on the TuneFor us, “Yas Yas Duck” became a kind of connective tissue between today and our jug band roots of the 1970s and '80s. That's why we put it on our first commercial album back in 2001, and why it still gets trotted out regularly at rehearsals, just so newer folks coming to the band room can learn it. Recently, it was Jack Nuckols' turn. As you can hear here, Jack's drumming has brought us a whole new class of cool. Whether it's his tasty solos, or rocking along with Randy's bass under Charlie's vocals, or making his wise and witty contributions to the ensemble supporting Danny and Sam's solos, Jack's rhythms have us all wanting to get up and dance. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

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The complete Guitar Pete Franklin - Part 1

Echoes of Indiana Avenue

Play Episode Listen Later Oct 15, 2023

This week on Echoes of Indiana Avenue listen to the first episode of our two-part series exploring the complete recordings of Guitar Pete Franklin – a legendary Naptown blues musician. Franklin was born in Indianapolis in 1928. His style was influenced by the early Naptown blues duo of Leroy Carr and Scrapper Blackwell - but Franklin developed his own unique sound. On this edition, hear Franklin's early recordings with blues greats including Sunnlyand Slim and Tampa Red.

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Cigar of the Week Pairings - West Tampa Red Robusto

Dreamer Cigars Podcast

Play Episode Listen Later Oct 9, 2023 50:43

Rick Rodriguez, Master Blender for West Tampa Tobacco, joins Adam this week for an education filled pairing episode! This is one that you will not want to miss... --- Support this podcast: https://podcasters.spotify.com/pod/show/dreamercigarspodcast/support

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Episode 546: ACOUSTIC BLUES CLUB #554 SEPTEMBER 20, 2023

The Burning Bush: Sharing Scripture Over Cigars

Play Episode Listen Later Sep 20, 2023 59:00

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Episode 131 - Mark Chapter 4 with commentary by Charles Spurgeon and the West Tampa Red

Play Episode Play 56 sec Highlight Listen Later Aug 26, 2023 15:16

Welcome to Episode 131 of The Burning Bush Podcast, where we share the message of the Bible while enjoying a good cigar. Today we're reading the New Testament book of Mark Chapter 4 with commentary from the notes in the Charles Spurgeon Study Bible, and I'm smoking the West Tampa Red Toro 6x52.Charles Spurgeon Study Bible - https://csbspurgeonstudybible.csbible.com/West Tampa Red Toro 6x52: https://www.westtampatobacco.com/Listen and subscribe at: https://www.theburningbushpodcast.comYouTube: https://www.youtube.com/@VoiceOverSteve/podcastsRumble: https://rumble.com/user/SteveMcHenryEmail: steve@theburningbushpodcast.com#TheBurningBush #Podcast #Scripture #Theology #Jesus #Bible #Christian #GroundworksMinistries #Cigars #BOTL #SOTL #HolySmokes #TreatsNTruth #CharlesSpurgeon #SpurgeonStyle #WestTampaTobaccoSUPPORT THE SHOW & OUR PARTNERSCash App - http://cash.app/$StevenJMcHenryVenmo - https://www.venmo.com/u/Steve-McHenry-3Paypal - http://paypal.me/SteveMcHenryTreats-N-Truth Ministry Helping those in need through the love & grace of God.Groundworks Ministries Promoting the "chapter-a-day" reading of God's Word.The Burning Bush Merchandise Store Get your Burning Bush Podcast swag here!Instacart - Groceries delivered in as little as 1 hour. Free delivery on your first order over $35.Buzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.

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Episode 131 - Mark Chapter 4 with commentary by Charles Spurgeon and the West Tampa Red

Steve McHenry Voice-Overs

Play Episode Listen Later Aug 26, 2023

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CRÓNICAS APASIONADAS T04C090 Para la guerra nada (30/07/2023)

CRÓNICAS APASIONADAS

Play Episode Listen Later Jul 30, 2023 54:59

Con Slim Harpo, Link Wray, Tampa Red, Little Richard, Adriano Celentano, Richie Havens, Lynyrd Skynyrd, Astrud Gilberto, Jane Birkin, Benny Moré, Juanito Valderrama, José José, Mon Laferte, Jose Alfredo Jiménez, Ana Gabriel, Marta Gómez y Che Sudaka.

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Episode 524: ACOUSTIC BLUES CLUB #540 JUNE 14, 2023

Play Episode Listen Later Jun 14, 2023 58:58

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Ajax Diner Book Club Episode 248

Ajax Diner Book Club

Play Episode Listen Later May 15, 2023 177:50

Lucero "Mom"Memphis Slim "Steady Rolling Blues"JD McPherson "You Must Have Met Little Caroline?"Gillian Welch "Down Along the Dixie Line"Eilen Jewell "Crooked River"Waylon Jennings "If You See Me Getting Smaller"Carla Thomas "I Take It To My Baby"boygenius "Not Strong Enough"Memphis Minnie "The Man I Love"Grateful Dead "Dark Hollow"Kitty Wells "Forever Young"Coleman Hawkins "At McKie's"Raphael Saadiq "Sure Hope You Mean It"Professor Longhair "Hey Little Girl"Jack Logan "All Grown Up"Jack Logan "I Brake For God"Steve Earle "Hometown Blues"Doc & Merle Watson "Worried Blues"Cat Power "Lived in Bars"R.E.M. "Belong"R.E.M. "Orange Crush"Marine Girls "A Place In The Sun"Tampa Red "I'm a Stranger Here"Lee Morgan "Most Like Lee"Glossary "Almsgiver"The Mountain Goats "Rat Queen"Shaver "The Earth Rolls On"Vic Chesnutt "And How"Jon Dee Graham & The Fighting Cocks "Beautifully Broken"Jason Isbell and the 400 Unit "White Man's World"Gillian Welch "Happy Mother's Day"Brown Bird "Fingers to the Bone"Bonnie Prince Billy "Easy Does It"Magnolia Electric Co. "Talk To Me Devil, Again"Magnolia Electric Co. "Memphis Moon"Art Blakey's Jazz Messengers "The Witch doctor"The Velvet Underground "I'm Waiting For The Man"Townes Van Zandt "Be Here to Love Me"Will Johnson "To the Shepard, to the Lion"Centro-Matic "If They Talk You Down"Willie Nelson "Loving Her Was Easier (Than Anything I'll Ever Do Again

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Ajax Diner Book Club Episode 245

Ajax Diner Book Club

Play Episode Listen Later Apr 24, 2023 175:49

The Black Crowes "Midnight From The Inside Out"Big Maybelle "Baby Won't You Please Come Home"Jimmy Reed "Honest I Do"Lucero "I Can't Stand to Leave You"Red Foley "Pin Ball Boogie"The Deslondes "Ways & Means"Billie & DeDe Pierce "I Ain't Good Looking"Loretta Lynn "Portland Oregon"Tampa Red "Mercy Mama"Valerie June "Don't It Make You Want To Go Home"Otha Turner and The Rising Star Fife and Drum Band "Shimmy She Wobble"Albert King "The Sky Is Crying"Eilen Jewell "I'm a Little Mixed Up"Amos Milburn "Milk and Water"Hank Williams "I'm So Lonesome I Could Cry"Sidney Bechet "In a Café On the Road to Calais"Precious Bryant "Don't Jump My Pony"Dr. John "Croker Courtbullion"The Black Keys "Sinister Kid"Flora Molton "Never Drive a Stranger from Your Door"Aretha Franklin "Groovin'"Otis Rush "Groaning the Blues"Bob Wills & His Texas Playboys "Bring It on Down to My House"The Big Three Trio "Cigareets, Whuskey. And Wild Women"Merle Haggard "I Think I'll Just Stay Here and Drink"Superchunk "Makeout Bench"R.L. Burnside "Miss Maybelle"Chuck Brown and the Soul Searchers "Bustin' Loose"Willie Nelson "Don't Get Around Much Anymore"Howlin' Wolf "Dog Me Around"Emmylou Harris "Sweet Old World"Skeets McDonald "Heartbreaking Mama"Louis Armstrong "Star Dust"Ian Noe "Irene (Ravin' Bomb)"Billie Holiday "More Than You Know"Gillian Welch "Barroom Girls"Mississippi Fred McDowell "Mama Says I'm Crazy"Ten Years After "Good Morning Little School Girl"Steve Earle & The Dukes (& Duchesses) "Pocket Full of Rain"Tom Waits "Jersey Girl"Ruth Brown & Her Rhythmakers "The Tears Keep Tumbling Down"Lucero "Raining for Weeks"Alex Moore "Lillie Mae Boogie"The Yardbirds "Lost Woman"Joan Shelley "The Fading"Soltero "The Factory"The Spinners "Don't Let The Green Grass Fool You"

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"France Blues (Hey, Lawdy, Mama, Mama, Hey, Lawdy, Papa, Papa)”

Play Episode Listen Later Mar 31, 2023 4:41

It was April 1927 when a pair of blues singers from Mississippi named Little Harvey Hull and Long Cleve Reed walked into a Chicago studio to record the first of a half dozen tunes they'd leave there over the next few weeks.Joining them for the session was guitarist Sunny Wilson, whose song "Hey! Lawdy Mama/France Blues" was among their first. The trio was billed on the label as “The Down Home Boys” when the disc was released the following month by Black Patti Records, a new short-lived company created by a fascinating historical character named J. Mayo “Ink” Williams.Ink WilliamsA Brown University graduate, Ink Williams is the only man we know of who was inducted into both the National Football Hall of Fame and the Blues Hall of Fame. Besides being one of the first African American pro-football players (as part of a Chicago team in the first season of the NFL), Williams also is remembered as an important recording industry pioneer.Starting his career producing for the fledgling Paramount Records, Williams earned his nickname because of his persuasive way of inking contracts with a wide range of original talent. Over the years, he was to work with Blind Lemon Jefferson and Ma Rainey, with Tampa Red and Georgia Tom, with Blind Blake and Ida Cox (not to mention Jelly Roll Morton, King Oliver, Mahalia Jackson, Alberta Hunter, Sister Rosetta Tharpe, Roosevelt Sykes, Sleepy John Estes and so many more). In 1924, Williams also earned an early entry in blues annals by producing the legendary Papa Charlie Jackson's “Lawdy, Lawdy Blues,” the first successful blues record made by an African American man.In 1927, Williams left Paramount to go out on his own by starting Black Patti Records, named after the opera singer Matilda Sissieretta Joyner Jones, who was called “Black Patti” because some thought she resembled the Italian opera singer Adelina Patti. While Williams' label lasted only seven months, it produced 55 records in a variety of styles, including blues, jazz and spirituals, as well as hell-fire sermons by “straining preachers” and comedy routines and popular ditties from vaudeville stars. When the enterprise was not immediately profitable, Williams moved on to greener pastures by the end of 1927, but not before discovering a few stand-out blues acts that had moved to Chicago from the South as part of “The Great Migration.”Among his finds in those early days was The Down Home Boys, whose two-guitar accompaniment was a blend of parlor guitar and ragtime. The trio sang blues, but much of its repertoire was from the turn of the century — before blues had become a dominant musical genre — and included ballads and medicine show material.Back to the SongSunny Wilson's “Hey! Mama” tune didn't have the same cachet of some of the group's other numbers — notably the guys' “Original Stack O'Lee Blues,” which probably was a response to Ma Rainey's version of the number, which had the young Louis Armstrong on cornet — but it did have a long shelf life. For instance, right after its Black Patti debut, it was brought out as "France Blues" on Gennett (credited to "Sunny Boy & His Pals") and again on Champion by "The Original Louisiana Entertainers.”Then 40 years later, the song was reborn in the folk revival of the 1960s. The Flood learned the song from the January 1964 album recorded by Stefan Grossman and Peter Siegel's Even Dozen Jug Band. This seminal ‘60s group also featured John Sebastian, Steve Katz, David Grisman and Maria Muldaur, all friends who got to know each other during legendary jam sessions in New York's Washington Square Park.Later that same year, the song made another notable folk revival appearance, this time performed by Mark Spoelstra (with Fritz Richmond on washtub bass and Doug Pomeroy on washboard and kazoo) on a landmark Elektra album called The Blues Project. Our Take on the TuneIf you hang out much with The Flood, it seems like everything we do is carefully planned …. uh, right… but actually, accident and happenstance are a couple of our good friends. Earlier this week, for example, we got together to plan for our show tonight at Sal's Speakeasy. As you'll hear in this track, between songs Charlie starts singing a bit of this old 1920s song. Immediately, Randy jumps in with some great harmony. Then Sam brightens it up with his harmonica and Danny puts a bow on the whole thing with a cookin' guitar part. And just like that the tune has inserted itself into the set list. All that's missing now is you. Come on down to Sal's Italian Eatery & Speakeasy tonight, 1624 Carter Avenue in beautiful downtown Ashland, Ky., and we'll getting you singing along on that hey-lawdy-mama-mama / hey-lawdy-papa-papa part! We play from 6 to 9. Come on out and party with us. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

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Ychyfus! The Kung Fu Podcast # 32: SHAOLIN TIGER'S CLAW and THE BEST OF SHAOLIN KUNG FU

Magic Morning Wood

Play Episode Listen Later Feb 15, 2023 104:45

A Cliff Lok double-bill and Lynda Bellingham's tits. One of these was requested by listener Rodney Dennis. Can you guess which one? Musical break: Drop That Sack by Papa Charlie Jackson Musical outro: What's That Tastes Like Gravy? by Tampa Red

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On this day in Blues history for January 8th